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  • My One And Only Thrill My One And Only Thrill Quick View

    $24.99
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    My One And Only Thrill

    The 23-year old Philadelphia singer/songwriter Melody Gardot's debut album Worrisome Heart introduced songs of quiet, wistful poetry with sophisticated after-hours arrangements. Yet the follow-up, My One And Only Thrill, marks a substantial leap forward. The album is an intensely creative milestone, transcending genre distinctions of jazz and blues to offer a haunting personal musical statement that will appeal to all music-lovers. As with her acclaimed live shows she captures and holds her audience in the palm of her hand. These eleven songs, covering a wide range of emotions, are all her own except for her irresistible, Brazilian take on Somewhere Over The Rainbow.
    1. Baby I'm A Fool

    2. If The Stars Were Mine

    3. Who Will Comfort Me

    4. Your Heart Is As Black As Night

    5. Lover Undercover

    6. Our Love Is Easy

    7. Les Etoiles

    8. The Rain

    9. My One And Only Thrill

    10. Deep Within The Corners Of My Mind

    11. Somewhere Over The Rainbow
    Melody Gardot
    $24.99
    Vinyl LP - Sealed Buy Now
  • Cheap Thrills Cheap Thrills Quick View

    $49.99
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    Cheap Thrills

    Ranked 338/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.


    Quintessential 1968 Record a Potent Mix of Psychedelia, Blues, Folk, and Rock: Janis Joplin Delivers Cathartic Vocal Performance on Major-Label Debut That Includes Powerhouse Piece of My Heart


    Mobile Fidelity 45RPM Vinyl Pressing Touts Superb Spaciousness, Punchiness, Dynamics, and Texture: Cheap Thrills Sounds As Close to Live as Music Gets and Features Robert Crumb Artwork


    In many facets, Big Brother and the Holding Company's Cheap Thrills is the quintessential album to spring from the outcome of the Summer of Love. Best known as Janis Joplin's major-label debut, the 1968 set arrived when the countercultural movement was in full swing and before co-optation, drugs, and violence signaled the fall of the era. Ranked #338 on Rolling Stone's 500 Greatest Albums of All Time, it puts a female singer in the prominent position traditionally given to a male and showcases a band pouring a potent cocktail of fiery psychedelic, blues, and folk sounds that informed the unfettered creativity of the San Francisco scene. Produced by John Simon, Cheap Thrills also features one of the most iconic and elaborate album covers in history. Now, thanks to Mobile Fidelity, the instantly identifiable effort also possesses sonics equivalent to its visual and musical status.


    Cut at 45RPM and pressed on dead-quiet vinyl at RTI, the iconic audiophile label's analog reissue intensifies the quintet's storied sophomore effort. Due to the wider grooves, this pressing benefits from increased spaciousness, punchiness, energy, pacing, and dynamics. Joplin's hurricane-force singing reverberates with texture, grittiness, and volume. An arresting array of instrumental colors and tones comes on with clearer separation and depth. While previous pressings find the band and Joplin's voice in competition with one another for room, both emerge as distinct entities. Always noted for its rawness, Cheap Thrills sounds as close to live as it gets, an unadulterated portrait of nervy rock n' roll delivered with exuberant enthusiasm and all-out determination. This is music at is most visceral.


    Having drawn national attention for their legendary performance at the Monterey International Pop Festival in 1967, Big Brother and Joplin faced huge expectations to deliver a studio set that would convey their onstage vibrancy and potency. Cheap Thrills does this and more, becoming one of 1968's most commercially successful releases that remained on the charts the week Joplin announced her separation from the ensemble. Contrary to popular belief, only one of the album's songs, Ball and Chain, was recorded live. Everything else owes to the unhinged, spirit-elevating performances and true collaboration between vocalist and band that manifests itself throughout the record's 37-minute-plus running time. Merging biker-babe ruggedness with wounded-bird poignancy, Joplin's expressive belting, mega-watt moaning, and sensitive crooning take center stage. Yet her bandmates match every step with explosive rhythms, heavy guitar-driven blues, and assertive solos that take inspiration from free-form jazz.


    Indeed, Cheap Thrills still exhilarates not only due to Joplin's almighty singing but because of boundary-shredding arrangements that reflect the period's anything-is-possible mindset. More so than any other musicians Joplin encountered, the members of Big Brother pushed limits on convention via soirees into acid-dipped psychedelia and its orbiting sonic galaxies. Together, they aim and achieve an aural mythos that makes a permanent connection between artist and audience by way of eliminating traditional divisions. Such communal power is evident on the mind-bending version of Big Mama Thornton's Ball and Chain and insistent, sinewy I Need a Man to Love. It's also obvious during quieter moments, whether the tripped-out, twisted, and curvaceous contours of George and Ira Gershwin's Summertime or restrained, throwback acoustic blues of Turtle Blues.


    Yes, Joplin presents - and rallies against - loneliness and desperation in a cathartic language few had heard before or since. What's even more significant is the fearlessness, toughness, synergy, and sexual danger pulsing through every song, including the take-on-all-comers challenge Piece of My Heart, which the collective attacks with career-making ferocity. Like Robert Crumb's daring pop-art illustrations that grace the cover, they simultaneously lure and dare the listener to enter a space where outsiders run free and where outlaws are heard above the mainstream din.


    This title is not eligible for discount.

    1. Combination of the Two
    2. I Need a Man to Love
    3. Summertime
    4. Piece of My Heart
    5. Turtle Blues
    6. Oh, Sweet Mary
    7. Ball and Chain
    Big Brother & The Holding Company feat. Janis Joplin
    $49.99
    180 Gram Audiophile Virgin Vinyl LP 45 RPM - 2 LPs Sealed Buy Now
  • My Midnight Things My Midnight Things Quick View

    $25.99
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    My Midnight Things

    Since 1983, the name Lizzy Borden has been synonymous with heavy metal music of the highest caliber. With My Midnight Things he has reaffirmed this standing, delivering the biggest, most dramatic, moving and cinematic record of his career, and one of the most essential additions to the genre in 2018. While showcasing a diverse range of sounds, tones and moods, it is unmistakably the work of the man who released a string of classic albums in the 1980s and two more in the 00s, but with a new fire burning at the heart of the record, it is one that he has lovingly crafted for those who scream along with every word at his shows. "On our last tour across Europe, Asia and South America, I noticed that the audience had changed," he states. "It got a lot younger. I looked out to see all these kids in every country singing at the top of their lungs to songs that were written before they were born, and that made me want to start writing some full-blown albums just for them. I wanted to make songs that would be theirs, albums that they could be a part of."


    Having not dropped a record since 2007's mighty Appointment With Death, fans have understandably champed at the bit waiting for new material. Though penning numerous songs throughout that period, when it became time to seriously focus upon writing an album, the multi-instrumentalist did what needed to be done to be sure of creating the best possible music. "I knew the only way I could find what I was looking for was to lock myself away and experiment, so that's what I did. I wrote and recorded in my studio in North Hollywood in a very industrial area all night every night, with only sirens from fire trucks and these songs to keep me company. It was a lonely time, but very fruitful. You might even hear some of those sirens in some of the songs if you listen closely." Starting with between forty and fifty songs, he steadily whittled these down to fifteen, and finally to the ten that made the record, only wanting the very best to make the cut. As with all of his albums, once Borden hones in on a core subject matter he builds the album around it, and in the case of My Midnight Things, the theme is that of love. However, adopting a different approach to writing than usual, rather than starting with music, he instead focused on the lyrics, and penned the music later to best serve the stories being told, wanting every song to stand up on its own while keeping the storyline of the record moving forward. "I just let the lyrics drive the mood and the way I would sing each song, but overall I kept it varied and engaging enough so that listeners will want to devour the whole album in one sitting, without you hearing me repeat myself."


    The diversity of the record makes it abundantly clear that he succeeded, and it makes for a thrilling ride from start to finish. Opening with the titanic stomp of the title track, the cinematic feel kicks off from the start, a serpentine seductiveness coiling through it, and the likes of "A Stranger To Love" and the bruising "Our Love Is God" inhabit similarly dark territory. The more stripped down, haunting strains of the reprise of the title track - which was in fact the first version penned - is achingly frail, and then counterpointing all of the record's darker and more brooding moments are the upbeat "Long May They Haunt Us", the hugely anthemic and uplifting closer "We Belong In The Shadows", and the frankly glorious "Run Away With Me". While the title of the album "means many different things" to Borden, he chooses not to disclose these, allowing listeners to find their own meaning in it, which is something important to him. In terms of the record's central theme, he acknowledges that while "love" seems somewhat obvious, he tried to find a way to see it through a different lens. "Sometimes being in love is the worst thing that can happen to you if you're with the wrong person and you can't stop it, and sometimes it's the best thing in the world. I knew I could find things in between every other song that's been written about it. So that was the challenge. But, even though I write with a theme in mind and with different personalities singing each song, I never write in storyboard form. I always try to write in poetry form. I think you can search for more meaning that way, from one line to the next there can be multiple meanings, as opposed to being trapped telling a story."


    Having signed a new contract with Metal Blade on the strength of three demo tracks, Borden opted to produce My Midnight Things himself, with Joey Scott as co-producer, who also handled all the drumming duties. Having an old school approach to his drumming, feeding off the vocals, lyrics and melody rather than just acting as a time keeper, he was perfectly suited to Borden's approach to the record, which also applied to his role as co-producer. "I knew what I was going for and had doubts that I could find a producer who would understand that. My approach is very different than what is happening in today's music, but Joey got that and wanted the same thing." With Marliese Quance Mildenberger handling the majority of the keyboards, her unique melancholy playing style added even more "emotion and dimension" to each song, while Borden himself handled all of the bass, guitars, some keys and all of the vocal parts. Anyone exposed to My Midnight Things will find it hard to deny that like all of his records, it is a true vocal tour de force, each track endowed with a phenomenal amount of layering to create something that is uniquely Lizzy Borden. "The style that I record vocals harkens back to The Beatles and Queen. It's time consuming and tedious, but the result gives you a more multi-dimensional feel than you would get with a single vocal. When I recorded 'Master Of Disguise' (1989), I was clocked in at a seven-octave vocal range between all the backing and lead vocals. It gave the feel of multiple personalities within my voice, and I've used that technique on the last four albums."


    That every song on the record could be released as a single is testament to just how strong this collection is. While truly a record for his fans, its appeal will easily reach much further, and Borden is as eager to get back on stage as his devout followers who cannot wait to see him back up there. "I've already started working on the 'My Midnight Things' Show, and I really can't wait to play these songs live. There are so many talented players out there in the world, I know I will find the right guys or girls to be on stage with me in my touring band, and just based on what is being talked about, so far it will be the best show I've ever done. I really do feel a new excitement that I have not felt in years. The best is yet to come."

    Tracklist coming soon!
    Lizzy Borden
    $25.99
    Vinyl LP - Sealed Buy Now
  • Currency Of Man Currency Of Man Quick View

    $41.99
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    Currency Of Man


    2016 Grammy Nominee


    Import


    International best-selling singer, songwriter and musician, Melody Gardot, is back with her 4th studio album, Currency of Man .The highly-anticipated Currency of Man is an intensely creative milestone, transcending musical distinctions of jazz, blues and R&B, to offer a stirring social and musical statement. On the new album, Melody joins forces again with Grammy Award-winning producer Larry Klein (their last collaboration, 2009 s My One and Only Thrill , sell over 1.5 million copies).

    LP 1
    1. Don't Misunderstand
    2. Don't Talk
    3. It Gonna Come
    4. Bad News
    5. She Don't Know
    6. Palmas Da Rua
    7. Same To You
    8. No Man's Prize
    9. March For Mingus


    LP 2
    1. Preacherman
    2. Morning Sun
    3. If I Ever Recall Your Face
    4. Once I Was Loved
    5. After The Rain
    6. Burying My Troubles

    Melody Gardot
    $41.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Melody Gardot: Live In Europe (Awaiting Repress) Melody Gardot: Live In Europe (Awaiting Repress) Quick View

    $52.99
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    Melody Gardot: Live In Europe (Awaiting Repress)

    After several albums Melody Gardot is celebrating the international tour success of her career so far by bringing us
    her first ever album of live recorded music. "Live In Europe" presents live versions of her greatest hits recorded at
    concerts worldwide between 2012 & 2016. An album personally curated by Melody herself, hits include Baby I'm A
    Fool, My One and Only Thrill, Les Etoiles & March For Mingus.
    LP 1
    1. Our Love Is Easy - Live in Paris
    2. Baby I'm A Fool - Live in Vienna
    3. The Rain - Live in Bergen
    4. Deep Within The Corners Of My Mind - Live in Amsterdam
    5. So Long - Live in Frankfurt
    6. My One and Only Thrill - Live in Barcelona


    LP 2
    1. Lisboa - Live in Lisbon
    2. Over The Rainbow - Live in Zurich
    3. Monologue) Special Spot - Live in London
    4. Baby I'm A Fool - Live in London
    5. Les Etoiles - Live in London
    6. Goodbye - Live in Utrecht
    7. March For Mingus - Live in Utrecht
    8. Bad News - Live in Utrecht


    LP 3
    1. Who Will Comfort Me - Live in Amsterdam
    2. Morning Sun - Live in Paris

    Melody Gardot
    $52.99
    Vinyl LP - 3 LPs Sealed AWAITING REPRESS Buy Now
  • This Is Chris (Pure Pleasure) This Is Chris (Pure Pleasure) Quick View

    $34.99
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    This Is Chris (Pure Pleasure)

    During 1953-1955, singer Chris Connor recorded regularly for Bethlehem. This LP has her final recordings for the label (before moving to Atlantic) with such fine sidemen as Herbie Mann (doubling on flute and tenor), pianist Ralph Sharon, guitarist Joe Puma, bassist Milt Hinton, and drummer Osie Johnson. The two-trombone team of J.J. Johnson and Kai Winding (which had recently become very popular) is prominent on four of the ten selections. Connor's cool tone, subtle, emotional delivery and haunting voice were perfect for the music of the 1950s. Highlights of this superior set include The Thrill Is Gone, Blame It On My Youth, and I Concentrate On You, but all ten numbers are rewarding.



    Musicians:



    • Chris Connor (vocal)

    • J. J. Johnson, Kai Winding (trombone)

    • Herbie Mann (flute, tenor saxophone)

    • Joe Puma (guitar)

    • Ralph Sharon (piano)

    • Milt Hinton (bass)

    • Osie Johnson (drums)




    Recording: April 1955 in New York City by Tom Dowd

    Production: Creed Taylor




    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. Blame It On My Youth
    2. It's All Right With Me
    3. Someone To Watch Over Me
    4. Trouble Is A Man
    5. All This And Heaven Too
    6. The Thrill Is Gone
    7. I Concentrate On You
    8. All Dressed Up With A Broken Heart
    9. From This Moment On
    10. Ridin' High
    Chris Connor
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Nobody But Me Nobody But Me Quick View

    $19.99
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    Nobody But Me

    Michael Buble's new album Nobody But Me is scheduled to be released via Warner Bros / Reprise Records. Nobody But Me is the multi-Grammy, multi-platinum award winning singer's first album in three years and is his 9th studio album. It follows the critically acclaimed To Be Loved album, which was his fourth album to reach No. 1 on Billboard's Top 200 Charts.


    The exciting new collection of original pop tunes and beautiful standards highlight Buble's talent as a profound interpreter of the American songbook as well as his gifted songwriting and producing style.


    Nobody But Me was recorded in Los Angeles and Vancouver and includes three new Buble' penned originals along with breathtaking reinventions of classics including "My Baby Just Cares For Me," "The Very Thought of You," Brian Wilson's "God Only Knows" and the Johnny Mercer classic "I Wanna Be Around". Guest artists on the album are Meghan Trainor and Black Thought (of The Roots). The new album is co-produced by Buble along with Johan Carlsson for MXM Productions, Alan Chang, Jason "Spicy G" Goldman, The Monsters and Strangerz.


    "I don't know that I've ever had this much fun working on an album. It was especially thrilling to collaborate with my band who understand that I want to sound better than I've ever sounded. I'm also very proud of the new songs. Having the opportunity to co-produce was a joy for me personally," commented Buble.

    1. I Believe In You

    2. My Kind Of Girl

    3. Nobody But Me (feat. Black Thought)
    4. On An Evening In Roma (Sotter Celo de Roma)
    5. Today Is Yesterday's Tomorrow
    6. The Very Thought Of You
    7. I Wanna Be Around
    8. Someday (feat. Meghan Trainor)
    9. My Baby Just Cares For Me
    10. God Only Knows
    Michael Buble
    $19.99
    Vinyl LP - Sealed Buy Now
  • River Of Dreams (Awaiting Repress) River Of Dreams (Awaiting Repress) Quick View

    $29.99
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    River Of Dreams (Awaiting Repress)


    The Billy Joel/Friday Music 180 Gram Audiophile Vinyl Continues!


    First Time 180 Gram Audiophile Vinyl & Gatefold Cover Presentation


    Featuring: Danny Kortchmar, Leslie West, Will Downing, Ira Newborn, Liberty Devitto, Richie Cannata


    Mastered By Joe Reagoso At Friday Music And Capitol Mastering, Hollywood, Ca. Manufactured At R.T.I.


    Billy Joel's last studio album River of Dreams wound up becoming one of his most successful albums
    of his amazing career. Released in 1993, he was at the top of the charts with a number one album and
    a number one single with The River of Dreams. The Doo-Wop influenced pop record thrilled audiences
    worldwide as he toured all over the world promoting the great album that it was.


    Two decades later, these tunes still resonate with his fans as Billy Joel is currently embarking on
    a very successful concert tour, and Friday Music is proud to be a part of the celebration with one of his
    greatest achievements River of Dreams.


    As another installment in our exclusive Billy Joel/Friday Music 180 Gram Audiophile Vinyl Series, this
    impeccably mastered first time audiophile LP features some of his greatest songs like the brilliant album
    opener No Man's Land, the R&B infused All About Soul, the hard rock nod to Cream with Shades of Grey
    and the stellar album closer Famous Last Words.


    The masterwork contains even more of his most loved classics like the stunning ballad Lullabye
    (Goodnight, My Angel) and the acid rock tinged flavor of The Great Wall of China.


    Impeccably mastered by Joe Reagoso at Friday Music Studios and Capitol Mastering in Hollywood,
    Billy Joel's River of Dreams will be one of the most definitive classic rock releases in the audiophile vinyl
    domain in some time.


    For a very limited time, we are also enhancing your listening enjoyment with a first time gatefold
    cover artwork presentation, which features the first time LP sized cover art, as well as lyrics to all of these
    great Billy Joel songs, making this a keepsake for years to come.


    Billy Joel River of Dreams Celebrate 2 Decades of the voice, the songs, the musicianship and the
    memories 1st Time Audiophile Vinyl An exclusive Only from your friends at Friday Music.


    In the middle of the night

    1. No Man's Land
    2. The Great Wall of China
    3. Blonde Over Blue
    4. A Minor Variation
    5. Shades of Grey
    6. All About Soul
    7. Lullabye (Goodnight, My Angel)
    8. The River of Dreams
    9. Two Thousand Years
    10. Famous Last Words
    Billy Joel
    $29.99
    180 Gram Audiophile Virgin Vinyl LP AWAITING REPRESS Buy Now
  • Hey Stoopid Hey Stoopid Quick View

    $29.99
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    Hey Stoopid


    The Alice Cooper/Friday Music 180 Gram Audiophile Vinyl Series Continues!


    Mastered Impeccably By Joe Reagoso


    Featured Artists: Slash, Steve Vai, Joe Satriani, Ozzy Osbourne, Nikki Sixx & Mick Mars


    Manufactured At R.T.I.


    First Time 180 Gram Audiophile Vinyl & Gatefold Cover Presentation!


    After an amazing string of gold and platinum albums and
    singles throughout the seventies into the eighties, the legendary Alice
    Cooper returned with a vengeance and hit the rock charts again with
    his amazing 1991 hit album Hey Stoopid. This hard rock masterpiece
    featured some of the superstar acts' biggest songs ever and has gone
    on to become one of his most revered albums.


    Teaming up again with mega-hit producer Desmond Child, Alice Cooper truly recorded some of the finest hard
    rock ever for this stellar collection. Featuring hard rock smashes like
    the killer title track Hey Stoopid, Feed My Frankenstein, and Love's A
    Loaded Gun, it is easy to see why this album continues to be one of
    his most enduring favorites with his worldwide fan base.


    A star studded effort, Alice Cooper's Hey Stoopid enlisted some
    of the heaviest songwriting collaborators and rock icons of all time
    including his friends Ozzy Osbourne, Joe Satriani, Steve Vai, Motley
    Crue's Nikki Sixx and Mick Mars and Slash.


    Even more stellar cuts abound like Might As Well Be On Mars,
    Hurricane Years and Dangerous Tonight make this album one of his
    most thrilling ventures in his huge arsenal of classic rock albums. Due
    to the popularity of the compact disc during its original release, it was
    a true rarity to even find a Lp of this amazing work that is until now.


    Friday Music is very proud to offer another exciting installment
    in our Alice Cooper 180 Gram Audiophile Vinyl Series with his
    classic 1991 smash album Hey Stoopid. Impeccably mastered by Joe
    Reagoso (Alice Cooper/David Bowie/Deep Purple) at Friday Music
    Studios and pressed at R.T.I., , this Anniversary limited edition first
    time 180 Gram LP is also presented in a first time collectable deluxe
    gatefold cover with the original 1991 rare inner sleeve lyrics not seen
    in years. We believe this is the definitive sounding version of this
    monumental collection and will be one of the more anticipated hard
    rock audiophile releases of 2014.


    Let's now celebrate Alice Cooper's Hey Stoopid .Limited
    Anniversary Edition First Time 180 Gram Vinyl Only From Your
    Friends at Friday Music

    1. Hey Stoopid
    2. Love's A Loaded Gun
    3. Snakebite
    4- Burning Our Bed
    5. Dangerous Tonight
    6. Might As Well Be On Mars
    7. Feed My Frankenstein
    8. Hurricane Years
    9. Little By Little
    10. Die For You
    11. Dirty Dreams
    12. Wind-Up Toy
    Alice Cooper
    $29.99
    180 Gram Audiophile Virgin Vinyl LP Buy Now
  • Sky Swimming Sky Swimming Quick View

    $17.99
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    Sky Swimming

    Amelia Rivas and Christian Pinchbeck don't just sing about feverish, frayed and fractured romances - in the three years since forming elephant, they've been living one.


    It's fitting that sky swimming, their debut full length release is a seductive, night time delight of an album. After all, it was in the twilight hours of a may morning three years ago that Pontefract native Amelia Rivas and Bristolian Christian Pinchbeck met at a house party and in alcohol-soaked all-nighter sessions that sky swimming was written.


    A fibrous collection of songs about relationships - their own included, which broke down during the making of the album - hazy memories, twisted dreams, the metaphysical bleeding in to the physical - sky swimming - all trilling keyboards, swooping melodies, broken hip hop beats, looped strings and Amelia's uniquely curvy vocals - that makes you want to clamp your headphones tighter on your ears, letting you swim in its every detail and emotion. Influenced by everything from Toro y Moi to composer Angelo Badalamenti, everything but the girl to rap originators arrested development and Joe Meek's productions, it's an intensely varied listen.


    "the first time we worked together, I went round to his house in Peckham and didn't leave for 3 days. I barely knew him," Amelia remembers. "She turned up with some £10 casio she bought from a charity shop in France and the whole demo EP was made on that," recalls Christian. Elephant have grown beyond their lo-fi roots since then, with Andy Dragazis being drafted in on co-production duties, while retaining the emotional rawness of those early songs. Tracks vary from psyche-delving ballads about growing up - torn tongues and skyscraper ("I want to understand what's wrong with my brain," Rivas laughs), to the thrilling pop of elusive youth, a eulogy to a friend who "wears a city crown", to the everyday trials of being young and poor in London (see ants about Amelia's crumbling tooting bedsit and TV dinner, a paean to rubbish telly and cheap booze) and the heartbreaking title track sky swimming written in the eye storm of their relationship meltdown with the refrain "do your eyes turn blue before you cry, I see the blue in you".


    With winning appearances at Primavera and Eurosonic festivals behind them, not to mention support slots with cult hero Matthew E. White, under their belts, Elephant have in Sky Swimming one of the year's most seductive sounds. . "I flew to the moon to mirror you" sings Amelia on album closer Shapeshifter, with the sort raw melancholy that could only be cribbed from a blue valentine romance. "I saw the future." It should be a very bright future ahead for Elephant indeed.

    1. Assembly
    2. Skyscraper
    3. Allured
    4. Ants
    5. Elusive Youth
    6. Shipwrecked
    7. Torn Tongues
    8. Come To Me
    9. TV Dinner
    10. Sky Swimming
    11. Golden
    12. Shapeshifter
    Elephant
    $17.99
    Vinyl LP - Sealed Buy Now
  • Learning To Crawl Learning To Crawl Quick View

    $34.99
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    Learning To Crawl

    What is the sound of a fledgling band dealing with multiple tragedies, coming to terms with drastic changes, digging deep into its consciousness, finding resolution in hurt, and overcoming staggering odds to record a bonafide masterwork? It's the sound of every note that graces the Pretenders' Learning to Crawl. Still recognized as one of the most emotionally gripping and musically gutsy performances ever made, the smash 1984 album hasn't aged a day. And now, it sounds better than could ever be imagined.



    Half-speed mastered from the original master tapes, Learning to Crawl finally possesses the combination of whisper-in-your-ear intimacy and nerve-checking toughness that it's always demanded on Mobile Fidelity's super-quiet analog LP. Leader Chrissie Hynde's voice is made viscerally apparent, wavering between vigorous determination and solemn reflection, while drummer Martin Chamber's punchy backbeats register with requisite punch. To say nothing of how fresh the effort's hit singles (Middle of the Road, Back on the Chain Gang) and incredible deep cuts sound.



    The story behind Learning to Crawl is directly connected to the powerful, moving music within. After releasing two records that swept the world by storm (Pretenders and Pretenders II, the latter available on hybrid SACD from Mobile Fidelity), the group's fortunes reversed after guitarist James Honeyman-Scott was found dead of a drug overdose in 1982. Shortly thereafter, founding member Pete Fardon, fired just two days before his partner's death, also succumbed to an overdose, leaving the band's state in tatters. Would there still be a Pretenders?



    Hynde answers this question with a resounding yes on Learning to Crawl, which still contains signs of the band's early, street-wise rawness but also adds new wrinkles, with more streamlined melodies, sensitive ballads, and reflective tones. Back on the Chain Gang, the Pretenders' most commercially successful hit, functioned as a bittersweet tribute to her ex-mates while the Christmas-themed 2000 Miles holds rank as one of the most effecting, penetrating love songs of Hynde's career. Throughout the record, the Pretenders are again one.



    New guitarist Robbie McIntosh supplies simpler, bluesier, basic guitar lines and the foursome know how to all-out rock, with the furious Middle of the Road and socially conscious My City Was Gone testifying to a stinging, thrilling sensibility that can exist only because of the devastation that the band survived. Call it the rise of the phoenix or triumph of the human will, but any way you see it, Learning to Crawl occupies a rare territory--akin to the space referred to on the superb cover of Thin Line Between Love and Hate--that registers in the pits of the human soul.



    Whether you've grown up with this album, heard it in college, or are just learning about it now, Mobile Fidelity's expertly mastered 180g LP version is the only analog edition worth owning. Hear Hynde and Co.'s cathartic, transcendent effort in all its full splendor, and, like the Pretenders, refuse to settle for less.


    This title is not eligible for discount.

    1. Middle of the Road
    2. Back on the Chain Gang
    3. Time the Avenger
    4. Watching the Clothes
    5. Show Me
    6. Thumbelina
    7. My City Was Gone
    8. Thin Line Between Love and Hate
    9. I Hurt You
    10. 2000 Miles
    Pretenders
    $34.99
    180 Gram Audiophile Virgin Vinyl LP Buy Now
  • Four & More Four & More Quick View

    $34.99
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    Four & More

    Exhilarating and Immediate: Live Set Documents One of Davis Final Excursions With a Program of Standards


    Hear the Interior of Philharmonic Hall at New Yorks Lincoln Center Come Alive: Mobile Fidelitys Fastidious Reissue Illuminates Venue Acoustics, Musicians Phrasings


    Whirlwind Uptempo Pace Prodded by Tenor Saxophonist George Coleman and Drummer Tony Williams


    Sketches of Spain, Kind of Blue, Milestones, Round About Midnight, and In a Silent Way Also Available from Mobile Fidelity


    Given his gargantuan recorded output, Miles Davis seldom abandoned a conceptual vision in the studio, particularly after the turn of the 1960s. Which makes a live document such as Four & More all the more valuable for the manner in which it portrays the legendary trumpeter removed from thematic demands and interior confines, and instead letting loose onstage with a program of stellar material that hed soon abandon in favor of experimentalism.


    Part of Mobile Fidelitys Miles Davis catalog restoration series, Four & More engages with electrifying speed and palpable punch, the effort now claiming vastly improved imaging, deeper soundstaging, and startling clarity. Half-speed mastered from the original master tapes and pressed at RTI, this unsurpassed analog edition teems with the urgency demonstrated by Davis and his band notes flooding the listener with an attack only possible from sound featuring full frequency extension, tremendous spacing, and you-are-there immediacy.


    Recorded on February 12, 1964 in Philharmonic Hall at New Yorks Lincoln Center, Four & More bookends My Funny Valentine. Whereas the latter spotlights ballads, this thrilling souvenir is all about quick tempos, rushing solos, left-hook rhythms, and hard-bop grooves. Drawing largely on mid- and late-1950s material, Davis accompanied by bassist Ron Carter, drummer Tony Williams, saxophonist George Coleman, and pianist Herbie Hancock approaches standards such as So What, Seven Steps to Heaven, and Four with biting tenacity and furious passion, the individual themes racing by as the collective barges in to take rapid, punctuation-asserting solos.


    Few, if any, live Davis performances match the hurricane-generating intensity and dynamic aggressiveness captured here. One reason for the vigor? Davis waived he and his musicians fees for the concert, taking place under the auspices of a political benefit, a decision that angered some of his sidemen. Whatever the cause, Hancock swings, Coleman flexes muscles, Carter bows instructive passages, and the 19-year-old phenom Williams throws down with breathtaking agility. Amidst the melodic tangents and galloping exchanges, the quintet retains gripping control, with eight-bar dialogues between the instrumentalists and positive vamps supplying cues and endings.


    At last, these historic recordings are afforded the breathing room and acoustic perspective they've always deserved. For listeners that may be unfamiliar with this title, prepare to be blown away literally and figuratively. Aficionados know what to expect on the music front, but Mobile Fidelitys 180g LP reissue ratchets up the thrills by several levels. Don't miss this gem.


    This title is not eligible for discount.

    1. So What
    2. Walkin
    3. Joshua
    4. Go-Go
    5. Four
    6. Seven Steps to Heaven
    7. There Is No Greater Love
    8. Go-Go
    Miles Davis
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Visuals Visuals Quick View

    $23.99
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    Visuals

    Mew frontman Jonas Bjerre has worked on the projections for the band's live shows since their early days. Usually, the Danish trio finish an album and Bjerre gets to work on the visuals. For their seventh record, though, the singer decided to turn things upside down, working on the visuals first and seeing if they informed the music. The resultant record feels like a culmination for one of rock's most ambitious and inventive groups: Visuals is where Bjerre and his bandmates, bassist Johan Wohlert and drummer Silas Utke Graae Jørgensen, join the dots of a career that has spanned over two decades. "We do everything on this album ourselves," says Bjerre. "We produced it ourselves, I did the artwork, I'm doing the visuals. Visuals felt like a fitting title. I like the idea that each song has a visual aspect to it somehow."


    Mew have a tradition of, as Bjerre puts it, hiding away in a cave for three or four years between albums. The tour that accompanied 2015's +- album found the band reaching a creative peak that they felt was too exhilarating to be dampened by a period of extended cave-dwelling. They arrived home with demos that had been written on the road and the spark was lit. They wanted to break the cycle and make an album quickly. "We just felt like, "if we do it the normal way, it's gonna be another three or four years before we get to do it again'," says Bjerre. "If you keep doing it like that, ultimately you make a handful of albums and then you're ready for retirement." The trio wanted to make an album spontaneously, keeping the energy they'd generated on the road going.


    They set to work in Copenhagen and started knocking the demos they'd written on tourbuses and in hotel rooms into shape. At the same time, new songs were emerging in reaction to what was going on around them. Mew aren't a political band but couldn't help but be affected by rolling news and the death of an icon. "It was pretty dark last year, so some of the darkness in the lyrics comes from that. You definitely get the feeling that things don't last forever when someone like David Bowie dies." Visuals was completed in just under a year - what Bjerre describes as an "incredible" feat for a band used to periods of prolonged tinkering. "Spending less time on it, you can still maintain the feeling you had when you first wrote it," says Bjerre.


    Bjerre doesn't know where Mew songs come from. He finds it hard to pin down his lyrics, his melodies, himself. It's what makes his band so special, that thrill that songs could go anywhere, that understated verses could suddenly rocket skyward, anthemic choruses could implode into beautiful soundscapes or sophisticated grooves could be crushed like a tincan. "I don't consciously know why the songs come out the way they do," says Bjerre. "It's a lot of trial and error for us. Even though a song is on an album, it keeps growing because we get to go out and perform it for an audience. I like the thought it can keep growing. It's never really finished."


    Visuals is Mew at their most compact, their chemistry at its most potent. With only one song over five minutes, it's their most concise album. Bjerre says there was no need for a grand, overarching concept. Each song on Visuals represents its own little chapter and story: nothing needed to be overly long. "Each album is like a collection of thoughts and ideas that fit the time we're in," he says. "They're like little diary entries, except they're a little bit more veiled perhaps. To me, albums are memories of times in my life."


    The song that led the way was the slow-building euphoria of Nothingness And No Regrets. Bjerre says that Mew lyrics often have two or three different meanings, and the opener is a reflection on life and death at the same time as "imagining this team of people trying to accomplish something and ultimately failing." The expansive 80s-style pop of The Wake Of Your Life is about legacy and what's left after you've gone. "These are things you think about more and more the older you get." It started out as a synth-pop track with lots of programming before taking on a different shape when the band added guitars over the top. "We try to change the method of how we reach the destination all the time cos if you do things the same way all the time, the results will often be very similar," says Bjerre.


    The discordant stomp of Candy Pieces All Smeared Out came about after Bjerre went back over some demos he'd made as a youngster on an Omega 500. "Some of them were interesting sonically so I kept some of the programming. We built the song on top of this really weird 8-bit computer track." The song sums up the emotional to and fro and ca

    ptivating contrariness at the heart of Visuals: it's an album that's both nostalgic and contemporary, that looks back whilst marching forward.

    The blissful glide of In A Better Place is a prime example of the impulsive environment that the songs were written in, a drumbeat by Jorgensen inspiring Bjerre to write a song immediately, whilst the atmospheric rock of Ay Ay Ay was based around a choir part that Bjerre had come up with a few years ago. All of the vocal parts were recorded in the booth that Bjerre had constructed in his apartment in Copenhagen. "I like waking up in the middle of the night and feeling inspired by something and being able to go in my booth and just sing it," he says.


    Bjerre says that the celebratory groove of Learn Our Crystals "is one of our weirdest songs." Poppy and fantastical, it had a familiar feeling to the singer as soon as he wrote it. The soulful sway of Shoulders has an R'n'B feel to it, whilst Bjerre had earmarked the mesmerising intricacy Carry Me To Safety as the album's closer as soon as it'd been written. "I just like how it twists and turns," he says. "It's a reflection on life and being in a band, what it means to be in a band, dedicating so many years of your life to this thing."


    Twenty years into their career, Mew have the irrepressible ebullience of a band on their debut album. Visuals feels like the beginning of a new chapter. "Mew is what I always come back to, it's a companion to my life. It's always been there, as long as I can remember. It's a big part of the footprint that we'll leave behind," says Bjerre. Mew march on: this is the sound of a band seizing the moment.

    1. Nothingness and No Regrets
    2. The Wake of Your Life
    3. Candy Pieces All Smeared Out
    4. In a Better Place
    5. Ay Ay Ay
    6. Learn Our Crystals
    7. Twist Quest
    8. Shoulders
    9. Videos
    10. Zanzibar
    11. Carry Me to Safety
    Mew
    $23.99
    Vinyl LP - Sealed Buy Now
  • Etta James (Pure Pleasure) Etta James (Pure Pleasure) Quick View

    $34.99
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    x

    Etta James (Pure Pleasure)

    Etta James, one of the most fabulous and respected figures in the history of R&B music. Here are some of Miss Peaches' legendary pre-Chess recordings including the first session, cut on Thanksgiving Eve 1954, when she was just 16, which yielded "Roll With Me, Henry".



    "Jean Mitchell and her sister Abbysinia came from New Orleans and were Creole-looking people," wrote our subject in her autobiography. " Jean was my age; Abbye was eight or nine years older. Jean and I started singing together. Soon Abbye joined in and, just like that, we became the Creolettes. We were project girls imitating the young rhythm and blues of the time. Mainly, though, we were intrigued with vocal harmony. We developed a tight three-way blend, imitating groups like the Spaniels, the Swallows, the Chords and the Spiders. One afternoon the Creolettes were singing at a record hop when who should show up but Hank Ballard and his superfine Midnighters. We were thrilled. When they heard us sing, they said something encouraging and, man, that's all we needed to hear. When they sang Work With Me, Annie, the place went wild. Next day the song was still on my mind. Answer songs were big back then, and then it occurred to me - why not answer Hank's hit? I liked doing spunky shit. So I wrote Roll With Me, Henry, a pushy little jiveass reply."



    That blockbuster initiation was produced by the fabled Johnny Otis, the hipster also responsible for renaming Ms H and her gal pals Etta James and the Peaches: "The Peaches were pissed because I was getting the glory, but I was even more pissed than the Peaches because Georgia Gibbs came out with her Suzy Creamcheese version. I was happy to have any success, but I was enraged to see Her Nibbs singing the song on the Ed Sullivan Show while I was singing it in some funky dive in Watts." Providing the voice of "Henry" on Etta's original was Richard Berry, who went on to sing on and write many other songs for her, some of which, like Good Rockin' Daddy, also feature back-ups by those fabulous chicks, the Dreamers.



    Not only has Etta James made some wonderful records in her illustrious career , she has also authored the brilliant autobiography Rage To Survive, from which all of the above quotations are borrowed.



    Musicians:



    • Etta James (vocal) & band



    Recorded 1954 - 56, Los Angeles



    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. Good Rockin' Daddy
    2. Hey Henry
    3. Strange Things
    4. That's All
    5. I'm A Fool
    6. Dance With Me Henry
    7. Do Something Crazy
    8. Women
    9. My One And Only
    10. I Hope Your Satisfied
    Etta James
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Some Girls Some Girls Quick View

    $24.99
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    Some Girls

    Ranked 269/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.


    Stones' Classic Remastered on 180 gram LP


    Universal Music Group and The Rolling Stones present the remastered version of their groundbreaking 1978 album, Some Girls, which introduced the band to a whole new generation of fans. Justly considered one of the finest works by Mick Jagger, Keith Richards, Charlie Watts, Bill Wyman and Ronnie Wood, Some Girls topped the US charts over three decades ago and remains the best selling album of their storied career.


    Some Girls is the Rolling Stones' most direct and diverse collection of material from Mick Jagger's irresistible falsetto on the four-on-the-floor filler Miss You, their eighth U.S. #1, to the country-flavored Far Away Eyes via the Chuck Berry meets punk snarl of Respectable. And let's not forget the sensuous, Beast of Burden, one of Keith Richards' finest tunes, which reached #8 on the U.S. singles chart, the garage rocker Shattered, the albums' third U.S. Top 40 entry, and the soulful swagger of the group's version of The Temptations' Just My Imagination, another timeless offering in their canon of classic Stones Motown covers.


    Following the critical praise and commercial success afforded the re-mastered, expanded editions of Exile On Main Street, which matched the chart performance of the epochal 1972 album, and returned the Rolling Stones to their rightful place at the top of the British charts in 2010, the extensive reissue of Some Girls constitutes the next step in the band's ongoing relationship with Universal Music Group.


    Some Girls holds a special place in the history of the Rolling Stones and demonstrates why they remain one of the most thrilling and influential bands of all time. The 1978 album features the Keith Richards' classic Before They Make Me Run, a signature song he still performs defiantly to this day. Some Girls documented Mick Jagger's love of 1970's funk reflected in Miss You, the dance track that wrong footed many people, made the club and black charts, and made it okay for other mainstream acts at the time to 'go disco'.


    The 1978 album also courted controversy because of Jagger's tongue-in-cheek lyrics on the title track, on Miss You and on Respectable, perceived as a retort to the punk and new wave groups who had borrowed so much attitude and copped so many anti-establishment moves from the Rolling Stones. Ironically, the furor around the elaborate Some Girls package, designed by Peter Corriston and featuring the band members in drag, a nod in the direction of the picture on the 1966 single Have You Seen Your Mother, Baby, Standing in the Shadow? and likenesses of Lucille Ball, Farrah Fawcett, Raquel Welch, Judy Garland and Marilyn Monroe that hadn't been legally cleared, necessitating a swift withdrawal and rethink.


    Some Girls demonstrated the distinctive and definitive riffing from Keith Richards, with its abundance of unstoppable licks and majestic power chords driving the band into its brand new musical direction. This album not only defined him and his playing, but also defined a new era for the Rolling Stones, with Richards since described as a sense of renewal. Some Girls marks the only other time since recording Satisfaction where Richards used an effects pedal to 'elevate' the sound.


    The album cemented the position of guitarist Ronnie Wood, who had joined in 1975, and added his trademark slide and pedal steel playing to several of the album's most memorable tracks, including When the Whip Comes Down and Shattered. He also co-wrote the Shattered B-side Everything Is Turning To Gold. Some Girls also marked a move to the Pathe Marconi Studios in Paris for the Glimmer Twins production team of Jagger and Richards. These factors helped what is arguably the group's most focused and dynamic album, driven by the sans pareil rhythm section of drummer Charlie Watts and bassist Bill Wyman.


    Some Girls featured fewer guest musicians than any Rolling Stones album since 1971, but the contributions keyboard-player Ian McLagan, Wood's bandmate in The Faces, saxophone-player Mel Collins, and harmonica player Sugar Blue (discovered busking on the Paris metro), made Miss You in particular sound brighter than ever.


    Thirty-three years on from its original release, the re-mastered vinyl edition of Some Girls shows exactly why the 1978 album has often been hailed as the equal of Exile On Main Street. The album stands as both a time capsule and a timeless listen and it features the band at their tightest and toughest, at their most vibrant and vital.

    1. Miss You
    2. When the Whip Comes Down
    3. Just My Imagination (Running Away With Me)
    4. Some Girls
    5. Lies
    6. Far Away Eyes
    7. Respectable
    8. Before They Make Me Run
    9. Beast of Burden
    10. Shattered
    The Rolling Stones
    $24.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Some Girls: Super Deluxe Edition Some Girls: Super Deluxe Edition Quick View

    $179.99
    Buy Now
    x

    Some Girls: Super Deluxe Edition

    Ranked 269/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.


    Includes the Original Album Remastered on CD, a Bonus CD with Extras Unearthed by Producer Don Was, a 7 Single, DVD, Unseen Photos by Helmut Newton and an Essay by Anthony DeCurtis


    Universal Music Group and The Rolling Stones present the remastered, expanded, Super-Deluxe edition of their groundbreaking 1978 album, Some Girls, which introduced the band to a whole new generation of fans. Justly considered one of the finest works by Mick Jagger, Keith Richards, Charlie Watts, Bill Wyman and Ronnie Wood, Some Girls topped the US charts over three decades ago and remains the best selling album of their storied career.


    In addition to the remastered album on CD and some undiscovered gems recently unearthed from the Rolling Stones vaults by producer Don Was, the Super Deluxe Edition of Some Girls will include a stunning, previously unseen Helmut Newton photo session from 1978, an essay by esteemed author and journalist Anthony DeCurtis putting the album in its cultural context, a 7 vinyl single of Beast of Burden b/w When The Whip Comes Down in its banned sleeve and Ken Regan shots from the era.


    Some Girls is the Rolling Stones' most direct and diverse collection of material from Mick Jagger's irresistible falsetto on the four-on-the-floor filler Miss You, their eighth U.S. #1, to the country-flavored Far Away Eyes via the Chuck Berry meets punk snarl of Respectable. And let's not forget the sensuous, Beast of Burden, one of Keith Richards' finest tunes, which reached #8 on the U.S. singles chart, the garage rocker Shattered, the albums' third U.S. Top 40 entry, and the soulful swagger of the group's version of The Temptations' Just My Imagination, another timeless offering in their canon of classic Stones Motown covers.


    Following the critical praise and commercial success afforded the re-mastered, expanded editions of Exile On Main Street, which matched the chart performance of the epochal 1972 album, and returned the Rolling Stones to their rightful place at the top of the British charts in 2010, the extensive reissue of Some Girls constitutes the next step in the band's ongoing relationship with Universal Music Group.


    Some Girls holds a special place in the history of the Rolling Stones and demonstrates why they remain one of the most thrilling and influential bands of all time. The 1978 album features the Keith Richards' classic Before They Make Me Run, a signature song he still performs defiantly to this day. Some Girls documented Mick Jagger's love of 1970's funk reflected in Miss You, the dance track that wrong footed many people, made the club and black charts, and made it okay for other mainstream acts at the time to 'go disco'.


    The 1978 album also courted controversy because of Jagger's tongue-in-cheek lyrics on the title track, on Miss You and on Respectable, perceived as a retort to the punk and new wave groups who had borrowed so much attitude and copped so many anti-establishment moves from the Rolling Stones. Ironically, the furor around the elaborate Some Girls package, designed by Peter Corriston and featuring the band members in drag, a nod in the direction of the picture on the 1966 single Have You Seen Your Mother, Baby, Standing in the Shadow? and likenesses of Lucille Ball, Farrah Fawcett, Raquel Welch, Judy Garland and Marilyn Monroe that hadn't been legally cleared, necessitating a swift withdrawal and rethink.


    Some Girls demonstrated the distinctive and definitive riffing from Keith Richards, with its abundance of unstoppable licks and majestic power chords driving the band into its brand new musical direction. This album not only defined him and his playing, but also defined a new era for the Rolling Stones, with Richards since described as a sense of renewal. Some Girls marks the only other time since recording Satisfaction where Richards used an effects pedal to 'elevate' the sound.


    The album cemented the position of guitarist Ronnie Wood, who had joined in 1975, and added his trademark slide and pedal steel playing to several of the album's most memorable tracks, including When the Whip Comes Down and Shattered. He also co-wrote the Shattered B-side Everything Is Turning To Gold. Some Girls also marked a move to the Pathe Marconi Studios in Paris for the Glimmer Twins production team of Jagger and Richards. These factors helped what is arguably the group's most focused and dynamic album, driven by the sans pareil rhythm section of drummer Charlie Watts and bassist Bill Wyman.


    Some Girls featured fewer guest musicians than any Rolling Stones album since 1971, but the contributions keyboard-player Ian McLagan, Wood's bandmate in The Faces, saxophone-player Mel Collins, and harmonica player Sugar Blue (discovered busking on the Paris metro), made Miss You in particular sound brighter than ever.


    Thirty-three years on from its original release, the re-mastered expanded, Super Deluxe edition of Some Girls shows exactly why the 1978 album has often been hailed as the equal of Exile On Main Street. The album stands as both a time capsule and a timeless listen and it features the band at their tightest and toughest, at their most vibrant and vital.

    CD 1 (Some Girls Remastered)

    1. Miss You

    2. When the Whip Comes Down

    3. Just My Imagination (Running Away With Me)

    4. Some Girls

    5. Lies

    6. Far Away Eyes

    7. Respectable

    8. Before They Make Me Run

    9. Beast of Burden

    10. Shattered


    CD2 - Extras

    1. Claudine

    2. So Young

    3. Do You Think I Really Care?

    4. When You're Gone

    5. No Spare Parts

    6. Don't Be A Stranger

    7. We Had It All

    8. Tallahassee Lassie

    9. I Love You Too Much

    10. Keep Up Blues

    11. You Win Again

    12. Petrol Blues


    DVD


    7" Single

    A1. Beast of Burden

    B1. When the Whip Comes Down

    The Rolling Stones
    $179.99
    7 Vinyl LP + DVD + 2 CDs - Sealed Buy Now
  • The Great Twenty-Eight  (Super Deluxe) The Great Twenty-Eight (Super Deluxe) Quick View

    $124.99
    Buy Now
    x

    The Great Twenty-Eight (Super Deluxe)

    In honor of the late, great Chuck Berry, UMe is releasing a new Super Deluxe Edition of the original classic 2-LP compilation, which was ranked number 21 on Rolling Stone magazine's 500 Greatest Albums Of All Time, the highest ranking hits compilation on that list.


    This 'SDE' will include a total of four vinyl LPs and one vinyl EP plus a comprehensive booklet, as follows:


    - The original 2-LP, 28-song set spotlighting Berry's greatest hits - "Maybellene," "Roll Over Beethoven," "Johnny B. Goode," "Rock And Roll Music," Back In The USA," "Sweet Little Sixteen" and 22 more.

    - An additional 28 songs featuring:


    • On LP #3: More hits and B-sides not included on the original Great Twenty-Eight - Berry's only No. 1 Pop hit, "My Ding-A-Ling"; "Wee Wee Hours," the original flip side of "Maybellene" and a top 10 R&B hit on its own; "Too Pooped To Pop 'Casey'," the A-side of "Let It Rock" and top 40 Pop/top 20 R&B single; "No Money Down," a top 10 R&B hit; "Vacation Time," a non-LP B-side; and many more
    • On LP #4: Chuck Berry 'Oh Yeah!: Live In Detroit,' a thrilling, rare concert performance from 1963 in which Chuck is backed by Motown's Funk Brothers band; it was previously available only in a limited box set and will make its vinyl debut
    • On the EP: A bonus red-colored holiday 10-inch vinyl record, with Chuck's holiday standard, "Run Rudolph Run" and "Merry Christmas Baby," and two Christmas songs - "Spending Christmas" and "Christmas" - previously available only in a limited CD box set, also to be issued on vinyl for the first time

    - A 12x12 book featuring reproductions of Chuck's original LP graphics, images from the rare Chess EP series, and other photographs and memorabilia from the Chess archives, as well as a complete LP and singles discography

    - Book will also contain a new essay by best-selling author and SiriusXM host Alan Light, complementing the original liner notes by Michael Lydon from The Great Twenty-Eight.
    LP 1 & 2: The Great Twenty-Eight
    The original classic 2-LP compilation


    LP 1

    1. Maybellene
    2. Thirty Days (To Come Back Home)
    3. You Can't Catch Me
    4. Too Much Monkey Business
    5. Brown-Eyed Handsome Man
    6. Roll Over Beethoven
    7. Havana Moon
    8. School Day (Ring! Ring! Goes The Bell)
    9. Rock And Roll Music
    10. Oh Baby Doll
    11. Reelin' And Rockin'
    12. Sweet Little Sixteen
    13. Johnny B. Goode
    14. Around And Around


    LP 2

    1. Carol
    2. Beautiful Delilah
    3. Memphis, Tennessee
    4. Sweet Little Rock And Roller
    5. Little Queenie
    6. Almost Grown
    7. Back In The U.S.A.
    8. Let It Rock
    9. Bye Bye Johnny
    10. I'm Talking About You
    11. Come On
    12. Nadine (Is It You?)
    13. No Particular Place To Go
    14. I Want To Be Your Driver


    LP 3: More Great Chuck Berry

    1. Wee Wee Hours
    2. No Money Down
    3. Drifting Heart
    4. La Jaunda (Español)
    5. Blue Feeling
    6. Vacation Time
    7. Joe Joe Gun
    8. Too Pooped To Pop Casey
    9. Our Little Rendezvous
    10. You Never Can Tell
    11. Promised Land
    12. Little Marie
    13. Dear Dad
    14. My Ding-A-Ling (live single version)


    LP 4: Oh Yeah! Live In Detroit

    Recorded at the Walled Lake Casino, October 25 & 26, 1963
    First time on vinyl,*First U.S. release

    1. Guitar Boogie
    2. Let It Rock
    3. Almost Grown
    4. Chuck Berry Dialogue 1
    5. Too Much Monkey Business*
    6. Johnny B. Goode
    7. Introduction / Instrumental
    8. Sweet Little Sixteen
    9. Wee Wee Hours
    10. Chuck Berry Dialogue 2
    11. Maybellene
    12. Medley: Goodnite Sweetheart Goodnite/Johnny B. Goode/Let It Rock/School Day


    Bonus: Berry Christmas EP

    1. Run Rudolph Run
    2. Merry Christmas Baby
    3. Spending Christmas (first time on vinyl)
    4. Christmas

    Chuck Berry
    $124.99
    Vinyl LP Box Set + EP - 4 LPs Sealed Buy Now
  • River Of Dreams (25th Anniversary) River Of Dreams (25th Anniversary) Quick View

    $32.99
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    River Of Dreams (25th Anniversary)

    25th Anniversary Edition


    180 Gram Blue Colored Vinyl


    Billy Joel's last studio album River of Dreams wound up becoming one of his most successful albums of his amazing career.


    Released in 1993, he was at the top of the charts with a number one album and a number one single with The River of Dreams. The Doo-Wop influenced pop record thrilled audiences worldwide as he toured all over the world promoting the great album that it was.


    Twenty-five years later, these tunes still resonate with his fans as Billy Joel is currently embarking on a very successful concert tour, and Friday Music is proud to be a part of the celebration with one of his greatest achievements River of Dreams.


    As another installment in our exclusive Billy Joel/Friday Music 180 Gram Audiophile Vinyl Series, this impeccably mastered 25th Anniversary Edition audiophile LP features some of his greatest songs like the brilliant album opener No Man's Land, the R&B infused All About Soul, the hard rock nod to Cream with Shades of Grey and the stellar album closer Famous Last Words.


    The masterwork contains even more of his most loved classics like the stunning ballad Lullabye (Goodnight, My Angel) and the acid-rock tinged flavor of The Great Wall of China.


    Impeccably mastered by Joe Reagoso at Friday Music Studios and Capitol Mastering in Hollywood, Billy Joel's River of Dreams will be one of the most definitive classic rock releases in the audiophile vinyl domain in some time.


    For a very limited time, we are also celebrating your listening enjoyment with a first time 180 Gram Translucent Blue Vinyl, manufactured at RTI, plus a stunning gatefold cover artwork presentation which features the LP sized cover art, which also includes the lyrics to all of these great Billy Joel songs, making this a keepsake for years to come.


    Billy Joel's River of Dreams celebrates 25 years of the voice, the songs, the musicianship and the memories ...First time 180 Gram Translucent Blue Audiophile Vinyl...An exclusive...Only from your friends at Friday Music.

    1. No Man's Land
    2. The Great Wall of China
    3. Blonde Over Blue
    4. A Minor Variation
    5. Shades of Grey
    6. All About Soul
    7. Lullabye (Goodnight, My Angel)
    8. The River of Dreams
    9. Two Thousand Years
    10. Famous Last Words
    Billy Joel
    $32.99
    180 Gram Audiophile Virgin Vinyl LP Buy Now
  • Ceremony Ceremony Quick View

    $18.99
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    Ceremony

    It begins with the sound of a church organ, an arpeggio played on the lower notes, a melody teased out in the higher register, before a snare drum beats out an ominous, stuttering tattoo. Three minutes in, guitars begin to rumble like clouds gathering on the horizon, the melody slowly swelling, threatening to tear the sky apart. This is Anna Von Hausswolff's "Epitaph Of Theodor", and as dramatic, instrumental openings to albums go, it's close to overwhelming. But it's followed by something even more intense: "Deathbed", which growls and resonates sinisterly before shards of metallic thunder shatter the drones and a funereal beat forces the song to lurch forward. Only after some four and a half minutes of this ferocious clamour do we hear a human voice, and it's unleashed with a fierce power, rising and swooping, a vast bird pursuing its prey until the song reaches its final, unexpectedly triumphant climax.


    You want to talk about compromises? No. Nor does Anna Von Hausswolff.


    These two songs alone represent a quarter of 'Ceremony's sixty minutes, but there are eleven more on an album that confounds and dumbfounds from its start to its end. To those who used Anna Von Hausswolff's debut album, Singing From The Grave, to compare her lazily to Kate Bush, it will come as a brutal shock. The fragile atmospheres of that impressive debut, one that earned her huge acclaim in her native Sweden, have been blasted away, and what's emerged from the wasteland left behind is a dizzying masterpiece that, she proudly states, calls upon, amongst others, Elizabeth Fraser, Jefferson Airplane, PJ Harvey, Earth, Barn Owl, Nick Cave and Diamanda Galás.


    Though she now lives in Copenhagen, she grew up in the once vibrant, bohemian neighbourhood of Haga in Gothenburg, Sweden, to a family who counted amongst their ancestors Bernhard Reynold von Hausswolff, an 18th Century governor of Falun, Sweden, who helped bring an end to the burning of witches. Her father, Carl Michael von Hausswolff, is a composer and visual artist who's also co-monarch of the kingdoms of Elgaland-Vagaland, so it's perhaps not surprising that she's chosen to pursue a radical direction with her music.


    "I didn't just want 'Ceremony' to be a collection of songs," she says. "I wanted it to be like a film, with every single part connected to the other, with shifting moods and settings, but a thread holding all the tracks together. I listen to a lot of film scores, and in many the music is able to move freely without the typical structures that we find in commercial music."


    Arguably 'Ceremony's most significant ingredient is the church organ of Gothenburg's vast Annedalkyrkan, whose pipes are featured on the album's striking cover. Employed on nine of the album's thirteen tracks, it also provided von Hausswolff with the excuse to record for five days in the century old building, its cavernous space adding to the record's formidable magnitude. (Work was completed at weekends over several months in producer Filip Leyman's studios.) She found in the organ's sound a link between her own writing and a developing obsession with "drone metal", allowing her to add layers of thick textures to the songs. But - thanks to its inevitable associations with existence and mortality - the organ also suited the themes that lay at the heart of the record, which she defines as "nature and death, or the division of humanity and nature. From the moment we exit the womb, we start our paths towards materialism and destructive behaviour, and these days I feel that the gap between nature and human is growing bigger. I wanted to grasp my inner nature and be unified with nature again. 'Ceremony' is a celebration of life and everything that it contains, especially death, because in death we will be truly one with nature again."


    That's not to say that 'Ceremony' is a bleak record, something highlighted by the extraordinary "Harmonica", which sounds like Dead Can Dance channelling a Vashti Bunyan song with arrangements by Ennio Morricone. "It's a song I wrote just after my grandfather passed away," she recalls. "It's about how culture and traditions can travel from generation down to generation, and in this case from him to me by music. Just before he died, he gave me a harmonica and he told me to practise hard and only write about things that are relevant to me. His deathbed inspired me to make 'Ceremony'."


    He'd surely be proud of the bold, single-minded consequences of his legacy. Whether it be the placid but grandiose "Ocean", the hymnal "Mountains Crave", the grim, experimentalist "No Body" or the oddly exhilarating "Funeral For My Future Children", 'Ceremony' is a genuinely thrilling, timeless, inventive and even sometimes - in the purest sense of the word - gothic accomplishment.


    "This record isn't really about Anna von Hausswolff as a vocalist or as a person," she concludes. "It's about the music and all that it contains. Singing from the Grave was a raw and emotional record that happened fast. I think of it as an impulse. 'Ceremony' is more of a vision: something unfinished and unresolved, a glimpse of the future."

    1. Epitaph of Theodor
    2. Deathbed
    3. Mountains Grave
    4. Goodbye
    5. Red Sun
    6. Epitaph of Daniel
    7. No Body
    8. Liturgy of Light
    9. Harmonica
    10. Ocean
    11. Sova
    12. Funeral for my Future Children
    13. Sun Rise
    Anna Von Hausswolff
    $18.99
    Vinyl LP - Sealed Buy Now
  • The Beatles: On Air - Live At The BBC Volume 2 The Beatles: On Air - Live At The BBC Volume 2 Quick View

    $59.99
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    The Beatles: On Air - Live At The BBC Volume 2


    Features 63 Tracks Total With 37 Previously Unreleased Performances And 23 Tracks Of In-Studio Banter


    Includes a 48 Page Booklet With Rare Photos And An Introduction By Paul McCartney


    In 1994, The Beatles' Live at the BBC was released to worldwide acclaim - hitting number one in the U.K., number three in the U.S. and selling more than five million copies within six weeks. A new companion to The Beatles' first BBC collection, On Air - Live at the BBC Volume 2, in 180-gram vinyl with a 48-page booklet. On Air's 63 tracks, none of which overlaps with The Beatles' first BBC release, include 37 previously unreleased performances and 23 previously unreleased recordings of in-studio banter and conversation between the band's members and their BBC radio hosts.


    In the studios of the British Broadcasting Corporation, The Beatles performed music for a variety of radio shows. On Air - Live at the BBC Volume 2 presents the sound of The Beatles seizing their moment to play for the nation. Thrilled to hear these exciting recordings again, Paul McCartney said, "There's a lot of energy and spirit. We are going for it, not holding back at all, trying to put in the best performance of our lifetimes."


    Ten of On Air's songs were never recorded by the group for EMI in the 1960s, including two making their debuts with the new release: The Beatles' direct-to-air performance of Chuck Berry's "I'm Talking About You" and a rocking cover of the standard "Beautiful Dreamer." On Air also includes different versions of six rarities heard on the 1994 BBC collection: Little Richard's "Lucille," Chuck Berry's "Memphis, Tennessee," Chan Romero's "The Hippy Hippy Shake," Ray Charles' "I Got A Woman," and two songs they learned from records by Carl Perkins, "Glad All Over" and "Sure To Fall."


    The Beatles' tribute to the BBC's most important pop show of the early '60s - "Happy Birthday, Dear Saturday Club" - is another surprise. As John Lennon recalled in 1980, "We did a lot of tracks that were never on record for Saturday Club - they were well recorded, too." Paul remembers, "We'd been raised on the BBC radio programs. One of the big things in our week was Saturday Club - this great show was playing the kind of music we loved, so that was something we really aspired to."


    Between March 1962 and June 1965, no fewer than 275 unique musical performances by The Beatles were broadcast by the BBC in the U.K. The group played songs on 39 radio shows in 1963 alone. Ringo Starr said in 1994, "You tend to forget that we were a working band. It's that mono sound. There were usually no overdubs. We were in at the count-in and that was it. I get excited listening to them." On their busiest BBC day, July 16, 1963, The Beatles recorded 18 songs for three editions of their Pop Go The Beatles series in fewer than seven hours.


    The group played 88 distinct songs in their BBC sessions - some were recorded many times; others performed just once. At the time, three national BBC stations provided all daytime radio broadcasting in the U.K. Only the Light Programme network might occasionally play a record. Most broadcast music was live music. Consequently, to promote their releases, The Beatles had to play live at the BBC. "Everything was done instantly," remembered George Harrison, "But before that, we used to drive 200 miles in an old van down the M1, come into London, try and find the BBC and then set up and do the program. Then we'd probably drive back to Newcastle for a gig in the evening!"


    On Air also features BBC recordings of 30 well-loved songs from The Beatles' catalogue, including five number on¬es and other favorites such as: "I Saw Her Standing There," "Twist And Shout," "Do You Want To Know A Secret," "Boys," "Please Mister Postman," "Money," "And I Love Her," and "If I Fell."


    Like its critically acclaimed predecessor, On Air - Live at the BBC Volume 2 includes audio of The Beatles talking to DJs Brian Matthew and Alan Freeman and Pop Go The Beatles hosts Lee Peters and Rodney Burke. When first broadcast, pop fans were amazed to hear such witty irreverence on the rather formal BBC and it is great fun to hear these extracts now. In addition, On Air releases, for the first time, the group's candid interviews for the Pop Profile series recorded in November 1965 and May 1966.


    Newly remastered for reissue on November 11, The Beatles' first Live at the BBC album sounds and looks better than ever. This collection of the group's BBC sessions mixed versions of their hits with a treasure trove of 30 songs The Beatles performed on air but never released on record in the 1960s. The compelling track list ranged from a rare performance of the little known Lennon-McCartney original "I'll Be On My Way" to covers of classic rock 'n' roll and contemporary rhythm and blues songs. At the time of its release, Live at the BBC was hailed by Rolling Stone as "an exhilarating portrait of a band in the process of shaping its own voice and vision." It earned a GRAMMY® Award nomination for Best Historical Album.


    Live at the BBC was assembled by George Martin in 1994 and On Air - Live at the BBC Volume Two was compiled and researched by producers Kevin Howlett and Mike Heatley. Both albums have been meticulously mastered by engineers Guy Massey and Alex Wharton at Abbey Road Studios. The booklets for both collections include Kevin Howlett's essays on the history of The Beatles' BBC radio sessions and his detailed commentaries on all of the tracks.

    1. And Here We Are Again
    2. Words of Love
    3. How About it, Gorgeous
    4. Do You Want To Know A Secret
    5. Lucille
    6. Hey, Paul..
    7. Anna (Go To Him)
    8. Hello!
    9. Please Please Me
    10. Misery
    11. I'm Talking About You
    12. A Real Treat
    13. Boys
    14. Absolutely Fab
    15. Chains
    16. Ask Me Why
    17. Till There Was You
    18. Lend Me Your Comb
    19. Lower 5E
    20. The Hippy Hippy Shake
    21. Roll Over Beethoven
    22. There's A Place
    23. Bumper Bundle
    24. P.S. I Love You
    25. Please Mister Postman
    26. Beautiful Dreamer
    27. Devil In Her Heart
    28. The 49 Weeks
    29. Sure To Fall (In Love With You)
    30. Never Mind, Eh?
    31. Twist and Shout
    32. Bye, Bye
    33. John - Pop
    34. George - Pop Profile
    35. I Saw Her Standing There
    36. Glad All Over
    37. Lift Lid Again
    38. I'll Get You
    39. She Loves You
    40. Memphis, Tennessee
    41. Happy Birthday Dear Saturday Club
    42. Now Hush, Hush
    43. From Me to You
    44. Money (That's What I Want)
    45. I Want To Hold Your Hand
    46. Brian Bathtubes
    47. This Boy
    48. If I Wasn't In America
    49. I Got A Woman
    50. Long Tall Sally
    51. If I Feel
    52. A Hard Job Writing Them
    53. And I Love Her
    54. Oh, Can't We? Yes We Can
    55. You Can't Do That
    56. Honey Don't
    57. I'll Follow The Sun
    58. Green With Black Shutters
    59. Kansas City/ Hey-Hey-Hey
    60. That's What We're Here For
    61. I Feel Fine
    62. Paul - Pop
    63. Ringo - Pop
    The Beatles
    $59.99
    180 Gram Audiophile Virgin Vinyl LP - 3 LPs Sealed Buy Now
  • The Oath (Awaiting Repress) The Oath (Awaiting Repress) Quick View

    $16.99
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    The Oath (Awaiting Repress)

    To master the dark and wring compelling creativity from its densest shadows requires vision, belief and, perhaps most importantly, a dash of synchronicity. These are all qualities that ooze from every pore of the debut album by The Oath. A band forged around the fizzing, feral chemistry between Swedish guitarist Linnea Olsson and German vocalist Johanna Sadonis, The Oath represent the wild magic that erupts when two blazing souls collide and fate is sent veering off course by sheer strength of the human will. This is heavy metal at its most mercurial and intuitive.


    "I had grown tired with the metal scene in Stockholm, and I wanted to experience something new and get out of my comfort zone," Linnea Olson recalls. "This resulted in me going to Berlin, a city where I had no friends, and just exploring everything that makes it so magical the creative energy, the sense of freedom, and the notoriously dark and debauched nightlife. I played my guitar as usual at home, and riffs started to pile up. By the time summer came, I felt the time was right to start a new band. My best friend Henke put me in touch with Johanna. On her end, she had been looking for a guitarist for a band that she wanted to call The Oath. We had an instant connection. And we looked almost identical."


    Having found each other and discovered that their obsessions, desires and musical urges were utterly compatible and swiftly and irrevocably interwoven, Linnea and Johanna set about devising an artistic masterplan. The results of that plan are now primed to emerge, fully-formed and thrumming with primal energy and pristine passion, in the shape of The Oath: a nine-song clarion call that simultaneously recalls the hallowed greats of heavy rock, punk and metal - from Sabbath, Trouble and Angel Witch through to the Stooges and Poison Idea, and further to Mercyful Fate and Danzig - while revelling in new ways to express the spirit of those revered archetypes. Recorded in ten days at Studio Cobra in Stockholm with producer Konie Ehrencrona at the controls and the raging rhythm section of Simon Bouteloup (bass, Kadavar/ex-Aqua Nebula Oscillator) and Andrew Prestidge (Angel Witch/Winters) underpinning Linnea and Johanna's otherworldly hymns to the black, The Oath is a triumph for soul and sonic ceremony, with conviction and integrity bursting from every artfully-crafted riff and ethereal melodic motif.


    "We had a die-hard dedication right from the beginning - if not, what's the point?" states Linnea. "As for the master plan, there was none. If things fall into place naturally, you don't need one. We felt that this was our shot, and we needed to go for it. We wanted this album to be primitive and minimalistic in the sense that the sound is fairly raw, and we kept overdubs to a minimal - most of what you hear on the album are live takes. But we also wanted to bring out the melody and richness that is within the songs. And these are all strong songs, which is very important to us."


    Veering from the strident grooves and shimmering menace of opener All Must Die to the breakneck, Luciferian clatter of Black Rainbow and on to the spine-tingling grandeur and grime of epic closer Psalm 7, The Oath is anything but just another addition to the modern pseudo-occult rock canon. Instead, it is an extraordinary glimpse into its creators' overpowering charisma and chemistry and a thrillingly, hyper-nourishing dose of authentic, 21st century heavy metal sorcery. With input from In Solitude's Henke Palm - who contributes some "improvised Voivod-style solos", according to Linnea - and logo designed courtesy of Watain's Erik Danielson, this is an album that exudes ageless style and irresistible substance: a potent antidote to the flimsy fripperies of the modern age.


    "This album represents Johanna and me and our dedication to our music," Linnea avows. "Everything about this band is about me and her - our relationship to each other, our differences as people and musicians, and the unity that we are in The Oath. She possesses strengths that I lack and the other way around. Musically, my riffs are the dirt and her vocals, the diamonds. I have a friend who cleverly put that the world is made up by two kinds of people: the werewolves and the vampires. By that standard, I am a werewolf and Johanna is a vampire. You can interpret that as you like."


    And now, this new ritual begins. The Oath has been sworn, the dice have been thrown. All that remains is the propagation of the divine but unholy art that these sisters-in-sound have wrenched from the depths of their harmonised psyches. The future belongs to those who believe


    "There are a lot of hopes, plans and ambitions," Linnea concludes. "But what's even more important is that there is only now and that now is forever."


    - Dom Lawson, January 2014

    1. All Must Die
    2. Silk Road
    3. Night Child
    4. Leaving Together
    5. Black Rainbow
    6. Silver and Dust
    7. Death Delight
    8. In Dream
    9. Psalm 7
    The Oath
    $16.99
    Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • Singles 1966-1969 Singles 1966-1969 Quick View

    $49.99
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    Singles 1966-1969

    Sundazed is proud to release The Velvet Underground Singles 196669, a 7 x 7 single box set honoring the legendary New York combo's 7 vinyl output in their rare mono versions. The set features exact reproductions of Velvet Underground singles, two of them with their original picture sleeves. The singles are packaged in a distinctively designed box, along with rare vintage photos and new liner notes by Rolling Stone's David Fricke (who also penned the acclaimed notes for the historic 1995 Velvets CD box set Peel Slowly and See).


    The Velvet Underground whose membership included Lou Reed, John Cale, Sterling Morrison, Maureen Tucker, Doug Yule and Nico introduced numerous sonic and thematic innovations that laid much of the groundwork for punk and alternative rock. Although they're now acknowledged as one of the most influential bands in rock history, during their existence the Velvets barely registered on mainstream radar, and were often reviled by mainstream observers as well as hippie-era arbiters of cool. But, as Fricke writes in the new set's liner notes, Somewhere, in another rock & roll universe, the Velvet Underground are more than a legendary band. They are stars, with hit singles, the original seven-inch masterpieces inside this box.


    Although they never came close to scoring a hit, the Velvet Underground was ideally suited to the 7 single format. The Velvet Underground were a great singles band, David Fricke notes, adding that the Velvets invented modern rock with searing guitar distortion, throbbing improvisation and brutally realistic tales of life on the wild side. But they did it all in these classic pop songscompact miracles of raw drive, intimate beauty and Top 40 ecstasy, heard again in the original, thrilling mono single mixes.


    The seven singles included in The Velvet Underground Singles 196669 comprise the four Velvets singles originally released in the U.S. on the Verve and MGM labels, plus an additional pair of singles that were prepared for release but never made it to the marketplace and a special radio-only promotional single. The singles feature alternate mono versions that differ in significant ways from the songs' better-known stereo album versions. For instance, the band's 1966 debut single All Tomorrow's Parties appears here in a special mono edit that amplifies the song's melodic beauty and sonic tension, and a mono mix of their sophomore single Sunday Morning emphasizes the song's haunting quality. Meanwhile, the mono single version of White Light/White Heat exemplifies the vintage Velvets' stark, distortion-laden fury, while a mono edit of What Goes On accentuates that song's inherent pop jangle.


    The Velvet Underground Singles 196669 also includes two unissued singles, one with a never-released pairing of White Light/White Heat backed by I Heard Her Call My Name, and the other with Temptation Inside Your Heart and Stephanie Says, recorded in the waning days of the band's classic Reed/Cale/Morrison/Tucker lineup and unheard by the public for nearly two decades thereafter. The set's seventh single is a reproduction of a vintage promotional disc, a two-and-a-half minute radio spot promoting the band's eponymous third album and featuring legendary disc jockey Bill Rosko Mercer, with excerpts from Im Set Free, What Goes On and Beginning to See the Light, as well as a picture sleeve with an un-airbrushed variation on the album's iconic cover art.


    By presenting the Velvets as a singles band, The Velvet Underground Singles 196669 shows, in David Fricke's words, rock history the way it should have been: the Velvet Underground as the New York Beatles, guaranteed to blow up your radio and your mind.

    Single 1
    All Tomorrow's Parties / I'll Be Your MirrorVerve VK-10427


    Single 2
    Sunday Morning / Femme FataleVerve VK-10466


    Single 3
    White Light/White Heat / Here She Comes NowVerve VK-10560


    Single 4
    White Light/White Heat / I Heard Her Call My Name Cancelled Single


    Single 5
    Temptation Inside Your Heart / Stephanie Says Cancelled Single


    Single 6
    What Goes On / JesusMGM K-14057


    Single 7
    VU Radio Spot / VU Radio SpotMGM VU-1

    Velvet Underground
    $49.99
    Vinyl LP (7x7 Box Set) - Sealed Buy Now
  • Headquarters Stack-O-Tracks Headquarters Stack-O-Tracks Quick View

    $33.99
    Buy Now
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    Headquarters Stack-O-Tracks

    First Time 180 Gram Audiophile Clear Vinyl Release

    Mastered Impeccably By Monkees Fan & Friend Joe Reagoso At Friday Music Studios & Capitol Mastering, Hollywood, CA From The Colgems Record Tapes

    The Summer Of Love's First Album .... Re-Visited.... Re-Imagined...

    The Monkees Headquarters/ Stack-O-Tracks

    The Original Instrumental Backing Tracks To Their Most Celebrated Album

    First Time Authorized Alternate Artwork

    Yes... The Monkees Could Play Guitars, Bass, Drums, Piano, Steel Guitar, Organ, Banjo, Tambourine, Percussion..... and Play Them Well!!!

    In 1967 after two number one albums, a plethora of hit singles and a smash television show, The Monkees were on top and knew they each had true musical talents not championed by their label executives. Michael Nesmith spearheaded a change in direction before sessions began on their legendary Headquarters album. This action resulted in the much-covered dissolution with music mogul Don Kirshner, as Chip Douglas (The Turtles) was now recruited by Nesmith to work with the band.

    In rapid succession, things began to fall into place in February 1967. With initial tracks like country rocker Sunny Girlfriend, the band set the stage for what would become one of the most loved works in their catalog and one of the finest rock albums of a generation. A definite album opener, You Told Me begins Headquarters. The track features a brilliant 12 string guitar of Nesmith, as Tork's incredible banjo fills the track alongside Dolenz's driving drum work. With Jones' percussion, it became the very first song that many of us remember as we opened up our new copies back in the summer of '67. Not straying too far from previous success, the band scored a few more of Boyce and Hart compositions like Micky Dolenz's folk rock ballad I'll Spend My Life With You. The solid steel guitar work of Mike Nesmith became somewhat of a precursor to his groundbreaking Nashville sessions in the late sixties. Davy Jones has several watershed moments here with both Forget That Girl and Early Morning Blues and Greens Forget That Girl employs a unique English northern soul vibe, while the latter shares a wonderful rhythm presentation making it one of the more psychedelic infused and standout tracks on the LP. Michael Nesmith's handiwork is radiant on the entire album. You May Just Be The One rocks the album into full gear and makes it one of his and the bands' definitive landmark tracks. Headquarters also brought rightful acclaim to Peter Tork, as his first recorded Monkees' song For Pete's Sake soon became a prolific standard. The song transcended with the times and became one of the more insightful tunes from the quartet. It also replaced the familiar Monkees Theme at the end of season two, giving the song more TV exposure over the years. And as always, you can count on Micky Dolenz to deliver - whether it's his hard rock driving drum work on rockers like Randy Scouse Git & No Time, or his prog-rock feel on Mr. Webster, the album was definitely a great showcase for the artist.

    The Monkees' Headquarters was one of 4 albums of The Monkees that topped the charts in 1967. This fact alone is enough to warrant the importance of this album in musical history. But there are other amazing feats that Headquarters managed to deliver to millions of fans on its eventful release back in May of 1967. The album hit the stores before Sgt. Pepper's Lonely Hearts Club Band by The Beatles. Friendly rivals as they were, Headquarters rose to number one and also opened the door to The Summer of Love. It remained in the upper rung of the retail charts until their fourth platter Pisces, Aquarius, Capricorn & Jones Ltd. became a number one album to close out the year. Wow! Most notably, Headquarters showed the real world the transition of four talented guys on a hit TV show evolving into a self-produced, self-reliant, and one of the most loved bands in musical history, and yes, they could actually play their instruments .and they did it well!

    As another installment in our extensive Monkees catalog, Friday Music is pleased to announce a unique revisit to their third masterwork as we've now gone back to the original backing tracks and have assembled a fun and exciting instrumental Lp with The Monkees Headquarters Stack-O-Tracks. For this limited edition Friday Music release, we are pleased to offer for the first time on vinyl, the rare backing instrumental backing tracks, newly and impeccably mastered by Joe Reagoso (The Monkees/Brian Wilson) from the original Colgems Records masterwork.

    Joe Reagoso notes You've never heard 'Shades Of Gray' until you hear the strings up front like you will on this new vinyl release. Michael Nesmith's work on 'You May Just Be The One' is beyond thrilling, you feel like you are in the studio with the band as they knock out this and other Monkees classics. From beginning to end, song after song, we always knew how special Headquarter was, and now this further showcases the artistry and musical acumen each man brought to the sessions. Truly a crowning achievement. To further enhance your Monkees listening enjoyment, we are also pressing the limited edition album on clear 180 Gram audiophile vinyl, as well as including a revisit to the original album cover artwork, now with the rare Monkees beard photo not issued on vinyl in many years, and first time authorized colorization effects to the original artwork to celebrate fifty years of this classic rock album for the fans. 1967 ..The Summer Of Love A very hip time in our American culture you can now relive with these newly impeccably mastered recordings from the much-loved band that broke a lot of ground in a very short time and made the world a much better place for it The Monkees Headquarters Stack-O- Tracks Only From Your Friends At Friday Music!

    1. You Told Me (Instrumental Backing Track)
    2. I'll Spend My Life With You (Instrumental Backing Track)
    3. Forget That Girl (Instrumental Backing Track)
    4. Band 6
    5. You Just May Be The One (Instrumental Backing Track)
    6. Shades Of Gray (Instrumental Backing Track)
    7. I Can't Get Her Off My Mind (Instrumental Backing Track)
    8. For Pete's Sake (Instrumental Backing Track)
    9. Mr. Webster (Instrumental Backing Track)
    10. Sunny Girlfriend (Instrumental Backing Track)
    11. Zilch- Peter
    12. Zilch -Davy
    13. Zilch- Micky
    14. Zilch- Michael
    15. No Time (Instrumental Backing Track)
    16. Early Morning Blues And Green (Instrumental Backing Track)
    17. Randy Scouse Git (Instrumental Backing Track)
    The Monkees
    $33.99
    180 Gram Audiophile Virgin Vinyl LP Buy Now
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