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50After five decades of recording and touring, veteran British songwriter and guitar sage Michael Chapman has finally made what he calls his "American record," and the aptly titled 50 now stands as his late career masterwork, a moving legacy statement by a legend. Backed by a collaborative group of friends and acolytes-Steve Gunn (who also produced), Nathan Bowles (Pelt), James Elkington (Jeff Tweedy), Jason Meagher (No-Neck Blues Band), Jimi SeiTang (Rhyton), and fellow UK songwriting luminary Bridget St John-Chapman tears into both bold renderings of new songs and radical reinterpretations of material from his revered catalog, the crack band adeptly scaling the same rarefied sonic heights of classic Harvest albums like Fully Qualified Survivor, guided by a true survivor's instinct, wit, and wisdom. The result is a sublime chiaroscuro self-portrait, more shadow than light, as an invigorated Chapman wrestles with weighty themes of travel, memory, mortality, and redemption, his world-weary whispers assuming the incandescent power of prophecy. Deluxe package includes tip-on jacket, printed inner sleeve, and lyrics.1. A Spanish Incident (Ramon and Durango)
2. Sometimes You Just Drive
3. The Mallard
4. Memphis in Winter
5. The Prospector
6. Falling from Grace
7. Money Trouble
8. That Time of Night$23.99Vinyl LP - Sealed Buy Now
Boerum PalaceColored Vinyl
Boerum Palace is Steve Gunn's second album, originally released in 2009. The album starts off with a headlong rush into the hypnotic "Mr. Franklin". Gunn's fluid playing style, especially as portrayed within this track, provides ample space for the development of infectious musical themes. The track ends in a dextrous duel between Gunn's guitar and guest Marc Orleans' (of D. Charles Speer & the Helix, Sunburned Hand of the Man) vicious pedal steel. The album mixes Gunn's long-form blues / raga / psych explorations alongside briefer cuts that equally display his songcraft. These tracks, such as "Variation II" and "Jadin's Dream," demonstrate that Gunn is equally confident with shorter or longer compositions. Gunn's voice is joined by an ethereal turn from the Vanishing Voice's Heidi Diehl on the album's central and haunting "House of Knowledge." The track opens with a building central guitar theme. This theme allows Gunn to layer on further guitar explorations. The tone set by these musical themes builds into the duo's vocal delivery that delivers volumes despite being uttered in gentle tones. Other highlights include "Cryin' Eyes," an inspired reworking of J.J. Cale's "Crying Eyes" featuring backing instrumentation from Marc Orleans, and the richly textured album finale "Mustapha's Exit."1. Mr. Franklin
2. Variation II
3. House of Knowledge
4. Cryin' Eyes
5. Jadin's Dream
6. Dusted Mind
7. Mustapha's Exit$16.99Colored Vinyl LP - Sealed Buy Now
Way Out WeatherHearing Steve, I was completely blown away, beyond; it made me want to be a part of it myself. - Kurt Vile
RA heady and elliptical travelogue, Way Out Weather demonstrates a radical widescreen evolution for Steve Gunn, featuring a larger band and lighting out for lusher, more expansive and impressionistic territories than Time Off (2013). This is the virtuosic guitarist and songwriter's career-defining statement to date, a self-assured masterpiece.1. Way Out Weather
3. Milly's Garden
4. Shadow Bros
8. Tommy's Congo$21.99Vinyl LP - Sealed Buy Now
FRKWYS Vol. 11 - Contos De LisboaFor the the eleventh volume of FRKWYS, an unrestricted series pairing contemporary
artists with their influential predecessors, gifted guitar squire Steve Gunn meets roving,
radiating legend Mike Cooper in Lisbon, Portugal.
Sharing their vision over lengthy living room guitar sessions and evenings of cold wine
in Fado taverns, Gunn and Cooper created Cantos de Lisboa, an album with variable
vernacular shades and musical forms from Portugal's antiquity.
Cantos means "corner" in Portuguese, as well as "chant" or "song" (this latter meaning
evolved from the Latin antecedent referring to stanzas of verse in poetry). For two artists
whose roots lie in the country blues and its subverted offshoots, the proverbial "corner"
is actually home, the undisturbed spot where music can flourish.
A tranquil interlude for these two travellers to create off-guard improvisations in their
shared style of deconstructed guitar music, Cantos de Lisboa is a curious detail in the
periphery of their snapshot of Portugal.
In his fifty-year-plus career, Cooper's global ventures have transported his music to
exotic locales parallel to Lisbon. 2004's Rayon Hula musically translated the patterned
flora of aloha shirts (Cooper's signature garment) as looped samples of famed Hawaiian
vibraphone player Arthur Lyman for an avant vivified form of exotica.
Rayon Hula signaled Cooper's vital re-emergence as a dexterous alchemist of slide
guitar. Cooper's discography is colored with similar instances of casually conceptual,
improvisatory guitar music, including his 1970 masterpiece Trout Steel (an album Gunn
recalls in Cantos de Lisboa's liner notes as shaping his own ambitions and music).
For his part, Gunn's path to Portugal was compelled by his kinship to Cooper and
his ilk's experimentation with guitar-picked country blues and 70s British folk. Gunn's
extracurricular immersion in free jazz and psychedelia, no doubt influenced by his
Philadelphia upbringing and surroundings, ensures his playing never grits or grids and
always soars to ecstatic heights.
These musical emblems were gracefully memorialized on Gunn's celebrated Time
Off (Paradise of Bachelors, 2013) and across a substantial catalog of solo, duo and
ensemble work that resembles that of a veteran player more than a young guitar
On Cantos de Lisboa, Gunn and Cooper take emotive cues from Fado, the regional
music of Portugal, which is in close plaintive spirit to the blues. A melancholy seeps into
the music, while steering a wide berth from any bummer notes or pastiche. Cooper's
sparse effects toolkit and stately, gliding cadences are nimbly employed, while Gunn's
ashen voice and steady strum lend an intensely organic feel to the album's improvisatory
The latter half of Cantos de Lisboa echoes the "saudade" theme as referenced in
the blissful opening track, Cooper's howl spiriting the Portuguese word that translates
roughly into "loss" or "longing." Saudade is said to be the core feature of Fado music. In
Cantos de Lisboa, Saudade becomes a spirit inhabiting the album's corners, but never
disrupting the musicians' collaborative evocations.
In the hands of these two limitless guitarists, Cantos de Lisboa convenes in an abstract,
almost field recorded take on lap-steel and American Primitive guitar styles. For the
brief idyll, Gunn and Cooper's collaboration is remarkably rich, marking their passage
through Portugal not just as a time to revel in an ancient city, but a time for focused
collaboration and creative consonance.1. Saudade Do Santos-o-Velho
2. Pena Panorama
3. Song For Charlie
4. Pony Blues
5. The Enchanted Moura
6. Lampedusa 2013
7. Saramago$23.99Vinyl LP - 2 LPs Sealed Buy Now
The Music From Peter Gunn (Speakers Corner)
This is not only a great LP but a key piece of jazz and pop music history. Back in 1958, Peter Gunn was one of the unexpected hits of the new television season, capturing the imagination of millions of viewers by mixing private eye action with a jazz setting. Composer Henry Mancini was more than fluent in jazz, and his music nailed down the popularity of the series. With the main title theme, a driving, ominous, exciting piece of music to lead off the album, The Music from Peter Gunn became a huge hit, charting extraordinarily high for a television soundtrack and doing so well that RCA Victor came back the next year asking for a second helping (More Music From Peter Gunn) from Mancini.
The music holds up: Session At Pete's Pad is a superb workout for the trumpets of Pete Candoli, Uan Rasey, Conrad Gozzo, and Frank Beach, while Barney Kessel's electric guitar gets the spotlight during Dreamsville; and Sorta Blue and Fallout are full-ensemble pieces that constitute quintessential 'cool' West Coast jazz of the period. In other words, it's all virtuoso orchestral jazz, presented in its optimum form.
- Henry Mancini (arranger, conductor)
- Ted Nash, Ronnie Lang (alto saxophone)
- Dick Nash, Milt Bernhart (trombone)
- Pete Candoli (trumpet)
- Johnny T. Williams (piano)
- Larry Bunker (vibraphone)
- Rolly Bundock (bass)
- Jack Sperling (drums)
Recording: August and September 1958 in Hollywood, CA.
Production: Simon Rady
About Speakers Corner
At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Speakers Corner all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.
During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s - or employed existant tools from the 80s and 90s for manufacturing.
A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.
We should like to emphasise that Speakers Corner Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle. We have one digital recording in our catalogue (Alan Parsons / Eye In The Sky"), but even in this particular case we used the analogue tapes for cutting.
We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.
To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects - excluding the exception above - and that the lacquer discs are newly cut.1. Peter Gunn
2. Sorta Blue
3. The Brothers Go to Mother's
5. Session at Pete's Pad
6. Soft Sounds
8. The Floater
9. SLow and Easy
10. A Profound Gass
11. Brief and Breezy
12. Not from Dixie$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
NansemondNathan Bowles is like my spirit animal. - Kurt Vile
A cinematic suite of contemplative, elastic set pieces that conjures the titular Virginian river/tribe/extinct county, the second solo album by Nathan Bowles (Black Twig Pickers, Pelt, Steve Gunn, Hiss Golden Messenger) deploys banjo, percussion, piano, and voice to explore the rugged country between the poles of Appalachian old-time traditions and ecstatic, minimalist drone. Featuring Tom Carter.1. Sleepy Lake Bike Club
2. The Smoke Swallower
3. Jonah/Poor Liza Jane
5. J.H. for M.P.
6. Golden Floaters/Hog Jank
7. Sleepy Lake Tire Swing$21.99150 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Dead FriendsAustin, TX's Shawn David McMillen has appeared under his own name via Catfish (Tompkins Square), End Of The City (dnt,abandon ship) and now, Dead Friends (Tompkins Square). Past involvements have included Friday Group, Ash Castles, Max Ochs, Jandek, warmer milks, Tom Carter, Christina Carter, Peter Walker, Ralph White, Starving Weirdos, Steve Gunn, Marc Orleans and more recently Gel Jail with Mikey T and Greg Bachus. Dead Friends is Shawns new slow burning record rendered in amber fidelity. From Phantom Rivers to Sick on Navasota its all here.1. Walking Home (At The End of the Night)
2. For Carrie Brown
3. The Moth
4. No Time Left In This Place
5. Night Train
6. A Morning With Dead Friends
7. Frankensteins Kiss
8. Our Weather
9. Beladona Along The Brazos
10. Every Eye$15.99Vinyl LP - Sealed Buy Now
ADAD-PAR-0148xJames Elkington & Nathan Salsburg
AmbsaceThe second album of astonishing duets by guitarists James Elkington (who has toured and/or recorded with Jeff Tweedy, Richard Thompson, and Steve Gunn, among others) and Nathan Salsburg (an accomplished soloist deemed by NPR "one of those names we'll all associate with American folk guitar") is a sublime suite of nimble, filigreed compositions by two singular stylists. Belying its title-"ambsace" is the lowest throw of dice; snake eyes-the record thrives on a gentle empathy and generosity of spirit, sitting sneakily protean original compositions alongside gorgeous arrangements of songs by Duke Ellington and The Smiths at the same big hand-hewn table. "Their playing and guitar tones are so complementary, so perfectly wed that I wouldn't hesitate to put the duo up there with some of the very best acoustic guitar partnerships: Stefan Grossman and John Renbourn come immediately to mind, as does the work of Richard Crandell and Bill Bartels." - Work & Worry1. Up of Stairs
2. Invention #4
3. Dim Recollection
4. The Narrowing of Grey Park
5. The Unhaunted Williams
7. Reel Around the Fountain
8. Great Big God of Hands
9. Fleurette Africaine
10. Bee's Thing
11. Rough Purr
12. Stern and Earnest
13. Slow Train$21.99Vinyl LP - Sealed Buy Now
Works For TomorrowSince first hitting the road in a battered Econoline van in the 1980s, Eleventh Dream Day continues to build on their history by moving forward musically, while never forgetting what inspired them. On Works For Tomorrow, core band members Rick Rizzo, Janet Beveridge Bean, Mark Greenberg, and Douglas McCombs are joined by James Elkington (Tweedy, Steve Gunn), marking the first time the band has recorded with a second guitarist since 1994. Elkington's addition has unleashed the band's strengths. The ferocious and visceral interplay between Rizzo and Elkington charge the band with a joyous exuberance that sweeps the listener in for the 43 minutes of Works For Tomorrow. The album also features performances by long time friend Martin Wenk (Calexico) and Chicago stalwart Rich Parenti on horns. Eleventh Dream Day is known for their raw, inexhaustible live performances. They honed the songs on Works For Tomorrow during an extended residency at Chicago's Hideout Club, and the packed, sweaty energy of those shows is unmistakable on this new recording. Drummer and sometime lead vocalist Janet Beveridge Bean breaks free as never before, her vocals igniting the songs with an animalistic urgency, as she furiously propels the songs with pure command from behind the kit. Works For Tomorrow was recorded and mixed by Greenberg at the Loft (Wilco's studio) and Mayfair Recordings. The 10 tracks on the album center on embracing a future which does not succumb to the past, but challenges it in order to adapt and grow. This reframing and understanding of history is keenly stated in the album's title track when Rizzo sings, "You see her, this must be the beginning or the end of whatever that was." From the reimagined, deliberate version of Judy Henske and Jerry Yester's "Snowblind," to the quieter, melodic tracks like "Deep Lakes," Eleventh Dream Day's fiery performances and inventive arrangements make for the most complex and compelling record of their career. Works For Tomorrow finds the band fixed on the road ahead, barreling toward the horizon with the radio turned up -- way, way up.1. Vanishing Point
2. Works For Tomorrow
3. Cheap Gasoline
5. Go Tell It
6. The People's History
7. Requiem For 4 Chambers
8. The Unknowing
9. Deep Lakes
10. End With Me$18.99Vinyl LP - Sealed Buy Now