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  • Outsider (Pre-Order) Outsider (Pre-Order) Quick View

    $19.99
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    Outsider (Pre-Order)

    THREE DAYS GRACE, the internationally acclaimed and multi-platinum certified Canadian band with over a billion streams on Spotify, will release its new album, Outsider, via RCA. Outsider is the sixth full-length album from the band, and is the group's first since 2015's Human.


    To me, 'Outsider' represents the journey to find your place, says bass player Brad Walst. The world feels crazy at times. We try to get away from that every once in a while. We do our own thing, and we're comfortable doing it. We have always looked forward - and not backwards. That's an ongoing theme.

    Three Days Grace
    $19.99
    Vinyl LP - Sealed PRE-ORDER Buy Now
  • One-X One-X Quick View

    $19.99
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    One-X

    First Time Available On Vinyl


    On ONE-X, the follow up to Three Days Grace's 2003 self-titled platinum debut, the band presents a raw and confessional album with alarming honesty. The album was produced by Howard Benson and mixed by Chris Lord-Alge. Features the hit single Animal I Have Become.

    1. It's All Over
    2. Pain
    3. Animal I Have Become
    4. Never Too Late
    5. On My Own
    6. Riot
    7. Get Out Alive
    8. Let It Die
    9. Over and Over
    10. Time of Dying
    11. Gone Forever
    12. One X
    Three Days Grace
    $19.99
    Vinyl LP - Sealed Buy Now
  • Human Human Quick View

    $19.99
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    Human

    On HUMAN, Three Days Grace re-teamed with producer Gavin Brown who produced the band's platinum-selling 2003 self-titled debut album. "We went back to our roots a bit and recaptured that collaborative feeling of being in a band and bringing out the best ideas in each other," says band member Neil Sanderson. "Gavin was a huge part of that in the beginning and we feel like we're back in those days where we're high-fiving each other with guitars in our hands." In addition, Nick Raskulinecz and Chris Lorde Alge mixed HUMAN. The band has spent much of the year vigorously touring, writing and recording their new album.


    Three Days Grace is Matt Walst (lead vocals), Neil Sanderson (drums, piano, backing vocals), Brad Walst (bass guitar), and Barry Stock (lead guitar).The band holds the record with now 13 #1 singles at Active Rock Radio, more than any other band in history and has sold over 6 million albums in the United States. The band's first single on HUMAN with new singer Matt Walst "Painkiller" celebrates their 12th #1 single and "I Am Machine" is their #13th number one and second single with Matt as their lead singer.


    Their previous album TRANSIT OF VENUS was released in October 2012, debuted #1 on the Hard Rock Chart and Top 5 on the Billboard Top 200 chart, and was nominated for Best Rock Album of the Year by the Juno Awards. TRANSIT OF VENUS spawned three #1 singles "Chalk Outline," "The High Road" and "Misery Loves My Company," Their other #1s include 'World So Cold,""Good Life," "Break," "Never Too Late," "Animal I Have Become," "Pain," "Just Like You" and "Home" from previous albums.

    1. Human Race
    2. Painkiller
    3. Fallen Angel
    4. Landmine
    5. Tell Me Why
    6. I Am Machine
    7. So What
    8. Car Crash
    9. Nothing's Fair In Love And War
    10. One Too Many
    11. The End Is Not The Answer
    12. The Real You
    Three Days Grace
    $19.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Life Starts Now Life Starts Now Quick View

    $19.99
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    Life Starts Now

    First Time Available On Vinyl


    Life Starts Now is the third studio album by Canadian rock band Three Days Grace. The album was originally released on September 22, 2009. After the commercial successful of One-X, the band once again opted to work with producer Howard Benson.

    1. Bitter Taste
    2. Break
    3. World So Cold
    4. Lost in You
    5. The Good Life
    6. No More
    7. Last to Know
    8. Someone Who Cares
    9. Bully
    10. Without You
    11. Goin' Down
    12. Life Starts Now
    Three Days Grace
    $19.99
    Vinyl LP - Sealed Buy Now
  • Three Days Grace Three Days Grace Quick View

    $19.99
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    Three Days Grace

    First Time Available On Vinyl


    Three Days Grace is the self-titled debut studio album by Canadian rock band Three Days Grace. It was originally released on July 22, 2003 via Jive Records.

    1. Burn
    2. Just Like You
    3. I Hate Everything About You
    4. Home
    5. Scared
    6. Let You Down
    7. Now or Never
    8. Born Like This
    9. Drown
    10. Wake Up
    11. Take Me Under
    12. Overrated
    Three Days Grace
    $19.99
    Vinyl LP - Sealed Buy Now
  • Awake Awake Quick View

    $17.99
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    Awake

    Since Skillet last hit the studio for 2006's breakthrough project Comatose, the group's toured with the likes of Breaking Benjamin, Three Days Grace, Seether and Flyleaf, followed by a solo headlining ranking within Pollstar's Concert Pulse Top 50 Tours for 2008. Aside from the commercial accolades, the Grammy-nominated modern rockers are rapidly approaching gold sales status, backed by both public adoration and critical praise, making the brand new Awake the band's most anticipated album to date. The foursome's overwhelmingly satisfied with the entire sonic and thematic palette throughout Awake, which is loaded with plenty of anthems in the making destined to be smash singles and concert sing-a-longs. Skillet's massive fan base (who affectionately refer to themselves as Panheads) are sure to agree, though they'll likely be even more impressed with the lyrical outpouring, which remains a top priority for the players.
    1. Hero

    2. Monster

    3. Don't Wake Me

    4. Awake and Alive

    5. One Day Too Late

    6. It's Not Me, It's You

    7. Should've When You Could've

    8. Believe

    9. Forgiven

    10. Sometimes

    11. Never Surrender

    12. Lucy
    Skillet
    $17.99
    Vinyl LP - Sealed Buy Now
  • Amazing Grace Amazing Grace Quick View

    $22.99
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    Amazing Grace

    Amazing Grace is the fifth album by the British rock band Spiritualized, so named to indicate its considerable gospel influence. After working with free-jazz collective Spring Heel Jack on one of their albums and tour, frontman Jason Pierce was inspired to make a record with the same principles. His approach meant that the rest of Spiritualized was given the songs on the same day as they were recorded, meaning the record (including orchestral overdubs) was completed in 3 weeks. This is a huge difference compared to its predecessor, Let It Come Down, which took four years to record.
    1. This Little Life of Mine
    2. She Kissed Me (It Felt Like A Hit)
    3. Hold On
    4. Oh Baby
    5. Never Goin' Back
    6. The Power and the Glory
    7. Lord Let It Rain On Me
    8. The Ballad of Richie Lee
    9. Cheapster
    10. Rated X
    11. Lay It Down Slow
    Spiritualized
    $22.99
    Vinyl LP - Sealed Buy Now
  • Rise Rise Quick View

    $17.99
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    Rise

    Since Skillet last hit the studio for 2006's breakthrough project Comatose, the group's toured with the likes of Breaking Benjamin, Three Days Grace, Seether and Flyleaf, followed by a solo headlining ranking within Pollstar's Concert Pulse Top 50 Tours for 2008. Aside from the commercial accolades, the Grammy-nominated modern rockers are rapidly approaching gold sales status, backed by both public adoration and critical praise, making the brand new Awake the band's most anticipated album to date. The foursome's overwhelmingly satisfied with the entire sonic and thematic palette throughout Awake, which is loaded with plenty of anthems in the making destined to be smash singles and concert sing-a-longs. Skillet's massive fan base (who affectionately refer to themselves as Panheads) are sure to agree, though they'll likely be even more impressed with the lyrical outpouring, which remains a top priority for the players.
    1. Rise
    2. Sick Of It
    3. Good To Be Alive

    4. Not Gonna Die

    5. Circus For A Psycho

    6. American Noise

    7. Madness In Me

    8. Salvation

    9. Fire And Fury

    10. My Religion

    11. Hard To Find

    12. What I Believe
    Skillet
    $17.99
    Vinyl LP - Sealed Buy Now
  • Led Zeppelin III (Deluxe Edition) Led Zeppelin III (Deluxe Edition) Quick View

    $39.99
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    Led Zeppelin III (Deluxe Edition)


    Deluxe Edition Remastered Vinyl


    Remastered from the Original Master Tapes by Jimmy Page and Pressed at Pallas In Germany


    180 Gram Vinyl In Tri-Fold Sleeve That Includes The Wheel & Die-Cut Holes From Original LP Sleeve


    The Second LP Features Previously Unreleased Studio Outtakes


    On their first two albums, Led Zeppelin unleashed a relentless barrage of heavy blues and rockabilly riffs, but Led Zeppelin III provided the band with the necessary room to grow musically. While there are still a handful of metallic rockers, III is built on a folky, acoustic foundation that gives the music extra depth. And even the rockers aren't as straightforward as before: the galloping Immigrant Song is powered by Robert Plant's banshee wail, Celebration Day turns blues-rock inside out with a warped slide guitar riff, and Out on the Tiles lumbers along with a tricky, multi-part riff. Nevertheless, the heart of the album lies on the second side, when the band delve deeply into English folk. Gallows Pole updates a traditional tune with a menacing flair, and Bron-Y-Aur Stomp is an infectious acoustic romp, while That's the Way and Tangerine are shimmering songs with graceful country flourishes. The band hasn't left the blues behind, but the twisted bottleneck blues of Hats off to (Roy) Harper actually outstrips the epic Since I've Been Loving You, which is the only time Zeppelin sound a bit set in their ways.


    - Stephen Thomas Erlewine (All Music Guide)

    LP1
    1. Immigrant Song
    2. Friends
    3. Celebration Day
    4. Since I've Been Loving You
    5. Out on the Tiles
    6. Gallows Pole
    7. Tangerine
    8. That's the Way
    9. Bron-Y-Aur Stomp
    10. Hats off to (Roy) Harper


    LP2
    1. The Immigrant Song (Alternate Mix)
    2. Friends (Track - No Vocal)
    3. Celebration Day (Alternate Mix)
    4. Since I've Been Loving You (Rough Mix)
    5. Bathroom Sound (Track - No Vocal)
    6. Gallows Pole (Rough Mix)
    7. That's The Way (Rough Mix)
    8. Jennings Farm Blues (Rough Mix)
    9. Key To The Highway/Trouble In Mind (Rough Mix)

    Led Zeppelin
    $39.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Led Zeppelin III Led Zeppelin III Quick View

    $24.99
    Buy Now
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    Led Zeppelin III


    Remastered from the Original Master Tapes by Jimmy Page and Pressed at Pallas In Germany


    On their first two albums, Led Zeppelin unleashed a relentless barrage of heavy blues and rockabilly riffs, but Led Zeppelin III provided the band with the necessary room to grow musically. While there are still a handful of metallic rockers, III is built on a folky, acoustic foundation that gives the music extra depth. And even the rockers aren't as straightforward as before: the galloping Immigrant Song is powered by Robert Plant's banshee wail, Celebration Day turns blues-rock inside out with a warped slide guitar riff, and Out on the Tiles lumbers along with a tricky, multi-part riff. Nevertheless, the heart of the album lies on the second side, when the band delve deeply into English folk. Gallows Pole updates a traditional tune with a menacing flair, and Bron-Y-Aur Stomp is an infectious acoustic romp, while That's the Way and Tangerine are shimmering songs with graceful country flourishes. The band hasn't left the blues behind, but the twisted bottleneck blues of Hats off to (Roy) Harper actually outstrips the epic Since I've Been Loving You, which is the only time Zeppelin sound a bit set in their ways.

    - Stephen Thomas Erlewine (All Music)

    1. Immigrant Song
    2. Friends
    3. Celebration Day
    4. Since I've Been Loving You
    5. Out on the Tiles
    6. Gallows Pole
    7. Tangerine
    8. That's the Way
    9. Bron-Y-Aur Stomp
    10. Hats off to (Roy) Harper
    Led Zeppelin
    $24.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Led Zeppelin III (Super Deluxe Edition Box) Led Zeppelin III (Super Deluxe Edition Box) Quick View

    $139.99
    Buy Now
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    Led Zeppelin III (Super Deluxe Edition Box)


    Super Deluxe Edition Box


    Remastered from the Original Master Tapes by Jimmy Page and Pressed at Pallas In Germany


    Companion audio on CD in a new sleeve and on 180-gram vinyl (Led Zeppelin II & III feature previously unreleased studio outtakes)


    Remastered album on 180-gram vinyl in a sleeve replicating the first pressing


    High-def audio download card of all content at 96kHz/24 bit (Live tracks are 48kHz/24bit)


    Hard bound, 70+ page book filled with rare and previously unseen photos and memorabilia


    High quality print of the original album cover, the first 30,000 of which will be individually numbered


    Led Zeppelin will also include a replica of the band's original Atlantic press kit


    On their first two albums, Led Zeppelin unleashed a relentless barrage of heavy blues and rockabilly riffs, but Led Zeppelin III provided the band with the necessary room to grow musically. While there are still a handful of metallic rockers, III is built on a folky, acoustic foundation that gives the music extra depth. And even the rockers aren't as straightforward as before: the galloping Immigrant Song is powered by Robert Plant's banshee wail, Celebration Day turns blues-rock inside out with a warped slide guitar riff, and Out on the Tiles lumbers along with a tricky, multi-part riff. Nevertheless, the heart of the album lies on the second side, when the band delve deeply into English folk. Gallows Pole updates a traditional tune with a menacing flair, and Bron-Y-Aur Stomp is an infectious acoustic romp, while That's the Way and Tangerine are shimmering songs with graceful country flourishes. The band hasn't left the blues behind, but the twisted bottleneck blues of Hats off to (Roy) Harper actually outstrips the epic Since I've Been Loving You, which is the only time Zeppelin sound a bit set in their ways.


    - Stephen Thomas Erlewine (All Music Guide)

    1. Immigrant Song
    2. Friends
    3. Celebration Day
    4. Since I've Been Loving You
    5. Out On The Tiles
    6. Gallows Pole
    7. Tangerine
    8. That's The Way
    9. Bron-Y-Aur Stomp
    10. Hats Off To [Roy] Harper


    Companion Audio Disc
    1. The Immigrant Song
    2. Friends
    3. Celebration Day
    4. Since I've Been Loving You
    5. Bathroom Sound
    6. Gallows Pole
    7. That's The Way
    8. Jennings Farm Blues
    9. Keys To The Highway/Trouble In Mind

    Led Zeppelin
    $139.99
    180 Gram Audiophile Virgin Vinyl LP + 2 CD - 2 LPs Sealed Buy Now
  • Storm Corrosion Storm Corrosion Quick View

    $38.99
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    Storm Corrosion

    Storm Corrosion is the long-discussed and highly anticipated collaboration between two of the modern progressive rock scene's most innovative and multi-talented artists: Porcupine Tree's Steven Wilson and Mikael Åkerfeldt of Opeth. The pair will release their self-titled debut album via Roadrunner Records.


    The sound of Storm Corrosion can best be described as enchanting, orchestral, ambient, epic (half the album's tracks clock in around the 10-minute mark) and nothing short of surprising to the new ear. However, the musicians' respective fanbases will be primed to appreciate the new output, with Wilson's recent solo album, Grace for Drowning, and Opeth's Heritage having brought them to a logical place to understand Storm Corrosion. This eponymous collection is almost viewed as one side of a musical triangle.


    Says Wilson, "If you'd asked me three months ago about the music, I would have said, 'Expect the last thing you would expect.' But actually, now that Heritage and Grace for Drowning have come out, I don't think it's going to be that much of a shock to people, because it's almost like a third part of the trilogy, in a way. If anything, it's even more orchestral, even more stripped down, even more dark, twisted and melancholic, but it certainly feels like it comes from the same place as Heritage and Grace for Drowning, which indeed it does because it was written during the same period."


    "Some of the music on this record I think is the most beautiful music I have participated in ever," adds Åkerfeldt. "There's some magical sections on there. Musically I think we've created something earthy, a bit frightening, exhausting, profound and rather intense. All at the same time. I can safely say I don't know any other band or artist that sounds anything like Storm Corrosion. I guess that was also one of our goals, so to speak."

    1. Drag Ropes
    2. Storm Corrosion
    3. Hag
    4. Happy
    5. Lock Howl
    6. Ljudet Innan
    Storm Corrosion
    $38.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Feelin' The Spirit Feelin' The Spirit Quick View

    $32.99
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    Feelin' The Spirit

    The finest collection of Jimmy Witherspoon's gospel songs, Feelin' the Spirit is an essential addition to any Witherspoon collection. Throughout his career, Witherspoon recorded numerous gospel songs, frequently recording two or three songs for his albums. This set, collecting many of his finest early performances, is frequently revelatory. Witherspoon's voice and style are so distinctive that they make these songs seem new, even on standards such as Amazing Grace and Rock of Ages. Never strictly a gospel artist, all of these recordings show sincerity and, more importantly, depth, both musically and spiritually.

    Thomas Ward (All Music Guide)
    1. Every Time I Feel the Spirit
    2. Deep River

    3. I Couldn't Hear Nobody Pray
    4. Sometimes I Feel Like a Motherless Child
    5. Nobody Knows the Trouble I've Seen
    6. I Want to Be Ready
    7. Steal Away to Jesus
    8. Oh Mary, Don't You Weep
    9. Go Down Moses
    10. The Time Has Come
    Jimmy Witherspoon
    $32.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Heart Like A Wheel Heart Like A Wheel Quick View

    $34.99
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    Heart Like A Wheel


    Linda Ronstadt's 1974 Breakthrough Remains a Paragon of Extraordinary Performance, Arranging, and Songwriting: Heart Like a Wheel Features an All-Star Instrumental Cast and Singer at Her Best


    Audiophile Clarity, Profound Depth, Lifelike Naturalism, and Transfixing Warmth: Numbered, Limited-Edition Mobile Fidelity 180g LP Meticulously Mastered for Supreme Sound


    How to put the ageless appeal, artistic splendor, and imaginative instrumental variety of Linda Ronstadt's Heart Like a Wheel in proper perspective more than four decades after its original release? For starters, the 1974 landmark earned three major Grammy nominations and won for Best Country Vocal Performance - Female. But that feat pales in comparison to what the record did for Ronstadt, who became the decade's most in-demand, multifaceted, and cherished female singer soon after it captured the public's attention. Or the fact that it remains a paragon of songwriting, arrangement, and performance - a trifecta that still holds sway in this era or any. Mobile Fidelity's reissue puts it over the top to stay.


    Mastered on Mobile Fidelity's world-renowned mastering system and pressed on dead-quiet 180g vinyl at RTI, this LP reissue presents Heart Like a Wheel with astounding clarity, depth, and naturalism. Still the most difficult instrument to accurately capture, the female voice is here conveyed with transfixing realism, warmth, and feeling. The inner beauty of Ronstadt's flawless phrasing and passionate inflections bears out with obvious candor, her tonality and emotiveness pouring through every lyric and wordless expression.


    Yet the advantages of this limited, numbered-edition audiophile version extend far beyond the intimacy afforded Ronstadt's singing. Specifically, the majesty of Peter Asher's crafty arrangements now come to life like never before. Free of the fatiguing high frequencies and flat, dull responsiveness inherent on previous remasters and the original Capitol issue, respectively, this 180g LP sets the sonic standard and lets the extraordinary instrumental blends blossom with openness, airiness, and organic textures.


    While Ronstadt's interpretive skills and stunning vocals remain front and center, the all-star cast of California-based musicians that helped transform Heart Like a Wheel into a 1970s mainstream pop-rock staple - and a lasting example of the period's laid-back West Coast sound - cannot be forgotten. Glenn Frey, Don Henley, Emmylou Harris, Maria Muldaur, Herb Pedersen, David Lindley, J.D. Souther, and Andrew Gold are just a few of the luminaries that ensure the Billboard chart-topping set rests on an unassailable foundation. Asher puts everything in the right place and, in concert with the headliner, chooses a repertoire of standards that both shakes up traditions and pays homage to them.


    The other secrets to the record's distinctiveness lie with Ronstadt's versatility and passion, her uncanny ability to inhabit every lyric with conviction and believability, and her graceful technique. As Stephen Holden stated in his rave review of the album for Rolling Stone in early 1975, No other pop singer so perfectly embodies the Western mythical girl/woman, heartbroken yet resilient and entirely feminine in the traditional sense. There is a throbbing edge to Ronstadt's honey-colored soprano that no other singer quite possesses - the edge between vulnerability and willfulness that I find totally, irresistibly sexy.


    Ronstadt indeed proves seductive and inviting throughout, whether on the bluesy reading of Clint Ballad Jr.'s You're No Good, harmony-rich treatment of Hank Williams' I Can't Help It (If I'm Still in Love with You), folk-rock lilt of Lowell George's Willin', or soulful send-up of Phil Everly's When Will I Be Loved? Complete with piano, double bass, cello, viola, and fiddle, as well as support vocals from Muldaur, the cover of Anna McGarrigle's title track reinforces the one-of-a-kind expanse and all-for-one chemistry evident throughout the double-platinum effort - the kind of record they just don't make anymore.


    This title is not eligible for discount.

    1. You're No Good
    2. It Doesn't Matter Anymore
    3. Faithless Love
    4. The Dark End of the Street
    5. Heart Like a Wheel
    6. When Will I Be Loved
    7. Willin'
    8. I Can't Help It (If I'm Still in Love with You)
    9. Keep Me from Blowing Away
    10. You Can Close Your Eyes
    Linda Ronstadt
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • The Freewheelin' Bob Dylan (Mono) The Freewheelin' Bob Dylan (Mono) Quick View

    $49.99
    Buy Now
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    The Freewheelin' Bob Dylan (Mono)

    Ranked 97/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time


    The Freewheelin' Bob Dylan Marks the Beginning of a Cultural Sea Change: 1963 Set Transformed Songwriting, Folk, and Pop


    Numbered Limited Edition 180 Gram Mono 45 RPM Vinyl 2LP


    Wider Grooves for The Ultimate Sonic Quality: Strictly Limited to 3,000 Copies, Mobile Fidelity's Mono 45RPM Vinyl Pressing Teems With Directness and Sound Dylan Originally Intended


    Records Ambitious Poetry, Melodies, and Moral Conviction Transformed Songwriting, Folk, and Pop


    Includes Masters of War, Blowin' in the Wind, and A Hard Rains A-Gonna Fall


    Originally experienced by everyone in direct, attention-getting mono sound, The Freewheelin' Bob Dylan is the album the ignited sea changes in pop culture, music, songwriting, poetry, and the social consciousness. It's the creation of a 22-year-old visionary still years away from casting a jaundiced eye to the media. It's the sound of change, the feeling of ground shifting beneath one's feet, and the entrance of an entirely new way of thinking. It's the effective beginning of what's arguably the boldest career in music history, the yawning vortex into the complex mind, supernatural wordplay, and folk techniques of a vocalist/guitarist whose name is forever associated with transformation.


    Mobile Fidelity is humbled to have the privilege of mastering the iconic LP from the original master tapes, presenting it in its original take-notice mono sound, and pressing it on 45RPM LPs at RTI. Strictly limited to 3,000 copies, the end result is the finest, most transparent mono analog edition of The Freewheelin' Bob Dylan ever produced. Never before has the resonance of his nylon guitar strings, fingerpicked notes, shivering harmonica fills, or plainspoken timbre possessed such directness, clarity, openness, body, or realism.


    As the preferred mix at the time of the recording, the mono version presents Dylan as he and his producers originally intended. More intimate, focused, and direct than its stereo counterpart, the mono edition places Dylan's vocals in the heart of the musical action and as one with the accompaniment. It paints listeners an incredibly accurate portrait of the attention-getting, concrete mass of sound that features no artificial panning and straight-ahead immersion into the music. With the advantage of wider and deeper grooves, the 45RPM pressing affords the opportunity to detect more information and lavish in extra richness. Whether it's the exaggerated nasal accents employed on Down the Highway or the decay of each strummed line on the entirely acoustic album, previously concealed details, microdynamics, and ambient cues surface - enhancing the listeners' experience and taking them inside Columbia's Studio A.


    Exponentially surpassing the potential he demonstrated on his debut, Dylan became a mirror of the concerns, issues, and feelings confronting the nation. Writing and singing with penetrating honesty, observational wit, moral conviction, and scathing emotion, he digs into the madness of war (Masters of War, A Hard Rain's A-Gonna Fall), hypocrisy of segregation (Oxford Town), urgency of civil rights and freedom (Blowin' in the Wind), and multiple angles of unrequited love (Girl From the North Country, Don't Think Twice It's All Right) with a literate astuteness and depth that, nearly 50 years later, still leave audiences slack-jawed. Satire, absurdist humor, and traditional blues also pepper the album, which rests upon graceful melodies and sparse, poignant patterns.


    Viewed as protest songs, love songs, folk songs, or talking blues songs, the material on The Freewheelin' Bob Dylan remains amongst the most astonishing and imaginative ever committed to tape. It deserves - as much as you deserve - a fidelity that makes as closely intimate as possible the music's connection with you. You deserve this mono edition.


    This title is not eligible for discount.

    1. Blowin in the Wind
    2. Girl From the North Country
    3. Masters of War
    4. Down the Highway
    5. Bob Dylans Blues
    6. A Hard Rains A-Gonna Fall
    7. Dont Think Twice, Its All Right
    8. Bob Dylans Dream
    9. Oxford Town
    10. Talking World War III Blues
    11. Corrina, Corrina
    12. Honey, Just Allow Me One More Chance
    13. I Shall Be Free
    Bob Dylan
    $49.99
    180 Gram Audiophile Virgin Vinyl LP Mono 45 RPM - 2 LPs Sealed Buy Now
  • Wild Bill Davis And Johnny Hodges In Atlantic City (Speakers Corner) Wild Bill Davis And Johnny Hodges In Atlantic City (Speakers Corner) Quick View

    $34.99
    Buy Now
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    Wild Bill Davis And Johnny Hodges In Atlantic City (Speakers Corner)

    In the Sixties, the two befriended musicians Wild Bill Davis and Johnny Hodges often met up for jam sessions, at galas with Duke Ellington, and in various studios to make recordings for several record companies. However, their live concerts in Grace's Little Belmont in Atlantic City in 1966 were the declared highlights for critics, the public and musicians alike. This is not only proved by the masses of people who swarmed to the club, which was always jam-packed, it is also reflected in the sales figures of their recordings.



    On the present recording, the listener is offered a first-class programme of own compositions, Duke Ellington hits, and head arrangements. Good Queen Bess and Rockville are quite exceptional, and the other titles are hardly less enthralling. The rhythm group is hotter than hot with Lionel Hampton's Bobby Durham on the drums, and the two grand old men of swing really let themselves go. The trombonist Lawrence Brown, musical buddy from the Duke Ellington Orchestra, grooves in the background and we can be happy (thanks to the producer Rad McCuen!) that we can still thoroughly enjoy this great disc almost 50 years later.



    Recording: August 1966 live at Grace's Little Belmont, Atlantic City (USA), by Ed Begley

    Production: Brad McCuen



    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.


    This title is not eligible for discount.

    1. It's Only A Paper Moon
    2. Taffy
    3. Good Queen Bess
    4. L B Blues
    5. In A Mellotone
    6. Rockville
    7. I'll Always Love You
    8. It Don't Mean A Thing (If It Ain't Got That Swing)
    9. Belle Of The Bellmount
    Wild Bill Davis & Johnny Hodges
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Intensity Ghost Intensity Ghost Quick View

    $16.99
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    Intensity Ghost

    Intensity Ghost is the first studio release by Chris Forsyth with the Solar Motel Band (the new
    group formed in the wake of his critically acclaimed 2013 solo record Solar Motel) and it's a
    career-defi ning statement of purpose and a near virtual history tour of late 20th century electric
    guitar, touching on widescreen psychedelia, art rock, the late-70's New York scene, and the melting
    pot of early 90's underground bands, but writing a whole new chapter, unforeseen by most in 2014.


    Solar Motel was received as a singular work of guitarroristic finesse, turning up across many year ends
    lists (Uncut, New Yorker, etc) and provoking ecstatic comparisons to psychedelic visionaries and the
    countless champions of guitar-based music who tend to outlive the trends.


    Whereas Solar Motel was a Forsyth solo album recorded with an ad hoc studio band, upon its release
    Forsyth put together a group of players to tour the record - bassist Peter Kerlin, guitarist Paul Sukeena
    (Spacin'), and drummer Steven Urgo (ex-The War on Drugs) - who took his vision to another level.
    Forsyth brought this group, now called The Solar Motel Band, into the studio in late 2013 to make
    Intensity Ghost, largely forsaking the epic sprawl of Solar Motel in favor of a startlingly diverse and
    focused set of songs. The result is a 5-track masterwork and a rare combination of power and grace.


    Just as The Grateful Dead or Popul Vuh were able to embrace broad spectrums of sound and transform
    those infl uences, the Solar Motel Band distills Forsyth's message while avoiding any genre-exercises.
    Intensity Ghost is a giant sounding record, it's hall sized psychedelia fi lled with hooks and an immediacy
    rarely found in such sweeping, cinematic music. The in fluences are not hard to spot, but this is no retro
    reenactment trip. Forsyth and the Solar Motel Band synthesize rather than emulate what has come before,
    producing something all their own. Their music is expansive, yes, but also profoundly compelling and
    lyrical; no one is missing a singer in the Solar Motel Band. Forsyth's guitar makes sure of that.

    1. The Ballad of Freer Hollow
    2. Yellow Stone
    3. I Ain't Waiting
    4. Intensity Ghost
    5. Paris Song
    Chris Forsyth & The Solar Motel Band
    $16.99
    Vinyl LP - Sealed Buy Now
  • Volunteers Volunteers Quick View

    $49.99
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    Volunteers

    Jefferson Airplane Volunteers on Numbered Limited Edition 180g 45RPM 2LP from Mobile Fidelity


    Seminal 1969 Album Steeped in Revolution, Vitality, Protest: The Aural Equivalent of a Demonstration March, Jefferson Airplane's Uncompromising Volunteers Rooted in Belief Music Can Change World


    Mastered from the Original Master Tapes: Wider, Deeper Grooves on 180g 45RPM 2LP Set Yield Superior Transparency, Rich Nuances, and Engaging Dynamics on Set Ranked #370 on Rolling Stone's 500 Greatest Albums of All Time


    Defiant, Assured, Cohesive Songs Filled With Driving Psychedelia, Rustic Country, and Crunchy Acid-Rock: Guest Musicians Include Jerry Garcia, Stephen Stills, and David Crosby


    Awash in controversy and loaded with revolutionary protest, Jefferson Airplane's Volunteers stands as the last album made by the group's classic lineup and brings insurgent closure to the peace-and-love era. The potent 1969 record confronts war, politics, greed, and environmental ruin in head-on fashion matched by few peers. Steeped in the belief people and music could transform the world, it steers the band in community-minded and county-rock directions, and features charged playing by guest luminaries such as Jerry Garcia, Stephen Stills, David Crosby, and Nicky Hopkins. Volunteers also benefits from being one of the first 16-track recordings. And now, the historic set can be heard in the fidelity the artists and producers intended.


    Mastered from the original master tapes and pressed at RTI, Mobile Fidelity's 180g 45RPM 2LP set of Volunteers teems with soul-affirming energy, dynamics, immediacy, and standout textures. The wider and deeper grooves translate into finer pacing, enhanced information retrieval, and superior transparency. Soundstages stretch far and extend back, with instrumental separation giving all of the musicians their own place in the mix. As a result, subtle albeit important details - Hopkins' rollicking piano, guitarist Norma Kaukonen's biting tones, Garcia's deft pedal-steel work - emerge in three-dimensional fashion amidst a musical canvas that manages to be both edgy and produced, raw and revealing. Jefferson Airplane has never sounded more vital.


    Much had changed in America - and within Jefferson Airplane - in just the two short years since the release of the San Francisco collective's breakthrough smash Surrealistic Pillow. The countercultural movement had darkened, government involvement in Vietnam escalated, and regard for human rights fallen. Retreating from the excessive experimentalism that graced its prior two LPs, the Airplane responded to the social circumstances with defiant, assured, and cohesive songs shot through with driving psychedelia, crunchy acid-rock, and rustic country. From start to finish, it's the aural equivalent of a demonstration march.


    Having drawn attention for the inclusion of profanities in multiple tunes, the Top 20 LP also ran up against the nonprofit Volunteers of America after the sextet wanted to title the record Volunteers of Amerika in order to express further dissatisfaction with the country. While Grace Slick and Co. gave into the charity's desires to switch the name, there's nothing compromising about Volunteers. Kaukonen's leads cut searing swaths through urgent fare like Eskimo Blue Day and anthemic We Can Be Together, which boldly speaks out against convention and in favor of chaos and anarchy.


    Indeed, in organizing a pseudo summit of many of the counterculture's leading musical figures to participate on Volunteers, the Airplane treats the album as an orchestrated stance against the establishment. Stills and Crosby assist in rocking the boat on a turbulent cover of Wooden Ships lined with Slick and Marty Balin's overlapping lead vocals. Hopkins gooses the call-to-arms title track with frisky boogie-woogie lines. Garcia lends The Farm a suitable rustic vibe, and on his final appearance with the Airplane, drummer Spencer Dryden helms the pastoral sing-a-long A Song for All Seasons.


    Ranked #370 on Rolling Stone's 500 Greatest Albums of All Time, Volunteers remains a cultural and musical touchstone.


    This title is not eligible for discount.

    1. We Can Be Together
    2. Good Shepherd
    3. The Farm
    4. Hey Fredrick
    5. Turn My Life Down
    6. Wooden Ships
    7. Eskimo Blue Day
    8. A Song for All Seasons
    9. Meadowlands
    10. Volunteers
    Jefferson Airplane
    $49.99
    180 Gram Audiophile Virgin Vinyl LP 45 RPM - 2 LPs Sealed Buy Now
  • Love & Torture Love & Torture Quick View

    $16.99
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    Love & Torture


    Simultaneously claustrophobic and
    mesmeric curiously unsettling.
    - PITCHFORK


    "...Breathtakingly insightful and poetic..."
    -THE QUIETUS


    "...Undeniably compelling..."
    -SPIN


    Beautifully desolate piece of Americana that
    wouldn't sound out of place on the soundtrack
    for True Detective.
    - THE TIMES (UK)


    A smokey lament that comes off like a
    slightly jazzier Spiritualized.
    - STEREOGUM


    Stone Jack Jones is a survivor. On two separate occasions the rare and mysterious blood
    condition that courses through his steely West Virginian veins almost killed him. Doctors couldn't
    fully explain or treat his malady, but Jack pulled through, even after receiving last rites on one
    occasion. Spending a little time at Death's door gave him unique perspective on life. While
    recovering from one of his near death experiences he deeply pondered the necessity of death,
    the torturous pain that comes with the death of someone you love, and eventually arrived at the
    simultaneously comforting and alarming conclusion that he was both alive and dead at the same
    time.


    In 2014 Jack released Ancestor, an album which The Quietus called " breathtakingly insightful
    and poetic ", and SPIN called undeniably compelling ". As a tribute to his father, Ancestor
    was a remembrance of mountain string bands, with many of the songs worked out as an acoustic
    three-piece sitting together in a bluegrass circle. For his new album Love & Torture he took a
    different approach, working out the foundations for most of the songs in the studio with producer
    Roger Moutenot. Rather than recording everything over of a few days or weeks in the studio, the
    two met up sporadically over the course of many months, giving the songs plenty of time to
    gestate and evolve in stride with Jack's life. When it felt right, they'd invite long-time collaborators
    including Ryan Norris, Scott Martin, and Kyle Hamlett into the studio to improvise and explore
    where each song would go next. Having worked and created with the same guys for several years,
    their trust and intimacy let them extract moments of brilliance from the ether.


    The album opens with the woozy groove of Shine (one of two songs on the album featuring
    vocals by Patty Griffin), which Jack describes as a contemplation of what heaven might be like.
    The following song Thrill Thrill explores the helplessness he felt in the clutches of the blood
    disease that nearly killed him. Lambchop's Kurt Wagner contributes some serious low-end to the
    song Circumstance. As Jack recalls, I asked Kurt if he thought he could sing lower than me and
    he gave me a wily smile with a deep long ooooh yeah, took a sip of whiskey and put it in the
    basement. The mood lightens a bit on the drinking song Russia on which Jack's wife Hollis
    chants verses from Russian poet Alexander Blok, while Ben Smythe contributes a frenetic and
    deranged penny whistle to the party. The album concludes with the joyful acceptance and
    appreciation of Amen, another song about Jack's celebration of life. As dark as his creative
    output can seem at times, it's heavily infused with Jack's undeniable light and his patient will to
    ...knock a hole in the sky. Seek light in the dark. Have secrets and make the air vibrate and
    shake reality so she shows her many faces. Like a collection of swirling and inviting mantras
    Love & Torture is a sonic dialog that pulses with the all of the grace and bliss that has touched
    Jack's incredible life.

    1. Shine
    2. Thrill Thrill
    3. Q and K
    4. Circumstance
    5. Ships
    6. Disappear
    7. Russia
    8. Song
    9. Who
    10. Say Amen
    Stone Jack Jones
    $16.99
    Vinyl LP - Sealed Buy Now
  • Learning To Crawl Learning To Crawl Quick View

    $34.99
    Buy Now
    x

    Learning To Crawl

    What is the sound of a fledgling band dealing with multiple tragedies, coming to terms with drastic changes, digging deep into its consciousness, finding resolution in hurt, and overcoming staggering odds to record a bonafide masterwork? It's the sound of every note that graces the Pretenders' Learning to Crawl. Still recognized as one of the most emotionally gripping and musically gutsy performances ever made, the smash 1984 album hasn't aged a day. And now, it sounds better than could ever be imagined.



    Half-speed mastered from the original master tapes, Learning to Crawl finally possesses the combination of whisper-in-your-ear intimacy and nerve-checking toughness that it's always demanded on Mobile Fidelity's super-quiet analog LP. Leader Chrissie Hynde's voice is made viscerally apparent, wavering between vigorous determination and solemn reflection, while drummer Martin Chamber's punchy backbeats register with requisite punch. To say nothing of how fresh the effort's hit singles (Middle of the Road, Back on the Chain Gang) and incredible deep cuts sound.



    The story behind Learning to Crawl is directly connected to the powerful, moving music within. After releasing two records that swept the world by storm (Pretenders and Pretenders II, the latter available on hybrid SACD from Mobile Fidelity), the group's fortunes reversed after guitarist James Honeyman-Scott was found dead of a drug overdose in 1982. Shortly thereafter, founding member Pete Fardon, fired just two days before his partner's death, also succumbed to an overdose, leaving the band's state in tatters. Would there still be a Pretenders?



    Hynde answers this question with a resounding yes on Learning to Crawl, which still contains signs of the band's early, street-wise rawness but also adds new wrinkles, with more streamlined melodies, sensitive ballads, and reflective tones. Back on the Chain Gang, the Pretenders' most commercially successful hit, functioned as a bittersweet tribute to her ex-mates while the Christmas-themed 2000 Miles holds rank as one of the most effecting, penetrating love songs of Hynde's career. Throughout the record, the Pretenders are again one.



    New guitarist Robbie McIntosh supplies simpler, bluesier, basic guitar lines and the foursome know how to all-out rock, with the furious Middle of the Road and socially conscious My City Was Gone testifying to a stinging, thrilling sensibility that can exist only because of the devastation that the band survived. Call it the rise of the phoenix or triumph of the human will, but any way you see it, Learning to Crawl occupies a rare territory--akin to the space referred to on the superb cover of Thin Line Between Love and Hate--that registers in the pits of the human soul.



    Whether you've grown up with this album, heard it in college, or are just learning about it now, Mobile Fidelity's expertly mastered 180g LP version is the only analog edition worth owning. Hear Hynde and Co.'s cathartic, transcendent effort in all its full splendor, and, like the Pretenders, refuse to settle for less.


    This title is not eligible for discount.

    1. Middle of the Road
    2. Back on the Chain Gang
    3. Time the Avenger
    4. Watching the Clothes
    5. Show Me
    6. Thumbelina
    7. My City Was Gone
    8. Thin Line Between Love and Hate
    9. I Hurt You
    10. 2000 Miles
    Pretenders
    $34.99
    180 Gram Audiophile Virgin Vinyl LP Buy Now
  • Tides End Tides End Quick View

    $19.99
    Buy Now
    x

    Tides End

    "Tides End" is the second Minks album, but you could say it's a world away from the first. Moving out of New York City to try and cure a bout of writer's block, frontman/songwriter Sonny Kilfoyle wound up in the East End of Long Island. Surrounded by water on three sides, it's the same place that drew Warhol, Pollock, de Kooning, Steinbeck and more to escape the constant barrage of information of the urban landscape.


    The result is not just a romantic trip into isolation, but a melodic and warm experience to immerse yourself in. It's a pop record, with all the hooks and harmonies you'd expect from that, delivered with experience, depth and hope.


    The escapist mentality of the location directly and literally affected "Tides End," as the LP is named for a beachfront estate Sonny had wandered upon one day while out for a drive. Occupied by one family for generations, who after financial decline, are now forced to sell all they own. The experience of seeing old East Coast wealth, surrounded by beautiful Rococo paintings yet no modern appliances was the initial spark to record the LP. Kilfoyle
    himself purchased a portrait "Margot," which inspired and named one of the LP's catchiest tracks.Visions of sipping gin and lemonade's on the dunes with their future in peril could be something clearly reflected in the choruses of "Everything's Fine" and "Playboys of the Western World." Themes of affluence, decadence and eventual decay in spite of the outside world are everywhere, even by the skull and shells amidst an explosion of color in the Everest Hall painting that graces the cover. This is "Tides End," indeed.


    Armed with a new arsenal of material, Sonny connected with producer and engineer, Mark Verbos, who had moved to New York from Berlin after a prolific career in techno and electronic music. The entire album was recorded at Mark's studio, a former electric room in the base of the Brooklyn side of the Williamsburg Bridge. "It was actually a very uninspiring and uncreative but it forced us to use our imagination and find new ways to work together,"says Kilfoyle. So when they encountered a creative impasse they would consult The KLF's
    "manual" or Verbos would choose a card from Brian Eno's "Oblique Strategies." To clear the cobwebs of influence, the producer chose to only allow Sonny to listen to Seal, Simply Red, Enigma, and early Chicago house music during the recording process. This helped build texture and depth in a recording that blended ambiance and immediacy to the established foundation of all the of Minks' previous work.

    1. Romans
    2. Everything's Fine
    3. Margot
    4. Playboys of the Western World
    5. Weekenders
    6. Painted Indian
    7. Hold Me Now
    8. Doomed and Cool
    9. Ark of Life
    10. Tides End
    Minks
    $19.99
    Vinyl LP - Sealed Buy Now
  • Touch And Flee (Speakers Corner) Touch And Flee (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Touch And Flee (Speakers Corner)

    Touch And Flee is the new recording from Neil Cowley Trio, and marks a defining moment in the evolution of the band. It is their bravest, most daring album to date, spotlighting the ever- increasing brilliance of Cowley as a composer. With long time band mates, Evan Jenkins on drums and Rex Horan on bass, they jump headlong into new territory to present what they describe as »our concert hall record« for an altogether deeper listening journey.



    Gone are the familiar hook laden tunes, repeating riffs and pounding crescendos, replaced, in the main, by shifting, expansive melodies, longer elegant passages, and a broader brush stroke on Cowley's blank canvas. What is familiar though is Cowley's power to move through music. Exquisitely graceful movements meet with dark haunting passages. And although this is a new direction for Neil Cowley Trio, their personality, and unmistakable sound, still shines through. We hear, for example in the epic, sweeping Kneel Down, a three movement piece containing pulse, power, climax, spaciousness, and then, gentle surprise. The wonky jazz of Winterlude keeps the head nodding while Cowley's proclivity for atmospheric film scores remains.



    Touch And Flee was recorded at the legendary RAK studios with Grammy nominated Dom Monks in the producer's chair. RAK has seen some of the biggest names in music record there - David Bowie, Al Green, Michael Jackson, Pink Floyd, Arctic Monkeys, and of course Adele, with whom Cowley recorded the global hit, Rolling In The Deep. Touch And Flee is the result of three gifted musicians who think as one, growing together, driving forward. A collection of tunes best savoured in a darkened room, at full volume. They demand attention, but as always, deliver to the listener the most blissful of rides.



    Musicians:



    • Neil Cowley (piano)

    • Rex Horan (bass)

    • Evan Jenkins (drums)




    Recording: 2013 by Dom Monks and Helen Broadhurst at RAK Studios, London

    Production: Dom Monks





    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.


    This title is not eligible for discount.

    1. Kneel Down
    2. Winterlude
    3. Sparkling
    4. Gang of One
    5. Couch Slouch
    6. Bryce
    7. Mission
    8. Queen
    9. The Art
    Neil Cowley Trio
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Dreamland Dreamland Quick View

    $19.99
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    x

    Dreamland

    Natalie Bergman has had her picture taken on countless occasions -- hundreds of studio portraits and live shots and backstage festival snaps. But the simple, gorgeous black & white photo of Bergman on the cover of Wild Belle's Dreamland that she describes as just me and this sort of abyss That one was lensed by the person who best knows how to capture her essence on celluloid: Her older brother and bandmate, Elliot Bergman. Besides being Wild Belle's multi-instrumentalist extraordinaire, Elliot has an equally impressive flair for visual arts, from painting and sculpture to bronzemaking and photography. An avid collector of vintage cameras, Elliot brought along a recently acquired Polaroid Land Camera to a show Wild Belle played in Denver this summer: The duo grabbed a quick moment at their hotel to take the portraits of each other that grace the front and back of their new record. The pictures Elliot takes of me are always really beautiful and it's because he knows me better than anyone else on this Earth, says Natalie. Adds Elliot: I like that it's a photo of Natalie just being Natalie. And the stark contrast of her in the foreground with the dark background really fit with these collages she has been doing. Natalie is in the light but the shadows are pretty heavy and you can't really tell where she is or what's back there.


    Recorded at studios in their native Chicago, Natalie's new home of Los Angeles, Nashville and Toronto, Dreamland -- Wild Belle's bold, evolutionary new album -- derives from an era in the singer's life when she was struggling to get control of what she describes as the anger and deep sorrow that plagued her at the end of her most recent romantic relationship. For a woman whose music has always been inspired by her desire to translate her complicated feelings into immediately relatable songs, there was certainly plenty of grist for the mill. Dreamland tracks such as Losing You and It Was You (Baby Come Back) offer glimpses of the darkness that Natalie battled during the early months writing for the duo's sophomore full-length. But there are also genuine moments of lightness and ecstatic triumph, like Giving Up On You -- an irresistibly kinetic, punk number Wild Belle recorded with TV On The Radio's Dave Sitek producing.


    I was very heated when we were making this record. My body, my heart and my soul were filled with a flame, which sounds very dramatic but it's the truth, says Natalie. I had a healing moment when I moved to LA earlier this year, because I was far away from my ex and I felt like I was getting rid of a lot of baggage. That was the redemptive, triumphant time for my lyrics. On 'Giving Up On You,' I sing: 'Now I smile so bright, you can see me from outer space, look at me shine. Baby it's about time, I was so miserable and now I feel so alive.' All the songs I wrote near the end of making the album have that sentiment: 'Now look at where I am, after all the turmoil that was inside of me, I'm here and I'm happy and I'm ready for whatever comes my way.'


    The follow-up to 2013's Isles, Dreamland expands the band's ambitions in every way. It's deeper, it's more fun, it's more haunting, it's got more grooves, Elliot says. There's sorrow and pain but there's also hope and joy -- all those things can coexist in the songs because they coexist in life. He continues: Dreamland, that's not some kind of idealized notion of where we live and I hope people hear that as a question: What is the Dreamland What is our dream here The album doesn't get overtly political, but we're dealing with a lot of the things that are dark about what's happening now. 'Throw Down Your Guns' is about a relationship but is also kind of about the messed up situation that we're in right now. The chorus, 'Throw down your guns / In the name of love, I put my hands up,' to me can be heard in a number of ways, including as a prayer for peace or a cry out against violence.


    Importantly, the album also shares its name with one of the first songs Natalie remembers Elliot introducing her to: Bunny Wailer's 1970 reggae classic, Dreamland. One year for Christmas, he gave her a compilation of female artists who recorded at Jamaica's legendary Studio One, and it included Della Humphrey's version of the song. Natalie listened to it over and over and over again. I was so in love with it, she says. From there, I started my exploration of rocksteady and ska and lovers rock and anything that had to do with Jamaican music from the Fifties onward.


    The duo started writing music together several years ago, after Elliot took a sixteen year-old Natalie on tour to play percussion with his acclaimed Afrobeat ensemble, NOMO. I can present a song to Elliot and he has this foresight -- he can see things further than I see them, and he helps me realize things, she says. I'd been writing very simple melodic love songs since I was fifteen years old. I definitely have a pop sensibility in my style, and that's a great platform for Elliot to work from, because it's fun for him to have a cool little pop song and combine it with more eccentric sounds and make it into a weird, unique percussive jam. Sometimes he'll bring the jam to me and because we've got this routine together, we can write a song together wherever we are.


    Work on the album began in early 2014, in Chicago. The song that opens Dreamland -- Mississippi River -- was also the first one to come together in the studio. It was sparked by a moment of musical serendipity: The record starts with this pulsing ARP drone, says Elliot, which is a very expensive esoteric nerdy synthesizer that's complicated to program. Natalie and I had this weird, symbiotic thing where I was playing three chords off the ARP and she started playing different three chords on this out-of-tune autoharp she brought over. They were both completely in the wrong key, and yet perfectly in tune with each other. That was like the new bar for the record. It was like, 'Yeah, we're going to put synthesizers and saxophone and kalimbas on these songs, and we're going to have lavish string arrangements if we want to. We were getting comfortable with all of the materials that we love, and being like, 'I love this, so let's do it.


    They tracked several songs at home in Chicago last year, and then at the start of 2015, Natalie packed all of her belongings into the Wild Belle van and drove from Chicago to Venice, California. She rented a house where Elliot joined her a couple weeks later. When I had my place in Venice, Elliot would wake up earlier than I would and start making dope beats, says Natalie. One day he made this ridiculous song, 'The One That Got Away,' and the beat and underlying track were so exciting that it didn't take very long to write. Our friends came over and were jumping on the tabletops, dancing, getting naked because they loved the song so much.


    Playing the new songs at Lollapalooza for the first time with an eight-piece band, says Elliot, I had a feeling onstage that I'd never had before with Wild Belle, where you're part of a sound that's much bigger than you could make on your own. It's this charged-up badass feeling. It's about a groove and rhythmic energy and force and momentum and making a big, dark, deep sound -- something that moves people and makes you want to dance and makes you want to shout. It's tapping into a deeper musicality that I've always been looking for.

    1. Mississippi River
    2. Losing You
    3. Dreamland
    4. Coyotes
    5. Cannonball
    6. Giving Up On You
    7. It Was You
    8. Throw Down Your Guns
    9. The One That Got Away
    10. Our Love Will Survive
    11. Rock & Roll Angel
    Wild Belle
    $19.99
    Vinyl LP - Sealed Buy Now
  • Imperial Bedroom Imperial Bedroom Quick View

    $34.99
    Buy Now
    x

    Imperial Bedroom

    Ranked 166/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.


    Universally Hailed 1982 Pop Masterpiece Pairs Costello and Co. With Beatles Engineer Geoff Emerick


    Record Topped Village Voices Pazz & Jop Critics Poll In Year of Its Original Release


    Lavish Instrumentation, Involved Arrangements, and Piano-Based Melodies Frame Ambitious Songs That Address Domestic Malaise While Coming Off as Upbeat


    Half-Speed Mastered from the Original Master Tapes: Imperial Bedroom Joins Mobile Fidelitys Pristine LP Reissues of Costellos My Aim Is True, This Years Model, Armed Forces, Get Happy!!, and Almost Blue


    Recorded with famed Beatles engineer Geoff Emerick, Imperial Bedroom stands as Elvis Costello and the Attractions most highly decorated traditional pop album. Boasting sumptuous arrangements, large-scale instrumentation, ambitious layers, Tin Pan Alley melodies, and orchestrated devices, the 1982 record is a testament to studio creativity and ornate production. Amidst the lavish settings beats the heart of Costellos biting, brutal lyrics that confront domestic malaise and sober emotional reflection. Its little wonder the intelligent effort took top honors in the Village Voices Pazz & Jop Critics Poll.


    Not that audiences back in the day ever had the privilege of hearing Imperial Bedroom at its maximum potential. Now they can. Half-speed mastered from the original master tapes, Mobile Fidelitys numbered limited edition 180g LP opens up the soundstages, expands the depth, and brings the genius of the grand arrangements into clear focus. In particular, the sound of the piano will have you believe that the 88s are situated right in your room, and never before has Emericks crafty sonic precision been so readily apparent. This is a huge-sounding record that demands full frequency extension and astute separation. Mobile Fidelitys reissue delivers on all fronts. You need to hear this!


    Ranked in 2005 by Rolling Stone at #166 on the magazines prestigious list of the 500 Greatest Albums of All Time, Imperial Bedroom overflows with contagious pop, savvy torch, cabaret, chamber, and jazz-influenced fare. If its details you seek, then look no further. With Emerick's assistance, each tune is distinguished with painstaking sonic accents, blended rhythms, counterpoint bass lines, dazzling passages, and inventive motifs. Accordions, tremolo guitars, organs, harpsichords, marimbas, horns, and an assortment of other instruments help color the subtly dark canvases. A 40-piece orchestra graces the gorgeous And In Every Home.


    Originally intended to be a stripped-down affair, Imperial Bedroom reflects Costello's migration to composing on piano as well as his listening tastes at the time: Billie Holliday, Cole Porter, Frank Sinatra, Debussy. Intricate, expansive, and complex without ever sounding inaccessible, the record includes the now-classic Man Out of Time, Beyond Belief, and Almost Blue, the latter a ballad that Chet Baker included in his live sets until he passed away. In another stroke of brilliance, Costello used the record as an opportunity to address the melancholic changes in both his own personal situation as well as that of England, the songs functioning as smart, sometimes satirical dialogues on issues such as disenchantment, identity, and relationships.


    Still considered by many the finest record released in 1982, don't pass up this extraordinary-sounding reissue.


    This title is not eligible for discount.

    1. Beyond Belief
    2. Tears Before Bedtime
    3. Shabby Doll
    4. The Long Honeymoon
    5. Man Out of Time
    6. Almost Blue
    7. ...And in Every Home
    8. The Loved Ones
    9. Human Hands
    10. Kid About It
    11. Little Savage
    12. Boy with a Problem
    13. Pidgin English
    14. You Little Fool
    15. Town Cryer
    Elvis Costello
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
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