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One For Sorrow

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  • One For Sorrow (Lilac Vinyl) One For Sorrow (Lilac Vinyl) Quick View

    $33.99
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    One For Sorrow (Lilac Vinyl)

    Pressed On 2x 180-Gram Lilac Colored Vinyl + CD


    Housed In A Gatefold Jacket


    Finland's epic and gloomy melodic deathers INSOMNIUM proudly present a high-class reissue of 2011's "One For Sorrow"! "One For Sorrow" kicked off the band's ongoing and constantly increasing success mounting in #1 in the Finnish charts and #19 in Germany for "Winter's Gate" (2016). As Century Media Records celebrates its 30th anniversary in 2018, bringing back a more recent milestone in the label's history is mandatory considering the class of "One For Sorrow" and the fact, the original pressing is fairly rare. This reissue also includes the tracks 'Weather The Storm' (feat. Mikael Stanne / Dark Tranquillity) and 'Beyond The Horizon', which only had been available digitally before. "One For Sorrow" is available as Gatefold 2LP+CD and has been mastered for vinyl to ensure the best possible listening quality.

    LP 1
    1. Inertia
    2. Through The Shadow
    3. Song Of The Blackest Bird
    4. Only One Who Waits
    5. Unsung
    6. Every Hour Wounds
    7. Decoherence


    LP 2
    1. Lay The Ghost To Rest
    2. Regain the Fire
    3. One For Sorrow
    4. Weather the Storm
    5. Beyond the Horizon


    CD
    1. Inertia
    2. Through The Shadow
    3. Song Of The Blackest Bird
    4. Only One Who Waits
    5. Unsung
    6. Every Hour Wounds
    7. Decoherence
    8. Lay The Ghost To Rest
    9. Regain the Fire
    10. One For Sorrow
    11. Weather the Storm
    12. Beyond the Horizon

    Insomnium
    $33.99
    180 Gram Audiophile Virgin Vinyl LP + CD - 2 LPs Sealed Buy Now
  • One For Sorrow One For Sorrow Quick View

    $31.99
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    One For Sorrow

    Pressed On 2x 180-Gram Vinyl + CD


    Housed In A Gatefold Jacket


    Finland's epic and gloomy melodic deathers INSOMNIUM proudly present a high-class reissue of 2011's "One For Sorrow"! "One For Sorrow" kicked off the band's ongoing and constantly increasing success mounting in #1 in the Finnish charts and #19 in Germany for "Winter's Gate" (2016). As Century Media Records celebrates its 30th anniversary in 2018, bringing back a more recent milestone in the label's history is mandatory considering the class of "One For Sorrow" and the fact, the original pressing is fairly rare. This reissue also includes the tracks 'Weather The Storm' (feat. Mikael Stanne / Dark Tranquillity) and 'Beyond The Horizon', which only had been available digitally before. "One For Sorrow" is available as Gatefold 2LP+CD and has been mastered for vinyl to ensure the best possible listening quality.

    LP 1
    1. Inertia
    2. Through The Shadow
    3. Song Of The Blackest Bird
    4. Only One Who Waits
    5. Unsung
    6. Every Hour Wounds
    7. Decoherence


    LP 2
    1. Lay The Ghost To Rest
    2. Regain the Fire
    3. One For Sorrow
    4. Weather the Storm
    5. Beyond the Horizon


    CD
    1. Inertia
    2. Through The Shadow
    3. Song Of The Blackest Bird
    4. Only One Who Waits
    5. Unsung
    6. Every Hour Wounds
    7. Decoherence
    8. Lay The Ghost To Rest
    9. Regain the Fire
    10. One For Sorrow
    11. Weather the Storm
    12. Beyond the Horizon

    Insomnium
    $31.99
    180 Gram Audiophile Virgin Vinyl LP + CD - 2 LPs Sealed Buy Now
  • Burn Your Fire For No Witness Burn Your Fire For No Witness Quick View

    $17.99
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    Burn Your Fire For No Witness

    Many of the superlatives describing Angel Olsen refer to how seemingly little it takes for her to
    leave an audience speechless, even spellbound. But Olsen has never been as timid as those
    descriptors imply, and the noisy, fiery hints in her earlier work find a fuller expression on her
    newest LP, Burn Your Fire for No Witness. Here, Olsen sings with full-throated exultation,
    admonition, and bold, expressive melody.Also,with the help of producer John Congleton, her
    music now crackles with a churning,rumbling low end and a brighter energy.


    Angel Olsen began singing as a young girl in St. Louis, where she explored the remarkable
    range of her voice and the places it could take her songwriting. Her self-released debut EP,
    Strange Cacti, belied both that early period of discovery and her Midwestern roots. Cautious
    and homespun on the one hand,the EP transported us to a mystical, unrecognizable world on
    the other, and it garnered extensive praise for its enigmatic beauty.Olsen then went further on
    Half Way Home, her first full-length album (released on Bathetic Records), which mined
    essential themes while showcasing a more developed voice. Olsen dared to be more personal.


    After extensive touring, Olsen eventually settled for a time in Chicago's Logan Square
    neighborhood, where she created a collection of songs grown in a year of heartbreak, travel,
    and transformation. The new songs go on to tell us to leave, or to high-five a lover who is
    lacking, or to dance our way up and out of sorrow. Many of them also remain essentially
    unchanged from their bare beginnings.In leaving them so intact, a more self-assured Olsen is
    opening up to us, allowing us to be in the room with her at the very genesis of these songs,
    when the thread of creation is most vulnerable and least filtered. Our reward for entering this
    room are many head-turning moments and the powerful, unsettling recognition of ourselves
    in the weave of her songs.


    This act of meaning-making recurs as a theme throughout the album, as the sublimating
    response to the power of negativity.In the song,Stars,for example,Olsen wishes to"have the
    voice of everything" and in a moment of hatefulness and hurt realizes that the strength of fury
    results in the power she had been seeking all along. Thankfully for us, Olsen has decided to
    channel a lot of this new found power into the ethereal, hypnotic performances of her new and
    revealing songs,sharing with us the full grace and beauty of her transformative moments.


    -Matthew Didier

    1. Unfucktheworld
    2. Forgiven/Forgotten
    3. Hi-Five
    4. White Fire
    5. High & Wild
    6. Lights Out
    7. Stars
    8. Iota
    9. Dance Slow Decades
    10. Enemy
    11. Windows
    Angel Olsen
    $17.99
    Vinyl LP - Sealed Buy Now
  • Exclusively for My Friends - The Lost Tapes (Speakers Corner) Exclusively for My Friends - The Lost Tapes (Speakers Corner) Quick View

    $34.99
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    Exclusively for My Friends - The Lost Tapes (Speakers Corner)

    Tears of sorrow mingled with tears of joy as Oscar Peterson fans realized that the keyboard genius who had just recovered his health was still capable of amazing them all, although he had obviously forfeited some of his past vitality. This may well have induced MPS - the label with whom Oscar Petersen himself claimed to have made his best recordings - to search their archives for lost tapes from Peterson's heydey. And lo and behold, a number of previously unreleased recordings were discovered which had been taped "exclusively for my friends" in the private studio in Villingen in 1965-1968.
    The electric atmosphere of these live sessions before a mere handful of listeners proves once again just how at home the musicians felt in the Black Forest villa - as is borne out by the fact that Peterson's usual trio formation alternated with his stand-in musicians of Sam Jones on the bass and Bobby Durham on the drums.



    And now, exclusively for all jazz fans, these amazing tracks are available for the very first time on an LP filled with glorious sound. Whether long-time collector or jazz newcomer, one thing is certain: this album belongs in every collection!



    Musicians:



    • Oscar Peterson (piano)

    • Ray Brown, Sam Jones (bass)

    • Ed Thigpen, Bobby Durham (drums)




    Recording: May 1965, November 1967 and October 1968 at H.G. Brunner-Schwer's private studio's in Villingen/ Germany by H.-G. Brunner-Schwer

    Production: H.-G. Brunner-Schwer





    About Speakers Corner



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



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



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



    We should like to emphasise that Speakers Corner Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle. We have one digital recording in our catalogue (Alan Parsons / Eye In The Sky"), but even in this particular case we used the analogue tapes for cutting.



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



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



    1. Gravy Waltz
    2. Three O'Clock in the Morning
    3. Squeaky's Blues
    4. Tenderly
    5. I Will Wait for You
    6. Let's Fall in Love
    7. Put on a Happy Face
    8. Stella by Starlight
    9. Moanin' 10. Never Say Yes
    11. It's Impossible
    12. My Romance
    Oscar Peterson
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Mountains Of Sorrow, Rivers Of Song Mountains Of Sorrow, Rivers Of Song Quick View

    $24.99
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    Mountains Of Sorrow, Rivers Of Song

    For his fifth album, Amos Lee took a different path for the recording, working in a new city with a new producer. Recording with Amos' road tested touring
    band, the album was the first project to be recorded in a brand-new studio, built in a converted church in Nashville by producer JAY JOYCE (Emmylou
    Harris, Little Big Town, Eric Church). The follow-up to 2011's chart-topping Mission Bell brings the artist into new sonic territory, while retaining the
    trenchant impact of the scenes, characters, and stories in his writing. Joyce introduced a broader palette to Amos' work, creating a richness and a variety
    that's never distracting or self-conscious. Being in Nashville also allowed several remarkable guests to come by the sessions including ALISON KRAUSS
    and PATTY GRIFFIN lend heavenly vocals.


    Amos' last album was a surprise entry at #1 on the Billboard Top 200 and in an amazingly consistent career he's now sold a million albums over his first
    four albums. With each album, Amos has deepened his connection to the Nashville community earning fans and performing with an A to Z of the country
    world, from Lady Antebellum from Zac Brown. Making the album with a proven country hitmaker and doing a much-buzzed about showcase in Nashville in
    June has furthered that cause. Major daytime and latenight TV looks, NPR looks, AAA domination, a series of high-profile synch placements and an
    amazing sold out tour this fall and early next year will insure that there are drivers for this album well into 2014.

    1. Johnson Blvd.
    2. Stranger
    3. Tricksters, Hucksters, and Scamps
    4. Chill In The Air
    5. Dresser Drawer
    6. Indonesia
    7. High Water
    8. The Man Who Wants You
    9. Loretta
    10. Plain View
    11. Mountains of Sorrow
    12. Burden
    Amos Lee
    $24.99
    Vinyl LP - Sealed Buy Now
  • Andando El Tiempo Andando El Tiempo Quick View

    $25.99
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    Andando El Tiempo


    Carla Bley: Piano

    Andy Sheppard: Tenor Saxophone, Soprano Saxophone

    Steve Swallow: Bass



    Andando el Tiempo features new music of wide emotional compass by Carla Bley, and underlines her originality and resourcefulness as a jazz composer. "Saints Alive!" sets up animated conversations between the participants with striking statements from Steve Swallow's bass guitar and Andy Sheppard's soprano sax. The stately "Naked Bridges/Diving Brides" draws inspiration from Mendelssohn and the poetry of Paul Haines. And the powerful three part title composition - which addresses the trials and tribulations of recovery from addiction - moves through sorrow to hopefulness and joy. The trio with Sheppard and Swallow has been an ideal vehicle for Carla's writing for more than 20 years and also provides one of the best contexts for her unique piano playing. Like the critically lauded ECM album Trios (2012), Andando el Tiempo was recorded at Lugano's RSI Studio and produced by Manfred Eicher.

    1. Gefion
    2. Copenhagen
    3. And They All Came Marching Out of the Woods
    4. White
    5. Lyskaster
    6. Airport Poem
    7. Oktober
    8. Ending
    Carla Bley / Steve Swallow / Andy Sheppard
    $25.99
    Vinyl LP - Sealed Buy Now
  • Answer That And Stay Fashionable Answer That And Stay Fashionable Quick View

    $21.99
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    Answer That And Stay Fashionable

    Today AFI is one of the most lauded, rising young bands as their latest album Sing the Sorrow teeters on platinum status. But what about yesterday? The band honed its sound during its tenure with Nitro Records starting in the mid 90s. Now, Nitro has just released AFI, a 13-track retrospective showcasing music from all six releases the band recorded for the label.

    The band made its Nitro debut in 1996 with Very Proud of Ya followed by Answer That and Stay Fashionable (re-release, 1997), and Shut Your Mouth And Open Your Eyes in 1997. Other releases include, the now classic, Black Sails In The Sunset (1999), the All Hallowís EP (1999), and The Art Of Drowning (2000).

    LP1
    1. Two Of A Kind
    2. Half-Empty Bottle

    3. YÜrf Rendenmein
    4. I Wanna Get A Mohawk (But Mom Won't Let Me Get One)

    5. Brownie Bottom Sundae

    6. The Checkered Demon

    7. Cereal Wars


    LP2
    1. The Mother In Me

    2. Rizzo In The Box

    3. Kung-Fu Devil

    4. Your Name Here

    5. Ny-Quil
    6. Don't Make Me Ill

    7. Highschool Football Hero

    8. Self-Pity

    9. Key Lime Pie

    AFI
    $21.99
    Vinyl LP - Sealed Buy Now
  • Shut Your Mouth And Open Your Eyes (Awaiting Repress) Shut Your Mouth And Open Your Eyes (Awaiting Repress) Quick View

    $21.99
    Buy Now
    x

    Shut Your Mouth And Open Your Eyes (Awaiting Repress)

    Today AFI is one of the most lauded, rising young bands as their latest album Sing the Sorrow teeters on platinum status. But what about yesterday? The band honed its sound during its tenure with Nitro Records starting in the mid 90s. Now, Nitro has just released AFI, a 13-track retrospective showcasing music from all six releases the band recorded for the label.

    The band made its Nitro debut in 1996 with Very Proud of Ya followed by Answer That and Stay Fashionable (re-release, 1997), and Shut Your Mouth And Open Your Eyes in 1997. Other releases include, the now classic, Black Sails In The Sunset (1999), the All Hallowís EP (1999), and The Art Of Drowning (2000).

    1. Keeping Out Of Direct Sunlight
    2. Three Reasons
    3. A Single Second
    4. PH Low
    5. Let It Be Broke
    6. Third Season
    7. Lower Your Head And Take It In The Body
    8. Coin Return
    9. The New Patron Saints And Angels
    10. Three Seconds Notice
    11. Salt For Your Wounds
    12. Today's Lesson
    13. The Devil Loves You
    14. Triple Zero
    AFI
    $21.99
    Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • Black Sails In The Sunset Black Sails In The Sunset Quick View

    $21.99
    Buy Now
    x

    Black Sails In The Sunset

    Today AFI is one of the most lauded, rising young bands as their latest album Sing the Sorrow teeters on platinum status. But what about yesterday? The band honed its sound during its tenure with Nitro Records starting in the mid 90s. Now, Nitro has just released AFI, a 13-track retrospective showcasing music from all six releases the band recorded for the label.

    The band made its Nitro debut in 1996 with Very Proud of Ya followed by Answer That and Stay Fashionable (re-release, 1997), and Shut Your Mouth And Open Your Eyes in 1997. Other releases include, the now classic, Black Sails In The Sunset (1999), the All Hallowís EP (1999), and The Art Of Drowning (2000).

    1. Strength Through Wounding
    2. Porphyria
    3. Exsanguination
    4. Malleus Maleficarum
    5. Narrative Of Soul Against Soul
    6. Clove Smoke Catharsis
    7. The Prayer Position
    8. No Poetic Device
    9. The Last Kiss
    10. Weathered Tome
    11. At A Glance
    12. God Called In Sick Today
    AFI
    $21.99
    Vinyl LP - Sealed Buy Now
  • The Art Of Drowning The Art Of Drowning Quick View

    $21.99
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    The Art Of Drowning

    Today AFI is one of the most lauded, rising young bands as their latest album Sing the Sorrow teeters on platinum status. But what about yesterday? The band honed its sound during its tenure with Nitro Records starting in the mid 90s. Now, Nitro has just released AFI, a 13-track retrospective showcasing music from all six releases the band recorded for the label.

    The band made its Nitro debut in 1996 with Very Proud of Ya followed by Answer That and Stay Fashionable (re-release, 1997), and Shut Your Mouth And Open Your Eyes in 1997. Other releases include, the now classic, Black Sails In The Sunset (1999), the All Hallowís EP (1999), and The Art Of Drowning (2000).

    1. Initiation
    2. The Lost Souls
    3. The Nephilim
    4. Ever And A Day
    5. Sacrifice Theory
    6. Of Greetings And Goodbyes
    7. Smile
    8. A Story At Three
    9. Days Of The Phoenix
    10. Catch A Hot One
    11. Wester
    12. 6 To 8
    13. The Despair Factor
    14. Morninstar
    AFI
    $21.99
    Vinyl LP - Sealed Buy Now
  • Very Proud Of Ya Very Proud Of Ya Quick View

    $21.99
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    Very Proud Of Ya

    Today AFI is one of the most lauded, rising young bands as their latest album Sing the Sorrow teeters on platinum status. But what about yesterday? The band honed its sound during its tenure with Nitro Records starting in the mid 90s. Now, Nitro has just released AFI, a 13-track retrospective showcasing music from all six releases the band recorded for the label.

    The band made its Nitro debut in 1996 with Very Proud of Ya followed by Answer That and Stay Fashionable (re-release, 1997), and Shut Your Mouth And Open Your Eyes in 1997. Other releases include, the now classic, Black Sails In The Sunset (1999), the All Hallowís EP (1999), and The Art Of Drowning (2000).

    1. He Who Laughs Last...
    2. File 13
    3. Wake-Up call
    4. Cult Status
    5. Perfect Fit
    6. Advances In Modern Technology
    7. Theory of Revolution
    8. This Secret ninja
    9. Soap Box Derby
    10. Asprin Free
    11. Fishbowl
    12. Charles Atlas
    13. Crop Tub
    14. Consult My Lover
    15. Take the Test
    16. Two Of A Kind
    17. Shatty Fatmas
    18. Yurf Rendenmenin
    19. Cruise Control
    20. Modern Epic
    AFI
    $21.99
    Vinyl LP - Sealed Buy Now
  • The Prisoner The Prisoner Quick View

    $19.99
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    The Prisoner


    Reissued As Part Of The Blue Note 75th Anniversary Vinyl Reissue Campaign


    As one of the first albums Herbie Hancock recorded after departing Miles Davis' quintet in 1968, as well as his final album for Blue Note, The Prisoner is one of Hancock's most ambitious efforts. Assembling a nonet that features Joe Henderson (tenor sax, alto flute), Johnny Coles (flugelhorn), Garnett Brown (trombone), Buster Williams (bass), and Albert Tootie Heath (drums), he has created his grandest work since My Point of View. Unlike that effort, The Prisoner has a specific concept -- it's a tribute to Dr. Martin Luther King, evoking his spirit and dreams through spacious, exploratory post-bop. Often, the music doesn't follow conventional patterns, but that doesn't mean that it's alienating or inaccessible. It is certainly challenging, but Hancock's compositions (and his arrangement of Charles Williams' Firewater) have enough melody and space to allow listeners into the album. Throughout the record, Hancock, Coles, and Henderson exchange provocative, unpredictable solos that build upon the stark melodies and sober mood of the music. The tone is not of sorrow or celebration, but of reflection and contemplation, and on that level, The Prisoner succeeds handsomely...

    - Stephen Thomas Erlewine (All Music)

    1. I Have a Dream
    2. The Prisoner
    3. Firewater
    4. He Who Lives in Fear
    5. Promise of the Sun
    6. The Prisoner
    7. Firewater
    Herbie Hancock
    $19.99
    Vinyl LP Reissue - Sealed Buy Now
  • Dreamland Dreamland Quick View

    $19.99
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    Dreamland

    Natalie Bergman has had her picture taken on countless occasions -- hundreds of studio portraits and live shots and backstage festival snaps. But the simple, gorgeous black & white photo of Bergman on the cover of Wild Belle's Dreamland that she describes as just me and this sort of abyss That one was lensed by the person who best knows how to capture her essence on celluloid: Her older brother and bandmate, Elliot Bergman. Besides being Wild Belle's multi-instrumentalist extraordinaire, Elliot has an equally impressive flair for visual arts, from painting and sculpture to bronzemaking and photography. An avid collector of vintage cameras, Elliot brought along a recently acquired Polaroid Land Camera to a show Wild Belle played in Denver this summer: The duo grabbed a quick moment at their hotel to take the portraits of each other that grace the front and back of their new record. The pictures Elliot takes of me are always really beautiful and it's because he knows me better than anyone else on this Earth, says Natalie. Adds Elliot: I like that it's a photo of Natalie just being Natalie. And the stark contrast of her in the foreground with the dark background really fit with these collages she has been doing. Natalie is in the light but the shadows are pretty heavy and you can't really tell where she is or what's back there.


    Recorded at studios in their native Chicago, Natalie's new home of Los Angeles, Nashville and Toronto, Dreamland -- Wild Belle's bold, evolutionary new album -- derives from an era in the singer's life when she was struggling to get control of what she describes as the anger and deep sorrow that plagued her at the end of her most recent romantic relationship. For a woman whose music has always been inspired by her desire to translate her complicated feelings into immediately relatable songs, there was certainly plenty of grist for the mill. Dreamland tracks such as Losing You and It Was You (Baby Come Back) offer glimpses of the darkness that Natalie battled during the early months writing for the duo's sophomore full-length. But there are also genuine moments of lightness and ecstatic triumph, like Giving Up On You -- an irresistibly kinetic, punk number Wild Belle recorded with TV On The Radio's Dave Sitek producing.


    I was very heated when we were making this record. My body, my heart and my soul were filled with a flame, which sounds very dramatic but it's the truth, says Natalie. I had a healing moment when I moved to LA earlier this year, because I was far away from my ex and I felt like I was getting rid of a lot of baggage. That was the redemptive, triumphant time for my lyrics. On 'Giving Up On You,' I sing: 'Now I smile so bright, you can see me from outer space, look at me shine. Baby it's about time, I was so miserable and now I feel so alive.' All the songs I wrote near the end of making the album have that sentiment: 'Now look at where I am, after all the turmoil that was inside of me, I'm here and I'm happy and I'm ready for whatever comes my way.'


    The follow-up to 2013's Isles, Dreamland expands the band's ambitions in every way. It's deeper, it's more fun, it's more haunting, it's got more grooves, Elliot says. There's sorrow and pain but there's also hope and joy -- all those things can coexist in the songs because they coexist in life. He continues: Dreamland, that's not some kind of idealized notion of where we live and I hope people hear that as a question: What is the Dreamland What is our dream here The album doesn't get overtly political, but we're dealing with a lot of the things that are dark about what's happening now. 'Throw Down Your Guns' is about a relationship but is also kind of about the messed up situation that we're in right now. The chorus, 'Throw down your guns / In the name of love, I put my hands up,' to me can be heard in a number of ways, including as a prayer for peace or a cry out against violence.


    Importantly, the album also shares its name with one of the first songs Natalie remembers Elliot introducing her to: Bunny Wailer's 1970 reggae classic, Dreamland. One year for Christmas, he gave her a compilation of female artists who recorded at Jamaica's legendary Studio One, and it included Della Humphrey's version of the song. Natalie listened to it over and over and over again. I was so in love with it, she says. From there, I started my exploration of rocksteady and ska and lovers rock and anything that had to do with Jamaican music from the Fifties onward.


    The duo started writing music together several years ago, after Elliot took a sixteen year-old Natalie on tour to play percussion with his acclaimed Afrobeat ensemble, NOMO. I can present a song to Elliot and he has this foresight -- he can see things further than I see them, and he helps me realize things, she says. I'd been writing very simple melodic love songs since I was fifteen years old. I definitely have a pop sensibility in my style, and that's a great platform for Elliot to work from, because it's fun for him to have a cool little pop song and combine it with more eccentric sounds and make it into a weird, unique percussive jam. Sometimes he'll bring the jam to me and because we've got this routine together, we can write a song together wherever we are.


    Work on the album began in early 2014, in Chicago. The song that opens Dreamland -- Mississippi River -- was also the first one to come together in the studio. It was sparked by a moment of musical serendipity: The record starts with this pulsing ARP drone, says Elliot, which is a very expensive esoteric nerdy synthesizer that's complicated to program. Natalie and I had this weird, symbiotic thing where I was playing three chords off the ARP and she started playing different three chords on this out-of-tune autoharp she brought over. They were both completely in the wrong key, and yet perfectly in tune with each other. That was like the new bar for the record. It was like, 'Yeah, we're going to put synthesizers and saxophone and kalimbas on these songs, and we're going to have lavish string arrangements if we want to. We were getting comfortable with all of the materials that we love, and being like, 'I love this, so let's do it.


    They tracked several songs at home in Chicago last year, and then at the start of 2015, Natalie packed all of her belongings into the Wild Belle van and drove from Chicago to Venice, California. She rented a house where Elliot joined her a couple weeks later. When I had my place in Venice, Elliot would wake up earlier than I would and start making dope beats, says Natalie. One day he made this ridiculous song, 'The One That Got Away,' and the beat and underlying track were so exciting that it didn't take very long to write. Our friends came over and were jumping on the tabletops, dancing, getting naked because they loved the song so much.


    Playing the new songs at Lollapalooza for the first time with an eight-piece band, says Elliot, I had a feeling onstage that I'd never had before with Wild Belle, where you're part of a sound that's much bigger than you could make on your own. It's this charged-up badass feeling. It's about a groove and rhythmic energy and force and momentum and making a big, dark, deep sound -- something that moves people and makes you want to dance and makes you want to shout. It's tapping into a deeper musicality that I've always been looking for.

    1. Mississippi River
    2. Losing You
    3. Dreamland
    4. Coyotes
    5. Cannonball
    6. Giving Up On You
    7. It Was You
    8. Throw Down Your Guns
    9. The One That Got Away
    10. Our Love Will Survive
    11. Rock & Roll Angel
    Wild Belle
    $19.99
    Vinyl LP - Sealed Buy Now
  • Divers Divers Quick View

    $33.99
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    x

    Divers

    Good heavens - five years go by - what can one do? Dive, listener, knowing that your next hour will be filled with diversions aplenty: a wheeling circuit of sci-fi sea-shanties and cavalier ballads, narrated from parts unknown; a family of polysemic song-sets; a paranomasaic Liederkreis of harmonic sympathies and knotted hierarchies; a fanfare of brazen puns and martial lullabies, blazing in sorrow and horseplay and love, in turns symphonic and spare, joined by Mellotrons and Marxophones and Moogs, clavichords and celestas-and of course the harp, thrumming its threnodies of circadian invasions and avian irruptions and strange loops of Shepard-toned resonant-frequencies and something called goddamned Simulacreage...


    The music of Divers is a wonder of considered arrangements - a taut line, threaded with the pearls of passed and passing times...a round, a chant, an incantation...a ray of light diverted eleven ways, into eleven songs that striate, in chromatic collusion, their simultaneous arc...a span that takes in lifetimes, but is immaculately sequenced for telescoped brevity. The music speeds with dissociative dread over montaged cityscapes; it hoofs with delight among the collaged quotations and sepia-toned codices of Popular Song; it ambles its carefree citational course through the public domain and down into the dustier corners of municipal parks, to lionize infamous airmen and anonymous Dutch Masters, to mourn pearl divers and Poorwills, and to elegize the ineluctable tragedy of relativity - a tragedy of parochial time, anecdotal time, dubious time...


    At the center of the mythos and the maelstrom is the woman. Divers reminds us that Newsom is a melodist, above all - an acolyte of melody and beauty in form, a crackerjack of emotional truth conveyed with undiluted immediacy. "The Things I Say" seems a naked admission, after the epic swales of war and peace that precede it, and yet this sudden moment of piano and voice falls seamlessly into the flow, buffeted by the haunting winds of a musical saw and time-slipping reversal at the finish. ...so that, at the aortic confluence of such a complexity of strings and wires, winking beneath the lacquered layers of instrumental nacre, biding quietly between the ranges ofrhapsodic arrangement-including those by Nico Muhly, Ryan Francesconi, Dave Longstreth, Dan Cantrell, and Newsom herself - there lies an intimacy seldom achieved, and simply heard.


    1. Anecdotes
    2. Sapokanikan
    3. Leaving the City
    4. Goose Eggs
    5. Waltz of the 101st Lightborne
    6. The Things I Say
    7. Divers
    8. Same Old Man
    9. You Will Not Take My Heart Alive
    10. A Pin-Light Bent
    11. Time, As a Symptom
    Joanna Newsom
    $33.99
    Vinyl LP - Sealed Buy Now
  • Cast The First Stone Cast The First Stone Quick View

    $21.99
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    Cast The First Stone

    Pressed On Camo Green Vinyl


    Death metal is more than just music. It transcends such a limited mortal state of mind. Death metal is the aural expression of humanity's darkest side, of devastation, sorrow and the harbingers of mankind's own inhumanity and ultimate destruction. Death metal is not a trend, a fashion parade or a means to an end. It is much more than that. It is a way of life. A life in death.


    This is the doctrine Italy's HOUR OF PENANCE, spewn forth with unrelenting musical ferocity through their sickening, mind-obliterating auditory assault on the senses.


    Forged in the dark shadows of "The Holy Capital," this most unholy of quartets have steadily been making a name for themselves as one of the most intense, talented and impressive modern death metal bands both in-studio and onstage.


    Like clockworks Hour of Penance is ready to release "Cast the First Stone" as the follow-up of his last successful album Regicide. Releasing an album every 2 years, the band has been described by the fans and worldwide press as one of the most "productive" band in the genre, "Cast the First Stone" will mark album number 7 in the band's career .


    Singer Paolo Pieri describes the concept of the new album : "Cast the First stone" revolves around the idea that the injustices suffered during the Crusades and Colonialism cannot justify indefinitely a chain of hate that propagandize the destruction of the West. I believe that the political situation in recent years has brought to light again a millennial conflict between West and East, and events like the terrorist attack at the Bataclan, where we only played a few months before the massacre, have influenced the lyrics on this record very much.


    It does not matter who has thrown the first stone, but who first evolved his ideology to seek peace and coexistence instead of war to the bitter end. In Europe, people have massacred each other for millennia but in the last 60 years, we were able to overcome differences and secular hatred that divided us, while the blind hatred of Islamic extremism is bringing entire geographic areas back to the darkest middle ages.


    We find ourselves once again in front of a war between reason and religion, and unless we take a strong stand in defense of our Western values, we risk falling into chaos because of a weak and coward enemy stubbornly convinced of his senseless laws."


    Lead guitarist and songwriter, Giulio Moschini, adds : "Sonically speaking , this is the best sounding album we've ever recorded , we really worked hard on this, listening to the album countless times before finally delivering the masters to Prosthetic Records.. it was definitely worth the wait and we're 100% satisfied by the great work our bass player Marco Mastrobuono has done behind the mixing desk. We've literally spent weeks trying different micing techniques, hardware, preamps- trying to avoid plugins technologies as much as we could. We wanted our album to sound more dynamic and I think that we've achieved that 100%. "


    Since releasing 2012's acclaimed "Sedition", which Decibel lauded as a "hyper-blasting, inhuman, machine-like attack," HOUR OF PENANCE has annihilated fans worldwide with its fiery exuberance, playing well over 200 gigs alongside such acts as BEHEMOTH, SKELETONWITCH, CANNIBAL CORPSE, THE BLACK DAHLIA MURDER, DEVILDRIVER, PSYCROPTIC, MISERY INDEX, DEICIDE, BELPHEGOR, NILE and KRISIUN.

    1. XXI Century Imperial Crusade
    2. Cast the First Stone
    3. Burning Bright
    4. Iron Fist
    5. The Chains of Misdeed
    6. Horn of Flies
    7. Shroud of Ashes
    8. Wall of Cohorts
    9. Damnatio Memoriae
    Hour Of Penance
    $21.99
    Colored Vinyl LP - Sealed Buy Now
  • Wall Of Sound (Awaiting Repress) Wall Of Sound (Awaiting Repress) Quick View

    $23.99
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    Wall Of Sound (Awaiting Repress)

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

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

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

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

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

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

    Guests:

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

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

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

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

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

    $49.99
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    The Okeh Sessions (Pure Pleasure)

    Her mountainous stature matching the sheer soulful power of her massive vocal talent, Big Maybelle was one of the premier R&B chanteuses of the '50s. Her deep, gravelly voice was as singular as her recorded output for Okeh and Savoy, which ranged from down-in-the-alley blues to pop-slanted ballads. She appeared at the Newport Jazz Festival in 1958, and acquired a large following among lovers of the blues, rhythm and blues, jazz and rock and roll. Near the end of her life she even covered hits by the Beatles and Donovan. Big Maybelle's career was hampered throughout and cut short by a severe drug addiction, but she packed a lot of living into her shortened lifespan. It's worth mentioning how, almost half a century later, the power in her Okeh sessions is still palpable. With her bold, gritty sound, she comes off like nothing so much as a female Howlin' Wolf, and one can't imagine her not being an influence on the full-throttle blues of Etta James, Aretha, Janis Joplin and countless others. So Good to My Baby features typically microphone-distorting belting from the singer, and an appropriately blazing horn section. Gabbin' Blues, her 1952 Okeh debut smash, is a humorous dialogue between Maybelle and gossiping rival Rose Marie McCoy, the tune's co-writer. One of the most stirring cuts here is Ocean Of Tears, a percolating, minor-key tune in which Maybelle bemoans her sorrowful state with an unforgettably cathartic angst. Also impressive, though, are ballads such as You'll Never Know, Ain't No Use, and You'll Be Sorry, which show a pleasant, softer side to Maybelle's craft. Whole Lotta Shakin' Goin' On - a song that she took to the top of the R&B charts before Jerry Lee Lewis turned it into a rock & roll anthem -, her 1955 single One Monkey Don't Stop No Show and 1954's I'm Getting 'Long Alright, are also standouts. New York session wizards such as tenor saxophonist Sam 'The Man' Taylor and guitarist Mickey Baker provide great support throughout. The tracks contained on this album showcase one of the greatest blues singers of all time, at her prime.



    Recording: October 1952, June 1953, January and March 1954, March 1955



    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.



    LP1
    1. Just Want Your Love
    2. So Good To My Baby
    3. Gabbin' Blues
    4. My Country Man
    5. Rain Down Rain
    6. Way Back Home
    7. Stay Away From My Sam
    8. Jinny Mule
    9. Maybelle's Blues
    10. I've Got A Feeling
    11. You'll Never Know


    LP2
    1. No More Trouble Out of Me
    2. My Big Mistake
    3. Ain't No Use
    4. I'm Gettin' 'Long Alright
    5. You'll Be Sorry
    6. Hair Dressin' Women
    7. One Monkey Don't Stop No Show
    8. Don't Leave Poor Me
    9. Ain't To Be Played With
    10. New Kind of Mambo
    11. Whole Lotta Shakin' Goin' On

    Big Maybelle
    $49.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • No More Shall We Part No More Shall We Part Quick View

    $22.99
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    No More Shall We Part

    No More Shall We Part ends a four-year silence from Nick Cave & the Bad Seeds. A best-of was issued in 2000, but no new material has appeared since 1997's landmark album, The Boatman's Call. With that record Cave had finally delivered what everyone knew he was capable of: an entire album of deeply tragic and beautiful love songs without irony, sarcasm, or violent resolution. It appears that The Boatman's Call has altered the manner in which Cave writes songs, and the Bad Seeds illustrate them. Two musical directors -- the ubiquitous Mick Harvey and Dirty Three violinist Warren Ellis -- craft a sonic atmosphere whose textures deepen and widen Cave's most profound and beautiful lyrics to date. The ballads have the wide, spacious, sobering ambience one has come to expect from the Bad Seeds. There is an ethereal change in sound in the up-tempo numbers, which are, for lack of better terminology, musical novellas. They plumb the depths of blues, yet contain glissando and crescendos from the orchestral music of composers such as Fartein Valen and Olivier Messiaen. There are places, such as in Oh My Lord, where rock & roll is evoked as a device, but this isn't rock music. A listen to As I Sat Sadly By Her Side, Hallelujah, and the aforementioned track (the most rock song here) will attest that it is merely one color on a musical palette that is more expansive now than at any time in the band's history. Also in the band's musical treasure trove is the addition of the McGarrigle sisters on backing vocals - nowhere is their contribution more poignant than on the tenderly daunting, haunted house that is Love Letter. Lyrically, and as a vocalist, Cave has undergone a startling, profound metamorphosis. Gone is the angry, humorous cynic whose venom and bile touched even his lighter moments. His deep taunting ambivalence about Jesus Christ and Christianity in general is gone, vanished into a maturity that ponders spiritual things contemplatively. Humor that pokes fun churchianity remains, but not as a source of its inspiration. Over these 12 tracks, Cave has taken the broken heart--so openly exhibited on The Boatman's Call--and elevated it to the place where he has learned to live with, and speak from it as both an artist and a human being. Leonard Cohen stated in the song Anthem, that, there is a crack in everything/that's where the light gets in.No More Shall We Part is a mosaic of those cracks. If this album is about anything, it is about love's ability to survive in the world. It is examined concretely and abstractly; to the point where it meditates on this theme even cinematically. His methodology for the listener is, even though these are intimate conversations, the effect is illustrated in widescreen. In this way, Cave touches the heart in the same way Andrei Tarkovsky's films Stalker and The Sacrifice and Wim Wenders' Wings of Desire do. There is powerful emotion here, spiritual, psychological and romantic, without a hint of the sentimentality that would make it false. As both a singer and a songwriter, his work has been transformed into something so full of depth, color, and dimension, that there is simply no one except his mentors working on this level in popular music. In the opening moments of As I Sat Sadly By Her Side, a tenderly, softly sung vocal delivers: Then she drew the curtains down/And said when will you ever learn/That what happens there beyond the glass/Is simply none of your concern/God has given you but one heart/You are not a home but the hearts of your brothers/God don't care for your benevolence anymore/But he cares for the lack of it in others/Nor does he care for you to sit at/Windows in judgement of the world he created/While sorrows pile up around you/Ugly, useless and over-inflated/At which she turned her head away/Great tears leapin' from her eyes/I could not wipe a smile from my face/As I sat sadly by her side. The title track is a ballad that could have been lifted from The Boatman's Call, except it lacks the reaching tragedy. And Cave sings in a tenor no one thought him capable of -- And all the birds will sing to your beautiful heart/Up on the bell/And no more shall we part. The chaos of earlier Bad Seeds outings does kick up on The Sorrowful Wife, where violins and Blixa Bargeld's guitars duel with Jim Sclavunos's drums for domination of the sonic torrent. The record closes with two of Cave's most beautiful songs, a near country gospel waltz called Gates to the Garden with the McGarrigles sweetening an already lovely tome to redemptive love. Finally, Darker With the Day, illustrated by Harvey's striking pianistic ballad framework touched by Bill Evans' technique, is as strikingly autobiographical as Cave has ever been, highlighting the extremes of good and evils that inform and torment the protagonist's inner emotional life within in a single day. There is loss and the seeking of deliverance and, in a statement not so much of recognition that this is simply fate, he also acknowledges hope: All these streets are frozen now/I come and go/Full of a longing for something I do not know. As he calls to a lover gone seemingly forever, he comes to the conclusion that for him, redemption is in love itself, whether divine or profane; the only hope is that love, between two people or between an individual and her or his creator, depends on one's openness to receiving it. Who can argue with him? No More Shall We Part leaves listeners in awe, full of complex emotions, and pondering the notion that they've been in the presence of great redemptive art--which Henry James calls, the thing that can never be repeated.

    - Thom Jurek (All Music)
    1. As I Sat Sadly by Her Side
    2. And No More Shall We Part
    3. Hallelujah
    4. Love Letter
    5. Fifteen Feet of Pure White Snow
    6. God Is in the House
    7. Oh My Lord
    8. Sweetheart Come
    9. The Sorrowful Wife
    10. We Came Along This Road
    11. Gates to the Garden
    12. Darker with the Day
    Nick Cave And The Bad Seeds
    $22.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Gasoline Alley Gasoline Alley Quick View

    $24.99
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    Gasoline Alley

    Numbered Limited Edition LP


    Rod the Mods 1970 Landmark Set Tone for All Folk-Rock Albums That Followed


    Evocative, Low-Key, and Rustic: Gasoline Alley Finds Stewart At His Peak


    Mastered on Mobile Fidelitys World-Renowned Mastering System and Pressed at RTI: LP Has Never Sounded More Organic, Warm, or Transparent


    Backed By Fellow Faces Ron Wood, Ronnie Lane, Ian MacLagan, Kenny Jones


    Stewarts Equally Iconic Every Picture Tells A Story Also Available on LP from Silver Label


    No matter what era or phase of Rod Stewart you prefer, nearly everyone is unanimous in choosing the artists early 1970s output as his very finest. Proof comes courtesy of Gasoline Alley. A 1970 record that literally set the template for all folk-rock efforts that followed, the critically acclaimed album has been cited as one of the 1001 Albums You Must Hear Before You Die and remains a blueprint for evocative vocals, low-key presentation, and incredible interpretation.


    Barely removed from his debut, Stewart comes into his own on Gasoline Alley, essentially a largely unplugged record on which the singer surrounds himself with a transcendent blend of acoustic guitars, mandolin, fiddle, piano, and understated percussion and channels the music with a gritty, rock n roll attitude. The results? Tough, organic, warm, swaggering, and unfettered songs that bow to country, rockabilly, blues, and folk influences all the while managing to belong to their own genre. Its just one of the reasons why Gasoline Alley remains a study in distinctive excellence.


    Another is due to Stewarts passionate singing. Sensitive, understated, wistful, and raggedly worn, he inhabits the role of a journeyman that inhabits the narratives on standard-bearing covers of Bob Dylans Only a Hobo, Elton Johns Country Comforts, and the R&B shuffle Cut Across Shorty. He conveys a bevy of complex emotionssadness, regret, optimism, sorrow, loss, humor, yearningwith a poignancy that suggests every song here is disarmingly personal. Of course, having a band sympathetic to his desires and directions, and one that claims the talent of players such as guitarist Ronnie Wood and organist Ian MacLagan, doesnt hurt matters.


    Mastered on Mobile Fidelitys world-renowned mastering system and pressed at RTI (America's best record plant), this numbered limited edition LP allows Gasoline Alley to come across with unrivaled warmth, organic tones, and transparent presence. The signature acoustic-electric blend of rock, blues, soul, and country crackles with energy; midrange and highs are vastly improved, affording listeners a clearer image of the Faces dynamic contributions and chemistry. And Stewarts vocals take place right in your room. Wait until you hear the inflections and contrasts.


    Dont hesitate on this all-time rock and folk classic.


    This title is not eligible for discount.

    1. Gasoline Alley
    2. It's All Over Now
    3. Only A Hobo
    4. My Way Of Giving
    5. Country Comforts
    6. Cut Across Shorty
    7. Lady Day
    8. Jo's Lament
    9. You're My Girl (I Don't Want To Discuss It)
    Rod Stewart
    $24.99
    Vinyl LP - Sealed Buy Now
  • Let Yourself Go (Pure Pleasure) Let Yourself Go (Pure Pleasure) Quick View

    $49.99
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    x

    Let Yourself Go (Pure Pleasure)

    Let Yourself Go is an exceptional collection of 13 tunes written by the cream of popular song writers -- Berlin, Gershwin Brothers, and others -- honoring Fred Astaire's contributions to the vocal art. With his low key, narrow ranged voice, Astaire probably introduced and/or made popular more songs that were destined to become standard entries in the Great American Songbook than any other artist. Kent delivers this selective play list with one of three musical combinations, just piano, with piano plus rhythm, and with a larger aggregation which includes sax and guitar. Irrespective of the instrumental context, all of the tunes are delivered with Stacey's pleasant nasal twang to help her create the impression that the lyrics she's singing are part of an intimate one on one conversation with each listener. There's nothing over dramatic on this album. No gimmicks, just a voice as engaging as any on the scene conveying the meaning of a melody in the tradition of the person she is honoring, the inestimable Astaire.


    Kent's pianist, David Newton, is one of the premiere accompanists in the U.K., having worked with such top flight singers as Tina May. He and Kent display their musical attraction to each other on a relaxed, suave rendition of Isn't This a Lovely Day and They Can't Take That Away From Me, where Kent and Newton gently joust as they deliver an elegant rendition of this tune. 'Relaxed' is as good a word as any to describe the atmosphere for this session. There's nothing frenetic here. S'Wonderful, usually performed at a fast pace, gets a languid, medium tempo treatment with Newton's piano, an effortlessly lilting Colin Oxley guitar and Jim Tomlinson's tenor sharing the mike with Kent. A Fine Romance is about as upbeat as it gets, with Oxley's cleaned line guitar setting the pace. Newton engages in a bit of Erroll Garner-like humming during his solo on this tune. Tomlinson's romantic tenor is featured on Let Yourself Go and They All Laughed. On One for My Baby, he brings out his clarinet, using the middle register to help create the proper melancholy mood for this definitive 'drowning my sorrows in booze' tune.


    This is another excellent album by American born, U.K.-based singer Stacey Kent, and is happily recommended.

    Musicians:



    • Stacey Kent (vocal)

    • Jim Tomlinson (tenor saxophone, alto saxophone, clarinet)

    • Colin Oxley (guitar)

    • David Newton (piano, keyboards)

    • Simon Thorpe (bass)

    • Steve Brown (drums)




    About Pure Pleasure



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



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



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



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



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



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

    LP 1
    1. Let Yourself Go
    2. They Can't Take That Away From Me
    3. I Won't Dance
    4. Isn't This A Lovely Day?
    5. They All Laughed
    6. He Loves And She Loves


    LP 2
    1. Shall We Dance?
    2. One For My Baby (And One More For The Road)
    3. S' Wonderful
    4. A Fine Romance
    5. I Guess I'll Have To Change My Plan
    6. I'm Putting All My Eggs In One Basket
    7. By Myself

    Stacey Kent
    $49.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Precious Remedies Against Satan's Devices Precious Remedies Against Satan's Devices Quick View

    $22.99
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    Precious Remedies Against Satan's Devices

    Precious Remedies Against Satan's Devices, The Welcome Wagon's second full-length, is an apt sequel to their critically acclaimed 2008 debut, Welcome to the Welcome Wagon. Here, Vito and Monique Auito simply throw those welcoming arms open wider, inviting the listener to join them for 51 minutes of church.


    Those who enjoyed the Welcome Wagon's debut album will notice their distinct sound again here: loose, jangly, comfortable, a gathering of friends making music together. It's at times jaunty and toe-tapping, at others quietly contemplative, an alt-folk gem that sounds very much like it comes out of the Asthmatic Kitty camp.


    But while the first album was recorded over the course of eight years in various venues, this one was done in five days at the library of an old rectory in Brooklyn. And while recording artist and AK co-owner Sufjan Stevens produced Welcome Wagon's first album, he's less noticeable on this collection, sticking to some banjo, piano, and choir singing. Alexander Foote, who also plays guitars, organ, autoharp, percussion, and some piano, produced the record. And Welcome Wagon friends and internet sensations The Gregory Brothers fill in the choir.


    Vito says his songwriting is informed by his work as senior pastor at Resurrection Presbyterian Church in Brooklyn's Williamsburg neighborhood. "A pastor is supposed to care for people, to help them to love God, to engage with their lives and their joys and their sorrows," he says. "I'm only interested in writing music that will speak to that. I'm writing as a pastor, wanting these songs to speak God's truth into those situations." Double gatefold vinyl LP includes bonus EP on side 4: Purity of Heart is to Will One Thing.

    1. I'm Not Fine
    2. My God, My God, Parts 1 & 2
    3. I Know That My Redeemer Lives
    4. Rice and Beans (But No Beans)
    5. High
    6. Remedy
    7. Would You Come And See Me In New York
    8. My Best Days, Parts 1 & 2
    9. Lo He Comes With Clouds Descending
    10. Draw Nigh
    11. The Strife Is O'er
    12. God Be With You Til We Meet Again
    13. Nature's Goodnight
    The Welcome Wagon
    $22.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • In Spades In Spades Quick View

    $23.99
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    In Spades

    "Cleromancy" isn't a word one normally finds in rock lyrics. Then again, In Spades - the forthcoming album by The Afghan Whigs, from which the new song "Oriole" hails - is defined only by its own mystical inner logic. The term means to divine, in a supernatural manner, a prediction of destiny from the random casting of lots: the throwing of dice, picking a card from a deck. From its evocative cover art to the troubled spirits haunting its halls, In Spades casts a spell that challenges the listener to unpack its dark metaphors and spectral imagery.


    On the one hand, In Spades is as quintessentially Afghan Whigs as anything the group has ever done - fulfilling its original mandate to explore the missing link between howling Midwestern punk like Die Kreuzen and HÜsker DÜ, The Temptations' psychedelic soul symphonies, and the expansive hard-rock tapestries of Led Zeppelin and Lynyrd Skynyrd. At the same time, this new record continues to push beyond anything in the Whigs' previous repertoire - another trademark, along with the explosive group dynamic captured on the recording.


    Indeed, the chemistry of the lineup - Dulli, guitarists Dave Rosser and Jon Skibic, drummer Patrick Keeler, multi-instrumentalist Rick Nelson, and Whigs co-founder/bassist John Curley - set the tone for In Spades' creation. When it came to follow up the band's triumphant return to recording - Do To the Beast (2014), which was the band's first ever Top 40 album, - the die was cast. "This is the first time since Black Love [the Whigs' 1996 noir masterpiece] that we've done a full-blown band album," Dulli says.


    The joys, sorrows, and upheavals of innocence and experience echo throughout In Spades: it powerfully documents where The Afghan Whigs have been, and where they might go next. For Dulli and Curley, it's a journey that, since their origins as one of the first Sub Pop acts to be signed from outside the label's Pacific Northwest base, has spanned decades. Dulli notes they were barely in their twenties when they first started the band, and yet here they are, fulfilling dreams long held and frequently realized. "Having a break from the Whigs helped me remember what made it so rewarding," Curley says. "Over the course of a lifetime, there are constants, and there's also change. You see who's dropped off the vine - who's going in reverse, and who's still by your side. It's interesting to see where life takes you, and where it doesn't. That's the journey and it hasn't stopped."


    In Spades was recorded at Rick Nelson's studio Marigny Sound in New Orleans, LA.

    1. Birdland
    2. Arabian Heights
    3. Demon In Profile
    4. Toy Automatic
    5. Oriole
    6. Copernicus
    7. The Spell
    8. Light as a Feather
    9. I Got Lost
    10. Into the Floor
    The Afghan Whigs
    $23.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Fool's Gold Fool's Gold Quick View

    $16.99
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    Fool's Gold

    Translucent Gold Vinyl


    My greatest hope is that it ends up becoming the soundtrack to some perfect romance, or at the very least a great cocktail party," says Jill Barber of her new album, 'Fool's Gold. Jill - aka "Canada's sweetheart" - is a two-time Juno Award nominee and Montreal Jazz Fest headliner whose last album hit #1 on the iTunes Jazz charts, and landed her a national segment with NPR. She has collaborated with Josh Ritter, Ron Sexsmith, and Kris Kristofferson has called her a "damn good songwriter." She also published a children's book, entitled 'Music is for Everyone,' this May. 'Fool's Gold' explores every nook of Jill's musical history: sultry torch songs, Hank Williams-inspired ballads, an homage to the golden era of the Brill Building, Motown and beyond. Lead single "Broken For Good" ventures into the early days of Motown with its strong backbeat, horns, a driving bass line and immediate pop appeal. She channels Patsy Cline on "The Careless One," a bittersweet Western, full of resignation and sorrow. As Jill puts it, "It hurts me to sing it, just a little. But that's how I know it is a keeper." The record was produced in Toronto by longtime collaborators and bandmates Les Cooper and Drew Jurecka.

    1. Broken For Good
    2. The Least That She Deserves
    3. Let's Call It Love
    4. The Careless One
    5. If Only In My Mind
    6. To The Last
    7. Lucky In Love
    8. Darlin' It Was You
    9. Only You
    10. If You're Going To Break My Heart
    Jill Barber
    $16.99
    Colored Vinyl LP - Sealed Buy Now
  • Live At Roadburn 2008 Live At Roadburn 2008 Quick View

    $24.99
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    Live At Roadburn 2008

    Special 10-Year Anniversary Edition Of The Wolves In The Throne Room Break Through Live Performance At The Prestigious Roadburn Festival.


    New Artwork By Chimaire Noire (Wolves In The Throne Room/Profound Lore)


    Vinyl Includes Poster


    The Performance Was Recorded Live At The Roadburn Festival, April 19, 2008, At 013, Tilburg, Netherlands. Mixed And Mastered At Torture Garden Studio, Oss, Netherlands


    Wolves in the Throne Room re-imagined black metal as an ode to rainstorms, wood smoke and the wild energies of the PacificNorthwest. They are considered as one of the most potent and highly regarded bands in heavy metal today. Now, a portal into their mythic ethereal heathen landscape opens once again. Wolves' performances are all about channeling emotions and luring the audience into a meditative state; Aaron Weaver has gone so far as to say he wants people to "lay on the floor and cry" during the shows. The songs each contain several parts, from the soaring climax of "Vastness and Sorrow" to the trance-like introduction of "Cleansing", making the album feel like an epic journey through desolate worlds and beautiful landscapes. Indeed, the band cites post-metal giants Neurosis as an inspiration for how their music "operates on a deep and intense mythical level". Wolves' music is a very personal experience; there is no fist-pumping, there are no mosh pits, only your mind and the places - majestic, bleak, burned and reborn, that the music takes it. Seeing the band live is an experience that can't be recreated anywhere else, but Live at Roadburn is a suitably fierce and meditative addition to Wolves' excellent catalogue.


    - Sputnik Music

    1. Vastness & Sorrow
    2. Face In A Night Time Mirror Pt.1
    3. I Wil Lay Down My Bones Among The Rocks And Roots
    Wolves In The Throne Room
    $24.99
    Vinyl LP - Sealed Buy Now
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