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UnexpectedGRAMMY Award winner Jason Crabb is well-known as one of the most compelling voices in Christian music. With his power, range and passion, his musical style seamlessly varies between gospel, country, pop and southern gospel. With his solo debut on Daywind Records, fans of that incredible talent will gain a deeper understanding of the heart behind the voice.1. Expect The Unexpected
2. Chose To Be My Friend
3. Short Are The Years
4. Washed By The Water
5. Day One
6. Let It Be Love
7. He Made You
8. The Love In Your Heart Knows$19.99Vinyl LP - Sealed Buy Now
Southern AvenueSouthern Avenue is a Memphis street that runs from the easternmost part of the city limits all the way to Soulsville, the original home of Stax Records. Southern Avenue is also the name of a fiery young Memphis quintet that embodies its home city's soul, blues and gospel traditions, while adding a youthful spirit and dynamic energy all their own. "If Memphis is a genre, this is it!" proclaims American Blues Scene and Rock 103FM calls Southern Avenue "The most talked about band in Memphis."
Their self-titled debut album is a breath of fresh air with its own unique blend of gospel- tinged R&B vocals, roots/blues-based guitar work and soul-inspired songwriting. And Southern Avenue's upcoming release on the fabled Stax label is a testament to the young combo's talent and vision.
Southern Avenue features five young but seasoned musicians who came from diverse musical and personal backgrounds to create music that spans their wide-ranging musical interests, while showcasing the powerful chemistry that the group has honed through stage and studio experience.
Southern Avenue encompasses Memphis-born, church-bred sisters Tierinii and Tikyra Jackson, respectively a soulful, charismatic singer and a subtle powerful drummer; guitarist Ori Naftaly, an Israeli-born blues disciple who first came to America as an acclaimed solo artist; versatile jazz-inspired bassist Daniel McKee; and the band's newest addition, keyboardist Jeremy Powell, an early alumnus of Stax's legendary music academy.
The band members' diverse skills come together organically on Southern Avenue, scheduled for release on February 24, 2017 via Stax Records, a division of Concord Music Group. Produced by Kevin Houston (North Mississippi Allstars, Lucero, Patty Griffin), the 10-song album features guest appearances from Luther Dickinson of the North Mississippi Allstars and trumpeter Marc Franklin of the Bo-Keys. But it's Southern Avenue's own potent musical chemistry that drives such sublimely soulful originals as Don't Give Up, What Did I Do, It's Gonna Be Alright, Love Me Right and Wildflower. The band also pays tribute to its roots with an incandescent reading of Ann Peebles' Memphis soul classic Slipped, Tripped and Fell in Love.
The seeds for Southern Avenue's birth were planted when Ori Naftaly, who'd grown up in Israel with a deep-rooted passion for American blues and funk, came to Memphis in 2013 to compete in the prestigious International Blues Challenge. That experience led to Naftaly moving permanently to Memphis and successfully touring the United States with his own band. Although his talents were embraced by American audiences, Naftaly felt constrained in his own band, feeling the need to include a more expansive, collaborative musical vision. That opportunity arrived when he met Memphis native Tierinii Jackson, who'd gotten her start singing in church, before performing in a series of cover bands and theatrical projects.
According to Ori, When I saw Tierinii perform, I thought, 'This is why I came to America.' I met her and we clicked. At our first rehearsal, she told me that her sister was a drummer, and she thought it would be great to have her in the band. We had such a good vibe, and suddenly I didn't care so much about my solo thing.
I initially clicked with Ori really well, but it was his project, Tierinii remembers. Then he came to me and said 'I want this band to be a collaboration, I want this to be our vision and our music.' So we started writing together, and that's when I realized that we were really the same musically.
We started over, Naftaly continues. We threw out most of the songs I'd been playing in my solo band, and Tierinii and I wrote a whole new set, and we became Southern Avenue. The more we played together, the closer we got, and the more we became a family. We started getting a different kind of crowd, and from there things escalated quickly.
Ori said, 'My band is done, this is y'all's band,' Tierinii recalls. We all quit our other gigs and started focusing on this, working and writing and living together in a way that you don't experience when you're playing somebody else's music. Now we're playing songs that we wrote ourselves and we're playing them from our hearts. That is when I realized that we had something special. Despite not having a record deal, Southern Avenue quickly found success touring in America and Europe. They won additional attention playing some prestigious festivals and competing in the International Blues Challenge, in which they represented Memphis. Less than a year after the band's formation, they were signed to the resurgent Stax label.
I feel like being on Stax is a responsibility, says Tierinii. I grew up in Memphis, seeing the name Stax everywhere. It was a constant presence, and now it's up to us to live up that. I feel like this band can be a platform to do a lot of positive things for the city of Memphis. I want to change the world, but Memphis is home. Tierinii views Southern Avenue as a perfect soundtrack to our first year together. We wrote these songs in our first nine months of being a band. We'd all done so many things and come from so many different places, but the music represents all of us. It's been a real crash course, she continues. We've haven't been a band for very long, but what we have feels very special, and it's made us a strong unit. I think that we represent something that people need to see right now.
This band has already made our dreams come true, Ori concludes. I've waited all my life to be in a band like this, and it's amazing to me that I get to play with these people every night. Our goal is to keep doing this for a long time and leave our mark. We're trying to build a legacy.1. Don't Give Up
2. What Did I Do
3. It's Gonna Be Alright
4. Slipped, Tripped And Fell In Love
5. Love Me Right
6. 80 Miles From Memphis
8. No Time To Lose
10. Peace Will Come$21.99Vinyl LP - Sealed Buy Now
CITH-4MEN-4514xThe Staple Singers
Hammer And Nails"Hammer And Nails" is a reissue of the classic 1962 release by The Staple Singers. This album showcases the group in their Southern Gospel prime on the title track, "Gloryland" and "Nobody Knows The Trouble I've Seen". The group would go on to soul glory when they signed with Stax Records later in the decade but this is the group doing what they do best - gospel.1. Hammer And Nails
3. Everybody Will Be Happy
4. Hear My Call, Hear
5. Nobody Knows The Trouble I've Seen
6. Great Day
7. I'm Willin' (Part 1)
8. I'm Willin' (Part 2)
9. Do You Know Him?
10. New-Born Soul
11. A Dying Man's Plea
12. New Home$21.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Wayne CochranWayne Cochran! The exclamation point is there for a reason. Known as "The White Knight of Soul," Cochran was flamboyant in both voice and attire. Crowned by a swooping white pompadour, he held back nothing on stage. His performance style was very reminiscent of fellow Georgia native Little Richard Penniman. Like Penniman, music led Cochran to his current career as a minister. Anyone who's ever witnessed a fire-and-brimstone southern gospel service can see the connection between gospel's passion and r&b's groove.
Issued by Chess Records in 1967, Wayne Cochran! captured the outrageous energy of his live show within the album's grooves. This explosive collection of songs proved that Cochran deserved to share the label home of r&b greats like Etta James, Howlin' Wolf and Muddy Waters. Rather than a traditional artist portrait, the front cover features an outline of his white pompadour against a black background. Simple and direct, it stood in stark relief against the sea of day-glo, psychedelic imagery of the day. To put it another way, the cover art clearly conveyed that this album was all killer, no filler.
The original mono version of this LP is incredibly rare and changes hands for princely sums. However, there is no need to empty the savings account now that Sundazed Music has prepared a righteous reissue, in glorious mono! Sourced from the original analog master tapes, this Sundazed edition is 180gm of concentrated soul. Just add a turntable and watch the party spring to life!1. Get Ready
2. Boom Boom
3. The Peak Of Love
4. You Don't Know Like I Know
5. Some-A' Your Sweet Love
6. I'm Leaving It Up To You
7. You Can't Judge A Book By The Cover
8. Big City Woman
9. Little Bitty Pretty One
10. I'm Your Hoochie Coochie Man
11. Get Down With It
12. When My Baby Cries$24.99180 Gram Audiophile Virgin Vinyl LP Mono - Sealed Buy Now
HeroSinger/songwriter Maren Morris is set to release, HERO, the Texas native's first major label full length album. Morris co-wrote the songs that make-up HERO and shared the producing duties along with songwriter/producer busbee, who co-wrote "My Church" the debut hit song by Morris which made Country radio history the first week it hit the airwaves setting the record for the most first week stations at the single impact date for the Billboard Country Airplay chart and Country Aircheck's Mediabase Chart with 107 first week Country radio chart reporting stations spinning the song. The previous record for a debut single was 99.
In addition to "My Church," out of the 11 tracks that comprise HERO is the widely-loved fan favorite "80's Mercedes," steamy "How It's Done," the album closer "Once" which highlights the singer/songwriter's vocal talent and "I Wish I Was" which inspired Morris to name the album HERO.
"'I Wish I Was' is the most autobiographical song on this record and I admittedly was not the hero in that story, but I am the hero in mine. I've come such a long way from who I was in Texas, who I am as a writer, who I am as a woman today. I think the message of this record is self acceptance and awareness, and that to me is heroic."
Morris has already been described as a "one woman southern gospel choir" [Storme Warren, SiriusXM's The Highway] and as 2016 began she appeared on multiple "Watch Lists" including USA Today (5 Musicians To Watch Out For in 2016), SiriusXM (Artists to Watch in 2016), Huffington Post (#1 on their Country Artist's to Watch in 2016), Boston Globe (16 Artists To Look Forward to Hearing in 2016) and Billboard, where Morris was featured as one of seven artists across all genres in the January 16 "Predictions Issue."1. Sugar
3. My Church
4. I Could Use a Love Song
5. 80s Mercedes
6. Drunk Girls Don't Cry
7. How It's Done
8. Just Another Thing
9. I Wish I Was
10. Second Wind
11. Once$18.99Vinyl LP - Sealed Buy Now
Marry MeSt. Vincent is the moniker of singer/multi-instrumentalist/composer Annie Clark and this is her debut full-length. She's opened for such diverse acts as Television, Jose Gonzalez, and Sufjan Stevens, and she's an inventive and versatile guitarist who has also performed with avant-garde composer Glenn Branca. On this record, she writes cinematic pop epics that feel at times like Paris in the 20s before all the fun ended. Or, conversely, an orchestra of pure modernity - a new American music, informed by jazz, gospel blues, Southern folk music, and classical composition but, in the end, an animal original unto itself. She's been compared to everyone from Bjork to Kate Bush to Jeff Buckley, and her beautiful voice melds perfectly with her intricate guitar work.1. Now, Now
2. Jesus Saves, I Spend
3. Your Lips Are Red
4. Marry Me
5. Paris Is Burning
6. All My Stars Aligned
7. Apocalypse Song, The
8. We Put a Pearl Into the Ground
9. Land Mines
10. Human Racing
11. What Me Worry?$22.99Vinyl LP - Sealed Buy Now
The Order Of TimeValerie June's highly anticipated second album, The Order of Time, is set for release via Concord Records. On this enthralling and illuminating leap forward, the Tennessee-bred, Brooklyn-based songwriter weaves electric blues, African rhythms, cosmic atmospherics and delicate soul into an inventive and wholly original rumination on love, family, struggle and the passing of time. Produced by Matt Marinelli (Bad Brains), The Order of Time features twelve original songs all written by June.
Musically, June has refined and expanded her sound on the new album finding space from her previous work in its artful, self-assured restraint and overall cohesion. The collection's finely sketched character studies brim with richness and detail while June's ethereal, wide-open soundscapes provide a sterling backdrop for her remarkable Southern gospel and honey voice. Lyrical touch points such as 'dancing shadows,' 'hot suppers,' 'curious neighbors,' and 'holy water' draw the listener in and root these songs with density and weight.
The "inevitability of change" and "time as the ruler of Earth's rhythm," is the album's foundation, explains June. "And the knowledge that with resilience and faith things can work out."
"Long Lonely Road" is a reflective and somber lament as June's voice reverberates over ringing guitar and unhurried drums, whereas the entrancing blues of "If And" internalizes regret in the face of time's relentless churn. On the spiritual "Astral Plane," June's mystical vocal takes an otherworldly turn, whereas the sumptuous string arrangement on "With You," is reminiscent of Nico's most affecting work. Norah Jones adds her distinctive vocals to three tracks and "Shake Down" sparkles with background vocal contributions from her father, Emerson Hockett and brothers, Patrick and Jason Hockett.
The Order of Time follows June's 2013 breakout LP, Pushin' Against a Stone that established her as one of America's "most intriguing, fully formed new talents" according to the New York Times. She garnered praise from NPR, "a singular performer" and New York Magazine, "a powerful singer and a blunt, bruising songwriter." June also made memorable appearances on The Late Show with David Letterman, CBS Saturday Morning, Rachael Ray, and Austin City Limits. She has toured with Sharon Jones & the Dap Kings and Sturgill Simpson, and performed at Newport Folk Festival, Carnegie Hall, and much more.1. Long Lonely Road
2. Love You Once Made
3. Shake Down
4. If And
5. Man Done Wrong
6. The Front Door
7. Astral Plane
8. Just In Time
9. With You
10. Slip Slide On By
11. Two Hearts
12. Got Soul$21.99Vinyl LP - Sealed Buy Now
The Bees Made Honey In The Lion's Skull (Pre-Order)A repress and repackaging of the modern classic psych-rock/American gospel fusion opus "The Bees Made Honey In The Lion's Skull" by Earth. With special guest collaborator guitarist Bill Frisell. Featuring the exclusive vinyl only bonus track: "Junkyard Priest (with Milky Burgess on slide!) The audio was specifically mastered for vinyl and LP lacquers were cut by Bob Weston (Shellac).1. Omens and Portents I: The Driver
2. Rise to Glory
3. Miami Morning Coming Down II (Shine)
4. Engine of Ruin
5. Omens and Portents II: Carrion Crow
6. Hung from the Moon
7. The Bees Made Honey in the Lion's Skull
8. Junkyard Priest$26.99Vinyl LP - 2 LPs 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
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
The Light (Awaiting Repress)Whether they move minds or bodies, Uncle Lucius is out to make music that can lift
our spirits. And rock our souls.
Though Austin roots band Uncle Lucius has worn a Southern rock tag for most of
its 10-year existence, the band's fourth studio album, The Light, charts a course
designed to convey just how vast that musical territory really is. The Light dips into
regions where blues, R&B, jazz, soul, country and gospel took form, mapping a sound
that captures the true meaning of Americana.
Containing songwriting contributions from all four band members, The Light also
seeks to illuminate a different landscape: the sometimes-rocky terrain of our hearts
and minds. Tracked at Austin's Treefort Studios with producer George Reiff, these 12
songs deliver what guitarist Mike Carpenter, a Houston native, likes to call "Southern
rock for the thinking man. Rock 'n' roll for the soul."
Lead singer, Kevin Galloway, admits his ultimate goal is to turn musical energy into
a catalyst for humanity's evolution. This is music with depth, made by men given to
truth seeking on levels both existential and literal.1. The Light
2. Age of Reason
3. Taking in the View
5. End of 118
6. No Time Flat
7. Wheel's in Motion
8. Gulf Coast Gypsies
9. Flood Then Fade Away
10. Don't Own the Right
11. Nothing to Save
12. Someday is a Far Cry$19.99Vinyl LP - Sealed AWAITING REPRESS Buy Now
Professor 3Professor Rhythm's 1991 recording Professor 3 is a vivid reflection of urban
South Africa as apartheid was ending. Thami Mdluli's production
project had young and old dancing to a sound that sought to unite Blacks
within Southern Africa. "Our music gave hope to the hopeless," he says.
Mdluli's third instrumental album (which contains some background vocals,
to be exact), portrays the moment when the dominant mbaqanga
and American R&B-based bubblegum sounds being produced in Johannesburg
and other urban centers were transforming into house and hiphop-inspired
kwaito. The pop of the 80's and all that went with it-from the
models of synths and drum machines to the lyrical style-gave way to a
changing melodic emphasis and new, much slower tempi using a completely
different rhythmic skeleton.
Upbeat, chipper bubblegum, often with double-time breakdowns and upstroke
syncopations, faded and the sounds began to more closely resemble
those of contemporary Black America-where hip-hop was slowing
down and the bass-lines and melodies were getting moodier, darker in
general. At the same time house music had briefly reached mainstream
acceptance in the States and that popularity continued to feed into awareness
overseas. These two influences blended with the burgeoning house
music scenes in Johannesburg and Pretoria as Professor Rhythm 3 was
being produced in March 1991 (the same year apartheid ended). Mdluli
explains, "We were Influenced by foreign bands and so people updated
According to Mdluli, the evolving sound was bolstered by widening availability
of house and rap records from abroad while, most importantly, an
increasing sense that apartheid might soon be finished was met with a
new positivity vibe society. "1991, '92, '93 Mandela was released. People
were upbeat, they were happy, the music was good."
Professor 3 came out on vinyl as the LP business was dying in South
Africa and sold around 20,000 copies. It was mainly distributed on tape,
which sold closer to 100,000. With the help of engineer Fab Rosso, the
recording features backing vocalists from Mango Groove.
After making a half-dozen records as Professor Rhythm, Mdluli once
again shifted his focus musically. By the mid-90's he had veered off
gospel music-and left playing in bands and started making his own solo
recordings. His enormous success in the gospel realm in the years since
is a remarkable story in its own right, but for now we are only dancing.1. Uskamosothotsa
2. Ubohisa Kanna
3. Via Zimbabwe
4. Raditaba (Nozindaba)
5. Professor 3
6. Zabalaza$20.99Vinyl LP - Sealed Buy Now
Holding All The RosesI think that this record does a really good job of conveying what we do and what we're about, Blackberry Smoke singer-guitarist-songwriter Charlie Starr says of Holding All the Roses, the band's fourth studio album and its first Rounder release. Indeed, Holding All the Roses compellingly captures the energy, attitude and honesty that have already helped to make Blackberry Smoke one of America's hottest live rock 'n' roll outfits, as well as a grass-roots phenomenon with a large and fiercely loyal fan base that reflects the band's tireless touring regimen and staunch blue-collar work ethic.
The 12-song set-produced by Brendan O'Brien, whose previous production clients have included AC/DC, Aerosmith, Pearl Jam, Bruce Springsteen and Neil Young-showcases the Atlanta-based quintet's emotion-charged mix of bluesy rock, gospel soul, and country, with Starr's raspy twang matched by his and Paul Jackson's snarling guitars, Brandon Still's hauntingly expressive organ and piano, and the propulsive sibling rhythm section of Richard and Brit Turner. The songs' musical and emotional appeal is further elevated by the band's three-part vocal harmonies and expanded arrangements that make judicious use of fiddle and added percussion.
The five musicians' instinctive musical rapport manifests itself equally strongly on such surging rockers as Let Me Help You (Find the Door), Living in the Song and Wish In One Hand, and on such intimate, introspective tunes as Woman in the Moon, Too High and the stirring, acoustic-textured No Way Back to Eden. The album's musical and emotional depth demonstrates how Blackberry Smoke continues to extend and expand the Southern rock tradition.1. Let Me Help You (Find the Door)
2. Holding All the Roses
3. Living in the Song
4. Rock and Roll Again
5. Woman in the Moon
6. Too High
7. Wish in One Hand
8. Randolph County Farewell
9. Payback's a Bitch
10. Lay It All on Me
11. No Way Back to Eden
12. Fire in the Hole$25.99Vinyl LP - Sealed Buy Now
The Glory RoadHer voice was all Saturday night, delivered on a Sunday
morning. Patsy on Jesus. Elvis without the pelvis. Fern
Jones' only album, released by Dot Records in 1959,
captured 36-year-old Sister Fern as she anointed
church music with the same untamed energy that
younger white Southerners were bringing to their rock
'n' roll. Produced by Mac Wiseman and showcasing crack
Nashville session players Hank "Sugarfoot" Garland,
Floyd Cramer, Joe Zinkan, and Buddy Harman fresh
off their June 1958 session with The Pelvis, Singing A
Happy Song should've taken Jones from dusty canvas
big tops to the Opry's storied stage. But with no 45 to
flog, Jones instead sold nary a record and never did hear
herself on the radio. Her fiery rockabilly gospel was a
few shades too radical for the conservative, traditional,
near puritanical public she played to anyway. Fern
Jones: The Glory Road collects her Singing A Happy
Song LP and cuts including "Didn't It Rain," from her
The Joneses Sing album, into one rousing package,
rich with the details and imagery of a brief career
spent tethered to the hard ground and gazing skyward.
The Glory Road'ssound gnaws at the bit and stands in
reverence, a runaway rockabilly tent show without a
single drop of rain on the horizon.1. You Ain't Got Nothin'
2. I Do Believe
3. I Was There When It Happened
4. Be Thankful You're You
5. Strange Things Happening Every Day
6. I Ain't Got Time
7. Just A Little Talk With Jesus
8. Keeps Me Busy
9. Take My Hand, Precious Lord
10. I Am A Pilgrim And A Stranger
11. Let Tomorrow Be
12. Didn't It Rain
13. When I Meet You
14. By And By
15. I Don't Care What The World May Do
16. This World Is Not My Home$26.99Vinyl LP - 2 LPs Sealed Buy Now
Al Green Greatest HitsRanked 52/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.
Al Green was the first great soul singer of the '70s and arguably the last great Southern soul singer. With his seductive singles for Hi Records in the early '70s, Green bridged the gap between deep soul and smooth Philadelphia soul. He incorporated elements of gospel, interjecting his performances with wild moans and wails, but his records were stylish, boasting immaculate productions that rolled along with a tight beat, sexy backing vocals, and lush strings. The distinctive Hi Records sound that the vocalist and producer Willie Mitchell developed made Al Green the most popular and influential soul singer of the early '70s. Greatest Hits epitomizes that trademark sound with 10 of the R&B legends' all-time classics.1. Tired Of Being Alone
2. Call Me (Come Back Home)
3. I'm Still In Love With You
4. Here I Am (Come And Take Me)
5. Love And Happiness
6. Let's Stay Together
7. I Can't Get Next To You
8. You Ought To Be With Me
9. Look What You Done For Me
10. Let's Get Married$17.99180 Gram Audiophile Virgin Vinyl LP - 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
MUSD-MFSL-399xThe Allman Brothers Band
Brothers And SistersBrothers and Sisters on Numbered Limited Edition 180 Gram LP from Mobile Fidelity
1973 Affair Introduces Southern Rock to Popular Parlance
Unrivaled Sonics: Mastered from the Original Master Tapes, Mobile Fidelity Edition Provides Window Into What Transpired in Macon Studios
Dickey Betts Leads Group Through Mellower Country Rock, Pairs With Pianist Chuck Leavell
Chart-Topping Album Includes Smash "Ramblin' Man" and Favorites "Jessica" and "Southbound"
Brothers and Sisters is significant for myriad reasons. It's the first album the Allman Brothers Band made in its entirety after Duane Allman's death. It also came after bassist Berry Oakley's spookily similar passing, yet he appears on two of the songs. The 1973 set also marks the emergence of guitarist Dickey Betts as the collective's leader. And pianist Chuck Leavell's arrival. But for than anything else, the record remains noteworthy for its incredible soulfulness and completeness.
Mastered from the original master tapes and pressed on dead-quiet vinyl RTI, Mobile Fidelity's 180 gram LP of Brothers and Sisters joins the unparalleled reissue imprint's other Allman titles in presenting the superlative ensemble's work in the most lifelike, uncompromised fidelity possible. Whether it's the feather-light harmonic layering of the collective's background vocals, echoing cavity of Leavell's gospel-tinted piano, skin-against-skin smack of Jaimoe's congas, or sweet dobro lines laid down by Betts, this version betters all previous pressings by bringing you, the listener, as close to the studio as any record feasibly can.
Having stayed at the top of the Billboard charts for five consecutive weeks, Brothers and Sisters constitutes the Allman Brothers Band's biggest commercial triumph. Given the circumstances surrounding its creation, such an accomplishment hardly seemed possible. Fresh from licking their wounds over Duane's tragic motorcycle accident, the group experienced dÉjà vu when Oakley met the same fate just blocks away from where his mate was killed. Rather than collapse, the Allman Brothers Band tightened up and mellowed out, inviting Leavell to join instead of recruiting another guitarist.
What the sextet gets in return for its troubles is music that marks the concrete beginnings of a form that soon become known as Southern rock. Leavell and Betts exchange notes as if the pair has been trading ideas since they were children. Slide guitars still tread over greasy grooves, yet the Allman Brothers Band digs deeper into country dirt, parlaying a twang anchored by Betts' picking and abetted by Gregg's organic, shot-of-blues vocals. The laidback vibe manifests on the signature "Ramblin' Man," a hit evocative of the record's breezy melodies and friendly interplay.
The cover art further reveals the Allman Brothers Band's mindset. Golden, tranquil, idyllic, Southern, loving: It's a paradise-longing view that would soon come crashing down in the group's lives but one that, for the duration and existence of Brothers and Sisters, remains gloriously undisturbed.
This title is not eligible for discount.1. Wasted Words
2. Ramblin' Man
3. Come and Go Blues
4. Jelly, Jelly
7. Pony Boy$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Encore (Awaiting Repress)Encore, the highly anticipated new album from acclaimed singer, songwriter and performer Anderson East, is set for release via Elektra Records.
Encore was produced by Grammy Award-winning producer Dave Cobb and recorded at Nashville's historic RCA Studio along with additional production at House of Blues and Farmland Studio. The album features eleven songs, including "All On My Mind" (written by Ed Sheeran, Johnny McDaid, East and Aaron Raitiere), "King For A Day" (written by East, Chris Stapleton and Morgane Stapleton), "Girlfriend" (written by East, Cobb, Raitiere and Tim Bergling) as well as renditions of songs by Ted Hawkins and Willie Nelson.
The release of Encore culminates a breakout series of years for East following his widely praised debut album, Delilah, which NPR Music called "an eclectic, fully formed debut " Additional critical praise included The Wall Street Journal who described, " highlighted by Mr. East's raw and raspy vocals and a backing band that channels the urgent rhythms and gospel-flavored sounds of '60s R&B and Southern soul music," while American Songwriter asserted, "New artist debuts don't come with much more industry buzz than the first release from singer/songwriter Anderson East For better or worse, that sets expectations higher than those of most new artists. Thankfully, East meets them in 10 tracks and 33 minutes."1. King For A Day
2. This Too Shall Last
3. House Is A Building
4. Sorry You're Sick
5. If You Keep Leaving Me
8. All On My Mind
9. Without You
10. Somebody Pick Up My Pieces
11. Cabinet Door$19.99Vinyl LP - Sealed AWAITING REPRESS Buy Now
The Genius Sings the BluesNumbered Limited-Edition 180g LP from Mobile Fidelity
1961 Collection Gathers 12 Must-Have Songs from Charles' Peak Era
Mobile Fidelity Has Righted the Sonic Wrongs That Plagued Earlier Versions - You Won't Find a Better-Sounding Ray Charles LP
Genius doesnt even begin to describe the greatness of The Genius Sings the Blues. Comprised of a dozen songs Ray Charles made between 1952 and 1960, the collection was released in 1961 by Atlantic Records to counter the singers migration to rival ABC Paramount. What Atlantic originally underestimated is that the album contained many of Charles greatest works, all unified by their bluesy emotions and stirring arrangements. A classic of the soul and R&B canon, The Genius Sings the Blues is a snapshot of the evolution of timeless American music captured by the pianists indelible rhythmic pace, gospel roots, jazz backgrounds, and Southern-styled accents. And its never sounded so good.
From the iconic cover art (a photo of Charles taken by legendary photographer Lee Friedlander) to the distinguished music within, everything about the thematic record is iconic. Now, nearly 50 years later, it can be heard in pristine fidelity sourced from the original mono master tapes. Mobile Fidelitys engineers have taken great pains to ensure that every clink of the piano keys, ache of Charles rolling voice, and rush of the backing arrangements sounds better than they have since first being recorded in the studio. This 180g LP simply lays waste to the competition.
Previous editions of The Genius Sings the Blues, including a remastered digital edition from Rhino, suffered from varying levels, distracting static and noise, and inconsistent vocal balances. Mobile Fidelity has gone back to the original mono master tapes to correct these problems, giving music lovers what is now unquestionably the best-sounding Charles album to stem from his peak era. And these performances are simply on fire.
Whether inhabiting the sadness in Night Time (Is the Right Time) or personifying the loss of Hard Times, Charles invests each song with supreme emotion and undeniable conviction that makes the lyrics ring true and the blues resonate with cathartic pathos. Uptempo country blues numbers (Im Movin On, Early in the Mornin) balance the mournful slow fare, and again prove Charles a master composer, interpreter, and musician who could make any style his own. The Genius Sings the Blues also speaks to legendary jazz pianist Billy Taylors initial impressions of Charles upon hearing him in a way in which few other Charles recordings do.
Taylor recalled: While playing through some new music for a projected Ruth Brown record date, I was asked to listen to an original song played and sung by a young composer and pianist from Seattle, Washington. I can still remember how surprised I was to hear this kind of music from a Northwesterner. He reminded me of Charles Brown, another pianist-singer who was very popular in the Forties, but he had a very personal sound and there was something different about his rhythmic approach. In his handling of melody he seemed to be using devices similar to those used by Dinah Washington and a small group of popular singers who allowed their gospel singing backgrounds to influence their interpretation of popular songs... I was intrigued by the emotional quality projected by both his piano playing and his unusual voice and was not surprised when Ahmet ErtegÜn said that he wanted to let the young musician record some of his own material. He communicates just like the old blues singers, Ahmet said.
Indeed, that innate blues aesthetic dominates this collection, as does Charles distinctive rhythmic mannerisms. Finally, hear them as theyve always been intended to be experienced.
This title is not eligible for discount.1.Early in the Mornin'
2.Hard Times (No One Knows Better Than I)
3.The Midnight Hour
4.(Night Time Is) the Right Time
7.I'm Movin' On
8.I Believe to My Soul
10.Mr. Charles' Blues
11.Some Day Baby
12.I Wonder Who$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Reach For The Sky
The Allman Brothers Band/Friday Music 180 Gram Audiophile Vinyl Series Begins!
First Time 180 Gram Audiophile Vinyl & Gatefold LP Artwork
Featuring Gregg Allman, Dickey Betts, Butch Trucks, Jai Johanny Johanson, Dan Toler & David Goldflies
Mastered Impeccably By Joe Reagoso At Capitol Records And Manufactured At R.T.I.
The Allman Brothers Band continue to be known as one of the original rock super groups of
the late sixties who have a knack of mastering rock and blues grooves drenched in gospel, soul
and country rock. With a plethora of amazing albums over their almost five decade career, The
Allman Brothers Band have truly created some of the finest music ever waxed for the classic
In 1980, The Allman Brothers Band greeted the new decade with a smokin' new line-up,
a new label and a great new recording with Reach For The Sky. This stunning Arista Records
release featured a good amount of AOR radio classics like Dickey Betts' Hell & High Water,
Gregg Allman's stellar Mystery Woman, the magnificent instrumental From The Madness Of The
West, plus a surprise hit single with their southern rock classic Angeline. Augmented with two
new band members the late great "Dangerous" Dan Toler on guitar and David Goldflies on bass,
this top selling rock classic hasn't been available on vinyl for many decades that is until now!
Friday Music is very proud to announce for the first time ever the stunning 180 Gram
Audiophile Vinyl and gatefold cover presentation of Reach For The Sky by The Allman Brothers
Band. Mastered impeccably by Joe Reagoso at Friday Music Studios and Capitol Mastering in
Hollywood and manufactured at R.T.I., this original Arista Records classic truly reaches sonic
heights in the audiophile vinyl domain. We have also included the original artwork elements and
photos not seen in LP cover form in years!
Angeline1. Hell & High Water
2. Mystery Woman
3. From The Madness Of The West
4. I Got A Right To Be Wrong
6. Famous Last Words
7. Keep On Keepin' On
8. So Long$29.99180 Gram Audiophile Virgin Vinyl LP Buy Now
Front Porch SessionsSouthern Indiana-bred singer-guitarist Reverend Peyton is the bigger-than-life frontman of Reverend Peyton's Big Damn Band. He has earned a reputation as both a singularly compelling performer and a persuasive evangelist for the rootsy country blues styles that captured his imagination early in life and inspired him and his band to make pilgrimages to Clarksdale, Mississippi to study under such blues masters as T-Model Ford, Robert Belfour and David "Honeyboy" Edwards.
That passionate inspiration has made Reverend Peyton's Big Damn Band America's foremost country blues outfit and fuels the Rev's new release, The Front Porch Sessions. Peyton's dazzling guitar mastery is equaled here by his knack for vivid, emotionally impactful songwriting, and his originals are matched in their authenticity by the deeply felt vintage blues tunes that he covers. The album showcases the Rev's irrepressible personality while echoing the enduring spirit of such acoustic blues icons as Charlie Patton, Blind Willie Johnson, Bukka White and Furry Lewis, whose "When My Baby Left Me" receives a memorable reading.
"It started as a literal whim on my part, but it turned into something really special," Reverend Peyton says of this new collection. "I wanted it to feel like you're on my front porch. You can almost hear the wood creaking."
The Front Porch Sessions maintains a potent level of intensity throughout, from the upbeat optimism of the album-opener "We Deserve a Happy Ending" to the blunt slice-of-life rural reality of "One More Thing" to the rollicking, playful swagger of "Shakey Shirley," "One Bad Shoe" and "Cornbread and Butterbeans." Meanwhile, the instrumentals "It's All Night Long" and "Flying Squirrels" demonstrate the Rev's nimble, imaginative guitar work."
I didn't have much planned when I went into the studio," the Reverend notes. "I went into the studio with some new songs and some old songs that I've always wanted to try. At first, I thought 'Well, maybe we'll make it a download or release a single.' But it took on a life of its own, and when it was all said and done, I was as proud of it as anything I've ever done. To me, it was a lesson in not overthinking things; I just went in and let my gut guide me."
We recorded this album at a studio called Farm Fresh, which is right down the street from my house," he continues. "It's in the shade of the oldest poplar tree in Indiana, and there's a graveyard next to it and train tracks run across there. In fact, I think you can hear the train on one track on this record. The studio's in an old church, and the main sanctuary is the tracking room, so the haunting reverb that you hear is that room.
"We used a lot of vintage gear in the recording. I love that organic sound, and I'm always chasing that in everything I do. I just like things that feel timeless. Feeling timeless to me is way more important than feeling old. When you try to make something sound old, you're trying too hard."
That lifelong pursuit of musical authenticity was instilled in his musical consciousness while Peyton was growing up in rural Indiana, where his early love for blues, ragtime, folk, country and other traditional styles gave him a sense of direction that would soon manifest itself in his own music. He and the Big Damn Band won a large and loyal fan base, thanks to their tireless touring efforts and high-energy showmanship, along with such acclaimed albums as Big Damn Nation, The Gospel Album, The Whole Fam Damnily, The Wages, Between the Ditches, So Delicious and the Charlie Patton tribute disc Peyton on Patton.
Despite his prior achievements, the Rev views The Front Porch Sessions as a personal creative milestone.
"This record's very personal for me, because so much of it is just me," he says. "The Big Damn Band is on there, but it's mostly me. There's washboard only in a couple of songs, and the drum kit is a suitcase drum set that we put together in the studio. It's a snapshot of the week we spent in the studio, but it also represents a lifetime of me building up to it."
The Front Porch Sessions has also spawned a series of audio-vÉritÉ companion videos, many of them shot on the Rev's actual front porch, that embody the album's intimacy and immediacy. "A lot of these songs started on the porch, and that's what the videos are," he says. "I'd be pickin' and go, 'I like the way this sounds, let me get my camera.'"
Reverend Peyton has already begun to integrate The Front Porch Sessions' spare approach into the Big Damn Band's expansive live shows, which are renowned for their intensity and abandon.
"In a lot of our shows in the past few years, we'll take a break and I'll come out and do a song or two by myself," he explains. "That brings things down and allows me to do some songs like this. We're definitely gonna be doing more of that, so there's definitely gonna be moments in the shows where you're gonna hear a lot of these songs. We may also do some Front Porch Sessions shows, and maybe present some of our other songs in a more stripped-down way. We did one earlier this year as kind of a test, and that worked really well.
"Over the years, our shows have gotten more dynamic," he continues. "The ups are more up and the downs are more down. That's something that's important to me. If I go and see a show and someone's just standing there and staring at their feet and singing their songs, I feel insulted. That's not a performance. I want to know that you're living that song, not just regurgitating it. I don't think artists should seem like they're too cool for their audience."
The Rev's dedication to delivering the goods on stage is reflected in his flamboyant performance persona. "The Rev is me," he states. "Sometimes that freaks people out, because the person who's on stage is exactly the way I am offstage. I don't know how to separate myself from my music, because it's so personal to me. My mom calls me Rev; it's been my nickname since I was a teenager. It was a name that was given to me by some friends, and it sort of stuck.
"I'm one of those people who feels everything really hard, for better or worse," he continues. "If I'm angry, I'm really angry. If I'm sad, I'm really sad. If I'm happy, I'm really happy. So onstage, I tap into that. There are certain songs that I can't play on some nights, because they're just too sad. That may be the rantings of a crazy person, but it's the God's honest truth."
With The Front Porch Sessions showcasing his expanded musical palette, Reverend Peyton is excited about bringing his new music to his fans.
"I really think it's one of the best things I've ever done," he asserts. "I'm interested in making hand-made American music, and the goal is to be timeless."1. We Deserve a Happy Ending
2. When My Baby Left Me
3. Shakey Shirley
4. What You Did to the Boy Ain't Right
5. One Bad Shoe
6. It's All Night Long
7. One More Thing
8. Flying Squirrels
9. Let Your Light Shine
10. When You Lose Your Money
11. Cornbread and Butterbeans$18.99Vinyl LP - Sealed Buy Now
Sky Blue Sky2-LP Wilco Set also Comes Complete with the CD of the Album!
It's been a while since the last offering from Jeff Tweedy and Co, but three years of slavering from fans is about to be rewarded with this seventh studio album. Well... Sky Blue Sky was well worth the wait! Though Wilco are known as purveyors of alt country rock, Sky Blue Sky is an astounding demonstration of their ability to move between soulful acoustic folk, jazzy blues, country skank and pumping rock. Tweedy has the vocal range of three people, from country lilt to blues ache to folk sweetness - all this often in the space of one song. And what songs they are. 'You Are My Face' is a classic Wilco segue, as a sleepy 'Beatles-esque' ditty is suddenly interrupted with a jazz guitar explosion twinned with Tweedy's achy blues voice before returning seamlessly to piano tinkle and smooth vocals. There are stories of love lost and found, told with originality, humour and sweetness. 'How can I warn you my tongue turns to dust? Lack of disgust doesn't mean that I don't care. It means I'm partially there,' sings Tweedy on the delicately beautiful 'Please Be Patient With Me'. The instrumentation is a mini-rock opera in itself. Glorious riffs, thumping piano and virtuoso guitar solos from Nels Cline are orchestrated with skill, complementing the intricately composed and woven melodies. Simple and soothing, yet rich and rewarding, this is an album you unknowingly yearn for, like a cool hand on a hot forehead. A great album from a band in their prime. Our highest recommedation!
Wilcos first studio album in three years, Sky Blue Sky, has been perhaps the most ardently awaited release of 07. Eager fans had taken to shouting out pleas for information to bandleader Jeff Tweedy during his recent solo acoustic tour, and the web chatter has been virtually deafening. Critic Katie Toms of Londons The Observer addressed fan speculation in an advance review, declaring, with unalloyed delight: Boy, was it worth the wait.... Simple and soothing, yet rich and rewarding, this is an album you unknowingly yearn for, like a cool hand on a hot forehead. A great album from a band in their prime.
Sky Blue Sky is as eloquently straightforward as Wilcos last studio recording, the Grammy-winning A Ghost Is Born, was daringly experimental. Tweedys lyrics deal forthrightly with romantic separation and reconciliation, their bittersweet quality giving way, as the album progresses, to a more uplifting, redemptive mood. Tweedy quite literally banishes the darkness on the penultimate track, the inspiring, gospel-tinged What Lightthe albums first singleand concludes with a deeply affecting, til-death-do-us-part lullaby, On and On and On.
There are hints of early-seventies Southern California folk-rock sweetness in the harmonies throughout the band-produced Sky Blue Sky, a bluesy Allman Brothers feel to the guitar /keyboard interplay, and plenty of brash guitar solos that take songs like You Are My Face and Shake It Off in thrilling, unexpected directions. This is especially good news for the crowds that will fill the Bonnaroo Festival in Manchester, Tennessee, this June, where the band plays the first U.S. date of its 2007 world tour in support of Sky Blue Sky. Principal songwriter Tweedy cut these tracks in the bands Chicago studio with members John Stirratt (bass, vocals), Glenn Kotche (drums), Mike Jorgensen (keyboards), Nels Cline (guitars) and Pat Sansone (guitars, keyboards, vocals)all of whom are also becoming notable performers in their own right. A Ghost Is Born co-producer Jim ORourke returns as music contributor.1. Either Way
2. You Are My Face
3. Impossible Germany
4. Sky Blue Sky
5. Side With the Seeds
6. Shake It Off
7. Please Be Patient With Me
8. Hate It Here
9. Leave Me (Like You Found Me)
11. What Light
12. On and on and on$24.99180 Gram Audiophile Virgin Vinyl - 2 LPs Sealed Buy Now
Richland Woman Blues (Pure Pleasure)
Best known for that ditty about camels, Maria Muldaur has since established herself as one of the finest folk/country/jazz/blues/gospel interpreters ever to have a Top Five single. After 26 years and 24 solo albums, Muldaur -- inspired by a trip to Memphis' Beale Street -- digs deep into her roots and pays tribute to the classic blues women of the '20s and '30s. Aided by the similarly inclined Bonnie Raitt, Taj Mahal, and Alvin 'Youngblood' Hart, Muldaur breezes through 14 tunes from icons Bessie Smith and Memphis Minnie, as well as obscurities from the Reverend Gary Davis, Mississippi John Hurt, and Blind Willie Johnson. Keeping the unplugged accompaniment stripped way down to a single guitar or piano and occasional bass, Muldaur has room to maneuver her evocative vocals that shift from gritty groans to a high-pitched edgy trill. Far from a dry history lesson, these songs are performed with the strength and tenacity of the women who originally sang them. Whether spinning saucy, double entendre lyrics in Me And My Chauffeur Blues (»the way you ride so easy, I can't turn you down«) or longing for her Southern home after moving north during the Depression in Bessie Smith's Far Away Blues, the singer remains invigorated and inspired throughout. By returning to her late-'60s Jim Kweskin Jug Band coffeehouse days, Maria Muldaur has discovered her middle-aged oasis with Richland Woman Blues. And there's not a camel in sight.
- Maria Muldaur (vocal)
- Alvin Youngblood Hart (guitar, vocal)
- Bonnie Raitt, John Sebastian (guitar)
- David Wilkie (mandocello)
- Dave Mathews (piano)
- Roly Salley (bass)
- Angela Strehli, Tracy Nelson (vocal)
Recording: 2001 by John Jacob
Production: John Jacob & Maria Muldaur
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. The One To Sing The Blues
2. I'm So Bad (Baby I Don't Care)
3. No Voices In The Sky
4. Going To Brazil
6. Love Me Forever
7. Angel City
8. Make My Day
10. Shut You Down
11. 1916$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Layla (Awaiting Stock)Ranked 115/500 On Rolling Stone Magazine's List Of The 500 Greatest Albums Of All Time.
Eric Clapton and Duane Allman in the Same Band for the Only Time: Derek and the Dominos' Layla a Timeless Batch of Fire-Pot Blues, Poignant Gospel, Searing Rock, and Lustful Emotion
Mastered from the Original Master Tapes and Pressed at RTI: Mobile Fidelity 180g 2LP of Layla Is the Definitive-Sounding Analog Edition, Presents Music With Immersive Detail and Realism
The reputation of Derek and the Dominos' Layla and Other Assorted Love Songs, their lone record, precedes it. Eric Clapton performing in the studio with Duane Allman, Bobby Whitlock, Carl Radle, and more for the only time. A batch of fire-pot blues, poignant gospel, and searing rock - all birthed from the leader's insatiable lust for his friend George Harrison's wife. Now, experience it all, and one of the most famous guitar solos and codas in history, in unsurpassed sound courtesy of this quintessential Mobile Fidelity reissue.
Mastered from the original master tapes and pressed at RTI, Mobile Fidelity's 180g 2LP set exposes the brilliance of Tom Dowd's original production and the scope of the virtuoso musicians' playing. You've never been closer to the aching vocals, stinging leads, tormented emotions, or wowing intensity that grace every track. Clapton's tones emerge with unprecedented soulfulness. Afforded their own space in the mix, Allman's slide-guitar passages crackle with urgency. All-important sonic components such as soundstaging, imaging, and dynamics transport you to the actual event. Mobile Fidelity's analog version testifies on behalf of why fans deemed Clapton god.
Then, of course, there's the title track - crowned the 27th greatest song of all time by Rolling Stone. What to say about the outro - arguably the most famous, passionately penetrating, visceral, double-edged guitar solo in history. Clapton's strings weeping with longing, hope, regret, unrequited love. It deserves the best-possible sonic platform, and receives it here, on a pressing that brings Slowhand's every finger moment into great relief. Get inside Clapton's head, burrow into the conflicted emotions fluttering in his heart as he pines for his another man's wife, and in the process, produces an album that forever lives in the souls of anyone who's ever loved and lost.
Clapton's pained yearning permeates everything here. Works such as the swampy Tell the Truth, the pleading Why Does Love Got to Be So Sad?, and blues-drenched Have You Ever Loved a Woman? attest to his raw-nerve discomfort, guilt, and desire. He leaves teardrops on the microphone stand and blood on the floor, singing and playing as if his life depends on it and if, by some miracle, the music will serve as both a confessional and apology to Harrison. It's all magnified by Clapton achieving a spiritual and sonic oneness with his band, which matches his high-stakes precision with a rolling, tumbling looseness.
Allman adds firepower and achieves a still-unrivaled simpatico bond with Clapton, but each participant soars. Consider: The call-and-response, Sam and Dave-derived vocal exchanges between Whitlock and Clapton. Rich, creamy, Southern-stoked blends of R&B, blues, and soul. Vibrant tapestries in which the pianos, bass, guitars, and voices explode with ravishing fervor, naturalism, and desperation. Indeed, maybe a combo this great was only intended one shot in the studio. Perhaps the paralyzing degree of potency on display here, and the musicianship that remains the standard by which any blues-rock is judged, is meant to be preserved as one standalone record. Whatever the case, this is the analog version to own.
This title is not eligible for discount.1. I Looked Away
2. Bell Bottom Blues
3. Keep on Growing
4. Nobody Knows You When You're Down and Out
5. I Am Yours
7. Key to the Highway
8. Tell the Truth
9. Why Does Love Got to Be So Sad?
10. Have You Ever Loved a Woman
11. Little Wing
12. It's Too Late
14. Thorn Tree in the Garden$49.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed AWAITING STOCK Buy Now