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Leon Russell (Awaiting Repress)Pressed On 180-Gram Translucent Blue Vinyl
Leon Russell was born in Lawton, Oklahoma in 1941. He studied classical piano as a boy and took up trumpet in his teens. Not too many years later, he was on the road as a sideman to Jerry Lee Lewis and Ronnie Hawkins and ended-up on the west coast.
Leon remained in Los Angeles and quickly became one of the city's more prominent studio musicians also often working as an arranger, conductor and producer. Russell was one of Phil Spector's, "Wall of Sound" session people, he also played on The Byrds', "Mr. Tambourine Man," and arranged and co-wrote most of the big hits of pop star, Gary Lewis including She's Just My Style" and "Everybody Loves a Clown."
Leon Russell gained a higher public profile when the 1969 Delaney and Bonnie Bramlett album, "Accept No Substitute" became a major hit. Leon had arranged the album and played piano and guitar in his now distinctive style that became such a part of the sound of the group called Delaney & Bonnie and Friends.
Russell really skyrocketed when he got involved with Joe Cocker who was already a star. Cocker's producer, Denny Cordell hired Leon to arrange and co-produce the new Cocker album which included more hits for Joe including Leon's song, "Delta Lady." When Cocker set out to tour the US he logically recruited Leon to serve as bandleader and arranger for the now legendary 1970 "Mad Dogs and Englishmen" tour. That renowned cross-country tour has been preserved as a feature film and live album.
Following the critical success of the tour, Russell's reputation was strong enough that he and Cordell formed their own record company - Shelter - and launched the label with this very Leon Russell, "Leon Russell" album. The album features the first ever recording of "A Song For You" which has become one of Russell's best-known songs with versions released over the years by more than 40 different artists including the Carpenters, Ray Charles, Peggy Lee, Willie Nelson, Helen Reddy, Whitney Houston, Elkie Brooks, Amy Winehouse, Donny Hathaway and Christina Aguilera.
The rest, as they say, is history for Russell was inducted into the Rock & Roll Hall of Fame on March 14, 2011 followed a few months later with induction into the Songwriters Hall of Fame.1. A Song For You
2. Dixie Lullaby
3. I Put A Spell On You
4. Shoot Out On The Plantation
6. Delta Lady
7. Prince Of Peace
8. Give Peace A Chance
9. Hurtsome Body
10. Pisces Apple Lady
11. Roll Away The Stone$29.99180 Gram Audiophile Virgin Vinyl LP - Sealed AWAITING REPRESS Buy Now
SONM-LEG-4712xPreservation Hall Jazz Band
That's It!Preservation Hall Jazz Band and its music continue to evolve
as they embrace tradition and history while inspiring a new
generation. Preservation Hall Jazz Band and My Morning Jacket
rst met a few years ago and also performed together on tour
and in New Orleans. As their support for each other has grown,
Jim James (My Morning Jacket) decided to take on the role
as co-producer with Ben Jaffe on what is the rst release of
original music from Preservation Hall Jazz Band. With songs
co-written with Dan Wilson, Chris Stapleton and the legendary
Paul Williams, these new recordings have a fresh approach but
still capture the classic feel of what has kept Preservation Hall
Jazz Band relevant over the past 50 years.1. That's It!
2. Dear Lord (Give Me The Strength)
3. Come With Me
4. Sugar Plum
5. Rattlin' Bones
6. I Think I Love You
7. August Nights
8. Halfway Right, Halfway Wrong
9. Yellow Moon
10. The Darker It Gets
11. Emmalena's Lullaby$24.99Vinyl LP - Sealed Buy Now
So It IsPreservation Hall Jazz Band have announced the release of their new album, So It Is, the septet's second release featuring all-new original music, releasing via Legacy Recordings. So It Is finds the classic PHJB sound invigorated by a number of fresh influences, not least among them the band's 2015 life-changing trip to Cuba.
In Cuba, all of a sudden we were face to face with our musical counterparts, says bandleader/composer/bassist Ben Jaffe. There's been a connection between Cuba and New Orleans since day one - we're family. A gigantic light bulb went off and we realized that New Orleans music is not just a thing by itself; it's part of something much bigger. It was almost like having a religious epiphany.
Producer David Sitek, a founder of art rock innovators TV on the Radio who has helmed projects by Kelis, the Yeah Yeah Yeahs and Santigold among others, offered both a keen modern perspective and a profound respect for the band's storied history. Upon arriving in New Orleans to meet with the band, Sitek recalls he and Jaffe accidentally stumbling into one of the city's famed second-line parades. I was struck by the visceral energy of the live music all around, this spontaneous joy, everything so immediate, he says. I knew I had to make sure that feeling came out of the studio. It needed to be alive. It needed to sound dangerous.
The music on So It Is, penned largely by Jaffe and 84 year-old saxophonist Charlie Gabriel in collaboration with the entire PHJB, stirs together that variety of influences like classic New Orleans cuisine. Longtime members Jaffe, Gabriel, Clint Maedgen and Ronell Johnson have been joined over the past 18 months by Walter Harris, Branden Lewis and Kyle Roussel, and the new blood has hastened the journey into new musical territory. Inspired by that journey and reinvigorated by the post-Katrina rebuilding of their beloved home city, PHJB are redefining what New Orleans music means in 2017 by tapping into a sonic continuum that stretches back to the city's Afro-Cuban roots, through its common ancestry with the Afrobeat of Fela Kuti and the Fire Music of Pharoah Sanders and John Coltrane, and forward to cutting-edge artists with whom the PHJB have shared festival stages from Coachella to Newport, including legends like Stevie Wonder, Elvis Costello and the Grateful Dead and modern giants like My Morning Jacket, Arcade Fire and the Black Keys.
Preservation Hall Jazz Band:
BEN JAFFE - Bass (upright), Tuba, Percussion
CHARLIE GABRIEL - Saxophone (tenor), Clarinet
CLINT MAEDGEN - Saxophone (tenor), Percussion
RONELL JOHNSON - Trombone
WALTER HARRIS - Drums, Percussion
KYLE ROUSSEL - Piano, Wurlitzer, Organ
BRANDEN LEWIS - Trumpet1. So It Is
4. La Malanga
6. One Hundred Fires
7. Mad$19.99Vinyl LP - Sealed Buy Now
American TunesNonesuch releases American Tunes, a new studio album by legendary New Orleans musician Allen Toussaint. Toussaint had just completed the album when he passed away in November of last year during a European tour. Recording took place at two sets of sessions with producer Joe Henry: solo piano at Toussaint's New Orleans home studio in 2013, and with the rhythm section of Jay Bellerose and David Piltch-joined by guests Bill Frisell, Charles Lloyd, Greg Leisz, Rhiannon Giddens, and Van Dyke Parks-in Los Angeles in October 2015. The album comprises solo performances of Professor Longhair tunes and band arrangements of songs by Toussaint, Duke Ellington, Fats Waller, Paul Simon, and others.
Allen Toussaint's work as composer, producer, arranger, and performer, especially in the 1960s and '70s, helped shape the sound of R&B, soul, and funk as we know it today. He collaborated memorably with artists ranging from Lee Dorsey and Ernie K. Doe to the Pointer Sisters and Labelle, from the Meters and Dr. John to the Band and Paul McCartney. The New York Times recently said, In Mr. Toussaint's long career as songwriter, arranger and producer he has honed a piano style that's supportive and allusive; a little trill or tremolo sums up all the splashy joys of New Orleans patriarchs like Professor Longhair and James Booker, and a syncopated chord under right-hand octaves summons gospel. Mr. Toussaint has the two-fisted, rippling vocabulary of the city's piano legacy, but he uses it in dapper ways.
Toussaint's children, Alison Toussaint-LeBeaux and Clarence Reginald Toussaint, who have long served as their father's managers, said of the American Tunes album, Our father approached this project with great care and understanding of the songs selected and paid true homage to Professor Longhair, his musical hero. He wanted to bring as much of the Toussaint touch as he could to these wonderful classics.
Nonesuch previously released The Bright Mississippi in 2009. Also produced by Henry, the record includes songs by jazz greats such as Sidney Bechet, Jelly Roll Morton, Django Reinhardt, Thelonious Monk, Duke Ellington, and Billy Strayhorn. The album received tremendous critical praise, with the Boston Globe saying it couldn't sound more like New Orleans. (Toussaint) revisits jazz classics and takes them for a stroll through Preservation Hall, imbuing his own funky brand of pop-song charisma. The results are coolly sophisticated, an unfussy, mostly instrumental set of slink-and-slide joints shot through with a harmonic imagination that turns even a traditional hymn into an after-hours swing Toussaint's musical soul guides all, making the classics sound like his own.
That project indirectly grew from Toussaint's contributions to Our New Orleans, the benefit album that Nonesuch released in fall 2005 to aid hurricane victims in the wake of the Katrina disaster. That collection opens with a version of Yes We Can Can, the Toussaint song the Pointer Sisters made famous, newly recorded with producer Joe Henry, and it included a solo piano piece, Tipitina and Me, co-written by Toussaint in tribute to Professor Longhair.
Joe Henry had first worked with Toussaint when he invited the pianist to join the sessions for I Believe to My Soul, a studio convocation of mature R&B stars. Henry subsequently acted as producer on Toussaint's post-Katrina collaboration with Elvis Costello, The River in Reverse. He describes the most recent sessions: I have been working with Allen Toussaint-under his spell and subject to his influence-for a full decade now. He was a quiet radical, musically-speaking, and a prince of great humility.LP 1
1. Delores' Boyfriend
2. Viper's Drag
3. Confessin' (That I Love You)
4. Mardi Gras In New Orleans
5. Lotus Blossom
6. Waltz For Debby
7. Big Chief
8. Rocks In My Bed
9. Danza, Op. 33
10. Hey Little Girl
2. Come Sunday
3. Southern Nights
4. American Tune
5. Her Mind Is Gone
6. Moon River
7. Bald Head$26.99Vinyl LP - 2 LPs Sealed Buy Now
UNIM-BLU-8715xThelonious Monk Quartet with John Coltrane
At Carnegie HallThis never-before-heard jazz classic documents one of the most historically important working bands in all of Jazz history, a band that was both short-lived and, until now, thought to be frustratingly under-recorded. The concert, which took place at the famed New York hall on November 29, 1957, was preserved on newly-discovered tapes made by Voice of America for a later radio broadcast that were located at the Library of Congress in Washington DC in 2005.1. Monk's Mood
3. Crepescule With Nellie
7. Sweet And Lovely
8. Blue Monk
9. Epistrophy$24.99Vinyl LP - 2 LPs Sealed Buy Now
Stranger MeAmy LaVeres new studio album on Archer Records, Stranger Me, was produced by Craig Silvey whose work with Arcade Fire resulted in the Album of the Year at the 2011 Grammy Awards.
Stranger Me features Amy on upright bass and vocals, Rick Steff on keyboards, David Cousar on guitars, and Paul Taylor on drums. Other contributors included Jonathan Kirkscey and Bobby Furgo (strings), Jim Spake (saxophone), John Stubblefield (bass), and Nahshon Benford (trumpet).
Additional recordings were made in New Orleans at Preservation Hall with horn arrangements by noted Preservation Hall Band member and Bingo Show leader, Clint Maedgen.
Recording engineer Daniel Lynn assisted Craig Silvey with the recording and mixing at Music + Arts Studio in Memphis and additional mixing at The Garden Studio in London. Stranger Me was mastered by George Marino at Sterling Sound in New York.1. Damn Love Song
2. You Can't Keep Me
3. Red Banks
4. A Great Divide
5. Often Happens
6. Lucky Boy
7. Tricky Heart
8. Stranger Me
9. Candle Mambo
10. Cry My Eyes Out
11. Let Yourself Go (Come On)$16.99Vinyl LP - Sealed Buy Now
Everybody's In Show-Biz
150 Gram Vinyl
Two Inserts: Original Lyric Sheet Plus Second Insert With Bonus Track Info
Contains The Original 2-LP Plus A Third LP With 9 Previously Unreleased Live And Studio Tracks
First released in August 1972, Everybody's In Show-Biz was The Kinks' tenth studio album, arriving within a year of the acclaimed Muswell Hillbillies (the group's debut album for RCA Records). The original double-LP Everybody's In Show-Biz contained a complete studio album (which premiered the all-time Kinks classic Celluloid Heroes among other tracks) and a live disc chronicling The Kinks' Carnegie Hall appearance in March 1972.
The 2016 Legacy Edition of Everybody's In Show-Biz includes the original album, produced by Raymond Douglas Davies, in its entirety alongside a full disc's worth of previously unissued studio sessions outtakes (recorded for the album in 1972 at Morgan Studios, Willesden, London) and live material (recorded March 2-3, 1972 during The Kinks' triumphant Carnegie Hall concert run).
The new edition of Everybody's In Show-Biz includes in-depth liner notes penned especially for this release by noted rock scholar David Fricke.
A concept album of sorts, Everybody's In Show-Biz drew its themes and inspirations from the trials, tribulations and triumphs of life as a touring musician. (The raucous Carnegie Hall recordings on the album come from one of the first North American concerts performed by The Kinks after the lift of a four-year ban imposed on the group by the American Federation of Musicians in 1965.) The songs on Everybody's In Show-Biz were initially intended to serve as the soundtrack to The Colossal Shirt, a never-realized feature film about The Kinks on the road.
Life keeps using me, keeps on abusing me, mentally and physically, Davies sings on the album's Maximum Consumption. I gotta stay fit, stay alive, need fuel inside, eat food to survive . Stylistically, Everybody's in Show-Biz finds Davies further exploring his interest in Americana-inspired musical arrangements as heard on Muswell Hillbillies.
Everybody's In Show-Biz showcases the second great classic Kinks line-up: frontman Ray Davies, guitarist Dave Davies, bassist John Dalton, keyboardist John Gosling and drummer Mick Avory, joined by brass and woodwind players Mike Cotton, John Beecham and Alan Holmes (all of whom played on Muswell Hillbillies).
The Carnegie Hall recordings include a variety of Kinks originals in addition to unconventional covers including Mr. Wonderful (from the Sammy Davis Jr.-led musical of the same name), the 1920s popular standard Baby Face (made famous by Al Jolson) and The Banana Boat Song (a calypso-folk perennial popularized by Harry Belafonte).
The new Legacy Edition of Everybody's In Show-Biz includes never-before-heard live versions of Sunny Afternoon, Get Back in Line, Complicated Life and the rarely-played Long Tall Shorty as well as alternate versions of Supersonic Rocket Ship, Unreal Reality and the debut release of History, which foreshadowed The Kinks' next concept album, 1973's Preservation Act 1.LP 1
1. Here Comes yet Another Day
2. Maximum Consumption
3. Unreal Reality
4. Hot Potatoes
5. Sitting In My Hotel
7. You Don't Know My Name
8. Supersonic Rocket Ship
9. Look A Little On the Sunny Side
10. Celluloid Heroes
1. Top of the Pops (Live)
3. Mr. Wonderful(Live)
4. Acute Schizophrenia Paranoia Blues(Live)
6. Muswell Hillbilly(Live)
8. Banana Boat Song(Live)
9. Skin and Bone(Live)
10. Baby Face(Live)
1. 'Til the End of the Day (Live)
2. You're Looking Fine (Live)
3. Get Back In Line (Live)
4. Have A Cuppa Tea (Live)
5. Sunny Afternoon (Live)
6. Complicated Life (Live)
7. Long Tall Shorty (Live)
9. Supersonic Rocket Ship (Alternate mix)$29.99Vinyl LP - 3 LPs Sealed Buy Now
Live From The Archives Of 650 AM WSM Volume OneFull-Length Album Of WSM In-Studio Performances
Album Includes Live Performances from Billy Dean, Rodney Crowell, The Del McCoury Band, Mark Wills, The Grascals, The Time Jumpers And More!
For the first time in its illustrious 87 year history, 650 AM WSM is releasing a compilation volume of live, in-station performances by world renowned artists and writers.
650 AM WSM, the iconic radio home of the legendary Grand Ole Opry - "The show that made country music famous" - has played a significant part in shaping the history of Country Music and these performances, collectively represent what the station brand is all about. A brand that is loved and respected by millions of true music fans all over the world.
LIVE FROM THE ARCHIVES features a heartfelt introduction from Country Music Hall of Famer Vince Gill, and rolls into live, one of a kind performances by some of the biggest songwriters and artists of our time including JD Souther, Rodney Crowell and Vince himself. This one-of-a-kind project begins and ends with Reba McEntire's emotional induction of long-time WSM announcer Ralph Emery into the National Radio Hall Of Fame.
A station with such historical value as WSM, should have great moments not only preserved but shared with fans all around the world, says WSM Program Director and the album's Executive Producer, Joe Limardi.1. Introduction by Vince Gill - Vince Gill
2. Ralph Emery's National Radio Hall of Fame Induction: Part 1 - Ralph Emery & Reba McEntire
3. Nineteen Somethin' - Mark Wills
4. Stand By Your Man - Georgette Jones
5. Hello Lonely - Del McCoury Band
6. We Just Disagree - Billy Dean
7. Jesus Take The Wheel - Hillary Lindsey
8. Two Dozen Roses - Marty Raybon
9. It's a Great Day to Be Alive - Darrell Scott
10. Girlfriend Tonight - Elizabeth Cook
11. Together Again - The Time Jumpers
12. Last Train To Clarksville - The Grascals
13. Leaving Louisiana in the Broad Daylight - Rodney Crowell
14. Would You Go with Me - Shawn Camp
15. New Kid in Town - JD Souther
16. Ralph Emery's National Radio Hall of Fame Induction: Part 2 - Ralph Emery & Reba McEntire$24.99Vinyl LP - 2 LPs Sealed Buy Now
LiveAfter landing a total of ten #1 hits, moving over 20 million records worldwide, and selling out shows everywhere with a stage, Collective Soul-Ed Roland [vocals, guitars, keyboards], Dean Roland [guitars], Will Turpin [bass], Jesse Triplett [guitars], and Johnny Rabb [drums]-staunchly and proudly remain a rock 'n' roll band through and through. Nowhere is that reassuring fact more apparent than on the first proper live album of the group's 25-year career, LIVE.
Fittingly, they introduce the collection with a live piano rendition of their biggest hit 1993's "Shine"-which would be crowned #1 Album Rock Song of 1994, win a Billboard award for "Top Rock Track," land on VH1's "100 Greatest Songs of the '90s," and notch Dolly Parton a GRAMMY® Award for "Best Vocal Performance" on her 2001 cover. Preserving the soulful spark that established them as the "Southern Gentlemen of the Alternative Rock Scene," Collective Soul build upon a formidable foundation. They were inducted into the Georgia Music Hall of Fame in 2009. To date, they average over 1 million Spotify streams a month. From a classic performance at Woodstock 1994 to a notable placement on the Twilight soundtrack, their influence continues to course through generations of pop culture.LP 1
2. Where The River Flows
3. Better Now
4. Precious Declaration
7. Why Pt. 2
1. The World I Know
4. Counting The Days
5. She Said
8. Run$21.99Vinyl LP - 2 LPs Sealed Buy Now
S+@DIUM ROCK: Five Nights At The OperaIn July of 2015, noted rock band Titus Andronicus [hereafter +@] made
The wider world shook upon the impact of The Most Lamentable Tragedy
[hereafter TMLT], the triple-LP rock opera that immediately established itself
as the most ambitious punk record of all time, a distinction challenged only
by a foolish few.
Meanwhile, in the hallowed halls of Shea Stadium, New York City's longestrunning
active all-ages DIY space, +@ was doing the unthinkable again,
becoming the first band in the history of NYC DIY to sell out five
consecutive nights at the same venue. While these epic shows ostensibly
served as a record-release celebration for TMLT (as well as an uproarious
shindig for the 30th birthday of +@ singer-songwriter Patrick Stickles), they
shattered the limits of mere promotional exercise and reached mythical status.
Sadly for the wider world, you had to be there until now.
+@ and their patient patrons at Merge Records are pleased to announce the
new live LP, S+@DIUM ROCK: Five Nights at the Opera, a record which will
allow fans everywhere their chance to relive the auspicious occasion from the
comforts of their own home. +@'s position as the most thrilling live act in
rock and roll has long been etched in stone, but never before has that
riveting energy been captured on wax as it is here.
The A-side to S+@DIUM ROCK revisits some of TMLT's most celebrated
hits in a newly concise context, stripping away all studio wizardry until only
the primal passion remains. The B-side offers fresh electric arrangements of
the largely acoustic fifth act of TMLT's rock opera narrative, presenting a new
perspective on the material Tiny Mix Tapes praised for "emotional intensity
unrivaled anywhere in rock music," as well as debuting the previously
unreleased TMLT outtake, "69 Stones." Taken as a whole, S+@DIUM ROCK
is a whirlwind journey through a moment in time never to be repeated,
preserved for future generations starving for "the real deal."1. Dimed Out
2. Lonely Boy
3. Lost My Mind
4. Fatal Flaw
5. The Fall
6. Into The Void (Filler)
7. Sun Salutation
8. No Future Part V : In Endless Dreaming
9. 69 Stones
10. Stable Boy
11. Stranded (On Our Own)$16.99Vinyl LP - Sealed Buy Now
Stravinsky - Firebird (Speakers Corner)The Firebird can almost be described as a work of fate, since it is not only the first of several ballets that Stravinsky wrote for Sergei Diaghilev and his Ballets Russes but also marks his international breakthrough as a composer. In comparison with his other earlier stage works, the ecstatic, sharply contoured Rite of Spring for example, The Firebird, with its melodic character, is a far gentler work altogether.
There are unmistakable reminiscences of the musical language of Rimsky-Korsakov and Tchaikovsky as well as snatches of late-Romantic harmonies; all this lends the music the charm of Russian tradition.
In his performance, Dorati chooses the golden mean in that he has his ensemble produce a highly colourful but by no means glaring sound. Thus the listener is given the opportunity to follow the development of the finely chiselled motifs which are so characteristic of this early composition. Happily, the chamber-music-like transparency is preserved even in the loud, more exposed passages - the sound leaves the loudspeakers with a sprightly, athletic tread, as it were.
- Antal Dorati (conductor)
- Igor Stravinsky (composer)
- The London Symphony Orchestra
Recording: June 1959 at Watford Town Hall, London, by C. R. Fine and Robert Eberenz
Production: Wilma Cozart-Fine and Harold Lawrence
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.$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
The Coming Tide (Out of Stock)Listening to Luke Winslow-King's third full-length album is like taking a stroll through the artist's adopted home of New Orleans; his Bloodshot label debut is the sound of community, emotional duality,spiritualism, and lived-on-the-streets-not-stored-in-abottle historical preservation. It is the sound of rickety wooden porches on humid summer days, the grimy streets of New Orleans' neighborhoods beyond the French Quarter, the celebration and solemnity of centuries old churches and gathering places, and the anything-is-possible attitudes of smoky music halls and folk clubs.
Recorded at Piety Street Studios in New Orleans, The Coming Tide brings together Winslow-King's formal music education with a street-busking resilience, a proficiency on bottleneck slide guitar, the featured vocals (and washboard playing) of Esther Rose, and a cast of A-plus local players. The result is a vibrant amalgam of early 20th century jazz, Delta blues, American folksong, and Southern gospel.
Just as the Crescent City's famous parades and joyous second lines are known as "jazz funerals without the body," The Coming Tide asserts that while life's issues
can be dire, there's always a reason to find the silver lining. When Winslow-King and Esther Rose harmonize like tag-team town criers on the title track, it's easy to be transported in time and place. "You better come inside for the coming tide," sung amid a scurrying hi-hat/tomtom shuffle, buoyant upright bass, and languid brass line, settles the nerves and sends the crowd back home to make amends before the shit hits the fan.
Without blatantly narrating each scene in a way that other songwriters might, The Coming Tide naturally gives the listener a cinematic feeling of distinct atmospheres,
moods and the people that come with them. Rose clickclacks the washboard on "Movin On (Towards Better Days)" while an animated trombone-trumpet conversation brings to life the scandalous, noisy cabaret. "Staying in Town," a gently waltzing love story between two once-ramblers, plays like a two-minute diddy between cornmeal ads on Saturday evening AM radio. "You & Me" is a crinkled black & white snapshot of nights dancing cheek-to-cheek at the juke joint.
Later Winslow-King turns up the Texas heat on Blind Willie Johnson's "Keep Your Lamp Trimmed and Burning" and flashes his nearly vocal, rubber band bendy bottleneck slide guitar skill. The album-closer is a pleasantly unexpected, stylistically dark take on Rudy Clark's "I've Got My Mind Set On You" that leaves you wanting more.1. The Coming Tide
2. Moving On (Towards Better Days)
3. Let 'em Talk
4. Staying In Town
5. Keep Your Lamp Trimmed and Burning
6. You Don't Know Better Than Me
7. I've Got the Blues for Rampart Street
8. You & Me
9. I Know She'll Do Right By Me
10. Ella Speed
11. I've Got My Mind Set On You$16.99Vinyl LP - Sealed Temporarily out of stock