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Love Is The Thing'
Love Is The ThingIncluded with this deluxe reissue is a striking six-panel booklet complete with rare photos, a 2,800-word essay by Chris Hall on the album and a 1,200-word essay by Michael Fremer about the remastering process. This truly is a no-expenses-spared project, resulting in the ultimate version of this title.
Love is the theme for twelve ballads of heavenly strings orchestrated by the distinctive Gordon Jenkins, sympathetically backing the intimately expressive and supremely musical voice of the incomparable Nat King Cole. Featuring such legendary classics as Stardust and When I Fall In Love, Love Is The Thing topped the charts upon its release, is among its era's finest, most stylistically defining recordings of popular music and continues to enchant listeners to this day.
Using the original 3-track session tapes from Capitol's vaults and all-analogue systems including custom headstacks, 3-track preview heads, console and monitoring chain installed at AcousTech specially for these releases, mastering engineers Kevin Gray and Steve Hoffman realize the stunning wide-range potential and beauty of these recordings in this 45-RPM 180-gram vinyl edition. Included with this deluxe reissue is a striking six-panel booklet complete with rare photos, a 2,800-word essay by Chris Hall on the album and a 1,200-word essay by Michael Fremer about the remastering process. This truly is a no-expenses-spared project, resulting in the ultimate version of this title and a historic reissue.
Originally released in 1957.
This title is not eligible for discount.1. When I Fall In Love
3. Stay As Sweet As You Are
4. Where Can I Go Without You?
5. Maybe Its Because I Love You Too Much (mono only)
6. Love Letters (mono only)
7. Aint Misbehavin
8. I Thought About Marie (studio chatter, false start on 45 RPM LP only)
9. At Last
10. Its All In The Game
11. When Sunny Gets Blue
12. Love Is The Thing$54.99200 Gram Audiophile Virgin Vinyl 45 RPM LP - 2 LPs Sealed Buy Now
Love Is Dead (Awaiting Repress)CHVRCHES' highly-anticipated new album, Love Is Dead, is set for release via Glassnote Records.
CHVRCHES are Lauren Mayberry, Iain Cook and Martin Doherty. Love Is Dead is the band's third album, following their debut The Bones of What You Believe (2013) and its acclaimed follow up Every Open Eye (2015). The soaring success of their first two albums propelled CHVRCHES into new levels of prominence. Love Is Dead is at times euphoric and others bittersweet, it is an album about growing up and "coming to terms with the fact that there are great things in the world and there are awful things in the world and that you can't get one without the other," says Mayberry.
Cook adds: "We're fucked, the world is fucked. But there's an ellipsis at the end. It's Love Is Dead. Like, how did we get to this point? And how do we move on from this point? It's Love Is Dead, we're fucked, what's next?"
For the first time in their career, Love Is Dead sees CHVRCHES welcome outside influences, with 2017 and 2018 GRAMMY Producer of the Year Greg Kurstin (Adele, Sia) co-producing nine of its 13 tracks, and Steve Mac, who produced "Miracle."1. Graffiti
2. Get Out
4. My Enemy
6. Never Say Die
10. God's Plan
11. Really Gone
13. Wonderland$19.99Vinyl LP - Sealed AWAITING REPRESS Buy Now
Cosmic Thing (Awaiting Repress)Follow Your Bliss: 1989 Favorite Contains Radio Anthems Roam and Love Shack
Party-Starting Band Steps Up the Kitsch, Hooks, and Fun on Dance-Friendly Multi-Platinum Set
Addictive Rhythms, Deep Grooves, Quirky Vibes: LP Mastered on Mobile Fidelitys World-Renowned Mastering System and Pressed at RTI
Mention the phrase Love Shack and anyone youre talking to will immediately know to what youre referencing. Few songs stick in the brain with such lasting power, fond memories, and sing-a-long potential as the B-52s blissful 1989 smash, one of the many moments that make the bands Cosmic Thing such a timeless affair. The groups melodies were never sharper, its vibes never as carefree, and attitude as joyous as on this multi-platinum affair that stayed on the charts for more than a year.
Mastered on Mobile Fidelitys world-renowned mastering system at pressed at RTI, this Sliver Label LP dazzles with glorious textures, deeper low-end frequencies, more pronounced midrange information, and enhanced vocal dynamics absent from prior editions. Especially noticeable is the additional color and sense of rhythmic involvement in the already-persuasive pop-rock tunes, guaranteed to lighten any mood and ignite any celebration.
Urging listeners to roam around the world on one of the two Top 5 singles here, the B-52s follow their own instructions, constructing lively fare assembled from quirky riffs, bizarre albeit smooth harmonies, strident lead vocals, jagged tempos, and infectious choruses. At heart, Cosmic Thing is a dance-your-ass-off soiree. Leader Fred Schneider delights in kitsch, his deliveries combining goofy pronouncements and half-rapped words that speak the co-ed ensembles long tradition of originality, flair, campiness, and irreverence.
Better still is the bands embrace of a shinier, funkier sound established by producers Don Was and Nile Rodgers. The production, exponentially improved on this reissue, complements the upbeat energy, well-crafted songwriting, and emotional exuberance demonstrated on everything ranging from the kick-starting Bushfire to rambunctious Junebug to wild, weird, and wonderful Love Shack. Just try not to smile after spinning this LP. Its impossible.
This title is not eligible for discount.1. Cosmic Thing
2. Dry Country
3. Deadbeat Club
4. Love Shack
8. Channel Z
10. Follow Your Bliss$24.99Vinyl LP - Sealed AWAITING REPRESS Buy Now
Is That All There Is?Peggy Lee was 49 years old when Capitol Records released Is That All There Is? in 1969. It was her 42nd album, and it had been over 10 years since the singer born Norma Deloris Egstrom, in 1920, had last graced the US Top 40 with her presence; her sultry take on Little Willie John's 'Fever' scaled the upper echelons of the American hit parade in 1958.
But Lee, a country girl with Scandinavian ancestry who hailed from the plains of North Dakota, had more in the tank. The haunting and idiosyncratic 'Is That All There Is?' (inspired by a short story called Disillusionment from German writer Thomas Mann) captured the public imagination when it was released as a single in the States and started climbing the pop charts, where it peaked at No.11. Such was the song's impact that it won Lee a Grammy Award in the category of Best Contemporary Female Vocal Performance in 1970. Its success was a surprise to Capitol, who thought the song was too odd and esoteric to be a hit.
The song opens Lee's album of the same name and, even today, remains a profoundly potent piece of music. It has the ability to simultaneously provoke conflicting emotions, eliciting both laughter and pathos. Combining a spoken narrative with a plaintive refrain sung over a jaunty rhythm, it evokes the Berlin cabaret scene of the 1920s and the spirit of German composer Kurt Weill. The song was penned and produced by noted hitmakers Jerry Leiber and Mike Stoller, and it's unlike anything else they wrote: a philosophical rumination that questions the meaning of things.
Arranged and conducted by a young Randy Newman, 'Is That All There Is?' is beautifully delivered by Lee in plangent tones, mixing a droll, ironic humour with a poignant reflection on the absurdity and, indeed, disappointments of life. Despite the song's somber mood and theme of disillusionment, the chorus is gloriously carefree: "Let's keep dancing/Let's break out the booze and have a ball," Lee sings, and she sounds like she means it. (Understandably, the song - which was originally written for, and turned down by, Marlene Dietrich - has inspired many covers over the years, including notable versions by Tony Bennett and PJ Harvey with John Parish.)
Though it was the undoubted cornerstone of Lee's 1969 album, there was much more to enjoy besides the title song. Another Leiber and Stoller composition, 'Whistle For Happiness', is stylistically similar to 'Is That All There Is?' while their 'I'm A Woman' is a swaggering, sassy blues that was first cut by Lee on her 1963 album of the same name and was a minor US chart hit at the time.
Peggy Lee Is Love Story Single Label - 300Elsewhere, Lee deconstructs the Al Jolson-associated 'Me And My Shadow' and imbues it with a languorous sensuality, while the Nancy and Frank Sinatra duet 'Something Stupid' is reconfigured into a breezy bossa nova. Another highlight is her take on Randy Newman's 'Love Story (You And Me)', the opening cut on the singer-songwriter's 1968 debut album for Reprise, which is arranged and conducted by the composer himself. Newman's 'Johnny (Linda)' is also included and has an arrangement that recalls the vaudevillian quirkiness of the album's title track.
Lee also embraced the rock music zeitgeist by tackling The Beatles' George Harrison-penned 'Something' and Neil Diamond's gospel-flavoured 'Brother Love's Travelling Salvation Show', though she does them in her own inimitable way.
Is That All There Is? dared to be different and showed that, though Peggy Lee was often typecast as a stereotypical jazz chanteuse, she was a much more versatile performer than had hitherto been revealed. Though its title song is an ode to coping with disappointment, that particular emotion is the last thing that you feel when listening to this classic album, which is a life-affirming delight from beginning to end.1. Is That All There Is?
2. Love Story
3. Me And My Shadow
4. My Old Flame
5. I'm A Woman
6. Brother Love's Travelling Salvation Show
8. Whistle For Happiness
9. Johnny (Linda)
10. Don't Smoke In Bed$24.99Vinyl LP - Sealed Buy Now
It's LoveStockholm cult heroes The Legends continue their accidental career with It's Love, their first album in six years. It's love details a recent chapter in the life of frontman Johan Angergård that saw him wrestle with loss and identity. Turning 40 brought with it unexpected emotional distance from things that once mattered very much. Suddenly, his role as Labrador Records label boss was no longer important to him, nor was his relationship with someone whom he shared a large chunk of his life. These swirling emotions conspired to spur an abrupt creative streak, producing It's Love in a span of four months. As expected, the material is heartbreaking and selfaware, reflecting the arduous inner workings of Johan's journey - but it's also buoyant and lush, expressing the resilient human spirit.1. Keep Him
2. Smoke and Mirrors
3. Love You
4. Something Left to Die For
5. The Great Unknown
6. All About Us
7. Winter Is the Warmest Season$15.99Vinyl LP - Sealed Buy Now
The Very Next Thing (Awaiting Repress)The Very Next Thing, Casting Crowns' latest offering, is a collection of intimate songs as well as upbeat, fresh sounding tracks with impactful lyrics centered around identifying and acting on what's right next to you.
"I think we all believe the gospel," says Mark Hall, "we all want it, we're just not sure what we're supposed to do next. We've got this idea of an awesome walk with Jesus out there somewhere, and we're looking for the bridge to get over to it. Serving God isn't this giant dream a year from now. It's not this thing He's going to have you do in a month. It's right now. Following God is the next word of love that I need to speak to somebody, the very next heart that needs to be encouraged. Ministry isn't on Sunday; it's not on a stage. It's you, where you are, doing the next thing God tells you to do."1. Hallelujah
2. The Very Next Thing
3. One Step Away
4. Oh My Soul
5. What If I Gave Everything
6. God of All My Days
7. When the God-man Passes By
8. For All You Are
9. Make Me a River
10. Loving My Jesus$18.99Vinyl LP - Sealed AWAITING REPRESS Buy Now
Love, Pain & The Whole Crazy Thing (Pre-Order)Grammy Award winner and reigning Country Music Association Entertainer of the Year Keith Urban has completed the follow-up to his nearly four times platinum third album Be Here. Love, Pain & the whole crazy thing (Capitol Records Nashville) contains thirteen brand new tracks and is one of the most anticipated releases of the year.
The album showcases Urban's consummate songwriting and vocal talents, as well as his searing guitar work. Co-produced by Dann Huff and Urban, Love, Pain & the whole crazy thing, includes ''Once In A Lifetime,'' (John Shanks, Keith Urban) the album's first single, which upon its release last month became the highest debuting single since the inception of the Billboard Chart. Highlights of Love, Pain & the whole crazy thing include the bold, contagious rockers ''Faster Car'' (Urban) and ''I Told You So'' (Urban). Songs such as ''Shine'' and ''Used to the Pain'' exhibit Urban's ability to produce infectious melodies that patiently build to a musical climax.
While brilliant songs such as ''Stupid Boy,'' ''I Can't Stop Lovin' You'' and ''God Made Woman,'' an anthemic tribute to women, all show Urban's ability to select and interpret songs written by others. Said Urban of Love, Pain & the whole crazy thing; It's just an accurate reflection of where I'm at now. I think it's the sound of being happy and extremely excited with the music that we're making.''1. Once In A Lifetime
3. I Told You So
4. I Can't Stop Loving You
5. Won't Let You Down
6. Faster Car
7. Stupid Boy
8. Used To The Pain
9. Raise The Barn
10. God Made Woman
11. Tu Compañía
12. Got It Right This Time$24.99Vinyl LP - 2 LPs Sealed PRE-ORDER Buy Now
Museum of Love
"Combining arty atmosphere and patient pacing with a
sound that harkens back to the days when live disco was
giving way to house beats, their sound is both blissful and
brainy." - SPIN
"Museum of Love moves at a stately pace here, offering a
slow and steady chugger that wraps itself in gauzy vocal
layers and takes its sweet time reaching its climactic
Museum of Love is the musical project of Pat Mahoney
(Founding member of LCD Soundsystem) and Dennis
McNany (Jee Day).
Longtime friends in New York, McNany and Mahoney
found a similar sensibility and a shared vocabulary for
interpreting surroundings, something that began with their
remix of Battles' "My Machines feat. Gary Numan" and
extended into their creation of a full length record together.
Naming their duo in ode to Daniel Johnston's song of the
same named, Mahoney divulges, "I had always loved the
song, and had been thinking of what such an edifice would
contain when we were trying to name the project." McNany
continues, "Pat's a sculptor, I'm a painter, we make music
and museums are sacred spaces and love is an elusive
McNany did most of the songwriting as well as production
and instrumentation, while Mahoney is on vocals and
of course, drums, but Museum of Love was an entirely
collaborative process as the two edited and arranged
tracks in the studio. Mahoney says the process of
collaboration was energizing, while McNany simply
explains, "making the record was pure pleasure. Waiting
for it to come out has been the hardest thing."1. Horizontalator
2. Down South
3. In Infancy
5. The Who's Who of Who Cares
6. Learned Helplessness In Rats (Disco Drummer)
8. The Large Glass
9. And All The Winners$17.99Vinyl LP - Sealed Buy Now
Time Is A RiddleI made an album that I was mostly proud of. But the process was hard and process matters to me. It colors the final work with a subtle significance. So now I look back with a bemused frown. Because all I remember is the process. And the process was too hard.
When it came time to move on, things needed to change. I wanted control of the process back. I wanted to be small again. Big can be good, but big can be brittle. And small packs a punch when you can be nimble.
So wrote Luke Sital-Singh in July 2015. He typeset his words using metal type and an old printing press, each sentence on a new line, no full stops required. It was a pause, a moment of reflection on the events of the preceding couple of years, specifically the release of his compromised debut album, 'The Fire Inside', the slightly bitter fruits of an ill-starred major label relationship. It was also a personal manifesto, a quiet, internal rallying cry. And it was a nice bit of writing, thought through and pored over and carefully presented. That's how he rolls. He rolls his own.
Eighteen months on - he wasn't going to rush - comes 'Time Is A Riddle', that second album Sital-Singh was determined to make solely on his terms. No interference, no scheduling issues, nor elaborate musicianship, nothing big or brittle. Just care, and effort, and time well spent - values he shares with the Slow Movement to which he subscribes, and with the crafts people up and down the country with whom the musician has some special projects planned. It's a lovely record of self-written songs, a crafted distillation of the ideas and tastes that have been percolating through Sital-Singh since he was a teenager in suburban southwest London.1. Still
2. Oh My God
3. Until the Night Is Done
4. Rough Diamond Falls
5. Nowhere's Home
8. Time Is a Riddle
10. Killing Me
11. Slow Down$20.99Vinyl LP - Sealed Buy Now
This Is ChristmasRather than a do a rehash of many of the obvious traditional tunes that fill special holiday albums by contemporary performers, maestro Luther Vandross opted for the task of creating no fewer than 7 of the 10 tracks included on his 1995 Christmas release. The result is an album that demonstrates why Vandross is still considered the preeminent black male vocalist of close to two decades: as on typical Vandross recordings, the production is crisp and strong and the vocals are flawless.
As usual, he employs the cream of musicians and background vocalists (including the inimitable Cissy Houston and Darlene Love, who is featured on the Motown-like duet I Listen to the Bells)--the perfect backdrop for Vandross's distinctive sound, exemplified on the standout title track. The Mistle Toe Jam has the party-like feel of Vandross sides like Bad Boy and the more recent Nights in Harlem, while Every Year, Every Christmas (cowritten with Richard Marx) is a soulful slow jam.
A surprising reading of the Rodgers and Hammerstein classic My Favorite Things shows that if Vandross ever chose to, he could easily do a fine album of jazz standards, while O Come All Ye Faithful (featuring an all-star choir that includes Valerie Simpson) is given the album's most traditional reading. Standouts include the gorgeous Please Come Home for Christmas and the almost funky A Kiss for Christmas. Easily one of the best Christmas albums around. --David Nathan1. With a Christmas Heart
2. This Is Christmas (Album Version)
3. The Mistletoe Jam (Everybody Kiss Somebody) (Album Version)
4. Every Year, Every Christmas
5. My Favorite Things
6. Have Yourself a Merry Little Christmas
7. I Listen to the Bells
8. Please Come Home for Christmas
9. A Kiss for Christmas
10. O' Come All Ye Faithful$19.99Vinyl LP - Sealed Buy Now
End Is ForeverFollowing up their breakthrough 1999 release Blue Skies, Broken Hearts...Next 12 Exits, Kris Roe and his band, the Ataris, offered up the dynamic, dangerously non-punk End Is Forever in early 2001. Along with singer/guitarist Roe, Chris Knapp (drums), Marco Pena (guitars), and bassist Mike Davenport wind their way through an expanse of post-grunge alternative and emocore more musical than anything the Ataris had previously released. Listeners familiar with the group's earlier recordings probably won't be too surprised by End Is Forever as Roe's quickly developing, gifted writing had always been the outfit's defining factor, making the transition away from punk's noisier elements predestined. Purists already dismissive of the entire emo genre will be mortified by Roe's polished heart-tugging trilogy Giving Up on Love, Summer Wind Was Always Our Song, and I.O.U. One Galaxy that opens the disc. Things degenerate further for credibility-obsessed punk fans when Roe and Co. kick out some old-fashioned big rock on tracks like Road Signs and Rock Songs. Listeners anxious about the Ataris unavoidable flight to the punk genre suburbs won't have to read between any lines to figure where the band was heading when they produced this 2001 release. After End Is Forever, all that remained to be seen is just how far the quartet's undeniable mainstream appeal would take them.
- Vincent Jeffries (All Music Guide)1. Giving Up on Love
2. Summer Wind Was Always Our Song
3. I.O.U. One Galaxy
4. Bad Case of Broken Heart
5. Up, Up, Down, Down, Left, Right, Left, Right, B, A, Start
6. Road Signs and Rock Songs
7. If You Really Wanna Hear About It
8. Fast Times at Drop-out High
9. Song for a Mix Tape
10. You Need a Hug
11. How I Spent My Summer Vacation
12. Teenage Riot
13. Song #13
14. Hello and Goodbye$19.99Vinyl LP - Sealed Buy Now
This Is SteveThis is Steve, DELICATE STEVE's first new record in 4 years, and first for the ANTI- imprint, is an articulation of his spirit. Joy. Love. Positivity. Perseverance. Meditation. A general communion with the people and world around him. Easy to call such things hackneyed in this cynical time, but in Steve's case, it's very hard to separate the person from the art. It's real. It's pure. This, is Steve. Melody begins with the needle drop on This is Steve, and it's this hallmark as a songwriter on display in tune after tune that has defined all of DELICATE STEVE's work. It's his incredible capacity to write wordless songs that are impossible not to sing along to. He works in no genre, there are no words, but there is never a question as to what he is saying.
DELICATE STEVE (aka Steve Marion) had cornered the status of 'your favorite band's favorite band', as Steve himself became a fixture in and an on-demand collaborator among disparate scenes, players, and bands, making some of the most celebrated and forward thinking music today: Co-signs and work with David Byrne, Dirty Projectors, tUnE-yArDs, Mac DeMarco, Dr. Dog, and most recently, providing guitar on Paul Simon's new record. Likely the only guitarist alive who will cut records with Sondre Lerche and Death Grip's Zach Hill.
Steve produced and played all the instruments on this record. He created it as an introduction from himself to you, and named it appropriately. If there is a question as to who This is Steve's creator is, you'll find it imbued in these ten songs. As he has done from the start, Steve lets the music speak for itself. Without a word.1. Animals
3. Cartoon Rock
10. This Is Steve$19.99Vinyl LP - Sealed Buy Now
Stand For Love (Pre-Order)The legendary recording artist, Peabo Bryson, is pleased to announce his highly-anticipated twenty-first studio album, Stand For Love. .
"Music is my passion and when it feels right, like Stand For Love does, the whole world has an opportunity to experience the same energy," said Bryson. "All of the right elements fell into place for this project and I challenged Jimmy Jam and Terry Lewis to make me current while maintaining the integrity of what I have built as an important body of work. I have to say, it is nothing less than amazing!"
"Stand For Love" showcases Peabo's broad vocal range and musical skill as he continues to delight fans eager to hear from him, while welcoming new fans who appreciate great music. Counted among the world's most dynamic and gifted vocal talents, Peabo is a world-renowned balladeer with a career that includes two GRAMMYs®, two Oscars®, multiple gold albums, multiple #1 songs and chart-topping singles in R&B, Pop and Contemporary Jazz.
The album adds to the fabric of great R&B music and the soundtrack of our lives, by providing music that feels good and includes the one thing that we all need love. "Stand For Love" reminds people of the fundamentals of life while engaging them in an emotional, yet experienced, vocal journey.
"Peabo is just one of the greatest voices of our time," said Jimmy Jam and Terry Lewis in a joint statement. "He exudes a class and sophistication that's so needed in music today. I know R&B needs Peabo Bryson especially now. And his fans both old and new will fall in love with "Stand For Love."1. All She Wants To Do Is Me
2. Love Like Yours And Mine
3. Looking For Sade
4. Stand For Love
5. Goosebumps (Never Lie)
7. Here For You
9. Peabo's Classics Medley Live From Los Angeles ("Feel The Fire", "I'm So Into You", "Tonight I Celebrate My Love")$21.99Vinyl LP - Sealed PRE-ORDER Buy Now
Love Songs For RobotsNow approaching a decade as a band, it has been a truly interesting journey for Patrick Watson and
his cohorts. Having accomplished such feats as playing to over 100,000 people at the 2009 Montreal
Jazz Festival, composing 15 scores for film and television, receiving Canada's elite Polaris Music
Prize in 2007, and most recently performing two songs in Wim Wenders' current 3D epic "Every Thing
Will Be Fine", his career has had many peaks, with more to come with the release of his forthcoming
album, Love Songs For Robots.
Still standing proudly at the helm, Love Songs For Robots marks Patrick Watson's fifth release since he
first galvanized this "temporary project" in 2006. His latest installment in his already impressive body
of work follows up on his stunning 2012 release Adventures In Your Own Backyard.
The new album was recorded at Capitol Studios in Los Angeles and Pierre Marchand Studio in Montreal.
His hard-fought lyrical pearls are now guided through newfound psychedelic and soul swagger
influences, as left of center instrumentation and arrangements cover up well-beaten tracks, and
makes this a rewarding and truly original statement.
Love Songs for Robots bears Watson's indelible stamp, and manages to create a piece of work that
is not only stirring, daring, and deeply personal, but also represents his creative high water mark. It's
all too rare to see an artist wear their heart on their sleeve while never growing weary of the battle
against cynicism and callousness, but Watson and band's aim remains true.1. Love Songs For Robots
2. Good Morning Mr. Wolf
6. In Circles
7. Turn Into The Noise
8. Alone In This World
9. Know That You Know
10. Places You Will Go
11. Strangers (Vinyl Only)$23.99Vinyl LP + 7 Vinyl Single - Sealed Buy Now
No Love Deep WebDeath Grips shocked the world and their record label when they released their second release of the year No Love Deep Web, but upon listening it's pretty clear that this is a mixtape that the label had no intention of releasing. No Love Deep Web was probably just an elaborate way to hype up the band, and it's safe to say it worked. No Love Deep Web had over 34.2 million downloads on BitTorrent thanks to the help of Twitter, and I think its safe to say their plan worked. Speaking of the album itself, it employs very minimalistic stripped down beats and has a much chiller vibe overall compared to the previous two records. That doesn't mean the beats are soft though, because they are harder than the phallus on the album cover. No Love Deep Web is one big grimy middle finger to the music industry and one of the most sordid albums ever released by a group on a major label.
This isn't your father's hip hop, but that should be common knowledge by now. If you go into this expecting insightful lyrics and smooth flow over catchy beats you're going to have a bad time, hell even if you expect to understand the lyrics most of the time you're going to get very little out of No Love Deep Web. MC Ride is his schizophrenic self on tracks like No Love and World Of Dogs, but he also comes down to earth and actually calms down a bit on tracks like Artificial Death In The West adding a lot more depth to their sound. The whole album feels like the fever dreams of a severely withdrawn drug addict, tracks like World Of Dogs, No Love and Hunger Games sound like a sick drug addicts crash back down to earth and their gritty existence. The line I got some *** to say just for the *** of it perfectly encapsulates not only MC Ride's style, but No Love Deep Web, and Death Grips' whole career.
The beats on this thing are raw and stripped down, some of the tracks don't even have a melody some of the time, just drums and vocals like in Lock Your Doors. The beats are fidgety electronic bells and whistles, lots of interesting sounds and synths creating a gritty atmosphere for MC Ride to spit his insane lyrics over. The rawness and harsh production of the beats help point to the fact that this is a mixtape and not a studio release, the minimalistic approach also creates a fresh sound compared to the over produced and at times gimmicky production on The Money Store, and this approach will likely convert a few people who were not fond of the over the top nature of The Money Store.
No Love Deep Web inevitably sounds a tad rushed, no *** it was made in only a few months, but it definitely did its job as a hype generator. It doesn't do enough different to warrant its early release date and the band's sound is getting a bit tiring. The main problem though is the lack of standout tracks, with most of the hooks gone and with such stripped down beats a lot of the songs blend together in an unflattering way. Exhausting as it can be at times, No Love Deep Web turned out to be another great addition to Death Grips' ever expanding discography that is likely to turn a few heads just as all of their previous work has done.
- Robert Lowe (Sputnik Music)1. Come Up And Get Me
2. Lil Boy
3. No Love
4. Black Dice
5. World Of Dogs
6. Lock Your Doors
8. Hunger Games
9. Deep Web
12. Bass Rattle Stars Out The Sky$25.99Vinyl LP - Sealed Buy Now
Made To Love Magic
The rarities collection, Made to Love Magic, contains demos captured in 1968 (when Drake was studying at Cambridge University) as well as solo-acoustic sketches of later songs - and a newly discovered piece, Tow the Line, which Drake scholars believe is one of the last things he committed to tape. The song, recorded in 1974, was found, unlabeled, at the end of a master tape when original engineer John Wood was mixing this album.
Tow the Line, which lasts 2:16, is classic Drake, as simple as Pink Moon or any of his later works but almost more compelling because of its assertive, driving rhythm. Drake was an unerringly precise guitarist, and Tow the Line is an excellent showcase for his devices: He outlines the verses using a tapestry of delicate, yet tense, descending chords, and then chops out blunt, almost growly blues references on the refrain.
There are other delights on Magic, among them a solo treatment of River Man (from Five Leaves Left) without the string orchestra; the somber, anguishing love ode Clothes of Sand; and a relaxed journey through Rider on the Wheel. Far more interesting than typical demos, laced with the shadowy moods some artists spend years chasing in studios, these casual performances suggest that there was never anything casual about Drake's art: Even when he was just jotting down some idea, he couldn't help infecting it with that strange, mournful magic.
- Tom Moon (Rolling Stone)1. Rider On The Wheel
3. River Man
5. Thoughts Of Mary Jane
7. Hanging On A Star
8. Three Hours
9. Clothes Of Sand
11. Time Of No Reply
12. Black Eyed Dog
13. Tow The Line$24.99Vinyl LP - Sealed Buy Now
Love Backed By ForceBack when most bands in the '70s tried to make records, they found they'd hit a wall. Then punk happened, and they started to realize their power to claim the means of production. All of a sudden, music that existed completely out of joint with anything before it or since started to surface, unannounced and uncalled for, on the shelves of independent record stores. The sounds within these records went against nearly any pop/rock/punk convention you could hope to throw against them. People who needed to categorize these things gave the most mental portions of the movement a name: DIY ie Do It Yourself. That acronym has been re-appropriated time and again in the decades to follow, but really, this is where it all comes from: abrasive, brittle, personal sounds that exist to enrapture some and thoroughly ignore others.
Enter Tronics, the inner workings of London artist Ziro Baby, and later to change his name to Zarjaz. He started out in a teen band-cum-street gang called the Star Dogs, but he first hit vinyl as a 16-year-old with the Tronics, who between 1979 and 1984 released four singles, two cassette albums, an LP and a flexi-disk. Apart from one single on the Creation label, Zarjaz has always been more comfortable as the administrator of his own musical omniverse.
Love Backed By Force is the album in question. Released in 1981, it sold out completely in its first week. His label, Alien Records, celebrated the success by going out of business. Until now copies have only been available through tape-trading, file-sharing, bootlegging and expensive second-hand dealers.
Said to have been created as a clearinghouse for Tronics songs to make way for a more focused effort, Love Backed By Force registers as an instant classic of outsider folk-pop, a true mutant of an LP that never sounds the same way twice. It may take a few listens for its pull to take effect, but once you settle into its orbit, it'll be difficult to remove yourself. Music will never sound the same again, and in the world of Love Backed By Force, it doesn't even sound the same from song to song on the same album. Layer upon layer of close-talking lyrics are buffeted by mind-clogging guitar, synthesizer abuse, and rudimentary drumming, made by a man who regularly discussed seeing ghosts to general disbelief.1. Charlie Manson
2. Love Backed By Force
3. T.V. On In Bed
4. They're Talking About Us
5. Ice Flod Festival
6. Ultra Pol
7. My Baby's In A Coma
8. Min Dama
9. Spending Time
10. Love Tan (In A Two Way Circus)
11. L.B.B.F. (Reprise)
12. Crush on You
13. Le Monde$14.99Vinyl LP - Sealed Buy Now
Labor Of LovePreviously Unreleased Late 1990s Recordings
200-Gram Vinyl Pressed At Quality Record Pressings
Taj Mahal, Loose And Casual In Informal Recording Sessions With Peers
Taj Performs With Guest Artists: John Dee Holeman, Cool John Ferguson, Cootie Stark And Algia Mae Hinton
Tip-On Gatefold Jacket From Stoughton Printing
The blues live on because the blues give people life, not the other way around. Talk about the blues with Grammy-winning singer-songwriter and composer Taj Mahal, or Tim Duffy, founder of the Music Maker Relief Foundation, and you'll quickly understand how deeply they grasp this. So it's no surprise that their shared love of blues has created a special vinyl-only album release that's got the loose, easy feel of a porch-sitting guitar strum, sipping sweet tea on a warm summer day.
Labor of Love comprises recordings made by Duffy, hanging out with Taj and other artists in a Houston hotel room and during visits to the Music Maker Relief Foundation headquarters in Hillsborough, North Carolina.
Taj and Tim first connected in the mid-1990s as Tim was establishing the foundation. The foundation is dedicated to preserving Southern roots music by directly supporting senior artists in need while documenting their music and sharing their stage and recording talents with the world.
A CD collection released by the foundation featuring Music Maker artists caught Taj's attention. Tim invited Taj to his place in rural Pinnacle, N.C., where he hung out with several of the artists. Taj loved how they played and sang, but he especially loved getting to know their lives and how they made things work.
Not much time passed before a performing tour was launched, with Taj as the headliner. Meanwhile, Tim, sensing an incredibly rich opportunity, was hauling along with the tour, high-end recording gear. He set it up in hotel rooms hoping to capture an impromptu session. One night in Houston, magic happened. A few senior bluesmen, Tim, Taj and the daughter of Katie Mae, immortalized in the Lightin' Hopkins classic Katie Mae Blues hung out together in a hotel room in Houston. Taj picked up an acoustic guitar and started in on classic tunes - Stack-O-Lee, Walking Blues, and more. The tape was rolling.
During the time of the tour, Taj was also visiting during hang-out, barbecue and recording sessions at Music Maker's new North Carolina headquarters in Hillsborough. When the music got going, Taj would play some piano, bass, harp, banjo, mandolin and whatever else was needed.
Now is the time for these immortalized sessions to be heard. So here they are on a solid piece of wax. And what wax it is - a full-on 200-gram vinyl Analogue Productions masterpiece plated and pressed at Quality Record Pressings, maker of the world's best-sounding LPs. Packaged in a Stoughton Printing tip-on gatefold jacket. You won't find a more intimate portrayal of Taj as a freewheeling, fun-loving, always-in-the-pocket sideman.
This title is not eligible for discount.1. Stack-O-Lee
2. Shortnin' Bread (with Neal Patman)
3. My Creole Belle
4. I Ain't The One You Love (with Algia Mae Hinton)
5. Fishing Blues
6. Mistreating Blues (with John Dee Holeman)
7. African Wysie
8. So Sweet (with Cootie Stark)
9. Klondike Gold
10. Hambone (with John Dee Holeman)
11. Walking Blues
12. John Henry (with Etta Baker)
13. Song For Brenda (with Cool John Ferguson)$39.99200 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
Part Time LoveThere were so many competent records coming out of Memphis that any burgeoning greatness can only be detected by a careful listening. Ann Peebles deserves that kind of extra care.
Her style is so subtle and economical that the fi ner qualities of her talents might be passed
over as being merely competent. This would be a crime because little Ann has so very much
Ann stresses the melody (rather than rhythm for its own sake). This is not to say she can't
sing funky; she can and does very effectively. It just means Ann shines extra brightly on the
slower bluesy numbers. For example "Give Me Some Credit" is such a moving lament, filtering faint traces of early Smokey Robinson and the album's two most tender cuts, "I Still Love
You" and "Steal Away" are the places where Ann Peebles makes such a great impression.
These are the kinds of song that become "personal" classics.
Ann sings seven up-tempo numbers on which she illustrates her tight, full-bodied voice and
shows why she's presently way up on R & B charts all over the country. Her renditions of "It's
Your Thing," "Part Time Love," and "Make Me Yours" are unfettered delights.
Ann Peebles goes past the apparent and into the sublime. She stands beyond the predictably
competent. And you know that's where it's at.1. Part Time Love
2. I'll Get Along
3. I Still Love You
4. Make Me Yours
5. It's Your Thing
6. Generation Gap Between Us
7. Crazy About You Baby
8. Give Me Some Credit
9. Steal Away
10. Solid Foundation$17.99Vinyl LP - Sealed Buy Now
Love Calls (Pure Pleasure)Think of 'Lockjaw' Davis and ten to one you think of Count Basie. Think of Paul Gonsalves and - same thing, you think of Duke Ellington. The top tenors, in other words, of the top big bands; musicians from the top league where the competition is toughest. Yet there is no battle here, no contest, no vying to outdo the other in terms of velocity.
If you know these two men only by hearsay, you may have reservations about them as balladeers. They both have reputations for derring-do of a different kind. Davis has never hesitated to do battle with the most frenetic performers, with those who would stick at nothing to win, and lost - to him. And Gonsalves was the hero of one of the great nights in jazz history, when he blew twenty-seven romping, stomping choruses on Duke Ellington's Diminuendo And Crescendo In Blue at Newport 1956.
It is easy for jazzmen to become typed, so that the public demands the repeated display of just one particular facet of his talent. This has happened to the two men showcased in this album, where the other side of their musical personalities is brought into focus. Although they have both developed highly individual styles, their original sources of inspiration were masters of the ballad - Ben Webster in Davis' case, Coleman Hawkins in that of Gonsalves.
Their different approaches to the ballad make this recording consistently interesting and surprising. Both are soulful, both are rhapsodical. But Davis plays with clear, confident articulation, a buzz in his tone, and a bite in his phraseology. Generally he is the more driving and passionate of the two. The Gonsalves style is, on the other hand, sinuous, insinuating and less direct. His imaginative lyricism is more tender and often melancholy, his tone well-produced and finely rounded.
The breathy sub-tone, which Gonsalves uses so well, adds a curiously confidential and intimate dimension. It is like the musical equivalent of a whispered aside or a delicate suggestion. But both men alternate very adroitly between the discreet and the bold. Their mutual understanding is, in fact, positively uncanny at times, for they had never previously recorded together, and preparation before the sessions was minimal. In the studio their long term professionalism stood them in good stead, as did that of their accompanists, whose taste and sensitivity contribute so much to the recording's appeal. Never obtrusive, they remain in close, listening support, Hanna and Barksdale being quick to prolong or emphasize the thoughts of the two soloists.
- Eddie 'Lockjaw' Harris, Paul Gonsalves (tenor saxophone)
- Roland Hanna (piano)
- Everett Barksdale (guitar)
- Ben Tucker (bass)
- Grady Tate (drums)
Recording: 1967 at RCA Victor's Studio B, New York City, by Bernard Keville
Production: Brad McCuen
About Pure Pleasure
At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Pure Pleasure all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.
During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s - or employed existent tools from the 80s and 90s for manufacturing.
A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.
We should like to emphasize that Pure Pleasure Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle.
We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.
To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects and that the lacquer discs are newly cut.1. Love Is Here To Stay
2. When Sunny Gets Blue
3. If I Ruled The World
4. Time After Time
5. Just Friends
6. Don't Blame Me
7. I Should Care
8. The Man With The Horn
9. We'll Be Together Again
10. A Weaver Of Dreams
11. If I Should Lose You$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Good ThingsGood Things marks a shift in methodology from personal to political for Aloe Blacc, who refers to the project as his report on present conditions - the misappropriation of wealth, pilaging of resources, a universal lack of compassion, and the struggle to survive. Ethereal production from Truth & Souls Leon Michels and Jeff Silverman mask a foreboding undercurrent in which Aloe Blacc crafts thought provoking lyrics. Nowhere is this more evident than on lead single I Need A Dollar - theme for HBOs How to Make It in America. The first generation American offspring of Panamanian parents, Aloe has become what writer-activist Amiri Baraka once said of John Coltrane: He is a singular scope of feeling...a more fixed traveler who has found cohesion in art and life. The path from his debut Shine Through (2006) to Good Things is akin to the maturation of Marvin Gaye between Thats the Way Love Is and Whats Going On. The two are companion pieces in that they show who the artist is, what they stand for, and define the soul music of their time.1. I Need A Dollar
2. Green Lights
3. Hey Brother
4. Miss Fortune
5. Lifes So Hard
6. Take Me Back
7. Femme Fatale
8. Loving You Is Killing Me
9. Good Things
10. You Make Me Smile
11. If I
12. Mama Hold My Hand
13. Politician (Reprise)$19.99Vinyl LP - Sealed Buy Now
In the lush tobacco fields of North Carolina where BJ Barham was raised, people work hard. Families stay
nearby, toiling and growing together. BJ loves those farms and his tiny Reidsville hometown, but he had to run off
and start American Aquarium, a band now beloved by thousands. He couldn't stay, but he couldn't really leave,
either: he's still singing about the lessons, stories, and lives that define rural America--and him.
Recorded at 3CG Records in Tulsa, OK, American Aquarium's seventh studio album, Things Change was
produced by Grammy-nominated singer-songwriter John Fullbright and features cameos from Americana standouts
including John Moreland and Jamie Lin Wilson. Stacked with BJ's signature storytelling--always deeply personal
but also instantly relatable, Things Change questions and curses current events, shares one man's intimate
evolution, and leaves listeners with a priceless gift: hope.
BJ's candor has fueled American Aquarium's runaway appeal, visible most clearly in consistently sold-out
shows across the country and throughout Europe - between 200 and 250 dates a year. Much has changed for the
band and BJ since their acclaimed last effort, Wolves. In 2017, every American Aquarium member save BJ quit
the group. American Aquarium has featured about 30 players since BJ founded the outfit in 2006, and while each
member has left indelible marks, the band has always been anchored by the literary songs and sometimes roaring,
sometimes whispering, drawl of BJ Barham. Featuring a new band lineup that includes Shane Boeker on lead guitar,
drummer Joey Bybee, bassist Ben Hussey, and Adam Kurtz on pedal steel and electric guitar, as well as a
reinvigorated frontman in BJ, Things Change is American Aquarium's first release on a label after selling thousands
of records on their own.1. The World Is On Fire
3. Tough Folks
4. When We Were Younger Men
5. One Day At A Time
6. Things Change
7. Work Conquers All
8. I Gave Up The Drinking (Before She Gave Up On Me)
9. Shadows Of You
10. 'Til The Final Curtain Falls$20.99Vinyl LP - Sealed Buy Now
Love From With The DeadWith the Dead - Love From With the Dead
Doom is all around us. The optimism of a new millennium has steadily disintegrated. The light at the end of the tunnel turned out to be a burning tower block and the powers-that-be are dancing in the smouldering ruins. Humanity is eating itself and we're all terminally fucked. As a result, it makes perfect sense that the emergence of British doom metal mavens With The Dead would strike a dissonant chord with so many people. Formed in 2014 by former Cathedral/Napalm Death frontman and Rise Above Records boss Lee Dorrian and ex-Electric Wizard/Ramesses bassisit/guitarist Tim Bagshaw, the band coalesced in a monetary burst of spontaneity and shared fury, resulting in the release of their eponymous debut album in 2015: one of that year's most widely acclaimed releases and a welcome shot in the arm for fans of merciless, unrelenting sonic despair.
"We were very happy with the way the first album was received," says Lee. "To be honest, there were no real expectations with the first LP. It's hard to explain. We just got together and did it. There was no big anticipation. We knew it was going to be well received by certain people, just because of the sheer heaviness of it, but we didn't think it would get the reaction it did. It sold really well and got a good response all around. It came together so strangely and so fast. We hadn't gone round, sweating in the clubs, although we've all done that previously. The record came out on Rise Above so it was easy and there were no demands from anyone except ourselves. The important thing is, we didn't want it to be seen as some novelty project band."
Hell-bent on staking a further claim to be doom metal's most intense and remorseless practitioners, With The Dead have now completed work on their second album, Love From With The Dead. Comprising tracks recorded during two separate sessions with celebrated studio guru Jaime Gomez Arellano, the new material represents the first fruits of the band's recently retooled line-up. Joining Lee and Tim are bassist Leo Smee and drummer Alex Thomas, who replaces the departed Mark Greening. As Lee explains, the band's new incarnation generated great chemistry from the start.
"Tim came over from New Jersey, where he still lives, and we booked four nights' rehearsals with Leo and Alex to see how it was going to work. Literally, on the first night, they had the whole set nailed within three or four hours. It sounded better than ever before, too. So the next three nights were pointless and we didn't need them, so we spent the time going over ideas for new songs and by the end we had four brand new songs. It was crazy. Then we thought 'While Tim's over, let's go in the studio and record them ' Luckily, Gomez was free and we went over to his studio and recorded the four new tracks, they're the last four on the album, and it was all done just like that. The other three tracks were recorded nearly a year later, again with just one night's rehearsal. It was all done super quick."
For those who flinched at the sheer, unforgiving brutality of With The Dead's first record, the songs on Love From With The Dead are liable to cause major emotional trauma. Darker, denser, more despondent and sickeningly heavy in numerous senses of the word, this is an album that re-establishes doom as a genre that embraces the extreme and not just some cosy, nostalgic reimagining of the early '70s. From opener Isolation's slithering howl of torment and the crushing, schizophrenic barrage of Egyptian Tomb through to the expansive, drone-driven horrors of the closing CV1 (a mournful lament to Lee Dorrian's home city of Coventry that features a guest appearance by home-town comrade and electro-noise maverick Russell Haswell), Love From With The Dead grimly extinguishes the light of hope and hammers home the hatred and futility that plagues our brief and brittle lives.
"The thinking was that the first LP was meant to be the heaviest we could possibly make, but then what do you next?" Lee muses. "Well, the only thing you can do is make the next one even heavier. So that was the ambition and the intention, to make it even more crushing. But to be able to do that you have to be crushed yourself. This last couple of years have been quite soul-destroying. There's been a lot of personal shit going on, and during this whole process so much fucking bad shit has happened in my personal life and other people's personal lives. Everything you hear on this LP, the angst is very real. I've never felt so disillusioned with life and the world around me, not since the first Cathedral album!"
Irrefutable evidence that With The Dead are a formidable and substantial proposition, the quartet's second album could hardly provide a more apposite soundtrack to the deeply fucked up and irrevocably dysfunctional state of the world in 2017. Both a fine example of the simple, savage power of the riff and an authentic outpouring of anger, bitterness, bile and vivid existential dread, it is the living, breathing, screaming embodiment of heaviness itself. Cometh the hour, cometh the bringers of doom
"I'm 50 next year and you're supposed to mellow out when you get older, but why?" Lee asks. "I don't feel like mellowing out. The world's getting worse, the atmosphere is getting heavier, people treat each other like shit and there's so much negativity, how are you supposed to chill out when all that's going on? I'm in a privileged position to be able to be in a band like this, so why fuck around? The band's called With The Dead and it's a doom band, why would you want to mellow out? It's got to be pure nihilism or nothing."
Dom Lawson, July 2017.1. Isolation
2. Egyptian Tomb
3. Reincarnation of Yesterday
4. Cocaine Phantoms
5. Watching the Ward Go By
7. CV1$29.99Vinyl LP - Sealed Buy Now
Let Them Fall In LoveThe best-selling and most-awarded female gospel artist of all time, CeCe Winans has long since cemented her status as one of the most accomplished and celebrated women in modern music history. It'd be easy to look back and rest on such illustrious laurels, but Winans has always had her eyes fixed firmly on the future, so it should come as little surprise that she jumped at the opportunity when her son, Alvin Love III, proposed she record the generation-bridging new album 'Let Them Fall In Love.' Her first in nearly a decade, the record finds Winans returning to the studio with gusto, working for roughly three years to craft her most confident, adventurous collection yet.
Recording and performing as both a solo artist and as a duo with her brother BeBe, CeCe has influenced a generation of gospel and secular vocalists over the course of her astonishing career. Her mantel today holds a staggering 10 GRAMMY Awards, 20 Dove Awards, and 7 Stellar Awards. She's been inducted into the Gospel Music Hall of Fame, the Hollywood Walk of Fame, and the Nashville Music City Walk of Fame, in addition to being named a Trailblazer of Soul by BMI and garnering multiple NAACP Image Awards, Soul Train Awards, Essence Awards, and more. She's sold in excess of 5 million albums in the US, topping the Gospel charts repeatedly while crossing over with smashes like "Count On Me," her stunning duet with Whitney Houston from the multi-platinum 'Waiting To Exhale' soundtrack, which sold 2 million copies and cracked the Top 10 on the Pop, R&B, and Adult Contemporary charts. She touched millions more with inspirational performances everywhere from Oprah to The White House, and even showed off her acting chops on television series like '7th Heaven' and 'Doc.'
While collaborating with family is nothing new for Winans, the recording sessions for 'Let Them Fall In Love" found the Detroit native working for the very first time with her son in the producer's chair.
"Alvin shared with me a vision that he had of a record that was bold and a little different than anything I'd ever done before," remembers Winans. "When I heard the songs he'd been writing, I got so excited. He has great ears and great style and a unique way of writing and thinking things through. It made it extra special that two generations of family were able to come together on this record."
Bringing together generations is Winans' specialty, and she drew inspiration for the album from her extensive work with the young men and women who attend the church she and her husband founded in Nashville.
"It's really important to me to share where I've been and to encourage young people to understand that they can go even further," reflects Winans. "I wanted to make an album that ties us together, something that young people would be able to learn from and be inspired by."
Written primarily by Alvin and co-produced by Alvin along with Winans' long-time collaborator Tommy Sims (Garth Brooks, Michael McDonald, Bonnie Raitt), 'Let Them Fall In Love' was mixed by Dae Bennett (Tony Bennett, Amy Whinehouse, Olivia Newton John) and Jimmy Douglass (Pharrell Williams, Micheal Buble). The album, recorded both in Nashville and New York City, finds Winans more confident than ever before, merging eras and genres in a glorious blend of past and present that simultaneously recalls the heyday of Motown and still sounds undeniably modern. Big band horns meet strings from the Nashville String Machine as Winans' soaring voice hits new heights, fueled in part by the encouragement and motivation of her son.
"Alvin was hard on me in the studio," remembers Winans. "He'd really work me during the songs, and I knew that was a good thing because it meant he was pressing me to get the best performances possible. Now I listen back and I know he was right. It was so important to get the right interpretation of each song."
Winans is able to inhabit each song on the record so fully in part because she's lived their stories. She describes album opener "He's Never Failed Me Yet" as "my personal testimony," "Run To Him" as her frequent act of refuge, and "Marvelous" as a musical embodiment of the black church. On "Hey Devil!," she's joined by fellow gospel powerhouses The Clark Sisters for a playful rebuke of temptation, while "Peace From God" is a prayer for light in an increasingly dark world, and "Lowly" is a lesson about pride and humility aimed at the young men who might need it most. Winans' eclectic ability shines through on the pedal steel country waltz of "Why Me," a song she discovered when she was invited to perform it live with its writer, Kris Kristofferson.
"I ended up getting sick and I couldn't perform it with him at the show, but my son heard it and knew it would be perfect for the album," explains Winans. "It's so different for me in this whole new field of country music, but it spoke to my heart and I felt like it was written just for me."
On the album's other cover, "Dancing in The Spirit," Winans is joined by Hezekiah Walker and his choir for a jubilant celebration, while "Never Have To Be Alone" finds her taking a far more somber approach, singing to the young members of her congregation. It's the album's closer and title track, though, that seems to light Winans up more than any other.
"That was the first song for this album and I knew right away that I wanted the record to be named 'Let Them Fall In Love,'" she explains. "I told my son that it had to be the heartbeat of the album. There's a lot of different styles and a lot of strong messages on there, but all of them are to bring us to this point. It's why I came back and recorded another album, to express my heart and my desire that people young and old can listen and fall in love with the higher power, fall in love with love, and fall in love with faith and joy and peace."1. He's Never Failed Me Yet
2. Run To Him
3. Hey Devil! (feat. The Clark Sisters)
4. Peace From God
5. Why Me
7. Never Have To Be Alone
8. Dancing In The Spirit (feat. Hezekiah Walker's Love Fellowship Choir)
10. Let Them Fall In Love$19.99Vinyl LP - Sealed Buy Now