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Love Power Peace'
Love Power PeaceFirst Release Of 3 LP Set As Envisioned By James Brown
Includes Deluxe Jacket With Rare Photos And Liner Notes By Alan Leeds
Mastered From Brown's 1971 Mixdown Reels, Unused Until Now
James Brown's magnum opus! Love Power Peace is the sound of the Godfather and his youngblood J.B.'s (including Bootsy and Catfish Collins) electrifying a crazed Parisian audience on March 8, 1971. Sequenced and mixed by Brown himself for a planned triple album, the set was shelved when key band members departed before it could be issued. Here, for the first time, are the sides as intended, exactly as delivered by James Brown Productions to his label in 1971-a 3-LP set with each disc mastered from the original mixdown reels, and each with a unique name, Love, Power and Peace! Brown and band rip through recent singles like "Sex Machine," "Super Bad," "Give It Up or Turnit a Loose" and "Get Up, Get Into It, Get Involved" with a metronomic precision laid down by bassist Bootsy Collins and drummer Jabo Starks. "Ain't It Funky Now" - formerly a slow, simmering groove - is transformed into a fast, funky tour de force in which newbie Catfish Collins unleashes one of the most badass guitar solos ever, while a medley of three other Brown standards ("Papa's Got a Brand New Bag"/"I Got You (I Feel Good)"/"I Got the Feelin' ") blazes by faster than the Godfather of Soul's personal Learjet. Interspersed with just the right amount of slow numbers like "Georgia on My Mind," and including tracks from the show's supporting acts that were not included on the 1992 CD (which was a remixed, incomplete show), this document of the funk revolution features rare photos and liner notes by tour director Alan Leeds. The way to jump on board for a trip through James' world at the height of his career!LP1
2. Brother Rapp
3. Ain't It Funky Now
4. Georgia On My Mind - Part 1
5. Georgia On My Mind - Part 2
7. Intro: Bobby Byrd
8. Signed, Sealed, Delivered I'm Yours
9. I Need Help (I Can't Do It Alone)
1. Introduction: Vicki Anderson
2. Don't Play That Song (You Lied)
4. Break & Intro Announcement
5. Dance & It's A New Day
6. Bewildered - Part 1
7. Bewildered - Part 2
8. There Was A Time
9. Sex Machine
10. Try Me - Part 1
1. Try Me - Part 2
2. Papa's Got A Brand New Bag/I Got You/I Got The Feelin'
3. Give It Up Or Turnit A Loose
4. It's A Man's Man's Man's World
5. Who Am I
6. Please Please Please
7. Sex Machine (Reprise)
8. Super Bad
9. Get Up, Get Into It, Get Involved
10. Soul Power
11. Get Up, Get Into It, Get Involved (Reprise)
12. Finale$47.99Vinyl LP - 3 LPs Sealed Buy Now
Power Of PeaceLegacy Recordings, a division of Sony Music Entertainment, is pleased to announce the release of Power of Peace, a new studio album from Santana (Carlos Santana and Cindy Blackman Santana) and The Isley Brothers (Ronald and Ernie).
Recorded last year, Power of Peace is the fulfillment of a dream, a new musical studio collaboration connecting Santana and The Isleys on a mind-bending journey through some of the immortal soul, funk, blues, rock, jazz and pop songs that continue to inspire them.
About the Power of Peace, Carlos Santana observes, I feel a deep sense of gratitude, appreciation, and thankfulness. There is a spirit of creativity that came knocking and presented itself as a golden opportunity to do something with and for a supreme musician, who I consider to be the best in the world. Brother Ronnie Isley has been in the center of collective unity and harmony on the radio around the world since 1962 with 'Twist and Shout,' the song that the Beatles chose to invade America with. Like Michael Jackson, John Lennon, and Bob Marley, he's an iconic supreme of the highest order. Cindy and I feel very blessed to offer him this gift. From God, through us to you, for the world Mr. Ronnie Isley.
It was an absolute joy working on this album with Carlos!, exclaims Ronald Isley. I hope this record carries the spirit of hope, love, and peace to the world that it brought to me, my brother and Carlos!
Ernie Isley shares his brother's enthusiasm, saying, Doing this project with Carlos Santana was fun and illuminating. I hope all music lovers enjoy what we have done.
Led by the legendary Ronald Isley on lead vocals and the album's main producer/arranger Carlos Santana on lead guitar, rhythm guitar, percussion and background vocals, Power of Peace covers songs first made familiar by the Chambers Brothers (Are You Ready, Love, Peace, Happiness), Swamp Dogg (Total Destruction to Your Mind), Stevie Wonder (Higher Ground), Billie Holiday (God Bless the Child), Eddie Kendricks (Body Talk), Curtis Mayfield (Gypsy Woman), Muddy Waters/Willie Dixon (I Just Want to Make Love to You), Dionne Warwick/Jackie DeShannon (What the World Needs Now is Love Sweet Love), Marvin Gaye (Mercy Mercy Me - The Ecology), Leon Thomas (Let the Rain Fall on Me) and Sy Miller and Jill Jackson (Let There Be Peace on Earth).
Power of Peace premieres a new song, I Remember, written and sung by Cindy Blackman Santana. Cindy, who plays drums on the album, produced and arranged Higher Ground (along with her husband, Carlos). A family affair, Power of Peace features two Santanas--Carlos (guitar) and Cindy (drums)--and four Isleys: Ronald (vocals) and Ernie (rhythm guitar) and their respective spouses, Kandy Johnson Isley (Ron's wife, she sings background on God Bless the Child, Body Talk and Gypsy Woman) and Tracy Isley (Ernie's wife, she also sings background vocals on God Bless the Child).1. Are You Ready
2. Total Destruction To Your Mind
3. Higher Ground
4. God Bless The Child
5. I Remember
6. Body Talk
7. Gypsy Woman
8. I Just Want To Make Love To You
9. Love, Peace, Happiness
10. What The World Needs Now Is Love Sweet Love
11. Mercy Mercy Me (The Ecology)
12. Let The Rain Fall On Me
13. Let There Be Peace On Earth$27.99150 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
A Love SupremeRanked 47/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.
Right from the very first hearing, absolutely every single jazzcritic shared the same opinion - whether trained musicians or not, true or would-be jazz expert: "A Love Supreme" is John Coltrane's most important recording. And the rave reviews which appeared in the magazines Downbeat, Jazz Hot, Jazz Podium and Swingjournal reflected this: critics all over the world, in America, Europe and Japan recognized that Coltrane's deep religious belief had influenced both his approach to life and his music-making. It not only enabled him to express himself with great intensity but also lent him the necessary inner peace to conceive a work of almost 40 minutes in length and to lead his quartet along the same path as himself.
The first section, entitled "Acknowledgement", has a forceful bass line which runs throughout the whole work. The powerful sound increases in intensity, whereby the bass motif undergoes constant modulation, with John Coltrane's meditative singing creating immense tension.
In "Resolution" Coltrane's powerful, quasi hymnlike expression comes to the fore, with McCoy Tyner achieving equal intensity in his solo. "Pursuance", with its density, quick-as-lightning runs and block chords, gives us a taste of John Coltrane's later 'free' phase. "Psalm" is filled with the famous, almost static melodies rather like a fervent prayer which are so typical for John Coltrane. "A Love Supreme" has been a faithful companion and teacher of generations of saxophonists and its message goes way beyond Music and is still valid today.
John Coltrane (tenor saxophone)
McCoy Tyner (piano)
Jimmy Garrison (bass)
Elvin Jones (drums)
Recording: December 1964 in New York City by Rudy Van Gelder
Production: Bob ThielePart 1 - Acknowledgement
Part 2 - Resolution
Part 3 - Pursuance
Part 4 - Psalm$24.99180 Gram Audiophile Virgin Vinyl 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
Kigali Y' IzahabuThe Good Ones is a trio of Rwandan genocide survivors who play joyous, acoustic love songs written in the ancient local, Kinyarwanda street dialect of their nations capital, Kigali. Adrien Kazigira, Stany Hitimana and Jeanvier Havugimana recorded the songs collected on Kigali Y' Izahabu over the course of one summer evening on the back porch of a friends home. The primary obstacle to recording the group was that the musicians showed up with only one guitar for two players, and that guitar was missing two strings. Hitimana played bass on the 4-string, and a beat-up acoustic was located for the second guitarist, the sullen, primary songwriter, Kazigira, who interweaves intricate harmonies with co-singer Havugimana. In a style often referred to as worker songs from the streets, these simple, direct and plaintive love songs speak more to the healing power of peace than a thousand academic treatises or preachy goodwill ambassadors ever could.
Toiling at hard labor and subsisting on less than 50 cents a day in one of the ten poorest countries in the world, the hard-won spirit of these aging war-veterans shines through in The Good Ones yearning voices. Kazigira, 47, wrote 8 of the 12 songs found on the album and both plays and sings. He cites Bob Marley and reggae as his major influences. Hitimana, 47, on lead guitar and bass, sometimes teaches music in Kigali and finds inspiration in the music of Santana. And harmony singer Jeanvier, 38, who also plays guitar and sings lead on his own compositions, is most influenced by the Caribbean dance music called Zouk. The trio is punk embodied: barefoot, bandaged and jaundiced; armed with broken, mismatchedstringed, borrowed guitars; but singing angelically from amidst a landlocked country that the world abandoned.
Kigali Y' Izahabu is essentially an intimate field recording that even captures the howling and barking of dogs in the background, and it was recorded by two-time Grammy-nominated producer Ian Brennan, who has worked with artists such as Ramblin Jack Elliott, Flea, TV on the Radios Kyp Malone, Richard Thompson and many others.
Brennan traveled throughout Rwanda, hoping to document some of the countrys contemporary music, but up until his mission-affirming encounter with The Good Ones, he had been left wanting. As Brennan reports: They were standing in the dark, their eyes downcast and restless, and holding only one guitar between them. From 100-feet away, I knew instantly that there was something special about them, a feeling one is lucky to experience even once in a lifetime. By that point, Id already visited literally every recording-studio in the capital (Kigali) and surrounding areas over two weeks and listened to hundreds of artists, but to no avail. This meeting had been set up through a mutual friend and the instant the band opened their mouths to sing, it was as if the universe reached down to tap me on the shoulder and say, 'What these guys do is precious and rare. Don't fuck it up.'1. Sara
3. Umuntu N inkundi
4. Amagorwa Y' Abagabo
6. G ahind Umpora Iki
7. Bakame N i' Ingwe
9. Iby' Iyisini Ubusa
10. Invura Yaranka G eyi
12. Eudia$16.99Vinyl LP - Sealed Buy Now
NumunJohanna Warren is a songwriter based Portland, Oregon. Her new album, nmn, will be released worldwide on Team Love Records May 19, 2015. In Johanna's words, "This album is dedicated to the moon: by honoring her phases, I am restoring balance to my body and making peace with the cycles of all natural things; and to the divine feminine: by collectively cultivating her, may we restore balance to our world. Although Warren has lent her vocal talents to artists like Natalie Merchant and Iron & Wine, she identifies primarily as a songwriter. An intuitively self-taught guitarist, she channels powerful songs in weird time signatures and melancholic open tunings, weaving adept finger-picking with acrobatic vocal lines and carefully crafted poetry, in reverence of her patron songwriting saints Elliott Smith, Joni Mitchell and Nick Drake. God has his plans, but I've got mine, and little good will come to those who stand in line" - Johanna Warren, Noise. Approaching music as a potent healing modality, Warren cultivates and honors the physically healing properties of sound and the spiritually healing powers of artistic expression. One cold winter evening in the waning weeks of 2014, Johanna and her touring partner Mitski (Double Double Whammy) passed through the Team Love gallery space in New Paltz, NY. Johanna invited the crowd to sit down on the gallery floor for her set. She requested the lights be dimmed as she lit a white candle and burned some sage. With only the candlelight to illuminate her face and separate her from the audience, she opened herself to a crowd that was swiftly transformed from unsure and vaguely uncomfortable to enraptured and mesmerized. These moments are the signature of Johanna's live performances, in which she consciously strives to provide listeners with a portal to an alternate realm in which healing can occur. Sound and light, scent, physical space, and the web of subtle energies created by a room full of human bodies are all elements of the universe that Johanna controls and shapes. She performs the same delicate manipulations within the world of nmn, an oceanic voyage from dark to light and back that is rich in sensual language, riveting self-reflective candor and surreal sonic landscapes (created entirely with acoustic instruments and found objects played by Johanna and her engineer Bella Blasko in an empty apartment unit). However, despite stepping into the role of High Priestess for the sake of creating art and facilitating group experiences, she warns us not to attach to any divisive illusions: You say I emanate some strange magnetic power, but don't be drawn to me-I may be here today, but soon black moss will cover over my dead body. Whether singing about her own mortality (Black Moss), updating the tedium of the party that Patti Smith first told us about (This Is Why) or daring one to imagine a world that transcends our notions of "the duality of wrong and right" (True Colors), Johanna Warren is a songwriter of daring vision. Her forthcoming album nmn flies into timeless space, focusing our gaze deep into the vastness of the heavens.1. Black Moon
3. True Colors
6. Less Traveled
7. Pin Oaks
8. This is Why
9. Found I Lost
10. The Wheel$15.99Vinyl LP - Sealed Buy Now
Hunger And ThirstKyle Morton sings the first line of Typhoon's Hunger & Thirst, I've started a new beginning... suspiciously like the old one, only this time, I'm ready, with the bravery and trepidation of someone who is staring down a familiar path, with all its known challenges and potential pitfalls, surrounded by his dearest longtime friends. Fittingly, producer Paul Laxer recorded Hunger & Thirst in Morton and his bandmates' beloved old Victorian rental house. The lease was about to be up; the landlady was about to be back from Korea - all 12 band members knew their time there was limited, that they were crafting an aural snapshot using room mics and dining rooms. That house can be heard all over the record if you're listening for it, spaciously framing Typhoon's lush, well-edited orchestration, its wood floors perfectly warming Morton's empowered, concerned, delicate vocals in a way that any studio environment would be hard-pressed to capture.
These are songs about striving for what you want, then realizing that once you have it, you don't want it anymore; that maybe that elusive thing was never really the issue anyway. Morton sings about the searches, in all their permutations, the bruises healed by those important to you, impermanence, joy, and finding peace within the incessant desire that has always been man's burden. He sings with strength and hope about renewal (Starting Over), with the entire band in gospel-chorus about confronting and progressing (the .47 second The Mouth of the Cave) and with brutal honesty about struggling with a lifelong illness (The Sickness Unto Death). Everyone has their own unique path to follow, and Hunger & Thirst is a record that should remind us of the preciousness of exploration, the value of those we meet along the way, and the power within that sustains us on our quests.1. Starting Over (Bad Habits)
2. White Liars
3. CPR - Claws Part 2
4. Ghost Train
5. Body of Love
7. Happy People
8. Old Haunts, New Cities
9. Mouth of the Cavern
10. Belly of the Cave$17.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Souled Out (Awaiting Repress)JhenÉ Aiko's full-length is a testament to the power of patience. Though she's only 26, the Los Angeles native has been at it for more than a decade - first, inauspiciously, as a satellite artist hovering in the orbit of prefab new-jack teens B2K. When pretending to be Lil' Fizz's cousin didn't bring her R&B domination, she took time off to finish school, start a family, and develop her songwriting chops, which led to increasingly high-profile collaborations with the likes of Drake, Miguel, and Kendrick Lamar.
Much of Souled Out is far more pop-friendly than last year's Sail Out EP (which yielded ''The Worst,'' her first Billboard Hot 100 moment), but Aiko's lush, glowing compositions do take time to reveal themselves. Take ''W.A.Y.S.,'' which opens with a lazily strummed guitar, then welcomes in a distant, ominous drum march. Slowly, everything widens and deepens as Aiko croons like a millennial shaman, ''You have got to lose your mind/Just to find your peace of mind.''
That process repeats itself throughout Souled; the more you give in to tracks like the hypnotic, undulating ''To Love & Die'' and the gently lapping ''Eternal Sunshine,'' the more they take hold. Had Aiko followed the muse she was chasing as a teen, ''The Pressure'' would probably have been turned into a disposable piece of Hot 100 radio bait. Instead, like much of Souled Out, it's an otherworldly neck-snapper - the coolest party soundtrack for a parallel dimension where the future of R&B arrived a long time ago.
- Kyle Anderson (Entertainment Weekly)1. Brave
2. To Love & Die (Feat. Cocaine 80s)
3. Beautiful Ruin
4. It's Cool
5. Lyin King
7. The Pressure
8. Eternal Sunshine
9. Limbo Limbo Limbo
12. Pretty Bird$24.99Vinyl LP - 2 LPs Sealed AWAITING REPRESS Buy Now
Boston (Awaiting Repress)Celebrate 40 Years Of Boston
First Time 180 Gram Translucent Blue Vinyl
Stunning Gatefold Cover Art
Mastered Impeccably By Joe Reagoso - Pressed At R.T.I.
Features Smash Hits More Than A Feeling Long Time Rock And Roll Band & Peace Of Mind
There are groundbreaking albums, then there are extraordinary mega-classic masterworks that have stood the test of time during their time and for decades beyond, Boston's debut masterpiece Boston is one such rare recording feat.
Thanks to the strong masterful lead guitar and production chops of Tom Scholz, the late great Brad Delp on power vocals, guitar great Barry Goudreau, plus Fran Sheehan on bass and the late great Sib Hashian on drums, the number one Boston lp took the rock music world by storm, and it continues to be one of the most enduring and much loved albums of all time.
Friday Music is very pleased to bring to you one of the finest albums ever recorded - Boston by Boston. Mastered impeccably by Joe Reagoso, this stunning masterpiece now boasts premium classic rock memories on first time 180 Gram Audiophile Translucent Blue Vinyl, a stunning gatefold cover, and of course, all of the hits you remember like More Than A Feeling, Rock And Roll Band, Long Time and many more time honored classics.
This essential limited edition masterpiece is being released right in time for the holidays and should be on the list of every rock fan who owns a turntable. It sounds amazing, it gives us the chills and all of the good feelings you would expect from this incredible and historic rock debut.
Boston by the iconic rock legends Boston, one of the essential classic rock albums of all time on Friday Music 180 Gram Audiophile Translucent Blue Vinyl... its' more than a feeling!1. More Than A Feeling
2. Peace of Mind
3. Foreplay/Long Time
4. Rock & Roll Band
6. Hitch a Ride
7. Something About You
8. Let Me Take You Home Tonight$32.99180 Gram Audiophile Virgin Vinyl LP AWAITING REPRESS Buy Now
Lavender CountryWidely recognized as the first openly gay country music album-and cited as such even by Nashville institutions like the Country Music Hall of Fame and CMT-the landmark self-titled '|973 LP by Lavender Country stands as nothing less than an artifact of courage, a sonic political protest document of enormous power, clarity, and grace. At once a scathing indictment of the injustices perpetrated on the homosexual community, a proud proclamation of gay identity, and a love letter of bracing intimacy and eroticism, the album radically appropriates the signifiers of the conservative country genre, queering its heteronormative vocabulary into a deeply personal language.
Songwriter, singer, and guitarist Patrick Haggerty, a fearless first-generation gay liberation activist and artist, seasons his songs with Yippie deviousness; in the manner of the Cockettes, the laughs both sharpen and sweeten the impact. To our ears the inimitable aesthetics and glimpses of cockeyed humor recall some ethereal psych-folk nexus of the Flatlanders and the Holy Modal Rounders as much as any standard country and western forebears, rendering the biting poetry in an even more other worldly and timeless light. The record reflects Haggerty's experiences: his upbringing on a tenant dairy farm in rural Washington, on the Canadian border; his dismissal from the Peace Corps on the spurious grounds of his sexuality; and his righteous struggles as an outraged young gay man navigating the Pacific Northwest in the immediate aftermath of Stonewall. He designed Lavender Country as a vehicle for what he deems The Information : valid cultural communications intended to resonate with those unable to access similar resources. (Playing Cryin' These Cocksucking Tears, one of the indisputably great country song titles ever, cost a brave Seattle DJ her FCC license.) This deluxe reissue includes includes a 32pp chapbook with an oral history by Haggerty, never before published color photos, and full lyrics to these ten moving songs of gay liberation.1. Come Out Singing
2. Gypsy John
3. Waltzing Will Trilogy
4. Georgie Pie
5. Cryin' These Cocksucking Tears
6. Back in the Closet Again
7. I Can't Shake the Stranger Out of You
8. To A Woman
9. Straight White Patterns
10. Lavender Country$21.99150 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
HitchhikerNeil Young will release a new studio album - which he originally recorded in 1976. The disc, dubbed Hitchhiker, is set for release via Reprise Records.
The 10-track acoustic album was recorded live in the studio August 11, 1976, at Indigo Studios in Malibu, California. It contains some of Young's best-loved songs plus two previously unreleased tracks.
The original session was produced by Young's longtime studio collaborator David Brings with new post production by John Hanlon, who has worked with Young since 1990 and produced his most recent works, including Peace Trail, Earth, The Monsanto Years, etc.
As these songs were recorded in a single session, the resultant performances are breathtaking and passionate. The simplicity of a single voice and guitar captured here are as pure and powerful as the creator intended with only Young and Briggs in the room at the time of recording.
Many of the songs would not appear on vinyl until years later. The title track, for example, did not officially appear until 2010's Le Noise and naturally sounds worlds apart from the original. The version herein of "Captain Kennedy" has certain raw spontaneity compared to the slightly gentler version that would eventually surface on Hawks & Doves in 1980.
Perhaps the most noticeable jewels in the crown of Hitchhiker are the two previously unreleased tracks that have remained in the vaults since 1976: "Hawaii" a soaring ballad and unlike anything else Young had recorded at the time. Side one closes out with "Give Me Strength," which would be occasionally performed live in the mid-Seventies but now available here for the first time and may well be considered one of Young's best long lost gems.1. Pocahontas
3. Captain Kennedy
5. Give Me Strength
6. Ride My Llama
9. Human Highway
10. The Old Country Waltz$19.99Vinyl LP - Sealed Buy Now
Trinity LaneThis record was written mostly in the summer of 2016 in my apartment off of Trinity Lane. A few tunes came out on the road as well. After moving out of an ex's house, I settled into a new neighborhood down the road. Shortly after, I picked up a tour with my good friend John Moreland where we went to the West Coast and back. I was trailing them in my little 2002 Honda Accord that has literally been all over the country with me. A woman in my early 30s, I found myself sick of my same old shit. I was inspired by the landscape of the west. My faith was tested on the curves of the Highway 101 through the Red Woods. I got terrifyingly stoned on weed gummy bears in Denver. I saw real cowboys in Wyoming and drove through a flood in Arkansas. I felt displaced, but connected.
Upon returning to the south, my home of Tennessee, I slunk back into my nook off of Trinity. I went over all the things I'd seen. There had been a freedom in being so far away - a lack of responsibility, a distance from some of the issues, if you will, though I'd carried them right with me, back to my birthplace of Los Angeles, peering over the ocean, wondering how you can come so far yet end up in the same place. I contemplated fleeing and just staying in California, but the south is my home and I had to deal with what needed to be dealt with. I started to write. And go to the park. And listen to records. And play my guitar every night. Every time I wanted a man, I picked up my guitar. Every time I wanted a drink, I picked up my guitar.
Love will take you to the darkest places but also to the most honest places if you let it. Learning how to love myself is something I've always been lousy with, and I spent some time on that. I thought about my sobriety, what that means to me, the struggles I'd had throughout the years, since I was a 27-year-old and hung up my toxic drinking habit. I thought about my mother, who took her own life when I was a baby, not far from my age at 30 years old, and I related to her more than ever. As you can see, there was plenty of time spent on my own. I didn't talk to that many folks, albeit a few close friends, and leaned into my family. I stayed away from men, and danced alone in the evenings, looking out my window observing my humble and lively neighborhood. I found power in being by myself. I found peace in the people I was surrounded with - we didn't really know one another, but we smiled when passed on the street. One time I almost rear-ended an older woman in her car backing out of my driveway and I said, Oh man, I'm just not used to any cars coming around this bend. She replied, This is our little hideout, baby. And it really was. The woods were behind me, Dickerson Pike was in the front.
So after a while, I had all these songs to play, and wanted to share them. I wanted to get out of town to get some distance from everything, so after an ongoing conversation with Michael Trent, I took my band to Johns Island, SC and we holed up for a few weeks. I poured my heart out, and trusted them with it, and these guys gave it right back. I think we all understood what it's like to question home, intention, demons, love....I think most people understand that. I hope you love this record, I made it for you.1. All Kinds Of People
2. The Night David Bowie Died
3. Trinity Lane
4. Everything I Had
5. I Wanna Go Home
8. Different, I Guess
11. So Much You Don't Know
12. See Ya Later$19.99Vinyl LP - Sealed Buy Now
Where No One Stands Alone (Pre-Order)Release Date: August 10, 2018*
Where No One Stands Alone celebrates the power and passion of Elvis Presley's gospel recordings. Produced by Joel Weinshanker, Lisa Marie Presley and Andy Childs, Where No One Stands Alone introduces newly-recorded instrumentation, rare alternate vocals from Elvis, and backing vocal contributions from music legends who'd performed on-stage and/or in the studio with Elvis such as, Darlene Love; Cissy Houston; Terry Blackwood, Armond Morales and Jim Murray of The Imperials; and Bill Baize, Ed Hill, Donnie Sumner and Larry Strickland of The Stamps Quartet.
The album also includes a reimagined duet with Elvis and his daughter, Lisa Marie Presley, on the album's title track and spiritual touchstone. Where No One Stands Alone provides new musical perspectives on 14 of the singer's favorite pieces of gospel music, from the reverential to the celebratory, with song selections including Presley's beloved enduring gospel classics (the 1965 Top 5 smash Crying In The Chapel, How Great Thou Art, You'll Never Walk Alone), praise-filled gospel-rockers (Jerry Lieber and Mike Stoller's Saved) and traditional hymns and spirituals (So High, Stand By Me, In The Garden, Amazing Grace).
Since I was two years old, Elvis Presley once said, all I knew was gospel music. It became such a part of my life, it was as natural as dancing. A way to escape my problems, and my way of release. It was Elvis' explosive mix of styles - blues, bluegrass, country, swing, pop - that generated his iconic world-changing rock n' roll, but it was the hymns, spirituals and church music of his childhood, the deep-seated gospel roots that sustained Elvis and his musical vision throughout his life. This was his favorite genre - no question about it, says Lisa Marie in her album notes. He seemed to be at his most passionate, and at peace while singing gospel. He would truly come alive - whether he was singing just for himself and me at home, or on stage in front of thousands of fans.
*Please note that release dates are subject to change.1. I've Got Confidence
2. Where No One Stands Alone
4. Crying In the Chapel
5. So High
6. In the Garden
7. Bosom of Abraham
8. How Great Thou Art
9. I, John
10. You'll Never Walk Alone
11. He Touched Me
12. Stand By Me
13. He Is My Everything
14. Amazing Grace$19.99Vinyl LP - Sealed PRE-ORDER Buy Now
Liszt: Sonata in B Minor (Speakers Corner)
Modesty is a virtue, it is said. And that is precisely what DECCA must have had in mind when they entitled the present Liszt recording "A Recital". More fitting and in no way over-exaggerated would have been "Essential Liszt", for all the works on the present recording are true highlights.
The B minor Sonata is not only considered Liszt's most important piano composition but is moreover among the most magnificent and powerful piano works ever written. Clifford Curzon performs this work with amazing sovereignity, working his way through the work's rugged intricacies safely and surely, never missing even the tiniest motivic fragment.
After a short pause to draw one's breath, we move on to enjoy the famous Liebestraum with its passionate recurring theme. The spirited and vigorous Valse oubliÉe is followed by the dazzling Gnomenreigen taken at a pace which almost verges on folly. This virtuosic firework display is brought to a contemplative close with the lyrical Berceuse in a masterly performance full of inner peace and clarity.
This recording is perfect in every sense, both musically and technically, and is therefore recommended not only to confirmed lovers of Liszt but to those who are just beginning their love affair with him.
Recording: September 1963 at Sofiensaal, Vienna by Roy Wallace
Production: Michael Brenner
About Speakers Corner
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, Speakers Corner 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 existant 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 emphasise that Speakers Corner 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 have one digital recording in our catalogue (Alan Parsons / Eye In The Sky"), but even in this particular case we used the analogue tapes for cutting.
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 - excluding the exception above - and that the lacquer discs are newly cut.1. Sonata in B Minor
3. Valse Oubliee
5. Berceuse$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Time Is Over One Day OldBear In Heaven's new album is aptly titled Time is Over One Day Old. It's a record with a visceral
relationship to time and its processes.Where invulnerability and ambition can support you as you grow,
at some point they become dead weight, and being true to yourself means casting them off,starting anew.
This plays out as a powerful analogy for the band across the arc of it's career.
They've always made intriguing records, here especially. It's easy to see why musicians fall hard for this
band.They entice and envelop you. Any Bear In Heaven song will most likely greet you with a provocative
beat, textural synthesizers and unassuming but adeptly supportive bass and guitar, all exquisitely
arranged and glistening.Jon Philpot's high,smooth,strong voice is so tightly wound into the music that
it can be easy to overlook the lyrics, Bear In Heaven's capacious third dimension. Philpot is a center-seeking, contemplative writer who captures the fleeting thoughts that underscore our emotional lives,the
interactions with the world that are both difficult to express and anathema in daily conversation.
While all of this can be said of any Bear In Heaven album, each varies wildly in tone and approach. 2007's
Red Bloom of the Boom is ambitious and experimental. Beast Rest Forth Mouth(2009)was a pivotal record
that still feels important,seductive and intense.On their 2012 LP I Love You, It's Cool the structural and
musical ideas are challenging, and masterfully developed. For Time is Over One Day Old,we witness the
band once again turning their gaze inward and prioritizing their evocative abilities in line with or even
slightly ahead of technical skills. It feels very much in the tradition of BRFM in that way. It's beautiful; it's
Here Philpot and Adam Wills are more deeply collaborative than ever. This album is darker at times,
louder than their others; it feels personal and direct."If I Were To Lie"places Wills' bass groove front and
center,"Demon" is riveting and propulsive in spite of its dark pointed lyric, and"They Dream"dissolves
into three and a half minutes of deeply satisfying ambient synth work in its second half.Wills has always
been the bands anchor, providing rock solid,rhythmic bass lines and guitars that blur the boundaries of
Philpot's synth. Though in moments such as the final track, "You Don't Need The World," Wills cuts
through with an audacious, biting guitar hook. It's a great culmination of the album's sense of release.
This album isn't about being dark, it's about releasing darkness and frustration.
When bands age well, their vitality takes shape. They wear, but with intention. They trim excesses.
Throughout this album you'll hear a band at peace with themselves. They've learned to cut back on that
which is merely impressive and to concentrate on simply what is crucial.For Philpot this is about making
something lasting. "A lot of shedding, getting rid of layers and preconceptions breaking up with old
ways of thinking, old ways of being, starting to look at this thing in a new way and finding something
positive."The result is a record that will stay with you.1. Autumn
2. Time Between
3. If I Were To Lie
4. They Dream
5. The Sun and The Moon and The Stars
6. Memory Heart
8. Way Off
9. Dissolve The Walls
10. You Don't Need The World$18.99Vinyl LP - Sealed Buy Now
Without apology, Holly Cole is a self-declared night owl, perfectly at home in the time between dusk and dawn, a dear friend of the wee small hours. It's a fact that now finds firm and poetic expression in the title and content of her eagerly awaited new album - Night. As usual when it comes to the iconic Canadian songstress, it's an album that features a stylistically diverse and emotionally stirring collection of songs. It stands as a love letter to the night and its magic powers, a celebration of the hours where daylight's chatter has disappeared and turned into peaceful moments of creative possibility, providing a chance to see the world with different eyes and to listen with different ears. An invitation to intimacy.1. You Only Live Twice
2. Walk Away
3. Good Time Charlie's Got the Blues
4. You've Got A Secret
5. Viva Las Vegas
6. I Only Have Eyes For You
7. I Thought Of You Again
8. Love Lies
9. Whistlin' Past the Graveyard
10. If You Go Away
11. If You Could Read My Mind$41.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Crown Of Creation180 Gram Translucent Orange Marble Vinyl
Mastered Impeccably By Joe Reagoso At Friday Music & Capitol Mastering
Featured In First Time Gatefold Cover With 12 x 24 Rare Poster Of Brumus
New Liner Notes From Jorma Kaukonen & Jack Casady
When you listen to this album, you just don't get 'peace and love man'... Jack Casady
1968 was an amazing year for rock music, and San Francisco was the place to be for legendary classic rock bands like Jefferson Airplane.
After stunning success with three gold and platinum Lps under their belts, the classic quintet of Paul Kantner, Marty Balin, Jorma Kaukonen, Jack Casady, Grace Slick and Spencer Dryden delivered their masterwork Crown Of Creation. The Lp would become one of the most important albums of their long career featuring one of the most artistic and sobering covers of our time.
With a groundswell of support from the hip record buying public to major airplay at both underground FM and pop radio stations, the Lp was received incredibly well. Featuring two hit singles with Crown Of Creation and Greasy Heart, both tunes would go on to become rock music and social anthems for the turbulent 60's. Even more stellar album tracks like If You Feel, Lather and Triad (written with David Crosby) would all become standard Airplane classics in the years to follow.
"Jam bands" began with groups like Jefferson Airplane. Therefore it's no surprise to hear the wonderful workouts by dual guitarists Jorma Kaukonen and Paul Kantner along with Grace Slick and Marty Balin's power vocals plus the bass of Jack Casady and Spencer Drydens' drum work on this watershed release.
Friday Music is honored to present another exciting installment in our Jefferson Airplane 180 Gram Audiophile Vinyl Series with their masterpiece Crown Of Creation Lp. Their fourth RCA album showcases a very hip band that has stood the test of time now for over five decades.
Mastered impeccably by Joe Reagoso (Jefferson Airplane/Hot Tuna/Grateful Dead), this first time audiophile vinyl release will become one of the more important albums in your classic rock collection. To enhance your Airplane listening pleasure, the Lp will be pressed for a short time on TRANSLUCENT ORANGE MARBLE vinyl at RTI, featuring new liner notes from Jorma Kaukonen and Jack Casady in a first time gatefold cover, as well as including the rare 12 x 24 poster of Brumus and photo insert, which truly make this an even more rewarding event for the fans.1. Lather
2. In Time
4. Star Track
5. Share a Little Joke
6. Chushingura (Instrumental)
7. If You Feel
8. Crown of Creation
9. Ice Cream Phoenix
10. Greasy Heart
11. The House at Pooneil Corners$30.99180 Gram Audiophile Virgin Vinyl LP Buy Now
Seeds From The UndergroundOver the course of a stellar career that has spanned more than 30 years, saxophonist Kenny Garrett has become the preeminent alto saxophonist of his generation. From his first gig with the Duke Ellington Orchestra (led by Mercer Ellington) through his time spent with musicians such as Freddie Hubbard, Woody Shaw, Art Blakey & The Jazz Messengers and Miles Davis, Garrett has always brought a vigorous yet melodic, and truly distinctive, alto saxophone sound to each musical situation. As a bandleader for the last two decades, he has also continually grown as a composer. With his latest recording (and second for Mack Avenue Records), Seeds From The Underground, Garrett has given notice that these qualities have not only become more impressive, but have provided him with the platform to expand his horizons and communicate his musical vision clearly. Seeds From The Underground is a powerful return to the straight-ahead, acoustic and propulsive quartet format that showcases Garrett's extraordinary abilities.
For Garrett, Seeds From The Underground is a special recording. It once again consists of all original compositions, and is truly an homage to those who have inspired and influenced him, both personally and musically. "All of these songs are dedicated to someone," says Garrett. "And the 'seeds' have been planted, directly or indirectly, by people who have been instrumental in my development."
With Seeds From The Underground Garrett has crafted a project that offers his appreciation while always making the listener aware of his band's skillful approach to melody, harmony and rhythm. From personal nods such as the opening track "Boogety Boogety," dedicated to his memory of watching western films with his father (the title refers to the sound of a galloping horse); "Wiggins," which references his high school band director Bill Wiggins; and "Detroit," an evocative, reflective composition about his hometown, and a celebration of mentor Marcus Belgrave; to his appreciation of some of his musical heroes on "J Mac" (Jackie McLean); "Haynes Here" (Roy Haynes); and "Do Wo Mo" (Duke Ellington, Woody Shaw and Thelonious Monk).
Melody, as a matter of fact, was a key element for the saxophonist when writing for the recording. "I wanted to focus on the melody," Garrett reflects. "I want people to remember what the melody is before we start improvising and on some songs I heard voices, the singing of the melody." This latter point is in evidence on the selections "Haynes Here," "Detroit" and "Welcome Earth Song."
Another notable component compositionally for Garrett on Seeds From The Underground is his approach to rhythm and meter. Over the past few years, one of the most popular and acclaimed groups that he has been a part of is the GRAMMY® award winning Five Peace Band, joining guitarist John McLaughlin, pianist Chick Corea, bassist Christian McBride, and drummers Vinnie Colaiuta and Brian Blade. His participation in that band led him to experiment with writing in different meters. "Some of these songs are in odd meters; in my experience with John, we played some songs in odd meters, so I thought, this is a different way of writing songs," Garrett states. "So there is some of that approach here."
Garrett's current working band is very much up to the task on Seeds From The Underground. And like all successful bandleaders, Garrett knows what he wants musically and has formed a band that will best communicate his message (with implicit trust among one another). Bassist Nat Reeves is a rhythmic anchor and a long-standing member of Garrett's past aggregations. However, for this recording, Garrett thought a lot about the talents of fellow Detroiter, drummer Ronald Bruner, as well as Venezuelan pianist Benito Gonzalez. "When I decided I wanted to do the album, I had Ronald in mind; I thought that he would work well on these songs. And Benito has been in my band for a while, and we talked conceptually about how I hear the piano in the band. McCoy Tyner is my man, so I wanted to have more of that sound, and there aren't a lot of young guys around who are dealing with that like Benito is." Percussionist Rudy Bird also provides a driving, rhythmic pulse to the recording.
A very important contributor to Seeds From The Underground is the project's co-producer: pianist, composer and educator, Donald Brown. His friendship with Garrett goes back to their days with Art Blakey & The Jazz Messengers. He has been an integral part of past Garrett recordings, and has been a musical inspiration for him. "I feel comfortable in the studio with him and I know he's going to hear what I hear, because we think alike in how we hear music," states Garrett. "I've also always admired his compositions and he was really inspired by these compositions, so he was glad that we were able to hook back up on this project."
Garrett has always expressed interest in music from other parts of the world. Whether it's Africa, Greece, Indonesia, China or Guadeloupe, he immerses himself in the culture and gleans from his experience something that becomes a part of his artistic message. On Seeds From The Underground, the African-influenced "Welcome Earth Song" and "Laviso, I Bon?" (the latter was inspired by a musician friend in Guadeloupe) are prime examples.
The album highlights Garrett's overall approach to music: wide-ranging, receiving ideas from all musical sources and genres. Garrett states, "I love the challenge of trying to stay open about music and about life. If it's music, I just try to check it out. Right now I'm listening to some music from Martinique and I'm lovin' it. If I like it, maybe I can incorporate some of it into what I do." As for composing: "I don't try to control what I write," he says. "Music comes from 'The Creator.' It's a gift that's coming in, and I receive it. I write in all genres, and I'm writing all the time. It's never about what it is I just say thank you."
Seeds From The Underground is the latest stop on what continues to be a fascinating musical journey for Kenny Garrett and his listeners. It's a recording that is not only a significant personal statement from the saxophonist, but a musical declaration of his continued growth as a musician, and in particular, as a composer.1. Boogety Boogety
2. J. Mac
4. Haynes Here
6. Seeds from the Underground
8. Welcome Earth Song
9. Ballad Jarrett
10. Laviso, I Bon?$27.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
Prokofiev For Two (Pre-Order)Release Date: June 29, 2018*
Pianists Martha Argerich and Sergei Babayan have recorded two selections from Prokofiev's music for stage and screen in magnificent two-piano transcriptions by Babayan. Prokofiev for Two, set for release worldwide via Deutsche Grammophon, captures for posterity the sense of mutual inspiration felt by these kindred spirits, palpable in their live performances together. The album features Babayan's twelve-movement transcription of numbers from the ballet Romeo and Juliet and his seven-movement suite transcribed from Prokofiev's incidental music for Hamlet and Eugene Onegin, film score for The Queen of Spades and opera War and Peace.
Martha Argerich and Sergei Babayan first met in Brussels in 1991 when, on a whim, he looked her up in the phonebook and, to his own surprise, found her name and telephone number listed. His call from a phone box in the city started a strong friendship that led to numerous joint appearances in Europe and America. After one performance of Rachmaninov's "Suite No.2" and other works for two pianos, Babayan told Argerich of his dream to transcribe pieces from Romeo and Juliet for their next duo date. "She was very inspired by the idea," he recalls. "It was the greatest pleasure - and an honor - to create something that we would play together." Babayan's take on Prokofiev, coupled with a suite of rarities from the composer's stage and film music, can be heard in Prokofiev for Two.
The freshly transcribed Prokofiev score received its premiere performance as part of the Martha Argerich Project at the 2013 Lugano Festival. Argerich and Babayan have since performed this work together with the revised Romeo and Juliet suite several times, most recently in concert at Stuttgart's Liederhalle last November.
Martha Argerich is already renowned for her interpretations of Prokofiev's music. The Argentine-born artist, hailed as one of the greatest pianists of all time, included the composer's turbulent "Toccata" in her Deutsche Grammophon recital debut album, recorded in 1960. She reinforced her international reputation seven years later with a landmark recording for the yellow label of Prokofiev's "Third Piano Concerto" with the Berliner Philharmoniker and Claudio Abbado. "I have loved Prokofiev ever since I can recall," notes Argerich. "And people think he loves me too sometimes! I love the way Sergei [Babayan] plays Prokofiev and many other things. The first solo recital of his I heard was Bach's Goldberg Variations and I was incredibly impressed by it. I very much liked his proposal that we should play his transcription of Romeo and Juliet and feel very honored that he dedicated it to me."
Babayan's love for Prokofiev, like Argerich's, is deeply rooted, dating back to his childhood in Armenia and student days at the Moscow Conservatoire. Having left the USSR for the first time in 1989, he settled in the U.S. Time and again, Babayan has paid tribute to Prokofiev, playing several of his piano concertos with Valery Gergiev including at the 2015 BBC Proms in a monumental concert with the London Symphony Orchestra featuring all five of the works.
His new Prokofiev transcriptions are both dedicated to Martha Argerich. "This project happened because of my love for Prokofiev, my love for Martha and my love for the ballet Romeo and Juliet," reflects Babayan. The idea of transcribing Romeo and Juliet first arose decades ago while he was studying Prokofiev's colorful instrumentation in close detail with an orchestra. Already aware of Argerich's playing, he was further inspired after hearing a pirate recording of her 1981 Carnegie Hall performance of the "Ten Pieces Op.75" from Romeo and Juliet. "I listened and was immediately drawn to learn the cycle. But I felt that Prokofiev used chamber-like numbers for his selection of music for his transcription for solo piano. If you first became acquainted with the ballet through this piano score, you would never guess or understand the whole tragic, violent, and dark nature of the original work. Of course, the ballet contains lyrical, romantic music; music filled with humor and dance movement. But it also contains music for the "Death of Tybalt" - music of love and hate."
Believing it would be impossible for music of such powerful emotion to be conveyed by two hands, and aware of Prokofiev's own fondness for transcription, Babayan felt driven to exploit the full expressive force and tonal richness of two pianos. His created version contains what Martha Argerich, with a wry laugh, calls "difficult and demanding" technical and musical challenges. Both musicians, however, agree that transcription is "an act of love" and Babayan's experience with Romeo and Juliet soon led him to explore some of the composer's lesser-known works and create the second suite on this album. As he points out, this music will be new to most listeners. For example, only fragments of the film score for The Queen of Spades have ever been performed or recorded. He underlines its imaginative and innovative qualities, adding, "I'm sure if Prokofiev had lived longer he would have used the material for The Queen of Spades for a new movie, symphony, quartet or maybe even a piano duo. This music stayed on the shelf and it was my luck to hear it."
Prokofiev for Two is driven by the passion and power of an ideal keyboard partnership. Martha Argerich considers playing in duo with Babayan to be "a thing of alchemy - a discovery". For his part, Babayan says the experience of performing with Argerich is like joining a conversation with a divine being, one in which "you cannot be mundane or ordinary ... Martha will somehow pull out the best from you."
*Please note that release dates are subject to change.$35.99Vinyl LP - 2 LPs Sealed PRE-ORDER Buy Now
Dierks Bentley will release his highly anticipated ninth studio album, THE MOUNTAIN via Capitol Records Nashville. Reaching a new creative high, Bentley co-wrote 10 of the 13 new tracks that are unified by themes of presence and positivity, and range in style from textured rock to acoustic folk, feeling both rooted and expansive at the same time.
THE MOUNTAIN's story begins in the Rocky Mountain resort town of Telluride, Colorado, which every summer plays host to a celebrated bluegrass festival. Owing to his well-documented love of the genre, Bentley has attended the festival multiple times over the years, always making a point to slow down and tune back into the world around him. But after performing on the festival's main stage in 2017, the idyllic surroundings became more than a much-needed getaway.
"I found myself there, constantly reaching for my guitar," Bentley said. "It was like a gravitational pull. That town and those people just make you want to be creative, I couldn't describe it. I was like 'How do I tell everyone in Nashville this is what I want to write about?' I realized I couldn't bring it back, so I had to take everyone out there."
Returning that August with six of his most trusted songwriting collaborators, Bentley and his fellow 'Telluwriters' all bunked up in a small house, explored the area and dug deep into the peaceful, reflective vibes he was feeling. They had five days to work with and were hoping to write eight songs but ended up with nearly twice that number, forming the core of the record. Bentley returned to Telluride with his production team Ross Copperman, Jon Randall Stewart and Arturo Buenahora Jr to a tucked-away hideout called Studio in the Clouds last November to record. Perched high on a mesa, its tracking room overlooking the endless Rocky Mountain landscape, THE MOUNTAIN rose up in earnest.
"For me it's the best of both worlds, and it feels like something new. It's powerful but also happy, with acoustic sensibility mixed in with the big sounds I like to have for the road," Bentley added. "They are the songs I'd play for somebody to say, 'This is who I am right now.'"1. Burning Man (feat. Brothers Osborne)
2. The Mountain
4. Woman, Amen
5. You Can't Bring Me Down
6. Nothing On But The Stars
7. Goodbye In Telluride
8. My Religion
9. One Way
10. Son Of The Sun
11. Stranger To Myself
12. Travelin' Light (feat. Brandi Carlile)
13. How I'm Going Out$19.99Vinyl LP - 2 LPs Sealed Buy Now
American BeautyThe Most American Folk-Rock Ever Made: Indelible Harmonies, Spare Playing, and Gorgeous Textures Surround Masterfully Crafted Songs
Close Your Eyes As the Dead Serenade You in Your Room: MoFi Edition of American Beauty Epitomizes Realistic Space, Vocals, Instrumentation, and Ambience
Ranked #261 on Rolling Stone's List of the 500 Greatest Albums of All Time: Includes "Truckin'," "Sugar Magnolia," "Friend of the Devil," "Ripple"
American Beauty is the most perfectly realized, superbly played, and openly natural folk-rock record ever released. They don't make albums like this anymore, but thankfully, Mobile Fidelity's extraordinary 180g 45RPM 2LP set allows you to experience this 1970 masterpiece with unrivaled intimacy, realism, detail, and perspective. The Dead might as well be sitting on a Persian carpet right in your living room.
The pinnacle of the Dead's studio output, American Beauty lives up to its name-as well as that of the "American Reality" ambigram on the iconic cover. Airy vocal harmonies blow like fresh breezes. Strummed acoustic guitars amicably intermingle with plaintive percussive beats. Warmth, relaxation, and poignancy envelop the performances and create sensations of bliss, peace, and honesty. Songs flower with majestic melodies and emotionally direct lyrics. It's a rare album that invites and makes you feel, restores one's faith, and renews one's appreciation for all life offers.
Mastered from the original master tapes and pressed on 180g LP at RTI, this deluxe analog set possesses seemingly limitless dynamics, reference-grade presence, and expansive soundstages. The seamless, effortless integration of the group's vocals has always been a high point of American Beauty, and when you hear it here, you'll want every record you own to sound half as good. Every member's distinctive singing resounds with tube-like clarity; the intended expressionism is as plain as day. Instruments, too, resonate in glorious Technicolor. The supple tension of Phil Lesh's bass lines, charismatic timbres of Jerry Garcia's pedal-steel fills, and interwoven dialogue between the pianos and percussion are rendered with lifelike scale and tone.
Made just months after its companion release, Workingman's Dead, the San Francisco legends' second 1970 masterpiece furthers the former work's close-knit relationship between country and folk while adding extra rock and bluegrass currents. Understated amplified passages, graceful melodies, layered singing, and old-time string flavors-including mandolin work from masterful guest David Grisman-bestow the material with easygoing, comfortable vibes. Again taking advantage of the best songwriting of Robert Hunter's career, the Dead turns in its most collective studio performance, with every individual contributing equally and focusing on nothing but the songs at hand.
Indeed, Garcia doesn't even indulge in a single guitar solo on the record. A majority of fare lacks any significant instrumental breaks. The Dead recorded the foundations (drums, bass, acoustic guitars) of nearly every track live, which helps explain why American Beauty sounds so powerfully rich and clear. Coupled with the band's personal reflections of the circumstances surrounding them-Bob Weir's parents had died, Garcia's mother and Lesh's father were in the process of passing, Ron "Pigpen" McKernan's health was in decline-these characteristics combined to yield a purity of heart that exceeds that managed by Dead peers (and roots revivalist leaders) The Band and Bob Dylan.
From Garcia's breathtaking gospel-laden homage to his mother ("Brokedown Palace") to Lesh's healing salve in the form of the groove-based "Box of Rain," from Weir's jaunty and free-wheeling summer escape "Sugar Magnolia" to McKernan's eloquently simple homespun plea "Operator," all the way to the closing autobiographical anthem "Truckin'," American Beauty feels like the warm, spirit-infusing embrace of a loved one after a long journey away. Welcome home.
This title is not eligible for discount.1. Box of Rain
2. Friend of the Devil
3. Sugar Magnolia
7. Brokedown Palace
8. Till the Morning Comes
9. Attics of My Life
10. Truckin'$49.99180 Gram Audiophile Virgin Vinyl LP 45RPM - 2 LPs Sealed Buy Now
Blood On The Tracks (Awaiting Repress)Ranked 16/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.
Dylans Masterpiece Break-Up Album: Sentimental Redemption Arises Amidst Sorrow, Turmoil, Sadness, and Pain
Presence, Immediacy, Naturalness, Realism in Spades: Mobile Fidelity Reissue Makes Blood on the Tracks Among Most Lifelike-Sounding Albums You'll Ever Hear
Songs Flow Like Rivers, Acoustic and Electric Elements Merge Like Bezels on a Diamond
Includes Tangled Up In Blue, Simple Twist of Fate, Idiot Wind, Buckets of Rain
The Freewheelin Bob Dylan, Another Side of Bob Dylan, Bringing It All Back Home, Blonde on Blonde, and The Basement Tapes Also Available from Mobile Fidelity
Bob Dylan was at several crossroads in the mid-1970s. Artistically, he was largely written off as being past his prime. Emotionally, he was suffering through a painful divorce from his then-wife Sara Lowndes. Creatively, he appeared at a stalemate, his previous decades unprecedented run of transformational brilliance finished. Then came Blood on the Tracks.
A start-to-finish cycle that documents a lovers pursuit of, entanglement with, and loss of a woman, the bracingly intimate 1975 effort remains one of the most encompassing break-up albums ever made and ranks as the most personal statement of the Bards career. To hear it is to experience the agony, frustration, trauma, highs, lows, confusion, sadness, and, ultimately, requisite redemption associated with intimate relationships gone astray. Dylan maintains its a work of fiction, but its evident close-vested autobiographical premise is what helps make it universal: Its the icon singing through tears, going out of his mind, battling hallowing emptiness, firing shots across the bow, and accepting culpability. It is, in short, a consummate expression of loves darker sides and the consequences of what happens when dreams unravel.
As part of its Bob Dylan catalog restoration series, Mobile Fidelity is thoroughly humbled to have the privilege of mastering the iconic LP from the original master tapes and pressing it on dead-quiet LPs at RTI. The end result is the very finest, most transparent analog edition of Blood on the Tracks ever producedand the first-ever proper analog reissue. Fantastically presenting both the solo acoustic and band-supported songs with the utmost clarity, dynamics, presence, immediacy, spaciousness, imaging, and balance, this version shines a high-powered light on the fluid vocal phrasing, timbral shifts, functional rhythms, and inward-looking strumming that contribute to every song here serving as a wound-exposing confessional.
For all the melancholic pain, unresolved questions, shattered memories, wasted times, unrequited dialogs, and weary regret within, Blood on the Tracks remains as daring as it is reflective. Rather than follow for a monotone caustic vibe, Dylans songs burrow into the subconscious for the manners in which they are even-keeled, mellow, and occasionally, even peaceful. Dignity, honor, poignancy, and fairnessall traits uncommon in any situation in which partners dissolve histories, change hearts, and attribute blameinstill the record with equilibrium on par with the consistency of the flowing melodies.
Throughout, tunes come on and proceed as if they could continue forever, Dylan spinning poetic verses and conversations amidst finely tied knots of acoustic notes, chords, and fills, the deceivingly simple architecture conjuring the intertwined refractions of a bezeled jewel, various angles, colors, and textures conjoining into a gorgeously inseparable whole. Backed by Tony Browns flexible albeit subtle bass, Buddy Cages country-streaked pedal-steel guitar, and Paul Griffins soul-baring organan instrument used to shadow, tuckpoint, and illuminate here as effectively as any time in rock historyDylan pours soulful emotion, open his veins, and bleeds.
Ranked 16 on Rolling Stones list of the 500 Greatest Albums of All Time, and replete with existential thought, piercing directness, raw singing, and majestic arrangements,
Given the sonic and artistic merit of this album, we anticipate huge demand.
This title is not eligible for discount.1. Tangled Up in Blue
2. Simple Twist of Fate
3. Youre A Big Girl Now
4. Idiot Wind
5. Youre Gonna Make Me Lonesome When You Go
6. Meet Me in the Morning
7. Lily, Rosemary and the Jack of Hearts
8. If You See Her, Say Hello
9. Shelter From the Storm
10. Buckets of Rain$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed AWAITING REPRESS Buy Now