Authorized & Certified VPI Dealer

A World of Vinyl

Site Search
Menu Free shipping on domestic orders over $49.99! - We ship worldwide!
20% Off Vinyl - LP20
Home > Products for: '

Porches

'
  • 1
  • 2
Results per page:
  • The House The House Quick View

    $21.99
    Buy Now
    x

    The House

    Porches' third record The House is a conscious effort in minimalism and honesty. "Making
    Pool"-the band's 2016 breakthrough record, and Domino debut-"I learned how valuable
    the spirit of the demos are," says singer Aaron Maine, "so this time I made a point of
    capturing a song the day it was conceived." Because of this desire to document immediate
    sensations, the record's fourteen tracks offer a series of diaristic vignettes. There are
    moments of emerging from fear of ego death ("Leave the House," "By My Side," "Now
    The Water"), escaping the corporeal ("Now The Water," "Swimmer"), the terrifying thrill of
    young love ("Country," "W Longing"), and parting with the past ("Wobble," "Goodbye").
    While these themes possibly paint The House in a dark light, the record is marked by an
    excitement at the prospect of self-discovery, and commitment to the process of getting
    there.


    Though Aaron largely composes on his own, The House features contributions by Alexander
    Giannascoli ((Sandy) Alex G), Dev Hynes (Blood Orange), Maya Laner (True Blue, Porches),
    Kaya Wilkins (Okay Kaya), Bryndon Cook (Starchild & the New Romantic), Cameron Wisch
    (Cende, Porches), Jason Arce, Bea1991, and his own father, Peter Maine. As with Pool, Aaron
    brought his recorded work to Chris Coady (Beach House, Slowdive, TV on the Radio), who
    then mixed The House at his Sunset Sound studio.

    1. Leave The House
    2. Find Me
    3. Understanding
    4. Now The Water
    5. Country
    6. By My Side
    7. Åkeren
    8. Anymore
    9. Wobble
    10. Goodbye
    11. Swimmer
    12. W Longing
    13. Ono
    14. Anything U Want
    Porches
    $21.99
    Vinyl LP - Sealed Buy Now
  • Front Porch Sessions Front Porch Sessions Quick View

    $18.99
    Buy Now
    x

    Front Porch Sessions

    Southern Indiana-bred singer-guitarist Reverend Peyton is the bigger-than-life frontman of Reverend Peyton's Big Damn Band. He has earned a reputation as both a singularly compelling performer and a persuasive evangelist for the rootsy country blues styles that captured his imagination early in life and inspired him and his band to make pilgrimages to Clarksdale, Mississippi to study under such blues masters as T-Model Ford, Robert Belfour and David "Honeyboy" Edwards.


    That passionate inspiration has made Reverend Peyton's Big Damn Band America's foremost country blues outfit and fuels the Rev's new release, The Front Porch Sessions. Peyton's dazzling guitar mastery is equaled here by his knack for vivid, emotionally impactful songwriting, and his originals are matched in their authenticity by the deeply felt vintage blues tunes that he covers. The album showcases the Rev's irrepressible personality while echoing the enduring spirit of such acoustic blues icons as Charlie Patton, Blind Willie Johnson, Bukka White and Furry Lewis, whose "When My Baby Left Me" receives a memorable reading.


    "It started as a literal whim on my part, but it turned into something really special," Reverend Peyton says of this new collection. "I wanted it to feel like you're on my front porch. You can almost hear the wood creaking."


    The Front Porch Sessions maintains a potent level of intensity throughout, from the upbeat optimism of the album-opener "We Deserve a Happy Ending" to the blunt slice-of-life rural reality of "One More Thing" to the rollicking, playful swagger of "Shakey Shirley," "One Bad Shoe" and "Cornbread and Butterbeans." Meanwhile, the instrumentals "It's All Night Long" and "Flying Squirrels" demonstrate the Rev's nimble, imaginative guitar work."


    I didn't have much planned when I went into the studio," the Reverend notes. "I went into the studio with some new songs and some old songs that I've always wanted to try. At first, I thought 'Well, maybe we'll make it a download or release a single.' But it took on a life of its own, and when it was all said and done, I was as proud of it as anything I've ever done. To me, it was a lesson in not overthinking things; I just went in and let my gut guide me."


    We recorded this album at a studio called Farm Fresh, which is right down the street from my house," he continues. "It's in the shade of the oldest poplar tree in Indiana, and there's a graveyard next to it and train tracks run across there. In fact, I think you can hear the train on one track on this record. The studio's in an old church, and the main sanctuary is the tracking room, so the haunting reverb that you hear is that room.


    "We used a lot of vintage gear in the recording. I love that organic sound, and I'm always chasing that in everything I do. I just like things that feel timeless. Feeling timeless to me is way more important than feeling old. When you try to make something sound old, you're trying too hard."


    That lifelong pursuit of musical authenticity was instilled in his musical consciousness while Peyton was growing up in rural Indiana, where his early love for blues, ragtime, folk, country and other traditional styles gave him a sense of direction that would soon manifest itself in his own music. He and the Big Damn Band won a large and loyal fan base, thanks to their tireless touring efforts and high-energy showmanship, along with such acclaimed albums as Big Damn Nation, The Gospel Album, The Whole Fam Damnily, The Wages, Between the Ditches, So Delicious and the Charlie Patton tribute disc Peyton on Patton.


    Despite his prior achievements, the Rev views The Front Porch Sessions as a personal creative milestone.


    "This record's very personal for me, because so much of it is just me," he says. "The Big Damn Band is on there, but it's mostly me. There's washboard only in a couple of songs, and the drum kit is a suitcase drum set that we put together in the studio. It's a snapshot of the week we spent in the studio, but it also represents a lifetime of me building up to it."


    The Front Porch Sessions has also spawned a series of audio-vÉritÉ companion videos, many of them shot on the Rev's actual front porch, that embody the album's intimacy and immediacy. "A lot of these songs started on the porch, and that's what the videos are," he says. "I'd be pickin' and go, 'I like the way this sounds, let me get my camera.'"


    Reverend Peyton has already begun to integrate The Front Porch Sessions' spare approach into the Big Damn Band's expansive live shows, which are renowned for their intensity and abandon.


    "In a lot of our shows in the past few years, we'll take a break and I'll come out and do a song or two by myself," he explains. "That brings things down and allows me to do some songs like this. We're definitely gonna be doing more of that, so there's definitely gonna be moments in the shows where you're gonna hear a lot of these songs. We may also do some Front Porch Sessions shows, and maybe present some of our other songs in a more stripped-down way. We did one earlier this year as kind of a test, and that worked really well.


    "Over the years, our shows have gotten more dynamic," he continues. "The ups are more up and the downs are more down. That's something that's important to me. If I go and see a show and someone's just standing there and staring at their feet and singing their songs, I feel insulted. That's not a performance. I want to know that you're living that song, not just regurgitating it. I don't think artists should seem like they're too cool for their audience."


    The Rev's dedication to delivering the goods on stage is reflected in his flamboyant performance persona. "The Rev is me," he states. "Sometimes that freaks people out, because the person who's on stage is exactly the way I am offstage. I don't know how to separate myself from my music, because it's so personal to me. My mom calls me Rev; it's been my nickname since I was a teenager. It was a name that was given to me by some friends, and it sort of stuck.


    "I'm one of those people who feels everything really hard, for better or worse," he continues. "If I'm angry, I'm really angry. If I'm sad, I'm really sad. If I'm happy, I'm really happy. So onstage, I tap into that. There are certain songs that I can't play on some nights, because they're just too sad. That may be the rantings of a crazy person, but it's the God's honest truth."


    With The Front Porch Sessions showcasing his expanded musical palette, Reverend Peyton is excited about bringing his new music to his fans.


    "I really think it's one of the best things I've ever done," he asserts. "I'm interested in making hand-made American music, and the goal is to be timeless."

    1. We Deserve a Happy Ending
    2. When My Baby Left Me
    3. Shakey Shirley
    4. What You Did to the Boy Ain't Right
    5. One Bad Shoe
    6. It's All Night Long
    7. One More Thing
    8. Flying Squirrels
    9. Let Your Light Shine
    10. When You Lose Your Money
    11. Cornbread and Butterbeans
    Reverend Peyton's Big Damn Band
    $18.99
    Vinyl LP - Sealed Buy Now
  • Front Porch Stories (Awaiting Repress) Front Porch Stories (Awaiting Repress) Quick View

    $14.99
    Buy Now
    x

    Front Porch Stories (Awaiting Repress)

    Hardcore punk that hits like a locomotive! These train-hopping hicks capture all the fury of their live show for this sophomore FAT release. Now clap it up.
    1. Black And Red
    2. Blue Times Two

    3. West Wye

    4. You

    5. Gravel To Dirt

    6. Done Reckoning

    7. East On Main

    8. Versus

    9. Subdued And Arrested

    10. Monuments

    11. The Falls

    12. Now
    Avail
    $14.99
    Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • The Lowdown Back Porch Blues (Pure Pleasure) The Lowdown Back Porch Blues (Pure Pleasure) Quick View

    $34.99
    Buy Now
    x

    The Lowdown Back Porch Blues (Pure Pleasure)

    Louisiana Red (born Iverson Minter) was a flamboyant guitarist, harmonica player, and vocalist. He lost his parents early in life through multiple tragedies; his mother died of pneumonia a week after his birth, and his father was lynched by the Klu Klux Klan when he was five.


    Red began recording for Chess in 1949, then joined the Army. After his discharge, he played with John Lee Hooker in Detroit for almost two years in the late '50s, and continued through the '60s and '70s with recording sessions for a number of labels. Louisiana Red moved to Hanover, Germany in 1981, and maintained a busy recording and performing schedule through the subsequent decades into the new millennium. He died in Germany in 2012 when his thyroid imbalance brought on a stroke.


    Recorded in New York with Tommy Tucker, Lowdown Back Porch Blues is Louisiana Red's first album and, in many ways, it's his best. Supported by a bare-bones rhythm section, Red plays a number or traditional tunes and originals. His guitar is nearly as powerful and overwhelming as his vocals, making this a truly compelling listen.

    Musicians:



    • Louisiana Red (vocal, guitar, harpsichord)

    • Karl Lynch (bass)

    • Panama Francis (drums)




    Recording: 1963 in New York City

    Production: Henry Glover



    About Pure Pleasure



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



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



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



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



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



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

    1. Red's Dream
    2. Working Man Blues
    3. I'm Louisiana Red
    4. Sweet Aleese
    5. Keep Your Hands Off My Woman
    6. I'm A Roaming Stranger
    7. Ride On Red, Ride On
    8. I Wonder Who
    9. The Seventh Son
    10. Sad News
    11. Two Fifty Three
    12. Don't Cry
    Louisiana Red
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Nothing Bad Will Ever Happen Nothing Bad Will Ever Happen Quick View

    $17.99
    Buy Now
    x

    Nothing Bad Will Ever Happen

    Optimism is infectious, and there can be few more optimistic statements than the ttitle of the new album from Dignan Porch: Nothing Bad Will Ever Happen. As you listen to the warm-hearted, weirdo pop within, as you're drawn into their world, you might be inclined to agree with them. Nothing Bad Will Ever Happen is Dignan Porch's second album, though in many way it's their first. 2010's debut, Tendrils, was written and recorded a solo concern by singer Joe Walsh. Here, he's joined by the full band, comprising brother Sam Walsh plus close friends Ben Goodwin, Hayley Akins and Stephen Keane.
    1. Picking Up Dust
    2. Sad Shape
    3. She is Landing
    4. Darkness
    5. TV Shows
    6. Pink Oil
    7. Sleep With The Dead
    8. Never
    9. Sixteen Hits
    10. And Are Now Not
    11. Cancelled TV Shows
    12. Interlude
    13. You Win You Wine
    Dignan Porch
    $17.99
    Vinyl LP - Sealed Buy Now
  • Ode To A Rainy Day Ode To A Rainy Day Quick View

    $19.99
    Buy Now
    x

    Ode To A Rainy Day


    All Unreleased Material Spanning Robert Lester Folsom's Early Years


    Previously Unreleased Photos And Art


    Liner Notes Written By Robert Lester Folsom


    Anthology Recordings is pleased to present Ode To A
    Rainy Day: Archives 1972-1975, a collection of previously
    unreleased home recordings from Robert Lester Folsom.
    The 13 tracks in this collection capture the halcyon,
    wide-eyed experiments of Folsom who, after going
    halves in a reel-to-reel tape recorder with a friend,
    recorded all of this material over college summer breaks
    in barns, screened porches and bedrooms across Adel,
    Georgia. Folsom crafts a delicate form of folk-rock, with
    a knack for penning gorgeous ballads (See You Later
    I'm Gone, Can't See You), spellbinding instrumental
    explorations (Oblivion) and elements of dusty
    psychedelia (the farfisa-peppered Written In Your Hair
    and On And On). There are echoes of Neil Young
    (Southern Man was a favorite cover of Folsom's), Nick
    Drake and early Fairport Convention in Folsom's form
    and lyricism, that would later become more realized on
    his full-length Music And Dreams (1976). Perhaps just as
    precious as the songs revived in this collection is the
    youthful sense of excitement and experimentation that
    has been captured and preserved.

    1. Ode to a Rainy Day
    2. Written in Your Hair
    3. Love is
    4. Heaven on the Beach with You
    5. See You Later, I'm Gone
    6. She
    7. On and On
    8. Another Sunday Morning
    9. Situations
    10. Oblivion
    11. Can't You See
    12. Blue Velvet
    13. Show Me to the Window
    Robert Lester Folsom
    $19.99
    Vinyl LP - Sealed Buy Now
  • Run Wild, Stay Alive (Brown Vinyl) Run Wild, Stay Alive (Brown Vinyl) Quick View

    $17.99
    Buy Now
    x

    Run Wild, Stay Alive (Brown Vinyl)

    Pressed On Brown Colored Vinyl


    Hotel Books delivers their sophomore records. The band's growth is heard with a more mature sound mixing clean vocals with spoken word. The album is produced by Craig Owens (Chiodos, DRUGS, Cinematic Sunrise) and Nick Ingram (Hotel Books, City Lights, Front Porch Step).

    1. Every Day, The Same
    2. I Think You See Where This Is Headed
    3. Where We Sleep Is Where We Dream
    4. Constant Conflicts
    5. Saltwater For Blood
    6. Lesser
    7. Friendly Crossfire
    8. Can You Do Me A Kindness?
    9. Alcoholocaust
    10. Broke Love
    11. Lesser
    12. Friendly Crossfire
    13. Can You Do Me A Kindess?
    14. Alcoholocaust
    15. Broke Love
    Hotel Books
    $17.99
    Colored Vinyl LP - Sealed Buy Now
  • Break Line: The Musical Break Line: The Musical Quick View

    $17.99
    Buy Now
    x

    Break Line: The Musical


    Limited To 2000


    On a front porch in Philadelphia in early 2004, Anand Wilder and Maxwell Kardon sat with a guitar and a
    banjo and busily finger picked to keep their hands from freezing.After a few false starts they settled on a dirge
    in d-minor and began improvising lyrics about a labor conflict in a Western Pennsylvania coal town that their
    fathers had learned about from an old folk song taught in Quaker schools in the '50s.


    The facts, as communicated,were a half-remembered pastiche of de facto segregation, frayed family ties, and
    double-dealing.The principal heroes and villains of the story were lost to history and buried in mine shafts and
    unmarked graves, and the particulars of the outcome were primarily recorded on newspapers lost in
    warehouse fires and floods. Nevertheless,the tragedy struck both as an ideal thread to weave through a series
    of stories they had been telling each other about a town full of unlucky,love lorn people. Inspired by the classic
    rock operas of the 1970's and the golden age of musical theater,they began work on their own


    Wilder and Kardon spent the next several years traveling, each writing and tinkering with songs about their
    town and sending each other hastily recorded demos and fragments of lyrics. The story of Greenbelt grew and
    the cast of characters, from robber barons to union men, migrant farmers to crooked ministers, became
    fleshed out. They enlisted friends from myriad bands: Austin Fisher (Suckers), Haley Dekle (the Dirty
    Projectors), Ira Wolf Tuton and Christopher Keating (Yeasayer), Ryan Kattner (Man Man), Britt Myers
    (Chairlift), and Aku Orraca-Tetteh (Dragons of Zynth) to sing the parts of the town's luckless citizens.


    In 2008, they put together a core band featuring Ira on bass and Christopher Powell of Man Man on drums
    and began arranging the songs of Break Line for a full ensemble. With the help of recording wunderkind Britt
    Myers (Chairlift, Yeasayer, Passing Strange) they finally began putting the music down onto tape,staying up
    late experimenting with sounds and arrangements.


    In the years that followed,the two found moments whenever they could to complete the project. Neither can
    believe that what started with just the two of them huddled on a cold porch would grow to involve a once-in-a-lifetime cast of collaborators. A decade after its conception, they are proud to present to the public their
    vision of a classic story of betrayal, pride and lost love.


    Welcome to Greenbelt.


    Singers: Aku Orraca-Tetteh, Christopher Keating (Yeasayer). Haley Dekly (Dirty Projectors), Quinn Walker,
    Austin Fisher(Suckers), Ryan Kattner (Man Man),Tanya Houndsley, Cameron Hull, Anand Wilder


    Musicians: IraWolf Tuton (Yeasayer) ,James Richardson,Christopher Sean Powell,Jason Trammell (Sinkane),
    K Ishibashi, Austin Fisher, Steve Marion (Delicate Steve), Lyndon Cordero Lopez, Daniel Schleifer, Charles
    Christopher Erway, Tanya Houndsley

    1. Coal Into Diamonds
    2. Wedding Day
    3. Opportunity
    4. Hold You Tight
    5. They're Stealing Our Coal
    6. 4th Of July
    7. Better To Die
    8. It Doesn't Seem Right
    9. Fathers and Brothers
    10. I'm To Blame
    11. Hang Your Head High
    Anand Wilder & Maxwell Kardon
    $17.99
    Vinyl LP - Sealed Buy Now
  • Fakebook Fakebook Quick View

    $17.99
    Buy Now
    x

    Fakebook


    "This is Yo La Tengo laying out the vast playing field of
    their influences and curating a great deal of what will
    become the modern canon of pop music." - Stereogum


    " the bands gauzy, beautiful music sounds as if it is
    floating off of a back porch in a fondly recalled summer." -Spin


    "One for the desert island along with the Byrds box set
    and that battered copy of 'Grevious Angels'."- Melody Maker


    "Fakebook is the sweetest thing yet from these pure
    folks Friendly and warm but not nostalgic. The past is
    the present for Yo La Tengo." -Alternative Press


    "Yo La Tengo's Fakebook is a sheer delight."- Penthouse


    Originally released in 1990, Yo La Tengo's Fakebook is considered by many to be among their best efforts. It is
    Yo La Tengo "Unplugged" working out on a handful of original's and a number of obscure would-be hits like The
    Kinks "Oklahoma U.S.A.", John Cale's "Andalucia" and the Flamin' Groovies "You Tore Me Down." Their song
    "The Summer" and their brilliant take of Daniel Johnston's "Speeding Motorcycle" proved to be the bands first
    alternative chart hits. Featuring guitar work by Dave Schramm and production by Gene Holder (The dB's).

    1. Can't Forget
    2. Criselda
    3. Here Comes My Baby
    4. Barnaby, Hardly Working
    5. Yellow Sarong
    6. You Tore Me Down
    7. Emusified
    8. Speeding Motorcycle
    9. Tried So Hard
    10. The Summer
    11. Oklahoma City, U.S.A.
    12. What Comes Next
    13. The One To Cry
    14. Andalucia
    15. Did I Tell You
    16. What Can I Say
    Yo La Tengo
    $17.99
    Vinyl LP - Sealed Buy Now
  • The Storm The Storm Quick View

    $19.99
    Buy Now
    x

    The Storm

    ZZ Ward didn't have to look far for inspiration on her second full-length album, 2017's The Storm. Equally evocative of blues grit and hip-hop bounce, the Los Angeles-based vocal powerhouse and multi-instrumentalist leapt forward by taking a deeper look at some of her earliest inspirations including Howlin Wolf, Robert Johnson, and Vera Ward Hall and Big Mama Thornton.

    For me, this album wasn't really about experimenting, she admits. It was more about simplicity, honing in on what I love about music and what makes me who I am as an artist. Growing up, I listened to a lot of hip-hop and blues, and I love those two genres so much. Sometimes, to evolve you don t need to go outside of yourself; you can reach further inside of yourself instead.

    It s a realization earned over a whirlwind five years. The Fedora-rocking, guitar-shredding, harmonica-wielding blues siren peppered an old back porch musical recipe with hip-hop urgency and hashtaggable wisdom on her 2012 mixtape Eleven Roses. Followed by her full-length debut Til The Casket Drops yielded a veritable hit in the form of Put The Gun Down. The latter generated 7.4 million-plus Spotify streams and held strong in the Top 10 of AAA radio for 10 weeks as well as receiving over 100 high-profile licensing placements and syncs, including the feature film We re The Millers. Kendrick Lamar [ Cryin Wolf ] and Freddie Gibbs [ Criminal ] were quick to collaborate, while Rolling Stone, Guitar World, Elle, Interview Magazine, USA Today, NPR and more extolled her.

    1. Ghost
    2. Cannonball
    3. Help Me Mama
    4. The Storm
    5. Domino
    6. Let It Burn
    7. Bag Of Bones
    8. She Ain't Me
    9. If U Stayed
    10. Hold On
    11. Ride
    ZZ Ward
    $19.99
    Vinyl LP - Sealed Buy Now
  • Avos Avos Quick View

    $17.99
    Buy Now
    x

    Avos

    Albums of guitar duets are rare. Albums of guitar duets featuring one American and one Englishman, synthesizing their geographically specific approaches in a collection of new compositions, are rarer. Not since Stefan Grossman and John Renbourns partnerships of the 1970's has there been such a happy reconciliation of Merrie Old England and the good old USA, in which baroque meets the blues, music-hall steps out to ragtime, and Benjamin Britten sits down with Blind Blake.


    James Elkington moved from London to Chicago around the turn of the millennium and has since released a string of albums as leader of The Zincs for Thrill Jockey Records. After dissolving the band in 2008, Elkington has concentrated on acoustic, folk-tinged music with his band The Horses Ha (that he shares with Freakwaters Janet Bean).


    Nathan Salsburg is best known as an archivist and producer for the Alan Lomax Archive, curator of the Twos & Fews vernacular music imprint on Drag City Records, and host of the Root Hog Or Die program on East Village Radio. He appears on Tompkins Squares Imaginational Anthem Volume 3 compilation, and produced a tribute album to EC Ball, also on Tompkins Square.


    Elkington suggested a leap of faith into a collaboration, despite the fact that the two had never previously played guitar together. Avos, then, hither and thither over several seasons, between a porch in Louisville and a kitchen in Chicago, slowly took shape. Aptly, the name comes from the Russian word for the confident approach to new situations, and the faith that nothing tragic will occur once in them.

    No Listing Available.
    James Elkington & Nathan Salsburg
    $17.99
    Vinyl LP - Sealed Buy Now
  • New Multitudes New Multitudes Quick View

    $21.99
    Buy Now
    x

    New Multitudes

    New Multitudes is an intimate interpretation of American icon and musical legend Woody Guthries previously unrecorded lyrics from a dream team of Americana torchbearers: Jay Farrar (Son Volt), Will Johnson (Centro-matic), Anders Parker (Varnaline) and Jim James (My Morning Jacket). What makes this album such a rarity in todays music world is the allowance of the songs infectious simplicity to stand alone in all their glory. In doing so, Farrar, Johnson, Parker and James, pay the greatest compliment to Woody Guthrie and the collaborative spirit he so greatly embodied. This is an album which seamlessly converges the sepia-toned essence of the time honored past with the risks needed to forge the future.


    Under the invitation of Nora Guthrie, Woody's daughter, to tour the Guthrie archives, each of the four songwriters were offered the chance to plumb and mine the plethora of notebooks, scratch pads, napkins, etc. for anything that might inspire them to lend their voices and give the words new life.


    These guys worked on an amazing group of lyrics says Nora. Much of it was culled from Woody's times in L.A. Lyric wise, it's a part of the story that is still mostly unknown. From Woody's experiences on L.A.'s skid row to his later years in Topanga Canyon, they are uniquely intimate, and relate two distinctly emotional periods in his life.


    Musically, it is the sense of collaboration that makes New Multitudes not just another trite and traditional acoustic regurgitation of back porch blues. From the ragged jangle of its opening track, Hoping Machine, the loping lilt of Fly High, the floorboard stomp of No Fear, to the lush warmth and sudden sonic gut punch of My Revolutionary Mind, the cohorts deliver a lesson in discovering a song's sweet spot time and time again. It's the function and preparedness of each artist's dogged work ethic gleaned the old-fashion way; veracious songs, road weary odometers and sweat stained live shows, all attributes of the man they are honoring.

    1. Hoping Machine
    2. Fly High
    3. My Revolutionary Mind
    4. VD City
    5. Old L.A.
    6. Talking Empty Bed Blues
    7. Chorine
    8. Careless Reckless Love
    9. Angel's Blues
    10. No Fear
    11. Changing World
    12. New Multitudes
    Farrar, James, Johnson, & Parker
    $21.99
    Vinyl LP - Sealed Buy Now
  • Shine On Rainy Day Shine On Rainy Day Quick View

    $17.99
    Buy Now
    x

    Shine On Rainy Day

    Out on Low Country Sounds/Elektra Records, Shine On Rainy Day was produced by Grammy Award-winning producer Dave Cobb (Chris Stapleton, Jason Isbell, etc.) and recorded live over four days in Nashville.


    Of the music and working with producer (and cousin) Dave Cobb, Brent comments, "It's not as good as it's going to get. But if it's the last thing that I ever do, if I died the day after it came out, then thank God I was able to record it because the songs and the production, it was everything I wanted to say. Finally."


    Dave adds, "I wanted to work with Brent for very selfish reasons. When he lifts a pen and opens his mouth, it sounds like home. I did his record because he's part of the fabric of South Georgia and the soundtrack to my family. Pure rural country soul filled music."


    Already receiving notice, Brent was recently featured on WXPN's World CafÉ (listen to the full session here), while Rolling Stone featured him as one of their "30 Must-See Acts" at CMA Fest 2016, asserting, "Live, he's every bit the charming raconteur, setting up catchy rural anthems that have the loose and earthy feel of a front porch sing-along."


    Additionally, earlier this year, Brent was featured on Dave's widely praised Southern Family compilation-contributing the song "Down Home" and writing the standout "Sweet By & By," which was recorded by Miranda Lambert. Of "Down Home," Wide Open Country declares, " one of the most earnest and accurate retellings of everyday life in rural Georgia. The mixture of Cobb's charming southern drawl, brilliant storytelling and flawless production melds into a track that is impossible to resist."


    Born in Ellaville, GA (population 1,609), Brent moved to Nashville in 2008 and has since found widespread success as a writer with songs recorded by Lambert ("Old Shit"), Kenny Chesney ("Don't It"), Luke Bryan ("Tailgate Blues"), David Nail ("Grandpa's Farm"), Kellie Pickler ("Rockaway") and Eli Young Band ("Go Outside and Dance") among others.

    1. Solving Problems
    2. South Of Atlanta
    3. The World
    4. Diggin' Holes
    5. Country Bound
    6. Traveling Poor Boy
    7. Shine On Rainy Day
    8. Let The Rain Come Down
    9. Down In The Gulley
    10. Black Crow
    Brent Cobb
    $17.99
    Vinyl LP + CD - Sealed Buy Now
  • Stardust (45 RPM) Stardust (45 RPM) Quick View

    $54.99
    Buy Now
    x

    Stardust (45 RPM)


    45 RPM 200-Gram Double LP


    Willie's 1978 Take On His Favorite Pop Standards


    Includes His Classic Versions Of "Stardust" And "Georgia On My Mind"


    Mastered From The Original Analog Tapes By Bernie Grundman


    200-Gram Vinyl Plated And Pressed At Quality Record Pressings


    Heavyweight Gatefold Tip-On Old-Style Jacket From Stoughton Printing




    Willie Nelson has long been honored as a genuine legend,
    and his songs and concerts are loved worldwide. Though
    his roots are in country, Willie's musical influences are as
    broad as the Texas skies, unlimited to any one genre.


    "These are my favorite songs. My favorite all-time songs,"
    Willie says. "I knew there were millions of people who liked
    these songs and would love to hear them again. I grew up
    with them... they're some of the first songs I learned to play."
    We bring you this distinctive reissue housed in a heavyweight
    tip-on, old style gatefold jacket from Stoughton Printing.
    Unmatched quality, unmatched sound - that's the way
    Analogue Productions rolls.


    Willie ultimately scored big-time with this quintessential
    addition to his album catalog. The songs - "Moonlight in
    Vermont," "All of Me," "Don't Get Around Much Anymore"
    - are lovingly arranged here by Booker T. Jones of Green
    Onions fame and recorded in Nelson's inimitable style in
    Emmylou Harris' house.


    Booker T's trademark sound set the mood for the sessions.
    Willie and cohorts mine a mellow groove here, sounding
    as if Willie is at home, sitting on his porch overlooking the
    beautiful Texas hill country.


    Nelson's Stardust remains a genius-level creation as well
    as the icon's most commercially successful release, a
    truly gorgeous record infused with ultimate respect for
    composers and lyrics and many of the finest performances
    of Willie's career.


    This title is not eligible for discount.

    LP 1
    1. Stardust
    2. Georgia On My Mind
    3. Blue Skies
    4. All Of Me
    5. Unchained Melody


    LP 2
    1. September Song
    2. On The Sunny Side Of The Street
    3. Moonlight In Vermont
    4. Don't Get Around Much Anymore
    5 Someone To Watch Over Me

    Willie Nelson
    $54.99
    200 Gram Audiophile Virgin Vinyl LP 45 RPM - 2 LPs - Sealed Buy Now
  • All My Life All My Life Quick View

    $24.99
    Buy Now
    x

    All My Life

    With All My Life, his second APO Records release, Jimmie Lee is aiming for goose bumps and tears. And if you've got appreciation for acoustic, front porch blues, you'll have a tough time escaping his spell.


    No doubt Jimmie Lee Robinson offers a delightful taste of traditional blues. His work through the years with such stalwarts as Little Walter, Howlin' Wolf, Freddie King, Elmore James and Jimmy Reed have made their impressions on the man called The Lonely Traveler just as he has been credited with inspiring them.


    On All My Life you'll hear standby classics like a haunting, slowed-down version of Muddy Waters' Forty Days and Forty Nights with eerie harmonica accompaniment by Madison Slim. And Jimmie Lee even covers a non-blues favorite with What a Wonderful World. His live version of that song at a 1999 concert in Blue Heaven Studios - the converted church that is home to APO Records - brought tears to scores of the 400 in attendance.


    But All My Life is also packed with Jimmie Lee originals like the title track, which was once covered by John Mayall, where Jimmie Lee pleads with the woman of his dreams to return all the respect and love he's paid to her. That track is also a perfect showcase for the classic Jimmie Lee growling vocals and the spurs jangling from his boots as the only percussion.


    Unlike his first APO release, Remember Me, an almost entirely-solo effort, Jimmie Lee is joined on most of the All My Life tracks by APO artist and noted-guitarist Jimmy D. Lane and journeyman harp player Madison Slim, whose knack for acoustic blues is highlighted on this release.


    Jimmie Lee has gained national attention for his protest of the destruction of Chicago's famed Maxwell Street, said to be the birthplace of Chicago blues and the neighborhood where Jimmie Lee grew up. He fasted for 81 straight days, shunning solid food as if it was the wrecking ball he so badly wants to stop. His efforts were even documented on the front page of the New York Times.


    This title is not eligible for discount.

    1. Forty Days and Forty Nights
    2. I'll Be Around
    3. Love My Baby
    4. The Sun Is Shining
    5. Driftin' Blues
    6. The Girl I Love
    7. Ludella
    8. All My Life
    9. I'm Ready
    10. What A Wonderful World
    11. Too Late
    12. If I Get Lucky
    Jimmie Lee Robinson
    $24.99
    180 Gram Audiophile Virgin Vinyl 45RPM LP - 2 LPs Sealed Buy Now
  • Electric Balloon Electric Balloon Quick View

    $16.99
    Buy Now
    x

    Electric Balloon

    " a beaming mix of ice-cool vintage '80s no
    wave grooves and extra-lush three-part girl
    group harmonies Ava Luna has infectious,
    minimalist, ESG-style beats for days."
    - SPIN


    "...itchy art-funk...future-perfect R&B...slip-sliding harmonics...
    - PITCHFORK


    " equal parts brain and soul, pairing tricked-out synth work with Motown-inspired dance
    grooves."
    - THE NEW YORKER


    After years of writing and performing, Ava Luna has refined their doo-wop soul meets
    punk-as-fuck aesthetic into something bold and glaringly defiant in today's indie
    music landscape. Following the release of their critically lauded first proper
    full-length Ice Level, the band spent an intense 2-week period writing and recording in
    upstate New York. Unlike previous efforts that were meticulously mapped out, the
    songs that would become Electric Balloon were a family effort. according to frontman Carlos Hernandez. For the new album, former Columbia composition student
    Hernandez relinquished the reins a bit, opting for a more organic approach to writing
    the material for what would become Electric Balloon. As Hernandez explains, it was a
    birth of confidence. I grew closer to my bandmates, began to see the roles of a
    family playing out. Ethan cooks dinner for all of us, we make lewd jokes, and then
    'after-dinner storytelling' takes the form of playing music.


    In the wake of Ice Level, Ava Luna's sharp edges have melted away just enough, making
    it easier to connect with their no-wave grooves and soaring harmonies. Distilling
    everything from James Chance and ESG to contemporaries like Dirty Projectors and Of
    Montreal, Ava Luna have landed on an aggressively unique sound that still manages to
    be accessible. Hernandez goes on to explain the stories and moments here are
    clearer, as in a conversation. The moment appears, you grab it with your hands, screw
    the lid on the mason jar. There was no tweaking, no second-guessing. Julian's mantra
    for the process: 'First thought best thought.' .And for my part, I sing my best about
    encounters, friendships, some moments beautiful and others painful. A bike shop
    manager in New Orleans, a derelict porch on Brighton Beach, a yellow sweater in a
    kitchen in the Catskills, a water duct in the New Mexico desert

    1. Daydream
    2. Sears Roebuck M&Ms
    3. Crown
    4. Aquarium
    5. Plain Speech
    6. Electric Balloon
    7. PRPL
    8. Hold U
    9. Judy
    10. Genesee
    11. Ab Ovo
    Ava Luna
    $16.99
    Vinyl LP - Sealed Buy Now
  • Are You Serious (Awaiting Repress) Are You Serious (Awaiting Repress) Quick View

    $21.99
    Buy Now
    x

    Are You Serious (Awaiting Repress)

    Andrew Bird has always been highly respected and has held a captive audience with his story telling prowess, but it's with his new album, Are You Serious, that he has made a breakthrough record. Coming out via his new label home, Loma Vista Recordings (Spoon, St. Vincent, HEALTH), and produced by Tony Berg, the album propels him into a new category of American songwriters. It's his most direct lyrically to date with key contributions from Fiona Apple and Blake Mills.


    Three years ago while traveling west to California to start a new life with his wife and young child they stopped at the family farm in rural Illinois for two weeks to catch their breath. The previous two years had been intense to say the least: raising a child in New York City as his wife battled a serious illness. With these dark days behind them he spent the next seven days on the front porch writing the lyrics for what became Are You Serious. It's a breakthrough for him in that it gets to the quick of the matter. This is the record he needed to make right now and is certain to put him in the leading class of American songwriter.


    The album was put together with a rigor akin to a novelist or playwright and musically crafted like a wrecking crew session where you have to be good right in that moment. There's little folksy quaintness or whimsical flights of fancy. There's less wordplay and more intent to process some difficult times that he went through. From the album art, created by the godfather of conceptual art John Baldessari to foregoing his traditional writing process, Bird has emerged from challenging times and a new process with an album that may be his best.


    The first single Capsized" begins to take you down the path that Bird so carefully crafted on the record, speaking from an unguarded point of view while keeping with the melodic, syntactic standards that he has held true to since the beginning of his career.

    1. Capsized
    2. Roma Fade
    3. Truth Lies Low
    4. Puma
    5. Chemical Switches
    6. Left Handed Kisses
    7. Are You Serious
    8. Saints Preservus
    9. The New Saint Jude
    10. Valleys Of The Young
    11. Bellevue
    Andrew Bird
    $21.99
    Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • Going Back To Acoustic (Pure Pleasure) (Awaiting Repress) Going Back To Acoustic (Pure Pleasure) (Awaiting Repress) Quick View

    $34.99
    Buy Now
    x

    Going Back To Acoustic (Pure Pleasure) (Awaiting Repress)

    Originally issued in France on Isabel Records 900.510 under the title "Going Back" this LP presents one of the best duos in the history of the blues, guitarist Buddy Guy and harmonica player Junior Wells. Over the years they made many recordings together but this one is unique. Recorded whilst on a 1981 tour of Europe, Guy and Wells took a break from their backing musicians and amps to cut this spontaneous, all acoustic set. The results stand in stark contrast to the steamy Chicago blues the duo is best known for. Instead these recordings are relaxed and personal, with an intimate, back porch feel. Guy switches between six and twelve string guitars, and lays down rootsy acoustic rhythms for Wells's tasteful harmonica lines. The two share vocal duties on the performances as they pay homage to the rural, country blues roots these modern bluesmen share.



    Musicians:



    • Buddy Guy (guitar, vocal)

    • Junior Wells (harmonica, vocal)



    Recording: May 1981 at Sysmo Studio, Paris
    Production: Didier Tricard




    About Pure Pleasure



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



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



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



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



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



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



    and that the lacquer discs are newly cut.


    1. Boogie Chillen
    2. Im In The Mood
    3. Dont Leave Me
    4. Give Me My Coat And Shoes

    5. Medley:Baby What You Want Me To Do/Thats Allright
    6. Big Boat(Buddy and Juniors Thing)
    7. High Heel Sneakers
    8. My Home Is In The Delta
    9. Wrong Doing Woman
    10. Diggin My Potatoes
    Buddy Guy & Junior Wells
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • Kigali Y' Izahabu Kigali Y' Izahabu Quick View

    $16.99
    Buy Now
    x

    Kigali Y' Izahabu

    The Good Ones is a trio of Rwandan genocide survivors who play joyous, acoustic love songs written in the ancient local, Kinyarwanda street dialect of their nations capital, Kigali. Adrien Kazigira, Stany Hitimana and Jeanvier Havugimana recorded the songs collected on Kigali Y' Izahabu over the course of one summer evening on the back porch of a friends home. The primary obstacle to recording the group was that the musicians showed up with only one guitar for two players, and that guitar was missing two strings. Hitimana played bass on the 4-string, and a beat-up acoustic was located for the second guitarist, the sullen, primary songwriter, Kazigira, who interweaves intricate harmonies with co-singer Havugimana. In a style often referred to as worker songs from the streets, these simple, direct and plaintive love songs speak more to the healing power of peace than a thousand academic treatises or preachy goodwill ambassadors ever could.



    Toiling at hard labor and subsisting on less than 50 cents a day in one of the ten poorest countries in the world, the hard-won spirit of these aging war-veterans shines through in The Good Ones yearning voices. Kazigira, 47, wrote 8 of the 12 songs found on the album and both plays and sings. He cites Bob Marley and reggae as his major influences. Hitimana, 47, on lead guitar and bass, sometimes teaches music in Kigali and finds inspiration in the music of Santana. And harmony singer Jeanvier, 38, who also plays guitar and sings lead on his own compositions, is most influenced by the Caribbean dance music called Zouk. The trio is punk embodied: barefoot, bandaged and jaundiced; armed with broken, mismatchedstringed, borrowed guitars; but singing angelically from amidst a landlocked country that the world abandoned.



    Kigali Y' Izahabu is essentially an intimate field recording that even captures the howling and barking of dogs in the background, and it was recorded by two-time Grammy-nominated producer Ian Brennan, who has worked with artists such as Ramblin Jack Elliott, Flea, TV on the Radios Kyp Malone, Richard Thompson and many others.



    Brennan traveled throughout Rwanda, hoping to document some of the countrys contemporary music, but up until his mission-affirming encounter with The Good Ones, he had been left wanting. As Brennan reports: They were standing in the dark, their eyes downcast and restless, and holding only one guitar between them. From 100-feet away, I knew instantly that there was something special about them, a feeling one is lucky to experience even once in a lifetime. By that point, Id already visited literally every recording-studio in the capital (Kigali) and surrounding areas over two weeks and listened to hundreds of artists, but to no avail. This meeting had been set up through a mutual friend and the instant the band opened their mouths to sing, it was as if the universe reached down to tap me on the shoulder and say, 'What these guys do is precious and rare. Don't fuck it up.'

    1. Sara
    2. Belthilde
    3. Umuntu N inkundi
    4. Amagorwa Y' Abagabo
    5. Kacyiry
    6. G ahind Umpora Iki
    7. Bakame N i' Ingwe
    8. Umahanano
    9. Iby' Iyisini Ubusa
    10. Invura Yaranka G eyi
    11. Egidia
    12. Eudia
    Good Ones, The
    $16.99
    Vinyl LP - Sealed Buy Now
  • Broken People Broken People Quick View

    $18.99
    Buy Now
    x

    Broken People

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


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


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


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


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


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


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


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


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


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


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


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


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


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


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


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


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


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


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

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

    $19.99
    Buy Now
    x

    The Band Perry

    Daddy rocked us to sleep with the Rolling Stones; Mama woke us up with Loretta Lynn. So we get it honest. - Kimberly Perry


    Inheriting a cross-pollinated love of country and rock & roll from their parents, The Band Perry - siblings Kimberly, Reid, and Neil Perry - say that they bleed the bright red blood of American music. The three have always felt the drive to perform and create music, sweating out the summers in Mobile, Alabama playing in any dusty roadhouse or church that would have them. Kimberly strapped on her first Gibson - and fronted her first high school band - at age 15, employing Reid, then 10, and Neil, only 8, as her roadies. Changing guitar strings and polishing cymbals for their big sister lost its charm after awhile, so the brothers formed their own band, opening for Kimberly's band.


    My bass and I've been attached at the hip since I was 10 years old, says Reid. While most of my friends were playing little league, I was sitting in my room learning Rolling Stones' and Beatles' bass lines. It's really all I've ever known. Even as the three worked in different bands, the siblings would spend nights at home playing together: I remember sitting out on our front porch singing old Hank Williams and Bobbie Gentry songs in three-part harmony, hoping to channel the spirits of old country through musical sÉance while fighting off the southern Alabama mosquitoes, says Kimberly. We always knew we'd take the stage together - all we were waiting on was the right moment. That moment came in July of 2005, when - after years of writing together - the siblings decided to join forces as one band. The Band Perry was then invited by the Coca-Cola Bottling Company to open all of the dates on their New Faces Of Country Tour that year.


    In the summer of 2008, after spending a few years on the road honing their sound, TBP met longtime Garth Brooks manager Bob Doyle. Partnering with Bob and Josh Pegram, The Band Perry spent the fall and winter of 2008 writing in Nashville and collecting songs for their first country recording session.


    The three of us bring different strengths into the writing room, Neil points out. Kimberly carries in a bag of melodies and lyrics, Reid always has some really great musical ideas in his back pocket, and I bring in a sense of humor and some thread that ties it all together.


    The new recordings caught the ears of Scott Borchetta and Jimmy Harnen, the CEO and President of Republic Nashville, signing to the new label in the summer of 2009.


    When talking about The Band Perry, each member of the trio stresses how much family figures into the mix: Reid, Neil and I share genes and a musical pedigree, Kimberly explains. We read the same classics and cook from the same recipes. With all of our likenesses though, I believe it's our distinctions that stir up the magic when we create. When the three of us sit down to write songs together, we pull from all of our individual perspectives and happenstances to create the most interesting song concoctions.


    There's a tightness between the three of us that goes way beyond even best friends, Neil adds. Family vocal harmonies can't be fabricated. And, besides - the three of us know that through the thick and thin of life and the music business, we're watching after each other.


    Blood runs thick. The music business can be hard, but the three of us are committed not only to our lives in music, but to living them together, Reid says. I think the security of knowing that about each other allows us to be uninhibited when we create. It's a democracy. It's a safe haven.


    We've walked a long way to find your ears, Kimberly Perry finishes with a grin. So play us long and play us loud. The Band Perry is here, and we just have so darn much to say.

    1. You Lie
    2. Hip To My Heart
    3. If I Die Young
    4. All Your Life
    5. Miss You Being Gone
    6. Double Heart
    7. Postcard From Paris
    8. Walk Me Down The Middle
    9. Independence
    10. Quittin' You
    11. Lasso
    The Band Perry
    $19.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Beulah Beulah Quick View

    $15.99
    Buy Now
    x

    Beulah

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


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


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


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


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


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


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


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


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


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


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


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


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


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

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

    $24.99
    Buy Now
    x

    We're All Somebody From Somewhere

    Iconic songwriter and prolific singer Steven Tyler recently revealed that his highly anticipated debut solo album,We're All Somebody From Somewhere, will be released worldwide on Dot Records, underneath the Big Machine Label Group umbrella.


    Revealing the cover art while chatting with Ellen, Tyler shared that he co-produced the 13-track album entitled We're All Somebody From Somewhere, alongside legendary musicians/producers T Bone Burnett and Dann Huff in addition to Marti Frederiksen and Jaren Johnston (The Cadillac Three). On June 24th, Tyler will release the album's title track 'We're All Somebody From Somewhere' across digital retail partners everywhere.


    "I headed down to Nashville last spring to start working on this project, wrote some kick ass songs with some of Music City's finest songwriters and now we get to share them with the world on July 15," said Tyler. "Country music is the new Rock 'n Roll. It's not just about porches, dogs and kicking your boots up. It's a whole lot more. It's about being real. And nothing is more real than understanding We're All Just Somebody From Somewhere."


    A longtime fan of the genre, Tyler's powerful and raw (Rolling Stone Country) voice first hit the Country airwaves as Love Is Your Name" reached #1 on the Billboard Country Streaming Songs chart. He followed with the anthemic "RED, WHITE & YOU," which Taste of Country called "an unapologetic slice of good-time commercial country, slickly produced and with a lyric aimed squarely at the work-hard, play-hard values of country's core audience."


    In a time-traveling musical journey that spans over four decades, the industry institution does not hold back as he recounts in-depth stories of his life from his musical ancestors in Calabria, Italy all the way to Route 440 and Nashville's Country music.

    1. My Own Worst Enemy
    2. We're All Somebody From Somewhere
    3. Hold On (Won't Let Go)
    4. It Ain't Easy
    5. Love Is Your Name
    6. I Make My Own Sunshine
    7. Gypsy Girl
    8. Somebody New
    9. Only Heaven
    10. The Good, The Bad, The Ugly & Me
    11. RED, WHITE & YOU
    12. Sweet Louisiana
    13. What Am I Doin' Right?
    14. Janie's Got A Gun
    15. Piece Of My Heart
    Steven Tyler
    $24.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • John Wesley Harding (MONO) John Wesley Harding (MONO) Quick View

    $28.99
    Buy Now
    x

    John Wesley Harding (MONO)

    Ranked 301/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.


    Ranking near the top of anyone's list of Dylan's masterpieces, this post-motorcycle-accident career-turning-point finds Dylan veering from the razor-edged desperation of All Along The Watchtower to the gentle, back-porch sway of I'll Be Your Baby Tonight, and all points in between. Back at last, in its ultra-rare original mono mix, this landmark LP -cut with the cream of Nashville's studio cats and generally credited as a blueprint for the era's country-rock movement -sizzles on Sundazed 180-gram vinyl, as always, the industry standard.

    1. John Wesley Harding
    2. As I Went Out One Morning
    3. I Dreamed I Saw St Augustine
    4. All Along The Watchtower
    5. The Ballad Of Frankie Lee & Judas Priest
    6. Drifter's Escape
    7. Dear Landlord
    8. I Am A Lonesome Hobo
    9. I Pity The Poor Immigrant
    10. The Wicked Messenger
    11. Down Along The Cove
    12. I'll Be your Baby Tonight
    Bob Dylan
    $28.99
    Vinyl Mono LP - Sealed Buy Now
  • 1
  • 2
Go to top