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  • Live At Reading Live At Reading Quick View

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    Live At Reading

    Ranked #1 in Kerrang magazine's 100 Gigs That Shook The World and voted as Nirvana's #1 Greatest Moment by fans in an NME poll, Nirvana's historic August 30, 1992 headlining appearance at the UK's Reading Festival is one of the most bootlegged concerts in the annals of rock 'n' roll. Now, fans finally can own a pristine copy of that entire performance complete with remastered audio.


    While the show's centerpiece was a performance of nearly the entire Nevermind tracklist, also noteworthy were early performances of three as yet unrecorded songs which wouldn't be released until a year later on In Utero: All Apologies,Dumb, and, in its first ever public performance, Tourette's. The career-spanning set list also reached back to the band's 1989 Sub Pop debut album, Bleach, for Blew,About A Girl, School, Negative Creep, and the band's first single Love Buzz, and even further back for Spank Thru.


    Other songs from the Reading set would appear in studio form on the Incesticide compilation later in the year: Aneurysm, Been A Son and Sliver. Additionally, the band played a pair of beloved covers by two bands that helped shape the formative Nirvana sound: The Money Will Roll Right In by Fang and by The Wipers.


    1. Breed
    2. Drain You
    3. Aneurysm
    4. School
    5. Sliver
    6. In Bloom
    7. Come As You Are
    8. Lithium
    9. About A Girl
    10. Tourette's
    11. Polly
    12. Lounge Act
    13. Smells Like Teen Spirit
    14. On A Plain
    15. Negative Creep
    16. Been A Son
    17. All Apologies
    18. Blew
    19. Dumb
    20. Stay Away
    21. Spank Thru
    22. The Money Will Roll Right In
    23. D-7
    24. Territorial Pissings
    Nirvana
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • The Way Is Read The Way Is Read Quick View

    $21.99
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    The Way Is Read

    Nonesuch Records releases The Way Is Read, a twelve-song album by the English trio The Staves-Emily, Jessica, and Camilla Staveley-Taylor (all vocals)-and New York City-based ensemble yMusic. After being commissioned in 2016 by Justin Vernon's Eaux Claires Festival to collaborate on a live performance piece, The Staves delved deep into yMusic's catalogue of contemporary classical compositions to find pieces suited to their lyrics and vocals. While the Festival is known for bringing musicians together for one-off performances, this is the first time one of those partnerships has made the leap into a studio album. The LP was produced by Rob Moose and Jessica Staveley-Taylor and mixed and engineered by Brian Joseph at his studio, Hive, in Eau Claire, Wisconsin.


    The two groups will come together live again at a series of special shows at the Walker Art Center in Minneapolis on December 1 and 2, and they also will perform on public radio's A Prairie Home Companion on December 16. The Way Is Read is available to pre-order now from iTunes and the Nonesuch Store, along with an instant download of the album track Trouble on My Mind, which can be heard on Spotify. You can watch a video for that song, directed by yMusic flautist Alex Sopp, here:


    Emily Staveley-Taylor says of the collaboration, Our aim from the outset was to truly collaborate with yMusic. We wanted to feel like instruments and join in with some of yMusic's existing work, using our voices in ways we hadn't previously explored. We chopped up compositions and put them together again in new ways. We took old folk songs and made them abstract. The idea of forming an orchestra with these incredible musicians was fascinating. What we have ended up with is everything we'd hoped, more than we dreamed, and hopefully the tip of the iceberg.


    Rob Moose of yMusic adds, When Justin raised the possibility of our groups collaborating, we immediately upped the stakes by focusing on a combination of new Staves songs and transformations of yMusic's composed works. It was as much a thrill to hear songs emerge organically over sections of intricate chamber music as it was satisfying to strip songs of the instrument that created them, whether guitar or piano, in order to craft new connective tissue. This project was born of voice memos sent back and forth across the seas, two frenetic days in a Manhattan rehearsal space, a festival set, and a single day of recording in the woods outside of Eau Claire.


    The Staves, also known as Jessica, Camilla and Emily Staveley-Taylor, moved to Minneapolis from London in the summer of 2016, where they lived for a year in order to be closer to Eau Claire, Wisconsin, friend and collaborator Justin Vernon's hometown, which has become a creative hub and second home to them. The sisters have worked with Stones and Who producer Glyn Johns, as well as Laura Marling and Ryan Adams producer Ethan Johns. In addition to their three albums and several EPs, The Staves have headlined tours across North America and Europe and performed on tours with Bon Iver, Florence and the Machine, Angus and Julia Stone, and The Civil Wars. The New York Times said of their 2015 Vernon-produced Nonesuch debut, If I Was, the songs are illuminated from within, and Magnet said, The perfection just goes on and on until you start to wonder: Are they human?


    Hailed by Performance Today's Fred Child as one of the groups that has really helped to shape the future of classical music, yMusic comprises six New York City instrumentalists-violinist Rob Moose, violist Nadia Sirota, cellist Gabriel Cabezas, clarinettist Hideki Aomori, flutist Alex Sopp, and trumpeter CJ Camerieri-flourishing in the overlap between the pop and classical worlds. Their virtuosic execution and unique configuration has attracted the attention of high profile collaborators-from Paul Simon to Ben Folds to JosÉ González-and inspired an expanding repertoire of original works by some of today's foremost composers, including Nico Muhly and Andrew Norman.

    1. Hopeless
    2. Take Me Home

    3. Trouble on My Mind
    4. Bladed Stance
    5. All My Life
    6. Silent Side
    7. Year of the Dog

    8. Courting Is a Pleasure

    9. All the Times You Prayed
    10. Appetite
    11. Sprig of Thyme

    12. The Way is Read
    The Staves & yMusic
    $21.99
    Vinyl LP - Sealed Buy Now
  • Live At The Troubadour Live At The Troubadour Quick View

    $24.99
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    Live At The Troubadour

    Includes DVD With Over An Hour Of Live And Behind The Scenes Footage


    On September 14, 2011, The Horrible Crowes took the stage of the legendary Troubadour in West Hollywood, CA for an amazing hour-long plus set. It was only the band's second show, and attendees were able to experience Elsie in an authentic, natural setting.


    I think this was one of the highlights of my career, Brian Fallon recalls. Everyone was in great spirits, we were comfortable, and we were playing music that excited us beyond what we thought we were capable of. I remember, on this night, I felt like someone else was playing for us. I love this band, as a fan.


    Both Fallon and guitarist Ian Perkins remember that night fondly. I will always look back at this show with the fondest of memories. Sometimes you can walk into a venue and the atmosphere is already there, The Troubadour is one of those places. We were all excited to play such a legendary venue and you only have to read the names on the walls inside to see why."


    The hi-definition DVD features twelve live tracks from that night, as well as candid pre-show interviews with Brian Fallon and Ian Perkins, sound check footage and the music videos for Behold The Hurricane and Lady Killer.

    1. Last Rites
    2. Sugar
    3. Behold the Hurricane
    4. I Witnessed a Crime
    5. Go Tell Everybody
    6. Cherry Blossoms
    7. Ladykiller
    8. Crush
    9. Teenage Dream
    10. Mary Ann
    11.Black Betty & the Moon
    12. Blood Loss
    13. I Believe Jesus Brought Us Together
    14. Never Tear Us Apart
    The Horrible Crowes
    $24.99
    Vinyl LP + DVD - 2 LPs Sealed Buy Now
  • Live At The Hamburg Starclub Live At The Hamburg Starclub Quick View

    $29.99
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    Live At The Hamburg Starclub

    Import

    In poll after poll, this LP is hailed as one of the greatest records of all time and quite possibly the greatest live recording ever made. And now this 1964 classic makes a welcome reappearance on vinyl. Jerry Lee Lewis was never in better form, and his backing group, the Nashville Teens try to keep up as he jumps from one classic to another. His reading of Your Cheating Heart is still definitive and Whole Lotta Shakin' is arguably one of the greatest version ever recorded.



    Forty-five years later, we can re-live that night on the Reeperbahn. For those who bought the original LP, Bear Family's remastering will enable you to listen to it anew, for those who missed it, there's no excuse now. As a bonus, Bear Family has included one song, Down The Line, missing from the original LP. And when you open the gate-fold cover, there's a large street map (60 x 60cm / 24 x 24) of Hamburg's St. Pauli quarter showing the Reeperbahn and Star-Club. This exclusive full-color graphic was designed by Ulf Harten, a well-known artist and friend of Bear Family.

    1. Mean Woman Blues
    2. High School Confidential
    3. Money
    4. Matchbox
    5. What'd I Say Part 1
    6. What'd I Say Part 2
    7. Great Balls Of Fire
    8. Good Golly, Miss Molly
    9. Lewis' Boogie
    10. Your Cheating Heart
    11. Hound Dog
    12. Long, Tall Sally
    13. Whole Lotta Shakin' Goin' On
    14. Down The Line
    Jerry Lee Lewis
    $29.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Live At The Sands: Before Frank Live At The Sands: Before Frank Quick View

    $49.99
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    Live At The Sands: Before Frank

    Swinging Hard and Heavy With Orchestral Support, Live Big-Band Album Recorded During the Count's Warm-Up Sets for Sinatra in Early 1966 in Vegas


    Incredible Sound: Mastered from the Original Master Tapes, Reissue Improves Upon Renowned Dynamics, Presence, Crispness, and Balances


    Long Out-of-Print, Seminal Classic is Perfect Complement to Sinatra's Live at the Sands


    Count Basie and Frank Sinatra had the perfect arrangement at the Sands. Before the Chairman hit the stage in Vegas, Count Basie and his big band warmed up the already enthusiastic crowd with a brief set of their own. A dynamite entertainer, the legendary leader causes hearts to race, hips to shake, and fingers to snap with high-energy readings of his trademark swing music, taken to feverish heights by both his first-rate orchestra and the incredibly swank setting. Fortunately, the finest of Basie and Co.'s introductory performances from the historic 1966 dates have been preserved here and serve as a seminal complement to Sinatra's iconic Live at the Sands.


    Mastered from the original master tapes and pressed at RTI, Mobile Fidelity's analog version of Live at the Sands (Before Frank) gives you a dead-center, eighth-row seat at the famed Sin City club. You'll just need to supply your own table and cocktail. Renowned for its sonic clarity, transparency, crispness, and punch, the record is now tremendously enhanced, with improved tonality, a deeper soundstage, correct balances, and lifelike presence. Each horn occupies its own space, and Basie's transfixing piano-a focal point throughout-resonates with gorgeous detail and impeccable pacing. The collective's energy almost demands to be measured with an SPL meter.


    Captured in late January and early February 1966, Live at the Sands (Before Frank) contains most of Basie's signature pieces delivered with an enthusiasm, style, and brassiness that exceed that gracing nearly any of the Count's studio efforts. His band is stacked to the nines, with tenor saxophonist Eddie "Lockjaw" Davis, saxophonist/flautist Eric Dixon, and drummer "Sonny" Payne among the prized cast. The Sands dates marked the first time in years that these players, as well as trombonist Al Grey, gathered onstage together.


    Encouraged by Basie, the instrumentalists engage in a series of call-and-response passages and standout solos, not the least of which is Davis' turn on a white-hot "Jumpin' at the Woodside" and he and Dixon's exchanges on "This Could Be the Start of Something Big." No slouch, Basie approaches "Makin' Whoopee" with graceful playfulness, and oversees the assortment of uptempo swing numbers and mellow ballads with astute melodicism. A sublime version of the Don Gibson country standard "I Can't Stop Loving You," arranged by Quincy Jones, can almost be considered a bonus.


    No, it don't mean a thing if it ain't got that swing. And Basie and his mates have plenty of it on this superb outing. Big-band jazz seldom enjoyed such levels of rhythmic precision, expert charts, or unfettered joy. Unbelievably, this gem has been out of print for years, with original copies both on vinyl and CD commanding steep prices. Mobile Fidelity's reissue restores not only the sonics but the record's place in jazz history.


    This title is not eligible for discount.

    1. Introduction
    2. Splanky
    3. I Can't Stop Loving You
    4. I Needs to Be Bee'd With
    5. Flight of the Foo Birds
    6. Satin Doll
    7. Makin' Whoopee!
    8. Corner Pocket
    9. One O'Clock Jump
    10. Hello Little Girl
    11. Whirly Bird
    12. Blues for Ilene
    13. This Could Be the Start of Something Big
    14. Jumpin' at the Woodside
    Count Basie
    $49.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • All Live All Live Quick View

    $39.99
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    All Live

    180 Gram Audiophile Vinyl


    Carefree Highway Tour Limited Edition


    Mastered by Joe Reagoso From The Original Tapes


    Gordon Lightfoot is celebrating his 5 decades of classic songs & albums and Friday Music is proud to be a part of the celebration with his latest work All Live.


    This new 180 Gram Audiophile LP is solely produced by the artist himself from recordings at the famed Massey Hall in Toronto. 19 of his most famous and revered tunes are included like Sundown, If You Could Read My Mind, Early Morning Rain & Carefree Highway.

    1. 14 Karat Gold
    2. If You Could Read My Mind
    3. Fine as Fine Can Be
    4. Baby Step Back
    5. Early Morning Rain
    6. Restless
    7. A Painter Passing Through
    8. Rainy Day People
    9. Ringneck Loon
    10. Shadows
    11. Sundown
    12. Carefree Highway
    13. Christian Island
    14. The Wreck of the Edmund Fitzgerald
    15. Canadian Railroad Trilogy
    16. Let It Ride
    17. Blackberry Wine
    18. Song for a Winter's Night
    19. Old Dan's Records
    Gordon Lightfoot
    $39.99
    180 Gram Audiophile Virgin Vinyl LP Buy Now
  • At The Sands At The Sands Quick View

    $34.99
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    At The Sands

    Sinatra at the Sands is a 1966 live album by Frank Sinatra, accompanied by Count Basie and his orchestra, conducted and arranged by Quincy Jones, recorded live at the Copa Room of the Sands Hotel and Casino in Las Vegas.


    It was Sinatra's first live album to be commercially released, and contains many definitive readings of the songs that are most readily associated with Sinatra.

    LP 1
    1. Come Fly With Me
    2. I've Got A Crush On You
    3. I've Got You Under My Skin
    4. The Shadow of Your Smile
    5. Street of Dreams
    6. One For My Baby (And One More For the Road)
    7. Fly Me To the Moon
    8. One O'Clock Jump
    9. The Tea Break (monologue)
    10. You Make Me Feel So Young


    LP 2
    1. All of Me
    2. The September Of My Years
    3. Get Me To the Church On Time
    4. It Was A Very Good Year
    5. Don't Worry 'Bout Me
    6. Makin' Whoopee! (instrumental)
    7. Where or When
    8. Angel Eyes
    9. My Kind of Town
    10. A Few Last Words (monologue)
    11. My Kind of Town (reprise)

    Frank Sinatra
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Havin' A Party Havin' A Party Quick View

    $22.99
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    Havin' A Party

    A spectacular collection of live tracks by Texas swing traditionalists Asleep At The Wheel, presented on gorgeous vinyl! Includes boot-stomping performances of the classics "Choo Choo Ch' Boogie," "The Letter That Johnny Walker Read" (#10 Country Singles chart), "Hot Rod Lincoln" and much, much more!
    1. Choo Choo Ch' Boogie
    2. Ain't Misbehavin' (I'm Savin' My Love For You)
    3. The Letter That Johnny Walker Read
    4. What A Wonderful World
    5. Big Ball's In Cowtown
    6. Hot Rod Lincoln
    7. House Of Blue Lights
    8. Cotton Eyed Joe
    9. Miles And Miles Of Texas
    10. (Get Your Kicks On) Route 66
    11. Take Me Back To Tulsa
    Asleep At The Wheel
    $22.99
    Vinyl LP - Sealed Buy Now
  • Soultrane Soultrane Quick View

    $21.99
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    Soultrane

    Soultrane is the fourth album by jazz musician John Coltrane, released in 1958 on Prestige Records, catalogue 7142. It was recorded at the studio of Rudy Van Gelder in Hackensack, New Jersey.


    The album is a showcase for Coltrane's late-1950s "sheets of sound" style, the term itself coined by critic Ira Gitler in the album's liner notes. Also featured is a long reading of Billy Eckstine's ballad standard "I Want to Talk About You", which Coltrane would revisit often during his career, most notably on the album Live at Birdland. Among the other tracks is the popular theme "Good Bait" by Tadd Dameron, and Fred Lacey's elegiac "Theme For Ernie". "You Say You Care" is from the Broadway production of Gentlemen Prefer Blondes.


    Musicians:

    John Coltrane - tenor saxophone

    Red Garland - piano

    Paul Chambers - bass

    Art Taylor - drums


    This title is not eligible for discount.

    1. Good Bait

    2. I Want To Talk About You
    3. You Say You Care
    4. Theme For Ernie
    5. Russian Lullaby
    John Coltrane
    $21.99
    Vinyl LP Reissue -Sealed Buy Now
  • Rastaman Vibration Rastaman Vibration Quick View

    $24.99
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    Rastaman Vibration

    Features Original Artwork

    For Bob Marley, 1975 was a triumphant year. The singer's Natty Dread album featured one of his strongest batches of original material (the first compiled after the departure of Peter Tosh and Bunny Wailer) and delivered Top 40 hit No Woman No Cry. The follow-up Live set, a document of Marley's appearance at London's Lyceum, found the singer conquering England as well. Upon completing the tour, Marley and his band returned to Jamaica, laying down the tracks for Rastaman Vibration (1976) at legendary studios run by Harry Johnson and Joe Gibbs.


    At the mixing board for the sessions were Sylvan Morris and Errol Thompson, Jamaican engineers of the highest caliber. Though none of these cuts would show up on Legend, Marley's massively popular, posthumous best-of, some of the finest reality numbers would surface on the compilation's more militant equivalent, 1986's Rebel Music set. War, for one, remains one of the most stunning statements of the singer's career. Though it is essentially a straight reading of one of Haile Selassie's speeches, Marley phrases the text exquisitely to fit a musical setting, a quiet intensity lying just below the surface. Equally strong are the likes of Rat Race, Crazy Baldhead, and Want More.


    These songs are tempered by buoyant, lighthearted material like Cry to Me, Night Shift, and Positive Vibration. Not quite as strong as some of the love songs Marley would score hits with on subsequent albums, Cry to Me still seems like an obvious choice for a single and remains underrated. Though record buyers may not have found any single song to be as strong on those terms as No Woman No Cry, Rastaman Vibration still reached the Top Ten in the United States.
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    1. Positive Vibration
    2. Roots Rock, Reggae
    3. Johnny Was
    4. Cry To Me
    5. Want More
    6. Crazy Baldhead
    7. Who The Cap Fit
    8. Night Shift
    9. War
    10. Rat Race
    Bob Marley
    $24.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Dormant Heart Dormant Heart Quick View

    $28.99
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    Dormant Heart

    'Dormant' is not a word that you can associate with Reading's metallers SYLOSIS - the band who have in the past few years alone toured with LAMB OF GOD, KILLSWITCH ENGAGE, DEVIL DRIVER and TRIVIUM. As well as playing huge festivals across the globe such as Sonisphere, Wacken, Graspop and Pukkelpop.


    Dormant Heart is not a peaceful album, it's a powerful force, unleashing anger against every day injustice and a sleeping society that lets these things wash over them. Frontman Josh Middleton explains: "The title refers to people going through life on autopilot and being one of the herd. How a lot of people simply accept the way things are just because it's 'tradition' as opposed to taking a good look at the world around you and thinking for yourself. Sometimes there are catalysts that happen and change our perspective or consciousness "


    One might take this catalyst as being representative of the driving accident that SYLOSIS had on a US tour with TRIVIUM and DEVIL DRIVER in September 2013. Luckily the band escaped the RV accident without major injuries but had to withdraw from the rest of the American shows. It was a big influence on the writing of their fourth album. This isn't a band that lets the tough gruelling schedule of touring wear them down though and once they'd been patched up and recovered they were back on the road in the UK. The incident did however provide food for thought as to how the band has to some extent a constant element of danger and personal sacrifice.


    SYLOSIS began tracking the album back in March 2014 working away secretly alongside touring commitments. Josh Middleton took a step up on this album producing it himself with the help of engineer Scott Atkins. The album was mastered by TESSERACT guitarist Acle Kahney. Josh says of the recording process "It was great doing some of the recording with Scott again. We've got a good working relationship and he's really dedicated to what he does. We like to strive for a very earthy and organic sound. It adds to the human element and brings out the intensity and vibe in the music."


    Guitars and vocals were recorded at Wizard Sound Studios in the band's hometown Reading. Drums were recorded in May at Monkey Puzzle Studios by original drummer Rob Callard who parted ways with SYLOSIS in September 2014 due to time restraints. BLEED FROM WITHINs Ali Richardson is now drumming for the band permanently after filling in for some live shows on the bands spring 2014 tour.


    Dormant Heart retains the distinctive SYLOSIS sound; a mixture of intense heavy guitar riffs, breakdowns, thudding rhythm and Middleton's growl. It's difficult to tie-down the band into a specific type of metal genre. Stomping opener 'Where The Wolves Come To Die' unleashes an aggressive start whilst 'Leech' provides those breakdowns and epic choruses. 'Mercy' demonstrates the mix of galloping rhythm and melodic guitar riffs whilst Josh fiercely declares 'there's no redemption'. Aptly named closer track 'Quiescent' provides over 9 minutes of solemn prog showing a less forceful side of the band it's ballad like in nature, with lyrics questioning Maybe the flames are all they have?' It's softer in dynamic but the sense of impending doom remains 'Fail to rescue// I can see// Now the line is drawn at our feet'.


    Josh summarises the record as their best work to date. "It's the most pissed off, aggressive and intense album we've done, yet it still retains the epic, progressive and melodic side we're also known for. It's a very gloomy and atmospheric album. We've been through a lot as a band and individuals and we've made our darkest album to date."

    1. Where The Wolves Come To Die
    2. Victims And Pawns
    3. Dormant Heart
    4. To Build A Bomb
    5. Overthrown
    6. Leech
    7. Servitude
    8. Indoctrinated
    9. Harm
    10. Mercy
    11. Callous Souls
    12. Quiescent
    13. Pillars Erode
    14. Zero (Smashing Pumpkins cover)
    Sylosis
    $28.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Caravan Caravan Quick View

    $27.99
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    Caravan

    Includes 1 Bonus Track


    By the time that jazz icon/bandleader/percussionist Art Blakey and his Jazz Messengers began recording for Riverside in the fall of 1962, Blakey had already been the spiritual center of the group for nearly 15 years. The unprecedented caliber of performers who had already passed through the revolving-door personnel reads like a who's who of 20th century jazz. On Caravan -- his first of several notable sides for the venerable label -- he is joined by a quintet of concurrent and future all-stars. Likewise, it could be argued that each has never again been presented in such a fresh or inspired setting as on these recordings. In order to establish with any authority just how heavy (even for purveyors of hard bop) the players in this band are, they need only to be named: Curtis Fuller (trombone), Freddie Hubbard (trumpet), Wayne Shorter (tenor sax), Cedar Walton (piano), and Reggie Workman (bass). With Blakey (drums) firmly at the helm, these Jazz Messengers deliver a scintillating synergy that doesn't sacrifice intensity for the sake of cadence. The trademark give-and-take that graces the laid-back and sophisticated pop and jazz standards Skylark and In the Wee Small Hours of the Morning likewise is responsible for the palpable energy brought to the sizeable contributions from Shorter and Hubbard -- which make up half of the album's material. The title and leadoff track liquefies Duke Ellington's original arrangement and ignites it, fueling this extended fiery interpretation. Hubbard's first solo harks back to his own recording of Caravan, which can be heard on the Impulse release Artistry of Freddie Hubbard and was recorded earlier the same year. Coincidentally, that disc also features Curtis Fuller as well as a rare non-Sun Ra-related appearance from John Gilmore (tenor sax). Blow for blow, however, this reading has more than just an edge -- it possesses the entire blade. The melody snakes in and out of Blakey's strident flurry of syncopation. Another highlight is Shorter's interjectory solo, recalling his ability to succeed John Coltrane in Miles Davis' coterie. Among the original compositions, Shorter's upbeat Sweet 'n' Sour stands out as the most cohesive and ensemble-driven, although the singular group dynamic is well applied to the lively This Is for Albert as well. By contrast, Hubbard's Thermo is more angular -- taking full advantage of the musicians' aggressive chops. The 2001 20-bit remaster from Fantasy contains two bonus tracks: take four of Sweet 'n' Sour and take two of Thermo. This release can be considered definitive Blakey, bop, and Jazz Messengers.

    - Lindsay Planer (All Music)

    1. Caravan
    2. Sweet 'n' Sour
    3. In The Wee Small Hours Of The Morning
    4. Sweet 'n' Sour [Alternate Take] *
    5. This Is For Albert
    6. Skylark
    7. Thermo


    *Bonus Track (From The Same Sessions. Not On The Original LP)

    Art Blakey
    $27.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • No Waves No Waves Quick View

    $21.99
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    No Waves

    Body/Head is the duo of Kim Gordon (Sonic Youth, Free Kitten) and guitarist Bill Nace (Northampton Wools, Celyon Mange). They play experimental, free-form guitar drones highlighed by Gordon's unmistakable voice. Their sound is an immersive, three-dimensional experience and no two performances are similar.


    No Waves was recorded on March 24th, 2014 during Big Ears Festival in Knoxville, TN at the Bijou Theater. This live album (don't jump to conclusions, please read ahead) captures Kim Gordon and Bill Nace at peak chemistry during the tour supporting 2013's critically lauded Coming Apart.


    The band have not played many shows since forming, but those who have been able to see them live have left their jaws on the floor. This album is the piece of the Body/Head puzzle for those who have not seen the band live and for those that have, something they want to own.


    Instead of presenting "tracks" or "songs" from the record, we present moments from this one pinnacle set that was luckily for us beautifully caught in time.


    World-renowned artist and long-time friend of Kim Gordon, Raymond Pettibon has made an original piece of art for the cover of the album.

    1. Sugar Water
    2. The Show Is Over
    3. Abstract/Actress
    Body/Head
    $21.99
    Vinyl LP - Sealed Buy Now
  • Silver Kobalt Silver Kobalt Quick View

    $14.99
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    Silver Kobalt

    In between work for Björk, The Cinematic Orchestra and Anoushka Shankar, the prodigious Hang player and percussionist Manu Delago has inked a deal with Tru Thoughts to release his own new album, 'Silver Kobalt'. The ambitious LP draws lines from pop to the avant-garde.


    Aged just 30, Manu Delago is the world's leading Hang player (with 5 million YouTube views for his DIY performance video "Mono Desire") and possesses equally virtuosic skills as a percussionist and drummer alongside ever maturing instincts as a songwriter and producer. The accessible yet startlingly original sound of 'Silver Kobalt' draws on the experience and ideas built up by the London based Austrian native across a high-flying and diverse career to date. From overachieving teenaged rock bands, through extensive classical training; from his exploits at the cutting edge of art pop as the lynchpin of Björk's band, to a London Symphony Orchestra commission which saw him playfully subverting their expectations; this endlessly curious artist has been honing his own style rich in melody, wit and invention.


    The title, 'Silver Kobalt', plays on the strangely linked themes of magnets, goblins and human behaviour. Throwing a pair of small magnets in the air one day, Delago recorded their frantic, thrumming sound for the track "Plus Minus"; he also experimented with the detuning effect of a magnet on the Hang. Magnet fascination deepening, he read that some rare elements are permanently magnetised, of which one is cobalt. Then, up popped the pleasing story that cobalt was actually named after the German word for 'goblin' ('kobold') by hapless silver miners who suspected little kobolds had taken all the silver and left them with this substance. Further reading revealed also that all humans contain cobalt which we need to survive. "I really enjoyed this string of information", he says. "As well as this fun idea of little goblins within us, it really struck a chord because I had been thinking a lot about attraction and repulsion - what makes people magnetically drawn to some things, away from others - and that is a strong theme in the music. 'Silver Kobalt' tied it all together."


    Tying together the many sonic threads is co-producer Matt Robertson (Björk, The Prodigy, The Streets, Bat For Lashes), following his work on Delago's acclaimed 2013 LP 'Bigger Than Home', the record on which he began to truly develop his current sound. This is a sound that revolves around the unique timbre of the Hang, but encompasses much more, from acoustic percussion, bassoon, piano and chimes to multi-layered beats and a variety of synths.


    The hypnotic, nursery rhyme-like Hang melody of lead single "Disgustingly Beautiful" feat. Isa Kurz opens the album; the affecting vocals of Kurz (also the pianist and violinist on record and in the live outfit Manu Delago Handmade) ride a bass-heavy undercurrent, with added beats from Grammy nominated producer j.viewz. On the spiky yet melodically catchy "Plus Minus", the aforementioned magnet theme is extended into the composition, with two main lines that are pulled together and pushed apart. "Drumheart feat. Anil Sebastian" is pristine bassy pop lifted onto another plane by the haunting, androgynous vocals of the up-and-coming singer.


    Stealthily moving into a fascinating instrumental section, "Down to the Summit" (which, unusually, uses the Indian drone instrument Surpeti for harmony) leads to the punchy, subby Hang sound and four-handed piano tinkering of "Wandering Around" and on to the joyful "Simon is Psychling", which calls to mind a DJ with speakers on a bike, circling a big field, one lap bringing a bassoon solo, another an industrial noise-fest. Restoring calm, "Sun In The North feat. Isa Kurz" is a potent lyrical snapshot from a day on the beach on Reunion Island in the Indian Ocean, its rhythms inspired by playing with Indian musicians there. Cobalt gets its glory in the shape-shifting "Chemical Reaction feat. Rahel", and the lovelorn "Dearest" was conceived on tour in Australia where Delago captured the fairytale vocals of celebrated Australian folk singer Katie Noonan. "Almost Thirty", in Delago's words, "draws a bow from Eurotrash Dance Music to Austrian folk music, with some brainy immature rhythm ejaculations in between"; a banger that skirts the border between strange-town and club-land, it is a thrilling way to see out both his third decade on Earth and the album.


    Having been given his first drum kit aged two, also learning the accordion and piano in childhood, Manu Delago was a professional performer by his teens, but it was in 2003, when he began playing the Hang - an enchanting new sound sculpture from Switzerland - that he discovered his passion for writing music. On graduating from the university Mozarteum in Innsbruck, he moved to London and studied at Guildhall School of Music & Drama and Trinity College of Music. With this pedigree, the lessons learned from collaborating with his heroes, and influences from The Prodigy to Bon Iver, Michael Jackson to Stravinsky and Beyonce to Rage against the Machine, his music is as impeccably realised as it is impossible to classify. Delago has featured heavily in the world's media, having toured on six continents and played festivals including Shambala, Green Man, Haldern Pop, Reeperbahn, Eurosonic and Popfest Vienna.

    1. Disgustingly Beautiful feat. Isa Kurz
    2. Plus Minus
    3. Drumheart feat. Anil Sebastian
    4. Down to the Summit
    5. Wandering Around
    6. Simon is Psychling [sic]
    7. Sun in the North feat. Isa Kurz
    8. Dearest feat. Katie Noonan
    Manu Delago
    $14.99
    Vinyl LP - Sealed Buy Now
  • Both Sides of the Sky (Pre-Order) Both Sides of the Sky (Pre-Order) Quick View

    $24.99
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    Both Sides of the Sky (Pre-Order)

    Both Sides Of The Sky presents 13 studio recordings including 10 which have never before been released. All but two of these studio recordings were made during a fertile period between January 1968 and 1970. Jimi's mastery and use of the studio as a proving ground for new songs resulted in a growing collection of extraordinary material. This album completes a trilogy of albums [with Valleys Of Neptune and People, Hell & Angels] presenting the best and most significant unissued studio recordings remaining in the Hendrix archive. The songs include fascinating alternate versions of Stepping Stone, Lover Man and Hear My Train A Comin' as well as recordings where Jimi is joined by special guests Johnny Winter and Stephen Stills. Both Sides Of The Sky was mixed by Eddie Kramer, the engineer for all of Hendrix's albums throughout the guitarist's lifetime, and produced by Janie Hendrix, Kramer and John McDermott.


    Mannish Boy - The first ever studio session by the group Hendrix would christen as his Band Of Gypsys. Hendrix, Cox & Miles shared a love for the blues as this driving, uptempo reworking of Mannish Boy by Muddy Waters makes clear.


    Lover Man - Just two weeks before their triumphant New Year's concerts at the Fillmore East in NYC [yielding both 1970's Band Of Gypsys and 2016's sequel Machine Gun], Hendrix gathered with Cox and Miles to cut this dynamic rendition of what had become a favorite concert staple.


    Stepping Stone - A totally unique take on this Hendrix favorite, with Jimi showcasing both blues and country styled licks atop a relentless, galloping beat.


    $20 Fine -Stephen Stills joined Jimi, Mitch Mitchell and Buddy Miles Express keyboardist Duane Hitchings at this September 1969 session. With Stephen handling lead vocals and organ, Jimi added multiple guitar parts to this rollicking Stills original.


    Power Of Soul - This 1970 studio session came three weeks after the Band Of Gypsys concerts at the Fillmore East. While a live version remains one of the highpoints of Band Of Gypsys, Jimi never released a studio version during his lifetime. For this album, we present the mix that Hendrix and Kramer prepared of the complete song at Electric Lady on August 22, 1970.


    Jungle - The influence of Curtis Mayfield can be heard here as Jimi expands on the Villanova Junction Blues theme he made famous by its inclusion in the 1970 Woodstock documentary.


    Things I Used To Do - Jimi is joined for this rendition of Guitar Slim's blues classic by Johnny Winter. Jimi's trademark guitar work and Winter's deft slide playing weaves in and around the foundation set by bassist Billy Cox and Crosby, Stills, Nash & Young drummer Dallas Taylor.


    Georgia Blues - Jimi reunited with some old friends from his pre-Experience days. Lonnie Youngblood, with whom Hendrix played in R&B groups like Curtis Knight & The Squires, voiced this superb twelve bar blues neatly underpinned by Hendrix's sublime rhythm and lead guitar work.


    Sweet Angel - With Axis: Bold As Love only just released, Jimi immediately turned his focus to recording what would become Electric Ladyland. This gorgeous, instrumental reading of Angel,, features Jimi on guitar, bass and vibraphone joined by Mitch Mitchell.


    Woodstock - Stephen Stills came to this session fresh from having visited Joni Mitchell, who had a new song that Stills was excited to try and record. Long before CSNY's version, Stephen, Jimi and Buddy Miles recorded this amazing rendition.


    Send My Love To Linda - A superb new Hendrix original composition recorded with Cox and Miles in the aftermath of their successful Band Of Gypsys performances at the Fillmore East.


    Cherokee Mist - Together with drummer Mitch Mitchell, Jimi created this moody, evocative original complete with his playing of a sitar to complement his traditional electric guitar.

    1. Mannish Boy
    2. Lover Man
    3. Hear My Train a Comin'
    4. Stepping Stone
    5. $20 Fine
    6. Power of Soul
    7. Jungle
    8. Things I Used to Do
    9. Georgia Blues
    10. Sweet Angel
    11. Woodstock
    12. Send My Love to Linda
    13. Cherokee Mist
    Jimi Hendrix
    $24.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed PRE-ORDER Buy Now
  • Old Ramon Old Ramon Quick View

    $22.99
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    Old Ramon

    Old Ramon, the sixth Red House Painters album, recorded in the
    fall of 1997 through the spring of 1998, was intended for release
    that summer. But the mega-major label merger catastrophe that
    left hundreds of bands homeless spared few. Red House Painters
    looked for a brief moment like survivors, but subsequent delays
    eventually turned into permanent layoff. Old Ramon sat in limbo
    and grew into legend as another great, lost album only the
    privileged few would ever properly hear. They've unintentionally
    put the wait back into the term "long-awaited."


    Singer Mark Kozelek kept busy with a series of other projects. He
    served as producer for Take Me Home: A Tribute to John Denver.
    As archivist for the 4AD Red House Painters Retrospective album,
    assembling rarities and live tracks. As solo artist with several
    tracks on the Shanti Project album, and two albums Rock 'n' Roll
    Singer and What's Next to the Moon, a collection of AC/DC songs
    reinterpreted. As live performer, touring the United States, United
    Kingdom, Spain, Sweden and his first ever shows in South Korea.
    As film scorer for the independent film Last Ball. And, finally, as
    actor in Cameron Crowe's critically acclaimed Almost Famous.


    But while playing a musician in a movie-Kozelek appears as the
    bassist of Stillwater in Almost Famous-was an exciting diversion,
    it also pointed out the absurdity and irony of the situation. He'd
    been writing and performing his own music since the 1980s, with
    Red House Painters since the early 1990s. He was a musician, not
    just someone who might play one on TV.


    With Old Ramon sitting on the shelf, it was like reading a book
    with a chapter missing. Kozelek had written most of the album
    throughout 1996 and 1997. There were "Between Days" and
    "Wop-a-din-din," written during the months he stayed in Oaxaca,
    Mexico about his time there and his cat waiting at home in San
    Francisco; "Cruiser" written on an airplane ride from Los Angeles
    to San Francisco about a friend he'd met during the John Cale
    tour; and "Golden," a song in tribute to John Denver, written and
    recorded in a single day during December of 1997, just a few
    months after Denver's tragic death. "Michigan" and "River" had
    been road-tested on the band's previous tour.


    The album, in fact, had come together with a good feeling, reuniting
    the band with their old friend and engineer Billy Anderson,
    who'd worked on their earlier records Down Colorful Hill and the
    two self-titled releases (Rollercoaster and Bridge by their covers).
    Sessions in San Francisco, Mendocino, California and Austin,
    Texas resulted in several hours' worth of music being recorded.
    The band had spread out and worked up various arrangements for
    a majority of the tunes. Sadly, a twenty-minute version of "Michigan"
    fell to the cutting room floor.


    But the ten songs packed onto Old Ramon (the title comes from a
    Spanish children's book that caught Kozelek's fancy) well
    represent the band that will take to the road for the first time in
    several years with extensive touring throughout the United States
    and Europe. Once freed from their major label commitments,
    reputable independent labels bid for the band's services. This,
    however, is the album exactly as it was intended-untouched-three
    years to the month of its completion. Good news:
    The wait is officially over.

    1. Wop-A-Din-Din
    2. Byrd Joel
    3. Void
    4. Between Days
    5. Cruiser
    6. Michigan
    7. River
    8. Smokey
    9. Golden
    10. Kavita
    Red House Painters
    $22.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Offerings Offerings Quick View

    $29.99
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    Offerings

    If a Fellini film, a Bosch painting, and a Rorschach drawing had a collective sound, it would be Typhoon's new release. The 14-track record Offeringsis a musical and lyrical excursion into surreal imagery, eerie soundscapes, and an emotionally jarring narrative.


    The 70-minute album for Roll Call Records, which is the Portland, Oregon indie rock band's fourth studio album, centers on a fictional man who is losing his memory, and in turn, his sense of self. "I've always been preoccupied with memory, losing memory, and trying to recapture memory. I wanted to explore the questions: What does a person become if they don't know where they came from? What is the essential quality of the person if you strip away all memory?" explains singer/songwriter Kyle Morton.


    Motivated in part by his own preoccupation with "losing it," Morton also found a treasure trove of inspiration through various books, art, and film he was immersed in during the writing of this record. "I was watching a lot of David Lynch, and thought a lot about the Christopher Nolan movie, Memento, and Fellini's 8 ½.And there were a lot of books on my nightstand that played into this. It made it's a much darker album for sure," he says.


    Offerings is divided into four movements (Floodplains, Flood, Reckoning, and Afterparty) to represent the mental phases the main character goes through where he first realizes that something is wrong, then struggles through the chaos of his situation, and finally moves into acceptance before succumbing to his dreadful fate.


    "I wanted this record to be a journey, like Dante's Inferno. It kicks off with 'Wake,' where the character wakes up and he's shitting the bedand doesn't know what's going on. I was going for a specific feel that Samuel Beckett does so well," says Morton, who was reading Beckett's Three Novels, specifically Malloy, while writing the song's lyrics. "Beckett would call it a literature of impoverishment where he'd strip away as much as he could so he could get a feeling of essence and scarcity; that's what I tried to do musically and lyrically here."


    Mission accomplished. Morton also masterfully makes a parallel with the character's journey to the state of the world today starting with the second track, "Rorschach," which looks at the age of information and collapse of meaning.


    "But, by the third song, 'Empiricist,' there's a regression to the womb where the character is back in his bed at home,talking about his range of motion shrinking. This first movement ends with 'Algernon' [taken from one of Morton's favorite short stories, Flowers for Algernon, by Daniel Keyes], where he's constantly awakening and in an interrogation with a woman-who the listener should know is his wife, but he doesn't."


    Musically, there is a sense of impending doom and chaos throughout the record that mirrors the character's fear and anxiety. "The claustrophobic feeling of only having the present moment and this sense of repetition is musically mirrored with this looping that runs though the record with a through line of choral parts that give it a darker, creepier feel," says Morton.


    To set the right tone for the story, Morton went for a less horns, more guitar approach. "We have a little bit of trumpet on this record and a lot of string arrangements. But we really strayed away from the horn arrangements. I wanted it to be a darker, more intense rock record, so it's very guitar-based. It's going back to my rock roots before Typhoon," says Morton.


    The concept of what the main character in the album is going through is also meant as a way of explaining cultural memory loss. "I was also reading historian Timothy Snyder and was inspired by his take on how America is at risk of losing their sense of history. If we haven't learned the lessons of our past, historically, we can't recognize when elements come back to haunt us, which is what's happening right now," he adds.


    One choral part ("Down in the floodplains waiting on a cure/ Blessed be the water/ May the water make us pure") was especially inspired by current politics. "I had Steve Bannon in mind quite a bit when I was writing these choral parts because I'm taking on this world view that I don't agree with, which is that the world needs a bloody struggle to reset -bring on the demolishing of order," he says.


    The character's downward spiral continues through the album's second movement, Flood, while in the third, Reckoning, comes the absolute-zero moment where the character is ready and willing to let go of life. Reckoning kicks off with "Coverings," which is the first song Morton ever co-wrote with a band member -Shannon Steele, who also sings on it. (Steele lends her vocals to the end of "Bergeron," as well.)


    "'Coverings' takes the story into the devil's mansion where all the rooms are the same representing this repeated infinite present with no reference. For me, this is Hell. And, at this point, our character has lost his marbles," he explains.


    "At the same time, on the worldly scale," continues Morton, "this is the point where we don't have any public trust and there's no cultural memory, there's just chaos. People are becoming identical in this collapse of meaning and you have no reference. If there is any point to this record it's that -Without reference, you have an interesting concept of infinity, which can be really bad."


    As the album comes to a close with the acoustic "Sleep," the character decides that instead of taking part of the chaos, he'd rather sacrifice himself. But there is light at the end of this dark, emotional journey. "The secret track, 'Afterparty,' is where he finds peace and freedom. It's his homecoming. He's on the other side of it now and has found his version of Heaven," says Morton.


    It's this level of intricacy in Typhoon's storytelling and musicianship that has helped Typhoon become one of indie rock's most revered bands. Their previous album, White Lighter, hit No. 2 on Billboard's Heatseekers Album Chart and got Best of The Year nods from NPR and Paste.Typhoon has brought their, at times, 11-piece live show on the road alongside indie rock peers The Decemberists, Portugal the Man and Grouplove, and sold out major clubs and venues across America.


    Adds Morton of Offerings, "I kind of wanted to make a dystopian record. If it's nothing else, it's that. If I could write my own one-line review, I'd think I'd want people to say, 'It's disturbing and unfortunately correct."

    1. Wake
    2. Rorschach
    3. Empiricist
    4. Algernon
    5. Unusual
    6. Beachtowel
    7. Remember
    8. Mansion
    9. Coverings
    10. Chiaroscuro
    11. Darker
    12. Bergeron
    13. Ariadne
    14. Sleep
    Typhoon
    $29.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Brothers and Sisters of the Eternal Son Brothers and Sisters of the Eternal Son Quick View

    $16.99
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    Brothers and Sisters of the Eternal Son

    Damien is out of his goddamn mind.


    This isn't a recent development, but it's an important aspect of his work that often goes ignored. In place of
    this key element is the idea that his music is a sober and in-depth excavation of the American landscape and
    rural psyche. Well, folks,I'm sorry, but it's not.


    Damien Jurado is every character in every Damien Jurado song. He is the gun,the purple anteater,the paper
    wings, the avalanche, the airshow disaster, Ohio, the ghost of his best friend's wife. It is a universe unto its
    own,with it's own symbolism, creation myth, and liturgy. You might go as far as to call it a religion, and your
    religion is a character in his religion.


    Level with me. You're reading this because of Damien Jurado's new album,Brothers and Sisters of the Eternal
    Son (produced by Richard Swift). You are a progressive minded, left-leaning person who in parlor-style
    conversation regarding the globo-political ramifications of Sky Person relationships laughs knowingly so as
    not to be judgmental and very reasonably concedes "Well, I don't believe He's some old man with a beard
    sitting up in the clouds" at which point everyone agrees on [insert benign middle-ground] and moves on.


    Consider this:What if the only way to understand a religion is to create your own?


    Who is this Silver community? Where the hell are they in the Bible? Is this heresy? Agnostic reference? Isn't
    this sun business a little, I don't know, animistic? Pagan? Go ahead and answer that question for yourself. I'll
    give you a second.


    Do you understand the music any better?


    You know that adage we all use so we have something to say while we shrug our shoulders? "People change"?
    That one. Is that applicable to Jesus Christ? Maybe he's been on a personal journey of discovery since he
    ascended. He went through the 60's, 70's,he turned on,tuned out, got disillusioned. Why can't we talk about
    that Jesus? Does it have to be the old-timey one all the time? American folk Jesus,ugh. The one who's always
    winning Best Soundtrack Oscars for people. Rarely do stories of faith make us identify with Jesus. It's
    Abraham, Satan, Silver Timothy, Salome, Dr.J, Saul of Tarsus; divinely imperfect brothers and sisters who give
    Gawd something to do.


    Damien Jurado made up his own Jesus because a Damien Jurado album needs a beautiful Jesus. Some freaky
    space Jesus that I don't recognize. The name is the same, a lot of the imagery is the same, but he's reborn.
    Born again,I mean. Yeah, as if Jesus got born again. That's what this album sounds like.


    Jesus is out of his goddamn mind and I want to live in Damien's America.


    Sign me up.


    --- Father John Misty; 09-20-2013

    1. Magic Number
    2. Silver Timothy
    3. Return To Maraqopa
    4. Metallic Cloud
    5. Jericho Road
    6. Silver Donna
    7. Silver Malcolm
    8. Silver Katherine
    9. Silver Joy
    10. Suns In Our Mind
    Damien Jurado
    $16.99
    Vinyl LP - Sealed Buy Now
  • The Royal Sessions The Royal Sessions Quick View

    $29.99
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    The Royal Sessions

    200-Gram Audiophile Vinyl Pressed At Quality Record Pressings!


    Paul Rodgers, longtime singer, songwriter and multi-instrumentalist with Bad Company, has partnered with 429 Records and is gearing up for the release
    of "The Royal Sessions"-a lovingly crafted collection of classic R&B and soul songs re-imagined by the iconic rock singer recorded at Memphis' Royal
    Studios, historic home of Willie Mitchell and Hi Records, with many of the musicians who played on the original tracks.


    Truly a lifetime in the making, Rodgers has come full circle with "The Royal Sessions" as he pays homage to the legendary hits he collected on 45s
    released on Stax/Volt, Goldwax and Hi Records-recordings by Otis Redding, Albert King and Ann Peebles which made such an indelible impression on
    the young Rodgers inspiring him to pursue a career as a singer. Produced by Perry Margouleff, "The Royal Sessions" is an extraordinary recording which
    captures the music in its pure form-live band and vocal takes as performed together at Royal Studios by Rodgers and an all-star roster of legendary musicians.


    -


    About the record, Michael Fremer says, Sonically, what do you think results from live in the hallowed studio basic tracks and vocals recorded all analog, mixed to analog tape and cut from analog tape? It's spectacular! Play this record and then the CD for your friends who think CD is transparent to the source. Let them compare the drum sound, the cymbal crashes, the space and the image three dimensionality. Let them consider Rodgers in the room and then on CD not quite in the room. A musical triumph and a sonic in the studio spectacular.


    - Michael Fremer (Analog Planet)

    Click here to read the full review: Review By Michael Fremer

    1. I Thank You
    2. Down Don't Bother Me
    3. I Can't Stand The Rain
    4. I've Been Loving You Too Long (To Stop Now)
    5. That's How Strong My Love Is
    6. Walk On By
    7. Any Ole Way
    8. It's Growing
    9. I've Got Dreams To Remember
    Paul Rodgers
    $29.99
    200 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Silt Silt Quick View

    $15.99
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    Silt

    Wonderwheel Recordings is proud to present the debut album, Silt, from Sudanese singer Alsarah and her band the Nubatones. Called "The New Star Of Nubian Pop" by The Guardian, the album was produced solely by Alsarah who describes the sound of Silt as "East African Retro Pop". It's music that harkens back to the hazy sounds of 1960s and 70s Nubian music with it's haunting instrumentation, soaring vocal melodies, and pentatonic arrangements.


    The album has it's musical roots in the Nubian "Songs of Return" that began to spring up after mass displacement and resettlement of hundreds of thousands in a region of lower Nubia that Went under water after Egypt built Aswan High Dam to Control the flooding of the Nile in 1970. The focus of these songs, both thematically and lyrically is about a return to home and the beauty of home and embodies a certain kind of saudade - a nostalgic longing for a place that no longer exists. The album encompasses Alsarah and her band's musical Curiosities around Concept of migration being all displaced immigrant themselves. Silt is their take on ' L ' the music of this time and place mixed with the fusion goings-on of Khartoum, along with Arabic and North African influences appearing in the mix.


    Alsarah, is a Sudanese born singer, songwriter and ethnomusicologist. Born in the capital city of Khartoum, where she spent the first 8 years of her life, she relocated to Taez, Yemen with her family to escape the ever stifling regime in her native country. She abruptly moved to the US in 1994, when a brief civil war broke out in Yemen. Now residing in Brooklyn, NY, she is a self-proclaimed practitioner of East-African retro-pop. Working on various projects, she most recently has been working with The Nile Project and was featured on their debut release, Aswan (named one of the top 5 must hear International albums of 2013 by NPR). She has also collaborated with French producer Dêbruit on the album Aljwal, released this past November via Soundway Records.


    The Nubatones started out as dinner conversation between Alsarah and percussionist Rami El Aasser in his living room, digging thru archives of old music from North Africa, and reading about migration patterns in modern day Nubia, Soon the conversation opened into a musical one and spread to include master Oud player and Luthier Haig Manoukian and bass player Mawuena Kodjovi. With a collective love for pentatonic music and a common understanding of what it means to be an immigrant, the group Went on to perform both nationally and internationally at prestigious venues such as The Kennedy Center, The Apollo Music Cafe, Celebrate Brooklyn at Prospect Park, The World Music festival in Chicago, and The Festival du Mon'd Arab in Montreal just to name a few.

    1. Habibi Taal
    2. Soukura (It's Late)
    3. Nuba Noutou
    4. Oud Solo
    5. Bilad Aldahb
    6. Fugu (Shams Alhurria)
    7. Rennat
    8. Wad Alnuba feat. Sounds of Taraab
    9. Yanas Baridou
    10. Nuba Drums (Solo)
    11. Jibal Alnuba
    Alsarah & The Nubatones
    $15.99
    Vinyl LP - Sealed Buy Now
  • Cartography Cartography Quick View

    $25.99
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    Cartography

    A shifting cast of characters, with live sampling man and album co-producer Jan Bang at the centre, provides a series of soundscapes, an ambient-experimental map of moods, for the uniquely liquid, singing trumpet lines of Arve Henriksen to scale and explore. Some tracks are recorded live in concert, others are studio creations. Singer David Sylvian reads his own poetry on two cuts.


    Musicians:


    Arve Henriksen - trumpets, voice, field recording

    Jan Bang - live sampling, samples, beats, programming, bass line, dictaphone, organ samples, arrangement

    Audun Kleive - percussion, drums

    David Sylvian - voice, samples, programming

    Helge Sunde - string arrangement and programming

    Eivind Aarset - guitars

    Lars Danielsson - double-bass

    Erik HonorÉ - synthesizer, samples, field recordings, choir samples

    Arnaud Mercier - treatments

    Trio Mediaeval - voice sample

    VÉrène Andronikof - vocals

    Vytas Sondeckis - vocal arrangement

    Anna Maria Friman - voice

    Ståle Storløkken - synthesizer, samples

    1. Poverty And Its Opposite
    2. Before And Afterlife
    3. Migration
    4. From Birth
    5. Ouija
    6. Recording Angel
    7. Assembly
    8. Loved One
    9. The Unremarkable Child
    10. Famine's Ghost
    11. Thermal
    12. Sorrow And Its Opposite
    Arve Henriksen
    $25.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Now That Everything's Been Said Now That Everything's Been Said Quick View

    $22.99
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    Now That Everything's Been Said

    We all know the Carole King who wrote some of the biggest hits of the '60s, from "Will You Love Me Tomorrow" to "Pleasant Valley Sunday," via "The Locomotion" and "(You Make Me Feel Like) A Natural Woman." We also know the singer-songwriter behind Tapestry, the album that launched King as a solo singer in her own right. But in between-and not nearly as well known-is King's band, The City, and their album, Now That Everything's Been Said.


    By the mid-'60s, King's marriage to Gerry Goffin, with whom she'd written many of those wonderful hits, had hit the rocks. A divorce loomed, and King all but retired to raise their two daughters. She headed west to Laurel Canyon in '67, taking the children with her, and made the previously unlikely move of joining a progressive folk-rock band. King formed The City with future husband Charles Larkey on bass and Danny Kortchmar on guitar and vocals. With King on piano and vocals, they created a folk rock sound that pre-empted the singer-songwriter boom of the '70s.


    Produced by Lou Adler and featuring Jimmy Gordon on drums, The City's sound is deep and soulful, imperfect but passionate. And the songs, with King writing or co-writing all but one, are as exceptional as you'd expect and as widely covered as her factory work. "Now That Everything's Been Said" was a hit for American Spring, "A Man Without A Dream" was tackled by The Monkees, and "Hi-De-Ho (That Old Sweet Roll)" was a hit for Blood, Sweat & Tears. Central to the album's appeal is King's own stirring reading of her track "Wasn't Born To Follow," covered masterfully by The Byrds for the Easy Rider soundtrack.


    King had been used to a life on the sidelines, and her stage fright left the trio unable to tour the LP which adversely affected their fortunes. That, plus some behind-the-scenes distribution problems, meant the album was quickly deleted, and it remained so for the next thirty years-partly at King's request. Even so, its failure was a surprise to those concerned. "I was 26 when Now That Everything's Been Said was released in 1968," King says of the album. "[We] expected it to zoom to the top of the charts within, at most, a few weeks. Individually and together, we optimistically imagined the album's success as if it had already happened. Danny and Charlie kept telling each other, 'It's a great album. The City is gonna be Number 1 with a bullet!'


    Listening now, you can feel the threads that lead to Tapestry and to the hugely successful performing career that followed. It's not so much an oddity in King's work as the missing link between her two lives. Reissued here in deluxe vinyl, this is, at long last, a chance to own this lost album.

    1. Snow Queen
    2. I Wasn't Born To Follow
    3. Now That Everything's Been Said
    4. Paradise Alley
    5. Man Without A Dream
    6. Victim Of Circumstance
    7. Why Are You Leaving
    8. Lady
    9. My Sweet Home
    10. I Don't Believe It
    11. That Old Sweet Roll (Hi-De-Ho)
    12. All The Time
    The City
    $22.99
    Vinyl LP - Sealed Buy Now
  • The Diet The Diet Quick View

    $18.99
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    The Diet

    Diets? Who needs 'em? Well, if you're like Buddy Hackett, or us you do. A few years ago, I came across a 45-second monologue about trying to lose weight, performed by the comedian Buddy Hackett. It was on a 78 RPM record on the Coral Records imprint. It occurred to me that it could make an interesting dance recording given the right situation and circumstance. Equally inspirational was the book Love Saves the Day: A History of American Dance Music Culture 1970-1979 by Tim Lawrence. In reading it, I saw parallels between the dance culture of that era and the indie-rock/punk/experimental music culture. It unlocked in my mind a genre of music long dormant in memory yet an influence so prevailing in a variety of current musical genres. Woe be it unto the man whose tastes are frozen forever, for given time, space, and understanding, such things become reborn and reimagined as we search for a creative kernel of truth. I went about the realization of this idea with fellow Lambchops and electronic-minded musicians Ryan Norris (Coupler) and Scott Martin (Hobbledeions). Together we became HeCTA.

    Using the idea of combining the notion of "song" and elements from stand-up comedy, and electronic music and a shared love of the electronic form and its many permutations, we respectfully, playfully explored and experimented. It was to be an equal sharing of ideas, influences, and missteps. We were looking for a new way of making songs incorporating these things, to make something concise on beat. The form is not such a surprise when you consider other electronic collaborations I've been involved with: Zero 7's remix of Lambchop's "Up With People" and co-writing X-Press2's "Give It." The results became The Diet, and those songs are with us now. As HeCTA, we take our approach seriously and are respectfully aware of the great electronic music created throughout its history continuing into the present-so much so that when it came time to mix these recordings, we reached out to some of the central figures of the genre. Such greats as Morgan Geist, John McEntire, and Q all had a hand in shaping the refined sound we present to you. With invaluable creativity and engineering by Jeremy Ferguson at Battle Tapes in Nashville, we together created what we consider to be a collection of songs that move and move through you, from the dashboard to the dance floor, from Decatur to Dornburg, from Dorchester to Detroit. Suck it up, hippies. This music is our attempt to extend the boundaries of our expression and have some fun. It's not Americana, house, techno, trap, juke, or blaze. Why would it be? And like any good diet, it will be reviled then ultimately loved by all who give it a chance to work its way into their lives. We love you for trying, and we're trying to love you back. -kurtx

    1. Till Someone Gets Hurt
    2. Sympathy for the Auto Industry
    3. Prettyghetto
    4. Like You're Worth It
    5. The Concept
    6. Change Is In Our Pocket
    7. We Are Glistening
    8. Give Us Your Names
    9. We Bitched We Bovvered and We Buildered
    HeCTA
    $18.99
    Vinyl LP - Sealed Buy Now
  • Holland Holland Quick View

    $39.99
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    Holland

    Holland In 33 1/3 RPM Stereo Only; Bonus Track Together With 12-inch EP Included!


    Bonus Track We Got Love Restored; Left Off Of Original U.S. Pressings!


    Audio Production - Mark Linett


    For Brother Records - Elliott Lott


    Mastered By Kevin Gray At Cohearent Audio, Most From The Original Master Tapes Or Best Sources Available


    Lacquer Plating By Gary Salstrom And 200-Gram Vinyl Pressing By Quality Record Pressings!


    A musical legacy that began in Hawthorne, California and went on to conquer the world. Analogue Productions presents the ultimate pressings of 14 essential Beach Boys albums! Mastered by Kevin Gray, most from the original master tapes, and plated and pressed by Quality Record Pressings, the finest LP pressing facility in the world, these are awesome recordings to experience. And the look of each album befits its sonic superiority! Presented in old school Stoughton tip-on jackets, these time honored favorites shine brighter than the originals!


    The Beach Boy's Holland, the group's 19th studio album, was recorded in Baambrugge, Netherlands in the summer of 1972 and released in January 1973. Our Analogue Productions reissue also includes a bonus 12-inch EP: Mount Vernon and Fairway (A Fairy Tale). Plus the restoration of We Got Love, eliminated from original U.S. copies of the album!


    By mid-1972, with Wilson's focus waning from the Beach Boys to other creative outlets, and his personal and health-related issues mounting, Wilson was producing less music for the band than ever before. They decamped for the Netherlands hoping to jump-start Brian's creative energies.


    Wilson contributed little to the album, concentrating his musical efforts on Mount Vernon and Fairway, a 10-minute long musical fairy tale eventually included with the album as a bonus EP.


    The title of the bonus EP was named after the intersection where the Love family lived in Los Angeles, and where the Wilsons and Loves would gather for family celebrations back in the 1940s and '50s when Brian, Mike, Carl and Dennis were all growing up. As a concept for a Beach Boys track, Mount Vernon and Fairway initially received a less than enthusiastic response from the other band members when Brian first presented the idea to the group, and this only fueled Brian's steadily worsening depression. Eventually, Carl stepped in to produce the recording for Brian, and the decision was made to include the fairy tale in the album package as a separate EP. Brian himself designed the EP's picture sleeve.


    Although Mount Vernon and Fairway (A Fairy Tale) was narrated by Jack Rieley, the voice of the Pied Piper was supplied by Brian in a slightly grainier-sounding cartoon voice.


    The instrumental tracks for Mount Vernon and Fairway (A Fairy Tale) were later released on Good Vibrations: Thirty years of The Beach Boys as Fairy Tale Music.


    Upon the band's return from the Netherlands in the fall, Holland was rejected by Reprise Records for not having a potential hit single. Added to the track list was an unfinished Brian Wilson song Sail On, Sailor, that he'd originally co-written with Ray Kennedy, and finally completed with the help of Van Dyke Parks, Jack Reiley and Tandyn Almer. It would ultimately become Holland's most famous track. A casualty of the album's tracklist reshuffling was another Fataar/Chaplin tune, written with Mike Love, called We Got Love. A live version was included on the group's 1973 release The Beach Boys In Concert.


    Early test pressings of Holland, made in the U.S. and U.K. featured We Got Love, as did a few hundred copies pressed and sold in Germany. Early French and Canadian pressings of Holland mention We Got Love on the jacket, but the song is not on those albums. For this Holland reissue Acoustic Sounds/Analogue Productions has brought back We Got Love as a bonus track!


    The highlights (of Holland are) Carl's 'The Trader,' Brian's 'Sail on, Sailor' and 'Funky Pretty' ... Al Jardine and Mike Love's three-part 'California Saga' shows the effects of their environmentalist spirituality ...(the conclusion, 'California,' is a solid return to the harmony-laden sun-and-surf '60s). 'Only with You' is yet another tender Dennis Wilson ballad, (a rare songwriting collaboration with Mike Love), given an excellent reading by Carl. - AllMusic.com


    This title is not eligible for discount.

    1. Sail On Sailor
    2. Steamboat
    3. California Saga
    4. Part One: Big Sur
    5. Part Two: The Beaks Of Eagles
    6. Part Three: California
    7. The Trader
    8. Leaving This Town
    9. Only With You
    10. Funky Pretty


    12" Mount Vernon EP
    1. Mt. Vernon And Fairway - Theme
    2. I'm The Pied Piper
    3. Better Get Back In Bed
    4. Magic Transistor Radio
    5. I'm The Pied Piper
    6. Radio King Dom
    7. We've Got Love
    8. Sail On Sailor (45 RPM)

    Beach Boys
    $39.99
    200 Gram Audiophile Virgin Vinyl LP + 12 - Sealed Buy Now
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