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  • 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
  • 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

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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
  • Outsider Outsider Quick View

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    Outsider

    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.

    1. Right Left Wrong
    2. The Mountain
    3. I Am An Outsider
    4. Infra-Red
    5. Nothing To Lose But You
    6. Me Against You
    7. Love Me Or Leave Me
    8. Strange Days
    9. Villain I'm Not
    10. Chasing The First Time
    11. The New Real
    12. The Abyss
    Three Days Grace
    $19.99
    Vinyl LP - Sealed Buy Now
  • Life Starts Now Life Starts Now Quick View

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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
  • 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
  • Furiosity (Awaiting Repress) Furiosity (Awaiting Repress) Quick View

    $24.99
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    Furiosity (Awaiting Repress)

    Hamilton riff-rockers, and recent JUNO nominees Monster Truck have announced details behind their long-awaited debut album, Furiosity, due for release May 28, 2013 via Dine Alone Records.


    Furiosity, was produced by JUNO-nominated Eric Ratz (Billy Talent, Three Days Grace, Cancer Bats) at Vespa Studios in Toronto and Echo Mountain Studios in Asheville, North Carolina.


    The album will include a bonus track "Win / Lose" on both the digital and vinyl versions.

    1 Old Train
    2 The Lion

    3 Power of the People

    4 Sweet Mountain River

    5 Psychics
    6 Oh Lord
    7 For The Sun

    8 Boogie
    9 Undercover Love

    10 The Giant

    11 Call It The Spade

    12 My Love Is True
    Monster Truck
    $24.99
    Vinyl LP - 2 LPs Sealed AWAITING REPRESS 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 Led Zeppelin III Quick View

    $24.99
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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 (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 (Super Deluxe Edition Box) Led Zeppelin III (Super Deluxe Edition Box) Quick View

    $139.99
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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
  • 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
  • Private Eyes Private Eyes Quick View

    $34.99
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    Private Eyes

    Private Eyes on Numbered Limited Edition 180 Gram LP from Mobile Fidelity


    1981 Album Established Parameters for Decade's Celebrated Pop Sounds


    Includes Private Eyes, I Can't Go For That (No Can Do), Did It in a Minute


    Meticulous Merger of Pop, Soul, Rock, and R&B Crossed Over Into all Fields


    Stylish, Sophisticated Production Comes to Fore on Mobile Fidelity Reissue, Mastered from the Original Master Tapes


    Hall and Oates could've easily followed the protocol established on their breakthrough Voices, done nothing else, and watched 1981's follow-up Private Eyes scale the charts. Yet the duo continues to press forward, further refining the era-defining stylistic mÉlange that propelled them to mass stardom a year prior. The creative and artistic peak of the all-time best-selling male duo's output, Private Eyes delivers relentless pop bliss and functions as an instruction manual that, as Rolling Stone opined, still teaches "the way to make rock girls, disco girls, and new-wave girls scream together."


    Mastered from the original master tapes and pressed on 180 gram LP at RTI, Mobile Fidelity's reissue presents the Top 5 album's sharp, widescreen production values with awe-inspiring detail and palpable realism. For the first time, listeners can get inside the songs' internal mechanisms by experiencing first-hand the vast surfeit understated sonic effects. Well-appointed tones now grace the array of guitars, pianos, basses, and voices placed against synthesized backdrops. Each member's singing also claims enhanced intimacy and balance. Offering tremendous insight, Mobile Fidelity's LP doubles as a lesson in the construction and sustain of big, bold grooves.


    Advancing their rhythmic support and melodic symmetry, Hall and Oates give extra space to their still-underrated backing band, affording the material a muscular punch and organic warmth crucial to their success and ability to transcend the largely artificial era. While the tandem's peers often relied on robotic mechanisms and now-dated keyboard noises, Hall and Oates wisely merge the period's savvy sounds with tried-and-true soulful instrumentation.


    Reflecting the album's infallible level of quality control, no song disappoints. The three Top 40 singles-the title track, "I Can't Go For That (No Can Do)," and "Your Imagination"-feature clever elements such as hand-clapped choruses and staccato piano lines. The distinctive traits complement the duo's hallmark harmony vocals and add R&B flavors to already-scintillating pop concoctions. Yet Private Eyes' pleasures advance well beyond the radio singles.


    Whether witnessed via the taut tension of "Some Men," reggae-splashed "Tell Me What You Want," or Motown homage "Looking for a Good Sign," the group's blend of dance vibes, electrifying hooks, keyboard loops, and sleek beats epitomizes seduction, style, and swagger. Private Eyes is an 80s juggernaut that hasn't lost a step. Utterly classic.


    This title is not eligible for discount.

    1. Private Eyes
    2. Looking for a Good Sign
    3. I Can't Go For That (No Can Do)
    4. Mano a Mano
    5. Did It in a Minute
    6. Head Above Water
    7. Tell Me What You Want
    8. Friday Let Me Down
    9. Unguarded Minute
    10. Your Imagination
    11. Some Men
    Hall and Oates
    $34.99
    180 Gram Audiophile Virgin 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
  • Rock 'N Soul Part 1 Rock 'N Soul Part 1 Quick View

    $34.99
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    Rock 'N Soul Part 1

    Rock 'N Soul Part I On Numbered Limited Edition 180 Gram LP From Mobile Fidelity


    The Definitive Hall and Oates Greatest-Hits Compilation: Rock 'n Soul Part I Loaded With Nine Top 10 Singles, Including Kiss On My List and Private Eyes


    Mastered From the Original Master Tapes and Pressed On 180 Gram LP At RTI


    All The Signature Songs From The 1970s And 80s Are Here, From Sara Smile And She's Gone To Maneater


    Other compilations have longer track lists and go farther back into their career, but no Hall and Oates greatest-hits collection surpasses Rock 'n Soul Part I. Originally released at the height of the duo's career in fall 1983, the 12-song set functions as a time machine back into an era when Daryl Hall and John Oates dominated the charts with songs that have long since become standards. While a majority of the anthology draws from the group's trio of mammoth RCA albums spanning 1980 through 1982, it also includes the pair's only three Top 10 smashes from the 1970s: Sara Smile, She's Gone, and the chart-topping Rich Girl. One-stop shopping for the absolute best of Hall and Oates doesn't come any easier.


    Mastered from the original master tapes and pressed on 180g LP at RTI, Mobile Fidelity's analog reissue presents nine Top 10 Hall and Oates singles with awe-inspiring detail and palpable realism. Lifelike tones grace the array of guitars, pianos, basses, and voices placed against synthesized backdrops. Each member's singing claims enhanced intimacy and balance. The collective harmonies sound sharper, the dynamics richer, and the soundstages wider and deeper. While the tandem's peers often relied on robotic mechanisms and now-dated keyboard devices, Hall and Oates wisely merge the period's savvy styles with tried-and-true soulful instrumentation.


    Indeed, with one listen to this definitive-sounding version of Rock 'n Soul Part I, and you'll understand why the duo's music not only ruled radio and record stores in the Reagan era but also continues to be referenced by influential artists today. You already likely know every song - or nearly every one of them - here by heart. Arriving upon a near-flawless fusion of dance grooves, soft rock rhythms, smooth vocals, romantic sentiments, catchy beats, and spotless hooks with #1 singles such as Kiss On My List and Private Eyes, the collaborators simultaneously crossed over into multiple markets and eradicated boundaries.


    All the trademarks - swinging verse structures, call-and-response choruses, stick-in-your-head bridges, sleek keyboard layers, doo-wop fills, and, in some places, reggae-nodding accents or cool saxophone lines to stir up the mood and atmosphere - that make the duo's music irresistible pulse throughout Rock 'n Soul Part I. Eight of the singles included here cracked the Top 5. They remain prototype intersections of blue-eyed soul, edge new wave, and dance, blueprints for pop mastery that catapulted Hall and Oates to becoming the most successful duo in rock history.


    Hear the Rock and Roll Hall of Fame inductees' standard-setting equilibrium between polish, melody, muscle, and craft on their signature hits like never before.


    This title is not eligible for discount.

    1. Say It Ain't So
    2. Sara Smile
    3. She's Gone
    4. Rich Girl
    5. Kiss On My List
    6. You Make My Dreams
    7. Private Eyes
    8. Adult Education
    9. I Can't Go For That (No Can Do)
    10. Maneater
    11. One on One
    12. Wait for Me
    Hall and Oates
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Dreamland Dreamland Quick View

    $19.99
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    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
  • Chicken Skin Music Chicken Skin Music Quick View

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    Chicken Skin Music


    Give Yourself Goosebumps: Ry Cooder's Cross-Cultural Chicken Skin Music Mixes Hawaiian, Gospel, Conjunto, Folk, and Blues Styles into a Visionary Roots-Music Tapestry


    Mastered from the Original Master Tapes, Pressed at RTI, and Strictly Limited to 3000 Numbered Copies: Natural-Sounding 180g Vinyl LP Features Defined Textures, Intricate Details, Ample Airiness


    The title of Ry Cooder's Chicken Skin Music - Hawaiian slang for goosebumps - serves as a direct, simple description of the album's emotional appeal. But it barely scratches the surface of a 1976 effort that triggered an interest in world music a decade before the term became commonplace and a genre into and of itself. Part of a series of inimitable mid-1970s records on which Cooder ignored traditional boundaries and instigated lasting cross-cultural communication, Chicken Skin Music blends gospel, Hawaiian, folk, blues, and Tex-Mex styles into a brilliant roots stew distinguished with virtuosic playing and inspired contextual surprises.


    Mastered from the original master tapes, pressed at RTI, and strictly limited to 3000 numbered copies, Mobile Fidelity's 180g vinyl LP of Chicken Skin Music brings the brilliant instrumental textures and lively tonalities to the fore like no prior analog edition. Graced with silent, black backgrounds and generous soundstages, this reissue particularly underscores the depth of Flaco Jimenez's accordion contributions. You'll hear the air flowing through the reeds, pressure resonating from the bellows, and the wide-spanning timbres emanating from the register stops.


    Equally transfixing are the lifelike manners in which the rich assortment of guitars come alive, with each note occupying its own space and portraying a character unique to the individual instrument, be it a slack-key, steel, or acoustic guitar. The result is a multi-detailed, organic-sounding musical tapestry that dazzles by way of beautiful interplay, unexpected dialogue, and connective eclecticism that proves music is indeed a common language when executed with a collaborative mindset, innovative exploration, and respectful authenticity - no easy feats, but achievements fully on display on Chicken Skin Music.


    Jimenez, now a legend that's performed with everyone from the Rolling Stones to Dr. John, remains one of the keys to Cooder being able to successfully carry out what the latter deemed a mutuality in music vision. Cooder first heard conjunto accordion fare on a Mexican radio station in his car and proceeded to teach himself the instrument while committing himself to embracing the then-local, regionalized style for the set that became Chicken Skin Music. Jimenez graces three tracks, including a ravishing interpretation of Ben E. King's Stand by Me transformed into a spiritual grounded by a norteno structure and a romantic take on Jim Reeves' He'll Have to Go recast with a bolero rhythm and saxophone-accordion duet.


    Chicken Skin Music isn't limited to South of the Border geography and tradition. Steel-guitarist and vocalist Gabby Pahinui and slack-key guitar great Atta Isaacs represent the 50th state on stripped-down renditions of Hank Snow's smash Yellow Roses and the wordless Chloe. Elsewhere, gospel singers team with Cooder on the Appalachian-tinted Always Lift Them Up, the midsection of which features the Hawaiian standard Kanaka Wai Wai.


    Cooder bookends everything with a pair of Leadbelly numbers - The Bourgeois Blues and Goodnight Irene - chosen after the headliner witnessed Jimenez and his band perform at a local dance. Given their ordering on the album, techniques they employ, and themes, the songs also further tighten the thematic connection the headliner makes with the standout guests. In many ways, Chicken Skin Music is the equivalent of Buena Vista Social Club more than 20 years before the latter emerged. Experience it the way Cooder and company meant it to be heard - in unparalleled fidelity.


    This title is not eligible for discount.

    1. The Bourgeois Blues
    2. I Got Mine
    3. Always Lift Him Up/Kanaka Wai Wai
    4. He'll Have to Go
    5. Smack Dab in the Middle
    6. Stand by Me
    7. Yellow Roses
    8. Chlo-e
    9. Goodnight Irene
    Ry Cooder
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Lush Life Lush Life Quick View

    $21.99
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    Lush Life

    John Coltrane's essential 1958 Prestige release Lush Life finds the jazz great fronting a pianoless trio on three of the album's five tracks as well as helming both a quartet and quintet for a track a piece. The standard ballad Like Someone In Love and the Coltrane mid-tempo original Trane's Slo Blues wonderfully supplement the album's 14-minute title track, an unrivaled masterpiece of both style and grace.
    1. Like Someone in Love
    2. I Love You
    3. Trane's Slo Blues
    4. Lush Life
    5. I Hear a Rhapsody
    John Coltrane
    $21.99
    Vinyl LP Reissue - Sealed Buy Now
  • Music Music Quick View

    $34.99
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    Music

    Released on the heels of her breakthrough, Tapestry, Carole Kings Music is every bit the equal of its more famous predecessor, a Number One smash that features impeccable songwriting, infallible melodies, and extraordinary piano playing. In short, everything thats made King an institution. After of years of being overshadowed, this 1971 singer-songwriter classic has finally been given the audiophile treatment its long deserved.



    Half-speed mastered from the original master tapes, Mobile Fidelitys numbered limited-edition 180g LP of Kings second solo masterpiece is rife with intimacy, transparency, soulfulness, and you-are-there sound. Never before remastered, Music seems like a brand-new album, Kings familiar voice, intelligent arrangements, and ravishing support band presented on a deep, three-dimensional soundstage. Your appreciation for and understanding of Kings inspirational lyrics and ravishing performances will increase tenfold. Mobile Fidelitys 180g LP brings you that much closer.



    Accompanied by percussionist Bobbye Hall, drummer Russ Kinkel, guitarist/vocalist James Taylor, and a cavalcade of professional wind musicians, King delves further into R&B and jazz-derived pop, coming up aces every time. Warm, intelligent, and cohesive, songs echo with simplicity and honesty. And as is typical of much of Kings work, several of tunes here were later covered by other artists, including Its Going To Take Some Time (the Carpenters). Yet the originals trump the later renditions, and the rendition of the standard Some Kind of Wonderful stands as the best ever recorded.



    With Taylor lending more of a hand on Music than he does on Tapestry, King expands her confident reach on the piano and peppers the songs with graceful touches of saxophone, flute, pedal-steel guitar, and woodwinds. Ballads sway (Surely), gospel brightness lifts spirits (Brighter), and backup vocals float heavenly pop (Song of Long Ago). Yet the best aspect is Kings voice, infused with fondness, concern, joy, and a quiet power that parallels the delicacy and deliberate nature that define Music.



    Mobile Fidelitys audiophile edition is free of the limiting artifacts that have helped keep this record in the dark for the better part of the past few decades. Previously diminished, acoustic guitars, subtle brass elements, and soft percussion contribute to the enjoyment of the songs, and Kings voice pleasant, assuring, emotion comes through with incredible clarity and inflection. The brilliance of the legendary Lou Adlers original production is restored to its full glory.


    If its at all possible and it is this treasure now sounds even more heartwarming than it did upon original release. The companion to Tapestry, Music is an aural and sonic delight.



    This title is not eligible for discount.

    1.Brother, Brother
    2.It's Going to Take Some Time
    3.Sweet Seasons
    4.Some Kind of Wonderful
    5.Surely
    6.Carry Your Load
    7.Music
    8.Song of Long Ago
    9.Brighter
    10.Growing Away from Me
    11.Too Much Rain
    12.Back to California
    Carole King
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Weezer (Blue Album) (Blue Vinyl) Weezer (Blue Album) (Blue Vinyl) Quick View

    $34.99
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    Weezer (Blue Album) (Blue Vinyl)

    Ranked 297/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.


    Limited Edition Numbered Blue Colored Vinyl LP


    Mastered From The Original Master Tapes


    Features Superb Room-Filling Sonics


    1990s' Ultimate Geek-Rock Record: Includes Buddy Holly, Undone (The Sweater Song), & Say It Ain't So


    Weezer doesn't look like rock stars, its amusing name doesn't evoke stadium-heights glories, and the group's lyrics don't exude confidence or flash. For precisely these reasons, and the fact that the band's songs on its self-titled debut are the stuff of air-guitar dreams and shout-it-out choruses, the quartet became ironic arena-rock stars equally celebrated by in-the-know hipsters and mainstream radio listeners. Replete with urgent melodies, quirky confessional narratives, wry humor, and gargantuan hooks, Weezer (Blue Album) remains the best geek-rock record ever made.


    Mastered from the original master tapes and pressed on 180g blue-colored vinyl at RTI, Mobile Fidelity's analog version of the 1994 release Rolling Stone named the 297th greatest album ever recorded finally possesses the grand-scale sonics that the music's bunker-busting hooks deserve. Cars frontman Ric Ocasek's polished production is now both free of artificial ceilings that squashed the explosive dynamics and rid of the compression that saddled the frequency range. Instrumental separation is vastly improved, and the amount of midrange energy seemingly doubled. This reissue is guaranteed to help you rock out.


    Underdogs and misfits, Weezer emerged from Los Angeles as nerdy kids that eschewed traditional party-hard ways in favor of studying Kiss records, engaging in conversations about old LPs, and playing Dungeons and Dragons. The band's awkwardness joyfully translates in its songs on its 1994 debut, largely concerned with jealous insecurities, pop culture, true-to-life heartbreak, common accidents, youthful misconceptions, and daydreaming. Unlike many of their indie-rock peers, Weezer finds no need to conceal feelings in obscurities, snark, or impossibly impenetrable quirkiness.


    While every song on Weezer is a delight, In the Garage, the ultimate ode to a heavy-metal practice space and private musical retreat, best spells out the album's appeal and the band's intent. I've got an electric guitar/I play my stupid songs/I write these stupid words/And I love every one/Waiting there for me/Yes I do, I do/In the garage/No one cares about my ways/In the garage where I belong sings leader Rivers Cuomo, his voice often meshing with that of Matt Sharp, and giving the material a barbershop-quartet harmonic boost in line with the catchiness of the guitar-driven bridges and rhythmic foundations.


    More than three-times platinum, the Blue Album, as it's often called, also claims an iconic cover that pays tribute to that of the Feelies' Crazy Rhythms. The picture - as well as the bubblegum-inspired content within - has become an indelible part of modern culture. Weezer graces must-have lists from Rolling Stone, Pitchfork, Guitar World, and more. And needless to say, My Name Is Jonas, Say It Ain't So, Buddy Holly, and Undone (The Sweater Song) are all modern classics.


    This title is not eligible for discount.

    1. My Name Is Jonas
    2. No One Else
    3. The World Has Turned and Left Me Here
    4. Buddy Holly
    5. Undone (The Sweater Song)
    6. Surf Wax America
    7. Say It Ain't So
    8. In the Garage
    9. Holiday
    10. Only in Dreams
    Weezer
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - 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
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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.

    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
  • Bringin' It Bringin' It Quick View

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    Bringin' It

    Iconic bassist Christian McBride has been doing what the title of his upcoming big band album implores for years: Bringin' It. This highly anticipated release, which follows the Christian McBride Big Band's 2011 Grammy® Award-winning debut, The Good Feeling, puts his status and skills as an all-around entertainer on full display. With a list of growing accolades including his recent appointment as Artistic Director at the Newport Jazz Festival, hosting shows on SiriusXM ("The Lowdown: Conversations with Christian") and NPR ("Jazz Night in America," as well as frequent online contributions to various programs including "All Things Considered"), speaking engagements, and occasional DJ performances under the alias DJ Brother Mister, he's more than just a bandleader: Christian McBride is transcending that title to something more complete.


    If it is true that jazz is a sponge for musicians to absorb and then squeeze out what they hear to produce their own sound, McBride has been "bringin' it" for quite a long time. From his amazing quintet, Inside Straight, to his avant-garde leaning quartet, New Jawn, the contemporary sound of his fusion group, A Christian McBride Situation, to the critically acclaimed music he's made with his trio, the bassist has always disseminated his own unique 360-degree view of jazz.


    While the music played by the Christian McBride Big Band is on the cutting edge of 21st century large ensemble music, the orchestra's presentation, like its sound, respects the past while looking forward. Danny Ray, the legendary stage announcer for James Brown, travels with the group to give the leader an old-school intro before playing his thoroughly modern music. "I love having the show aspect of it as well, with Danny Ray there, and being able to create somewhat of a show while also having Melissa there as our vocalist."


    That would be Melissa Walker, who graces Bringin' It on two tracks: "Upside Down," originally done by Brazilian superstar Djavan, and the unlikely slick arrangement of "Mr. Bojangles." In addition to maintaining a career in jazz, Walker is also the co-founder of Jazz House Kids, the award winning jazz education center and she's Mrs. Christian McBride.


    Only two tracks on this 11-song set were not arranged by the leader: the "Upside Down" arrangement was contributed by Norman Simmons, while "Optimism" is from the person he's known the longest in his band, trombonist Steve Davis. Davis has the distinction of being the very last Jazz Messenger that Art Blakey hired before he died in 1990.


    "I saw that last Jazz Messengers band that Steve was in," McBride remembers. "Blakey was a huge influence on me and because of that, Steve and I share the same compositional and arranging DNA. You see, even though I've been influenced by every great big band and every great arranger I've ever heard, three of my greatest influences - not just as composers but also as improvisers - are Freddie Hubbard, Wayne Shorter and Cedar Walton. I mean before, after and during the period when they were with Art Blakey & the Jazz Messengers."


    McBride played bass for Freddie Hubbard's quintet for nearly three years starting when he was 18. One of the songs he loved to play with the legendary trumpeter was "Thermo." A few years ago he brought this arrangement to a gig with Wynton Marsalis and the Jazz at Lincoln Center Orchestra. When the four trumpeters had to work hard to go over the riffs in the tune, McBride felt a certain pride. "I just thought that Freddie was somewhere up in heaven laughing," says McBride.


    Perennial poll-topping arranger Maria Schneider has also been an influence on McBride. He cites times when he'd just bug her for hours, peppering her with questions, particularly on a recent trip to Europe. He honors her with his rendition of "I Thought About You." "She has an arrangement of 'Giant Steps' where she arranged the melody over a D pedal so I said let me try something like that," McBride recounts. "That's where that came from. She really gave me a lot of information and has been a great influence on me."


    Another aspect that has helped the bassist find his voice as an arranger is the fact that, except for drummer Quincy Phillips, this is the exact same band that recorded with him six years ago. "These guys know my sound. They know my style. They know what my compositional and arranging DNA is. I've been able to keep the exact same unit, so like Duke Ellington used to do, I can write for my guys because I know their sound and style.


    "As for my originals, they all have been recorded with my small groups," he continues on about the tracks "Gettin' To It," "Youthful Bliss," and "Used'ta Could." "As an arranger I'm still in the early stages of my development so it seems to me the best way to really make my hopeful ascension into a better arranger is to obviously take a song I've already written and try to add to that and make it a worthy large ensemble song."


    While the Wes Montgomery smoker "Full House" isn't a McBride original, it is part of his development as an arranger - it's a big band chart he first created for guitarist Russell Malone at Jazz Aspen in 2009. He says he's tweaked it since then for his go-to guitarist Rodney Jones. For the McCoy Tyner classic "Sahara," the bassist channeled his 20+ years of playing with the legendary Chick Corea, for which McBride won two of his five Grammys. Another one of his Grammys came from a co-op project with Tyner. "I always thought of Chick, in his early years, as being a branch from the tree of McCoy Tyner, if you will," he commented.


    McBride's work ethic is evident in the challenge he set for himself on the steamy old ballad "In The Wee Small Hours of the Morning." "I decided to torture myself by writing that arrangement in the key of B. To me that's a very pretty key, but it is a very hard key for a double bass because I get to play no open strings," McBride explains. "When I play it live, every bass player in the house comes to me and says, 'is that in B? Why do you do that?' Maybe it's because I'm crazy, but I really wanted to do something difficult and keep myself on my toes."


    Planning to keep this group simmering while he simultaneously resurrects his Inside Straight band and introduces his new trio, Tip City, McBride is most excited to embrace the golden age of big bands while they continue bringin' it with more gigs and their first European tour. "With my big band I try to combine all of my journeys and goals as a musician and then try to put it in a wrapper of show business," the five-time Grammy® Award-winner comments. "I really think in that sense I'm following something of a big band tradition."

    1. Gettin' To It
    2. Thermo
    3. Youthful Bliss
    4. I Thought About You
    5. Sahara
    6. Upside Down
    7. Full House
    8. Mr. Bojangles
    9. Used 'ta Could
    10. In The Wee Small Hours Of The Morning
    11. Optimism
    Christian McBride Big Band
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Dawning Dawning Quick View

    $21.99
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    Dawning

    Might the time finally be right for Mouth of the Architect? For a decade, the Ohio band has largely been ghettoized to cult status, familiar to Midwestern kids or those paying more than casual attention to what's clumsily called "post-metal," at least post-Isis. Between 2004 and 2008, Mouth of the Architect released three rather convincing-- if sometimes haphazardly indulgent-- records of unified doom and grace. Dependent upon extreme dynamics and grand composition, with track lengths that ticked into the teens and albums that stretched past the hour mark, Mouth of the Architect seemed like a natural recipient of the same "brainy metal" laurels then distributed by outlets as illustrious as The New York Times.


    But the ascendance never came, and since 2008's teetering Quietly, the band instead lingered at the threshold of self-destruction. They released an EP in 2010, but, as a revealing Invisible Oranges look into the band's last half-decade suggests, they mostly tried not to die-- as a group, really, or as people. "Some of us were convinced that the end was coming, either the big picture or individually," drummer Dave Mann told Brad Sanders. "Some of us, me in particular, were in a downward spiral in a lot of ways."


    The appropriately titled new album Dawning is their first in five years and their first featuring bassist Evan Danielson. It's also their best work to date, a fully realized resurrection. Dawning showcases a band that now moves with an intricacy and immediacy that indicate just what Mouth of the Architect is: a veteran group comprising members with long rÉsumÉs, who've now gotten a chance to begin again and know what to do with it. A wonder of tension and release, Dawning is designed to throw listeners into tailspins and, then, to lift them above the mess. That drama not only reflects the survival of the band that stuck around long enough to make this album but also of a group that's now pushed past the cloister of post-metal: Despite the hardened visage of tough-guy screams, burly guitar tones, and Mann's aggressive drumming, Dawning is a compulsively likable record, full of anthems meant for memorizing and environments meant for immersion. (Hell, "Sharpen Your Axes" could pass for millennial Incubus.) If you've ever liked Isis there's plenty for you here; on the other hand, if you like, say, Abbey Road-- or any music that tries to outstrip the structure of a single song while not abandoning its magnetism-- Dawning deserves your time, too.
    Should the metal prefixes "progressive" or even "post-" suggest long-winded, self-invested excursions nestled within songs that require an almanac, scrap the notion for Dawning. Yes, these songs stretch between seven and 11 minutes each, but even the longest, centerpiece "How This Will End, hinges upon narrative thrust and musical selflessness. If there are any guitar solos here at all, they come toward the start and the finish of "How This Will End, when a neon electric tone arches over a mounting cavalcade of drums and bass. Rather than serve as breaks in the momentum, though, both passages lead tremendous swells that rise to meet the troika of vocalists in another instance of triumph. Not one moment among these 11 minutes seems squandered or lost, as the quintet keeps rising and falling, churning and rebuilding.


    Opener "Lullabye" establishes that principle from the jump, or as soon as traipsing acoustic guitar and twinkling piano concede to a heroic riff wrapped within three-part, gang-style harmonies. Mouth of the Architect move constantly between parts; at various points, they leap from near-silence to a quake viscous enough to make plenty of stoner metal sound thin, from guitar leads that suggest Chicago blues moan to math-rock redirection. Behind the kit, Mann serves as the expert rudder, keeping the songs steady even as he navigates the transfers. This constant swivel also depends upon the split vocal duties of Steve Brooks, Kevin Schindel, and Jason Watkins. They trade verses, flip-flopping between pristine radio rock leads and malevolent growls, sometimes only for a line at the time. They often share choruses, delivering them the sort of group-vocal abandon that hints at a darkened Danielson Family. Their singing-- here, more charged and urgent than it's ever been-- gives all of the band's moving pieces a through-line from one side to the other.


    Talk of the tide of intelligent or somehow otherwise-elevated heavy music hasn't faded during Mouth of the Architect's temporary absence. Though both Sunn O))) and the late Isis have only released one album since MotA's last one, the acceptance of and debate over nominally black metal acts such as Liturgy, Wolves in the Throne Room, Krallice and Deafheaven has kept that conversation current. Mouth of the Architect only nods to that au courant talking point during Dawning, most notably with the blizzard of tremolo guitars that open "It Swarms" and the clattering way the band emerges from an instrumental break during "Sharpen Your Axes". But at the very least, Dawning deserves mention alongside Deafheaven's Sunbather, a record that's most notable for its holistic approach to drama and romance and the complete cinema of itself. Mouth of the Architect has long written from a vantage of imminent apocalypse, a perspective Dawning does not forego. There's talk of collapsing systems and prevailing darkness, spent luck and idolized disrepair. But at record's end, when Mouth of the Architect's three singers trade and share lines about risking it all even if they come up short, it's hard not to hear a core of redemption and potential hope within the music itself. And after returning from the brink to make one of the year's most rapturous records, metal or post-metal or whatever, there had better be.

    - Grayson Currin (Pitchfork)

    1. Lullabye
    2. It Swarms
    3. Sharpen Your Eyes
    4. How Will This End
    5. Patterns
    6. The Other Son
    Mouth Of The Architect
    $21.99
    Vinyl LP - Sealed Buy Now
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