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Shocking Blue

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  • Shocking Blue Shocking Blue Quick View

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    Shocking Blue

    4 Exclusive Bonus Tracks!

    Formed in 1967 by former Motions guitarist Robbie van Leeuwen, Shocking Blue was joined by Cor van der Beek (drums), Klaasje van der Wal (bass) and Mariska Veres as lead vocalist. In 1969 and 1970, the group set the airwaves crackling and enjoyed a worldwide chart success with ''Venus'' (which incorporated the help of studio musician Cees Schrama of Casey & The Pressure Group [MOVLP1132]), followed by several other hit singles.

    In 1972, they released their 6th album Attila, a solid Pop album written entirely by Van Leeuwen, anchored by Marika's powerful vocals. Her incredible range and control is at times compared with Jefferson Airplane's singer Grace Slick. Noteworthy tracks on Attila are ''Rock In The Sea'', album opener ''Rattler'' and the moody ''Wait''. This album is denitely worth picking up for a comprehensive view on Holland's biggest export product's early '70s output.

    1. Rattler
    2. Never Release The One You Love
    3. A Waste Of Time
    4. Wait
    5. The Devil And The Angel
    6. Rock In The Sea
    7. Eve And The Apple *
    8. When I Was A Girl *
    9. I've Spent My Money
    10. Will The Circle Be Unbroken
    11. Early In The Morning
    12. I Built My World Around You
    13. Don't Let Your Right Know
    14. Broken Heart
    15. Everything That's Mine *
    16. I Saw You In June *
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Scorpio's Dance (4 Bonus Tracks) Scorpio's Dance (4 Bonus Tracks) Quick View

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    Scorpio's Dance (4 Bonus Tracks)


    Shocking Blue was a Dutch rock band from The Hague that was at their peak in the sixties en seventies and gained major cross-Atlantic success!

    The band was founded in 1967 and after recruiting vocalist Mariska Veres they soon became huge. With their single 'Venus' they became the first Dutch band ever to reach the first spot on the American Billboard Hot 100. The band had a series of subsequent hits but decided to call it a day in 1975. Their influence reached well beyond their generation: even bands like Nirvana and The Prodigy used Shocking Blue's 'Love Buzz'.

    Although considered a singles-band, they released a couple of high quality albums. One of the best is Scorpio's Dance in many ways: Its cover has been chosen as one of the most legendary LP covers in Dutch pop history.

    Our audiophile reissue boasts the original gatefold sleeve and contains 4 bonus tracks that were not available on the original LP editon.

    * 180 grams audiophile vinyl

    * Gatefold Sleeve

    * 4 Bonus tracks

    1. Scorpio's Dance
    2. Alaska County
    3. Sally Was a Good Old Girl
    4. Daemon Lover
    5. Scorpio's Dance (Instrumental)
    6. Little Cooling Planet
    7. I Love Voodoo Music
    8. Seven Is a Number in Magic
    9. Keep It If You Want It
    10. Water Boy
    11. Send Me a Postcard (bonus)
    12. Mighty Joe (bonus)
    13. Hello Darkness (bonus)
    14. Pickin' Tomatoes (bonus)
    Shocking Blue
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • 3rd Album 3rd Album Quick View

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    3rd Album

    Shocking Blue was a Dutch rockband from The Hague that was at their peak in the sixties and seventies and gained major cross-Atlantic success. The band was founded in 1967 and after recruiting vocalist Mariska Veres they soon became huge. With their single 'Venus' they became the first Dutch band ever to reach the first spot on the American Billboard Hot 100. The band had a series of subsequent hits but decided to call it a day in 1975. Their influence reached well beyond their generation: even bands like Nirvana and The Prodigy used Shocking Blue's 'Love Buzz'.

    '3rd Album' is strangely enough not their third full-length album but their fourth and was originally released in 1971. This reissue comes with six bonus tracks consisting of singles and b-sides and a gatefold sleeve.

    -180 grams audiophile vinyl

    -Gatefold Sleeve

    -6 Bonustracks

    Side A:
    1. Shocking You

    2. Velvet Heaven

    3. Love Sweet Love
    4. I Saw Your Face

    5. Simon Lee And The Gang (Instrumental)
    6. Serenade

    7. Never Married A Railroad Man *
    8. Roll Engine Roll *
    9. Waterloo *

    Side B:
    1. Don't You See
    2. The Bird Op Paradise

    3. Moonlight Night

    4. Sleepless At Midnight
    5. I'll Follow The Sun
    6. Blossom Lady *
    7. Is This A Dream *
    8. Poor Boy (Long Version) *

    * = Bonustracks

    Shocking Blue
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Electro-Shock Blues Electro-Shock Blues Quick View

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    Electro-Shock Blues

    Electro-Shock Blues is the second studio album by alternative rock band Eels. Electro-Shock Blues was written
    largely in response to front man Mark Oliver Everett's (more commonly known as E) sister's suicide and his mother's terminal lung cancer. Though much of the album is, on its surface, bleak, its underlying message is that of coping with some of life's most difficult occurrences.
    1. Elizabeth On The Bathroom Floor
    2. Going To Your Funeral Part I
    3. Cancer For The Cure
    4. My Descent Into Madness

    5. 3 Speed
    6. Hospital Food

    7. Electro-Shock Blues

    8. Efils' God
    9. Going to Your Funeral Part II
    10. Last Stop: This Town
    11. Baby Genius

    12. Climbing To The Moon
    13. Ant Farm, 2.Dead Of Winter

    14. The Medication Is Wearing Off
    15. P.S. You Rock My World
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Hell's Session Hell's Session Quick View

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    Hell's Session


    Limited Edition Of 1000 Numbered Copies On 180 Gram Clear White Vinyl, Black Vinyl Thereafter

    Livin' Blues was a Dutch blues-rock group from The Hague, the Netherlands founded in 1967. On their 1969 debut album Hell's Sessions the line-up included Ted Oberg (solo guitars), drummer Cesar Zuiderwijk (who later joined Golden Earring), Nicko Christiansen (vocals, bongo drums and guitars), John Lagrand (harmonica) and Henk Smitskamp (bass guitar and piano).

    Hell's Sessions was produced by Jaap Eggermont, one of Holland's finest rock & pop producers (responsible for Venus by The Shocking Blue amongst others). Songs like Big Road Blues, Black Panther and Waitin' On You are adequate examples of the Dutch Blues movement in the early 70s.

    1. Waitin' On You
    2. One Night Blues
    3. Bowlegged Man
    4. Hell's Session
    5. Big Road Blues
    6. Black Panther
    7. Worried Dreams
    8. Big Black Train
    Livin' Blues
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Def Leppard Def Leppard Quick View

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    Def Leppard

    Def Leppard is the 11th studio album by British rock band Def Leppard. It's the band's first release since Songs from the Sparkle Lounge (2008), marking the longest gap between studio albums in their career. The 14-track album not only nods to their history, but it hints at their future. According to vocalist Joe Elliott, ''The name itself sums everything up. It's a misspelled nonsensical mad-looking two words.'' This is Def Leppard in 2015. This is rock 'n' roll. Let's go.


    First-rate melodic pop-metal. Def Leppard tracks like Let's Go,...All Time High and Broke 'n' Brokenhearted exude the band's classic mix of Seventies pomp-glam riffing, Eighties electro-shock rhythms and patented, tremendously stacked chorus vocal harmonies in a manner that's strikingly redolent of their past. But the album also finds the band moving beyond well-trod territory, as evidenced by the slinky pop-funk strut of Man Enough, the downtuned, acoustic psych-blues of Battle of My Own and the sleek New Wave isms of Invincible. - Rolling Stone

    1. Let's Go
    2. Dangerous

    3. Man Enough
    4. We Belong
    5. Invincible
    6. Sea of Love

    7. Energized

    8. All Time High

    9. Battle of My Own

    10. Broke 'N' Brokenhearted

    11. Forever Young

    12. Last Dance
    13. Wings of an Angel

    14. Blind Faith
    Def Leppard
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Peter Gabriel 4 (Blue Face) (45 RPM) Peter Gabriel 4 (Blue Face) (45 RPM) Quick View

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    Peter Gabriel 4 (Blue Face) (45 RPM)

    Numbered Limited Edition- Only 10,000 Worldwide

    Co-produced by Peter and David Lord this is the first album where Peter really immersed himself in the music of distant lands and cultures. It was also his first fully digital recording. These two elements created a deeply effective soldering-together of futurism and generations-old tradition. The single Shock The Monkey became Peter's first top 30 hit on the Billboard Hot 100. Half-Speed Remastered and cut to lacquers at 45RPM, across two heavyweight LPs to deliver maximum dynamic sound range. Vinyl cut by Matt Colton at Alchemy Mastering, mastered by Tony Cousins at Metropolis and overseen by Peter's main sound engineer Richard Chappell. These albums really have never sounded so good! They also look amazing with the gatefold sleeves utilising imagery from the initial release, sourced and re-scanned from original artwork.

    1. The Rhythm Of The Heat
    2. San Jacinto
    3. I Have The Touch
    4. The Family And The Fishing Net
    5. Shock The Monkey
    6. Lay Your Hands On Me
    7. Wallflower
    8. Kiss Of Life
    Peter Gabriel
    180 Gram Audiophile Virgin Vinyl LP 45 RPM - 2 LPs Sealed Buy Now
  • Chicago/The Blues/Today! (Pure Pleasure) (Awaiting Repress) Chicago/The Blues/Today! (Pure Pleasure) (Awaiting Repress) Quick View

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    Chicago/The Blues/Today! (Pure Pleasure) (Awaiting Repress)

    In early 1966, blues history was made with the issuance of a three-volume set of new recordings produced by blues historian Samuel Charters. This series was known as Chicago/The Blues/Today! and the release sent shock waves through the world of rock & roll. Every artist on the three volumes had recorded before (some, like Otis Rush and Junior Wells, had actually seen small hits on the R&B charts), but these recordings were largely their introduction to a newer -- and predominately white -- album-oriented audience. These recordings have stayed in print and have been reasonably good sellers over the years since their original release, all coming out on compact disc. This new packaging puts all three volumes together, but with no bonus tracks, as no extras were recorded for these sessions.

    A plus in the new packaging, is that it features a nice booklet with detailed, updated notes from Charters, a nice appreciation from Ed Ward, and absolutely eye-boggling session photos taken by Charters' wife, Ann. Even if you still have the original vinyl or CDs, this is one of the times when it would be best to spend the dough and add this one to your collection, because blues records seldom come as important, innovative, or just plain pleasurable to listen to as this set. File under 'essential'.


    • J.B. Hutto

    • Junior Wells

    • Otis Spann

    • Otis Rush

    • Jimmy Cotton

    • Johnny Shines Blues Band

    • Johnny Young's South Side Blues Band

    • Homesick James

    • and Big Walter Horton's Blues Harp Band with Memphis Charlie Musselwhite

    Recording: 1965 at RCA Studios, Chicago

    Production: Samuel Chartersdeutsch

    Format: 3LPs 33rpm / Box, booklet

    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. Help Me (A Tribute to Sonny Boy Williamson)
    2. It Hurts Me Too
    3. Messin' with the Kid
    4. Vietcong Blues
    5. All Night Long
    6. Going Ahead
    7. Please Help
    8. Too Much Alcohol
    9. Married Woman Blues
    10. That's the Truth
    11. Marie
    12. Burning Fire
    13. S P Blues
    14. Sometimes I Wonder
    15. Spann's Stomp

    1. Cotton Crop Blues
    2. The Blues Keep Falling
    3. Love Me or Leave
    4. Rocket 88
    5. West Helena Blues
    6. Everything's Gonna Turn Out Allright
    7. It's a Mean Old World
    8. I Can't Quit You Baby
    9. Rock
    10. It's My Own Fault
    11. Dust my Broom
    12. Somebody Been Talkin'
    13. Set a Date
    14. So Mean to Me

    1. One More Time
    2. Kid Man Blues
    3. My Black Mare
    4. Stealin' Back
    5. I Got Mine In Time
    6. Tighten Up On It
    7. Dynaflow Blues
    8. Black Spider Blues
    9. Layin' Down My Shoes and Clothes
    10. If I Get Lucky
    11. Rockin' My Boogie
    12. Mr. Boweevil
    13. Hey Hey

    Various Artists
    180 Gram Audiophile Virgin Vinyl - 3 LPs Sealed AWAITING REPRESS Buy Now
  • Gershwin: Rhapsody In Blue, An American In Paris (Speakers Corner) Gershwin: Rhapsody In Blue, An American In Paris (Speakers Corner) Quick View

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    Gershwin: Rhapsody In Blue, An American In Paris (Speakers Corner)

    This fast and furious orchestral work with piano, which begins with what must surely be the most famous clarinet glissando of modern times, was composed with the intention of presenting as many facets as possible of music from the New World in the short space of around 15 minutes. In his Rhapsody In Blue Gershwin wanted to »paint a musical kaleidoscope of America - our enormous melting pot, our typical national traits, our blues, our seething city life«. With this in mind, Leonard Bernstein made a number of recordings of the work and among the many excellent recordings that he made as a conductor or as a soloist, this present version with the Columbia Orchestra, from 1959, is especially of note. Bernstein takes on a double function as conductor and soloist and manoeuvres his way safely and surely through the highly diversified score to create a well-rounded picture filled with hefty orchestral dynamics and finely chiselled solo playing. In Gershwin's freely composed work the soloist and orchestra do not resort to bombastic shock effects or egomaniac keyboard acrobatics, and so this the work can be described as rhapsodic in the very best sense of the word.
    Most fittingly, on the B side there is another freely composed work - the autobiographical sketch entitled An American In Paris. The superb New York musicians paint the impressions of a visitor to the hectic French capital city - that too is the sound of America.


    • The Columbia Symphony Orchestra

    • New York Philharmonic Orchestra

    • George Gershwin (composer)

    • Leonard Bernstein (conductor)

    Recording: June 1959 and December 1958 at St George Hotel, Brooklyn, New York, by Fred Plaut and Frank Bruno

    Production: John McClure

    About Speakers Corner

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

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

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

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

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

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

    1. Rhapsody In Blue
    2. An American In Paris
    Leonard Bernstein
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Aerosmith Aerosmith Quick View

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    Remastered from the original source tapes!

    Contains the classics Dream On & Mama Kin

    In retrospect, it's a bit shocking how fully formed the signature Aerosmith sound was on their self-titled 1973 debut -- which may not be the same thing as best-executed, because this album still sounds like a first album, complete with the typical stumbles and haziness that comes with a debut. Despite all this, Aerosmith clearly showcases all the attributes of the band that would become the defining American hard rock band of the '70s. Here, the Stones influences are readily apparent, from the Jagger-esque phrasing of Steven Tyler to the group's high-octane boogie, but the group displays little of the Stones' deep love of blues here. Instead, Aerosmith is bloozy -- their riffs don't swing, they slide. They borrow liberally from Led Zeppelin's hybridization of Chess and Sun riffs without ever sounding much like Zep. They are never as British as Zeppelin -- they lack the delicate folky preciousness, they lack the obsession with blues authenticity, they lack the larger-than-life persona of so many Brit bands. They are truly an American band, sounding as though they were the best bar band in your local town, cranking out nasty hard-edged rock, best heard on Mama Kin, the best rocker here, one that's so greasy it nearly slips through their fingers. But the early masterpiece is, of course, Dream On, the first full-fledged power ballad. There was nothing quite like it in 1973, and it remains the blueprint for all power ballads since. The rest of the record contains the seeds of Aerosmith's sleazoid blues-rock, but they wouldn't quite perfect that sound until the next time around.

    -All Music Guide

    1. Make It
    2. Somebody
    3. Dream On
    4. One Way Street
    5. Mama Kin
    6. Write Me
    7. Movin' Out
    8. Walkin' The Dog
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Projections Projections Quick View

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    Great dance music albums - albums that sound as good on headphones and home speakers as they do on club soundsystems - aren't easily made. In a form whose primary aims have been to move dancefloors and to move on, full lengths that thrill the head, heart and the feet with equal power are few and far between. We believe Romare has made one.

    With the gripping shock of the new that announces the best records of the genre - from Entroducing through Blue Lines to Ambient Classics - Romare has both a singular style, and great deal to say with it. Projections comes off like Voodoo Ray reworked by DJ Shadow; its drumming littered with infectious swing, its samples illuminating and attention gripping, its atmosphere pronounced and consistent, and its riffs and hooks heavy - and unabashedly joyous.

    The album is a heady mix of homage and fresh approach, a statement from a young artist unafraid to revel in his influences, and confident in his own originality. The songs on Projections are homages to elements of American/African culture in the USA - which Romare studied academically. Taking his name from Romare Bearden, the well-known cut'n'paste artist / collagist, and applying similar techniques to music.

    Rainbow is a homage to gay rights via disco in the 70's, and Work Song to the great American work song tradition. Opener "Nina's Charm" sets out the stall for the album. A tiny, near spoken snippet of Nina Simone's voice is set against a hypnotic synth riff and a dislocated gospel-choir chant. The result is something utterly fresh; a tone setter that worms through the ear and floods the brain in soothing catharsis. "Motherless Child" opens with a shuffling jazz swing, allowing its sample of the African-American spiritual from which it takes its title to shine in full. When a simple, riff-like melody arrives, the song transforms into a sultry, glorious slow-dance workout. "Lover Man's" striking, cut-up synth riff is set up against chiming stabs and slurred chords, a snatched, swing vocal enticing us in to the wonkiest of grooves.

    Romare reimagines the profound cultural impact of the collage technique for a new generation of music listeners. With his signing to Ninja Tune, coming hot on the heels of his excellent 12"s on underground institution Black Acre, and compilation inclusions by Tiga, Bonobo and Brownswood, the stage is set for his debut album. Projections, like the best albums from the dance music world, is informed by scenes and genres but not entirely of them. It's a self-contained universe that rewards much exploration. Most of all, it's excited about the possibilities within music, and vastly exciting itself.

    1. Nina's Charm
    2. Work Song
    3. Motherless Child
    4. Ray's Foot
    5. Roots
    6. Jimmy's Lament
    7. Lover Man
    8. Rainbow
    9. Prison Blues
    10. The Drifter
    11. La Petite Mort
    Vinyl LP - 2 LPs Sealed Buy Now
  • The Sirens Of The Ditch The Sirens Of The Ditch Quick View

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    The Sirens Of The Ditch

    For the past six years, Jason Isbell was one of three frontmen for the critically acclaimed Drive-By Truckers and although fans may have been shocked by his departure from the band in April of 2011, once you hear this, his solo debut Sirens Of The Ditch (which was co-produced by Isbell and Patterson Hood) it will only confirm that Isbell by no means is putting his feet up. Musicians joining Isbell on the album include Shonna Tucker (bass) and Brad Morgan (drums) with cameos from Patterson Hood, his father David Hood, Spooner Oldham, John Neff and more.

    Recorded over the past four years at FAME Studios in Muscle Shoals (Aretha Franklin, Duane Allman, Otis Redding), Sirens Of The Ditch is a diverse collection of songs that incorporates elements of rock, blues and soul music into a heartfelt mix of songs that favor piano and pedal steel over buzzing guitars, although theres a fair share of overdriven amps here as well. A lot of old soul musicians came through here in the late 60s and 70s and helped define the Muscle Shoals sound, the lifelong Alabamian explains, so that influence was always in my environment, but on this record I really tried to capture that.

    1. Brand New Kind Of Actress
    2. Down In A Hole
    3. Try
    4. Chicago Promenade
    5. Dress Blues
    6. Grown
    7. Hurricanes and Hand Grenades
    8. In A Razor Town
    9. Shotgun Wedding
    10. The Magician
    11. The Devil Is My Running Mate
    Jason Isbell
    Vinyl LP - Sealed Buy Now
  • And The War Came And The War Came Quick View

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    And The War Came

    "A gnarly composite of blues and folk." - PASTE "Best of What's Next"

    "A surprisingly pop-leaning single from a rising folk hero." - ESQUIRE

    "Astonishing Unclassifiably Original. And frighteningly good." - NPR Music

    "His voice is shockingly soulful, and his effects-laden guitar playing exceptional." - BOSTON HERALD

    Performing live with nothing but a guitar and a homemade kickdrum built out of an old suitcase, Austin TX's "astonishing
    one-man-show" (NPR Music) Shakey Graves has quickly risen from obscurity into the nation spotlight since the release of
    his debut full-length LP "Roll The Bones." Nearly two years later, as word of his haunting lo-fi recordings and contrastingly explosive live show spreads, the self-released album continues to sell at a vigorous pace, consistently ranking near the top
    of Bandcamp's digital best seller charts. The album was recently released as a limited edition LP, which sold out almost immediately. New listeners around the world continue to discover his music every day, often through a series of live performance videos on YouTube (collectively over 1.5 million views). His videos for Myspace and Cadillac's "One Two Watch"
    documentary series have also gathered over 3 million views alone.

    1. This Is The Beginning
    2. Only Son
    3. Dearly Departed (featuring EsmÉ Patterson)
    4. The Perfect Parts
    5. Hard Wired
    6. Family And Genus
    7. Big Time Nashville Star (featuring EsmÉ Patterson)
    8. Pansy Waltz
    9. House Of Winston
    10. If Not For You
    11. Call It Heaven (featuring EsmÉ Patterson)
    Shakey Graves
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Raising Sand Raising Sand Quick View

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    Raising Sand

    For Alison Krauss, musical collaboration has been a way of life. Her latest musical collaboration, Raising Sand, is an astonishing album recorded in tandem with rock vocalist and songwriter Robert Plant. Raising Sand is their first recorded endeavor, and will prove revelatory to fans and the media on two counts: first that it happened at all, and, more importantly, that it is as successful and illuminating as it is.

    From its embryonic, conceptual stages well before any music materialized the mere idea of Raising Sand held infinite fascination for both its creators and those around them. As word spread of an impending musical collaboration between Robert Plant and Alison Krauss, imaginations ran wild. Two artists, each at the pinnacle of their respective pantheons, Robert and Alison have seemingly little in common. But just below the surface, an elemental understanding flowed between them, waiting to be tapped...

    Under the careful sonic stewardship of producer T Bone Burnett, Raising Sand is pitched three steps beyond some cosmic collision of early urban blues, spacious West Texas country, and the unrealized potential of the folk-rock revolution. Shockingly evocative, it is an album that uncovers popular musics elemental roots while sounding effortlessly, breathtakingly modern. Despite hailing from distinctly different backgrounds, Plant and Krauss share a maverick spirit and willingness to extend the boundaries of their respective genres. Raising Sand finds Plant and Krauss functioning as sympathetic equals: creating a powerful new sound from both their common musical ground and their unrivaled sense of empathy.

    1. Rich Woman
    2. Killing the Blues
    3. Sister Rosetta Goes Before Us

    4. Polly Come Home
    5. Gone Gone Gone (Done Moved On)
    6. Through the Morning, Through the Night
    7. Please Read the Letter
    8. Trampled Rose
    9. Fortune Teller
    10. Stick with Me Baby
    11. Nothin'
    12. Let Your Loss Be Your Lesson
    13. Your Long Journey
    Robert Plant/Alison Krauss
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Texas Hurricane (45 RPM) Texas Hurricane (45 RPM) Quick View

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    Texas Hurricane (45 RPM)

    Mastered from the Original Analog Tapes by Sterling Sound

    What if. What if everything that you have come to know and worship about the sonic superiority of Quality Record Pressings LPs could be brought to bear on one of the rockingest powerhouses of blues guitar who ever lived?

    Then your wish is granted. We're about to rock your world with the greatest Stevie Ray Vaughan tribute ever reissued: Six of Vaughan's most classic album titles combined in the ultimate box set for ultimate blues and guitar fanatics!

    With his astonishingly accomplished guitar playing, Stevie Ray Vaughan ignited the blues revival of the '80s. Vaughan drew equally from bluesmen like Albert King, Otis Rush and Hubert Sumlin and rock & roll players like Jimi Hendrix and Lonnie Mack, as well as the stray jazz guitarist like Kenny Burrell, developing a uniquely eclectic and fiery style that sounded like no other guitarist, regardless of genre. Vaughan bridged the gap between blues and rock like no other artist had since the late '60s. For about seven years, Stevie Ray Vaughan was the leading light in American blues, consistently selling out concerts while his albums regularly went gold. His tragic death in 1990 only emphasized his influence in blues and American rock & roll.

    This is classic Stevie Ray Vaughan, meticulously remastered from the analog tapes by New York's Sterling Sound. In each set you'll receive Texas Flood, Couldn't Stand the Weather, Soul to Soul, In Step, plus the posthumous classics Family Style and The Sky Is Crying.

    Those of you familiar with our previous LP box sets - Miles Davis and Thelonious Monk, Creedence Clearwater Revival - and soon to come, The Doors - know how deluxe these sets are. From the detailed liner notes to the rarest photographs, these sets will truly be gems.

    The truly luxurious - and ultimate - listening experience can be had on 45 RPM LP. With so few songs on each side and at 45 RPM, your cartridge will capture every last winsome note. The box set will be pressed on 200 gram vinyl at QRP, lauded for its vinyl manufacturing excellence.

    Each LP set will come housed in deluxe gatefold jackets that include rarely published, intimate photos - a look inside the career of a legend whose death at age 35 shocked the music world. A few statistics showcase Vaughan's success and musical influence: His debut album Texas Flood, reached No. 38 on the charts, crossing over to rock radio stations. The album's succesor, Couldn't Stand the Weather, released in May 1984, reached No. 31 on the charts; by the end of 1985 it went gold. Vaughan and his band, Double Trouble, recorded their third album, Soul to Soul, released in August 1985, and it reached No. 34 on the charts.

    This title is not eligible for discount.

    Texas Flood:

    1. Love Struck Baby
    2. Pride And Joy
    3. Texas Flood
    4. Tell Me
    5. Testify
    6. Rude Mood
    7. Mary Had A Little Lamb
    8. Dirty Pool
    9. I'm Cryin'
    10. Lenny

    Couldn't Stand The Weather:

    1. Scuttle Buttin'
    2. Couldn't Stand the Weather
    3. The Things (That) I Used to Do
    4. Voodoo Chile (Slight Return)
    5. Cold Shot
    6. Tin Pan Alley
    7. Honey Bee
    8. Stang's Swang

    Soul To Soul:

    1. Say What!
    2. Lookin' Out The Window
    3. Look At Little Sister
    4. Ain't Gone 'n' Give Up On Love
    5. Gone Home
    6. Change It
    7. You'll Be Mine
    8. Empty Arms
    9. Come On (Part III)
    10. Life Without You

    In Step:

    1. The House Is Rockin'
    2. Crossfire
    3. Tightrope
    4. Let Me Love You Baby
    5. Leave My Girl Alone
    6. Travis Walk
    7. Wall of Denial
    8. Scratch-N-Sniff
    9. Love Me Darlin'
    10. Riviera Paradise

    The Sky Is Crying:

    1. Boot Hill
    2. The Sky Is Crying
    3. Empty Arms
    4. Little Wing
    5. Wham
    6. May I Have a Talk With You
    7. Close to You
    8. Chitlins con Carne
    9. So Excited
    10. Life By the Drop

    Family Style:

    1. Hard To Be
    2. White Boots
    3. DFW
    4. Good Texan
    5. Hillbillies From Outerspace
    6. Long Way From Home
    7. Tick Tock
    8. Telephone Song
    9. Baboom/Mama Said
    10. Brothers

    Stevie Ray Vaughan
    200 Gram Audiophile Virgin Vinyl 45 RPM LP - 12 LPs Sealed Buy Now
  • Spitballin' Spitballin' Quick View

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    The DAVE STEWART-produced SPITBALLIN' would never have happened if not for one Twitter message that turned STEWART's world upside down. STEWART has seen and done it all, but none of it prepared him for what he would hear from THOMAS LINDSEY. "I read it and clicked on the link," STEWART recalls. "And there he was, singing something on a YouTube video. I don't remember what it was but there was no music. He was singing a cappella. And I went, 'Holy crap!'" STEWART got in touch with his young admirer and invited him to send examples of his original material.

    "It was really amazing stuff. So I asked if he wanted to come out to Los Angeles and sing three songs unaccompanied before my show at the Troubadour," STEWART says. Following their live debut, STEWART and LINDSEY began writing together by sending audio files back and forth between L.A. and Louisiana. Working long distance seemed to bring them closer as they built a catalog of songs.

    Their common ground proved as lush as Delta marshland. A down-and-dirty delta guitar riff. A thumping drum beat. And a stunning vocal intro, urgent, haunted, earthy and spiritual, with blues-drenched filigrees, a vibrato that shocks like an electric current, a range that defies not just convention but gravity itself. Backed by STEWART's distorted voodoo guitar licks, LINDSEY opens "Leave This Town" in free tempo and then a swampy groove kicks in--just guitar and drums, raw and wild. "Two People" unfolds over a stomping beat that leads to a long vamp over which Lindsey improvises with hair-raising intensity and finesse. Churchy echoes permeate "When Dogs Run," with a mournful organ providing the backdrop to STEWART's Pop Staples-style guitar tremolo. "Alcohol" boils down to organ and LINDSEY's voice recounting a riveting elegy for someone who was "lost to alcohol."

    Some of the stories behind the lyrics on these songs are sad, but true and some more fanciful. To write "Crocodile," for instance, LINDSEY admits "I tried to write a song that would seem like something from a shoe commercial! I had this image of a woman in bad-ass crocodile boots, walking down the street. That's how that song formed."

    1. Leave This Town
    2. Another Lie
    3. Friend Zone
    4. Lonely
    5. When Dogs Run Away
    6. Look at Those Flames
    7. Two People
    8. Run From You
    9. Confidence
    10. Crocodile
    11. Alcohol
    12. Dear God
    Stewart Lindsey
    Vinyl LP - 2 LPs Sealed Buy Now
  • Daisies Of The Galaxy Daisies Of The Galaxy Quick View

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    Daisies Of The Galaxy

    "Daisies of the Galaxy" is the third studio album by Eels. This follow-up to 1998's grief-stricken Electro-Shock Blues. The tone is set by the imagistic opener, Grace Kelly Blues, which captures snapshots of misbegotten souls. "Daisies of the Galaxy" is the work of a gifted composer/producer/performer who is indeed feeling OK. Not great, mind you. But OK.
    1. Grace Kelly Blues
    2. Packing Blankets
    3. The Sound of Fear
    4. I Like Birds
    5. Daisies of The Galaxy
    6. Flyswatter
    7. It's A Mother F#&!@r
    8. Estate Sale
    9. Tiger In My Tank
    10. A Daisy Through Concrete
    11. Jeannie's Diary
    12. Wooden Nickels
    13. Something Is Sacred
    14. Selective Memory
    15. Mr. E's Beautiful Blues
    Vinyl LP - Sealed Buy Now
  • Souljacker Souljacker Quick View

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    Souljacker is a studio album from Eels released on March 12, 2002. Unlike some of Everett's other albums, most
    notably Electro-Shock Blues, Souljacker is mostly based on stories of outsiders rather than on Everett's own life.
    Souljacker received a generally favorable reception from critics, with several reviewers comparing the album's sound to that of Beck.
    1.Dog Faced Boy
    2.That's Not Really Funny
    3.Fresh Feeling
    4.Woman Driving, Man Sleeping
    5.Souljacker Part I
    6.Friendly Ghost
    7.Teenage Witch
    8.Bus Stop Boxer
    9.Jungle Telegraph
    10.World of Shit
    11.Souljacker Part II
    12.What Is This Note?
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Lover, Beloved: Songs From An Evening With Carson McCullers Lover, Beloved: Songs From An Evening With Carson McCullers Quick View

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    Lover, Beloved: Songs From An Evening With Carson McCullers

    When Suzanne Vega first discovered the novelist and short story writer Carson McCullers as a teenager, she thought, "If I ever want to play a character at any point in the future, I could play this woman." That time has arrived. On Lover, Beloved: Songs From An Evening With Carson McCullers, Vega inhabits McCullers' extraordinary character and renders the life of a woman who, revolted by the politics and racism of her upbringing in the American South, arrived in New York in her early twenties and became one of the literary lights of the 20th century. In such esteemed books as The Heart Is a Lonely Hunter (1940), Reflections in a Golden Eye (1941) and The Ballad of the Sad CafÉ (1951), McCullers used the South as a lens through which to view the painful, nearly always unrequited, search for love in a world that often punishes individual self-expression and rewards repression and emotional compromise. McCullers battled those limits in her life as well as her work - a personal heroism that makes her, in Vega's view, a figure of great contemporary significance. She was an instinctive rebel whose message of personal freedom resonates profoundly in our own insurgent age, nearly fifty years after her death at the age of fifty in 1967.

    "I feel that McCullers' ideas and thoughts are very modern," Vega says, "and she incarnates them in a way that other authors don't. She tried to live them and paid a price for it. She would refer to herself in a kind of transgender way - she would say things like, 'I was born a man' -- and she probably was bisexual even if she didn't always act on it. She was one of the first females to write about civil rights and the struggles of blacks in the South. Also, she suffered several strokes and was disabled for pretty much the second half of her life. To use today's parlance, her life and work embodied human rights on just about every level - race, gender, trans, queer, disabled, youth."

    The ten songs on Lover, Beloved are part of a two-act play in which Vega and another actress perform the role of McCullers at two historical moments that bookend her career: the first, set in 1941, when The Heart Is A Lonely Hunter propelled her to literary fame, and the second shortly before her death, as she movingly reflects on her life and work. There are also plans to perform it as a one-woman show. Vega wrote the script, and co-wrote eight songs with Duncan Sheik, the singer-songwriter whose keen theatrical sense helped create the Broadway hit show Spring Awakening and the current groundbreaking musical, American Psycho. (Two additional songs, "Carson's Blues" and "The Ballad of Miss Amelia," were co-written by Vega and pianist/composer Michael Jefry Stevens.) In songs like "New York Is My Destination," "We of Me" and "Lover, Beloved," you can hear the signature cool detachment of Vega's singing and revel in the characteristically incisive observation of her lyrics, many of which deftly draw on McCullers' own writing.

    But the songs' elastic melody lines, loping rhythms, idiosyncratic instrumentation (including clarinet, harmonium, banjo, ukulele, trombone and accordion), and surprising arrangements (by guitarist extraordinaire Gerry Leonard, who also produced the album) are like nothing we've heard from Vega before. "It was great working with Duncan Sheik," Vega says. "All you have to do is give him the barest bones of an idea and then he delivers this fabulous piece of music." For "Annemarie," an aching ballad about an androgynous adventurer with whom both McCullers and her husband fell disastrously in love, Sheik delivered a lovely, simple melody that, Vega says, "practically made me cry. I couldn't believe how beautiful it was. I wanted something with all that yearning, and I love what he came up with." For "New York Is My Destination," which describes the youthful McCullers' vision of her future as a celebrated novelist, Vega says she wanted "something classic, something that sounded like Rodgers and Hammerstein, something glamorous," and, once again, Sheik delivered a melody that perfectly complemented the heady excitement of Vega's lyrics.

    Overall, Lover, Beloved finds a sound that exists outside of time. It's traditional enough to suit the iconic quality of its subject; clever enough to capture her originality and daring; and contemporary enough to help establish McCullers as an avatar for this century as well as the preceding one. Most of the instrumentation is acoustic, but, in particular, Gerry Leonard's evocative, atmospheric electric guitar playing lifts the music into another, more imaginative realm. That McCullers herself was an accomplished, classically trained pianist - and that the lyricism of her writing reflects that innate musicality - only further enhances the shivery dynamic between words and music on the album.

    In order to realize the theatrical quality of this project, Vega, with Sheik's encouragement and assistance, also handled her vocals in a different way. "Duncan really pushed me out of my comfort zone," Vega says. "I was shocked at how high he wanted me to sing. But he was like, 'No, no - you can hit that.'" Sheik's goal was to achieve a kind of sonic drama in Vega's vocals, "as much drama as he could squeeze out of me," she says. "It works for the character. McCullers is kind of childlike, and you can believe her singing in that naïve, simple way. I'm pushed beyond my limits in both the low notes and the high notes, and also the emotion. I definitely feel as if I was being pushed beyond what I usually do."

    Unquestionably, rendering a character like McCullers in words and in sound represented a serious creative challenge. All the songs on the album attempt to capture the innermost feelings of a writer who was highly ambitious, immensely complicated and fiercely dedicated to her conception of herself and her work. She was simultaneously shy, introverted and wildly provocative, as "Carson's Blues," the album's opening song, announces: "A childish liar/A devilish bitch/I can be innocent and charming/And suddenly switch." "Harper Lee," a song Vega describes as "upbeat and bitchy," chronicles McCullers' sense of her place in the literary pantheon - a spot, in her view, well above the wildly successful author of To Kill a Mockingbird. ("I'd like to kill more than just that mockingbird," she sings.) "Instant of the Hour After" and "We of Me" all explore the loving and loathing, the sexual adventurism and missed emotional connections, that swirled inextricably in McCullers' marriage to a bisexual man who shared her literary ambitions but was never able to realize them. On the title track, Vega limns the dizzying dance of unsatisfied desire at the heart of McCullers' work: "The lover pursues,/The beloved one flees Each one alone/In the land of the heart."

    "12 Mortal Men" indicts the provincialism and brutal racism of Columbus, Georgia, where McCullers grew up. "The Ballad of Miss Emilia" essentially recounts the plot of McCullers' novella, The Ballad of the Sad CafÉ, a saga, like so much of her writing, of failed joinings, loneliness, and proud, if isolated, survival. By the time the album concludes with "Carson's Last Supper," McCullers has abandoned the ideal of erotic desire in favor of a more universal love that could embrace all the various characters in her books and the many people in her life - as well as, perhaps most importantly, the ravaging contradictions within herself that both drove her art and caused so much hardship in her life.

    With Lover, Beloved: Songs From An Evening With Carson McCullers, Suzanne Vega achieves a new peak in her already distinguished career. With these songs and the play they inhabit, she hopes that "a new generation of people will discover Carson McCullers, that they will realize how cool she is and how compellingly her work can speak to them. I want to put her on the stage again so that her spirit lives. Really, no one is excluded from the vision she defined. I'm so excited by the possibilities." In these beautifully transporting songs, many of those rich possibilities have already been realized. - Anthony DeCurtis

    1. Carson's Blues
    2. New York Is My Destination
    3. Instant of the Hour After
    4. We of Me
    5. Annemarie
    6. 12 Mortal Men
    7. Harper Lee
    8. Lover, Beloved
    9. The Ballad of Miss Amelia
    10. Carson's Last Supper
    Suzanne Vega
    Vinyl LP - Sealed Buy Now
  • The Last Days of Oakland The Last Days of Oakland Quick View

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    The Last Days of Oakland

    Fantastic Negrito is the incarnation of a musician who is reborn after going through a lot of awful shit. In fact, the name Fantastic Negrito represents his third rebirth, literally coming back from death this time. The narrative on this man is as important as the sound, because the narrative is the sound. Songs born from a long hard life channeled through black roots music. Slide guitar, drums, piano. Urgent, desperate, edgy. Fantastic Negrito is the story of a man who struggled to make it, who got it, and who lost it all. For anyone who ever felt like it was over yet hoped it wasn't, this is your music; blues harnessed, forged in realness. For anyone who ever considered getting their old high-school band back together, this is your inspiration. These are singular songs by a true musician who writes and produces. They are his fuel as he embarks on the third comeback of his life.

    The first life ('who am I and where am I going?'). Fantastic Negrito was raised in an orthodox Muslim household. His father was a Somali-Caribbean immigrant who mostly played traditional African music. When, at the age of 12, Negrito's family moved from Massachusetts to Oakland, he was hit with an intense culture shock. Oakland in 1980s was a million miles from Negrito's conservative childhood. He went from Arab chants to Funkadelic in one day, living in the heart of one of the wildest, most infamous, most vibrant black communities in the nation. Shit was extra real in Oakland.

    By the time he was 20, Negrito had taught himself to play every instrument he could get his hands on. He was recording music, but he was also caught up in street shit. This went on for several years until a near death encounter with masked gunmen. After that Negrito packed his bags and headed to LA, armed with a demo on cassette.

    The second life ('I want to be a star I think'). It didn't take long for Negrito to find himself entrenched in the 'Hollywood' lifestyle; clubs and bitches and bullshit politics that have nothing to do with great music. Negrito signed with a big time manager and soon after that, a million dollar deal at Interscope and soon after that, creative death.

    The record deal was a disaster. Gangsta rap was ruling the airwaves and Negrito was in the wrong place at the wrong era. Negrito came out of the deal with a failed album and his confidence gutted. He was infected by the constant emphasis on 'what would sell'; which looks, hooks and gimmicks would attract an audience. He lost all sense of himself. The songs stopped coming to him, so he quit. He sold all of his shit and he quit.

    In 2000, Negrito was in a near fatal car accident that put him in a coma. For four weeks it was touch and go. Because his muscles atrophied while bedridden, he had to go through months of frustrating physical therapy to regain use of his legs. Rods were placed throughout his body. And worst of all, his playing hand was mutilated. Though he rehabbed intensely for several years, the damage was permanent. In 2008, he returned home to Oakland.

    The third life (the birth of Negrito). Back in Oakland, Negrito forgot about life as a musician. He settled down, planted vegetables, raised his own chickens, and made money growing weed. He also settled into being a man, on his own, clear of the distractions of wanting to be a star. This is when his specific POV of the world came into focus. His conservative Muslim values melded with the liberal, multi-cultural world of Oakland. The cynicism that comes from struggle made room for the hope that comes from cheating death. He truly knew who he was. He was confident about his place in the world because he understood it as much as any man can. And then his son was born.

    With his son's entrance into the world, all the creative energy Negrito bottled for years came rushing out. His musical choices were sharp and without doubt. He began recording without the hindrances that come with chasing trends. Fuck what's hot now, what moves me? Negrito turned to the original DNA of all American music, the Blues. The beating life had given him primed him to channel his literal and musical forefathers: the Blues musicians of the Delta.

    For Fantastic Negrito, derivative is the devil so to ensure his sound is his own, every chord comes from a place of immediacy. Immediacy opens the door for instinct. Instinct is God's tool that makes an artist into an individual. Negrito leaves the original sounds of Lead Belly and Skip Woods intact and builds bridges to modernity by looping and sampling his own live instruments.

    When you listen to Negrito, you're invited to hear the story of life after destruction. Your dream can die. You probably will give up. But from there, you can start everything over.

    1. Intro - The Last Days of Oakland
    2. Working Poor
    3. About A Bird
    4. Scary Woman
    5. Interlude - What Would You Do?
    6. The Nigga Song
    7. In the Pines (Oakland)
    8. Hump Thru the Winter
    9. Lost In A Crowd
    10. Interlude 2 - El Chileno
    11. The Worst
    12. Rant Rushmore
    13. Nothing Without You
    14. Push Back
    15. The Shadows
    Fantastic Negrito
    Vinyl LP - Sealed Buy Now
  • What A Way To Die What A Way To Die Quick View

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    What A Way To Die

    The archetype for the '60s-era girl group was etched indelibly into stone, like a commandment: three pretty girls with matching outfits and bouffant hairdos would sing, with musical backing supplied by a bunch of guys standing in the shadows. The Quatro sisters shattered that archetype forever with the Pleasure Seekers, an all-girl teenage rock & roll group who played all the instruments themselves and were fully capable of wiping the stage with any male band that crossed their path.

    The Quatro girls had been brought up in a musically-minded family, nurtured with classical piano and vocal lessons. As Patti recalls, "By 1964, I had been taking guitar lessons, hanging with musicians in the local music scene. We had seen a Beatles concert, and I was quite dazed and focused at the event, watching the audience cry and scream out of control. It was my epiphany moment, and I was determined to start an all-girl band."
    Shortly thereafter, the first lineup of the Pleasure Seekers fell into place with Patti Quatro (lead guitar), Marylou Ball (rhythm guitar), Suzi Quatro (bass), Diane Baker (keyboards), Nan Ball (drums) and vocal duties shared by all. Around the fall of 1965 the girls dared local teen club manager Dave Leone to give them a slot at his popular Hideout Club, claiming they were better than most of the other live bands there. "You're on," responded Leone, "in two weeks. Three songs!"

    The Pleasure Seekers were soon a popular feature at the club, honing their skills alongside the likes of the Rationals, the Amboy Dukes and Bob Seger & the Last Heard. "In the beginning, there was a lot of skepticism," remembers Patti, "especially the first night. The boys crowded the stage, the girlfriends pulled them away with laughter, as if 'Girls playing?! Yeah, right!' It was always satisfying to see them be silenced quickly when we began playing. We grew used to seeing slack jaws open in surprise." Next they were asked by Leone to record and release a single on his Hideout label.

    That March 1966 release is now regarded as the greatest "girl garage" single of the era: "Never Thought You'd Leave Me" b/w "What a Way to Die." "Dave brought lyrics, and we put the songs together quickly," remembers Patti. "We felt very legit in making this record at a small local studio. Nan was the sexy voice on 'Never Thought You'd Leave Me,' and there was lots of laughter as Marylou added the screams on 'What a Way to Die.'" Suzi Quatro remembers the recording as "very important and memorable."

    The Pleasure Seekers were soon in demand in the region, playing teen clubs, parties, colleges and local TV shows. After a series of lineup changes, the band brought in older Quatro sister Arlene (keyboards) and Darline Arnone (drums), the first female drummer sponsored by Slingerland Drums. A short time later, Pami Benford joined-up on guitar and bass (that lineup lasting through most of 1968). "It was a very versatile group," remembers Patti, "with Pami and Suzi sharing bass, and Pami and I sharing lead and rhythm guitars."

    "The gender bias was my hot button," recalls Arlene, "along with confidence in our musical abilities. With women musicians dismissed as a novelty, I delighted in watching the audience go from skepticism/ridicule, to shock/cheers." For Suzi, though, this period was where she learned her craft: "I considered myself a musician, and didn't really think about gender too much." Two tracks recorded in 1967, but unissued at the time, "Elevator Express" and "Gotta Get Away," highlight the band's growing musical maturity since their Hideout debut. "Detroit was the best learning ground in the world for musicians," recalls Suzi, "with an amazing energy and creativity that is in every successful artist that has come out of the city." "We were actually one of the earliest Detroit bands traveling the country," adds Patti. "Everyone wanted this unusual all girl band who rocked an entire Motown revue (changing instruments and singers throughout) and an entire Sgt. Pepper/Magical Mystery Tour revue, as well as covering English bands, acid rock and everything in between."

    Signing up with Associated Booking Corporation, the group began making the transition from local to national act. Producer Dick Corby caught the Pleasure Seekers at Trude Heller's in New York's Greenwich Village and signed them to a Mercury Records deal in early 1968. To keep rein on their finances in NYC, Patti recalls, "We booked Arthur's nightclub for a month, staying at the infamous rock Gorham Hotel, recording by day-playing by night." Also in residence were the Who, the Blues Magoos and an assortment of other bands. "Hitting NYC as young teens, it was exciting, scary, fun-all emotions churning," she continues. "We felt we had hit the big time, going from the tiny local Hideout session to the huge Mercury professional studio facility, complete with session people adding strings and other elements."

    A single pairing "Good Kind of Hurt" and "Light of Love" was released in April 1968, while a third song, "Locked in Your Love," remained in the can. The group then headed out to the Northwest for a lengthy tour. "The Northwest tour was awesome," remembers Patti. "We were billed with Canned Heat, Boyce & Hart and Merilee Rush, and were held over six weeks to tour with Eric Burdon and the Animals. The Mercury single was out, momentum was surging." Both sides of the single were getting airplay, but ultimately it failed to gain any traction. "Really neither song reflected our own sound," admits Patti. "We rearranged 'Light of Love' for live performance, feeling disconnected to the record, yet realizing we had to play ball with the executives to keep us rolling."

    Ultimately Mercury's vision for the Pleasure Seekers clashed rather sharply with the band's vision. "The suits wanted tits and ass," recalls Darline, "wowing Vegas crowds, playing tinkly tunes in lavish costumes." "In that male-dominated music era, we were strictly a novelty, and a high-risk endeavor," adds Patti. "The record executives felt women musicians would fall in love or get pregnant so were not worth investing the time and money. We had to kick down many doors. We were serious musicians, and in it for the right reasons. In the end, we were not happy with a forced direction that Mercury Records had in mind, and ended up leaving the label to rock our music in our own fashion."

    After a memorable 1968 Far East tour, playing for wounded returning American soldiers from Vietnam, the Pleasure Seekers (with new drummer Nancy Rogers) returned to a Detroit that was now, in Patti's words, "exploding with heavier sounds. That sparked us to change direction with new ideas we had been exploring. Arlene left the band and we brought in our youngest sister Nancy (vocals). With Suzi's Joplinesque vocals combined with Nancy's wailing 'female Robert Plant' style, we enjoyed a harder edged, 'double-punch' effect."

    The last four songs on the album, "White Pig Blues," "Brain Confusion," "Where Have You Gone?" and the atmospheric psychedelic mover "Mr. Power," all date from this 1968-69 period when the Pleasure Seekers were playing the Grande Ballroom alongside the MC5, Alice Cooper, the Stooges, the Amboy Dukes and SRC. With this change in musical direction and the departure of Arlene and Pami, the band forged on as Cradle. Suzi Quatro departed for England in 1971, launching a successful solo career. Patti and Nancy continued with Cradle until 1973 when Patti joined another pioneering female rock group, Fanny.

    The Pleasure Seekers reunited recently in April 2012 (minus Suzi) for a well-received show in their hometown, where they were inducted into Detroit's Hall of Fame. "I think all of us Quatro girls are extremely proud of our pioneering days" reflects Patti. "In a renaissance-era of music, we kicked down doors for women to rock heavy. There were key times in our lives of making decisions that may have turned us towards larger fame, but less happiness-depending on your philosophy of such things. The Pleasure Seekers could have been a Las Vegas show act bringing in buckets of money or on Motown, turned very formulaic girlie-soul. But we stayed true to our goals, and I don't think any of us have any regrets of staying our course and playing the music that moved us. It's all been a thrilling ride with great memories."

    - Mike & Anja Stax (Ugly Things magazine)

    1. Intro By DJ The Lord
    2. Gotta Get Away
    3. Never Thought You'd Leave Me
    4. Light Of Love
    5. Good Kind Of Hurt
    6. What A Way To Die
    7. Elevator Express
    8. Locked In Your Love
    9. White Pig Blues
    10. Brain Confusion
    11. Where Have You Gone
    12. Mr. Power
    The Pleasure Seekers
    Vinyl LP - Sealed Buy Now
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