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After The Snow (200 Gram)200 Gram Black Vinyl
Their second record, released in 1982, gave way to the band's greatest success with the breakout-hit single, I Melt With You. A marked departure from their debut just a year earlier, After the Snow was a keyboard-driven new wave pop album. The LP retains an atmospheric and introspective mood that still resonates today.1. Someone's Calling
2. Life In The Gladhouse
3. Face Of Wood
4. Dawn Chorus
5. I Melt With You
6. After The Snow
7. Carry Me Down
8. Tables Turning$35.99200 Gram Audiohile Virgin Vinyl LP Buy Now
After The Snow (Colored Vinyl)White Colored Vinyl
Their second record, released in 1982, gave way to the band's greatest success with the breakout-hit single, I Melt With You. A marked departure from their debut just a year earlier, After the Snow was a keyboard-driven new wave pop album. The LP retains an atmospheric and introspective mood that still resonates today.1. Someone's Calling
2. Life In The Gladhouse
3. Face Of Wood
4. Dawn Chorus
5. I Melt With You
6. After The Snow
7. Carry Me Down
8. Tables Turning$35.99Colored Vinyl LP Buy Now
Mesh & Lace (200 Gram)200 Gram Black Vinyl
Preceding the album that made them famous, Mesh & Lace walked the path of dreamy, atmospheric aggression, fared with influences of post-punk bands such as Joy Division and Bauhaus. Dark and ambient, Modern English were highly experimental early on, giving way to lighter, melodic pop for the remainder of their career.1. 16 Days
2. Just A Thought
3. Move In Light
5. The Token Man
6. A Viable Commercial
7. Black Houses
8. Dance Of Devotion (A Love Song)$35.99200 Gram Audiophile Virgin Vinyl LP Buy Now
180 Gram Audiophile Vinyl
This modern soul classic debut was recorded and released in 1984, two years after the English group was formed. Diamond Life was an instant hit in the UK, peaking at #2 and staying in Top Ten for more than six months. At the same time they conquered the rest of Europe reaching #1 positions in The Netherlands, Germany, Switzerland and Austria. In the USA it reached #5 in the charts and the album reached a four time Platinum status, just like in the UK. Due to the hit singles Your Love Is King, When Am I Going To Make A Living, Smooth Operator and Hang On To Your Love Sade's debut album sold more than 7 million copies worldwide! Diamond Life is truly a legendary addition to the Music On Vinyl catalogue.1. Smooth Operator
2. Your Love Is King
3. Hang On To Your Love
4. Frankie's First Affair
5. When Am I Going To Make A Living
6. Cherry Pie
8. I Will Be Your Friend
9. Why Can't We Live Together$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
ViolatorIn a word, stunning. Perhaps an odd word to use given that Violator continued in the general vein of the previous two studio efforts by Depeche Mode: Martin Gore's upfront lyrical emotional extremism and knack for a catchy hook filtered through Alan Wilder's ear for perfect arrangements, ably assisted by top English producer Flood. Yet the idea that this record would both dominate worldwide charts, while song for song being simply the best, most consistent effort yet from the band could only have been the wildest fantasy before its release. The opening two singles from the album, however, signaled something was up. First was Personal Jesus, at once perversely simplistic, with a stiff, arcane funk/hip-hop beat and basic blues guitar chords, and tremendous, thanks to sharp production touches and David Gahan's echoed, snaky vocals. Then Enjoy the Silence, a nothing-else-remains-but-us ballad pumped up into a huge, dramatic romance/dance number, commanding in its mock orchestral/choir scope. Follow-up single Policy of Truth did just fine as well, a low-key Motown funk number for the modern day with a sharp love/hate lyric to boot. To top it all off, the album itself scored on song after song, from the shuffling beat of Sweetest Perfection (well sung by Gore) and the ethereal Waiting for the Night to the guilt-ridden-and-loving-it Halo building into a string-swept pounder. Clean wraps up Violator on an eerie note, all ominous bass notes and odd atmospherics carrying the song. Goth without ever being stupidly hammy, synth without sounding like the clinical stereotype of synth music, rock without ever sounding like a rock band, Depeche here reach astounding heights indeed.
- Ned Raggett (All Music Guide)1. World In My Eyes
2. Sweetest Perfection
3. Personal Jesus
5. Waiting For The Night
6. Enjoy The Silence
7. Policy Of Truth
8. Blue Dress
9. Clean (Album Version)$19.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
English ElectricEnglish Electric is an album that is said to look at a theme of failed utopian dreams, which often result in dystopic failure and regret. The music is, in part, taking influence from 1983s Dazzle Ships album which utilised a lot of radio samples, sourced sounds and experimental tracks. Andy McCluskey has also commented that "There are a few tracks that are not 'songs.' And many of the sounds are more simple and electronic than on History Of Modern".
During an interview with Andy for Messages back in 2011, he commented further on the genesis of the album: "We were a band that was trying to be the future. That was part of our ethos, that was part of our appeal to a lot of people when they first got interested. They were great tunes. They liked the lyrics, they liked the melodies...they liked some of the melancholy emotion in the lyrics and everything, but they also liked the fact that we were quite challenging and it was kind of like pushing the envelope. And that still remains an issue for us, that we feel like we should be trying to do that".
Expanding on the direction of sound of the album, Andy has also said: "In terms of the music we had some specific parameters that we wanted to try to stick to. Namely, try to use a more minimal and glitchy sound where we could. Our mantra is 'what does the future sound like?'. However, there is a natural inclination to be melodic and try to make 'listenable' music, not just experiment for its own sake if it does not lead to the creation of something that stands repeated listening."
For an interview with The Quietus in February of this year, Andy commented on the writing period of the material used on English Electric: "Apart from the complete reworking of Kissing The Machine, everything on this record has been written in the last two years. Dresden and Final Song came from pieces of music that I had from the year before, but I hadn't got a lyric on. I got the lyric on them two years ago, in January 2011. So basically the whole album has been written within the immediate recent timeframe.1. Please Remain Seated
3. Night CafÉ
4. The Future Will Be Silent
5. Helen of Troy
6. Our System
7. Kissing The Machine
9. Stay With Me
11. Atomic Ranch
12. Final Song$21.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
A Thousand HandsLos Angeles based Sextile have played three shows to date, one of which was opening for felte's Ritual Howls. The label hadn't heard a single song up to that point, but were so mesmerized with the band's raw energy and tightly wound performance, they knew they had to work together. The band's sound is an amalgam of The Jesus and Mary Chain, early Modern English, Christian Death, Coil, the post-punk era of Death in June and the Cramps for good measure.1. A Thousand Hands
3. Can't Take It
4. Smoke In The Eye
5. Truth And Perception
7. Mind's Eye
8. Shattered Youth
9. Into The Unknown
10. Visions Of You
11. Introvert$19.99Vinyl LP - Sealed Buy Now
Hold FastInfluenced by the optimism of The Beatles walking down the airliner steps at New York airport in '64 and the melancholy of The Smiths waiting by the cemetery gates in Manchester in '84,The Crookes tap into 50 years of British pop for their sounds, and 100 years of British social history for the word.
The Crookes are at the forefront of the latest wave of music to surface in the UK. They are four English Literature graduates whose music is bound with storytelling and tinged with nostalgia. Described by NYLON magazine as the 'potential leaders of England's smart, taut NEW POP movement' they personify English charm and eloquent, intelligent songwriting.
In 2010 Exposed Magazine readers voted and awarded The Crookes coveted 'Best Unsigned Band' award. Following the success of their debut album Chasing After Ghosts (2011) the band have built up a strong Cult following known as the "Bright Young Things" which further consolidates the strong aesthetic of the band. The band were chosen by Burberry to perform for their Burberry Acoustic range, as well as The Art of the Trench range. They were also taken out to Tokyo to represent the brand for Vogue's Fashion Night Out.
Following a slight line-up change in 2011 the band have now consolidated their more mature sound resulting in the release of their critically acclaimed second LP HOLD FAST.
"They are kings of romance (an important part of the New Pop brewing around the UK)... There is something almost subversive about their odd mix of influences (The Smiths/'60s girl groups/'50s rock and roll)... It's the romance of the Seine, of walking in the Peaks; or lying on your back reading and daydreaming. - Steve Lamacq BBC Radio 6Music
...a band this good are unlikely to remain obscure - NME
Lovingly, lavishly layered...the four piece take a big step forward. Not a second of these 33 watertight minutes are wasted. Hold Fast album review - Q Magazine
The simple, nearly silent moment was awe-inspiring and a welcome break from the nonstop noise of most shows. - SXSW review, Impact News-Austin.1. Afterglow
2. Maybe In The Dark
4. American Girls
5. The Cooler King
6. Hold Fast
7. Sal Paradise
9. Where Did Our Love Go?
10. The I Love You Bridge$16.99Vinyl LP - Sealed Buy Now
A Northern Soul
Though The Verve has finally taken its rightful place in the Brit Rock cannon, it languished for years behind such English luminaries as Oasis and Radiohead. During that time, The Verve release several albums that got less attention than they deserved. Mark A Northern Soul as one of them.
The 1995 release was perhaps the first album on which the band reeled in its trademark guitar epics and fashioned bona fide pop songs. On Your Own is one of the lushest and loveliest tracks never to find a minute of commercial airplay in the U.S. or abroad. No self-respecting fan of modern rock should be without this one. --Nick HeilLP 1
1. A New Decade
2. This Is Music
3. On Your Own
4. So It Goes
5. A Northern Soul
6. Brainstorm Interlude
7. Drive You Home
2. No Knock On My Door
3. Life's An Ocean
4. Stormy Clouds
5. (Reprise)$29.99Vinyl LP - 2 LPs Sealed Buy Now
SongsThe takeover for English dubstep producer Rusko (aka Christopher Mercer) has only just begun! His 2010 debut, O.M.G!, replete with his signature bone-rattling bass and anthemic melodies, was a critical and commercial hit that cemented him as one of the most exciting artists on the modern dance music scene.
His peers have championed him and Diplo, Santigold and Switch have featured his tracks in DJ sets and mixes. His own productions and remixes include The Prodigy and Basement Jaxx and his live shows have been drawing rapturous crowds across the globe.
His new album and second overall, Songs, finds the dauntless artist at his absolute best with a set of tracks that will dominate festivals and dance-floors for the foreseeable future and beyond!1. Intro - Year 3000 Style
2. Somebody To Love
5. Love No More
7. Dirty Sexy
8. Be Free
10. Roll Da Beats (Old School Edition)
11. Mek More Green
12. Asda Car Park
13. Whistle Crew
14. M357$24.99Vinyl LP - 2 LPs Sealed Buy Now
Tales Of UsGoldfrapp's sixth album, 'Tales Of Us' is written and produced by band members Alison Goldfrapp and Will Gregory and was recorded at their studio in
the English countryside.
A sumptuous body of work, 'Tales Of Us' has been two years in the crafting and is their most narrative, cinematic and intimate recording so far. Nothing in
their accomplished back catalog has hinted at the new lyrical breadth that the band have introduced to 'Tales Of Us'. All the songs bar one are named
in the first person with a cast list of evocative character sketches, the contrary love affairs, the suspense, hallucinations, fairy tales and modern folklores documented and the traces of redemption they find in song take the poetry of Goldfrapp's delicately considered music somewhere brand new.1. Jo
10. Clay$20.99Vinyl LP - Sealed Buy Now
OVSE-MOV-9048xEverything But The Girl
Language Of LifeThe Language of Life is the fifth album by English electronic duo Everything but the Girl, released in 1990.
Tommy LiPuma had previously worked with artists like Miles Davis, Horace Silver, Randy Newman, and George Benson and had contributed production to Aztec Camera's Love album in 1987. He had expressed an interest in producing Everything but the Girl and invited Tracey Thorn and Ben Watt to New York and LA.
Song arrangements were written by Larry Williams and Jerry Hey. The band LiPuma put together included Omar Hakim on drums, John Patitucci on bass and Larry Williams on keyboards. Ben Watt played guitar and piano, as well as doing some singing. Tracey Thorn sang only. LiPuma produced, in Thorn's words, a fully realised, immaculately performed and produced modern American Soul-Pop record.1. Driving
2. Get Back Together
3. Meet Me In The Morning
4. Me And Bobby D
5. The Language Of Life
6. Take Me
7. Imagining America
8. Letting Love Go
9. My Baby Don't Love Me
10. The Road$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Solid GoldSolid Gold is the second album by the British post-punk band Gang of Four, released in 1981on 180gm vinyl from Rhino
Formed in 1977 by Leeds University students Jon King (vocals), Andy Gill (guitar), Dave Allen (bass), and Hugo Burnham (drums), Gang of Four (along with the Fall, Mekons, and Liliput) produced some of the most exhilarating and lasting music of the early English post-punk era of 1978-1983. Fueled by the fury of punk rock and radical political theory, Gang of Four successfully welded the two in an inspired display of polemics and music that addressed the vagaries of life in the modern world (including love and romance) as matters of political inquiry.
What made Gang of Four's polemical clang'n'roll so compelling was that it worked as harsh, bracing, and ultimately liberating rock & roll. With Allen and Burnham combining as a formidable and frequently very funky rhythm section, Gill didn't play guitar as much as emit thick wads of semi-tuneful distortion, while Kingsang in a dry, declamatory fashion similar to that of the Fall's Mark E. Smith. They have always remained, to the ears of those opened wide by punk rock, an extremely important band.1. Paralysed
2. What We All Want
3. Why Theory?
4. If I Could Keep It For Myself
5. Outside the Trains Don't Run On Tim
7. The Republic
8. In the Ditch
9. A Hole in the Wallet
10. He'd Send In The Army$21.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
DramaDrama is the tenth studio album from the English rock band Yes, released on 18 August 1980 on Atlantic Records. It is their only album to feature Trevor Horn in the band's line-up as lead vocalist, following the departure of Jon Anderson and Rick Wakeman in March 1980 after unsuccessful recording sessions in Paris and London for a new album. Horn was joined by Geoffrey Downes, his partner in the new wave band The Buggles. Drama was recorded in a short amount of time as a tour was already booked prior to the change in personnel. It marked a departure in the band's musical direction with songs more accessible and aggressive that featured the use of modern keyboards and a vocoder.
Drama was released to a mostly positive critical reception, with most welcoming the band's new sound. The album peaked at No. 2 in the UK and No. 18 in the US, their lowest charting album there since 1971 which fell short of reaching Gold certification by the RIAA. Into the Lens was released as the album's sole single. Yes toured the album with a 1980 tour of North America and the UK, and were met with some negative reactions during the latter leg over the new line-up change. They disbanded at its conclusion; Horn ventured into producing, Howe and Downes co-formed Asia, and Squire and White formed Cinema with Trevor Rabin which led to a reformed Yes in 1983.1. Machine Messiah
2. White Car
3. Does It Really Happen?
4. Into The Lens
5. Run Through The Light
6. Tempus Fugit$24.99180 Gram Audiophile Virgin Vinyl LP -Sealed Buy Now
Low BudgetPressed On 180 Gram Translucent Red Vinyl
Mastered Impeccably By Joe Reagoso
Pressed At R.T.I.
First Time Gatefold & Poster Presentation
Low Budget is the seventeenth studio album by the English rock group, The Kinks, released in 1979. Following the minor success of their 1978 album Misfits, the band recorded the majority of the album in New York rather than London. Unlike the more nostalgic themes of many Kinks albums prior to Low Budget, the album contains many songs that appeal to current events of the time. Musically, the album is a continuation of the band's arena rock phase, resulting in a more rock-based sound and more modern production techniques.
Despite being a relative failure in the UK, Low Budget was a great success for the group in the US, not only becoming their best-selling non-compilation album but also peaking at #11 on the American album charts. The lead single, (Wish I Could Fly Like) Superman was also a minor hit in the US, reaching #41. The album was also praised by many critics in the US, although reception was more mixed in the band's native UK.1. Attitude
2. Catch Me Now I'm Falling
4. National Health
5. (Wish I Could Fly Like) Superman
6. Low Budget
7. In A Space
8. Little Bit Of Emotion
9. A Gallon Of Gas
11. Moving Pictures$32.99180 Gram Audiophile Virgin Vinyl LP Buy Now
Can't Touch Us NowFour years on from the release of their Top 10 US album, Oui Oui Si Si Ja Ja Da Da, Madness return with Can't Touch Us Now. The Album's release sees the Nutty Boys in full flow with a collection of songs that stands alongside the best of their unique takes on modern life.
A typically eclectic collection (the group has long mastered the art of making disparate influences work under their knack for writing catchy pop hooks), Can't Touch Us Now was recorded at London's iconic Toe Rag Studio - a fitting venue for one of the English capital's most iconic bands. Co-produced by Grammy-winning producer Liam Watson (The White Stripes' Elephant) and the band's long-time boards-man, Clive Langer, Can't Touch Us Now was recorded in just three weeks and boasts characteristically wry observations on life, with songs the likes of 'Mr. Apples', 'Blackbird', 'Mumbo Jumbo' and the title track.
Part of Madness' brilliance lies in their ability to take situations specific to their environment and make them universally relatable: 'It Must Be Love', 'Embarrassment' and 'Tomorrow's Just Another Day' all resonate with a worldliness that fans from all over the globe have related to - and that's no surprise, given that the band themselves have looked beyond England, to Jamaica, for a large part of their musical inspiration. With the songs on Can't Touch Us Now road-hardened during a string of summer festival appearances, it seems that the album is set to, once again, remind fans that the self-proclaimed Nutty Boys are one of the finest, most erudite pop outfits that the world has seen.1. Can't Touch Us Now
2. Good Times
3. Mr. Apples
4. I Believe
7. You Are My Everything
8. Another Version of Me
9. Mumbo Jumbo
11. Don't Leave the Past Behind You
12. (Don't Let Them) Catch You Crying
13. Pam the Hawk
14. Given the Opportunity
15. Soul Denying
16. Whistle in the Dark$24.99Vinyl LP - Sealed Buy Now
$41.99 $35.69 Save $6.30 (15%)
Is This The Life We Really Want? (On Sale)Roger Waters, the creative power and songwriting force behind Pink Floyd, presents Is This The Life We Really Want?, his first rock album in 25 years. The album is produced and mixed by Nigel Godrich (Radiohead, Paul McCartney, Beck, U2, From the Basement), and includes 12 new Roger Waters musical compositions and studio performances.
Roger Waters' last studio album, 1992's Amused To Death, was a prescient study of popular culture, exploring the power of television in the era of the First Gulf War. This long-awaited follow-up, Is This The Life We Really Want ?, is an unflinching commentary on the modern world and uncertain times, and a natural successor to such classic Pink Floyd albums as Animals and The Wall.
Tracks on Is This The Life We Really Want? include: When We Were Young, DÉjà vu, The Last Refugee, Picture That, Broken Bones, The Life We Really Want, A Bird In A Gale, The Most Beautiful Girl in the World, Smell the Roses, Wait For Her, Oceans Apart, and Part of Me Died. The lyrics for Wait for Her were written by Roger Waters and inspired by an English translation by an unknown author of Lesson from the Kama Sutra (Wait for Her), by Mahmoud Darwish.
The musicians on Is This The Life We Really Want? are: Roger Waters (vocals, acoustic, bass), Nigel Godrich (arrangement, sound collages, keyboards, guitar), Gus Seyffert (bass, guitar, keyboards), Jonathan Wilson (guitar, keyboards), Joey Waronker (drums), Roger Manning (keyboards), Lee Pardini (keyboards) and Lucius (vocals) with Jessica Wolfe and Holly Proctor.
This title is not eligible for further discount.LP 1
1. When We Were Young
2. DÉjà Vu
3. The Last Refugee
4. Picture That
5. Broken Bones
1. Is This the Life We Really Want?
2. Bird In A Gale
3. The Most Beautiful Girl
4. Smell the Roses
5. Wait for Her
6. Oceans Apart
7. Part of Me Died$41.99 $35.69 Save $6.30 (15%)180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
Silence & TearsKent-based sextet Galley Beggar - who take their name from a mischievous spirit in English folklore - describe their mission as 'to imagine the next phase of English folk-rock' on their third album, Silence & Tears. "We've always loved English folk, but when we formed in 2009 it felt like nothing much was happening to carry the style forward," says guitarist Mat Fowler, "so we thought, we love listening to folk-rock and we love playing it - why not try to write something in that vein?"
The results can be heard on their earlier albums, Reformation House and Galley Beggar, and now on Silence & Tears. "Our first record was very folky," reflects Mat, "but since then we've moved towards a more electric rock feel." Indeed, the eight tracks on the new album span traditional song, Gothic balladry and peculiarly British acid rock, the mood alternately fragile and robust, with sweet vocal harmonies (led by Maria O'Donnell), lyrical guitar playing from Mat and his cohort David Ellis, and added texture from the violin of Celine Marshall (calling to mind Mr. Fox's Carolanne Pegg), all anchored by Bill Lynn's steady bass and Paul Dadswell's deft drumming. The material spans reworkings of the ancient classics Geordie and Jack Orion, brooding ballads like Adam & Eve and the otherworldy Empty Sky, and the intense 9-minute epic Pay My Body Home, which triumphantly recalls folk-rock's early 70s glory days.
Silence & Tears may echo centuries of folk tradition, but its crisp, punchy sound is resolutely modern, despite calling on retro flourishes such as phasing, wah-wah and backwards guitar. Much of that is down to the fact that it was recorded at the profoundly analogue Toe Rag studios, where White Stripes, Tame Impala, the Zutons and many others have also worked with renowned producer-engineer Liam Watson. "We made our first two albums ourselves," says Mat, "so this was the first time someone else has produced us. Recording at Toe Rag was just wonderful - to see all that incredible gear at work, and to have a tangible recording experience rather than staring at a screen, was amazing. And watching Liam at work is mesmerising - the sounds he gets onto tape are better than they are in real life!"
In an era when bands such as Trembling Bells, Circulus and Wolf People have brought folk-rock to the fore again, the hypnotic interplay and inspired jamming on Silence & Tears is sure to find an enthusiastic audience. "We've already got a few festivals lined up this summer, including Leigh Folk Festival and Wessex Festival, and several other shows are still being arranged," says Mat. "It's an honour to be compared to other folk-rock bands - but we like to think we've got something of our own to offer too."1. Adam And Eve
2. Pay My Body Home
3. Empty Sky
4. Jack Onion
6. Silence And Tears
7. Sanctuary Song
8. Deliver Him$23.99Vinyl LP - Sealed Buy Now
The Moody Blues/Friday Music 180 Gram Audiophile Vinyl Series Continues!
Celebrate 4 Decades Of Their Legendary Prog-rock Masterpiece In Search Of The Lost Chord - First Time 180 Gram Audiophile Vinyl!
Mastered Impeccably By Joe Reagoso From The Original Threshold Records Tapes
Seventh Sojourn was a huge multi-platinum smash for The Moody Blues and a stellar example of how important
their symphonic and progressive rock sound was for the fans of this legendary English quintet. Featuring the original
award winning line-up of Justin Hayward (lead vocals/guitars), John Lodge (lead vocals/bass), Ray Thomas (lead vocals/
flutes), Ray Pinder (lead vocals/keyboards) and Graeme Edge (drums/vocals), Seventh Sojourn is undoubtedly one of their
biggest selling albums and also one of the most revered in their huge catalog.
Buoyed by the success of the two smash hit singles Isn't Life Strange and their definitive follow up rocker I'm Just
a Singer (In a Rock and Roll Band), Seventh Sojourn was filled with more masterful works like the powerful Ray Thomas
classic For My Lady, John Lodge's masterpiece When You're a Free Man, plus the Justin Hayward and Graeme Edge
prog-rock collaboration You and Me.
The wonderful release also features a fine array of songs from vocalist and keyboard whiz Mike Pinder including
the stunning LP opener Lost in a Lost World, Justin Hayward's soulful anthem New Horizons, as well as his ever popular
The Land of Make-Believe.
The beauty of this album is that you could always count on a classic listen from these five gentlemen of song.
Featuring Ray Thomas' striking vocals and flute delivery, Justin Hayward's and John Lodge's guitars and vocal acumen,
the magic of Ray Pinder on the keys and classic vocal, plus Graeme Edge's powerful drum and singing, Seventh Sojourn
became the album of choice for radio programmers in 1972.
Although Seventh Sojourn is four decades young, it stands as a modern day classic to this day, while The Moody
Blues truly recorded one of the finest works ever in the album rock era.
This amazing album has been out of print on vinyl for many years, that is until now
Friday Music is very honored to continue another installment in our Moody Blues 180 Gram Audiophile Vinyl Series
with their definitive masterpiece Seventh Sojourn. Mastered impeccably from the original Threshold Records tapes by
Joe Reagoso at Friday Music Studios, this album is truly a thrilling first time 180 Gram audiophile vinyl release.
For this special limited edition, we have also included the original full color album cover in gatefold style for the first
time since it was released in 1972, complete with the great music you will always remember from this historic classic.
Seventh Sojourn from The Moody Blues on impeccable first time 180 Gram Audiophile Vinyl exclusively from
your friends at Friday Music I'm just a singer in a rock and roll band1. Lost in a Lost World
2. New Horizons
3. For My Lady
4. Isn't Life Strange
5. You and Me
6. The Land of Make-Believe
7. When You're a Free Man
8. I'm Just a Singer (In a Rock and Roll Band)$31.99180 Gram Audiophile Virgin Vinyl LP Buy Now
REDD-MAC-7212xCecile McLorin Salvant
WomanchildWhen CÉcile McLorin Salvant arrived at the Kennedy Center in Washington, DC to compete in the finals of the 2010 Thelonious Monk International Jazz Competition, she was not only the youngest finalist, but also a mystery woman with the most unusual background of any of the participants. When she walked away with first place in the jazz world's most prestigious contest, the buzz began almost immediately. If anything, it has intensified in the months leading up to the launch of her Mack Avenue Records debut, WomanChild.
"She has poise, elegance, soul, humor, sensuality, power, virtuosity, range, insight, intelligence, depth and grace," Wynton Marsalis asserts. "I've never heard a singer of her generation who has such a command of styles," remarks pianist Aaron Diehl. "She radiates authority," critic Ben Ratliff wrote in The New York Times in response to one of her post-competition performances, and a few weeks later his colleague Stephen Holden announced that "Ms. McLorin Salvant has it all.... If anyone can extend the lineage of the Big Three-Billie Holiday, Sarah Vaughan and Ella Fitzgerald-it is this 23-year-old virtuoso."
Yet at almost every step of the way, McLorin Salvant has followed a different path from her peers. Born in Miami to a French mother and Haitian father, McLorin Salvant's first language was French. She immersed herself in the classical music tradition, long before she turned to jazz-starting on piano at age five and joining the Miami Choral Society at age eight. When it came time for college, McLorin Salvant bypassed all the US conservatories and jazz schools, heading instead to Aix-en-Provence in France, where she continued to develop as a singer, but with an emphasis on classical and baroque vocal music as well as jazz.
There, thousands of miles away from jazz's land of origin, McLorin Salvant entered into a fruitful partnership with reed player and teacher Jean-François Bonnel, first as a student and soon as a performer. Before returning to the US, she gave concerts in Paris, recorded with Bonnel's quintet, and immersed herself in the early jazz and blues vocal tradition. By the time she returned to her home country to take the stage in the Monk Competition, she had drawn on this unusual set of formative experiences in shaping a personal style of jazz singing, surprising and dramatic by turns, and very much in contrast to that of the other participants and McLorin Salvant's contemporaries.
In the aftermath of McLorin Salvant's triumph at the Monk Competition, the jazz world eagerly awaited the winner's first US recording. Answering that call with WomanChild, McLorin Salvant draws on songs spanning three centuries of American music. "I like to choose songs that are a little unknown or have been recorded very few times," McLorin Salvant notes. "While these songs aren't recognized as standards, many should be because they are so beautifully crafted."
On the album, her repertoire ranges from the 19th century ballad "John Henry," refreshed in a spirited up-to- date arrangement, to McLorin Salvant's own 21st century waltz "Le Front CachÉ Sur Tes Genoux" which draws on a poem by Haitian writer Ida Salomon Faubert for its lyric. She is joined by a world class band who share her concern for creating jazz of today by drawing on vibrant traditions of the past: pianist Aaron Diehl and bassist Rodney Whitaker (both of whom are Mack Avenue label mates), guitarist James Chirillo and master drummer Herlin Riley.
The old and new rub shoulders throughout this album, but this singer's attitude is neither beholden to the past nor trying to anticipate the trends of the future. Her captivating singing is immersed in the immediacy of the present moment. So much so, that those who have seen McLorin Salvant in concert marvel at how she radiates the confidence and poise of a mature artist even though she is just at the dawn of her own career.
McLorin Salvant may have the deepest roots of any singer of her generation. She knows the sounds and styles of modern jazz but also possesses complete command of the classic blues and early American vocal tradition. She has studied the entire recorded legacy of the great Bessie Smith (1894-1937), often called the Empress of the Blues, and also has deep familiarity with Valaida Snow, Bert Williams and other early masters of American music. For her, these musicians are exponents of living traditions that she has drawn into the orbit of her own work.
However, McLorin Salvant can't be pinned down as a jazz traditionalist. Alongside fellow Monk Competition winner Jacky Terrasson, she has recorded works by John Lennon/Yoko Ono and Erik Satie, and can sing in French, Spanish or English as the mood and situation warrant. Knowledgeable jazz fans will identify the influence and inspiration from some of the most distinctive modern jazz stylists, such as Betty Carter, Carmen McRae and Abbey Lincoln. She is also currently continuing her studies of the classical and baroque tradition. In short, McLorin Salvant is a seeker and a creative spirit who is determined to push ahead, even while she shows an extraordinary command of the tradition that has preceded her.
In his article in The New York Times, critic Stephen Holden listed some of the virtues of McLorin Salvant's singing: "perfect pitch and enunciation, a playful sense of humor, a rich and varied tonal palette, a supple sense of swing, exquisite taste in songs and phrasing, and a deep connection to lyrics." Her musical skills are considerable, but they are matched by an interpretive ability that is almost more akin to an actor's than a singer's. She draws out the story hidden inside the song, and can draw on the elements of her own personality and a full gamut of emotional stances-from the darkly troubling to the richly comic-in bringing lyrics to life.
"I want to get as close to the center of the song as I can," McLorin Salvant explains. "When I find something beautiful and touching I try to get close to it, and share that with the audience."
On WomanChild, McLorin Salvant gives music lovers the chance to hear why the illustrious judges at the Monk Competition gave her top honors. McLorin Salvant is still a bit of a mystery, but she will hardly be a secret any longer.1. St. Louis Gal
2. I Didn't Know What Time It Was
5. Prelude/There's A Lull In My Life
6. You Bring Out The Savage In Me
7. Baby Have Pity On Me
8. John Henry
9. Jitterbug Waltz
10. What A Little Moonlight Can Do
11. Deep Dark Blue$35.99Vinyl LP - Sealed Buy Now
Psychic Temple IIIt may seem hard to imagine a place where indie rock visionaries like Sufjan Stevens and Castanets' Ray Raposa could meld minds with the genius of Brian Wilson, where death metal pioneer Paul Masvidal might wield his legendary six-string chops on a blissed-out soul ballad, where adventurous young jazz players like Kris Tiner and Devin Hoff share credit with Mars Volta keyboardist Ikey Owens and singer/songwriter Aaron Roche.
Long Beach composer, producer and multi-instrumentalist (not to mention truck driver) Chris Schlarb has not only imagined such a place but has now made it manifest for a second time. Released by Asthmatic Kitty, Psychic Temple II is a labor of love, envisioned by Schlarb to bring his most far-ranging inspirations to life - as he puts it, "a dream ensemble that could never actually exist." The ensemble's sophomore release was painstakingly constructed over more than a year with the cooperation of some of the most progressive musical minds from a staggering variety of genres.
"I love interesting juxtapositions, where you bring together people from different communities," Schlarb says. He cites iconoclastic predecessors like Bill Laswell's ever-changing group Material, which once brought together a young Whitney Houston with jazz legend Archie Shepp and future Soundgarden and Red Hot Chili Peppers producer Michael Beinhorn to cover a song by Hugh Hopper of English prog-rock pioneers Soft Machine. On 2010's Psychic Temple, Schlarb assembled a 29-member ensemble that included Minutemen bassist Mike Watt, vocalist Julianna Barwick, and pianist Mick Rossi of the Philip Glass Ensemble.
"It seems like a crazy combination of people," Schlarb says, "but they're all just musicians. Why not bring them all together? It may not always work, but it's always worth reaching further."
Psychic Temple II reaches beyond the long-form experiments of its predecessor for a more tightly focused yet conceptually dense collection whose songs are no less exploratory for their briefer durations. "I never see the point in continuing to regurgitate," Schlarb says of the new album's unique direction. "What was natural at that time would now feel contrived. I have to keep moving forward."
Schlarb also includes three cover songs by composers who share his boundary-demolishing mindset: Joe Jackson's "Steppin' Out," Frank Zappa's "Sofa No. 2," and Brian Wilson's "'Til I Die," a gorgeous, lesser-known Beach Boys song that features vocals by Sufjan Stevens, Castanets' Ray Raposa, and Cryptacize's Nedelle Torrisi.
Psychic Temple had its origins in Create (!), a large improvising ensemble with which Schlarb used to perform. The free-form group would often incorporate multiple drummers, a concept that Schlarb decided to pursue in a more composition-oriented setting. No matter how much Psychic Temple mutates from track to track, the rhythmic possibilities of its two drummers (in this case, Tabor Allen and Andrew Pompey) remain intact.
Schlarb's imaginative leaps are evidenced from the outset of Psychic Temple II, on the intoxicating opening track, "Seventh House." Featuring the sinuous vocals of Sarah Negahdari, who recently served as touring bassist for Silversun Pickups, the song weaves together lyrical and musical references to Neil Young's "Will To Love," to the Art Blakey & the Jazz Messengers album Pisces, and to Sheena Easton's notorious Prince-penned pop hit "Sugar Walls."
Then there's "The Starry King Hears Laughter" and "She Is the Golden World," two songs that pay simultaneous homage to poet William Blake and jazz legend Bill Evans; or "Solo in Place," Schlarb's attempt to filter classic soul through his own "weird prism," a missing link between the Isley Brothers and the Alan Parsons Project that features guitar wizard Paul Masvidal of the death metal bands Death and Cynic.
Despite such a mind-blowing array of talent from the farthest reaches of the musical spectrum, Psychic Temple II is a surprisingly cohesive album, a testament to Schlarb's clear controlling vision. "One of the fundamental flaws of modern music is the idea of the record as a pastiche," he says. "With hip-hop and R&R records starting in the '90s, you had ten tracks with ten different producers so every track sounded completely different. There was no aesthetic where you could just put on a record and listen to it beginning to end. I admire people who are control freaks."
Schlarb has wielded control over a number of vastly different projects himself. The New York Observer called his debut solo album, Twilight & Ghost Stories, "40 minutes of avant-garde bliss," while Interoceans, recorded with experimental jazz duo I Heart Lung, was chosen by NPR as one of the top five jazz albums of 2008. He composed the score for Nicklas "Nifflas" Nygren's video game Nightsky and has received grants from the Canada Council for the Arts and Meet the Composer. In 2001, Schlarb founded the eclectic Sounds Are Active record label, which has released music by the likes of Nels Cline, Mike Watt, and Castanets.1. Seventh House
2. The Starry King Hears Laughter
3. Solo In Place
4. Bird In The Garden
5. 'Til I Die
6. She Is The Golden World
7. Steppin' Out
8. All I Want Is Time
9. Sofa No. 2
10. NO TSURAI
11. Hyacinth Thrash Quarter$19.99Vinyl LP - Sealed Buy Now
Funky Was The State Of AffairsFergus and Geronimo's leap between their early R&B-influenced singles and their first wildly diverse record was so daring, many music writers and fans were forced to reconsider the pigeonhole to which they had already damned them. Happily damned them, since, after all, those early tracks went over exceptionally well. But observers and admirers were also left doing something not many get to experience in this dime-a-dozen singles renaissance: scratching their heads concerning what this group would do next. After a first record that was such a departure, not only did they wonder, they actually cared.
Founding member Andrew Savage is very conscious of the risks the band took, the changes that were made in order to avoid being marginalized. Says Savage: "Jason (Kelly) and I had no interests in becoming lost in the indie rock/garage rock milieu. The nature of those early singles was that they were instantaneously gratifying, and we both wanted to make a record that was ultimately gratifying, but not necessarily instantaneous."
Now we have an idea of how far Fergus and Geronimo are continuing to take their gradually conceptual ambitions, in the form of their second full-length record, Funky Was The State of Affairs.
Like some of history's most well-regarded and oft-reissued acts, the group is doing exactly what they are compelled to do: making an album that actually plays like a cohesively complete statement. "I feel like bands aren't really making albums anymore. By that I mean, a start to finish concept meant to be listened to in its entirety. Labels are more interested in singles, which is in a tail-wags-dog sort of way.
And yet the record is entirely unpredictable, even as it tackles reoccurring themes, which Savage says include, "aliens, technology, intergalactic dating/hooking up, the Roman Empire, and the earthling resistance movement." At times the story seems filtered through the earthling point of view; in the next, extraterrestrials listen to phone-tapped conversations by some understandably paranoid humans.
Though at times it sounds like fairly serious subject matter, the group employs a sharp-tongued attack with the same sort of gallows humor cracked wise by the likes of their equally Doubting Thomas inspirational figures, everyone from the Mothers of Invention to Devo. Within the first few minutes, the tone is set; the bright, spiky, opening track over a Krautrock rhythm, "No Parties," contains a line summarizing the restlessness caused by the alienation of modern habits, sung in a mock-English accent: "Collecting devices, you're paying the prices/Of over consumption, with mental destruction."
"Basically, its a dystopian sound-scape of our civilization's collapse," says Savage. Indeed, those feelings of dread are sometimes instrumentally emphasized by passages of synthesizer static and noise, which Savage attributes to being influenced by groups like Chrome. New members Bob Jones (guitar, bass, analog synth) and Jef Brown (Tenor Sax) also add to the playful chaos. Savage says the original duo added members in order to achieve "the tightness that can only come from recording with a live core," as "musicianship is extremely important to Jason and I."
Since Brown and Jones both played in the self-explanatory Evolutionary Jass Band, which evolved out of the equally experimental Jackie-O Motherfucker, there is an expansion in the group's improvisational capabilities that wasn't as obvious on past recordings. Yet nothing sounds forced, each interlude is enjoyable, each hip-hop-inspired skit serves a narrative-pushing purpose. The record bounces from Booker T-styled soul ("Wiretapping Muzak I and II") to early '80s New York dance rock ("Marky Move") with an immodest ease.
"Hi, I'm Heather Strange, and I'm a 23-year-old human earthling female" says a woman between the first and second track. "Really, I'm just looking for a man whose cerebral capabilities haven't been fried by LCD screens yet." Most people reading this might be able to relate to Heather's plight, or worse yet, sink under the weight of being the type of person she's desperately seeking to avoid. But such is the genius of Fergus and Geronimo. They have made all of these variously opposing forces; dark and light, alien and earthling, melody and noise, condemning and being condemned, something that you feel like listening to over and over again. If only to hear what happens next.1. Planet Earth is Pregnant for the 5th Time
2. No Parties
3. The Strange One Speaketh
4. Roman Tick
5. My Phone's Been Tapped, Baby
6. Roman Nvmerals/Wiretapping Muzak I
8. Earthling Men
9. The Uncanny Valley
10. Earthling Women
12. Wiretapping Muzak II
13. Off the Map
14. The Roman Stuff is Where it's At
15. Marky Move
16. Funky Was the State of Affairs$14.99Vinyl LP - Sealed Buy Now
The Doctor Is In And Out (Pure Pleasure)In 1976, Yusef Lateef's as restless a spiritual seeker as there ever was in the field of music, revisited some of his earliest themes in the context of modern sonic frameworks: The Eastern modal and melodic frameworks of his Prestige sides, such as Eastern Sounds, Cry!/Tender, and Other Sounds, brought to bear in much more sophisticated, complex, and grooved-out ways -- after all, it had been 20 years or more. The groove referred to is funk and soul. Funk itself was mutating at the time, so Lateef's interpolation at the crossroads of all ports in the musical journey was not only valid in 1976, but also necessary.
For this recording, he utilized an absolutely huge group of musicians, bringing them in for this or that part, or a sound, or a particular vamp. Some of those present were Kenny Barron, Ron Carter, Dom Um Romao, Al Foster, Billy Butler, Anthony Jackson, a five-piece brass section, and a synth player. Lateef, as always, was offering evocative glimpses of geographical, psychological, spiritual, and emotional terrain in his compositions, but not in predictable ways. There's the deep minor-key meditation on blues and evolving thematic variations on Hellbound that becomes a Latin funk tune; the airy, contemplative, and skeletal Mystique, which may use a repeating rhythmic phrase but explores every inch of its margins via a string section and Lateef's flute solo; the smooth, urban, bluesy funk of Mississippi Mud; the completely out electronic musique of Technological Homosapien that becomes a series of synth squeals and an erratically tumbling bassline; and the wonderfully warped mariachi variation (sung in white-boy English) that featured the band playing bluesy hard bop over an age-old recorded track on In A Little Spanish Town. It's a weird way to end a record, but then, it's a weird and wonderful
- Yusef Lateef (alto saxophone, tenor saxophone, flute, oboe)
- Jack Jeffers (trombone)
- Joseph Wilder, Leonard Goines (trumpet)
- Jonathan Dorn (tuba)
- Billy Butler (guitar)
- Ron Carter (bass)
- Kenneth Barron (keyboards)
- Al Foster (drums)
- Dom Um Romao (percussion)
Recording: 1976 at Regent Sound Studios, New York, by Bob Liftin
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.
This title is not eligible for discount.1. The Improvisers
4. Mississipi Mud
6. Technological Homosapien
7. Street Musicians
8. In A Little Spanish Town (T'was On A Night Like This)$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
- Yusef Lateef (alto saxophone, tenor saxophone, flute, oboe)
IbeyiIbeyi (pronounced ee-bey-ee) means "twins" in the language of the Yoruban culture
of Lisa-Kainde and Naomi Diaz. The album of the same name, produced by
XL Recordings boss Richard Russell, is the story of two sisters: their relationship,
their origins, their shared history and their musical chemistry.
The twins' roots are reflected in the polyglot nature of the lyrics - in English,
French and Yoruban - and music which combines ritual chants with synths and
samplers, jazz vocals with the spellbinding mystery of Björk and Fever Ray, the
traditional with the modern. This uniquely cosmopolitan sound is the perfect
vehicle for their intimately personal stories. According to them, "This album is
about love and family and people who are gone."
Lisa-Kainde and Naomi (the eldest by two minutes) were born in Paris, where
they still live, but spent their first two years in Cuba. Their father was Miguel
"Anga" Diaz, the member of the Buena Vista Social Club, who was acclaimed as
the greatest conga player.
Record producer and XL Recordings boss Richard Russell first encountered
Ibeyi when he saw them performing "Mama Says" on a 2013 YouTube video. He
soon invited them to meet him - a serious offer from someone who in recent
years has produced albums by Gil Scott-Heron I'm New Here and Bobby Womack
The Bravest Man In The Universe (co-produced with Damon Albarn), as well
Albarn's own acclaimed 2014 solo album Everyday Robots.
The album is a subtle melange of diverse influences: not just Lisa-Kainde's soul
and jazz leanings and Naomi's up-to-the-minute beatmaking but the bloodlines
of France, Cuba and Africa, including the use of Yoruban chants they first heard in
the Santeria ceremonies. The tense, dramatic "Oya," the lead track on their debut
EP, addresses the deity (or "Orisha") of change and destruction while "River"
honours Oshun, the Orisha of love, rivers and fertility. Yoruban culture travelled
from Nigeria and Benin to Cuba and Brazil with the slave ships centuries ago but
is little-known in Europe.1. Eleggua (Intro)
5. Think Of You
6. Behind The Curtain
7. Stranger / Lover
8. Mama Says
12. Ibeyi (Outro)$22.99Vinyl LP - Sealed Buy Now