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Red Headed Stranger'
Stardust (Awaiting Repress)Ranked 257/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.
An American Classic: Gorgeous Breakthrough Album of Pop Standards Spent More than a Decade on Country Charts
Quintuple Platinum 1978 Set Finds Nelson Interpreting Fare From Likes of Kurt Weill, Hoagy Carmichael, and Irving Berlin
Sumptuous Sound Elevates Booker T. Jones Production: Mastered on Mobile Fidelitys World-Renowned Mastering System and Pressed at RTI
As a Singer, Nelson Never Better: Gets Inside the Phrasing, Lyrics, and Emotions of Songs
Why be predictable?, Willie Nelson asked Columbia Records executive Nick Blackburn, after the latter resisted the Red Headed Strangers decision to make an album of classic pop tunes. Talk about outlaw country. Cutting against the genres traditions and Music Row conventions, Nelsons Stardust remains a genius-level creation as well as the icons most commercially successful release, a truly gorgeous record infused with ultimate respect for composers and lyrics and many of the finest performances of his career. It is a quintessential part of any catalog.
Mastered on Mobile Fidelitys world-renowned mastering system and pressed at RTI, this Silver Label LP dazzles with dead-quiet surfaces, tube-like warmth, and an enhanced soundstage. Further exposing the delicate touches abounding in Stax legend Booker T. Jones production, this edition brings out the textured kernels of Nelsons voiceand the deep-seeded dignity, austerity, devotion, grit, sensitivity, grace, and plaintiveness within it. His brilliant phrasing throughout is on par with that of Frank Sinatra and Ray Charles, two giants that influenced this project and his willingness to pair with strings and small combo to wondrous effect.
Having met Jones while living in Malibu, Nelson established a relationship with the musician that extended to roles as producer, arranger and band mate. Jones superior knowledge of the American Songbook comes through via the materials economy of scale and sympathetic approach. Acoustic guitar arpeggios, contrasting breaks, bluesy harmonicas, glowing organs, R&B-tinged horns, brushed drums, and relaxed bass lines trickle throughout the songs, all distinguished by Nelsons intimate timbre and absolutely astonishing vocal expressiveness.
In redefining and reimagining standards such as Irving Berlins Blue Skies, Hoagy Carmichaels Georgia On My Mind, and the age-old All of Meall of which landed in the Top 5 of the Country singles chartNelson wedded together pop, country, jazz, folk, and blues in a manner in which no artist had ever before done. He gained considerable rewards for his exquisite efforts: Stardust sold more than five million copies and, incredibly, stayed on the Country album charts for more than ten years.
This is a record no one should be without. Hear the definitive analog pressing.
This title is not eligible for discount.1. Stardust
2. Georgia On My Mind
3. Blue Skies
4. All of Me
5. Unchained Melody
6. September Song
7. On the Sunny Side of the Street
8. Moonlight In Vermont
9. Dont Get Around Much Anymore
10. Someone to Watch Over Me$24.99Vinyl LP - Sealed AWAITING REPRESS Buy Now
The Willie Way
First Time 180 Gram Translucent Red Vinyl, Gatefold Cover & 12 X 24 Poster Presentation
Definitive Smash Hits Help Me Make It Through The Night - Mountain Dew - You Left Me A Long Long Time Ago - I'd Rather You Didn't Leave Me
Mastered Impeccably By Joe Reagoso & Manufactured At R.T.I.
Willie Hugh Nelson is an American musician, singer, songwriter, author, poet, actor, and activist. The critical success of the album Shotgun Willie (1973), combined with the critical and commercial success of Red Headed Stranger (1975) and Stardust (1978), made Nelson one of the most recognized artists in country music. He was one of the main figures of outlaw country, a subgenre of country music that developed in the late 1960s as a reaction to the conservative restrictions of the Nashville sound. Nelson has acted in over 30 films, co-authored several books, and has been involved in activism for the use of biofuels and the legalization of marijuana.1. You Left Me A Long, Long Time Ago
2. Wonderful Future
3. Help Me Make It Through The Night
4. Wake Me When It's Over
5. Undo The Right
6. Mountain Dew
7. Home Is Where You're Happy
8. A Moment Isn't Very Long
9. What Do You Want Me To Do?
10. I'd Rather You Didn't Love Me$32.99180 Gram Audiophile Virgin Vinyl LP Buy Now
So You Wannabe An OutlawSo You Wannabe an Outlaw, Earle's first album for Warner Bros. Records since 1997's El Corazón, explores his country songwriting roots and features collaborations with Willie Nelson, Johnny Bush, and Miranda Lambert.
"There's nothing 'retro' about this record," Earle says. "I'm just acknowledging where I'm coming from." So You Wannabe an Outlaw is the first recording he has made in Austin, TX. Earle has lived in New York City for the past decade. "Look, I'm always gonna be a Texan, no matter what I do," he says. "And I'm always going to be somebody who learned their craft in Nashville. It's who I am."
So You Wannabe an Outlaw is an homage to outlaw music and is dedicated to the late Waylon Jennings. "I was out to unapologetically 'channel' Waylon as best as I could," Earle says. "This record was all about me playing' on the back pick-up of a '66 Fender Telecaster on an entire record for the first time in my life. The vocal part of it is a little different. I certainly don't sound like Waylon Jennings. I moved to Nashville in November of 1974, and right after that Willie Nelson's Red Headed Stranger came out. I was around when Waylon was recording Dreaming My Dreams. Guitar Town (Earle's 1986 chart-topping, Grammy Award-winning debut album) wound up being kind of my version of those types of songs," Earle recalls.
Earle is backed on So You Wannabe an Outlaw by his long-time band The Dukes - guitarist Chris Masterson, fiddle player Eleanor Whitmore, bassist Kelly Looney, and new members drummer Brad Pemberton and pedal steel player Ricky Ray Jackson. The album was produced by Richard Bennett and recorded at Arlyn Studios in Austin.LP 1
1. So You Wannabe an Outlaw
2. Lookin' for a Woman
3. The Firebreak Line
4. News from Colorado
5. If Mama Coulda Seen Me
6. Fixin' to Die
7. This Is How It Ends
8. The Girl on the Mountain
1. You Broke My Heart
2. Walkin' in LA
3. Sunset Highway
4. Goodbye Michelangelo
5. Ain't No God in Mexico
6. Sister's Coming Home / Down at the Corner Beer Joint
7. Local Memory
8. Are You Sure Hank Done It This Way$26.99Vinyl LP - 2 LPs Sealed Buy Now
Acclaimed Singer, Songwriter, Band Leader From Ethyl Meatplow
And The Geraldine Fibbers.
First Solo Album In Seven Years, Following A String Of Releases
With Her Evangelista Project.
Carla Bozulich is an art-punk heroine with almost three decades of exceptional,
iconoclastic musical activity under her belt. Time and again she has headed up bands that
sound like nothing else and arguably stake out genres unto themselves: the bent agit-prop
of Ethyl Meatplow; the ferocious roots-tinged epic rock of The Geraldine Fibbers; the vocal driven sound-art of Scarnella and Evangelista. Her first "solo" record, the 2003 album-length
cover of Willie Nelson's Red Headed Stranger, was rightly hailed as a masterpiece of
reinterpretation and recontextualisation. Bozulich now returns with the third record of her
storied career to be issued in her own name, following three albums under the Evangelista
moniker since 2008 (her first record on Constellation, in 2006, was, somewhat confusingly,
released as Carla Bozulich and titled Evangelista).
Boy is Carla's self-proclaimed "pop record" and assuredly it is, albeit in the context of her
sui generis path (by the standards of what our current music culture these days means by
pop crossover tropes and stylistics, perhaps not so much!). Boy is a refreshing reminder of
what pop - as an oblique angle, influence and intent - can yield in the hands of a ferociously
commanding singer/lyricist who has cut her teeth on genre-bending, genre-blending, and
DIY aesthetics for 25 years. Boy is pop-influenced by way of primitivist punk, avant rock,
goth/industrial and lo/mid-fi; a batch of ten songs that clock in at 3 to 5 minutes each, mostly
hewing to recognizable structures of verse, chorus and bridge, but marked by destabilizing
accents and strategies, and nothing that could be mistaken for winking irony, gloss or mere
effect/affect. The songs are driven by hooks and melodies delivered by the singing itself,
with the underlying instrumentation and arrangements always in the service of Carla's voice
and lyrics - in that respect, there is a strong through-line from the Evangelista albums. But
Boy sharpens and focuses each song's intent and structure; unlike most of the Evangelista
work, this new album would not be mistaken for sound art, dark ambient, or quasi-Industrial
music (except perhaps on "One Hard Man" and "Number X").
As Bozulich points out in the liner notes, Boy is also not strictly speaking a "solo" album.
While she wrote and recorded everything, and played the majority of the instruments, it was
also aided and abetted throughout by a close creative partnership with John Eichenseer (aka
JHNO, Spool) who provided musical and technical input throughout the 2+ years of the
making of the album. The two have traveled and played together all over North America,
Europe and beyond, remaining purposefully uprooted and nomadic, piecing the record
together along the way. Guided by some of Bozulich's most perceptive, reflective, economical
and honest lyrics, Boy stakes out a poetics of eulogy in all the breadth and nuance of the
term - celebration, memorial, rhapsody, survival; this album unfurls a beautiful, unsettling
narrative wrung from an artistic life of unflinching creative experience, commitment, courage
and learning. And no small measure of genuine, well-earned wisdom. It's also fun.
Boy is the sharpest, supplest, most satisfying and most generous album that Bozulich has
made in recent years. It also happens to be one of her most immediately accessible, while
sacrificing nothing of her inimitable sound and vision. It is a definitive expression - and
should serve as a welcome reminder - of Bozulich's tremendous talent, taste and trajectory.1. Ain't No Grave
2. One Hard Man
3. Drowned To The Light
4. Don't Follow Me
5. Gonna Stop Killing
6. Deeper Than The Well
8. Lazy Crossbones
9. What Is It Baby?
10. Number X$25.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
ZenithLike Bert & Ernie and Felix & Oscar, the bond of friendship can be peculiar. It is indisputable, though, that there exists a palpable, visceral energy that attracts strangers to form a perfect union. And, in those flawless entities we find a truer sense of being, a holy, deeper meaning that art only strives to approximate.
Eastern Midwestern shoots for the moon, and only most-artfully turns back on itself. Whether it's the genteel storytelling of the Middle West, or the affected attitude of the jagged Eastern seaboard, this unique foursome of de-facto New Yorkers aims to please even the most discerning ear.
They dare you not to hum back a melody, to not swing your arms in grand air guitar gestures, or flail faux-fills down dribbling air-toms. You'll have no control as your inner-bassist contorts the corners of your mouth into Bass Face, your under bite leading your head in an approving Rock Nod.
Enjoy your ride to Zenith and back! It is the capital of your favorite fictional state: Winnemac, so equally eastern and so equally midwestern.1. Why Would They Want Us
7. I'll Always Wonder
8. Guessed It Wrong
9. Much The Same
10. Call You
11. Tangerine$16.99Vinyl LP - Sealed Buy Now
Rarities Vol. 1: The CoversNo Use For A Name is one of THE most successful and prolific acts to come out of the 90's skate-punk scene. But there's a lot more to it than that. Just have a look at their family tree, it has bands like Spazz, Foo Fighters, and Suicidal Tendencies to count among its branches. No really, think about that: the dude from that infamous grindcore band was in NUFAN?!? Their long, unpredictable journey has been full of twists, turns, and alternate routes that led them to be one of the best-selling outfits of their genre. They've done it all: Warped Tour's main stage, MTV, a live record, and an even a recent greatest hits album entitled, All The Best Songs. Hey, you know you've made it when you finally get a greatest hits collection! Not bad for some goofy kids from San Jose who started out with a couple hardcore 7s
Early No Use releases appeared on New Red Archives, a San Francisco punk label operated by Nicky Garratt of the UK Subs. Believe it or not, in the late 80's it actually made sense that they would be labelmates with Reagan Youth, Social Unrest, and Christ On A Crutch. An AllMusic review describes their early material as, hulking hardcore with mighty fists full of metal. Angry and Threatening. This was a gritty, hardcore punk band, known mostly for their growling vocals and dark lyrical themes. Then came the first unforeseen occurrence: frontman Tony Sly unexpectedly developed into a proficient songwriter and mastered melody like few punk bands can ever do. Nobody knows where those gifts come from and you never see it coming, but suddenly No Use For A Name was starting to make music that people actually liked.
As is natural, the band kept evolving, and things changed in a major way for the band when they signed to Fat Wreck Chords in the mid-90's. Their 8-song Fat debut, The Daily Grind EP, drew comparisons to Bad Religion and was a marked step up, but it was 1995's, ¡Leche con Carne!, that would cement No Use For A Name as a successful band for years to come. The album was their best yet and bore a hit song (Soul Mate) that landed them on alternative radio charts, which, for a scrappy punk band, was a complete deviation from industry norms. Stranger yet, was that they made a music video and MTV even played the damn thing! What followed obviously was commercial success in the form of six-figure album sales, another anomaly in the world of indie-punk bands and something that would set the stage for later melodic punk bands like Blink 182, et al. From then on it was steady sailing with a string of successful records and tours from the band. Most notably was 1997's darker, and somehow faster, Making Friends; followed by 1999's hyper-catchy More Betterness!. It was during these halcyon days that Chris Shiflett held down 6-string duties for NUFAN before accepting an offer to join Foo Fighters on lead guitar.
The years went by for the perennial punk powerhouse and the band did numerous world tours, amassing album sales that would eventually total in the 7 figures. Pretty remarkable when you think about it. The new millennium was also a fruitful time for the boys. It started in 2001 with the release of their Live In A Dive album, which was very successful abroad where people were especially hungry for No Use's live performances. In 2002 they released their poppiest effort, Hard Rock Bottom, which was stocked with upbeat tempos and radio-friendly melodies. Their most recent and seemingly final studio album came in 2008. Ironically titled The Feel Good Album Of The Year, the album was a tinge darker and more aggressive than their recent releases and the band reminded us all that their songs still had urgency and bite.
After 25 years, No Use For A Name disbanded in 2012 when frontman Tony unexpectedly passed away. Anthony J. Sly (November 4, 1970 - July 31, 2012) died at home, in his sleep on a Tuesday morning, at age 41. Fat Mike-label head and long-time friend to Tony-was staggered by the news and offered, One of my dearest friends and favorite songwriters has gone way too soon. Tony, you will be greatly missed. No one could've predicted his passing, and needless to say, it shook the very foundation of the Fat Wreck family and the underground music community as a whole. Tony was loved and respected by a wide variety of artists and musicians, and nowhere is that more evident than the roster of contributors to The Songs of Tony Sly: A Tribute; a compilation of NUFAN songs covered by bands like Bad Religion, Frank Turner, The Gaslight Anthem, Alkaline Trio, and many more. Bands from the Americas, Europe, Australia, UK, and even Israel contributed to this final chapter in the storied career of No Use For A Name. The collection will be released on October 29th, 2013, and all proceeds will go towards the Tony Sly Memorial Fund, which has been established to help Tony's wife Brigitte and their daughters, Fiona and Keira.1. Turning Japanese
2. Hybrid Moments
3. I've Heard
4. Selwyn's Got a Problem
5. Enjoy the Silence
7. Dream Police
8. Fairytale of New York
9. Making Our Dreams Come True
11. Don't Cry for me Argentina
12. The Munsters' Theme
13. Beth$15.99Vinyl LP - Sealed Buy Now
The Natch'l Blues (Pure Pleasure)Taj Mahal's second album, recorded in the spring and fall of 1968, opens with more stripped-down Delta-style blues in the manner of his debut, but adds a little more amplification (partly courtesy of Al Kooper on organ) before moving into wholly bigger sound on numbers like She Caught The Katy And Left Me A Mule To Ride and The Cuckoo -- the latter, in particular, features crunchy electric and acoustic guitars and Gary Gilmore playing his bass almost like a lead instrument, like a bluesman's answer to John Entwistle. Most notable, however, may be the two original closing numbers, You Don't Miss Your Water ('Til Your Well Runs Dry) and Ain't That A Lot Of Love, which offer Taj Mahal working in the realm of soul and treading onto Otis Redding territory. This is particularly notable on You Don't Miss Your Water, which achieves the intensity of a gospel performance and comes complete with a Stax/Volt-style horn arrangement by Jesse Ed Davis that sounds more like the real thing than the real thing. Ain't That a Lot of Love, by contrast, is driven by a hard electric guitar sound and a relentless bass part that sounds like a more urgent version of the bassline from the Spencer Davis Group's Gimme Some Lovin'. This LP reissue includes a trio of bonus tracks: a faster-paced rendition of The Cuckoo with a more prominent lead guitar, the slow electric lament New Stranger Blues featuring some good mandolin-style playing on the guitar, and the rocking instrumental Things Are Gonna Work Out Fine, which is a killer showcase for Davis' lead electric guitar and Taj Mahal's virtuosity on the harmonica.
- Taj Mahal (harmonica, guitar)
- Jesse Edwin (guitar, piano, arranger)
- Al Kooper (organ, piano)
- Gary Gilmore (bass)
- Chuck Blackwell, Earl Palmer (drums)
Recording: May & October 1968
Production: David Rubinson
About Pure Pleasure
At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Pure Pleasure all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.
During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s - or employed existent tools from the 80s and 90s for manufacturing.
A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.
We should like to emphasize that Pure Pleasure Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle.
We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.
To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects and that the lacquer discs are newly cut.1. Good Morning Miss Brown Corinna
2. I Ain't Gonna Let Nobody Steal My Jellyroll
3. Going Up To The Country, Paint My Mailbox Blue
4. Done Changed My Way Of Living
5. The Cuckoo (alternative version)
6. She Caught The Katy And Left Me A Mule To Ride
7. The Cuckoo
8. You Don't Miss Your Water ('Til Your Well Runs Dry)
9. A Lot Of Love
10. New Stranger Blues
11. Things Are Gonna Work Out Fine$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now