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REDI-KUD-0046xSouthern Culture On The Skids
The Kudzu RanchCowpunk, alt-country, Americana, whatever label you want to hang on them, Southern Culture On The Skids have been bringing a visceral, garage-rock punch to American roots music since the '80s. The Kudzu Ranch is dominated by original material, though the band does tackle Neil Young's Are You For the Country and Pink Floyd's Syd Barrett-era Lucifer Sam.1. Bone Dry Dirt
2. It's The Music That Makes Me
3. Pig Pickin'
5. Slinky Spring Milt
6. Montague's Mystery Theme
7. Are You Ready For The Country
8. My Neighbor Burns Trash
9. Bad Boys
10. Come As You Are/Lucifer Sam
11. Busy Road
12. Jack's Tune$19.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
REDI-KUD-0060xSouthern Culture On The Skids
ZombifiedZombified, Southern Culture On The Skids tribute to the horror and exploitation movies that populated Southern theaters and drive-ins during the '60s and '70s, is being reissued on Kudzu Records.
Originally released in Australia as an eight song EP in 1998, the Zombified Extended Reissue is now a full album with the addition of five new tunes. The new and improved Zombified has been re-mastered and re-packaged with cover art by Sean Starwars and design by Yee-Haw Industries.
Rick Miller, guitarist and singer for the band says, You know the Zombified EP never had a proper U.S. release and the band is excited about it happening now as a full album.1. Zombified
3. Swamp Thang
4. She's My Witch
6. Sinister Purpose
8. Devil's Stomping Ground
9. Bats Are Sleeping
10. Idol With The Glowin' Eyes
11. The Creeper
12. Eyeball You Later
13. Primitive$19.99Vinyl LP - Sealed Buy Now
REDI-KUD-0091xSouthern Culture On The Skids
Dig ThisColored Vinyl
Southern Culture on the Skids is proud to celebrate their 30-year anniversary with the release of Dig This--the 2013 re-recording of the band's 1993 album Ditch Digging. Dig This features the same band--Mary Huff on bass and vocals, Dave Hartman on drums, and Rick Miller on guitar and vocals--but the 13 original songs the band recorded over 20 years ago have been updated musically to reflect where the trio is NOW! Also, Karaoke instrumental tracks and lyric sheets will be provided via download cards.1. Too Much Pork For Just One Fork
2. The Little Things
3. Ditch Diggin'
4. Tuna Fish Everyday
5. My House Has Wheels
6. Chicken Shit Farmer
7. Rumors Of Surf
8. Lordy, Lordy
9. Put Your Teeth Up On The Windowsill
10. The Fly That Rode From Buffalo
12. New Cooter Boogie
13. Wig-Out$19.99Colored Vinyl LP - Sealed Buy Now
Mondo Zombie BoogalooOn October 1, Yep Roc Records is proud to share with the world the Mondo Zombie Boogaloo, an album and tour celebrating Halloween, the most sinister day of all. The album is a collection of new music from The Fleshtones, Los Straitjackets and Southern Culture On The Skids and promises to put any listener in a spooky mood.1. It's Monster Surfing Time - Los Straitjackets
2. Ghoulman Confidential - The Fleshtones
3. Goo Goo Muck - Southern Culture on the Skids
4. Que Monstruos Son - Los Straitjakets featuring The Fleshtones & Southern Culture on the Skids
5. Haunted Hipster - The FLeshtones
6. The Lonliest Ghost In Town - Southern Culture on the Skids
7. Theme From Young Frankenstein - Los Straitjackets
8. (Sock It To Me Baby) In The House Of Shock - The Fleshtones
9. Theme From Halloween - Los Straitjackets
10. Tingler Blues - Southern Culture on the Skids
11. Ghoul On A Hill - Los Straitjackets
12. La Marcha De Los Cabarones - Southern Culture on the Skids
13. Ghostbusters - Los Straitjackets
14. Dracula A GoGo - The Fleshtones
15. Demon Death - Southern Culture on the Skids$22.99180 Gram Audiophile Virgin Vinyl LP + CD - 2 LPs Sealed Buy Now
Ask The NightOrenda Fink has sculpted a diverse & heralded career since Azure Ray released their last album in 2003. Through solo debut Invisible Ones & bands Art in Manila & O+S, she has remained a consistently creative force & returns with Ask the Night, her second solo album & second project of 2009.Ask the Night is a reflection of the Southern cultural & familial roots that helped shape her aesthetic. Songs defy simple categorization & move between old-time waltz, country, folk and haunting bluegrass; instrumentation includes acoustic guitar, mandolin, banjo, accordion, upright bass & pump organ.
1. Why Is the Night Sad
2. High Ground
4. That Certain-Something Spring
5. The Garden
8. The Mural
10. The Moon Knows$14.99Vinyl LP - Sealed Buy Now
Don't Cry NowAfter her breakthrough on Capitol Records with The Stone Poneys (Different Drum) plus some acclaimed solo releases, Linda Ronstadt jumped to David Geffens bourgeoning Asylum roster, joining The Eagles and Jackson Browne to form the genesis of the California Country-Rock sound.
Dont Cry Now, her first for Asylum was released in 1973 and would help solidify Ronstadt as one of the premiere female pop vocalists for the next two decades. This is one of the most exceptional sounding female vocalist recordings of the 1970's.
Various tracks were produced by John Boylan, J. D. Souther; and, for the first time in what would be a long and highly successful relationship, British musician (Peter & Gordon) Peter Asher. The album spent more than a year on the Billboard chart and peaked at No. 45. Featured hit singles are the Eagles' Desperado, Bonnie Raitts Love Has No Pride, Randy Newmans sly observation on slavery and southern culture Sail Away plus a nod to both Dusty Springfield and the Grand Ole Opry with Silver Threads and Golden Needles.
Guest appearances include guitar work by both the Eagles Glenn Frey and super-sessionman Larry Carlton, plus harmonica by the Nitty Gritty Dirt Bands Jimmy Fadden, bass and drums by L.A.A-teamers Lee Sklar and Russ Kunkel respectively, plus last but certainly not least, the legendary Sneeky Pete adding his tasteful pedal steel throughout.
This title is not eligible for discount.1. I Can Almost See It
2. Love Has No Pride
3. Silver Threads And Golden Needles
5. Don't Cry Now
6. Sail Away
8. The Fast One
9. Everybody Loves A Winner
10. I Believe In You$34.99Gain 2 Ultra Analog 180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Dolce VitaJonas Kaufmann is the undisputed tenor king of the world and has proven beyond doubt that he is today's finest interpreter of Italian operatic repertoire. On his new album, Dolce Vita, Kaufmann pays tribute to the land and culture that nurtured his love of music and has produced winning melodies for the tenor voice like no other. Kaufmann may not have been born in Italy, but he is an "adopted son" and brings an authentic Italian spirit and understanding to the music - with his own inimitable flair. Since his many childhood holidays in Italy, immersed in its history and southern temperament, Kaufmann feels very much at home in his adopted culture - almost everything he brings to the opera stage stems from his passion and understanding of this Mediterranean land and its music. Dolce Vita is much broader than a Neapolitan album featuring a selection of songs drawn from Italian, Neapolitan and pop songs. The album includes the well-known classics "Torna a Surriento," "Volare," "Core 'ngrato," "Non ti scordar de me," "Caruso" and many more.LP 1
3. Parla Più Piano
5. Un Amore Così Grande
6. Il Canto
7. Voglio Vivere Così
8. Catari', Catari' (Core 'Ngrato)
9. Ti Voglio Tanto Bene
10. Non Ti Scordar Di Me
1. Fenesta Ca' Lucive
2. Musica Proibita
3. Parlami D'amore Mariù
4. Torna A Surriento
6. Rondine Al Nido
7. Con Te Partirò
8. Il Libro Dell' Amore$29.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
ADAD-ANT-6193xBen Harper & Charlie Musselwhite
No Mercy In This Land (180 Gram)Pressed On 180-Gram Vinyl
No Mercy In This Land is a blues record. Charlie Musselwhite and Ben Harper were introduced to one another by John Lee Hooker. The legendary musician thought the two men should play together, so he brought them into the studio to record a song called simply "Burnin' Hell." The two remained friends and their paths periodically crossed out there on the road. But it wasn't until 2013 that the two met up in a studio to record what would be their Grammy-winning album Get Up!. And as good as that record was, it was just the beginning. Both men agree that their friendship deepened in the many months of touring that followed. And it's that bond, that closeness, that makes this new record something special.
At first glance, Ben Harper and Charlie Musselwhite might seem an unlikely pairing. While Ben grew up in in the tree-lined Southern California college town of Claremont, a bastion of culture and liberalism just east of Los Angeles, Charlie was raised in Memphis during the time of rockabilly and Sun Records. But while the two might have come to their musical knowledge in different eras and places, as Charlie explains, "We were both searchers and we're still seeking." Each of them possesses an enduring hunger for musical knowledge that came to them early.1. When I Go
2. Bad Habits
3. Love And Trust
4. The Bottle Wins Again
5. Found The One
6. When Love Is Not Enough
7. Trust You To Dig My Grave
8. No Mercy In This Land
9. Movin' On
10. Nothing At All$21.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
American Folk Blues Festival 1964 (Pure Pleasure)
German jazz publicist Joachim-Ernst Berendt first had the idea of bringing original African-American blues performers to Europe. Jazz had become very popular, and rock and roll was just gaining a foothold, and both genres drew influences directly back to the blues. Berendt thought that European audiences would flock to concert halls to see them in person.
Promoters Horst Lippmann and Fritz Rau brought this idea to reality. By contacting Willie Dixon, an influential blues composer and bassist from Chicago, they were given access to the blues culture of the southern United States. The first festival was held in 1962, and they continued almost annually until 1972, after an eight-year hiatus reviving the festival in 1980 until its final performance in 1985.
The concerts featured some of the leading blues artists of the 1960s, such as Muddy Waters, Howlin' Wolf, Willie Dixon, John Lee Hooker and Sonny Boy Williamson along with blues legends from an earlier period such as Sleepy John Estes, John Henry Barbee & Lightnin' Hopkins.
Attendees at Manchester in 1962, the first ever venue for the festival in Britain, included Mick Jagger, Keith Richards, Brian Jones and Jimmy Page. Subsequent attendees at the first London festivals are believed to have also included such influential musicians as Eric Burdon, Eric Clapton, and Steve Winwood. Collectively these were the primary movers in the blues explosion that would lead to the British Invasion.
- Sonny Boy Williamson (vocal, harpsichord)
- Hubert Sumlin (guitar)
- Willie Dixon (bass)
- Clifton James (drums)
- Sunnyland Slim (vocal, piano)
- Sam Lightnin' Hopkins, Howlin' Wolf (guitar, vocal)
- Hammie Nixon (harpsichord, jug)
Recording: October 1964 live at Musikhalle Hamburg, Germany, by Peter Kramper
Production: Siegfried E. Loch
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. I'm Trying To Make London My Home
3. Everytime I Get To Drinkin'
4. Ain't It A Pity
5. Baby Please Don't Go
6. I'm A Tearing Little Daddy
7. Cotton Pickin' Blues
8. No Title Boogie
9. Slip In Mules
10. Dust My Broom$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Internet Dating SuperstudsInternet Dating Superstuds is the ninth studio album by the southern California punk rock band The Vandals, originally released in 2002 through Kung Fu Records. Much of the album is characterized by the pop-punk music and humorous lyrics for which the band is known. Its title, artwork, and bonus features satirize several aspects of internet culture.1. 43210-1
2. Appreciate My Honesty
3. I'm Becoming You
4. Disproportioned Head
5. Soccer Mom
6. We'll All Get Laid
7. Little Weirdo
8. I Can't Wait
9. Where's Your Dignity?
10. My Brain Tells My Body
11. When I Say You, I Mean Me
12. The Unseen Tears Of The Albacore
13. My Brother Is Gay
14. Lord Of Dance$17.99Vinyl LP - Sealed Buy Now
GraceOn Grace, lauded American singer Lizz Wright summons her Southern heritage and the spirit of the earth to usher us into a nurturing space that pulses and hums with the unspoken suggestion that grace is a cornerstone of our original state of being. Produced by acclaimed singer and songwriter Joe Henry, Grace is a stark reflection of Wright's sense of place and belonging that's deeply woven into the cultural fabric of America. Lizz offers one original, written for this record, plus inspiring interpretations of songs from Ray Charles, Allen Toussaint, k.d. lang, Bob Dylan, Nina Simone, Sister Rosetta Tharp & more.1. Barley
2. Seems I'm Never Tired Lovin' You
3. Singing In My Soul
4. Southern Nights
5. What Would I Do
7. Stars Fell On Alabama
8. Every Grain Of Sand
9. Wash Me Clean
10. All The Way Here$21.99Vinyl LP - Sealed Buy Now
The Big Mango"Sam Shalabi has raised the bar for modern psychedelic music by composing this epic suite for his 20-piece Land of Kush orchestra. Utilizing African, Middle Eastern, Indian, jazz, rock, and folkloric sources, The Big Mango weaves a seamless montage of styles in a transcendent way that is rarely, if ever, achieved. A singular cohesive statement built around four key tracks written for four different female vocalists it will demand your attention from start to finish." - Alan Bishop (Sun City Girls/Sublime Frequencies)
Osama (Sam) Shalabi moved to Cairo in 2011, settling in an apartment one block from Tahrir Square, in the midst of Egypt's 'Arab Spring'. Shalabi describes The Big Mango, his new and phenomenal work for his Land Of Kush big band, as "a love letter to Cairo"
framed by "the beautiful,surreal madness of the city as joyous, horrific, historical events were
unfolding". The music was also inspired by time spent in Dakar, where in Senegal's music scene Sam experienced parallels to another of his central aesthetic and political touchstones, Brazilian Tropicalia, in the sense of a "positivity, complexity and radicalism in art that was also
playful and joyous and wasn't necessarily part of a 'revolution' but seemed to be a form of innate radicalism". In tandem with the relative openness of Dakar's Islamic society - with the much more prominent role and presence of women in public and private life and the relaxed physicality and sensuality of the culture in general - Senegalese music offered a powerful counterpoint and feeling of promise for Egypt's own future. "The Big Mango" is one of the many nicknames for Cairo, but for Shalabi it also evokes the succour and sensuality of southern hemispheric music more generally, in this relation to broader socio-political movements.
MontrÉal remains Shalabi's home base and the city to which he briefly returned towards the end of 2012 to reconvene the troupe of players that have helped him realize his large-scale works under the Land Of Kush moniker. Working through The Big Mango score with
these local musicians culminated in two ecstatic live performances and a recording session at MontrÉal's Hotel2Tango studio. This third album by Land Of Kush is arguably the group's most focused and immediately satisfying.
For Shalabi, gender and Arab culture has been a central theme, one he took up explicitly on the previous Kush album Monogamy (2011), and which similarly drives The Big Mango, where once again a series of female vocalists drawn from MontrÉal's indie rock community anchor the work and convey what in most of the North African Arab world remains a
profoundly unrealized though burgeoning spirit of gender equality, participation, expression and liberation. This promise is at the heart of Shalabi's "love letter".
The Big Mango opens with a bubbling Fauvist stew of balafon, flute, electronics and vocalizations which abruptly segue into solo piano and saxophone improvisations - an introductory set of musical mating calls that invoke the album's deeper conceptual and formal preoccupations. The libidinal energy of rock n' roll is then re-situated in a heterodox Middle Eastern context as the album's centerpiece songs unfold: "The Pit", "Mobil Nil",
"Drift Beguine" and "The Big Mango" each marked by propulsive female vocal performances from Ariel Engle, Katie Moore, Elizabeth Anka Vajagic and Molly Sweeney respectively.
Underpinning each of these singers is some of Land Of Kush's s most melodically and rhythmically compelling music, conjuring a post-modern psychedelia that is truly sui generis. The band delivers the grooves and soloists unleash excursions more fluidly than ever; for many of these players, it's the third time around embracing Shalabi's music, getting inside the spirit of the score, and following his conduction. In combination with the peaking intensity and electricity of Sam's compositional vision, The Big Mango coheres,sparkles and soars: a distillation of the sonic trajectory Land Of Kush has been charting for the past six years.1. Faint Praise
2. Second Skin
3. The Pit (Part 1)
4. The Pit (Part 2)
5. Sharm El Bango
6. Mobil Nil
7. St Stefano
8. Drift Beguine
9. The Big Mango$25.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Second Helping (45 RPM)200-Gram 45 RPM Vinyl Pressing By Quality Record Pressings!
Mastered By Kevin Gray At Cohearent Audio
Sleeved In A Tip-On Jacket
MoFi may have the rest of their catalogue, but Chad Kassem's coup is grabbing this album, the band's second, from 1974. Why? Because it kicks off with their anthem, the inimitable, riff-driven, majestic 'Sweet Home Alabama' - one of the greatest air-guitar/road trip songs ever. By this time, the band was a mite slicker but just as unapologetically Confederate-with-a-capital 'C' as on their debut. The opener does overshadow the rest, but the album serves up what the LP title promises in 'The Needle And The Spoon,' which sounds like 'Sweet Home Alabama II.' Musically, this nestles alongside Little Feat and The Allman Brothers Band - deservedly high praise. - Ken Kessler, Hi-Fi News, April 2014
Get ready for some Southern hospitality, courtesy of Analogue Productions, Quality Record Pressings and one of the hardest-rocking bands to ever grace a stage! With a catalog of over 60 albums and sales beyond 30 million, Lynyrd Skynyrd remains a cultural icon that appeals to all generations.
This Lynyrd Skynyrd 1974 album follows the success of Free Bird and Gimme Three Steps from their 1973 debut and features their biggest hit single, Sweet Home Alabama, an answer to Neil Young's Southern Man and Alabama. The song reached No. 8 on the Billboard Hot 100 chart in August 1974. Second Helping also featured Don't Ask Me No Questions, Workin' for MCA and Call Me The Breeze, the latter of which includes an acclaimed piano solo. Backed by a tight rhythm section and the mighty three-guitar attack of Allen Collins, Ed King and Gary Rossington, singer Ronnie Van Zant turns in a legendary performance on the urgent blues ballad I Need You, the cautionary The Needle And The Spoon and The Ballad Of Curtis Loew. 200-gram vinyl, mastering by Kevin Gray, lacquer plating by QRP's Gary Salstrom, heavy, tip-on gatefold jacket. None better.
This title is not eligible for discount.LP 1
1. Sweet Home Alabama
2. I Need You
3. Don't Ask Me No Questions
4. Workin' For MCA
1. The Ballad Of Curtis Loew
2. Swamp Music
3. The Needle And The Spoon
4. Call Me The Breeze$54.99200 Gram Audiophile Virgin Vinyl LP 45 RPM - 2 LPs Sealed Buy Now
Liquid SpiritLiquid Spirit is the remarkable major label debut from GRAMMY-nominated jazz and soul singer Gregory Porter. The 14-track album is further justification for Porter's quick ascent into the top ranks of jazz and R&B singers today, and it also features 10 new originals which showcase Porter's innate gift for writing poignant songs based upon personal experiences with a relatable and emotional immediacy. Also included is a stirring rendition of the jazz standard "I Fall In Love Too Easily," as well as covers of Abbey Lincoln's "Lonesome Lover" and Ramsey Lewis' hit "The 'In' Crowd."
"I firmly consider myself a jazz singer but I enjoy blues, southern soul, and gospel," says Porter. "Those elements make their way inside my music. And I've always heard them in jazz." Indeed, Porter wields one of the most captivating baritone voices in music today. It emits enormous soul that conveys both the emotions and intellect of any given song without relying on vocal histrionics. In The New York Times, Nate Chinen wrote: "Gregory Porter has most of what you want in a male jazz singer, and maybe a thing or two you didn't know you wanted." Jazz singer Dee Dee Bridgewater praised Porter in the pages of JazzTimes by saying, "We haven't had a male singer like him in a long time. He's such a wonderful writer. He's a story teller."
On Liquid Spirit, Porter retains the same core musicians that accompanied him on his previous two albums - pianist and music director, Chip Crawford, drummer Emanuel Harrold, bassist Aaron James, alto saxophonist Yosuke Sato, and tenor saxophonist Tivon Pennicott. On a few selections, Porter complements that ensemble with trumpeter Curtis Taylor, and organist Glenn Patscha. Producer Brian Bacchus also returns, as well as arranger and associate producer Kamau Kenyatta.
Porter sees Liquid Spirit as a logical progression in his burgeoning discography as it touches on some of the same themes, particularly the highs and lows of romance, his childhood, and socio-political observations. More pointedly, he views the title-track, a rousing, hand-clapping gospel-jazz romp, dealing with replenishing "thirsty" listeners with more substantial music, as the flipside to last year's "Bling Bling," a blistering song on his previous album Be Good on which the protagonist had so many artistic gifts to give but no one to give them to. Similar sentiments occur on "Musical Genocide," on which Crawford hammers a dark rhythmic figure against James' bluesy bass accompaniment as Porter declares his refusal of accepting the insistent squashing of quality, diverse music and culture by a mainstream in favor of disposable, homogenized pap.
In part, these songs are based upon Porter's reflections on new fans, worldwide, who come to him saying, "Where have you been?" or "How come I've never heard you before." "Not saying that I am 'what is,' Porter says, "But I think maybe what I'm doing is what people actually want to hear. There are some people who want that liquid spirit - a soulful, thoughtful sound - and they haven't been getting it."1. No Love Dying
2. Liquid Spirit
3. Lonesome Lover
4. Water Under Bridges
5. Hey Laura
6. Musical Genocide
9. Brown Grass
10. Wind Song
11. The 'In' Crowd
13. When Love Was King
14. I Fall in Love Too Easily$24.99Vinyl LP - 2 LPs Sealed Buy Now
White BuffaloIn his native Mississippi and throughout the South, Jimbo Mathus is recognized as the prolific songwriter of born-in-the-bone American music, the torchbearer for Deep South mythology and culture. The lifelong musician and co-founder of the hyper ragtime outfit Squirrel Nut Zippers has signed to Oxford, MS label Fat Possum Records and will release White Buffalo, produced by Eric Roscoe Ambel. Opening with the mandolin-driven Southern Gothic fable In The Garden, Mathus and his band, the Tri-State Coalition, deliver an emotional honest bath of songs that embrace the richness of American Music - gospel, country blues and folk. Mathus' tri-state band, a handpicked group of like-minded players who make up his formidable live band, includes Matt Pierce (Arkansas), Terrence Bishop (Tennessee), and fellow Mississippians Eric Carlton and Ryan Rogers.1. In The Garden
2. (I Wanna Be Your) Satellite
3. Tennessee Walker Mare
4. White Buffalo
5. Hatchie Bottom
6. Fake Hex
7. Poor Lost Souls
9. Run Devil Run
10. Useless Heart$16.99Vinyl LP - Sealed Buy Now
Second Helping200-gram vinyl pressing by Quality Record Pressings!
Mastered by Kevin Gray at Cohearent Audio
Sleeved in a tip-on jacket
Driven by core members Gary Rossington (guitar), Johnny Van Zant (vocals) and Rickey Medlocke (guitar), along with longtime drummer Michael Cartellone, Lynyrd Skynyrd's legacy goes back some 35 years ago to Jacksonville, Fla., and was halted for a decade by the 1977 plane crash that killed three band members, including Ronnie Van Zant and Steve Gaines. Since then, the band tragically lost Allen Collins, Leon Wilkeson and Huey Thomasson, yet they rock on. With the recent passing of founding member/keyboardist Billy Powell and longtime bassist Ean Evans, a lot of people probably expected us to say enough is enough, admits Medlocke. But that would not be the way of this Rock & Roll Hall of Fame powerhouse. With a catalog of over 60 albums and sales beyond 30 million, Lynyrd Skynyrd remains a cultural icon that appeals to all generations.
This Lynyrd Skynyrd 1974 album follows the success of Free Bird and Gimme Three Steps from their 1973 debut and features their biggest hit single, Sweet Home Alabama, an answer to Neil Young's Southern Man and Alabama. The song reached No. 8 on the Billboard Hot 100 chart in August 1974. Second Helping also featured Don't Ask Me No Questions, Workin' for MCA and Call Me The Breeze, the latter of which includes an acclaimed piano solo. Backed by a tight rhythm section and the mighty three-guitar attack of Allen Collins, Ed King and Gary Rossington, singer Ronnie Van Zant turns in a legendary performance on the urgent blues ballad I Need You, the cautionary The Needle And The Spoon and The Ballad Of Curtis Loew.
This title is not eligible for discount.1. Sweet Home Alabama
2. I Need You
3. Don't Ask Me No Questions
4. Workin' For MCA
5. The Ballad Of Curtis Loew
6. Swamp Music
7. The Needle And The Spoon
8. Call Me The Breeze$34.99200 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Among The Ghosts (Pre-Order)Release Date: August 3, 2018*
Lucero's ninth studio album, Among the Ghosts, is their first for noted Nashville indie label Thirty Tigers. It was recorded and co-produced with Grammy-winning engineer/producer and Memphis native Matt Ross-Spang (Jason Isbell, Margo Price, Drive by Truckers) at the historic Sam Phillips Recording Service, the studio built by the legendary producer after outgrowing his Memphis Recording Service/Sun Studio.
Recorded primarily live as a five-piece, Among the Ghosts eschews the Stax-inspired horns and Jerry Lee Lewis-style boogie piano featured on some of the band's past recordings for a streamlined rock & roll sound that pays homage to their seminal influences as it seeks to push that legacy into the future. For a band who carried the torch of the alt-country movement back in the 90's and helped pave the way for what is now called Americana, Lucero have re-discovered what inspired them in the first place. The sound is more their own and at the same time not exactly like anything they've done before. This is a band settling into their craft. The 10-song disc's title is both a tribute to the spirits which roam the streets of their fabled city, as well as the hard road the determinedly independent band set out on 20 years ago. The band played around 200 shows per year for many of those 20 years.
With a nod to his younger brother Jeff Nichols, an acclaimed filmmaker whose movies include Loving, Mud, Take Shelter, Midnight Special, and Shotgun Stories; Nichols has written songs that are cinematic short stories, steeped in Southern gothic lore. There are nods to regional authors like Flannery O'Connor and Faulkner, as well as newer writers like Larry Brown (Big Bad Love, Fay), Ron Rash (The Cove, The World Made Straight), and William Gay (The Long Home).
As the first album he's written since his marriage and the birth of his now two-year-old daughter Izzy, Nichols approached the task as a narrator rather than in first person. It's a dark palette that includes tales of a haunting ("Among the Ghosts"), a drowning ("Bottom of the Sea), a reckoning with the devil ("Everything has Changed"), a divorce ("Always Been You"), and a shoot out ("Cover Me"). And that's just Side A. Side B is a letter from a battlefield ("To My Dearest Wife"), a crime ("Long Way Back Home"), a straight-out rocker ("For the Lonely Ones") and even a spooky spoken-word cameo from actor Michael Shannon, who has appeared in every one of Nichols' brother's films. The song's title "Back to the Night" references a line from Nick Tosches' Jerry Lee Lewis biography, Hellfire. In addition, there's a song Nichols wrote for his brother's movie Loving, which appeared in the film and on the soundtrack, re- recorded for Among the Ghosts with the whole band.
"You could also say there's a rescue, a getaway, a survival story and a middle finger to Satan himself," laughs Nichols. "It's all in your perspective."
Several songs juxtapose going off to battle with a rock & roll band's endless touring, shifting time periods like the spirits which haunt the album, the happiness of domestic bliss undercut with fears of loss and the specter of mortality. Among the Ghosts simultaneously reprises the past and looks to the future, while being firmly anchored in the present.
Musically, the band highlights range from co-founding member Brian Venable's Dire Straits-meets-War on Drugs guitar pyrotechnics in "Bottom of the Sea" and "Cover Me" to the Springsteen vibe of "For the Lonely Ones," Rick Steff's skeletal piano lines on "Always Been You," John C's bass lines in "Everything Has Changed" and "Long Way Back Home," and drummer Roy Berry's dynamic shifts from the powerful and brutal title track "Among the Ghosts" to the marching drive of "To My Dearest Wife" and the subtlety of "Loving." Throughout, Nichols' bourbon-soaked growl has become even more distinctive and commanding.
Among the Ghosts offers a timeless perspective on Lucero's distinctive sound. The lyrics could've been written 200 years ago or yesterday. Representing a new South compared to the one that's been mythologized, Lucero have formulated their own ideas and culture which, in some cases, contradicts what came before them (no Confederate flags), but also updates and reconsiders those traditions in a new light.
"I think we've tried to remake this place that we love and cherish in our own fashion. We are very proud of where we are from and we've spent the last 20 years trying to bring a bit of our version of home to the rest of the world It may have taken 20 years, but everything has fallen in place right where it needs to be," acknowledges Nichols. "There were some dark days in those middle years, but we've learned how to do this and survive. We still write heartbreak songs, but now, with a family at home, it's a whole new kind of heartbreak."
Among the Ghosts lays out that new territory with alacrity, as Lucero shines their Morning Star, burning just as brightly, if not more so, 20 years later. As one of the album's song titles so aptly puts it, "Everything Has Changed," but one thing hasn't Lucero's music remains more vital than ever.
*Please note that release dates are subject to change.1. Among the Ghosts
2. Bottom of the Sea
3. Everything Has Changed
4. Always Been You
5. Cover Me
6. To My Dearest Wife
7. Long Way Back Home
9. Back to the Night
10. For the Lonely Ones$19.99Vinyl LP - Sealed PRE-ORDER Buy Now
Viva ElvisViva Elvis, the album, is a 21st century celebration of Elvis Presley and his music, featuring the voice of the king in a whole new context. The undisputed King of Rock 'n' Roll, Elvis Presley, remains one of the most iconic and powerful forces in popular culture.
Before Elvis, said John Lennon, There was nothing. After Elvis, the world looked and sounded different. With a swivel of his hips and the power of his voice, Elvis broke down barriers and shattered the status quo, revolutionizing the world of music, film and fashion, while signaling a seismic shift in gender, class, race and generational relationships.
This revolution continues with Viva Elvis, the album. This postmodern studio masterwork invokes the spirit and essence of Elvis from a contemporary perspective, while furthering the revolutionary impulses of Elvis' sound. Viva Elvis re-imagines the King's own vocal performances in a broad variety of new musical settings.
This new sound echoes Elvis' own versatility and ability to master all music genres, from Delta blues to rockabilly, from raw soul to gospel, from Southern folk to Vegas pop, while incorporating elements of garage rock, punk, urban and hip-hop. Viva Elvis is the result of a partnership with Cirque du Soleil, who also produced the Beatles Love.1. Opening
2. Blue Suede Shoes
3. That's All Right
4. Heartbreak Hotel
5. Love Me Tender
6. King Creole
7. Bossa Nova Baby
8. Burning Love
10. Can't Help Falling In Love
11. You'll Never Walk Alone - Piano Interlude
12. Suspicious Minds$24.99Vinyl LP - Sealed Buy Now
ADAD-PAR-6848xJake Xerxes Fussell
Jake Xerxes FussellThe Southern half of the Georgia-Alabama border follows the Chattahoochee River, which cleaves Columbus, Georgia from its decidedly less reputable neighbor, Phenix City, Alabama. Georgia's second city is the hometown of "Mother of the Blues" Ma Rainey and novelist Carson McCullers, but it was local hillbilly duo Darby and Tarlton's 1927 hit "Columbus Stockade Blues" that first immortalized Columbus in popular culture. Back in their day, if you ended up in lockup in Columbus, chances are you did your dirtiest deeds across the river. Historically rife with vice of every conceivable variety-gambling, prostitution, moonshining, and endemic corruption and violence perpetrated by both gangs and police-the notoriously anarchic Phenix City was once known as "The Wickedest City in America."
A similar frontier liminality and skewed sense of place characterize the music of Durham, North Carolina singer and guitarist Jake Xerxes Fussell, whose self-titled debut record, produced by and featuring William Tyler, transmutes ten arcane folk and blues tunes into vibey cosmic laments and crooked riverine rambles. Jake Xerxes (yes, that's his real middle name, after Georgia potter D.X. Gordy) grew up in Columbus, son of Fred C. Fussell, a folklorist, curator, and photographer who hails from America's Wickedest City. Fred's fieldwork took him, often with young Jake in tow, across the Southeast documenting traditional vernacular culture, which included recording blues and old-time musicians with fellow folklorists and recordists George Mitchell and Art Rosenbaum (which led Jake to music, and to some of the songs herein) and collaborating with American Indian artists (which led Jake eventually to his graduate research on Choctaw fiddlers.)
As a teenager Jake began playing and studying with elder musicians in the Chattahoochee Valley, apprenticing with Piedmont blues legend Precious Bryant ("Georgia Buck"), with whom he toured and recorded, and riding wild with Alabama bluesman, black rodeo rider, rye whiskey distiller, and master dowser George Daniel ("Rabbit on a Log"). He joined a Phenix City country band who were students of Jimmie Tarlton of Darby and Tarlton; he accompanied Etta Baker in North Carolina; he moved to Berkeley, where he hung with genius documentary filmmaker Les Blank and learned from Haight folkies like Will Scarlett (Jefferson Airplane, Hot Tuna, Brownie McGhee) and cult fingerstyle guitarist Steve Mann ("Push Boat"); he appeared on A Prairie Home Companion. He did a whole lot of listening, gradually honing his prodigious guitar skills, singing, and repertoire. In 2005 he moved to Oxford, Mississippi, where he enrolled in the Southern Studies department at Ole Miss, recorded and toured with Rev. John Wilkins, and, last year, met up with acclaimed artist William Tyler to begin recording his first solo album.
Collaborating with Tyler and engineer Mark Nevers in Nashville was a conscious decision to depart cloistered trad scenes and sonics for broader, more oblique horizons. Tyler, a guitar virtuoso known for his own compositions that untether and reframe traditional six-string forms and techniques, helmed the push boat in inimitable fashion, enlisting crack(ed) Nashville session vets Chris Scruggs (steel guitar, bass, fiddle: Bonnie "Prince" Billy, Marty Stuart), Brian Kotzur (drums: Silver Jews), and Hoot Hester (fiddle: Bill Monroe, Ray Charles) to crew.
So it's no accident that Jake approaches the songs and styles represented here with both interpretive respect and unfussy irreverence, imbuing them with equal parts vaporish, percolating atmosphere and academic rigor, honoring the folksong headwaters by emphasizing their liquid mutability, alien strangeness, and sly humor above preconceived notions of static authenticity. Fussell recognizes that folk revivalist preciousness about spurious genre boundaries often feels absurdly at odds with the unruliness and restlessly inventive practices of tradition bearers-no revival or reenactment gear is necessary when the music lives and breathes and throws around hips and knees like these. Likewise, when you examine their lyrical content, ostensibly linear tales about rivers and work (labor of the hands, as in "Boat's up the River" and "Man at the Mill" and labor of the heart, as in "Star Girl" and "Pork and Beans") reveal themselves as fractured, riddled with narrative lacunae that open up the texts as squirrelly riddles or gentle metaphysical jokes.
For Fussell, these odd disjunctures demonstrate the way that verses and choruses, the stories we tell, disintegrate and erode over time, worn smooth as river stones and transmogrified by their repeated telling, more lovely for their fissures and absences than for any imaginary original integrity. (Aptly, "Chattahoochee" may mean something like "writing on rocks" in Muscogee or Yuchi.) Each song rendered here contains its own twinned inversion-its own Columbus, its own Phenix City-and Jake navigates their shoals with intuitive grace and authority.1. All in Down and Out
2. Let Me Lose
3. Star Girl
4. Raggy Levy"
5. Rabbit on a Log
6. Boat's up the River
7. Man at the Mill
8. Push Boat
9. Georgia Buck
10. Pork and Beans$21.99Vinyl LP - Sealed Buy Now
HollyThink music ain't what it used to be? Then you haven't heard Nick Waterhouse. His jumped-up take on 1950's rhythm 'n' blues is the real deal."
A timeless talent for spirited rock and rhythms that anyone can appreciate.
He draws from the classic sound of '50's American pop with a distinctive
voice of his own, shouting and growling with infectious vigor."
Waterhouse is definitely a star."
- LA TIMES
The music sounds like a party in full swing, each instrument playing exactly what is needed."
- CHICAGO TRIBUNE
Between the chattering keys, bomping saxes, gorgeous guitar tones and
the bandleader's voice-which slides effortlessly from cool quaver to feral
howl - the end result is undeniable."
Nick Waterhouse's art springs from a simple idea: everybody wants to be sombody else. One of his heroes, Van Morrison, got his start covering Bobby
Bland, whose own musical idol was Nat "King" Cole. In Waterhouse's view,
emulation is a journey; you never truly succeed, but as the singer, guitarist and songwriter puts it, "You become something on the way there."
Nick was born in 1986 and grew up in Huntington Beach, known predominantly for
UFC, commercial surf culture, and tanning salons. He established his musical sensibilities in the middle of the burgeoning southern California Psych-Garage scene (Burger
records, Ty Segall, McHugh's Distillery studio) while retaining his unique perspective
on the spirit of American Rhythm & Blues and Rock & Roll.
Waterhouse started performing as a teenager. "It was really motivated by fear," he
recalls. "I'm kind of an introvert, so it was an uncomfortable situation. It was a way
to force a crisis." The young artist experienced an exhilaration he'd never felt before,
and hasn't found anywhere else since. "It's a feeling of heightened awareness that goes
beyond pleasure," Waterhouse explains. "It has something to do with seeing ahead in
time and behind in time all at once. You don't just get the immediate reward; you get
the potential that rewards you the same way."
Waterhouse explored the idea of potential on his breakthrough single, "Some Place," a
beautifully lean, propulsive track recorded at all-analog studio the Distillery and self
released in 2010 on his own Pres label. "Well, there's someplace that I'd rather be,"
Waterhouse sang in a fierce yet plaintive register. "And it's something that's been on my
mind almost constantly."
These days, Waterhouse is a successful recording artist, with one well-received LP and
and several high-profile tours and collaborations to his name. But his latest work still
embodies the struggle of his early forays. During "This Is a Game," Waterhouse sets up
a snarly, post-surf guitar solo with a succinct statement of a cynical outlook: "This is a
game / Please remember my words / And don't get upset when you don't get what you
think you deserve." And on the gothic-soul strut "Let It Come Down," he meditates on
the inevitability of pain. "If there's gonna be rain tonight," he sings in a stoic croon.
"Let it come down."
It's clear from this material that Waterhouse is in the midst of his own becoming. He
isn't the type to let ecstasy take over, like Van Morrison, or to drawl away in a consummately laid-back register, like Mose Allison. In the tension between his wry lyrics and
crisp arrangements, you hear the expression of a worldly skeptic who's also-when it
comes to his art-a sanctified believer. Whoever it was that Nick Waterhouse wanted to
be matters less now; these days, he just sounds like himself.1. High Tiding
2. This Is A Game
3. It no. 3
4. Let It Come Down
5. Sleepin' Pills
7. Dead Room
8. Well It's Fine
9. Ain't There Something Money Can't Buy
10. Hands On The Clock$18.99Vinyl LP - 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
Images 13 (Out of Stock)
"Dex Romweber was and is a huge influence on my music. I owned all of his records as a teenager, and was thrilled at the fact that we were able to play together recently on tour. [He is] is one of the best kept secrets of the rock n roll underground." -Jack White, White Stripes
For a quarter century, Dex Romweber has trolled the dark corners and back shelves of the haunted thrift store of Americana ephemera and honed an extraordinarily idiomatic sound, a particular and readily identifiable DEXness for those in the know. It's a creepy doll collection of surf, proto-rockabilly, garage, dark and vengeful blues, and nobody, but nobody, plays it like Dex. First with the legendary Flat Duo Jets and now with his Duo, Dex distilled the punk ethos of less-is-more to the essential guitar/drums template. Left in the wake of his lecherous and slithery Silvertone were early acolytes like Jack White, Neko Case, and the Reigning Sound as well as a current crop of the indie pack like Ty Segall, No Age, Japandroids, and The Black Keys. All owe an unclaimed pawn ticket of debt to his sublime and spine-tingling sound. He is a live wire back to the murky, sometimes dangerous and always unpredictable headwaters of real rock and roll.
Dex, with his whip-wristed sister Sara Romweber on drums, take Images 13 through neon-lit alleys, full of pulp fiction juvey rock, sci-fi theme songs and greasy denim hipster jive. Effortlessly versatile and raucously dismissive of genre constraints, exciting and darkly romantic, Images 13 would make everyone from Duane Eddy to Stan Kenton to Lenny Bruce crack a smile, a joke or the seal on a fifth of rye and head for the Naugahyde ice bucket.
Recorded at Rick Miller's (Southern Culture on the Skids) Kudzu Ranch studio in North Carolina, the album bristles with a sense of drama, of tension, of release, of mystery. "Roll On" and "Long Battle Coming" display the cinematic sleaze nestled between The Cramps and West Side Story. Eerie ballads "Baby I Know What It's Like to be Alone" and "I Don't Want to Listen" reveal the crooning, bruised romantic, the harsh morning light of a strange hotel room, a Raymond Chandler novel on the bedside table. "Beyond the Moonlight" is part sea shanty longing and part campfire revival. Then, just as easily, the instrumentals take center stage. "Blackout!" updates Henry Mancini's Peter Gunn theme with a dynamic tension and sly cool, and Dex and Sara attack the big waves off Maui with a chaotic rush on "Blue Surf" - his guitar guiding you into the sweet spot of the pipeline and her drums pounding you into the sand. Hey Tarantino, wake up!
Digging into the skeleton-filled rock 'n' roll closet, Dex Romweber Duo comes up with some obscure and wonderful gems. The early Who track "So Sad About Us," featuring Mary Huff (SCOTS) on vocals, hits an uncharacteristically sunny power pop vibe. The hopeful "We'll Be Together Again" written by Eddie Cochran's girlfriend Sharon Sheeley about his death in a car accident (that she and Gene Vincent survived). The song was never released formally but recorded by Jackie DeShannon in the early '60s. Finishing up the album is the music of Harry Lubin, who did theme music for shows like The Outer Limits and One Step Beyond. "Weird (Aurora Borealis)" is the music from the latter when ghosts, UFO's, or odd paranormal experiences begin to rear their strange heads, complete with tribal drums and Melissa Swingle (Trailer Bride, The Moaners) on the saw.
Flat Duo Jets - so often emulated, so rarely duplicated - released the first of nine albums in 1990 to rave reviews worldwide. They starred, alongside R.E.M. and The B-52s, in the 1987 cult classic film Athens, GA: Inside/Out. Their first national tour in 1990 was as opening act for The Cramps and they made a stunning impression on Late Night with David Letterman. Dex Romweber Duo's first record Ruins of Berlin featured guest appearances by Neko Case, Cat Power, and Exene Cervenka. Dex was name-checked by Jack White in the guitar superstar documentary It Might Get Loud, and the Duo recorded a single and live album with White for his label Third Man Records in 2009. Subsequently, the Duo has shared the stage with dozens of rock icons including Wanda Jackson, Cat Power, Neko Case, and The White Stripes. In 2012, the documentary about Dex's sometimes harrowing career Two Headed Cow was released.1. Roll On
2. Long Battle Coming
3. Baby I Know What It's Like To Be Alone
4. So Sad About Us
5. Prelude in G Minor
7. I Don't Want To Listen
8. Beyond The Moonlight
9. We'll Be Together Again
10. Blue Surf
11. One Sided Love Affair
12. Weird (Aurora Borealis)$16.99Vinyl LP - Sealed Temporarily out of stock