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  • Muscle Of Love Muscle Of Love Quick View

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    Muscle Of Love

    40th Anniversary Limited Edition for the first time on 180 gram vinyl!


    To add to his continuing success, 1973's Muscle Of Love was another Alice Cooper top ten album charter. It also was a return to their more hard rock sounds as first heard on his earlier albums like Killer, complete with the prog-rock/heavy metal workouts, which have since become synonymous with the Alice Cooper legacy. Featuring smash tracks like Teenage Lament '74, & Never Been Sold Before, the LP became one of his most revered projects ever.

    1. Big Apple Dreamin' (Hippo)
    2. Never Been Sold Before
    3. Hard Hearted Alice
    4. Crazy Little Child
    5. Working Up A Sweat
    6. Muscle of Love
    7. Man With the Golden Gun
    8. Teenage Lament '74
    9. Woman Machine
    Alice Cooper
    $31.99
    180 Gram Audiophile Virgin Vinyl LP Buy Now
  • The Rose The Rose Quick View

    $24.99
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    The Rose

    1979 Soundtrack Contains Multiple Smash Hits: When a Man Loves a Woman, Stay With Me Among Them


    Midler Steps Into Persona of Janis Joplin on Record Steeped in Rock n Roll, Pounding R&B, and Memphis Blues


    Contagious Sound That Spotlights Midlers Potent Voice: LP Mastered on Mobile Fidelitys World-Renowned Mastering System and Pressed at RTI


    Bette Midlers first leading role in a musical remains her best. As the soundtrack for that film, The Rose spotlights The Divine Miss Ms outstanding performance as a character in the persona of Janis Joplin. Midler received an Oscar nomination for Best Actress, and while the record contains no visuals, it punctuates the raw emotion and show-stopping persuasion that the singer brings to upbeat, rollicking fare composed in tribute to the late Joplin. Her reading of When A Man Loves a Woman remains definitive and unique for being sung from a females perspective.


    Mastered on Mobile Fidelitys world-renowned mastering system and pressed at RTI, this Silver Label LP allows listeners to hone in on Midlers voice like never before. Kernels of previously unheard tonalities, richer hues of her bluesy timbre, and better-defined contours of her phrasing come to foreas do the contributions of guitarist Steve Hunter and drummer Whitey Glan, both members of Lou Reeds Rock n Roll Animal tour. No, The Rose isnt your conventional adult-contemporary pop offering from Midler. Its much more.


    Always a natural-born theatrical star, Midler demonstrates these abilities to wondrous effect throughout, pouring herself into the painful sentiments of Stay With Me and raising hell on raucous numbers such as Sold My Soul to Rock N Roll and Keep On Rockin. Muscle Shoals sounds and Memphis-birthed shuffles keep Midler balanced and engaged. Producer Paul Rothchild, who helmed Joplins final salvo, matches the headliners zest by keeping tight-fisted control over the material selection and sonics. Never does Midler seem as if shes merely paying tribute or playing a part; she makes listeners feel every note.


    Its apt, then, that shes afforded carte blanche on the title track, a gorgeous and career-defining moment of immense proportions and the only song here not performed in the persona of Joplin. Theres no better way to wrap up an album of nearly shamanic power, and an effort that, along with The Divine Miss M, remains Midlers peak.


    This title is not eligible for discount.

    1. Whose Side Are You On
    2. Midnight In Memphis
    3. Concert Monologue
    4. When a Man Loves a Woman
    5. Sold My Soul to Rock N Roll
    6. Keep on Rockin
    7. Love Me With a Feeling
    8. Camelia
    9. Homecoming Monologue
    10. Stay With Me
    11. Let Me Call You Sweetheart
    12. The Rose
    Bette Midler
    $24.99
    Vinyl LP - Sealed Buy Now
  • I Never Loved A Man The Way I Love You I Never Loved A Man The Way I Love You Quick View

    $21.99
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    I Never Loved A Man The Way I Love You

    Ranked 83/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.


    Franklin Named Best Singer in History by Rolling Stone: This is Her Debut! Originally released in 1967, this is Aretha Franklin's first album for Atlantic and possibly the greatest debut in the history of soul music. This soul landmark contains one of the truly seminal singles ever in Respect, two killer tracks recorded at Fame Studio in Muscle Shoals (Never Loved A Man the Way I Love You and Do Right Woman-Do Right Man), puts lots of other great hard soul groovers. A masterpiece from start to finish!

    1. Respect

    2. Drown In My Own Tears
    3. I Never Loved A Man (The Way I Love You)
    4. Soul Serenade
    5. Don't Let me Lose This Dream
    6. Baby Baby Baby
    7. Dr. Feelgood
    8. Good Times
    9. Do Right Woman-Do Right Man
    10. Save Me
    11. A Change Is Gonna Come
    Aretha Franklin
    $21.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Alice Cooper's Greatest Hits Alice Cooper's Greatest Hits Quick View

    $31.99
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    Alice Cooper's Greatest Hits

    Limited Anniversary Edition and First Time on 180 Gram Vinyl


    Mastered from Original Warner Brothers Tapes by Joe Reagoso at Friday Music Studios and Capitol Records


    Presented for the First Time in Collectable Deluxe Gatefold Cover with Original 1974 Rare Inner Sleeve Artwork


    After an amazing string of gold and platinum albums and singles, Warner Brothers honored Alice Cooper and his band with their own Alice Cooper's Greatest Hits album in 1974. This top charting LP featured the superstar acts' biggest songs from their albums Love It To Death, Killer, School's Out, Billion Dollar Babies and Muscle Of Love.


    Handling their own production chores along with producers like Bob Ezrin, Jack Richardson and Jack Douglas, Alice Cooper and his legendary band (Michael Bruce-guitar/keys, Glen Buxton-lead guitar, Neal Smithdrums and Dennis Dunaway-bass) truly recorded some of the finest hard rock ever for this platinum plus collection.


    Featuring hard rock smashes like School's Out, I'm Eighteen, Billion Dollar Babies, Under My Wheels and No More Mister Nice Guy, it is easy to see why this album climbed to the upper rungs of the charts in 1974. Even more masterful cuts like Elected, Is It My Body, Desperado and Hello Hooray make this album one of the most enduring rock and roll best of albums in classic rock history. It has been out of print on vinyl now for several decades that is, until now.

    1. I'm Eighteen
    2. Is It My Body
    3. Desperado
    4. Under My Wheels
    5. Be My Lover
    6. School's Out
    7. Hello Hooray
    8. Elected
    9. No More Mr. Nice Guy
    10. Billion Dollar Babies
    11. Teenage Lament '74
    12. Muscle Of Love
    Alice Cooper
    $31.99
    180 Gram Audiophile Virgin Vinyl LP Buy Now
  • Turnpike Troubadours Turnpike Troubadours Quick View

    $19.99
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    Turnpike Troubadours

    The Turnpike Troubadours, the eponymous fourth album from the red dirt country journeymen, careens into view slowly with The Bird Hunters, a melancholic waltz that recalls some of the sadder moments from its predecessor, 2012's Goodbye Normal Street. Much of that record underscored the dusty literary aspirations of lead singer/songwriter Evan Felker but, appropriately enough for an album named after the band as a whole, this record puts equal emphasis on head, heart, and muscle, easing between simple heartbroken laments and full-throated roars.


    Felker's voice and writing are plainspoken but not pedestrian; there's a soulful undercurrent to his simplicity, his modesty never seeming affected, his working-class anthems never showy. As subtle and lived-in as these songs are, what really makes The Turnpike Troubadours kick is the band itself. While they've never been restrained on record, this 2015 LP feels brawny and also sensitive, the band capable of leaning into the song so the rampaging minor-key stomp Doreen possesses a sad, menacing edge, The Mercury drowns out all sorrow, and Fall Out of Love plays like a balm straight out of Muscle Shoals. As always, the key to the success of the Turnpike Troubadours -- both as a band and in this album in particular -- is that they never draw attention to their depth and how they occupy a wide, woeful territory where laments heal and parties can feel reassuringly lonely.

    1. The Bird Hunters
    2. The Mercury
    3. Down Here
    4. Time of Day
    5. Ringing in the Year
    6. A Little Song
    7. Long Drive Home
    8. Easton & Main
    9. 7 Oaks
    10. Doreen
    11. Fall Out of Love
    12. Bossier City
    The Turnpike Troubadours
    $19.99
    Vinyl LP - Sealed Buy Now
  • Home Is Where The Heart Is Home Is Where The Heart Is Quick View

    $34.99
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    Home Is Where The Heart Is

    Import

    Bobby Womack's move to Columbia Records heralded a shift from the earthy deep Soul sensibility of his previous records to a slicker, more sophisticated approach in step with the changing sound of contemporary R&B.


    The transition not only proves seamless, but in fact Home Is Where the Heart Is (1976) may very well be Womack's most compelling LP in some time. Recorded in both Muscle Shoals and Los Angeles, its disparate parts fit together like a well-oiled machine.


    Womack's wonderfully gruff vocals adapt well to the warmth and elegance of songs like How Long, Something for My Head and One More Chance on Love and he performs with unprecedented passion and focus.

    1. Home Is Where The Heart Is
    2. A Little Bit Salty
    3. Standing In The Safety Zone
    4. One More Chance On Love
    5. How Long (has This Been Goin' On)
    6. I Could Never Be Satisfied
    7. Something For My Head
    8. A Change Is Gonna Come
    9. We've Only Just Begun
    Bobby Womack
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Mourning In The Morning Mourning In The Morning Quick View

    $24.99
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    Mourning In The Morning

    For Mourning In The Morning, his 1969 album debut on Atlantic Records, southpaw blues guitar legend Otis Rush journeyed from his Chicago home to Fame Recording Studios in Muscle Shoals, Alabamaa burg best known for seminal soul platters. Backed by a horn-powered band that included a young Duane Allman on rhythm guitar, Otis slashing axe and anguished vocals glowed on the tortured Youre Killing My Love, remakes of his Cobra Records classics My Love Will Never Die and It Takes Time, and a stunning revival of B.B. Kings Gamblers Blues. Half the set consisted of new compositions from producers Mike Bloomfield and Nick Gravenites, and Rushs mile-wide string bending on a shimmering instrumental version of Aretha Franklins Baby I Love You is utterly breathtaking.

    1. Me
    2. Working Man
    3. You're Killing My Love
    4. Feel So Bad
    5. Gambler's Blues
    6. Baby, I Love You
    7. My Old Lady
    8. My Love Will Never Die
    9. Reap What You Sow
    10. It Takes Time
    11. Can't Wait No Longer
    Otis Rush
    $24.99
    Vinyl LP - Sealed Buy Now
  • He's A Rebel He's A Rebel Quick View

    $28.99
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    He's A Rebel

    Although it was assembled quickly in 1963 to take advantage of the chart success of its eponymous title anthem, the Crystals' second album is a near-perfect summation of this seminal girl group's effortless appeal and the surging majesty of Phil Spector's production genius. Between the group's winsome vocals, the massed muscle of Spector's legendary studio band the Wrecking Crew, and the stellar songwriting of such Brill Building pros as Carole King, Gerry Goffin, Barry Mann, Cynthia Weil and Doc Pomus, He's A Rebel is one of the most beloved items in the Philles label catalog.


    While most listeners didn't know it at the time, the Gene Pitney-penned He's A Rebel was actually recorded by Darlene Love and her studio group the Blossoms, and released under the Crystals' name. Love also takes the lead on the effervescent hit He's Sure the Boy I Love. Under any name, however, these are among the most thrilling items in the Spector canon.


    Along with such memorable early Crystals classics as Uptown, There's No Other (Like My Baby) and Oh Yeah, Maybe Baby, He's A Rebel also features the controversial Goffin/King composition He Hit Me (It Felt Like A Kiss). Originally released as a single in 1962, the song's emotionally raw subject matter scared off radio programmers, and Spector quickly had it withdrawn from release. In the years since, the song has gained near-mythical status, and its inclusion here is a handy reminder of the power of Spector's singular artistry.

    1. He's A Rebel
    2. Uptown
    3. Another Country-Another World
    4. Frankenstein Twist
    5. Oh Yeah, Maybe Baby
    6. He's Sure The Boy I Love
    7. There's No Other Like My Baby
    8. On Broadway
    9. What A Nice Way To Turn Seventeen
    10. No One Ever Tells You
    11. He Hit Me (It Felt Like A Kiss)
    12. I Love You Eddie
    The Crystals
    $28.99
    Vinyl LP Mono - Sealed Buy Now
  • Where Did You Come From? Where Did You Come From? Quick View

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    Where Did You Come From?

    The story of Darren Hanlon''s first album in five years, Where Did You Come From?, spans two continents and a whole lot of miles traveled, resulting in his most resplendent musical effort yet-the songs reaching new levels of maturity without ever losing his trademark lyrical charm and twinkling eye. Making it involved an unplanned and sometimes perilous lope through the American South, through various cities, towns and recording studios. He recorded in one-off sessions in Nashville, Memphis, Muscle Shoals, New Orleans and Clarksdale, Mississippi, collaborating with an array of musicians and other characters he met along the way. "When I hopped off the Amtrak, I just walked around and met buskers, tap-dancers, preachers, drunks and drug dealers, all of whom had something worth learning about," Hanlon says. "I started having compulsive notions that whoever I met should somehow contribute to the album. Let fate play into it. One guy tried to break into a car I was sitting in and even he ended up playing bass on a song." To hear the analogue richness and singular vision resulting in the collection of songs that make Where Did You Come From? belies the accidental nature of its process. It's a cohesive, hopeful and vibrant testament to the joys of travel, the tyranny of distance and the vagaries of love and fate.
    1. Salvation Army
    2. When You Go
    3. Trust Your Feelings (When You Wake)
    4. There's Nothing on my Mind
    5. Letter From an Australian Mining Town
    6. Fear of the Civil War
    7. My Love is an Ocean Away
    8. Manhole Cover Tap
    9. The Chattanooga Shoot Shoot
    10. The Will of the River
    11. Awkward Dancer
    12. Halley's Comet, 1986
    13. Shine A Light
    Darren Hanlon
    $24.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Like An Arrow Like An Arrow Quick View

    $29.99
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    Like An Arrow

    The songs on Blackberry Smoke's sixth album, Like an Arrow, due October 14, show just how far this authentic American rock band has come as the accomplished group of musicians tackles a diverse set of new ideas, sounds, and territories, long after most bands with half the success might have settled into a well-worn groove.


    "We're all like-minded in that we all want to explore," singer and principal songwriter Charlie Starr said. "There's just no way we could make the same record over and over again, though there are some fans who would like us to. That's just way too formulaic. If the Beatles or Led Zeppelin did that, we wouldn't love them as much."


    Like An Arrow continues the trend of sonic exploration established on the Blackberry Smoke's previous two releases, 2012's The Whippoorwill and 2015's chart-topping Holding All the Roses. It kicks off with the band's heaviest song to date and explores British rock before moving on to musical stops in places like Macon, Woodstock, Muscle Shoals and Tulsa as Starr and his buddies follow the ramblin' examples of timeless, authentic acts like The Allman Brothers Band, JJ Cale, The Band and others who define rock 'n' roll in all its many facets.

    1. Waiting for the Thunder
    2. Let It Burn
    3. The Good Life
    4. What Comes Naturally
    5. Running Through Time
    6. Like An Arrow
    7. Ought to Know
    8. Sunrise In Texas
    9. Ain't Gonna Wait
    10. Workin' for a Workin' Man
    11. Believe You Me
    12. Free On the Wing (feat. Gregg Allman)
    Blackberry Smoke
    $29.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • There Goes Rhymin' Simon There Goes Rhymin' Simon Quick View

    $24.99
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    There Goes Rhymin' Simon

    Retaining the buoyant musical feel of Paul Simon, but employing a more produced sound, There Goes Rhymin' Simon found Paul Simon writing and performing with assurance and venturing into soulful and R&B-oriented music. Simon returned to the kind of vocal pyrotechnics heard on the Simon & Garfunkel records by using gospel singers. On Love Me Like a Rock and Tenderness (which sounded as though it could have been written to Art Garfunkel), the Dixie Hummingbirds sang prominent backup vocals, and on Take Me to the Mardi Gras, Reverend Claude Jeter contributed a falsetto part that Garfunkel could have handled, though not as warmly. For several tracks, Simon traveled to the Muscle Shoals Sound Studios to play with its house band, getting a variety of styles, from the gospel of Love Me Like a Rock to the Dixieland of Mardi Gras. Simon was so confident that he even included a major ballad statement of the kind he used to give Garfunkel to sing: American Tune was his musical State of the Union, circa 1973, but this time Simon was up to making his big statements in his own voice. Though that song spoke of the age's most uncertain hour, otherwise Rhymin' Simon was a collection of largely positive, optimistic songs of faith, romance, and commitment, concluding, appropriately, with a lullaby (St. Judy's Comet) and a declaration of maternal love (Loves Me Like a Rock) -- in other words, another mother-and-child reunion that made Paul Simon and There Goes Rhymin' Simon bookend masterpieces Simon would not improve upon (despite some valiant attempts) until Graceland in 1986.

    - William Ruhlmann (All Music Guide)

    1. Kodachrome (Album Version)
    2. Tenderness
    3. Take Me to the Mardi Gras
    4. Something So Right
    5. One Man's Ceiling Is Another Man's Floor
    6. American Tune
    7. Was a Sunny Day
    8. Learn How to Fall
    9. St. Judy's Comet
    10. Loves Me Like a Rock
    Paul Simon
    $24.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Aretha's Gold Aretha's Gold Quick View

    $49.99
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    Aretha's Gold


    Astonishing Collection of The Queen of Soul's Greatest Songs for Atlantic Records: Aretha's Gold Includes Nine Top Ten Hits: Respect, Chain of Fools, and Think Among Them


    Mastered from the Original Master Tapes and Pressed at RTI: Breathtaking Sonics on Mobile Fidelity 180g 45RPM 2LP of Aretha's Gold Get to the Heart of Franklin's Range, Emotions, Expressiveness


    Aretha Franklin made her Hall of Fame reputation at Atlantic Records between 1967-1968. This astonishing two-year period witnessed the singer score nine Top 10 hits and define soul music, a era chronicled on Aretha's Gold. Pairing with producer Jerry Wexler and a flawless Muscle Shoals studio band, Franklin unleashed bolder sides of her artistry kept under wraps during her tenure at Columbia. The rest is history - a history that, until now, has never been in heard in true audiophile sound. And if there's any voice you want to experience to the most realistic extent, it's that of the vocalist Rolling Stone crowned the Greatest Singer of All Time.


    Mastered from the original master tapes and pressed at RTI, Mobile Fidelity's 180g 45RPM 2LP of Aretha's Gold presents Franklin's most seminal early Atlantic songs with reference-standard sonics. Finally, hear the full range of the Queen of Soul's depth, reach, and expressiveness. Complementing her timeless classics with tremendous dynamics, restored balances, and stunning clarity, this collectible analog set sheds new light on Franklin's power and technique, honesty and confidence, enunciation and directness.


    Hear why Franklin is even better than you likely think or remember. You just haven't been able to hear the Detroit native on a format that mirrors exactly what went down in the studios when she recorded songs that, to this day, remain the bar by which all other singers are measured. The same goes for Franklin's backing band, known as the Swampers, whose instrumental savvy, feel, and textures are so unique, the group is credited with creating its own style: The Muscle Shoals Sound. On this vinyl edition of Aretha's Gold, experience every picked guitar note, brushed snare, and fluid bass line. Seldom has a band and vocalist ever made a more formidable, memorable, and emotional combination.


    The evidence plays out across these 14 songs, each a soul landmark, each unforgettable thanks to Franklin's impassioned performances and empowering attitude. The Sweet Impressions (Franklin's backing vocalists) and sweeping string arrangements bolster the foundation, but the material belongs to Franklin. A veritable hit parade, the track listing on Aretha's Gold reads like a dictionary of soul.


    I Never Loved a Man (The Way I Loved You), Respect, (You Make Me Feel Like) A Natural Woman, Chain of Fools, Since You've Been Gone (Sweet Sweet Baby), Think, The House That Jack Built, I Say a Little Prayer, Baby I Love You: All Top 10 hits. Plus five more tunes, including a riveting cover of Sam Cooke's You Send Me, that charted.


    You know the songs by heart. You know the voice by memory. But you've never quite known them so intimately. Aretha's Gold on Mobile Fidelity gives the Queen the royal treatment she deserves.


    This title is not eligible for discount.

    1. I Never Loved a Man (The Way I Love You)
    2. Do Right Woman-Do Right Man
    3. Respect
    4. Dr. Feelgood
    5. Baby, I Love You
    6. (You Make Me Feel Like) A Natural Woman
    7. Chain of Fools
    8. Since You've Been Gone (Sweet Sweet Baby)
    9. Ain't No Way
    10. Think
    11. You Send Me
    12. The House That Jack Built
    13. I Say a Little Prayer
    14. See Saw
    Aretha Franklin
    $49.99
    180 Gram Audiophile Virgin Vinyl LP 45 RPM - 2 LPs Sealed Buy Now
  • New Wild Everywhere New Wild Everywhere Quick View

    $24.99
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    New Wild Everywhere

    New Wild Everywhere captures all of the excitement and intuitive musicianship of a group at the peak of their creative powers, with 12 new tracks that reveal a depth and maturity only previously hinted at by lead singer and songwriter Tony Dekker. Produced by longtime Great Lake Swimmers collaborator Andy Magoffin, New Wild Everywhere marks the first time in the bands history that an album was recorded in a real studio (Torontos Revolution Recording); past albums have been famously recorded in historic churches, castles, music venues and more.


    We wanted to try something new, expand our horizons, and flex a bit of the creative muscle weve built up through years of touring, says Dekker. It came as a bit of a surprise how well we functioned as a band in that (studio) environment. We were able to focus completely on the songs, rather than the logistical obstacles of waiting for the boat to dock, or the rain to stop.


    Featuring the touring band from Lost Channels (long-time collaborator Erik Arnesen on banjo and guitar, along with new addition Miranda Mulholland contributing backing vocals and violin, Bret Higgins on upright bass, and Lost Channels drummer Greg Millson), New Wild Everywhere thematically picks up where the previous album left off, exploring transcendence in the natural world to describe the universal themes of love, mortality and escape.

    LP1
    1. Think That You Might Be Wrong
    2. New Wild Everywhere
    3. The Great Exhale
    4. The Knife
    5. Changes With the Wind
    6. Cornflower Blue
    7. Easy Come Easy Go
    8. Fields of Progeny


    LP2
    1. Ballad of a Fisherman's Wife
    2. Quiet Your Mind
    3. Parkdale Blues
    4. On the Water
    5. The Great Exhale
    6. Easy Come Easy Go
    7. Les Champs De ProgÉniture
    8. I Will Never See the Sun
    9. Something Heavy

    Great Lake Swimmers
    $24.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Put Your Needle Down Put Your Needle Down Quick View

    $23.99
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    Put Your Needle Down

    The Secret Sisters' incredible story is as simple and true as the effortless harmonies that got them here. Begin anywhere -- the thick and fertile brambles
    of their own family history or light upon the branches of the wondrous, fractal menagerie that makes up their self-titled debut album. The pair of Alabama
    sisters direct from Muscle Shoals (barely twenty-somethings themselves) caught the attention of T Bone Burnett, who signed on as Executive Producer of
    their debut album after spending time with Laura and Lydia and hearing them sing live, and is releasing the album on his new label created especially for
    this release -- Beladroit. As Burnett explains, I have been making music for over forty years and The Secret Sisters album is as close to pure as it gets.


    Their self-titled debut album consists of ballads, originals, and cover songs such as Why Don't Ya Love Me?, Why Baby Why, and the Frank Sinatra
    song Somethin' Stupid. The album also includes two originals written by Laura Rogers: Tennessee Me and Waste the Day. The album was recorded
    in two weeks at Blackbird studios. Their eleven-song debut was produced by Dave Cobb, who has worked with artists such as Waylon Jennings and
    Jamey Johnson, and also executive produced by T-Bone Burnett. The Secret Sisters brough in studio musicians such as steel guitar player Robbie
    Turner and pianist Pig Robbins. Also included on the album is a cover of the 60s rock song by then teenage singer Nancy Baron I've got a Feeling,
    written by Wally Zober and C. Laverne. The album was also recorded with classic analog equipment. The production team and the Sisters utilized vintage
    microphones and classic recording techniques, down to the same type of tape they would have used fifty years ago.

    1. Rattle My Bones
    2. Iuka
    3. Dirty Lie
    4. The Pocket Knife
    5. Let There Be Lonely
    6. Black And Blue
    7. Lonely Island
    8. I Cannot Find A Way
    9. If I Don't
    10. Good Luck, Good Night, Goodbye
    11. Bad Habit
    12. River Jordan
    The Secret Sisters
    $23.99
    Vinyl LP - Sealed Buy Now
  • Tomorrow The Green Grass Tomorrow The Green Grass Quick View

    $24.99
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    Tomorrow The Green Grass

    On Tomorrow the Green Grass, the Jayhawks found themselves in the tricky situation of trying to match the quality of Hollywood Town Hall without simply repeating themselves, and they came remarkably close to achieving that daunting task. Rather than simply mimic the warm and unaffected sound of Hollywood Town Hall, the Jayhawks reached for a broader and more eclectic approach on Tomorrow the Green Grass; with the presence of new keyboard player Karen Grotberg and the addition of strings on several tracks, the album certainly sounded fuller and more artful, but Mark Olson and Gary Louris' harmonies were still the band's secret weapon, and were as pure and emotionally compelling as ever, while Louris' electric guitar solos gave the songs real rock & roll muscle without disturbing the essentially gentle nature of their music. And the best songs on Tomorrow the Green Grass are every bit as good as anything on Hollywood Town Hall, especially the opening hat trick of Blue, I'll Run Away, and Miss Williams' Guitar (the latter a joyous love letter to Olson's new bride, Victoria Williams). But while nearly every song on Hollywood Town Hall seemed like a classic in context, the greater stylistic variety of Tomorrow the Green Grass had the consequence of making a few of the songs in the second half of the album seem less than essential, most notably Ann Jane and Pray for Me, though they hardly counted as disappointments, and the album rallies to a rousing finale with Ten Little Kids. If Hollywood Town Hall is inarguably the Jayhawks' best album, Tomorrow the Green Grass runs a very close second, and though it was to be the group's last album with Mark Olson, the eclectic approach pointed the way to the sound and style of the fine records the Louris-led version of the band would go on to make.


    - Mark Deming (All Music Guide)

    1. Blue
    2. I'd Run Away
    3. Miss Williams' Guitar
    4. Two Hearts
    5. Real Light
    6. Over My Shoulder
    7. Bad Time
    8. See Him On the Street
    9. Nothing Left To Borrow
    10. Ann Jane
    11. Pray For Me
    12. Red's Song
    13. Ten Little Kids
    The Jayhawks
    $24.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Still Crazy After All These Years Still Crazy After All These Years Quick View

    $24.99
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    Still Crazy After All These Years

    The third new studio album of Paul Simon's post-Simon & Garfunkel career was a musical and lyrical change of pace from his first two, Paul Simon and There Goes Rhymin' Simon. Where Simon had taken an eclectic approach before, delving into a variety of musical styles and recording all over the world, Still Crazy found him working for the most part with a group of jazz-pop New York session players, though he did do a couple of tracks (My Little Town and Still Crazy After All These Years) with the Muscle Shoals rhythm section that had appeared on Rhymin' Simon and another (Gone at Last) returned to the gospel style of earlier songs like Loves Me Like a Rock. Of course, My Little Town also marked a return to working with Art Garfunkel, and another Top Ten entry for S&G. But the overall feel of Still Crazy was of a jazzy style subtly augmented with strings and horns. Perhaps more striking, however, was Simon's lyrical approach. Where Rhymin' Simon was the work of a confident family man, Still Crazy came off as a post-divorce album, its songs reeking of smug self-satisfaction and romantic disillusionment. At their best, such sentiments were undercut by humor and made palatable by musical hooks, as on 50 Ways to Leave Your Lover, which became the biggest solo hit of Simon's career. But elsewhere, as on Have a Good Time, the singer's cynicism seemed unearned. Still, as out of sorts as Simon may have been, he was never more in tune with his audience: Still Crazy topped the charts, spawned four Top 40 hits, and won Grammys for Song of the Year and Best Vocal Performance.

    - William Ruhlmann (All Music Guide)
    1. Still Crazy After All These Years
    2. My Little Town
    3. I'd Do It for Your Love
    4. 50 Ways to Leave Your Lover
    5. Night Game
    6. Gone at Last
    7. Some Folks' Lives Roll Easy
    8. Have a Good Time
    9. You're Kind
    10. Silent Eyes
    Paul Simon
    $24.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • I Left My Heart In San Francisco I Left My Heart In San Francisco Quick View

    $34.99
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    I Left My Heart In San Francisco

    Can there really be a definitive album from a singer whose voice is one of the most immediately recognized and internationally cherished, and whose command of songs is akin to the manner in which an able-bodied masseuse handles delicate muscle tissues? If so, then I Left My Heart In San Francisco is that record, the 1962 effort a turning point for the great Tony Bennett and an all-time pop standard. Winner of two Grammy Awards, the record contains Bennetts signature track as well as eleven other indelible classics.



    Half-speed mastered from the original master tapes, Mobile Fidelitys numbered limited-edition 180g LP presents Bennett in the finest sound hes ever enjoyed. Amazingly, this landmark recording has lavished in the vaults over the years and longed for the restoration that meticulous engineering can bring. Gone is the veiled haze that hung over the orchestrations, artificial ceiling that held back the highs, and cloudiness that obscured the entire range of Bennetts vocals. Previously unheard levels of warmth, expressiveness, and detailing are just some of the hallmarks of this terrific audiophile delight.



    At the time of the albums sessions, Bennett found himself caught between the need to sing thin uptempo numbers in order to appease the marketplace and the desire to move beyond the jazzier material he tackled in the late 50s. Unwilling to compromise his will to sing ballads and swing, Bennett, along with producer Ernest Altschuler and arranger/pianist Ralph Sharon, found the perfect combination on I Left My Heart In San Francisco, replete with expansive orchestration, period echo, anthemic ballads, and lush pop arrangements that still leave plenty of room for intimacy and delicacy.



    Theres little left to say about the timeless title track, amidst the most definitive songs ever recorded. Similarly, the closing The Best Is Yet to Come ranks equally high, with Bennetts rendition coming a full two years before Frank Sinatras version. Its no wonder why The Voice deemed Bennett his favorite singer. The proof is everywhere, whether on the brassy Rules of the Road, big-band bossa nova send-up of Cole Porters Love for Sale, tender Have I Told You Lately?, or the white-gloves treatment of the Broadway tune Once Upon a Time. Bennetts charismatic personality and refined singing ring true throughout, his burnished baritone as clear as spring water.



    Now, hear this triumphant performance as if Bennett is singing to you on a private stage. Witness every breath, and experience the thrill of the singer holding a note for what seems like eternity on I'm Always Chasing Rainbows without flinching. Seldom, if ever, has a vocalists singing sounded so effortlessly natural and innate. Mobile Fidelitys 180g LP is simply unmatched in terms of sonics, spaciousness, and sensation.



    One of the five-best vocal albums ever made. Order your collectors copy today!


    This title is not eligible for discount.

    1. I Left My Heart in San Francisco
    2. Once Upon a Time
    3. Tender Is the Night
    4. Smile
    5. Love for Sale
    6. Taking a Chance on Love
    7. Candy Kisses
    8. Have I Told You Lately?
    9. Rules of the Road
    10. Marry Young
    11. I'm Always Chasing Rainbows
    12. The Best Is Yet to Come
    Tony Bennett
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Held In Splendor Held In Splendor Quick View

    $13.99
    Buy Now
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    Held In Splendor


    As warm and relaxing as falling asleep in the sun." - Stereogum


    Judging from the early glimpse, Held In Splendor benets greatly from a more focused creative process. - SPIN


    Like a dusted-off artifact from a trippier time...borrowing from junkyard blues and '60s psychedelia while still sounding like its own thing. - The Fader


    Quilt's free-falling, unltered sound is the kind you'll have a hard time getting out of your head. - Interview Magazine


    When the three members of Quilt arrived in New York City in April to begin
    the intensive recording process for their second album, the new and aptly
    named Held In Splendor, they stepped directly into spring. Anna Fox
    Rochinski, Shane Butler and John Andrews had spent much of the previous
    several months clutched away at The Puritan Garage in Boston's
    Charlestown, shielding themselves from a winter of blizzards with the haven
    of their practice space and a set of fresh songs.


    Since the release of their 2011 self-titled debut on Mexican Summer, they'd
    become more than kids just out of college. They'd become a bona de
    hard-touring band, with stories to share from the road and experiences to
    distill into the narrative of new music. Though they continued to write and
    arrange tunes together, always an essential part of Quilt's creative process,
    they brought songs to one another, too, making and modifying demo tapes
    for the rst time. No longer rookies, Quilt began to approach their music like
    a lifeline. Coming to New York, then, just as the magnolia trees bloomed
    and the season of new life began to blossom, Quilt got to work.


    Indeed, when Butler talks about recording the kaleidoscopic Held In
    Splendor, he seems to speak of an ornate children's playground. Whereas
    their rst album was made mostly for free and mostly by friends over the
    course of a year of starts and stops, in sessions that captured the early and
    elemental and exciting efforts of a band nding its footing, Quilt entered the
    proper in-house studio located beneath the Mexican Summer ofces in
    Brooklyn for this one. They'd allocated a solid month for recording, and they
    clocked full days, every day, with Woods member and producer Jarvis
    Taveniere.


    The approach was wide-open: They tuned drums and recorded the same
    song with multiple microphone set-ups. They added bass and invited friends
    who added saxophone and violin, cello and steel guitar. They built this
    album together.


    Held In Splendor is an audacious pop-rock record with cascading harmonies
    and billowing textures, punchy rhythms and snarled guitars, wonderful depth
    and resplendent peaks. "Mary Mountain" takes hazy Summer of Love
    memories on a mid-summer road trip in a gleaming muscle car. "Tired &
    Buttered" invites Booker T over for an energy-addled jam in the garage.
    "The Hollow" twinkles like Fleetwood Mac and Galaxie 500, with sweet
    singing backed by the lap steel sighs of young acoustic guitar star and
    longtime Quilt pal Daniel Bachman. Held In Splendor is an album of
    personal poetry and public questions, confessions and aspirations-really,
    these 13 tracks are their own playground, brimming with the sort of
    unapologetic energy and wonder that turns simple songs into absolute
    anthems.

    1. Arctic Shark
    2. Saturday Bride
    3. Eye of the Pearl
    4. Mary Mountain
    5. Tie Up the Tides
    6. The Hollow
    7. A Mirror
    8. Just Dust
    9. The World Is Flat
    10. Tired & Buttered
    11. Secondary Swans
    12. Talking Trains
    13. I Sleep in Nature
    Quilt
    $13.99
    Vinyl LP - Sealed Buy Now
  • The Sound Of Wilson Pickett (Speakers Corner) The Sound Of Wilson Pickett (Speakers Corner) Quick View

    $34.99
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    The Sound Of Wilson Pickett (Speakers Corner)

    Wilson Pickett's best years were those when he recorded for Atlantic Records, and he remained convinced of this even after changing to other labels in his later career. Atlantic boss Jerry Wexler took the promising young Gospel singer under his wing and launched him on his rapidly developing career as an unruly soul man. Pickett's aggressiveness, which in his mature years occasionally resulted in him having backstage fights with musicians and managers, are expressed here in strong words and are given further bite by his antagonistic band. Although he lashed out to the full in his emotional, crackling vocal attacks, he never lost control and even his strongest outbursts remained highly musical. His unique, breathless sound and his ferocious efforts to express himself succinctly do not make for easy listening on this superb hit record and for white people, who according to Pickett would never understand soul music anyway, could well present a real challenge. Is this such fascinating music that you become dumbstruck? Very possibly, as critic Joachim von Mengershausen writes: »His voice is hard, aggressive and strained; it hardly binds the tones together, chops up the phrases, blurts out the essentials - Pickett has eliminated all the Uncle-Tom warmth in soul and has virtually rocked it away.«

    Musicians:



    • Wilson Pickett (vocal)

    • Spooner Oldham (piano, organ)

    • Andrew Love (tenor saxophone)

    • Floyd Newman (bassoon)

    • Gene Miller, Wayne Jackson (trumpet)

    • Jimmy R. Johnson, Chips Moman (guitar)

    • Junior Lowe (bass)

    • Roger Hawkins (drums)





    Recording: 1967 at Fame Recording Studios, Muscle Shoals (Alabama, USA), by Rick Hall & Tom Dowd

    Production: Jerry Wexler





    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. Soul Dance Number Three

    2. Funky Broadway
    3. I Need A Lot Of Loving Every Day
    4. I Found A Love, Part 1
    5. I Found A Love, Part 2
    6. You Can't Stand Alone
    7. Mojo Mamma
    8. I Found The One
    9. Something Within Me
    10. I'm Sorry About That
    11. Love Is A Beautiful Thing
    Wilson Pickett
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Beulah Beulah Quick View

    $15.99
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    Beulah

    Beulah. It's a small, complicated word with a tangle of meanings.


    It's the title of John Paul White's new album, his first in nearly a decade, a remarkably and assuredly diverse collection spanning plaintive folk balladry, swampy southern rock, lonesome campfire songs, and dark acoustic pop. Gothic and ambitious, with a rustic, lived-in sound, it's a meditation on love curdling into its opposite, on recrimination defining relationships, on hope finally filtering through doubt.


    Beulah is also a White family nickname. "It's a term of endearment around our house," White explains, "like you would call someone 'Honey.' My dad used to call my little sister Beulah, and I call my daughter Beulah. It's something I've always been around."


    Beulah is also something much loftier. For the poet and painter William Blake, Beulah was a place deep in the collective spiritual unconscious. "I won't pretend to be the smartest guy in the world," says White, "but I dig a lot of what he's written. Beulah was a place you could go in your dreams. You could go there in meditation, to relax and heal and center B photo credit: Allister Ann 119 west 57th street, penthouse north, new york, ny 10019 t 212.741.1000 www.sacksco.com SACKS A CO. N D yourself. It wasn't a place you could stay, but you came back to the world in a better state."


    And perhaps the music on this album originated in that "pleasant lovely Shadow where no dispute can come." According to White, the songs came to him unbidden-and not entirely welcome. "When these songs started popping into my head, I had been home for a while and I was perfectly happy. I wasn't looking for songs. I didn't know whether any would pop back in my head again, and I was honestly okay with that. I'm a very happy father and husband, and I love where I live. I love working with artists for a label that I think is doing good work."


    Far from the grind and glamour of Nashville-where he worked for years as a working songwriter before stepping into the spotlight himself-White settled in his hometown of Muscle Shoals, Alabama, a wellspring of gritty Southern rock and soul since the 1960s. Together with Alabama Shakes keyboard player Ben Tanner and Shoals native Will Trapp, he founded and runs Single Lock Records, a local indie label that has released records by some of the Yellowhammer State's finest, including Dylan LeBlanc, St. Paul & the Broken Bones, and legendary songwriter and keyboard player Donnie Fritts. The label is based in a small ranch house a stone's throw from White's own home, which would come in handy when those songs started invading his head.


    "Honestly, I tried to avoid them, but then I realized the only way I was going to get rid of them was if I wrote them down. I got my phone out and I'd sing these little bits of melody, then put it away and move on. But eventually I got to a place where it was a roar in my head, and that pissed me off." Due to his experiences as a gun-for-hire in Nashville, White was reluctant to romanticize the creative process, to turn it into a spiritual pursuit. "Then one day I told my wife I think I'm going to go write a song. She was as surprised as I was. I went and wrote probably eight songs in three days. It was like turning on a faucet."


    Most artists would kill for such a downpour, but White was wary of the consequences. He knew that writing songs would lead to recording them, which would result in releasing them, and that means touring and leaving home for weeks at a time. "As soon as I write a song, I start thinking what other people might think of it. I've talked to friends about this: What is it about us that makes us do that? Why can't I just sit on my back porch and sing these songs out into the ether? I don't have an answer for it yet, but I think it's just part of who I am. I need that reaction. I need to feel like I'm moving someone in a good way or in a bad way. I need to feel like there's a connection."


    White threw himself into the project, no longer the reluctant songwriter but a craftsman determined to make the best album possible-to do these songs justice. He cut several songs at the renowned FAME Studios in his hometown, where Aretha Franklin, Wilson Pickett, the Allmans, the Osmonds, Bobbie Gentry, Arthur Conley, and Clarence Carter recorded some of their most popular hits.


    One product of those sessions is "What's So," which introduces itself by way of a fire-andbrimstone riff, as heavy as a guilty conscience-the kind of riff you wouldn't be surprised to hear on a Sabbath album. But White's vocals are gritty and soulful, a product of the Shoals, almost preacherly as he sings about earthly and eternal damnation: "Sell your damn soul or get 119 west 57th street, penthouse north, new york, ny 10019 t 212.741.1000 www.sacksco.com SACKS A CO. N D right with the man, keep treading water as long as you can," he exhorts the listener. "But before you do, you must understand that you don't get above your raisin'." It's the heaviest moment on the record, perhaps the darkest in White's career.


    At the other end of the spectrum is "The Martyr," one of the catchiest tunes White has ever penned. The spryness of the melody imagines Elliott Smith wandering the banks of the Tennessee River, yet the song is shot through with a pervasive melancholy as White wrestles with his own demons. "Keep falling on your sword, sink down a little more," he sings over a dexterous acoustic guitar theme. This is not, however, a song about some unnamed person, but rather a pained self-diagnosis: "These are the wounds that I will not let heal, the ones that I deserve and seem so real." White knows he's playing the martyr, but he leaves the song hauntingly open-ended, as though he isn't sure what to do with this epiphany beyond putting it in a song.


    The rest of Beulah was recorded in the Single Lock offices/studio near White's home. "I can be more relaxed about the process. We can all just sit there and talk about records or baseball without feeling like someone's standing over our shoulders. That's a big deal to me, not to feel pressured. And I'm only about twenty yards away from home, so I can walk over and throw a baseball with my kids or make dinner with my wife."


    Some of the quieter-but no less intense-songs on Beulah were created in that environment, including the ominously erotic opener "Black Leaf" and the Southern gothic love song "Make You Cry." As he worked, a distinctive and intriguing aesthetic began to grow clearer and clearer, one based in austere arrangements and plaintive moods. These are songs with empty spaces in them, dark corners that could hold ghosts or worse. "There were certain moments when Ben and I would finish up a song, listen back to it, and think how in the world did we get here. But that's just what the songs ask for. These are the sounds in my head. This is the sound of me thinking and living and breathing and doing."


    Once White had everything assembled and sequenced, it was time to give the album a title, to wrap everything up for the listener. Beulah stuck-not only because of family history or Blake, but because White realized that making music was his own trip to Beulah. "If you had to sum up what music is for most people in this world, it's that. It's that escape. It's that refuge. You go there and you come back and you use that to help you with your life. You always have that as a place to go."

    1. Black Leaf
    2. What's So
    3. The Once And Future Queen
    4. Make You Cry
    5. Fight For You
    6. Hope I Die
    7. I've Been Over This Before (Feat. The Secret Sisters)
    8. The Martyr
    9. Hate The Way You Love Me
    10. I'll Get Even
    John Paul White
    $15.99
    Vinyl LP - Sealed Buy Now
  • Christmas And The Beads Of Sweat (Pure Pleasure) Christmas And The Beads Of Sweat (Pure Pleasure) Quick View

    $34.99
    Buy Now
    x

    Christmas And The Beads Of Sweat (Pure Pleasure)

    Laura Nyro's third Columbia effort is easily the equal of her previous two. The overwhelming strength of her songwriting and distinctive arrangements fuel Christmas And The Beads Of Sweat. Her unmistakable style of delivery maintains the continual examination of herself as a performer. The results are uniformly interesting and provocative as she continues to draw upon her love of jazz, folk, and R&B.

    Conceptually, this album is as potent as her previous effort, New York Tendaberry, but in a much different way. Rather than hanging together thematically, Christmas And The Beads Of Sweat features two inclusive and distinctive sides of music -- with different musicians and producers for each.

    The first five tracks feature Nyro backed by the Swampers from Muscle Shoals, AL, and include the talents of Roger Hawkins (drums), Eddie Hinton (guitar), Dave Hood (bass), Barry Becket (vibraphone), and Jack Jennings (percussion), with Arif Mardin producing. While this pairing might seem initially incongruous, the quintet had been concurrently working with the likes of Dusty Springfield and Cher and had gained a rightful reputation as a consummate backup band.

    The final four pieces are steeped in noir more atypical of her previous efforts. The all-star cast of New York City session heavyweights are led by Felix Cavaliere (producer) and features fellow Rascals member Dino Danelli (drums), Ralph McDonald (percussion), Chuck Rainey (bass), Cornell Dupree (guitar), Duane Allman (guitar), and Alice Coltrane (stringed harp), among others.

    As with all of Nyro's recordings, at the heart of this effort are her ageless compositions and arrangements. A motif connecting such disparate tunes as the upbeat When I Was A Freeport And You Were The Main Drag to the hauntingly beautiful Christmas In My Soul and Beads Of Sweat is the aching hollowness that came with the disillusionment that Vietnam, Kent State, and racial relations brought upon America in 1970. As she had done with Save The Country some four years earlier, Nyro's cathartic expressionism is captured at its most fervent on this album.

    -Lindsay Planer/AMG

    Musicians:

    • Laura Nyro (guitar, piano, keyboard, vocal)
    • Joe Farrell (woodwinds)
    • Felix Cavaliere (organ, keyboards, percussion)
    • Duane Allman, Cornell Dupree (guitar)
    • Alice Coltrane (harp)
    • Barry Beckett (vocal, vibraphone)
    • Chuck Rainey, David Hood (bass)
    • Dino Danelli, Roger Hawkins (drums)

    About Pure Pleasure

    At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Pure Pleasure all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.

    During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s - or employed existent tools from the 80s and 90s for manufacturing.

    A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.

    We should like to emphasize that Pure Pleasure Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle.

    We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.

    To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects and that the lacquer discs are newly cut.

    1. Brown Earth
    2. When I Was A Freeport And You Were The Main Drag
    3. Blackpatch
    4. Been On A Train
    5. Up On The Roof
    6. Upstairs By A Chinese Lamp
    7. Map To The Treasure
    8. Beads Of Sweat
    9. Christmas In My Soul
    Laura Nyro
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • The Right Time (Pure Pleasure) The Right Time (Pure Pleasure) Quick View

    $34.99
    Buy Now
    x

    The Right Time (Pure Pleasure)

    I first heard Etta James as a young teenager when she had a hit with Tell Mama, a tune that has easily stood the test of time. She recorded this album a quarter-century later and sounded even better.

    For The Right Time she returns to the Muscle Shoals studio where she recorded Tell Mama, this time with producer Jerry Wexler, and it's an outstanding match. She hits nary a forced or false note and is backed with a stellar band that includes saxophonist Hank Crawford, guitarist Steve Cropper and bassist Willie Weeks. They plow ahead like a great offensive line blocking for an all-star running back -- one who isn't afraid to lower the shoulder and knock somebody over.

    There's plenty of manufactured emotion on records, but you won't find any of it here. Etta just rocks naturally. It's like sitting next to a seasoned story teller in full command of the narrative. Nothing for you to do but sit back, close your eyes and listen.

    A sign of great singers for me is how they put a stamp on songs that have been done many times. In that regard, Etta makes Love and Happiness and Ninety And A Half Won't Do her own. She tears up The Night Time Is the Right Time with the help of Crawford's sax. Of course she has the blues well covered, my personal favorite being Down Home Blues, and flashes her humorous side with the trash-talking Wet Match. She hits any note she wants without straining and with total conviction.

    But all the songs are top-notch. The best advice for anyone reading this is to just pick up the album and discover the old-school glory of Etta James. - Tyler Smith

    Musicians:

    • Etta James (vocal)
    • Lucky Peterson (organ, guitar)
    • Steve Cropper, Doug Bartenfeld (guitar)
    • Hank Crawford (alto saxophone)
    • Jim Horn (bassoon)
    • Gary Armstrong (trumpet)
    • Kirk 'Jelly Roll' Johnson (harmonica)
    • Clayton Ivey (piano)
    • Frank Crawford (synthesizer)
    • David Hood(bass)
    • Steve Ferrone, Roger Hawkins (drums)

    About Pure Pleasure

    At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Pure Pleasure all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.

    During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s - or employed existent tools from the 80s and 90s for manufacturing.

    A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.

    We should like to emphasize that Pure Pleasure Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle.

    We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.

    To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects and that the lacquer discs are newly cut.


    1. I Sing The Blues
    2. Love And Happiness
    3. Evening Of Love
    4. Wet Match
    5. You're Taking Up Another Man's Place
    6. Give It Up (Duet With Steve Winwood)
    7. Let It Rock
    8. Ninety Nine And A Half (Won't Do)
    9. You've Got Me
    10. Nighttime Is The Right Time
    11. Down Home Blues
    Etta James
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Broken People Broken People Quick View

    $18.99
    Buy Now
    x

    Broken People

    American music is a mile-wide river that beckons black and white, urban and rural, dreamer and doer alike to launch their vessels. All the streams of style and genre flow into it; its tributaries are blues and jazz, mountain and folk, rock, soul and R&B.


    The release of the debut album by Muddy Magnolias, Broken People, marks the launch of a great new vessel onto that waterway. The album showcases a confluence of style and sound as colorful as it is unlikely, steeped in that river of influence, yet bracingly fresh.


    With Broken People, Jessy Wilson and Kallie North take us on an 11-song journey with its origins in two widely divergent backgrounds that came together in a friendship and creative partnership with world-changing resonance.


    North was raised in southeast Texas and began singing with her family and studying piano at an early age. She grew to love rich vocal harmonies singing in church choirs and listening to artists like the Carpenters, Alison Krauss, James Taylor and the Eagles. By her early teens, she was singing lead parts in church and in musical theater productions at her high school. Her palette grew when a friend turned her on to the Grateful Dead, and after high school she spent every spare moment in the clubs of Austin, absorbing everything from alt-country and jam bands to New Orleans funk. She met her husband at a concert and moved with him to his native Mississippi. There, on their isolated farm, she had her awakening, starting a career as a photographer, capturing the spirited, deep history of the Mississippi Delta.


    "To me, the Delta is the most overlooked and mysterious place," she says. "It was the birthplace of America's music, and all the legends were influenced by everything that came out of it. I went on this personal exploration to learn about the Delta blues and the region's history. I picked up a camera and started taking pictures, blogging about what I was experiencing, and I tapped into all the creative energy lying dormant inside me." When her husband gave her a guitar, she began spending her days on the porch of their farm learning how to connect her first chords. From there, the songs began pouring out and she knew she had to find a way to get to Nashville and write songs professionally.


    Wilson, raised in Brooklyn, was in love with music from her earliest days. She was singing before she could talk, and was 5 when her mother recognized her passion for music. "I would cry because I couldn't hit the high notes in Whitney Houston and Mariah Carey songs," she says. Influenced by greats from Aretha and Smokey Robinson to Lauryn Hill, Mary J. Blige and The Notorious B.I.G., she began auditioning in the highly competitive New York entertainment scene and was working professionally in musical theater by the age of 10. Her mother took her to nightclubs where she experienced a variety of live performances. She attended New York's top performing arts schools, including La Guardia High School, the "Fame" school, where she discovered her love for gospel music and took part in the gospel chorus for four years. She worked at Cafe Wha? in Greenwich Village, making $500 a weekend while still in high school.


    She sang backup for Alicia Keys in her teens, then worked four years with John Legend, and through him with legends like will.i.am, Kanye West, Raphael Saadiq and Babyface. Legend mentored her in songwriting and recording before she began writing songs on her own for American Idol winner Fantasia Barrino and others. Inspired by her evolving love of songwriting, she too moved to Nashville, looking for a wider creative palette. There, while meeting with then-BMI executive Clay Bradley, her eye settled on a photograph of "a rundown juke joint piano" in his office.


    "I want to meet whoever took that photo," she said. The photographer was North-it had been taken during her creative awakening in Mississippi-and the subsequent meeting led quickly to collaboration and an epic friendship.


    "The first day we wrote together," says North, "there wasn't much thought that we were blending genres and worlds. That never came up. It was just natural. She had never written a country song and I was writing them every day. We sat down to write one but when we listened back it was a country R&B song. And we decided to become songwriting partners." Before long, they had their first cut as collaborators, and they were off and running.


    "The spirit of the Muddy Magnolias existed from the moment we met," says Wilson, "but we didn't know we were the Muddy Magnolias yet." North was toying with the idea of a solo career; Wilson had aspirations of making history as an African-American female songwriter in Nashville. Their new friendship was a game-changer.


    "We spent a whole year writing, trying to understand what our message was when we combined our stories," says Wilson. Then one day over afternoon wine at Burger Up, their favorite hangout in the 12 South section of Nashville, both admitted to be being at a crossroads. "The next thing you know," says North, "Jessy said, 'What if we made a record together?' It was like all of our dreams in one."


    "We went back to that same office on Music Row where I saw the photograph," says Wilson, "and sat down side by side in Clay's office and said, 'We've got something to tell you. We're going to make an album together.'" Bradley believed enough to sign on as their manager. They held three days of band auditions and found four best friends who had been playing together since college, primarily doing jazz. The fit was perfect, providing just the right sonic backdrop for their soulful approach and high-energy delivery.


    As they continued to write and perform, opening for the likes of The Zac Brown Band and Gary Clark, Jr., they put together a project that crosses genres effortlessly, showcasing two voices that soar together in a blending of cultures as electrifying as if Janis Joplin and Tina Turner, or Whitney Houston and Lee Ann Womack had joined forces.


    Broken People combines poetic imagery and vocal passion, with the musicianship and production of Motown or Muscle Shoals by way of the raw honesty of Sun Records. Of course it deals with love, longed for and unleashed, in songs like "I Need A Man," "Why Don't You Stay" and "Devil's Teeth," but the album soars as it reaches for bigger themes, dealing with the need for hope in "Take Me Home," for love on a societal scale in "Shine On" and "Brother What Happened," and hope for the future in "Got It Goin' On." With "Leave It To The Sky," the two, joined by John Legend on vocals and piano, make a powerful case for spiritual solutions, and few songs in the modern lexicon are as steeped in present-day reality as the gospel- and R&B-tinged title track.


    "Ultimately," says North, "this album is a result of an unlikely friendship and is a testament to what can happen when you diversify your relationships."


    "It's about getting out of your comfort zone and being rewarded with a great friendship," adds Wilson. "We've both felt the power of that."


    "Our path is so much better and our lives are so much richer because of it," says North, "and we want to bring people along on this journey."


    "We want to see what society would be like if we all reached out in ways we normally wouldn't," adds Wilson.


    And that is the magic and the message. The music of Muddy Magnolias, live and on record, comes from a place where the Mississippi meets the A-Train by way of Nashville. Whether yours is the back porch or the front stoop, Spanish moss or window box garden, dusty country lane or crowded subway car, rural honky-tonk or uptown club, this is music that beckons. Muddy Magnolias are collaboration without boundaries, musical healing in a landscape of the heart, and all of us who treasure creative energy, honest art and the possibilities of love and unity, are better for their arrival.

    1. Broken People
    2. Brother, What Happened?
    3. Got It Goin' On
    4. Why Don't You Stay
    5. Take Me Home
    6. Shine On!
    7. It Ain't Easy
    8. I Need A Man
    9. Devil's Teeth
    10. Train
    11. Leave It To The Sky (feat. John Legend)
    Muddy Magnolias
    $18.99
    Vinyl LP - Sealed Buy Now
  • Wall Of Sound (Awaiting Repress) Wall Of Sound (Awaiting Repress) Quick View

    $23.99
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    Wall Of Sound (Awaiting Repress)

    I thought WALL OF SOUND would be the toughest album I would ever make. I was so satisfied with my previous album, INFERNO, more than I have ever been in my whole career. Musically, sonically, and most importantly, I was satisfied with the melodies and soundscapes on a personal level. It was as if I finally found the key to something.

    Even as I was still working on INFERNO, I was thinking, how the hell am I ever going to top this next time? I was doomed.

    I started WALL OF SOUND with a daunting blank slate and somehow, ideas came out. Refined ideas, complex ideas, small and large scale ideas and plenty of them.

    It was as if the exhaustive process of putting INFERNO together strengthened a new creative muscle that I had never zoned in on before, so the first steps of writing WALL OF SOUND felt like a runner who runs a marathon after over-training for a long time. I was well warmed up.

    The guitar playing on the album also came quite easy, despite it being without question the most evolved guitar playing of my career. It's a challenge to evolve on one's instrument album after album, especially on your 13th solo album. Luckily this is a challenge that I love. You will find this hard to believe when you hear the density and sheer amount of guitar coming at you from all directions, but in fact, all of the final guitar tracks on WALL OF SOUND were done in 9 days.

    This furious and productive pace was made possible by over a year of making demo after demo and spending more time listening and living with the music rather than playing it. I had lived with the songs and edited them so incredibly many times, that by the time I got to the actual recording studio, it was like I had been playing the whole album on tour for a year already. I learned to do this from making INFERNO. This is why a lot of artists` debut albums are so strong - because they have had so much time to reflect on and fix the music, and also, more importantly, attach real life experiences to the songs. I feel like I have a debut album here.

    Guests:

    Jinxx from Black Veil Brides and I wanted to do something that would shock his fans and my fans. I arranged a monster of a tune called Sorrow & Madness based on a melody that Jinxx wrote on the violin. I took his sweet melody and added so many twists and turns that it became a mammoth of Martyisms in tandem with a large side of Jinxx that has yet to be heard by his fans. We are both very proud of what happened.

    I think Deafheaven is the one heavy band that comes to mind when people ask me to recommend something that`s not Japanese!, I was super excited to work with Shiv from Deafheaven. We wrote Pussy Ghost together and it is one of the most aggressive songs I have ever played, while at the same time evoking grotesquely beautiful moods that I have never felt before. One thing I learned from making INFERNO is that when you have a guest, let them come up with music first. Let it be their baby, so they are personally invested in the song. Then arrange it and do it my way, then add more things together. This gives you a final song that really sounds like both of the people put their heart and souls into the music, as opposed to one guy doing everything and the guest just blasting out a solo somewhere.

    Jorgen from Shining also guested on INFERNO and when we finished that song we immediately started talking about what we would do next. For those who don`t know Shining, they are like a steroided out and genius level musicianed out version of Nine Inch Nails for the 21st century, with a charismatic singer/composer (Jorgen) and a wicked sense of melody, that hits me in the gut on every song. (Just Gimme) Something To Fight is the one vocal track on the record and it kills. Even after finishing this song we have started working on more new things for who know what

    Having super engineer Paul Fig (Ghost, Alice in Chains, Rush), mixer Jens Bogren (Opeth, Lamb of God) and even the producer responsible for many of Queen's biggest hits and my idol Brian May's guitar sounds, Mack do the mixing on 2 of the songs on the album, is an honor for me for sure.

    1. Self Pollution
    2. Sorrow and Madness
    3. Streetlight
    4. Whiteworm
    5. For A Friend
    6. Pussy Ghost
    7. The Blackest Rose
    8. Something to Fight
    9. The Soldier
    10. Miracle
    11. The Last Lament
    Marty Friedman
    $23.99
    Vinyl LP - Sealed AWAITING REPRESS Buy Now
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