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  • Rega Planar 3 Turntable 9 OPTIONS AVAILABLE Rega Planar 3 Turntable Quick View

    $945.00
    Buy Now
    x

    Rega Planar 3 Turntable

    40th
    5


    Need help choosing the right turntable for you? Please contact our audio advisor at 1-877-929-8729 with any questions or concerns regarding your equipment purchase.


    **All Cartridges Installed Free Of Charge**


    Replacing the multi award winning and five times What Hi-Fi? Product of the Year (RP3) was never going to be an easy task. It took a team of designers headed up by Rega's Roy Gandy, two years to develop the all new 'Planar 3' following the biggest re-design of the iconic 'three' model ever seen.


    The Rega team has worked tirelessly to improve every aspect of this turntable offering improved ergonomics, usability and first and foremost, sonic performance.The new 'Planar 3' is truly a new turntable for 2016 carrying over just two components from the previous model.


    New features of the Planar Three:


    RB330 tonearm - Designed using the latest 3D CAD & CAM technology, the new RB330 is the culmination of more than 35 years of tonearm design experience. Featuring a brand new bearing housing, and our latest tonearm tube designed using intelligent redistribution of mass ensure this arm will exhibit fewer points of possible resonance. Extreme stability with almost friction free movement from the new high precision bearing assemblies guarantees to gather more information from your vinyl than ever before.


    • Featuring a new bias assembly, re-designed stiffer vertical bearing housing, integrated
      arm clip and an improved spring housing with easier to read numbers.
    • Rega made, new low capacitance phono cable with Neutrik plugs,
    • Improved lower friction, precision horizontal and vertical bearings
    • New design 100g mild steel balance weight.


    Plinth - High gloss acrylic, laminated plinth, stiffer and vastly improved appearance, ergonomically positioned power switch.Two plinth finishes at launch: gloss black & gloss white


    Double braces - Improved thicker 3mm phenolic bottom brace and new metalised skin phenolic top brace.


    Bearing housing - Re-designed brass main hub central bearing, improved fit and construction reducing stress on the bearing itself.


    Sub platter - Re-designed sub platter, improved accuracy and improved stiffness.


    Platter - New float glass 'Optiwhite' polished rim 12mm - Improved accuracy in manufacture and stunning looks.


    Re-designed foot - New improved foot to increase stability and reduce vibration transfer.


    24V motor - Improved new motor control PCB with integration for the addition of TT-PSU for electronic speed change and improved advanced anti-vibration circuit (sold separately).


    Motor cover tray with integrated cooling.


    DB Technology (Double Brace Technology)

    Mass absorbs energy - lost energy equals lost music!


    Rega has pioneered the use of lightweight rigid plinths. Clever use of lightweight particulate core with a highly rigid phenolic resin skin became the foundations of the high level of performance achieved by the now iconic original Planar range.


    The new Planar 3 takes this design philosophy to the next level. A lightweight acrylic laminated plinth strengthened using a new improved double brace system mounted specifically where the increased rigidity is required (between the tonearm mounting and the main hub bearing) which forms a structurally sound stressed beam assembly. This rigid plinth design prevents energy absorption and unwanted resonance, which will add unnatural distortions to the music.


    Equally, heavier mass can transfer more unwanted energy, such as motor or bearing noise directly into the rotating record. The use of braces instead of the complete skin allows double thickness phenolic resin in these key areas while providing further weight reduction to the plinth which directly addresses the issue of mass absorption and unwanted energy transmission.


    Hand assembled RB330 tonearm.

    24v low noise motor / 12mm float glass platter.

    Lightweight double braced plinth.

    Precision main bearing.

    Factory fitted Elys2 MM cartridge or mounted with Ortofon 2m Blue cartridge (optional).

    Compatible with the TT-PSU electronic speed change and power supply box (optional).


    Rega Turntables
    $945.00
    Planar Turntable - Black, White, or Red - Cartridge Options
    Buy Now
  • Rega RP10 Turntable (No Cartridge) Rega RP10 Turntable (No Cartridge) Quick View

    $5,495.00
    Buy Now
    x

    Rega RP10 Turntable (No Cartridge)

    40th



    Rega Made


    Need help choosing or installing your phono cartridge? Please contact our audio advisor at 1-877-929-8729 with any questions or concerns regarding your equipment purchase.


    **All Cartridges Installed Free Of Charge**


    The Rega RP10 skeletal turntable.


    Rega is extremely pleased to announce the launch of the much awaited RP10.


    Rega's design philosophy extends further than ever before with advanced components built around our radical new plinth design. Featuring the brand new RB2000 tonearm, a ceramic flywheel effect platter and the custom RP10 power supply (allowing total control and accuracy over both motor vibration and speed performance) guarantee the highest level of performance from a Rega turntable to date.


    The RP10 will also be available with its perfect partner, the Apheta moving coil cartridge, factory fitted as a package option.


    The Evolution of Revolution


    Evolution is a well proven and documented process in many areas of our lives. This applies in particular to design engineers and machines. Over the past forty years our cars have become more reliable and economical whilst we take for granted the reliability and speed of modern aircraft. Rega is no exception to evolution. Rega's experience and previous achievements allow us to continually develop and produce better products.


    The RP10 represents probably the biggest step forward in the evolution of Roy Gandy's turntable design philosophies. Low mass, high rigidity plinths combined with electronically controlled low vibration motors, high flywheel effect platters and lower mass higher stability tonearms.


    RP10 Custom power supply


    Housed in Rega's custom design case is a brand new advanced anti vibration and speed control circuit dedicated to running the 24v low noise motor. The speed and control of the motor is achieved by using a new DSP (digital signal processing) generator built upon a high stability crystal. The device will divide the accurate square wave from the crystal to the exact frequency required to turn the platter at the selected speed. The DSP core will also generate a near perfect sinusoidal waveform to power the motor. Factory set vibration and speed adjustments are then made to the power supply to tune the motor for optimal performance.


    The entire tonearm structure is designed to have the minimum of mechanical joints whilst using the stiffest materials in all critical areas. The tolerance of the RB2000 tonearm is so tight that no adhesive is used at any point throughout the construction. A brand new low mass, precision engineered, vertical bearing assembly has been manufactured to further compliment the inherent design philosophy of the RP10 turntable.


    The RB2000 uses the latest award winning Rega arm tube. Each one which is meticulously hand polished (keeping mass to an absolute minimum) and has been completely redesigned to redistribute mass and further reduce stresses and resonances. This advanced design tube increases the stiffness and rigidity of the overall assembly whilst reducing stress on the bearings even further.


    Magnesium and Phenolic - Dual bracing


    A super lightweight plinth combined with a double brace mounted specifically where the increased rigidity is required (between the tonearm mounting and the main hub bearing) forms a structurally sound "stressed beam" assembly. This design prevents energy absorption and unwanted resonances which will add un-natural distortions to the music. The RP10 takes our double brace technology to the next level. Not content with an unprecedented stiffness to mass ratio, Rega have obsessively reduced any resonant properties by using two different materials for the new stressed beam. The top layer is magnesium and the bottom layer is pheno-lic (two of the lightest and stiffest materials available). Incorporating two different materials into the brace structure lowers their ability to pick up unwanted airborne vibrations. Simply put, different materials have different natural resonances. By using two different materials together they decrease the natural frequency of each other by self damping.


    Super flywheel effect ceramic platter


    The RP10 uses a custom ceramic flywheel effect platter. The platter is produced from ceramic oxide powder which is compressed, fired and diamond cut to ensure perfect accuracy and flatness across the surface. The new platter features a modified construction over the previous P9 version with improved coupling to the sub platter.


    24V Low noise motor


    The motor is a high specification, 24V twin phase synchronous unit. It is controlled by Rega's unique and innovative RP10-PSU power supply. The motor drives the CNC machined pulley, sub platter and hub-bearing assembly via the twin belt drive. Each motor is individually hand tuned to its own custom power supply in the factory to minimise vibration, motor noise and ensure optimum performance.


    Skeletal plinth design with polyolefin foam core


    Controversially Rega has always researched methods of producing light but stiff and rigid plinths. The technology is simple: unwanted noise at microscopic levels is developed by the turntable motor and main bearing. The plinth can also pick up airborne vibration from the music. From the beginning in the 1970's Rega pioneered the use of a stressed skin structure for the plinth. This uses two layers of phenolic resin with a lightweight particle or fibre board sandwiched between the skins. This technique has been used in many applications where stiff, light structures are needed such as an aircraft wing or a Formula 1 chassis.


    The current increase in interest in turntables has allowed Rega to research and develop higher technology structures for the customer who is happy pay a little more for higher sound quality. The all new RP10 turntable utilises a unique new stressed skin structure produced from thin phenolic skins sandwiching a featherweight nitrogen expanded, closed cell, polyolefin foam core. This material has been developed exclusively for Rega over a three year period. The RP10 plinth is 7 times lighter than the weight of the original Planar 3 plinth. Rega has added even more stiffness in the crucial area between the arm and the main bearing.


    De-coupled outer frame and dust cover


    A common problem for many skeletal design turntables is the inability to incorporate an effective dust cover into the design. We have constructed an outer frame that minimises contact between the inner and outer plinth. The only points of contact are three location devices on the feet which centralises the inner and outer plinths perfectly. This makes set-up extremely easy and allows the use of a dust cover. The RP10 can be used without the outer frame if so desired.


    Turntable design & mythology


    Today there are many approaches to Hi-Fi design which follow established and informed engineering or electronic principles. Amplifier and loudspeaker design has been well documented over the years with excellent technical publications. These subjects have been based on tried and tested acoustic criteria and many computer software programs now exist that enable a near amateur to design a passable working loudspeaker based on known acoustic and mathematical parameters.


    Enter turntable design: When it comes to turntable design we are limited to a few poorly informed articles describing only very limited aspects of design. This is a subject full of mythology. Designers propose theories that counter the basic laws of physics, use terminology that doesn't actually exist in the engineering world, build products that are more like beautiful sculptures than acoustic reproduction machines and sell items costing tens of thousands of pounds that hardly function as intended and often fail to work at all.


    For instance a very common myth is "the heavier the better" concept. Turntable bases weighing tens of kilograms are not uncommon. The reality is that the base actually needs to be as light as possible to prevent unwanted bearing and motor noise being transferred to the turntable or record. Platters also fall under a similar myth with many platter designs becoming so heavy that it is impossible to design a correctly functioning bearing (and some so light that anyone can hear the speed inconsistency). The turntable platter itself needs to be of enough weight to spin at a constant speed within the confines of the chosen bearing and motor drive system.


    Many amateur designers in any field choose one component in a design and try to achieve an extreme in size, weight and quality. They believe that by taking one theory to its extreme the design will become "perfect". The reality of all engineering, design (and life) is that perfection is not possible. Based on this reality, Rega's goal has always been to optimise a mixture of numerous "correct compromises" thus bringing the designer nearer to the unachievable goal of perfection.


    Rega Turntables
    $5,495.00
    Rega RP10 - No Cartridge Buy Now
  • Rega RP10 Turntable (With Cartridge) Rega RP10 Turntable (With Cartridge) Quick View

    $6,695.00
    Buy Now
    x

    Rega RP10 Turntable (With Cartridge)

    40th



    Rega Made


    Have a question about this product? Please email our audio advisor or call 1-877-929-8729 with any questions or concerns regarding your equipment purchase.


    **All Cartridges Installed Free Of Charge**


    Factory Fitted With Apheta 2 Moving Coil Cartridge


    The Rega RP10 skeletal turntable.


    Rega is extremely pleased to announce the launch of the much awaited RP10.


    Rega's design philosophy extends further than ever before with advanced components built around our radical new plinth design. Featuring the brand new RB2000 tonearm, a ceramic flywheel effect platter and the custom RP10 power supply (allowing total control and accuracy over both motor vibration and speed performance) guarantee the highest level of performance from a Rega turntable to date.


    The Evolution of Revolution


    Evolution is a well proven and documented process in many areas of our lives. This applies in particular to design engineers and machines. Over the past forty years our cars have become more reliable and economical whilst we take for granted the reliability and speed of modern aircraft. Rega is no exception to evolution. Rega's experience and previous achievements allow us to continually develop and produce better products.


    The RP10 represents probably the biggest step forward in the evolution of Roy Gandy's turntable design philosophies. Low mass, high rigidity plinths combined with electronically controlled low vibration motors, high flywheel effect platters and lower mass higher stability tonearms.


    RP10 Custom power supply


    Housed in Rega's custom design case is a brand new advanced anti vibration and speed control circuit dedicated to running the 24v low noise motor. The speed and control of the motor is achieved by using a new DSP (digital signal processing) generator built upon a high stability crystal. The device will divide the accurate square wave from the crystal to the exact frequency required to turn the platter at the selected speed. The DSP core will also generate a near perfect sinusoidal waveform to power the motor. Factory set vibration and speed adjustments are then made to the power supply to tune the motor for optimal performance.


    The entire tonearm structure is designed to have the minimum of mechanical joints whilst using the stiffest materials in all critical areas. The tolerance of the RB2000 tonearm is so tight that no adhesive is used at any point throughout the construction. A brand new low mass, precision engineered, vertical bearing assembly has been manufactured to further compliment the inherent design philosophy of the RP10 turntable.


    The RB2000 uses the latest award winning Rega arm tube. Each one which is meticulously hand polished (keeping mass to an absolute minimum) and has been completely redesigned to redistribute mass and further reduce stresses and resonances. This advanced design tube increases the stiffness and rigidity of the overall assembly whilst reducing stress on the bearings even further.


    Magnesium and Phenolic - Dual bracing


    A super lightweight plinth combined with a double brace mounted specifically where the increased rigidity is required (between the tonearm mounting and the main hub bearing) forms a structurally sound "stressed beam" assembly. This design prevents energy absorption and unwanted resonances which will add un-natural distortions to the music. The RP10 takes our double brace technology to the next level. Not content with an unprecedented stiffness to mass ratio, Rega have obsessively reduced any resonant properties by using two different materials for the new stressed beam. The top layer is magnesium and the bottom layer is pheno-lic (two of the lightest and stiffest materials available). Incorporating two different materials into the brace structure lowers their ability to pick up unwanted airborne vibrations. Simply put, different materials have different natural resonances. By using two different materials together they decrease the natural frequency of each other by self damping.


    Super flywheel effect ceramic platter


    The RP10 uses a custom ceramic flywheel effect platter. The platter is produced from ceramic oxide powder which is compressed, fired and diamond cut to ensure perfect accuracy and flatness across the surface. The new platter features a modified construction over the previous P9 version with improved coupling to the sub platter.


    24V Low noise motor


    The motor is a high specification, 24V twin phase synchronous unit. It is controlled by Rega's unique and innovative RP10-PSU power supply. The motor drives the CNC machined pulley, sub platter and hub-bearing assembly via the twin belt drive. Each motor is individually hand tuned to its own custom power supply in the factory to minimise vibration, motor noise and ensure optimum performance.


    Skeletal plinth design with polyolefin foam core


    Controversially Rega has always researched methods of producing light but stiff and rigid plinths. The technology is simple: unwanted noise at microscopic levels is developed by the turntable motor and main bearing. The plinth can also pick up airborne vibration from the music. From the beginning in the 1970's Rega pioneered the use of a stressed skin structure for the plinth. This uses two layers of phenolic resin with a lightweight particle or fibre board sandwiched between the skins. This technique has been used in many applications where stiff, light structures are needed such as an aircraft wing or a Formula 1 chassis.


    The current increase in interest in turntables has allowed Rega to research and develop higher technology structures for the customer who is happy pay a little more for higher sound quality. The all new RP10 turntable utilises a unique new stressed skin structure produced from thin phenolic skins sandwiching a featherweight nitrogen expanded, closed cell, polyolefin foam core. This material has been developed exclusively for Rega over a three year period. The RP10 plinth is 7 times lighter than the weight of the original Planar 3 plinth. Rega has added even more stiffness in the crucial area between the arm and the main bearing.


    De-coupled outer frame and dust cover


    A common problem for many skeletal design turntables is the inability to incorporate an effective dust cover into the design. We have constructed an outer frame that minimises contact between the inner and outer plinth. The only points of contact are three location devices on the feet which centralises the inner and outer plinths perfectly. This makes set-up extremely easy and allows the use of a dust cover. The RP10 can be used without the outer frame if so desired.


    Turntable design & mythology


    Today there are many approaches to Hi-Fi design which follow established and informed engineering or electronic principles. Amplifier and loudspeaker design has been well documented over the years with excellent technical publications. These subjects have been based on tried and tested acoustic criteria and many computer software programs now exist that enable a near amateur to design a passable working loudspeaker based on known acoustic and mathematical parameters.


    Enter turntable design: When it comes to turntable design we are limited to a few poorly informed articles describing only very limited aspects of design. This is a subject full of mythology. Designers propose theories that counter the basic laws of physics, use terminology that doesn't actually exist in the engineering world, build products that are more like beautiful sculptures than acoustic reproduction machines and sell items costing tens of thousands of pounds that hardly function as intended and often fail to work at all.


    For instance a very common myth is "the heavier the better" concept. Turntable bases weighing tens of kilograms are not uncommon. The reality is that the base actually needs to be as light as possible to prevent unwanted bearing and motor noise being transferred to the turntable or record. Platters also fall under a similar myth with many platter designs becoming so heavy that it is impossible to design a correctly functioning bearing (and some so light that anyone can hear the speed inconsistency). The turntable platter itself needs to be of enough weight to spin at a constant speed within the confines of the chosen bearing and motor drive system.


    Many amateur designers in any field choose one component in a design and try to achieve an extreme in size, weight and quality. They believe that by taking one theory to its extreme the design will become "perfect". The reality of all engineering, design (and life) is that perfection is not possible. Based on this reality, Rega's goal has always been to optimise a mixture of numerous "correct compromises" thus bringing the designer nearer to the unachievable goal of perfection.


    >

    Rega Turntables
    $6,695.00
    Rega RP10 - Apheta 2 Cartridge Buy Now
  • Ortofon MC Windfeld Ti Cartridge Ortofon MC Windfeld Ti Cartridge Quick View

    $4,390.00
    x

    Ortofon MC Windfeld Ti Cartridge

    Ortofon


    Have a question about this product? Please email our audio advisor or call 1-877-929-8729 with any questions or concerns regarding your equipment purchase.


    In continuation of the Ortofon design tradition and the new paradigm in engineering and manufacturing, we are proud to introduce the MC Windfeld Ti, a new moving coil phono cartridge in the absolute high-end class.


    At the heart of the MC Windfeld Ti lies a revolutionary customized Selective Laser Melting manufacturing technology pioneered by Ortofon for manufacturing of the legendary MC A90 in 2008. The use of Titanium in the MC Windfeld Ti has provided a further improvement to the overall rigidity of the structure and the cartridge weight.


    Our extensive knowledge of vibration properties, characteristics in different shapes and materials, competences in magnetism, mechanical design and new technologies has been applied for optimization of the MC Windfeld model. The new MC Windfeld Ti has gone to the next level by reducing unwanted vibrations and increasing the dynamic capability of the cartridge.


    Those who choose to adopt the MC Windfeld Ti will experience the lifelike, dynamic and open sound, with exceedingly clear midrange. The MC Windfeld Ti remains extremely musical while paying close attention to micro dynamic details, with its delicate, but also analytical nature.

    The mechanical integration of the MC Windfeld Ti


    Historically, Ortofon has always followed its own path with regard to the mechanical design of the cartridge housing, because mechanical rigidity and total freedom from resonance in the audible range are a precondition for optimal sound quality.


    In the MC Windfeld Ti the cartridge's contact with the tonerarm takes place through three hard, well-defined contact points placed on the fastening section of the cartridge. This means that the mechanical integration of the cartridge and the tonearm arm are always absolutely perfect.


    Flexibility and performance with a range of compatibility


    With optimized weight and moderate compliance to suit the majority of modern tonearms, the MC Windfeld Ti is easy compatible with an endless array of contemporary high-end turntable equipment, including the Ortofon TA-210 and TA-110 tonearms.


    A low output impedance of 7 ohm and a medium output voltage of 0.2 mV makes the Ortofon MC Windfeld Ti a perfect partner for most MC pre-amps as well as step-up transformers, including the Ortofon ST-80 SE.


    When combined with Ortofon's world-class knowledge in analogue sound reproduction, The MC Windfeld Ti will undoubtedly provide sound which is literally unsurpassed and simply has to be experienced.

    Ortofon Cartridges
    $4,390.00
    Moving Coil Phono Cartridge
  • My Brother The Wind, Vol. I (Expanded Edition) My Brother The Wind, Vol. I (Expanded Edition) Quick View

    $31.99
    Buy Now
    x

    My Brother The Wind, Vol. I (Expanded Edition)

    My Brother the Wind, Vol. 1 captures Afrofuturist visionary Sun Ra's initial 1969 encounter with the Moog synthesizer. The album has been meticulously remastered from archival session tapes and includes rare and previously unreleased studio material.


    Recorded in 1969 and self-released by Sun Ra in 1970 on his independent Saturn label, My Brother the Wind is one of several albums that showcase Ra's initial reckonings with the then-recently introduced Moog synthesizer. Although the Astro Infinity Arkestra is credited on the original Saturn LP sleeve, only three sidemen were on the session-reed players Marshall Allen, John Gilmore, and Danny Davis, with Moog performance pioneer Gershon Kingsley serving as synth programmer and technical consultant. The original 1970 Saturn release featured four tracks, which are included on disc 1 of this two-LP remastered edition. Disc 2, side A features the complete tracking session of Ra's Moog-centric single The Perfect Man, with three full takes of the title, including two previously unissued versions. Side B of disc 2 features the monumental 18-minute Space Probe, an outrageously freewheeling Ra solo work recorded on a Moog (or two) around the same time.


    The remastered LP includes liner notes by Moog historian Brian Kehew. Technical notes are provided by jazz historian Ben Young, who also restored and remastered the album with Joe Lizzi.

    1. My Brother The Wind
    2. Intergalactic II
    3. To Nature's God
    4. The Code Of Interdependence
    5. The Perfect Man (Complete Tracking Session)
    6. Space Probe
    Sun Ra
    $31.99
    Vinyl LP - Sealed Buy Now
  • Tchaikovsky - Symphony No. 6 Pathetique (Speakers Corner) Tchaikovsky - Symphony No. 6 Pathetique (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Tchaikovsky - Symphony No. 6 Pathetique (Speakers Corner)

    Made during the pioneering days of stereo technology when everyone was vying for a piece of the cake, it is hard to believe that this absolutely top-notch recording of Tchaikovsky's "PathÉtique" has never been brought to the ears of music lovers until today. And it is even more unbelievable since it was made by a first-class orchestra, the Berlin Radio Symphony Orchestra, and conducted by one of the greatest conductors of the 20th century, Ferenc Fricsay. The reasons for the non-release are a matter of speculation because those responsible have kept them under their hat.



    Not even the man behind the microphone, Werner Wolf, can recall making this recording - although a yellowed recording protocol discloses carefully noted details about the recording venue and date. No wonder that the tapes never got made into records. It is not with a little pride and much joyful anticipation that the announcement can be made: the record is spinning on the turntable at last!



    And at long last a gap in Fricsay's repertoire can be closed. Specially recommended: listen to the wonderful clarity of the upper strings which is preserved even in the softest passages.



    This record was part of the 3-LP Set "The Conductors" and is now available again.




    Musicians:



    • Radio-Symphony-Orchestra Berlin

    • Ferenc Fricsay (conductor)




    Recording: 17-19 and 22 September 1959 at Jesus-Christus Kirche, Berlin, by GÜnter

    Hermanns and Werner Wolf / Production: Otto Gerdes





    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.




    This title is not eligible for discount.

    Symphony No. 6 in B minor, Op. 74 (Pathetique)
    Satz: Adagio - Allegro non troppo
    Satz: Allegro con grazia
    Satz: Allegro molto vivace
    Satz: Finale. Adagio lamentoso
    Pyotr Ilich Tchaikovsky
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Rough Guide To Barbecue Bob Rough Guide To Barbecue Bob Quick View

    $19.99
    Buy Now
    x

    Rough Guide To Barbecue Bob

    Lovingly Remastered Using Pioneering Restoration Techniques


    Very few names in the history of the blues capture the imagination quite like that of Barbecue Bob. Don't be fooled by the quirky pseudonym and gimmicky publicity photograph of him posing in his chef's whites with guitar in hand, as he was an incredibly influential figure whose records helped pave the way for many of the important bluesmen that followed.


    One of the unsung heroes of the Piedmont blues style, Robert Hicks aka Barbecue Bob recorded over sixty sides for Columbia Records and became one of the best-selling artists on their 'race series', outsold only by Bessie Smith, Ethel Waters and Blind Willie Johnson. With his original and witty compositions he was one of the real pioneers of the Atlanta blues scene of the time, but his career was tragically ended by his death from pneumonia at the age of just 29.


    Born in Walnut Grove, Georgia to a family of sharecroppers, Hicks learned to play the guitar from his brother Charley and Savannah 'Dip' Weaver, the mother of his friend Curley Weaver. He teamed up with Charley, Curley and harmonica player Eddie Mapp to perform at dances, parties and picnics in the Atlanta area. After leaving the group in 1926, Hicks became a chef in a barbecue joint where he would cook, serve and sing to the customers. He soon became something of a local celebrity and was noticed by a talent scout from Columbia Records, who gave him the opportunity to record under the catchy title of Barbecue Bob.


    Characterized by a heavy percussive guitar style, he often used a bottleneck and played with a frailing technique that is more often associated with the claw hammer banjo. His twelve string guitar gave a rich accompaniment to his warm nasal singing voice which, compared to the morbid and foreboding songs of the Delta blues, created a vibe which was jaunty and upbeat. With a huge repertoire of songs ranging from hokum to slow blues and spirituals to traditional songster tunes, his music is imbued with a special warmth typical to the East Coast blues.


    Even from the opening few measures of his very first record Barbecue Blues, Hicks signature sound of a bright and trebly twelve string guitar combined with his expressive voice is instantly accessible and almost 'pop' sounding in comparison with other blues singers of the time. His debut song was a huge success and led to a prolific recording career over the next four years when, it is said, he lived fast and enjoyed the high life. Hicks frequently recorded with his brother Charley, who was known as Laughing Charley Lincoln, and would later record several sides in 1930 with Buddy Moss and Curley Weaver as the Georgia Cotton Pickers.


    Largely due to his life being tragically cut short in 1931, his music has been sadly overlooked and has therefore not received the respect proffered to other East coast players such as Blind Willie McTell and Buddy Moss. He was however a true innovator in his time, and this compilation gives proof that his music is undoubtedly some of the most engaging early blues that you are likely to hear.

    1. Poor Boy A Long Ways From Home (1927)

    2. Barbecue Blues (1927)
    3. Honey Your Going Too Fast (1928)

    4. Motherless Chile Blues (1927)

    5. She Looks So Good (1930)
    6. Thinkin' Funny Blues (1927)

    7. Honey You Don't Know My Mind (1927)
    8. Going Up The Country (1928)

    9. Atlanta Moan (1930)

    10. It Just Won't Hay (1929)

    11. Chocolate To The Bone (1928)

    12. She's Coming Back Some Cold Rainy Day (1930)
    Barbecue Bob
    $19.99
    Vinyl LP - Sealed Buy Now
  • Electric Ladyland Electric Ladyland Quick View

    $24.99
    Buy Now
    x

    Electric Ladyland

    Ranked 54/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.


    Cut from the Analog Masters by Legendary Engineer George Marino at Sterling Sound and Pressed on 180-gram Vinyl at RTI!


    First-Ever Audiophile Edition of Hendrix's Pioneering Third Studio Album: The Wait Is Over!


    The Hendrix Family is Committed to Bringing you the Best Sound Quality Possible: Do Not Miss This Pressing!


    Set Joins Exquisitely Remastered Versions of Are You Experienced, Axis: Bold As Love, First Rays of the New Rising Sun, and the previously unreleased Valleys of Neptune!


    The great manifesto of the psychedelic rock era, the Jimi Hendrix Experience's Electric Ladyland is the culmination of resounding experimentation and several years of band chemistry, as well as Hendrix's continual development as a guitarist seemingly capable of anything and limited only by what he couldn't think of doing. As the trio's final studio recording together, it's also the band's most adventurous, and collaborative, as Steve Winwood, Al Kooper, Buddy Miles, Jack Casady, and Chris Wood all make guest apprarances. Featuring everything from sensitive wah-wah playing (Burning of the Midnight Lamp) to the all-time best version of Bob Dylan's All Along the Watchtower, with Hendrix infusing the song with requisite mystery and mayhem, to the magnetic riff passages of Voodoo Child (Slight Return), Electric Ladyland remains one of the most fully realized and referenced recordings in history. And until now, it's never received the sonic facelift it's not only needed, but deserved.


    Mastered from the original analog tapes, cut by legendary engineer George Marino on upgraded equipment at Sterling Sound, and pressed on 180-gram virgin vinyl at RTI, this 2LP set is a sonic knockout on par with the very best audiophile recordings. This is also the first-ever audiophile edition of Electric Ladyland. We guarantee it will absolutely blow away whatever analog or digital version you've heard before. It's no wonder that this release spearheads Legacy Recordings' unprecented 2010 Jimi Hendrix Catalog Project of reissues and new releases from the greatest guitar player in history.


    Ranked by Rolling Stone as the 54th greatest album ever made, Electric Ladyland epitomizes the passion, soulfulness, exoticism, and emotion that makes music such a part of our life. You will not want to live without.

    1. And The Gods Made Love
    2. Have You Ever Been (To Electric Ladyland)
    3. Crosstown Traffic
    4. Voodoo Chile
    5. Little Miss Strange
    6. Long Hot Summer Night
    7. Come On (Let The Good Times Roll)
    8. Gypsy Eyes
    9. Burning Of The Midnight Lamp
    10. Rainy Day, Dream Away
    11. 1983(A Merman I Should Turn To Be)
    12. Moon, Turn The Tidesgently gently gently
    13. Still Raining, Still Dreaming
    14. House Burning Down
    15. All Along The Watchtower
    16. Voodoo Child (Slight Return)
    Jimi Hendrix
    $24.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Psychic Temple II Psychic Temple II Quick View

    $19.99
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    Psychic Temple II

    It may seem hard to imagine a place where indie rock visionaries like Sufjan Stevens and Castanets' Ray Raposa could meld minds with the genius of Brian Wilson, where death metal pioneer Paul Masvidal might wield his legendary six-string chops on a blissed-out soul ballad, where adventurous young jazz players like Kris Tiner and Devin Hoff share credit with Mars Volta keyboardist Ikey Owens and singer/songwriter Aaron Roche.


    Long Beach composer, producer and multi-instrumentalist (not to mention truck driver) Chris Schlarb has not only imagined such a place but has now made it manifest for a second time. Released by Asthmatic Kitty, Psychic Temple II is a labor of love, envisioned by Schlarb to bring his most far-ranging inspirations to life - as he puts it, "a dream ensemble that could never actually exist." The ensemble's sophomore release was painstakingly constructed over more than a year with the cooperation of some of the most progressive musical minds from a staggering variety of genres.


    "I love interesting juxtapositions, where you bring together people from different communities," Schlarb says. He cites iconoclastic predecessors like Bill Laswell's ever-changing group Material, which once brought together a young Whitney Houston with jazz legend Archie Shepp and future Soundgarden and Red Hot Chili Peppers producer Michael Beinhorn to cover a song by Hugh Hopper of English prog-rock pioneers Soft Machine. On 2010's Psychic Temple, Schlarb assembled a 29-member ensemble that included Minutemen bassist Mike Watt, vocalist Julianna Barwick, and pianist Mick Rossi of the Philip Glass Ensemble.


    "It seems like a crazy combination of people," Schlarb says, "but they're all just musicians. Why not bring them all together? It may not always work, but it's always worth reaching further."


    Psychic Temple II reaches beyond the long-form experiments of its predecessor for a more tightly focused yet conceptually dense collection whose songs are no less exploratory for their briefer durations. "I never see the point in continuing to regurgitate," Schlarb says of the new album's unique direction. "What was natural at that time would now feel contrived. I have to keep moving forward."


    Schlarb also includes three cover songs by composers who share his boundary-demolishing mindset: Joe Jackson's "Steppin' Out," Frank Zappa's "Sofa No. 2," and Brian Wilson's "'Til I Die," a gorgeous, lesser-known Beach Boys song that features vocals by Sufjan Stevens, Castanets' Ray Raposa, and Cryptacize's Nedelle Torrisi.


    Psychic Temple had its origins in Create (!), a large improvising ensemble with which Schlarb used to perform. The free-form group would often incorporate multiple drummers, a concept that Schlarb decided to pursue in a more composition-oriented setting. No matter how much Psychic Temple mutates from track to track, the rhythmic possibilities of its two drummers (in this case, Tabor Allen and Andrew Pompey) remain intact.


    Schlarb's imaginative leaps are evidenced from the outset of Psychic Temple II, on the intoxicating opening track, "Seventh House." Featuring the sinuous vocals of Sarah Negahdari, who recently served as touring bassist for Silversun Pickups, the song weaves together lyrical and musical references to Neil Young's "Will To Love," to the Art Blakey & the Jazz Messengers album Pisces, and to Sheena Easton's notorious Prince-penned pop hit "Sugar Walls."


    Then there's "The Starry King Hears Laughter" and "She Is the Golden World," two songs that pay simultaneous homage to poet William Blake and jazz legend Bill Evans; or "Solo in Place," Schlarb's attempt to filter classic soul through his own "weird prism," a missing link between the Isley Brothers and the Alan Parsons Project that features guitar wizard Paul Masvidal of the death metal bands Death and Cynic.


    Despite such a mind-blowing array of talent from the farthest reaches of the musical spectrum, Psychic Temple II is a surprisingly cohesive album, a testament to Schlarb's clear controlling vision. "One of the fundamental flaws of modern music is the idea of the record as a pastiche," he says. "With hip-hop and R&R records starting in the '90s, you had ten tracks with ten different producers so every track sounded completely different. There was no aesthetic where you could just put on a record and listen to it beginning to end. I admire people who are control freaks."


    Schlarb has wielded control over a number of vastly different projects himself. The New York Observer called his debut solo album, Twilight & Ghost Stories, "40 minutes of avant-garde bliss," while Interoceans, recorded with experimental jazz duo I Heart Lung, was chosen by NPR as one of the top five jazz albums of 2008. He composed the score for Nicklas "Nifflas" Nygren's video game Nightsky and has received grants from the Canada Council for the Arts and Meet the Composer. In 2001, Schlarb founded the eclectic Sounds Are Active record label, which has released music by the likes of Nels Cline, Mike Watt, and Castanets.

    1. Seventh House
    2. The Starry King Hears Laughter
    3. Solo In Place
    4. Bird In The Garden
    5. 'Til I Die
    6. She Is The Golden World
    7. Steppin' Out
    8. All I Want Is Time
    9. Sofa No. 2
    10. NO TSURAI
    11. Hyacinth Thrash Quarter
    Chris Schlarb
    $19.99
    Vinyl LP - Sealed Buy Now
  • Go Bo Diddley Go Bo Diddley Quick View

    $26.99
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    Go Bo Diddley


    The Bo Diddley/Friday Music 180 Gram Audiophile Series Begins!


    Bo Diddley's Masterwork Album!


    First Time Official Audiophile Vinyl - Stunning First Time Gatefold Cover


    Mastered From The Authorized Chess Records Mono Tapes By Joe Reagoso


    Bo Diddley (Elias McDaniel) was truly an American original. There will never be another Bo Diddley nor anyone in the music
    industry who could influence generations upon generations of aspiring rock 'n rollers like Bo Diddley has and continues to this
    day, even years after his short time on earth.


    Celebrating six decades in the music business, this Mississippian native initially captivated millions of kids in the fifties
    with his first recordings like Bo Diddley and Say Man. He drove the rockers mad with his famous guitar riffs and boogie beat,
    filled with poetic lyrics and a thrilling presence on the stage.


    Bringing his original "Bo Diddley Beat" to Chess Records in early 1955, the Chicago based label and the pioneer rocker hit
    a goldmine immediately with his arsenal of tunes that he presented to Phil and Leonard Chess. A lot of these great songs became
    top charting singles which culminated in his masterwork album Go! Bo Diddley.


    Kicking things off with one of his finest smash hits Cracking Up, Bo roars through a treasure trove of 11 more champions
    which made this one of the most important and emulated albums of all time. The album features classic gems like his classics
    Dearest Darling, Say Man, Don't Let It Go and The Clock Struck Twelve. Noted for his stellar guitar work, pretty much introducing his Bo Diddley Beat riff to a whole new generation of guitar players, Go! Bo Diddley was truly a primer for a ton of rock and
    blues artists for years like Eric Burdon and The Animals, George Thorogood, Buddy Holly, The Rolling Stones, The Beatles and
    The Yardbirds.


    Bo Diddley opened the doors for millions of music fans around the world to enjoy rock and blues, making him along with
    Chuck Berry, Elvis Presley and Little Richard as one of the first pioneers of the popular recording business that we all enjoy to
    this day.


    Friday Music is no stranger to the music of the legendary Chess Records arsenal of fine recordings. That is why we are so
    very proud to announce our first installment in The Bo Diddley/Friday Music 180 Gram Audiophile Vinyl Series with his legendary
    masterpiece Go! Bo Diddley.


    Mastered impeccably by Joe Reagoso (Muddy Waters, John Lee Hooker, Chuck Berry) for the first time on audiophile vinyl
    from the Chess monophonic tapes, Bo Diddley's Go! Bo Diddley will truly become one of the most important and historical 180
    Gram Audiophile Vinyl titles in quite some time.


    To further celebrate this first time audiophile vinyl LP, we enhance this limited edition masterwork with a stunning gatefold
    cover featuring the original artwork elements as well as two classic rare inside gatefold photos of the man who helped start
    rock and roll.


    Bo Diddley Go! Bo Diddley Impeccable mono from the AUTHORIZED Chess Records tapes! Go Bo Diddley!

    1. Crackin' Up
    2. I'm Sorry
    3. Bo's Guitar
    4. Willie and Lillie
    5. You Don't Love Me (You Don't Care)
    6. Say Man
    7. The Great Grandfather
    8. Oh Yea
    9. Don't Let It Go
    10. Little Girl
    11. Dearest Darling
    12. The Clock Strikes Twelve
    Bo Diddley
    $26.99
    180 Gram Audiophile Virgin Vinyl LP Mono Buy Now
  • Live In Paris Live In Paris Quick View

    $54.99
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    Live In Paris

    Available for the first time on 180 Gram 45rpm Double Vinyl! One of Diana's most sought after albums!


    The first-ever live concert recording from Grammy®-winning vocalist/pianist Diana Krall was Recorded at the Paris Olympia Theatre. Here finally, captured in amazing audio quality, is an album showcasing the magic of Kralls concert performances.


    Krall and her band perform some of the tunes from Kralls studio recordings, such as East of the Sun (West of the Moon) and Devil May Care. They are joined by special guests John Pisano (acoustic guitar) and Paulinho DaCosta (percussion) for several tracks, including the Gershwins Swonderful. The Orchestre Symphonique Europeen, conducted by Alan Broadbent with special guest conductor Claus Ogerman, is featured on the upbeat Lets Fall in Love and a haunting interpretation of Ive Got You Under My Skin.


    Soundstage Rated 5 out of 5 for Recording Quality!
    A favorite of audiophiles because her music and voice lend themselves to purist recording techniques, Diana Krall perpetually sounds in great form on her recordings... The sound, remastered by Bernie Grundman, is clear, spacious and well defined -- outstanding in every way, the backing players as vivid as Krall's voice and piano... - Marc Mickelson, soundstage.com, May 2009


    Featured on the album are live renditions of The Look of Love, the title track from Kralls platinum-certified Verve release, her first recorded version of the Joni Mitchell-penned A Case of You, and Fly Me to the Moon, a song not included on the previously-released DVD Diana Krall Live in Paris (Eagle Eye/Pioneer Entertainment).


    Also on this recording is a special bonus studio tracka rendition of Billy Joels Just The Way You Are featuring Michael Brecker's beautiful tenor sax solo.


    One of Diana Kralls most beloved CDs, Live in Paris, has been given a loving audiophile LP remastering treatment by ace engineer legend, Bernie Grundman and produced by an audiophile label new to us, Original Recordings. The shimmering string arrangements on Lets Fall in Love and Ive Got You Under My Skin, are testament alone to the real life power of vinyl... - Audiophile Audition


    Bernie Grundmans remastering for vinyl puts Live in Paris in the gold plated category for the legions of Krall aficionados. This two-LP audiophile edition would make an ideal late night listening experience, or the perfect background soundtrack for a special dinner party. - Audiophile Audition


    The recording, engineered by legend Al Schmitt, sounded good on CD. But ORG's stellar two-disc, 180-gram vinyl reissue, remastered by Bernie Grundman, trumps it. Surfaces are dead quiet, and the LP is lighter on its feet, more layered, airier, finer grained, and more transparent. Live in Paris is a great addition to a choice LP collection. - Neil Gader, The Absolute Sound, January 2010, Issue 200, reviewing the 180g ORG 33 1/3rpm version


    This title is not eligible for discount.

    LP 1

    1. I Love Being Here With You
    2. Let's Fall In Love
    3. 'Deed I Do
    4. The Look Of Love
    5. East of the Sun (and West of the Moon)
    6. I've Got You Under My Skin


    LP 2
    1. Devil May Care
    2. Maybe You'll Be There
    3. 'S Wonderful
    4. Fly Me to the Moon
    5. A Case of You
    6. Just the Way You Are

    Diana Krall
    $54.99
    180 Gram Audiophile Virgin Vinyl 45 RPM LP - 2 LPs Sealed Buy Now
  • Savages Savages Quick View

    $24.99
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    Savages

    Max Cavalera is the walking embodiment of creative energy, of all of the diverse layers of urgency that are possible from that select few whose artistic output defines genres. Mystic shaman, protest singer, revolutionary hero, everyday metalhead, furious consumer of heavy music of all shades, husband, father, leader, songwriter Cavalera reigns as the adoptive tribal chief of a generation of fans, stretching from the roughest slums of South America to the coldest confines of Russia. Anywhere that people are disenfranchised, the songs of SOULFLY serve as their anthems.


    Armed with Cavalera's four-stringed guitars, unmistakable growl and instantly recognizable riffage, the muddy tones and constant rhythmic bounce of SOULFLY has retained its gritty edge while pushing the boundaries of what's possible in metal. »Savages« represents a career-defining moment, solidifying the lineup with longtime lead guitarist Marc Rizzo (who has been in SOULFLY almost as long as Max was in SEPULTURA), bassist Tony Campos (Static X, Ministry, Prong) and Max's 21 year-old Zyon, who splits his time between drumming in LODY KONG and now SOULFLY.


    "All of the things that make SOULFLY killer are combined in Savages," Max declares.


    »Savages« melds the most brutal, the heaviest and overall the most vibrant components that made up each record in SOULFLY's diverse catalog. By Max's own account, »Savages« is possessed of the tribal groove of the first two SOULFLY albums, particularly in songs like 'Bloodshed', 'Ayatollah of Rock 'N' Rolla' and 'Master of Savagery'. But there's also the thrash metal that was found on DARK AGES and OMEN; whereas the CAVALERA CONSPIRACY records contain short, punky bursts, the new SOULFLY record gets into the epic length territory of early METALLICA. The death metal vibe of SOULFLY's »Enslaved« emerges in songs like 'Fallen' and 'Cannibal Holocaust'.


    "I really like the name »Savages«. I like single words that sound powerful, like 'Primitive', 'Roots', 'Arise'," Max explains. "It's about the human condition right now. We have the Internet and we're working on missions to Mars, but we are still decapitating each other and blowing up marathons. We're still savages. Even with technology and how far we've come in the world, our spirit is still that of a savage."


    A trailblazing pioneer and musician with millions of albums sold who nevertheless retains boundless street cred due to his grimy, raw and undeniable authenticity; Max Cavalera is one of the most prolific artists the realm of heavy music has ever known. There's CAVALERA CONSPIRACY, which reunited Max with his brother and former bandmate, Igor Cavalera. There was the brutal attack of NAILBOMB, Max's collaboration with Alex Newport from FUDGE TUNNEL, which included members of DEAD KENNEDYS, FRONT LINE ASSEMBLY, BIOHAZARD and NEUROSIS on-stage. There's his forthcoming band with members of THE DILLINGER ESCAPE PLAN, MASTODON and THE MARS VOLTA. Of course, there's Max's unassailable work as SEPULTURA's founder, leading the Brazilian band from their badass lo-fi beginnings, through their era of sophisticated thrash classics, up through the cultural landmark that is 'Roots'.


    SOULFLY began almost instantaneously after his departure from the band he founded. The eponymously titled debut »Soulfly« sold over 500,000 copies in the United States alone, further expanding upon the tribal foundation of 'Roots' with percussive instrumentation, forays into esoteric sounds and multiple guest performers. Across the seven albums and never-ending tours that followed, Max worked with a who's-who of the heavy music scene as band mates, guest musicians and touring members, including guys from SLIPKNOT, SLAYER, MEGADETH, DEFTONES, RADIOHEAD, STONE SOUR, CYPRESS HILL, MACHINE HEAD, DEVILDRIVER, FEAR FACTORY, MORBID ANGEL, THROWDOWN, S.O.D., SKINDRED, BORKNAGAR, WILL HAVEN and CATTLE DECAPITATION, among others.


    In addition to Max's own self-production, a number of important producers have lent their skills to SOULFLY, including »Roots« producer Ross Robinson (KORN, AT THE DRIVE-IN), Toby Wright (Ozzy Osbourne, SLAYER), Andy Sneap (MEGADETH, KILLSWITCH ENGAGE), ex-SOULFLY guitarist Logan Mader (FIVE FINGER DEATH PUNCH, GORJIA) and Zeuss (HATEBREED, SUICIDE SILENCE) and Terry Date (PANTERA, DEFTONES).


    Cavalera asked Date, who had mixed for SOULFLY in the past, to produce the new album. Once studio time with the legendary producer was on the calendar, Max kicked into high gear with the material. Max and Zyon worked on the songs that would comprise »Savages« at home. "Zyon came up to me and said, 'Give me a shot. I'll play on the record for you. I won't let you down," explains the elder Cavalera. "I went into a room with him to jam and it felt great. So I said, 'Fuck yeah, let's do it!"


    Generally on a SOULFLY album, the drummers would learn the songs in the studio, based on demo recordings from Max. This time, Max had the luxury of working out the songs at home with Zyon. "We jammed every single day for a month. He knew 90% of the material already when we got into the studio. It reminded me of recording the old Sepultura stuff, like Arise and Chaos A.D., Igor knew exactly what he was going to do before we went into the studio. This was very similar."


    Cavalera says he must've written at least 1,000 riffs specifically for »Savages«. "The killer riff is what hooks the whole song together," he says. "For me the writing process is about finding the most killer riffs possible. It's a battle; sometimes I struggle with the guitar for hours. You have to throw it down on the floor and take a break. Come back a few hours later. 'Let's try this again, motherfucker!' Grab it again and go to battle, go to war with the guitar until you get the right riffs."


    Max points to BLACK SABBATH's 'Symptom of the Universe' as one of the penultimate riffs of all time, citing SABBATH's Tony Iommi and METALLICA frontman James Hetfield as among the riff-masters he most admires. "I think of riff making as an art-form. I take it really seriously. I think it deserves more attention. It has such value."


    Speaking of riffs, Rizzo came into the band a decade ago and his love of thrash metal, death metal and collaborative spirit has energized Max ever since. "When Marc entered Soulfly, it was a drastic change. He's the guitar player I've been looking for my whole life. Andreas [Kisser] and I really clicked when we worked together. I never had that again after that. We had other guys that were cool, but it was never 100% there. When Marc came in, I found it! We've developed a great bond since." Rizzo particularly shines on the opening track on Savages, 'Bloodshed.' "There's stuff all over the song - clean guitars, feedback - he just makes the song better."


    Campos has a lengthy resume in the world of metal and Max says they bonded over their shared Latino heritage, among other things. "I had this idea about this guy Vargas, a Venezuelan cannibal, they call him 'El Comegente.' He's the Hannibal Lecter of the Andes. We both read about it. Tony sings some of it in Spanish and I sing in Portuguese. He's a great bass player too, fucking amazing. Killer bass tones, distortion, all balls-out metal. He keeps this shit real heavy, great tone. It's great recording with guys who know what they're doing. I don't have to ask if they know."


    Max acknowledges the inherent risk in putting a 21 year-old behind the kit for such an important record, but it was a risk he absolutely wanted to take. "To have my son drumming on the album, that's killer. I like risks. I like to start shit up and see what happens. Even if I fail, at least I knew I tried. Rather than knowing I didn't try at all. To me, that's the bigger failure. It took a little bit of courage to put my son on it. I came to the studio and told Terry there was a young drummer who doesn't play to a click. Terry knew what to do and Zyon did great. The drums sound amazing."


    Like all things Max Cavalera, does SOULFLY's »Savages is a family affair. Not only does it mark Zyon's recorded debut with the band, but one of Max's other kids throws down some vocals in the opening track, 'Bloodshed'. "My son Igor has a killer punk rock voice that reminds me of the old CORROSION OF CONFORMITY days," Max says. "The chorus has this old punk style riff, almost like a MISFITS type riff. His voice is killer."


    Like every SOULFLY album, »Savages« contains an impressive guest list comprised of veterans and up-and-comers. CLUTCH's Neil Fallon turns up on 'Ayatollah of Rock 'N' Rolla', the title of which was inspired by Mel Gibson's classic Mad Max 2: The Road Warrior movie. Jamie Hanks from I DECLARE WAR brought his high and low deathcore vocals to 'Fallen', a death metal oriented song Max says is in the vein of CANNIBAL CORPSE.


    Mitch Harris from NAPALM DEATH contributed vocals to 'K.C.S.' Harris has been around the Cavaleras long enough that there are videos of him changing Zyon's diapers when SOULFLY's new drummer was just one month old. "Mitch came to the studio just to hang out during a day off from tour," Max explains. "I'm like, 'You ready to sing some shit on this record?' I put him on the spot. He's like, 'Right now?' I said, 'Fuck yeah, let's do it!' There was one point where we were recording together where he did a scream and I saw his eyeball popping out of his face like a cartoon. I was like, 'Dude that was the most metal thing I've seen in a long time.'"


    Even as Max continues to consume new music from band like NINE INCH NAILS, MAN MUST DIE, TRIGGER THE BLOODSHED and I DECLARE WAR, even as he revisits seminal material from METALLICA, SLAYER, C.O.C. and the like, and indulges his penchant for world music, and gets his hands in his other projects and collaborations, it all adds up to a singular, distinct, straightforward and riff-heavy machine known as SOULFLY.

    LP 1
    1. Bloodshed

    2. Cannibal Holocaust
    3. Fallen

    4. Ayatollah Of Rock 'N' Rolla

    5. Master Of Savagery

    6. Spiral


    LP 2
    1. This Is Violence

    2. K.C.S.

    3. El Comegente

    4. Soulfliktion

    5. Fuck Reality (Bonus Track)

    6. Soulfly IX (Bonus Track)

    Soulfly
    $24.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Munrow & Marriner Munrow & Marriner Quick View

    $34.99
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    Munrow & Marriner


    180g Audiophile Vinyl Cut from the Original Stereo Analogue Master Tapes at Abbey Road Studios!


    Whilst Sir Neville Marriner, a veritable national treasure, who turns 90 on 15 April 2014, provides stylish accompaniments with the Academy's modern instruments, the star of this album is the late David Munrow, who did so much to popularize early music and its instruments, particularly the recorder and was one of the pioneers of the 'early music' movement.


    Munrow founded the Early Music Consort of London, along with Christopher Hogwood (featured on this LP) and came to wider fame as provider of authentic Tudor music to two major BBC Television Dramas: The Six Wives of Henry VIII in 1970 and Elizabeth R in 1971. In a career that only lasted 10 years, he recorded over 50 albums, presented his own eclectic BBC Radio 3 programme Pied Piper, and television programmes on both BBC and ITV. Suffering from depression, his life was tragically cut short by his own hand in 1976 at the age of 33.


    Recorded on October 1-4, 1973 at No.1 Studio, Abbey Road, London with legendary producer Christopher Bishop and engineer Stuart Eltham. The album was pressed on 180g vinyl to audiophile standards using the original EMI presses by The Vinyl Factory in Hayes, England. Cut at Abbey Road Studios from the original stereo analogue master tapes with the Neumann VMS82 lathe fed an analogue pre-cut signal from a specially adapted Studer A80 tape deck with additional 'advance' playback head, making the cut a totally analogue process. Also features the original album artwork.



    Anyone who admires the skill and the vivacious musicianship of David Munrow ought to try this attractive disc. He plays the treble recorder in the Telemann and Handel items and the soprano (or descant) in the Sammartini, both with the greatest agility, with nicety of phrasing, and with a sureness of intonation all too uncommon among players of this instrument. -Gramophone


    This title is not eligible for discount.

    Georg Philipp Telemann (1681-1767)
    1. Suite in A Minor for Treble Recorder - Overture
    2. Les Plaisirs
    3. Air a l'Italien
    4. Menuets I & II
    5. Rejouissance
    6. Passepieds I & II
    7. Polonaise


    Giovanni Battista Sammartini (1700-1775)
    8. Concerto in F Major for Decant Recorder - I. Allegro
    9. II. (Adagio)
    10. III. Allegro assai


    George Frideric Handel (1685-1759)
    11. Concerto in B Flat for Treble Recorder - I. Andante allegro
    12. II. Larghetto
    13. III. Allegro moderato

    David Munrow & Neville Marriner
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Raising Hell Raising Hell Quick View

    $22.99
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    Raising Hell

    Up until Raising Hell, the rap juggernaut we know as Run-DMC was still in its building and breaking-down- doors phase. In 1986 that
    changed, and in a dramatic way. With their third long-player, the group had reached the mountaintop. It was THE record that proved
    hip-hop wasn't a fad.


    Raising Hell marked an important and significant new era for the group. Leaving producer Larry Smith for up-and- coming sonic
    innovator Rick Rubin (still co-produced by Run's brother Russell Simmons), they began to fully transition not only their own sound, but
    the sound of the entire genre. Less live playing - with some exceptions - and a slicker, tighter sonic attack. Musical aesthetics aside,
    though, at their core they stayed true to the essence of hip-hop: two turntables and a microphone, or two.


    It's impossible to talk about the album without its worldwide smash, "Walk This Way," which hit #4 on the Billboard pop charts and saw
    the group digging in the rock crates to summon Aerosmith in the flesh, combining Steven Tyler's and Joe Perry's musicianship with the
    group's own take on the '70s classic. The song's video cemented Run-DMC as legit MTV
    idols, and both groups rode its wave to new heights.


    Beyond "Walk This Way," the platter is full to the hilt with undeniable classic singles: "You Be Illin'"; "It's Tricky"; "Peter Piper" and the
    fashion-world shifting "My Adidas." Each song was new proof that Run-DMC's sound was indeed new, but still familiar, and full of the
    energy, charisma and innovation that drew fans to their first two LPs.


    Aside from the singles, the reason the album stands up so well is the fact that there is virtually no filler. "Proud To Be Black" remains a
    pioneering and underrated cut when people talk about "conscious" hip-hop. And to make sure they never lost the streets that gave them
    their start, "Hit It Run," "Son Of Byford," "Is It Live" and "Perfection" all bring it back to the group's early days in the park.
    Besides the triple platinum status the album achieved, it was more than just a pop smash. It signaled a new era for rap music, and it was
    the no-turning- back point for the entire genre. This was the beginning of what we now call the Golden Era, and it still sounds as fresh
    today as it did three decades ago.

    1. Peter Piper
    2. It's Tricky
    3. My Adidas
    4. Walk This Way
    5. Is It Live
    6. Perfection
    7. Hit It Run
    8. Raising Hell
    9. You Be Illin'
    10. Dumb Girl
    11. Son Of Byford
    12. Proud To Be Black
    RUN DMC
    $22.99
    Vinyl LP - Sealed Buy Now
  • Sleep Talk Sleep Talk Quick View

    $22.99
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    Sleep Talk

    Silver Colored Vinyl


    Perhaps best known as the pioneering guitarist behind the legendary groups Cap'n Jazz and Owls, Victor Villarreal is one of the most inventive guitarists of modern indie-rock. His unique guitar style includes elements of classical, spanish, indie and even metal. Now on the heels of his reunion with Owls (Polyvinyl), Victor is back with his new solo long player, "Sleep Talk".


    "Sleep Talk" is Villarreal's second proper solo effort, and his first to enlist bassist (and early Joan of Arc member) Erik Bocek. Utilizing a "one man band" style of performance, the majority of "Sleep Talk" was recorded live in the studio, with Victor simultaneously performing guitar, percussion and vocals. Hinged on the tumbling rhythms of Villarreal's other-worldly guitar style, the tracks on "Sleep Talk" are diverse and moody, and will tickle your brain into a meditative stasis.

    1. Whoever "Everyone" Might Be...
    2. My Halucidaydream
    3. Dirtbike Girls
    4. A Mad Dad Dash
    5. Karoshi
    6. "That Familiar Band" Song
    7. Wade and Beware
    8. Yubari King
    Victor Villarreal
    $22.99
    Colored Vinyl LP - Sealed Buy Now
  • Nefertiti Nefertiti Quick View

    $49.99
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    Nefertiti


    Final All-Acoustic Outing from Davis' Classic Second Quintet


    Mastered from the Original Master Tapes: Record's Tonal Shadings, Gradations, and Textures Come Alive


    Confident 1967 Effort Steeped in Inquisitive Interplay and Subconscious Impressionism


    Nefertiti will always be known as the final all-acoustic record made by Miles Davis' classic second quintet. A thematic bookend to the preceding Sorcerer, the 1967 set shares much in common with its equally nuanced predecessor yet deviates by way of its focus on rhythm and exploratory soundscapes. The low-key music blooms with colorful bouquets of shadings, gradations, and overtones that on Mobile Fidelity's analog edition bring listeners to closer to the creative passions than ever before.


    Mastered from the original master tapes and pressed on 180g 45RPM vinyl at RTI, this collectable audiophile version of Nefertiti joins the ranks of eleven other essential Davis records given supreme sonic and packaging treatment by Mobile Fidelity. Afforded supreme dynamics and full-range extension, cyclical melodies resonate with a moody character and ambience normally only heard in small jazz clubs. Instrumental pitch, too, is spot-on accurate, a measuring stick for how all acoustic-based passages should be experienced.


    As he does on Sorcerer, Davis again cedes all compositional duties to his all-star band mates and focuses on his trumpet. Familiar albeit slightly dissonant, rooted in hard bop yet signaling the onset of fusion, the songs are grounded in inquisitive interplay and subconscious impressionism. Nefertiti reveals fresh devices and new directions every time you visit its cerebral worlds. And while each musician is given ample room to solo, the effort stands as an example of groupthink in that no individual stands out or shows off. The groundbreaking title track-during which the horn section recurrently repeats the melody as drummer Tony Williams and bassist Ron Carter improvise, thus inverting the conventional sense of a rhythm section-shines as a textbook example of such chemistry and unity.


    Throughout, the players' confidence, and Davis' trust in them, stamps every piece with rare self-assurance and authoritativeness. In particular, Williams and Carter bring rhythms to the forefront as the horns hypnotize and Herbie Hancock's piano points in several different directions like a compass gone crazy. Responsible for "Madness" and "Riot," Hancock contributes brief bursts of speed and slight aggression, but on a record on which complexity and introspection take precedent over blowing hot, the aural steam ultimately becomes opportunity for burrowing into unpredictable turns and deep grooves.


    Indeed, the thrilling sense of interplay and inclination of the ensemble to keep searching, moving forward in a concerted manner to uncover then-unheard jazz discoveries, marks Nefertiti as one of Davis' quintessential efforts. For historians, it's the signpost to the pioneering fusion the leader would begin to pursue with greater commitment on the record's follow-up, Miles in the Sky. For the rest of us, the album is music and music-making at its intriguing best.


    This title is not eligible for discount.

    1. Nefertiti
    2. Fall
    3. Hand Jive
    4. Madness
    5. Riot
    6. Pinocchio
    Miles Davis
    $49.99
    180 Gram Audiophile Virgin Vinyl LP 45 RPM - 2 LPs Sealed Buy Now
  • The Grinding Wheel The Grinding Wheel Quick View

    $31.99
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    The Grinding Wheel

    Armed with pioneering pure metal proposals like "Death Rider," "The Beast Within," and "Raise The Dead" already in 1982, New Jersey's Overkill were a rock-solid part of the first clutch of bands forging in fire this music known as thrash metal. Along with Metallica, Exodus, Slayer and cross-town doppelgangers Anthrax, D.D. Verni and Bobby "Blitz" Ellsworth were helping to create a new form of metal that is still as vibrant today as when the band's first album, Feel the Fire was issued by Jonny Zazula's Megaforce Records back in the spring of '85.


    Witness Overkill's 18th album of blistering yet precise and thought-provoking thrash magic, The Grinding Wheel, a record on which thrash's ultimate team of five machined parts shows up and executes to perfection with a little punk thrown in for bad measure.


    But a life dedicated to metal can be a grind, hence the title of this sparks-a-flyin' record. "It just makes sense for us," reflects D.D. "If you've been making metal for almost 40 years like we have, it can be a grind. But we also liked the old school metal idea of referencing "Grinder," the Judas Priest song, which suits the album because it has classic metal parts on it as well as the thrash parts. There's a blue collar feel to that title too, and that's how we approach Overkill. The guitar case is basically a lunchbox and we go to work."


    "One of the principles-if not characteristics-of the band is that it's been grinding through for long, long periods of time," seconds Blitz. "Decades to this point. And not necessarily with huge gains with regards to popularity, but for sure, with huge gains in as much as we can earn a living while doing the kind of music that we want. And so the idea of grinding it out over the decades became a device for writing the album, whether it would be riffs or lyrics."


    Despite, as D.D. says, the album's classic metal references (such as Black Sabbath in "Come Heavy" and Iron Maiden in "The Long Road" and the epic and cinematic title track), when the band gets up a full head of thrash steam, they bring to the party a trademark punk aesthetic, forged from trips on the train to CBGB and Max's Kansas City to witness original punk legends such as The Damned and The Dead Boys.


    "Punk is huge for Overkill," confirms Verni. "And it's something we very specifically brought back to the band in a sort of second wave, beginning with Ironbound in 2010 and then The Electric Age and White Devil Armory. I know from my end, it came from talking to the band and talking to fans. We had some of those metal records in the middle of our career where I wasn't paying enough attention to the punk rock vibe of the band. But just before we started writing Ironbound, I was very specific about getting back into that mentality, picking up on that energy again. You're not going to hear any Green Day or Ramones in us, but the energy and the attitude of punk mixed with the New York vibe that's what Overkill is, compared to other bands. You don't hear any of that in Megadeth; you don't hear any of that in Slayer. It's more specific to what we brought to the thrash world."


    Central to that premise is the incendiary "Let's All Go to Hades" which is sure to become a pit favourite. "This one was a hell of a lot of fun," says Blitz. "You know, I've always written abstractly. I'm not the guy who says, 'I'm going to crush your skull into dust.' I like writing more so from an abstract point of view, putting a slew of thoughts together that create one idea, like a puzzle more than a specific black or white. And when I looked at all these lyrics when I was done, I said, oh my God, I'm 57 and I finally matured (laughs). Oh, this is gross! (laughs). But I do like tongue-in-cheek songs like 'Hades,' where it says, sort of let's all go to the Bataclan, you know, stand arm in arm and sing 'Killed by Death.' I kind of tied in not long ago events, specifically what happened in Paris, with losing Lemmy. After that, I'm on a train from Paris to Istanbul on the Orient express, which actually existed (laughs)-it actually went from Paris to Istanbul. So that one is mapped out a bit more."


    Adds D.D., "It's not a 'smash your face into the wall' kind of song. It got a little bit of fun in it. I know any time you talk to the really heavy thrash guys, they go, 'Oh, no, no, no-no fun allowed. It's got to be heavy and brutal every second.' But that song definitely has a bit of fun in it. And we've done that before, with things like 'Old School' and 'Fuck You.' We're not afraid to do a bit of that sometimes."


    Another favorite lyric of Blitz', which is set to a non-nonsense old school thrash track, is "Our Finest Hour." "It's about the recognition of sameness," explains Ellsworth. "I think people are comfortable when they recognize themselves in someone else. And 'Our Finest Hour' is kind of a detailed journey through that concept. It's like, 'Come on over here; I recognize you.' I've always been a firm believer in the fact that it's great to accomplish things on your own, but people are always stronger as a group-that's the basic outline of that tune."


    At the other end of the spectrum from punk is a song like "The Long Road." D.D. readily agrees that there was a Maiden influence as part of this one's crafting. "Oh yeah, for sure. The opening, along with a little section in there with the vocals, definitely feels like New Wave of British Heavy Metal.


    More evident in the band's panoramic classic metal passages, but even articulated here on "Our Finest Hour," is another storied Overkill trademark, the definition one gets in the band's bass parts. Combine this with the Mensa-like percussive wizardry of Ron Lipnicki (laid bare for all to hear at headphone levels through the smack of his gravity-defying double bass work), and The Grinding Wheel emerges as a record with a remarkable rhythm section foundation from which to rise.


    "I've had that kind of sound now for a long time," says Verni. "There are a lot of bass players that say, 'I want to feel the bass.' And it's like, I just couldn't give a shit about feeling the bass. To me that's low-end. Guitars have low-end, kick drums have low-end, bass has low-end-I want to hear the bass, not feel it. So from a long time ago, that's what I would be doing on my EQ. I would be tweaking and turning knobs until not only could I feel it, but I can hear it separate from the guitars. And as a result, the bass just got more and more aggressive. I'm not a finesse player at all, on a bass. I bang the shit out of it, and I kind of do that to get away from the guitars and give it its own identity, its own sound, its own thing, so the bass has its own personality, not just serving as a foundation for the guitars."


    This affects the writing as well, says Blitz. "Don't forget, D.D. is a guitarist. He's been playing guitar probably more so than bass in his spare time since the late '80s. This is a guy who has two-and-a-half decades of six strings under his belt. So we get more of a unique perspective; it gives this band its unique qualities when it comes to songwriting. Because it's a guy holding six strings who's got plenty of experience playing those six strings, but thinking from the other perspective. So you get a punchier thing; you don't get a lot of fluff. When you compare Overkill to some of our contemporaries, there you get a guitar player writing guitar-based songs. D.D. is writing, first and foremost, from a rhythm perspective, and that's what drives the songs. Add Dave Linsk to the picture, once there's a ten-note riff written, then you have the best of both worlds."


    Which brings us back to the aforementioned machine-like efficiency of the five guys that comprise Overkill, this idea that there are no weak links within this particular classic five-piece with two guitars lineup of metal warriors.


    "That's the strength of the band," explains Blitz. "Dave is really the one that holds the guitar reigns in this band. He's a writer at his core. You know, he's one of these guys who brushes his teeth and hears a rhythm the way the bristles are hitting the enamel (laughs). He's that dude. 'Oh wait a second, I have another idea.' He has an idea a minute, and if that's the case, some of them are going to be great. So he holds the reins. When it comes to Derek, he's more the opinionated thought later on. And so when it runs through the machine, being D.D. and myself, then Dave, Derek comes in and can change that song. It's always kind of good to have, let's say, a chief and some Indians. And it depends who's wearing the chief hat at any particular time. But I think at the end of the day, when you're looking for a clean perspective, it goes through Derek-that's usually what his contribution is, more of a finalization."


    And Ron? "He's one-of-a-kind," says Verni. "He's a great drummer. I've worked with him for a bunch of records now. This is our fifth record together and so I really understand how he plays at this point. Working with him in the studio is just a pleasure, because he's so right on it."


    After heaping all manner of praise on legendary producer Andy Sneap (brought on only for mix given Verni's proven acumen at the task), D.D. further clarifies the reason Overkill can be at the top of their game 18 records into their distinguished run.


    "I have a studio and I did most of it at my place; I've been doing it that way for a while now. And now the group of guys we have in the band has been pretty consistent for a while. So we have a nice mix; everybody kind of knows their role, and is good at their role. Everybody brings a little something to the party. And I think that's why these last couple of records people ask, 'How is it that your records get better after 25 years?' And I think part of it is that everybody has a role in the band, everybody is comfortable with their role, and they're really good at the part they have. So the records actually get better. It's like having a team, instead of having a whole bunch of chiefs and no Indians.


    But a proven people's band like Overkill-a more personable bunch you'll never meet-fully recognizes that part of the band's success in being able to survive and thrive with the grind is due to the allegiance of the band's considerable worldwide fan base.


    "For sure," says Blitz. "One of the things with regard to grind, with regard to four decades of Overkill, it's good to be here, but it's obviously earned, not just by us but by the people that support this in general. The fact is that it's not just us grinding it out. I mean, maybe it is when it comes to the studio and writing and recording songs, from that selfish perspective. But the reason something exists for decades is based on group effort. Like we had talked about earlier with 'Our Finest Hour,' people are stronger together. In that light, this band is, let's say, not just our project, but it's a project by and for all those who hold it dear."

    1. Mean, Green, Killing Machine
    2. Goddamn Trouble
    3. Our Finest Hour
    4. Shine On
    5. The Long Road
    6. Let's All Go To Hades
    7. Come Heavy
    8. Red, White And Blue
    9. The Wheel
    10. The Grinding Wheel
    11. Emerald
    Overkill
    $31.99
    Vinyl LP - Sealed Buy Now
  • The Grinding Wheel (Yellow And Black Vinyl) The Grinding Wheel (Yellow And Black Vinyl) Quick View

    $31.99
    Buy Now
    x

    The Grinding Wheel (Yellow And Black Vinyl)

    Pressed On Yellow And Black Vinyl

    Armed with pioneering pure metal proposals like Death Rider, The Beast Within, and Raise The Dead already in 1982, New Jersey's Overkill were a rock-solid part of the first clutch of bands forging in fire this music known as thrash metal. Along with Metallica, Exodus, Slayer and cross-town doppelgangers Anthrax, D.D. Verni and Bobby Blitz Ellsworth were helping to create a new form of metal that is still as vibrant today as when the band's first album, Feel the Fire was issued by Jonny Zazula's Megaforce Records back in the spring of '85.

    Witness Overkill's 18th album of blistering yet precise and thought-provoking thrash magic, The Grinding Wheel, a record on which thrash's ultimate team of five machined parts shows up and executes to perfection with a little punk thrown in for bad measure.

    But a life dedicated to metal can be a grind, hence the title of this sparks-a-flyin' record. It just makes sense for us, reflects D.D. If you've been making metal for almost 40 years like we have, it can be a grind. But we also liked the old school metal idea of referencing Grinder, the Judas Priest song, which suits the album because it has classic metal parts on it as well as the thrash parts. There's a blue collar feel to that title too, and that's how we approach Overkill. The guitar case is basically a lunchbox and we go to work.

    One of the principles-if not characteristics-of the band is that it's been grinding through for long, long periods of time, seconds Blitz. Decades to this point. And not necessarily with huge gains with regards to popularity, but for sure, with huge gains in as much as we can earn a living while doing the kind of music that we want. And so the idea of grinding it out over the decades became a device for writing the album, whether it would be riffs or lyrics.

    Despite, as D.D. says, the album's classic metal references (such as Black Sabbath in Come Heavy and Iron Maiden in The Long Road and the epic and cinematic title track), when the band gets up a full head of thrash steam, they bring to the party a trademark punk aesthetic, forged from trips on the train to CBGB and Max's Kansas City to witness original punk legends such as The Damned and The Dead Boys.

    Punk is huge for Overkill, confirms Verni. And it's something we very specifically brought back to the band in a sort of second wave, beginning with Ironbound in 2010 and then The Electric Age and White Devil Armory. I know from my end, it came from talking to the band and talking to fans. We had some of those metal records in the middle of our career where I wasn't paying enough attention to the punk rock vibe of the band. But just before we started writing Ironbound, I was very specific about getting back into that mentality, picking up on that energy again. You're not going to hear any Green Day or Ramones in us, but the energy and the attitude of punk mixed with the New York vibe that's what Overkill is, compared to other bands. You don't hear any of that in Megadeth; you don't hear any of that in Slayer. It's more specific to what we brought to the thrash world.

    Central to that premise is the incendiary Let's All Go to Hades which is sure to become a pit favourite. This one was a hell of a lot of fun, says Blitz. You know, I've always written abstractly. I'm not the guy who says, 'I'm going to crush your skull into dust.' I like writing more so from an abstract point of view, putting a slew of thoughts together that create one idea, like a puzzle more than a specific black or white. And when I looked at all these lyrics when I was done, I said, oh my God, I'm 57 and I finally matured (laughs). Oh, this is gross! (laughs). But I do like tongue-in-cheek songs like 'Hades,' where it says, sort of let's all go to the Bataclan, you know, stand arm in arm and sing 'Killed by Death.' I kind of tied in not long ago events, specifically what happened in Paris, with losing Lemmy. After that, I'm on a train from Paris to Istanbul on the Orient express, which actually existed (laughs)-it actually went from Paris to Istanbul. So that one is mapped out a bit more.

    Adds D.D., It's not a 'smash your face into the wall' kind of song. It got a little bit of fun in it. I know any time you talk to the really heavy thrash guys, they go, 'Oh, no, no, no-no fun allowed. It's got to be heavy and brutal every second.' But that song definitely has a bit of fun in it. And we've done that before, with things like 'Old School' and 'Fuck You.' We're not afraid to do a bit of that sometimes.

    Another favorite lyric of Blitz', which is set to a non-nonsense old school thrash track, is Our Finest Hour. It's about the recognition of sameness, explains Ellsworth. I think people are comfortable when they recognize themselves in someone else. And 'Our Finest Hour' is kind of a detailed journey through that concept. It's like, 'Come on over here; I recognize you.' I've always been a firm believer in the fact that it's great to accomplish things on your own, but people are always stronger as a group-that's the basic outline of that tune.

    At the other end of the spectrum from punk is a song like The Long Road. D.D. readily agrees that there was a Maiden influence as part of this one's crafting. Oh yeah, for sure. The opening, along with a little section in there with the vocals, definitely feels like New Wave of British Heavy Metal.

    More evident in the band's panoramic classic metal passages, but even articulated here on Our Finest Hour, is another storied Overkill trademark, the definition one gets in the band's bass parts. Combine this with the Mensa-like percussive wizardry of Ron Lipnicki (laid bare for all to hear at headphone levels through the smack of his gravity-defying double bass work), and The Grinding Wheel emerges as a record with a remarkable rhythm section foundation from which to rise.

    I've had that kind of sound now for a long time, says Verni. There are a lot of bass players that say, 'I want to feel the bass.' And it's like, I just couldn't give a shit about feeling the bass. To me that's low-end. Guitars have low-end, kick drums have low-end, bass has low-end-I want to hear the bass, not feel it. So from a long time ago, that's what I would be doing on my EQ. I would be tweaking and turning knobs until not only could I feel it, but I can hear it separate from the guitars. And as a result, the bass just got more and more aggressive. I'm not a finesse player at all, on a bass. I bang the shit out of it, and I kind of do that to get away from the guitars and give it its own identity, its own sound, its own thing, so the bass has its own personality, not just serving as a foundation for the guitars.

    This affects the writing as well, says Blitz. Don't forget, D.D. is a guitarist. He's been playing guitar probably more so than bass in his spare time since the late '80s. This is a guy who has two-and-a-half decades of six strings under his belt. So we get more of a unique perspective; it gives this band its unique qualities when it comes to songwriting. Because it's a guy holding six strings who's got plenty of experience playing those six strings, but thinking from the other perspective. So you get a punchier thing; you don't get a lot of fluff. When you compare Overkill to some of our contemporaries, there you get a guitar player writing guitar-based songs. D.D. is writing, first and foremost, from a rhythm perspective, and that's what drives the songs. Add Dave Linsk to the picture, once there's a ten-note riff written, then you have the best of both worlds.

    Which brings us back to the aforementioned machine-like efficiency of the five guys that comprise Overkill, this idea that there are no weak links within this particular classic five-piece with two guitars lineup of metal warriors.

    That's the strength of the band, explains Blitz. Dave is really the one that holds the guitar reigns in this band. He's a writer at his core. You know, he's one of these guys who brushes his teeth and hears a rhythm the way the bristles are hitting the enamel (laughs). He's that dude. 'Oh wait a second, I have another idea.' He has an idea a minute, and if that's the case, some of them are going to be great. So he holds the reins. When it comes to Derek, he's more the opinionated thought later on. And so when it runs through the machine, being D.D. and myself, then Dave, Derek comes in and can change that song. It's always kind of good to have, let's say, a chief and some Indians. And it depends who's wearing the chief hat at any particular time. But I think at the end of the day, when you're looking for a clean perspective, it goes through Derek-that's usually what his contribution is, more of a finalization.

    And Ron? He's one-of-a-kind, says Verni. He's a great drummer. I've worked with him for a bunch of records now. This is our fifth record together and so I really understand how he plays at this point. Working with him in the studio is just a pleasure, because he's so right on it.

    After heaping all manner of praise on legendary producer Andy Sneap (brought on only for mix given Verni's proven acumen at the task), D.D. further clarifies the reason Overkill can be at the top of their game 18 records into their distinguished run.

    I have a studio and I did most of it at my place; I've been doing it that way for a while now. And now the group of guys we have in the band has been pretty consistent for a while. So we have a nice mix; everybody kind of knows their role, and is good at their role. Everybody brings a little something to the party. And I think that's why these last couple of records people ask, 'How is it that your records get better after 25 years?' And I think part of it is that everybody has a role in the band, everybody is comfortable with their role, and they're really good at the part they have. So the records actually get better. It's like having a team, instead of having a whole bunch of chiefs and no Indians.

    But a proven people's band like Overkill-a more personable bunch you'll never meet-fully recognizes that part of the band's success in being able to survive and thrive with the grind is due to the allegiance of the band's considerable worldwide fan base.

    For sure, says Blitz. One of the things with regard to grind, with regard to four decades of Overkill, it's good to be here, but it's obviously earned, not just by us but by the people that support this in general. The fact is that it's not just us grinding it out. I mean, maybe it is when it comes to the studio and writing and recording songs, from that selfish perspective. But the reason something exists for decades is based on group effort. Like we had talked about earlier with 'Our Finest Hour,' people are stronger together. In that light, this band is, let's say, not just our project, but it's a project by and for all those who hold it dear.

    1. Mean, Green, Killing Machine
    2. Goddamn Trouble
    3. Our Finest Hour
    4. Shine On
    5. The Long Road
    6. Let's All Go To Hades
    7. Come Heavy
    8. Red, White And Blue
    9. The Wheel
    10. The Grinding Wheel
    11. Emerald
    Overkill
    $31.99
    Colored Vinyl LP - Sealed Buy Now
  • The Columbia Years 1968-1969 The Columbia Years 1968-1969 Quick View

    $25.99
    Buy Now
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    The Columbia Years 1968-1969

    All Tracks Previously Unreleased (Except Track B5/8)


    Production By Miles Davis & Teo Macero


    Featuring Performances From Hugh Masekela, Mitch Mitchell (Jimi Hendrix Experience), John Mclaughlin, Herbie Hancock, Harvey Brooks, Wayne Shorter, Billy Cox (Band Of Gypsys), Larry Young, And Members Of The Jazz Crusaders


    Remastered From The Original Analog Master Tapes


    New Interviews, Rare Photos, And Unseen Historical Documents From The Teo Macero Archive


    One can hardly imagine Prince, Erykah Badu, or Outkast without the influence of Betty Davis. Her style of raw and revelatory punk-funk defies any notions that women can't be visionaries in the worlds of rock and pop. In recent years, rappers from Ice Cube to Talib Kweli have rhymed over her intensely strong but sensual music. Betty penned the song ''Uptown'' for The Chambers Brothers and wrote the tunes that got The Commodores signed to Motown. The Detroit label soon came calling, pitching a Motown songwriting deal, which Betty turned down. Motown wanted to own everything. Heading to the UK, Marc Bolan of T. Rex urged the creative dynamo to start writing for herself. A common thread throughout Betty's career would be her unbending DIY ethic, which made her quickly turn down anyone who didn't fit with the vision. She would eventually say no to Eric Clapton as her album producer, seeing him as too banal. In 1968, she married Miles Davis and quickly influenced him on the magic of psychedelic rock along with introducing him to Jimi Hendrix-personally inspiring the classic album, Bitches Brew.


    Miles and Betty fans have long debated the truth of a near mythological session recorded in Studios B and E at Columbia's 52nd Street Studios on May 14th and 20th, 1969. The landmark session was produced by Miles and Teo Macero and featured Betty on vocals, accompanied by Jimi Hendrix Experience drummer Mitch Mitchell, guitarist John McLaughlin, Herbie Hancock on keys, and Dylan/Miles session bassist Harvey Brooks. Other players included bassist Billy Cox (Band of Gypsys), saxophonist Wayne Shorter, and organist Larry Young. Now, Light In The Attic, with full support from Betty herself, presents these recordings to the public for the very first time. These historic sessions-never heard, never bootlegged-predate Miles' revolutionary album, Bitches Brew, and are the true birth of Miles' jazz-rock explorations, along with the roots for Betty's groundbreaking funk that came years later, starting with her self-titled debut in 1973. While, ultimately, these recordings would go unreleased for nearly half a century, they would greatly shape each of their careers.


    The vibe is intrinsically unique, fresh, and futuristic-jazz heavyweights playing psychedelia, rock, and jazz-fusion long before the term became commonplace. The songs include Betty originals and covers of classics by Creedence and Cream. The concepts explored on these previously unheard sessions fueled concepts that wouldn't be fully realized until years later with Miles' seminal On The Corner.


    Additionally, included here is the first time rerelease of a 1968 Columbia single, recorded in October 1968 at Columbia Studios in Los Angeles. The session was produced by Jerry Fuller and featured South African maverick Hugh Masekela on trumpet and arrangements, plus members of jazz-funk pioneers The Crusaders-including trombonist Wayne Henderson and pianist Joe Sample. Two of the three tracks included here from this session are previously unreleased.


    This deluxe package is a treasure trove for both Betty and Miles fans, including rare documents from the pen of co-producer Teo Macero, rarely seen photos from legendary photographer Baron Wolman, and new interviews with Mrs. Davis herself, Harvey Brooks, and Hugh Masekela-the entire project overseen with Betty's full blessing.

    1. Hangin' Out
    2. Politician Man

    3. Down Home Girl

    4. Born On The Bayou

    5. I'm Ready, Willing & Able (Take 1)

    6. I'm Ready, Willing & Able (Take 9)

    7. It's My Life (Alternate Take)

    8. Live, Love, Learn

    9. My Soul Is Tired
    Betty Davis
    $25.99
    Vinyl LP - Sealed Buy Now
  • I'm Just Like You: Sly's Stone Flower 1969-70 I'm Just Like You: Sly's Stone Flower 1969-70 Quick View

    $26.99
    Buy Now
    x

    I'm Just Like You: Sly's Stone Flower 1969-70

    Compilation And Notes By Alec Palao


    An Exclusive New Interview With Sly Stone Himself


    In-depth Liner Notes With First-hand Reminiscences Of The Stone Flower Era From Many Of The Participants


    Features All Five Stone Flower Produced Singles Plus Ten Previously Unissued Cuts From The Label Archives


    All Tracks Newly Remastered From The Original Tapes


    In 1970, The Family Stone were at the peak of their popularity, but the maestro Sly Stone had already moved his head to a completely different space. The first evidence of Sly's musical about-turn was revealed by the small catalog of his new label, Stone Flower: a pioneering, peculiar, minimal electro-funk sound that unfolded over just four seven-inch singles. Stone Flower's releases were credited to their individual artists, but each had Sly's design and musicianship stamped into the grooves-and the words "Written by Sylvester Stewart/Produced and arranged by Sly Stone" on the sticker.


    Set up by Stone's manager David Kapralik with distribution by Atlantic Records, Stone Flower was, predictably, a family affair: the first release was by Little Sister, fronted by Stone's little sister Vaetta Stewart. It was short lived too-the imprint folded in 1971-but its influence was longer lasting. The sound Stone formulated while working on Stone Flower's output would shape the next phase in his own career as a recording artist: it was here he began experimenting with the brand new Maestro Rhythm King drum machine. In conjunction with languid, effected organ and guitar sounds and a distinctly lo-fi soundscape, Sly's productions for Stone Flower would inform the basis of his masterwork There's A Riot Goin' On.


    The first 45 came in February 1970: Little Sister's dancefloor-ready "You're The One" hit Number 22 in the charts-the label's highest showing. The follow-up, "Stanga, also by Little Sister, made the wah pedal the star. The third release came from 6IX, a six-piece multi-racial rock group whose sole release, a super-slow version of The Family Stone's "Dynamite, featured only the lead singer and harmonica player from the group. Joe Hicks was the final Stone Flower stablemate; his pulsing, electronic Life And Death In G&A" is one of the bleakest moments Sly Stone ever created on disc (Hicks' prior single for Scepter, "Home Sweet Home," the first released Stone Flower production, is also included).


    This long overdue compilation of Sly's Stone Flower era gathers each side of the five 45s plus ten previously unissued cuts from the label archives, all newly remastered from the original tapes. In these grooves you'll find the missing link between the rocky, soulful Sly Stone of Stand! and the dark, drum machine-punctuated, overdubbed sound of There's A Riot Going On. I'm Just Like You: Sly's Stone Flower 1969-70 opens up the mysteries of an obscure but monumental phase in Stone's career.

    1. You're The One (Parts 1 & 2) - Little Sister
    2. Just Like A Baby - Sly
    3. Home Sweet Home (Part 2) - Joe Hicks
    4. I'm Just Like You
    5. Somebody's Watching You (full band version) - Little Sister
    6. Life & Death In G & A (Parts 1 & 2) - Joe Hicks
    7. Trying To Make You Feel Good
    8. Stanga - Little Sister
    9. Dynamite
    10. You're The One (early version) - Little Sister
    11. Africa - Sly
    12. I'm Goin' Home (Part 1) - Joe Hicks
    13. Somebody's Watching You - Little Sister
    14. You Can, We Can
    15. Spirit - Sly
    16. I'm Just Like You (full band version)
    17. Scared - Sly
    18. Dynamite (alternate version)
    Sly & The Family Stone
    $26.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Instant Replay Instant Replay Quick View

    $29.99
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    Instant Replay

    The Monkees have been one of the world's most enduring rock and pop acts of all time. Since their beginnings in 1966, their television show, multiplatinum albums, hit singles and concert tours truly made The Monkees one of the most colossal stories in the music business. In 1969, Davy Jones, Michael Nesmith and Micky Dolenz went back to the studio as a trio this time and recorded the classic Instant Replay album. Noted for their hit single Tear Drop City, this masterwork also found The Monkees reuniting with the production team of Tommy Boyce and Bobby Hart for several of the tracks as well as previous team Monkees writers like Carole King and Neil Sedaka, and highly touted producers like Bones Howe (The Association/Tom Waits) and Shorty Rogers and resulted in some of the finest collaborations ever with this superstar act. Instant Replay also offered the first look at Michael Nesmith's experimental and groundbreaking recording sessions in Nashville as well as solid compositions from all three Monkees.


    Opening up with the pop rocker Through The Looking Glass, Micky Dolenz is on top of his game vocally with a brilliant background of horns, Bobby Hart on piano and guitar work by legends Keith Allison (Paul Revere & The Raiders) and Gerry McGee (The Ventures/John Mayall). A major fan favorite, this classic was performed at many of the reunion concerts over the years. The late great Davy Jones belts out another Boyce and Hart classic with the haunting ballad Don't Listen To Linda. The tune truly resonated with the fans back then and continues to be one of the more appreciated classics in his long list of time tested Monkees favorites. Carole King and Gerry Goffin's I Won't Be The Same Without Her features a strong vocal performance by Michael Nesmith and the stunning guitar work of both Monkees' Peter Tork and Glen Campbell. A real summer time feeling song, this track would be a nice bridge to Micky Dolenz's orchestral masterpiece Just A Game.


    It is no secret that Nesmith was a fan of country music, but also lauded as one of the first pioneers of the country rock genre, not only with his contributions to the earlier Monkees' recordings as far back as Papa Gene's Blues, even for other noted artists like Linda Ronstadt for whom he penned her first smash single Different Drum. For the Instant Replay album, Nesmith ventured to Nashville's RCA Studios and cut Don't Wait For Me, the first released tune from his now famous Nashville sessions. With the fusion of country studio players and the voice and guitar of Michael Nesmith, The Monkees again were on the forefront of this new genre and would continue with this groundbreaking sound ever more so into future classics like The Monkees Present.


    As the '60s would come to a close, Davy Jones would also contribute his major impact on the generation with his truly hip and psychedelic masterpiece You And I. Noted for its hard rock opening to side two, the track also features the stunning lead guitar textures of Neil Young who recently departed with The Buffalo Springfield. More favorites like Nesmith's While I Cry is one of the artist's finest compositions of the era. With Mike's beautiful acoustic guitar work and help from friends like Harry Nilsson, this ballad would truly become one of the more enduring songs from this 1969 classic Monkees album.


    Neil Sedaka and Carol Bayer Sager contribute one of the classiest Monkees ballads ever with The Girl I Left Behind Me. Once again, the late great Davy Jones provides a superstar vocal second to none, with a soulful orchestra fill and band setting featuring the production and skillful piano work of Neil Sedaka, while Micky Dolenz would close out the album with his classic Shorty Blackwell. The whimsical tale of Micky's cat and a nod to his friends The Beatles' A Day In The Life, Shorty Blackwell would take almost a year to record and feature a bevy of the original wrecking crew of Hollywood musicians like drummer Jim Gordon (Eric Clapton/Traffic), Tommy Tedesco on guitar and even his sister Coco Dolenz on vocals. This track along with the other eleven tunes make this one of the more enduring and loved albums in the superior catalog of Monkees classics.


    Friday Music is once again very honored to announce the continuation of The Monkees Friday Music 180 Gram Audiophile Series with the re-release of their 1969 masterwork Instant Replay. Mastered by Joe Reagoso (The Monkees/Elvis Presley/Brian Wilson) from the original Colgems Records tapes at Friday Music Studios, this first time audiophile vinyl release is also for a very short time being offered in limited edition red vinyl as well as a first time gatefold cover presentation.

    1. Through The Looking Glass
    2. Don't Listen To Linda
    3. I Won't Be The Same Without Her
    4. Just A Game
    5. Me Without You
    6. Don't Wait For Me
    7. You And I
    8. While I Cry
    9. Tear Drop City
    10. The Girl I Left Behind Me
    11. A Man Without A Dream
    12. Shorty Blackwell
    The Monkees
    $29.99
    180 Gram Audiophile Virgin Vinyl LP Buy Now
  • Endangered Philosophies Endangered Philosophies Quick View

    $27.99
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    Endangered Philosophies

    2LP gatefold with etched vinyl

    Before Def Jux, before Death Grips, before Yeezus, there was DÄlek (Noisey). Pioneers of alt hip-hop, DÄlek (pronounced die-a-lek) features Rapper/Producer MC DÄlek, Producer/live electronics Mike Manteca, and Turntabilist DJ rEk . With roots in the mid-'90s DIY scene, DÄlek has been delivering groundbreaking albums for over 20 years. They have enraptured fans and critics across all genres, garnering fans and earning accolades from the hip-hop, electronic, indie, metal, shoegaze, jazz and experimental communities.

    After releasing seven studio albums, numerous collaborations, EPs, and remixes, they continue to push boundaries with each release. Debut album Negro Necro Nekros (1998), was hailed by NME as a means to deconstruct hip hop, 2002 saw Ipecac Recordings release the game-changing From Filthy Tongue of Gods and Griots, which was followed by 3 more releases on Ipecac Recordings: Absence (2005), Abandoned Language (2007) and GutterTactics (2009).

    In 2010, DÄlek went on a five-year hiatus to recoup from a decade of relentless touring, and to focus on new musical projects. In January of 2015, MC DÄlek said he missed the noise, and a tour and new single quickly followed. 2016 saw the release of the critically acclaimed Asphalt for Eden, which Pitchfork declared: hip hop ascends into the noosphere. DÄlek's sonic and lyrical evolution continues.

    Endangered Philosophies is DÄlek's signature sound pushed in new directions. Re-sculpted to say all that needs to be said today. It is no one element, but rather an amalgamation of the lyrics, sonics, drums, noise, melody, bass, and turntablism, explains MC DÄlek of the new work. Endangered Philosophies is a very introspective record about very external forces. This isn't about one listen... it's about your evolving perception when you immerse yourself in the layers of sound and words. Endangered Philosophies is a record about the RIGHT NOW and yet will resonate differently each time it is listened to, in a word....timeless.

    1. Echoes of
    2. Weapons
    3. Few Understand
    4. The Son of Immigrants
    5. Beyond the Madness
    6. Sacrifice
    7. Nothing Stays Permanent
    8. A Collective Cancelled Thought
    9. Battlecries
    10. Straight Razors
    11. Numb
    Dalek
    $27.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Forever Changes Forever Changes Quick View

    $24.99
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    Forever Changes

    Ranked 40/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.


    The third and final album by the original Love lineup, Forever Changes has consistently drawn epic praise both upon its 1968 release on Elektra Records and to this very day. Rolling Stone described Forever Changes as "elegant armageddon" when listing it as #40 in the 500 Greatest Albums Of All Time while another rave review considered it, "one of the most distinctive masterpieces in that era of masterpieces." A landmark work that is without question the L.A.-based psychedelic folk-rock pioneers' most fully realized studio effort, Forever Changes was produced by band co-founder/frontman Arthur Lee and The Doors' engineer/producer Bruce Botnick.


    Lee's metaphysically super-logical lyrics, warbled sweetly over the band's full-bloom psychedelia, a swirling current of guitars, strings, and horns layered into a mind-expanding wall of beauty. The album's song titles read like signs along the long and winding road to Nirvana: "Andmoreagain," "Maybe The People Would Be The Times Or Between Clark And Hilldale," "The Good Humor Man He Sees Everything Like This," "You Set The Scene." Forever Changes exploded the personal into the universal and uncovered the eternal tucked away inside the familiar.


    "In the summer of 1967 a billboard appeared on Los Angeles' legendary Sunset Strip telling all who looked skyward to 'watch for the third coming of LOVE.' Emblazoned with an image of the group painted in oozing pink, purple, blue, and green meant to resemble an organic heart, Love were barely recognizable in their collective obscurity. Though they had followed hot on the heels of The Byrds to rule the L.A. club scene a year earlier, the band (at the time perhaps the most progressive and uncompromising in pop) never made the leap to mainstream acceptance or the Billboard Top 10. Ironically, that same summer their Elektra labelmates and former opening act, The Doors hit #1 with 'Light My Fire.' Meanwhile, the five members of Love (Arthur Lee, Johnny Echols, Bryan MacLean, Ken Forssi, and Michael Stuart) struggled to complete an album that would barely chart on initial release. In most stories Love would be the group that promised more than they delivered. That would be had 'the third coming' not been Forever Changes, a long-player widely rated above any other waxing of that idyllic era." - Andrew Sandoval/liner notes for the 2008 reissue

    1. Alone Again Or
    2. A House Is Not A Motel
    3. Andmoreagain
    4. The Daily Planet
    5. Old Man
    6. The Red Telephone
    7. Maybe The People Would Be The Times Or Between Clark And Hilldale
    8. Live And Let Live
    9. The Good Humor Man He Sees Everything Like This
    10. Bummer In The Summer
    11. You Set The Scene

    Love
    $24.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Muddy Waters At Newport 1960 Muddy Waters At Newport 1960 Quick View

    $29.99
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    Muddy Waters At Newport 1960


    The Muddy Waters/Friday Music 180 Gram Audiophile Series Continues!


    Muddy Waters Masterwork Live Album! In Stereo!


    First Time Official Audiophile Vinyl - Stunning First Time Gatefold Cover


    Mastered From The Authorized Chess Records Stereo Tapes By Joe Reagoso


    Muddy Waters (McKinley Morganfield) will always be known as one of the founding fathers of modern day blues. His legendary style of playing guitar, his unique vocal prowess and of course his stellar list of classic Chicago and Mississippi Delta blues tunes
    have all gone on to influence generations upon generations of rock and blues performers worldwide.


    With almost six decades in the music business, this Mississippi native began his career cutting early sides for defunct labels
    before landing in Chicago in the early forties, where he began a long climb to the top of the blues world, later cutting a series of
    hit sessions for Aristocrat which became Chess Records. Phil and Leonard Chess knew they had a kingpin on their hands when
    Muddy started his endless stream of blues smashes. The label honored the man with his first live album simply titled Muddy Waters
    At Newport 1960. Recorded at the Newport Jazz Festival, Muddy drove the crowd into a frenzy with his famous guitar licks and his
    Delta growl, truly a thrilling presence on the stage.


    Featuring an all-star band with the likes of the legendary James Cotton on harp and the masterful Otis Spann on piano, Muddy
    Waters At Newport 1960 would go on to become one of the most revered albums in modern day Chicago blues history.


    Kicking things off with one of his finest smash hits I Got My Brand On You, Muddy continues to rock the crowd through a
    treasure trove of 8 more blues champions which made this one of the most important live recordings of all time. The album features
    classic gems like his classics Got My Mojo Working, Baby Please Don't Go, and I'm Your Hoochie Coochie Man. Noted for his stellar
    guitar work, pretty much introducing his Chicago laden blues style to a whole new generation of guitar players, Muddy Waters At
    Newport 1960 became truly a primer for a ton of rock and blues guitarists for years like Eric Clapton, Johnny Winter, Canned Heat
    and The Rolling Stones. Muddy broke down barriers for millions of music fans worldwide to enjoy rock and blues, making him along
    with John Lee Hooker, Elmore James and Robert Johnson one of the first pioneers of the blues and rock genre.


    Friday Music is no stranger to the music of the legendary Chess Records arsenal of fine recordings. That is why we are so
    very proud to announce another installment in The Muddy Waters/Friday Music 180 Gram Audiophile Vinyl Series with his legendary
    masterpiece Muddy Waters At Newport 1960.


    Mastered impeccably by Joe Reagoso (Muddy Waters, John Lee Hooker, Chuck Berry) for the first time on audiophile vinyl from
    the Chess stereophonic tapes, Muddy Waters At Newport 1960 will truly become one of the most important and historical 180 Gram
    Audiophile Vinyl titles to be released in quite some time.


    To further celebrate this first time authorized stereophonic audiophile vinyl LP, we enhance this limited edition masterwork
    with a stunning gatefold cover featuring the original artwork elements as well as a rare inside gatefold photo of the man who helped
    fuse blues and rock music for millions of music lovers across the globe.


    Muddy Waters Muddy Waters At Newport 1960 Impeccable stereophonic sound from the AUTHORIZED Chess Records
    tapes! Baby, Please Don't Go

    1. I Got My Brand On You
    2. I'm Your Hoochie Coochie Man
    3. Baby, Please Don't Go
    4. Soon Forgotten
    5. Tiger In Your Tank
    6. I Feel So Good
    7. Got My Mojo Working
    8. Got My Mojo Working, Part 2
    9. Goodbye Newport Blues
    Muddy Waters
    $29.99
    180 Gram Audiophile Virgin Vinyl LP Buy Now
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