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  • Downtown Rockers Downtown Rockers Quick View

    $15.99
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    Downtown Rockers

    Nacional Records is proud to announce the September 11th release of Tom Tom Club's new EP, Downtown Rockers, the first release of new material in more than a decade. Infamous for timeless hits such as Wordy Rappinghood and Genius of Love, which have been prominently sampled by Grandmaster Flash, Mariah Carey, 2pac, and T.I., among many others. Tom Tom Club was formed by Chris Frantz and Tina Weymouth, who were both founding members of Talking Heads.
    1. Downtown Rockers
    2. Won't Give You Up
    3. You Make Me Rock and Roll
    4. Kissin' Antonio
    5. Sweets To The Sweet
    Tom Tom Club
    $15.99
    Vinyl LP - Sealed Buy Now
  • The Captain And Me (Speakers Corner) The Captain And Me (Speakers Corner) Quick View

    $34.99
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    The Captain And Me (Speakers Corner)

    The Doobie Brothers weren't brothers, nor were they called Doobie. The band started life as Pud in 1969 in Chateau LibertÉ, a club in the mountains of California. The group took on the slang name for marihuana cigarettes (doobie) one year later. The Doobies' music, however, never sounded like that of befuddled, half-stoned junkies. Heavy metal hard rock was their thing which made their record company Warner target the bikers of the rocker scene. The idea backfired, though, because the band had far more to offer than explosive hard rock.



    The album The Captain And Me is considered to be the group's most concentrated and versatile production since it contrasts aggressive, hard numbers with gentle ones full of melodiousness. The very first number, Natural Thing, shows how winsome vocal folk music and electric guitar riffs can be amalgamated into rock music. Amongst these titles, decidedly angry numbers such as Without You and Evil Woman became real trailblazers. Now and then, an extensive harp solo or nonchalant licks from the acoustic guitar remind one of the pungent bluegrass style emanating from the South. That even the sweet wailing of the steel guitar (South City Midnight Lady) finds room for expression seems quite logical in this well-thought-out musical concept.



    Musicians:



    • Tom Johnston (guitar, harmonica, synthesizer, vocals)

    • Patrick Simmons (guitar, synthesizer, vocals)

    • John Hartman (percussion, drums, vocals)

    • Tiran Porter (bass, vocals)

    • Michael Hossack (drums, conga, percussion)



    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. Natural Thing
    2. Long Train Runnin'
    3. China Grove
    4. Dark Eyed Cajun Woman
    5. Clear As The Driven Snow
    6. Without You
    7. South City Midnight Lady
    8. Evil Woman
    9. Ukiah
    10. The Captain And Me
    The Doobie Brothers
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Animal Feelings Animal Feelings Quick View

    $16.99
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    Animal Feelings

    Rafter's latest long player, Animal Feelings, is a Technicolor pop blow-out that recalls Nintendo composer Koji Kondo leading a fantasy camp super-jam with Cody Chesnutt, Justin Timberlake, and the Tom Tom Club. Rafter's history and influences, his dreams and ambition, and his love for love, all come together as a sweet, fun, speaker-blowin', beat-busting ride into the inner-core of pop and R&B music.
    1. No Fucking Around
    2. A Frame
    3. Timeless Form, Formless Time
    4. Fruit
    5. Feels Good
    6. Animal Feelings
    7. Paper
    8. Never Gonna Die
    9. Only You
    10. Love Makes You Happy (When It's Not Making You Sad)
    11. Beauty Beauty
    Rafter
    $16.99
    Vinyl LP - Sealed Buy Now
  • For Life For Life Quick View

    $20.99
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    For Life

    White Colored Vinyl


    PHASES is a tight-knit and talented group of four friends, Z Berg, Alex Greenwald, Jason Boesel, and Michael Runion. True to their creativity and sense of humor, their record For Life is fun, but it also showcases their top-notch musicianship and dedication to next-level production. It fills a void in contemporary music of skilled musicians who don't take themselves too seriously-no surprise that they were inspired by bands of the early-80s, like Bananarama, Human League, and Tom Tom Club. But, while their album was created with the goal of making Blondie meets Thriller, PHASES lives decidedly in 2015.

    1. Silhouette
    2. Betty Blue
    3. I'm In Love With My Life
    4. Spark
    5. Cooler
    6. Vertigo
    7. Part Of Me
    8. Running Away
    9. New Illusion
    10. I Don't Know What's Right
    11. Lonely Nights
    12. Take Me There
    Phases
    $20.99
    Colored Vinyl LP - Sealed Buy Now
  • Moods Baby Moods Moods Baby Moods Quick View

    $19.99
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    Moods Baby Moods


    180-Gram Orange Vinyl


    On previous records, the Sunsets have plundered a
    wide spectrum of musical appropriation (garage-rock,
    forgotten AM radio fodder, Modern Lovers, late-era
    Clash, Doo-Wop, and the Velvet Underground, to
    name a few.)


    Mood Baby Moods follows suit, and on this outing we
    find the Sunsets, along with producer Merrill Garbus
    of tUnE-yArDs, repurposing early '80s funk and new
    wave with rap beats and collages from both sides of
    the ocean (be it Niles Rogers, Jah Wobble, The Gap
    Band, Orange Juice, Trans-era Neil Young or The Tom
    Tom Club.) These are songs that juxtapose the haze of
    today with a vibrant and colorful explosion of sounds
    and 180 degree turns.

    1. Death Cream part 2 "Watch Out for the Cream"
    2. Moods
    3. Modern Age
    4. Well But Strangely Hung Man
    5. Nightmares
    6. Reject of the Lowest Planet
    7. White Cops on Trial
    8. Check Out
    9. Needs
    10. My Little Death
    11. Dead Meat on the Beach
    12. The Hospital Grounds at Night
    Sonny & The Sunsets
    $19.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Echoes Echoes Quick View

    $34.99
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    Echoes

    Wally Badarou is a French-born synthesizer specialist, and long-time associate of the British band Level 42, known for its blend of funk, pop, soul and rock. He has co-written and performed on a number of the band's tracks since their recording dÉbut in 1980, later co-producing them. Though not an official member, he has long been considered an informal fifth member.


    Badarou was one of the Compass Point All Stars (with Sly and Robbie, Barry Reynolds, Mikey Chung and Uziah Sticky Thompson), the in-house recording team of Compass Point Studios responsible for a long series of albums of the 1980s recorded by Grace Jones, Tom Tom Club, Joe Cocker, Mick Jagger, Black Uhuru, Gwen Guthrie, Jimmy Cliff and Gregory Isaacs. His keyboard playing can also be heard on albums by Robert Palmer, Marianne Faithfull, Herbie Hancock, Talking Heads, Foreigner, Melissa Etheridge, Manu Dibango and Miriam Makeba.


    Echoes (1983) is his second solo album, which included Chief Inspector, Hi-Life and Mambo, which was sampled for Massive Attack's Daydreaming of the Blue Lines album. You can actually feel Caribbean sunshine with this music. Badarou breathes real life into his synthesizers on this album of happy, upbeat, and danceable instrumentals.

    1. Keys
    2. Hi-life
    3. Mambo
    4. Voices
    5. Canyons
    6. Endless Race
    7. Chief Inspector
    8. Waltz
    9. Jungle
    10. Rain
    Wally Badarou
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Murk Murk Quick View

    $18.99
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    Murk

    Miami House legends Oscar G and Ralph Falcon, aka Murk Boys, Deep South, Liberty City, and Funky Green Dogs, have become one of the most successful dance production duos in the world. With hundreds of original songs and productions, anyone who has ever walked into a club has heard their anthems pounding over the sound system. The Murk sound is created with dark, pounding tribal beats, unforgettable melodies, and soulful vocals. Both singles released from this album ("Some Lovin'" and "Alright") have already held the #1 position on the Billboard Dance chart.

    1. Time

    2. Doesn't Really Matter

    3. Baba-Sulei

    4. Opera

    5. Believe

    6. Let Me Go

    7. Afro-Cuba

    8. True
    Murk
    $18.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Topiary Topiary Quick View

    $18.99
    Buy Now
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    Topiary

    Recorded At Tom Tom Club/Talking Heads' Clubhouse Studio On All Analogue Gear


    Ghostly International presents Xeno & Oaklander's new full-length album Topiary.
    In their fifth album to date, the Brooklyn based girl / boy electronic duo explores
    themes of arcana and electricity.


    The title 'Topiary' refers to a highly ornamental hand sculpted garden such as
    Levins Hall in Cumbria UK or the stately grounds of Versailles. Pruned and
    fashioned into forms, shrubs and trees are turned into semblances of abstract and
    natural shapes - nature imitating nature, much to the delight of dreamers and
    romantics. The band, Sean McBride and Liz Wendelbo, views the album as a
    journey through the manifold hallways of electro magnetic architecture and
    enchanted landscapes.


    The sound of Topiary is rich and deep; like a 60s French Pop album shot through a
    prism of late renaissance chamber music. Liz Wendelbo's voice seems haunted by
    ghosts of YÉYÉ girls, Françoise Hardy's whispers set against a glorious backdrop
    of blaring synthetic horns and organs.


    Known for their signature analog synth sound, Xeno & Oaklander have been
    quoted as referring to their synths as elemental: fire is what powers energy,
    voltage and electricity. Electro magnetism is electric energy, like lightning in the
    sky: here it is controlled by switches and buttons, shaped by filters and
    envelopes, and travels through patch cables and modules to create synthetic
    creations of classical instruments: pianos, brass, guitars, percussions. The result is
    orchestral and textured.


    A room - a sound studio is often referred to as 'the room': it has a sound, a history,
    and ghosts in its machines. Xeno & Oaklander's new album was recorded at the
    Tom Tom Club / Talking Heads' Clubhouse Studio deep in the woods of New
    England. Known for their analog synthesizer sound, Xeno & Oaklander plugged in
    their entire arsenal of synths into the Clubhouse array of analog outboard gear.
    They used their signature style of recording: the album was recorded as a live
    session, but this time in a bracketed amount of time and in one place. Everything
    was arranged, recorded and mixed in a month at the Clubhouse. Liz and Sean
    were intent on creating a sense of dimensionality with this recording by exploring
    the idea of 3D in sound: left, right, back and front as well as up and down. Room
    tone is present in the recordings themselves, so that 'the room' is present in the
    songs, and so that there is a trace of the space in the sound itself: making this a
    unique recording. The vinyl and Cd are mixed seamlessly like a constant pulse of
    electricity.


    Metaphysics, the study of being, time and space is a long time fascination for
    Xeno & Oaklander and the inspiration for part of their band name. Xeno was a
    pre-Socratic philosopher whose view on the world tipped it upside down and
    inside out: he is known for his paradoxes; in short what you see is not what you
    get, life is a chimera, an illusion, a matter of perception. It is this inversion that
    captures the imagination of the band. Day vs. night, hot vs. cold, sunshine vs.
    moonlight, glitter vs. silver, chemistry vs. alchemy, stasis vs. movement; these are
    themes that permeate their lyrics and sounds.


    The artwork by Liz Wendelbo echoes the electro magnetic theme with what looks
    like a starry night sky or skyscraper at night. It is a blown up X-Ray of protein
    photographed through an electron microscope - what is called X-Ray crystallography.
    In Liz's words what is deep inside of us is a reflection of what is above us: and
    electricity runs through it all.

    1. Marble
    2. Virtues and Vice
    3. Baroque
    4. Topiary
    5. Palms
    6. Chevron
    7. Chimera
    8. Worldling Worlds
    9. Topiary II
    Xeno & Oaklander
    $18.99
    Vinyl LP - Sealed Buy Now
  • Topiary (Colored Vinyl) Topiary (Colored Vinyl) Quick View

    $19.99
    Buy Now
    x

    Topiary (Colored Vinyl)

    Half-Moon Vinyl (Half Black, Half Transparent)


    Ghostly International presents Xeno & Oaklander's new full-length album Topiary.
    In their fifth album to date, the Brooklyn based girl / boy electronic duo explores
    themes of arcana and electricity.


    The title 'Topiary' refers to a highly ornamental hand sculpted garden such as
    Levins Hall in Cumbria UK or the stately grounds of Versailles. Pruned and
    fashioned into forms, shrubs and trees are turned into semblances of abstract and
    natural shapes - nature imitating nature, much to the delight of dreamers and
    romantics. The band, Sean McBride and Liz Wendelbo, views the album as a
    journey through the manifold hallways of electro magnetic architecture and
    enchanted landscapes.


    The sound of Topiary is rich and deep; like a 60s French Pop album shot through a
    prism of late renaissance chamber music. Liz Wendelbo's voice seems haunted by
    ghosts of YÉYÉ girls, Françoise Hardy's whispers set against a glorious backdrop
    of blaring synthetic horns and organs.


    Known for their signature analog synth sound, Xeno & Oaklander have been
    quoted as referring to their synths as elemental: fire is what powers energy,
    voltage and electricity. Electro magnetism is electric energy, like lightning in the
    sky: here it is controlled by switches and buttons, shaped by filters and
    envelopes, and travels through patch cables and modules to create synthetic
    creations of classical instruments: pianos, brass, guitars, percussions. The result is
    orchestral and textured.


    A room - a sound studio is often referred to as 'the room': it has a sound, a history,
    and ghosts in its machines. Xeno & Oaklander's new album was recorded at the
    Tom Tom Club / Talking Heads' Clubhouse Studio deep in the woods of New
    England. Known for their analog synthesizer sound, Xeno & Oaklander plugged in
    their entire arsenal of synths into the Clubhouse array of analog outboard gear.
    They used their signature style of recording: the album was recorded as a live
    session, but this time in a bracketed amount of time and in one place. Everything
    was arranged, recorded and mixed in a month at the Clubhouse. Liz and Sean
    were intent on creating a sense of dimensionality with this recording by exploring
    the idea of 3D in sound: left, right, back and front as well as up and down. Room
    tone is present in the recordings themselves, so that 'the room' is present in the
    songs, and so that there is a trace of the space in the sound itself: making this a
    unique recording. The vinyl and Cd are mixed seamlessly like a constant pulse of
    electricity.


    Metaphysics, the study of being, time and space is a long time fascination for
    Xeno & Oaklander and the inspiration for part of their band name. Xeno was a
    pre-Socratic philosopher whose view on the world tipped it upside down and
    inside out: he is known for his paradoxes; in short what you see is not what you
    get, life is a chimera, an illusion, a matter of perception. It is this inversion that
    captures the imagination of the band. Day vs. night, hot vs. cold, sunshine vs.
    moonlight, glitter vs. silver, chemistry vs. alchemy, stasis vs. movement; these are
    themes that permeate their lyrics and sounds.


    The artwork by Liz Wendelbo echoes the electro magnetic theme with what looks
    like a starry night sky or skyscraper at night. It is a blown up X-Ray of protein
    photographed through an electron microscope - what is called X-Ray crystallography.
    In Liz's words what is deep inside of us is a reflection of what is above us: and
    electricity runs through it all.

    1. Marble
    2. Virtues and Vice
    3. Baroque
    4. Topiary
    5. Palms
    6. Chevron
    7. Chimera
    8. Worldling Worlds
    9. Topiary II
    Xeno & Oaklander
    $19.99
    Colored Vinyl LP - Sealed Buy Now
  • Ghetto Blaster EP Ghetto Blaster EP Quick View

    $13.99
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    x

    Ghetto Blaster EP

    Tom Morello and Boots Riley joined forces to form Street Sweeper Social Club in 2009. Following the group's critically acclaimed, self-titled debut album, SSSC will release the Ghetto Blaster EP. The new release features seven new recordings, including two songs that have become fan favorites during their blistering live sets: covers of MIA's Paper Planes, and LL Cool J's Mama Said Knock You Out. The EP also features a new, extended version of their single, Promenade, which highlights an explosive and unique guitar solo that validates Morello's status as a real, live Guitar Hero.
    1. Ghettoblaster
    2. Everythang
    3. Paper Planes
    4. New Fuck You, The
    5. Scars (Hold That Pose)
    6. Mama Said Knock You Out
    7. Promenade [Guitar Fury Remix] - (remix)
    Street Sweeper Social Club
    $13.99
    10 Vinyl LP - Sealed Buy Now
  • Blood Pressures Blood Pressures Quick View

    $21.99
    Buy Now
    x

    Blood Pressures

    The Kills, Jamie Hince and Alison Mosshart, are back with the new studio album, Blood Pressures, the highly anticipated follow-up to their critically acclaimed third album, Midnight Boom.


    For the sessions that became Blood Pressures, Jamie Hince and Alison Mosshart returned to Key Club Studios in Michigan where they reunited with Midnight Boom engineers Bill Skibbe and Jessica Ruffins. Produced by Jamie Hince, the album was mixed in London by Tom Elmhirst.


    With their basic sound intact; searing guitars, driving rhythms and sexually charged lyrical savvy, the 11 tracks on Blood Pressures find The Kills embracing a fuller sound and becoming more adventurous in the studio, while the lyrics are honest, heartfelt and sometimes just plain heartbreaking. Departing from the sparse, angular sound of Midnight Boom, the duo explore complex textures on Blood Pressures with heavier instrumentation and layered, huge-sounding harmonies. Alison and Jamie play all the instruments on the album, including piano and mellotron.

    1. Future Starts Slow
    2. Satellite
    3. Heart Is A Beating Drum
    4. Nail In My Coffin
    5. Wild Charms
    6. DNA
    7. Baby Says
    8. The Last Goodbye
    9. Damned If She Do
    10. You Don't Own The Road
    11. Pots and Pans
    The Kills
    $21.99
    Vinyl LP - Sealed Buy Now
  • Howlin' Mercy Howlin' Mercy Quick View

    $34.99
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    Howlin' Mercy

    Pressed On 180 Gram Audiophile Vinyl


    Howlin' Mercy is the third album by American slide blues guitarist, singer and songwriter John Campbell. Born in 1952 he started to play Delta blues at an early age, listening to and influenced by his peers like Muddy Waters, John Lee Hooker and Lightnin' Hopinks. He performed in clubs in Texas and New Orleans before settling down in New York. It was in New York that his live performance came to fruition which led to his signing with Elektra Records in 1991.


    This album was made before his untimely death due to heart failure in 1993 and contains a bluesified Led Zeppelin cover When The Levee Breaks.


    Additionally songs like Firin' Line, Written In Stone Down In The Hole (written by Tom Waits) and Wolf Among The Lambs are proof of Campbell's roots playing the blues.


    Howlin Mercy was produced by Dennis Walker, who also worked on a lot off Robert Cray's recordings.

    1. Ain't Afraid Of Midnight
    2. When The Levee Breaks

    3. Down In The Hole
    4. Look What Love Can Do

    5. Saddle Up My Pony

    6. Firin' Line

    7. Love's Name

    8. Written In Stone

    9. Wiseblood

    10. Wolf Among The Lambs
    John Campbell
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Lungs (Awaiting Repress) Lungs (Awaiting Repress) Quick View

    $19.99
    Buy Now
    x

    Lungs (Awaiting Repress)

    Florence Welch, an art-school dropout from South London, first gained fame at home with two bombastic singles; Kiss With A Fist and Dog Days Are Over. Not two years after she was discovered while singing Etta James in a club bathroom, she was awarded the 2009 Brit Awards Critics' Choice. She found herself wowing attendee's with her incredible live performance and her now legendary set of pipes.



    Her debut album is co-produced by Paul Epworth (Bloc Party, Maximo Park), James Ford (Arctic Monkeys, Last Shadow Puppets) and Steve Mackay (PULP, M.I.A), and has already amassed a hefty amount of critical acclaim in the UK. Lungs is made of harps, choirs, drums, quartets, strange electronic wailing, while incorporating countless other instruments and emotions along the way.



    The songs are full of Gothic imagery and fairytale flights of fantasy. Her seven-piece band includes long-term collaborators; Rob Ackroyd (guitar), Chris Hayden (drums), Isabella Summers (keyboards) and Tom Monger (harp). Lungs was nominated for the prestigious Mercury Music Prize as one of the 12 best albums to be released in the UK this year.

    1. Dog Days Are Over
    2. Rabbit Heart (Raise It Up)
    3. Im Not Calling You A Liar
    4. Howl
    5. Kiss With A Fist
    6. Girl With One Eye
    7. Drumming Song
    8. Between Two Lungs
    9. Cosmic Love
    10. My Boy Builds Coffins
    11. Hurricane Drunk
    12. Blinding
    Florence And The Machine
    $19.99
    Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • A Tribute To Michael Been A Tribute To Michael Been Quick View

    $24.99
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    A Tribute To Michael Been

    Feat. Robert Levon Been Of B.R.M.C.


    Robert Levon Been of Black Rebel Motor Cycle Club pays tribute to his late father's music with an unforgettable live performance leading his father's
    legendary band The Call. Starting with their self-titled 1982 debut, The Call gained acclaim from countless critics and had their music hailed as "uncompromising," "urgent,"
    "bristling," and even "apocalyptic." Those in the know- from Spin to New Musical Express-have extolled The Call for the depth of their material and the
    passion with which it's performed. "If there is any justice," wrote the Philadelphia Daily News in the band's earliest days, "The Call will soon be heard and
    celebrated 'round the world as the best new rock band of the '80s."


    Over the next eight years, The Call would release seven heavily praised albums and earn considerable airplay with iconic hits songs like "Let The Day
    Begin" and "I Still Believe (Great Design)." After a seven-year break, the band reformed in 1997 to record To Heaven & Back which had a limited release.
    The Call then disbanded, paving the way for Been to begin serving as sound engineer for his son Robert Levon Been's band Black Rebel Motorcycle
    Club. But while working with Black Rebel Motorcycle Club at the 2010 Pukkelpop festival in Belgium, Been suffered a heart attack and passed away
    backstage.


    Now The Call have captured an incredible live performance, for the first time in over 20 years, with Robert taking over his father's role. He joins drummer
    Scott Musick, guitarist Tom Ferrier, and keyboardist Jim Goodwin at The Troubadour in Los Angeles for this historic and electrifying event. In addition to
    delivering passionate lead vocals, Robert played his father's signature fretless bass guitar (which had been stolen but returned in time for the event). The
    musical connection that was created is seamless, and all the crowd's expectations were exceeded. For Robert-who grew up going out on the road with The Call anytime he had a break from school-the performance offered the chance to honor his musical legacy and perform nearly a dozen and a half songs from the band's esteemed catalog. And for the original members, the show allowed the opportunity to move forward with the band while preserving the solidarity that Been very much treasured as the founder of The Call.


    "That's something I've wanted since I was 16 years old, when I heard The Band for the first time," Been once said of the band's uncommon cohesiveness. "When that happens-that chemistry between people-it's incredibly satisfying To know that we've done this together is what makes it all worthwhile."

    1. Everywhere I Go
    2. I Still Believe
    3. I Don't Wanna
    4. Floating Back
    5. Into the Woods
    6. Turn a Blind Eye
    7. Oklahoma
    8. You Were There
    9. Red Moon
    10. Let the Day Begin
    11. Modern Romans
    12. You Run
    13. The Walls Came Down
    14. Uncovered
    The Call
    $24.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Richter: Berlin By Overnight Richter: Berlin By Overnight Quick View

    $25.99
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    Richter: Berlin By Overnight

    To coincide with Max Richter's Royal Albert Hall debut on 4th October, where he joins forces with Daniel Hope in one of the rare live occasions that sees
    them together on stage, DG will release a new, eclectic REMIX EP.


    Berlin by Overnight by Max Richter is taken from Daniel Hope's latest album Spheres (2013) and will include 4 remixes by internationally acclaimed remixers, who were carefully selected and picked up on the nocturnal, minimal and repetitive atmosphere.


    The international line up of remixers:

    Efdemin: A dark sounding producer from Berlin, known for his minimalist musical approach, who regularly performs at clubs such as the Berlin Panorama
    Bar (Berghain)


    CFCF: A renowned Canadian electronic artists whose music alternates between the spaces of dance, ambient, pop and neo-classical who has already
    remixed the music of artists such as Crystal Castles


    Lorna Dune: One of the most versatile keyboardists & producers currently working in New York, with a background in classical, experimental, electronic,
    and pop. Known for the creation and performance of new and experimental music


    Tom Adams: A multi-instrumentalist, composer, producer and songwriter based in Cambridge, who has recently scored the music for the Universal
    Picture film The Knive that killed me whilst doing remixes for artists such as Nils Frahm

    1. Berlin By Overnight (from the Album Spheres)
    2. Berlin By Overnight (CFCF Remix)
    3. Berlin By Overnight (Efdemin Remix)
    4. Berlin By Overnight (Lorna Dune Remix)
    5. Berlin By Overnight (Tom Adams Remix)
    Daniel Hope
    $25.99
    Vinyl LP - Sealed Buy Now
  • The Soft Machine The Soft Machine Quick View

    $24.99
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    The Soft Machine

    The first two albums by England's legendary Soft Machine, originally released in 1968 and 1969, remain among the most innovative and influential releases of that musically fertile era. These seminal LPs offered a visionary psychedelic-progressive-jazz-rock mix that helped to make the Soft Machine one of Britain's first significant underground bands, as well as a key force in the birth of both progressive rock and jazz-rock.


    A product of the same fabled Canterbury scene that spawned such beloved cult acts as Caravan and Hatfield and the North, the Soft Machine was the rare art-rock combo whose members possessed the instrumental skills to execute their ambitious musical ideas, as well as a playful sense of humor that balanced the band's complex compositions and adventurous improvisations. By the time they began making albums, the Soft Machine was already a sensation in the budding U.K. rock underground, thanks to their now-legendary performances at such fabled London clubs as the UFO, the Speakeasy and Middle Earth, where they shared stages with the likes of Pink Floyd and Tomorrow.


    The Soft Machine, co-produced by Chas Chandler and Tom Wilson, announced the band's arrival on the international scene in fine style. With an unusual three-man lineup comprised of Kevin Ayers on bass and vocals, Robert Wyatt on drums and vocals, and Mike Ratledge on keyboards, the album was recorded in New York, while the band was touring North America with the Jimi Hendrix Experience. In contrast to the extended pieces that would later dominate the Soft Machine's repertoire, the album focuses on shorter, more concise songs that nonetheless provide plenty of room for the musicians to demonstrate their varied abilities.


    This landmark vinyl gem has been out of print for decades, but now it is back in this meticulously packaged Sundazed edition. Mastered from the original analog tapes and pressed on pristine high-definition vinyl, this lovingly restored vintage gem sounds as powerful and imaginative as ever.

    1. Hope for Happiness
    2. Joy of a Toy
    3. Hope for Happiness (reprise)
    4. Why Am I So Short?
    5. So Boot If At All
    6. A Certain Kind
    7. Save Yourself
    8. Priscilla
    9. Lullabye Letter
    10. We Did It Again
    11. Plus Belle qu'une Poubelle
    12. Why Are We Sleeping?
    13. Box 25/4 Lid
    Soft Machine
    $24.99
    Vinyl LP - Sealed Buy Now
  • Multiviral Multiviral Quick View

    $30.99
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    Multiviral

    Calle 13 have come a long way since their 2005 debut, when they were a smartass pair of twentysomethings from Trujillo Alto, Puerto Rico, riding the international reggaeton boom with a club-minded mix of sex talk and political invective. With their fifth record, frontman Residente and his halfbrother Visitante have made as ambitious a hip-hop album - if that's not too narrow a term - as any in any language. Beginning with an incantatory intro delivered by Uruguayan author Eduardo Galeano, the album ramps up through Respira El Momento, where Residente breathlessly escalates his Eminem-ish flow over dark piano, orchestral swells and choral drama. El Aguante pays tribute to human endurance, calling out a laundry list of dubious leaders (among them Hitler, Idi Amin, Stalin/Bush, Truman, Ariel Sharon) over a pennywhistle stomp owing to both Gogol Bordello and the Pogues. And on the title track, driven forward by Middle Eastern vocals and guest Tom Morello's strafing guitar, controversial WikiLeaks founder Julian Assange - who recorded his spoken-word part in the basement of the Ecuadorian embassy in London - salutes the power of people armed with the truth. The song, like the entire LP, is an object lesson in just that.


    - Will Hermes (Rolling Stone)

    LP 1
    1. Intro - El Viaje
    2. La Vida (Respira el Momento)
    3. Interludio - Un Buen Día para Morir
    4. El Aguante
    5. Ojos Color Sol
    6. Multi_Viral
    7. Cuando los Pies Besan el Piso
    8. Adentro


    LP 2
    1. Interludio - Stupid Is as Stupid Does
    2. Los Idiotas
    3. Fuera de la Atmósfera del Cráneo
    4. Perseguido
    5. Gato Que Avanza, Perro Que Ladra
    6. Me Vieron Cruzar
    7. Así de Grandes Son las Ideas

    Calle 13
    $30.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Rock Steady Rock Steady Quick View

    $24.99
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    Rock Steady


    Ranked 316/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.


    They say you can never go home again.


    Yet, on their new Interscope Records release and fifth album, Rock Steady, No Doubt has embarked on a globe-spanning musical adventure that proves, once and for all, that home is where the heart is.


    At the heart of the quartet's fifteen-year musical journey is a sound, a style and a sensibility that celebrates their enduring bond with millions of fans worldwide: the sheer pleasure of pure pop - danceable, hummable, instantly accessible songs that have become indispensable additions to the soundtrack of our life and times. And now with Rock Steady, that soundtrack signals a return to some of the key creative elements that have made No Doubt one of today's most popular and enduring bands. Simply put, No Doubt is ready to party.


    "It's the hardest thing in the world just to be simple, to let the music and the words speak for what you're feeling and, hopefully, to share that feeling. And the feeling we all shared on this album turned out to be pretty simple, too: we were in a good mood."


    So says vocalist, lyricist and glorious gamine Gwen Stefani on the inspiration that ignited the dozen deliriously entertaining new tracks comprising Rock Steady. With all-original material penned by Gwen and No Doubt's dynamic songwriting duo of Tony Kanal and Tom Dumont and a roster of producers that pretty much covers the cutting edge of the studio art, Rock Steady, recorded in such far flung locations as London and Los Angeles, San Francisco and Jamaica, is without question the most eclectic, wide-ranging and stylistically diverse offering in the band's extraordinary career. It is also a loving tribute to the musical roots that have nourished No Doubt from their very inception.


    "We were on tour pretty much all of last year," explains drummer Adrian Young, "and whenever we had some down time, we found ourselves listening to lots of dancehall. It was kind of like getting back to where we once belonged." Dancehall, the exuberant evolution of reggae, ska and calypso currently rocking the clubs and studios of Jamaica, proved a potent point of departure for the group when they convened in early 2001 to begin work on a new album. "We were part of the whole ska revival back when we first got together," continues Adrian. "The fact is, we had to work hard to prove we had a wider range, and I guess we did that. Because this time around we didn't feel like we had anything to prove. The whole point was to follow the music, wherever it led."


    "Following the music" would lead the quartet to a variety of exotic locales as they indulged their instincts and experimented with sounds and settings that would capture the sensational new music beginning to emerge. "This album was less about technique and more about attitude," asserts Tony. "We took it one day at a time and it became a very spontaneous process. Tom had set up a studio at his place in L.A. and we'd meet there just to try out different ideas. Whereas before we'd write everything with a guitar or bass, this time we started with just beats and grooves and keyboards and built from there. After a week or two of songwriting, Gwen had a trip planned to London. Since we were having such a good time we just packed up and followed her over there. We knew we were onto something."


    "It felt like starting over," is Tom's assessment. "We had spent two years working on Return Of Saturn because we felt it was important to prove we could do a record that had depth and substance. Once we got that out of our system it was time to have some fun."


    Return Of Saturn, the group's smash 2000 release, did indeed establish No Doubt's ability to fashion songs of substance as well as style. It also conclusively demonstrated that the group's 1995 breakthrough release, Tragic Kingdom was more than a flash in the pan, although it was a distinctly dazzling flash that elevated the group to world class status with a solid string of hit singles. "We'd already done most of what we'd set out to accomplish," continues Tom. "We wanted try something fresh."


    Something fresh and, as it turned out, something tried and true. "With all the dancehall we'd been listening to it was only natural that some of that rhythm would seep into our new songs," Gwen adds. "We ended up going to Jamaica without really knowing exactly what we'd find when we got there. That was the whole plan from the beginning not to have a plan."


    What No Doubt found in the lush musical environs of the island was a creative collaboration with some of Jamaica's most revered producers including the legendary team of Sly & Robbie who sat behind the board for the album's debut single "Hey Baby" and "Underneath It All," a tune written by Gwen with Eurthymics mainstay Dave Stewart during the group's London sojourn. They would also go on record with the fast rising dancehall duo of Steely & Clevie, who worked their magic for the incendiary selection, "Start The Fire." Remarks Tom, "Going to Jamaica and working with the great artists there had always been a dream of ours. Having that opportunity is one the best things about having some success. It's more important than any amount of fame or fortune."


    As the spring of 2001 turned to summer the pace of recording stepped up, along with the group's increasingly bold ventures into new creative territory. In Los Angeles they added hip-hop to the mix with the streetwise sensibilities of The Neptunes, co-writers on the album's opening track, the scorching "Hella Good." Next they huddled with high-profile mixmaster Nellee Hooper on Rock Steady's title track as well as such standout selections as "In My Head," "Running," "Detective" and the above mentioned "Hella Good." Along the way they logged time with William Orbit for "Making Out," Ric Ocasek on "Platinum Blonde Life" and "Don't Let Me Down," and the inimitable Prince who co-produced and provided backing vocals on the drop dead gorgeous "Waiting Room."


    But mixing and matching songs and producers was only part of the creative evolution that took place with Rock Steady. Says Tony, "Our attitude from the beginning was that we'd do whatever it took to make the music work. We've always been a very self-contained unit. This time we wanted to open it up, to find out what other people could bring to the party."


    "The whole album was an exercise in spontaneity," adds Gwen, "and that challenged me to write more directly from my thoughts and feelings. I threw away my thesaurus and put aside my influences, everyone from Joni Mitchell to Sylvia Plath. I wanted to write songs about how it felt to be alive right now and that feeling, despite everything that going on in the world, is optimistic and full of hope. This is a time to affirm what's good and positive in our lives and if we can convey even a small part of the fun and excitement we had making this music, then we've done what we set out to do."


    Hot on the heels of Rock Steady's release comes news of an extensive touring schedule that includes select dates with U2 as well as an extensive itinerary of international headlining dates. "We're primarily a live band," comments Tony. "That's how we started and that's how we maintain contact with our fans. Over the past couple of years, as the No Doubt machine got bigger, it's been more difficult to maintain that connection. But this time around,we're determined to stay true to the spirit of the music. It's about having a good time, about dancing in aisles and singing along. We all need that and it's what this tour is going to be about."


    "After fifteen years together you naturally create all kinds of rules about how things should be," concludes Gwen. "There comes a time when you've got to throw the rules out and start all over again. That's what keeps it fun and interesting. For us that time has come."


    It's a sentiment that gets to the heart of the brilliant music on Rock Steady, an album that finds No Doubt comfortable at home with the risks and rewards of true originality. It's also proof positive that, when No Doubt throws a party, everyone's invited.

    LP1
    1. Intro
    2. Hella Good
    3. Hey Baby
    4. Making Out
    5. Underneath It All

    6. Detective
    7. Don't Let Me Down


    LP2
    1. Start The Fire
    2. Running
    3. In My Head
    4. Platinum Blonde Life
    5. Waiting Room
    6. Rock Steady

    No Doubt
    $24.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • (What's The Story) Morning Glory? Box Set (What's The Story) Morning Glory? Box Set Quick View

    $179.99
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    (What's The Story) Morning Glory? Box Set


    Deluxe Box Set Of The Classic Sophomore Record From Oasis


    20th Anniversary Of This Title, Which Has Sold 4 Million Copies In The Us Alone!


    Features The Mega-hits Wonderwall, Don't Look Back In Anger, Champagne Supernova, Roll With It And More


    What's The Story) Morning Glory?, the follow-up to debut album Definitely Maybe, is Oasis's biggest-selling album with 22 million copies sold worldwide. It was recorded between May and June 1995 in Rockfield Studios, Monmouthshire, with Owen Morris and Noel Gallagher producing. Released on October 2nd 1995 it spent 10 weeks at No.1, is the 5th biggest-selling album in UK chart history and became the band's breakthrough album in the US where it sold 4 million copies. The new edition has been remastered from the original tapes by Ian Cooper at London's Metropolis Studios, supervised by the album's producer Owen Morris. A small army of contributors including original members of the inner circle who were involved in studio and live recordings came together to hunt down unheard demos and live material. The team also unearthed a wealth of never-seen-before photos and vintage memorabilia which will be included in the new artwork.


    Collectors Coffee Table Book - This beautiful 56 page hardback book contains rare and unseen photographs documenting the (What's The Story) Morning Glory? period by Stefan Batselier, Brian Cannon, Kevin Cummings, Grant Fleming, Jill Furmanovsky, Owen Morris, Tom Sheehan - plus private photos taken by the inner circle. Original artwork designer Brian Cannon explains the story behind each single cover art and sleeve notes are written by Neil McCormick.


    7 Inch Vinyl - This 7 inch vinyl includes demos of Hello and She's Electric, both of which were recorded in Definitely Maybe producer Mark Coyle's studio. The Hello (Demo) track is exclusive to the box set.


    12 Inch Vinyl - This 12 inch vinyl is a replica of the original promotional 12 inch, sent to industry contacts as a promotional item in 1995. Tracklisting features A side Cum on Feel The Noize and B side Champagne Supernova (Lynch Mob Beats Remix), which has never been commercially available


    Cassette - Exact replica of the original promotional copy of (What's The Story) Morning Glory? This rare cassette, only sent out to industry contacts, has never been commercially available. It includes Step Out which was removed from the album prior to its release


    Roll With It Cigarette Papers- These rolling papers were an original 1996 promotional item. They have been replicated solely for the box set and feature the lyrics for Roll With It printed on the back.


    180 Gram Double 12 Inch Vinyl In Gatefold Sleeve - Heavyweight vinyl of (What's The Story) Morning Glory? album, meticulously remastered from the original 1995 half inch tapes. Includes download code for B sides, plus unreleased and rare tracks including demos and live recordings.


    Deluxe 3 x CD Album - (What's The Story) Morning Glory? deluxe CD, meticulously remastered with B sides, plus unreleased and rare tracks including demos and live recordings.


    Postcards & Art Card Set - 3 photograph postcards and a 12 x 12 inch art card


    Highlights Of The Bonus Content Include:


    • Previously unheard demos of She's Electric and Rockin' Chair recorded at Mark Coyle's Manchester studio. Demos of Some Might Say, Hey Now, and Bonehead's Bank Holiday recorded by Mark Coyle for the first time at the band's soundcheck, Club Quattro in Tokyo in September 1994.


    • Live recordings from legendary gigs such as Knebworth House, Maine Road Stadium, Earls Court, and Bath Pavilion.


    • All of the Morning Glory singles and acclaimed B-sides including Talk Tonight, Acquiesce, The Masterplan, and Underneath The Sky.

    LP 1
    1. Hello (Remastered)
    2. Roll With It (Remastered)
    3. Wonderwall (Remastered)
    4. Don't Look Back In Anger (Remastered)
    5. Hey Now! (Remastered)
    6. [Untitled] (Remastered)
    7. Bonehead's Bank Holiday (Remastered)


    LP 2
    1. Some Might Say (Remastered)
    2. Cast No Shadow (Remastered)
    3. She's Electric (Remastered)
    4. Morning Glory (Remastered)
    5. [Untitled] (Remastered)
    6. Champagne Supernova (Remastered)


    CD 1
    1. Hello (Remastered)
    2. Roll With It (Remastered)
    3. Wonderwall (Remastered)
    4. Don't Look Back In Anger (Remastered)
    5. Hey Now! (Remastered)
    6. [Untitled] (Remastered)
    7. Some Might Say (Remastered)
    8. Cast No Shadow (Remastered)
    9. She's Electric (Remastered)
    10. Morning Glory (Remastered)
    11. [Untitled] (Remastered)
    12. Champagne Supernova (Remastered)


    CD 2
    1. Talk Tonight (Remastered)
    2. Acquiesce (Remastered)
    3. Headshrinker (Remastered)
    4. It's Better People (Remastered)

    5. Rockin' Chair (Remastered)

    6. Step Out (Remastered)
    7. Underneath The Sky (Remastered)
    8. Cum On Feel The Noize (Remastered)
    9. Round Are Way (Remastered)
    10. The Swamp Song (Remastered)
    11. The Masterplan (Remastered)
    12. Bonehead's Bank Holiday (Remastered)
    13. Champagne Supernova (Brendan Lynch Mix) (Remastered)
    14. You've Got To Hide Your Love Away (Remastered)


    CD 3
    1. Acquiesce (Live At Earls Court)
    2. Some Might Say (Demo)
    3. Some Might Say (Live at Roskilde)
    4. She's Electric (Demo)
    5. Talk Tonight (Live At Bath Pavilion)
    6. Rockin' Chair (Demo)
    7. Hello (Live At Roskilde)
    8. Roll With It (Live At Roskilde)
    9. Morning Glory (Live At Roskilde)
    10. Hey Now (Demo)
    11. Bonehead's Bank Holiday (Demo)
    12. Round Are Way (MTV Unplugged)
    13. Cast No Shadow (Live At Maine Road)
    14. The Masterplan (Live At Knebworth Park)


    12
    A1. Cum on Feel The Noize
    B1. Champagne Supernova (Lynch Mob Beats Remix)


    7
    A1. Hello (demo)
    B1. She's Electric (demo)


    Cassette
    1. Hello
    2. Roll With It

    3. Wonderwall
    4. Don't Look Back In Anger
    5. Hey Now!
    6. Untitled
    7. Some Might Say

    8. Step Out
    9. Cast No Shadow

    10. She's Electric
    11. Morning Glory
    12. Untitled

    13. Champagne Supernova

    Oasis
    $179.99
    180 Gram Audiophile Virgin Vinyl LP + 3 CD + Cassette + 7 + 12 Box Set - 2 LPs Sealed Buy Now
  • Live 1966 Live 1966 Quick View

    $24.99
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    Live 1966

    Besides releasing two classic longplayers and many more singles (including the smash, "Gloria"), touring/behaving badly all across America and appearing on TV shows like 'Upbeat' and 'Where The Action Is', the Shadows of Knight also ruled at suburban Chicago's hands-down hippest teen club, The Cellar. Over the decades, their Cellar performances have become the stuff of legend.


    Miraculously, two reels of tape of the Shadows of Knight live on stage at the Cellar (in 1966!) were eventually uncovered by Sundazed. As early as their 'Gloria' album debut in spring '66, the Shadows of Knight had separated themselves from the garage band pack with a heavily Chicago Blues-based, wildly rocking repertoire. Their trademark sound is on full display in this attitude-drenched, anarchic live recording from late in that exalted year.


    For this expanded edition, the original sets and correct song sequence have been faithfully restored. And to top that, additional and until now completely unheard bonus material is rescued from those old reels. Specifically, added to an already scorching set are previously-unheard takes of "Peepin' and Hidin'" (sung by blues legend Joe Kelley), "Willie Jean" (with a vocal from drummer Tom Schiffour) and "Any Way That You Want Me". Equally important, the packaging now equals the musical contents thanks to an all-new, eye grabbing sleeve highlighted by John Hora's amazing original photography from '66.


    Unlike their comparatively harnessed studio recordings, the Shadows of Knight are presented here raw 'n' alive, sloppy bordering on brilliant and with all the subtlety of a bulldozer. Would you want 'em any other way?

    1. Everybody Needs Somebody to Love
    2. Don't Fight It
    3. Got My Mojo Working
    4. Any Way That You Want Me
    5. Gospel Zone
    6. Got To Get You Off My Mind
    7. It Takes A Long Time Comin'
    8. Hey Joe
    9. Tomorrow's Gonna Be Another Day
    10. Peepin' and Hidin'
    11. Let It Rock
    12. Willie Jean
    13. Spoonful
    14. Oh Yeah
    15. Dark Side
    16. Gloria
    The Shadows of Knight
    $24.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • The Sacred Heart Sessions The Sacred Heart Sessions Quick View

    $15.99
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    The Sacred Heart Sessions

    The Lowest Pair features the duel banjo picking of Kendl Winter and
    Palmer T. Lee. Draped in Kendl's high lonesome harmonies and Palmer's
    Midwest croon, their debut release, 36¢, (Team Love Records) was
    hailed by many outlets and American Songwriter praised their earnest,
    earthy songcraft. Team Love will release their
    sophomore album, The Sacred Heart Sessions.


    Arkansas-born and now homesteading in Olympia, Washington, Kendl
    Winter sprouts alfalfa beans in mason jars in the back of the tour van and
    spreads her songs across the country Johnny Appleseed style. Kendl
    brings to The Lowest Pair her wonderfully weaving poetry of song, old
    and new, and a voice somewhere between Gillian Welch and Iris DeMent
    with a little Olympia twist. Palmer T. Lee who hails from Minneapolis was
    nineteen years old when he inherited a couple of banjos and discovered
    he could reassemble them into his dream instrument. Former front man
    for the much loved high energy bluegrass band The Boys n' the
    Barrels, Palmer's songs are distilled into the warm sweet sounds of his
    percussive wordplay and the melodic interludes of his own unique style
    played on a pieced together banjo.


    After nearly a year of traveling the country playing clubs, hotels, house
    shows, back yards and street corners, they found their way back up to
    Minnesota, this time to Duluth where they sat down to record the followup
    to 36¢.   Linking up with Tom Fabjance at an old church seemed like
    the perfect way to expand on their sound without diluting their original
    magical formula. The Sacred Heart Sessions is an album that allows the
    listening to enter the space that surrounds its creation. One can virtually
    feel the walls and vaulted ceiling of the old wooden church rising up,
    creating a natural reverb and warming the air.


    Be it Kendl's punk roots, her admiration for the traditional American
    songbook, or the gravitational pull she sensed drawing her to Olympia,
    it's her combining these talents and creative impulses with Palmer's
    Midwestern charm, the long winters spent listening to a steady diet of
    Townes Van Zandt and John Hartford and the strange moment of fate
    that left him with two inherited banjos as a young man; this combination
    has resulted in a uniquely original sound that is The Lowest Pair.

    1. Ruben's Fortune
    2. Howl
    3. Rosie
    4. Fourth Time's A Charm
    5. Minnesota, Mend Me
    6. Shipwright
    7. In The During Of A Moment
    8. Smile And Nod
    9. Hogtied
    10. Scavenger Hunt
    The Lowest Pair
    $15.99
    Vinyl LP - Sealed Buy Now
  • The Journey Man The Journey Man Quick View

    $35.99
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    The Journey Man

    "In my music," says Goldie, "is everything I've learned, everyone I've met, everything I've experienced." And it's been an incredible trip. The maverick innovator - who rewrote the future of the jungle scene with landmark releases that still sound like they were kidnapped from tomorrow - has a unique story to tell. From children's homes in the West Midlands through stints in New York and Miami as one of the UK's most celebrated exponents of graffiti art to rubbing shoulders with an exceptional list of musical collaborators including David Bowie, Noel Gallagher and KRS-One, Goldie has defiantly, definitively, done it his own way. "I'm an alchemist," he likes to insist. "I practice the dark arts of messing with the form of something solid."


    Though marriage and his passion for bikram yoga have, he says, proved a calming influence, these days he's just as full of inspired, out-there ideas as he was back in 1993 when he did his first cover interview for the rave magazine Generator. "My music is about fallout," he said then, "about the damage that has been done to the system." Today, in the office of one of his London-based contacts, the ideas are still sparking. "Drum'n'bass has done to electronic music what graffiti has done to the art world," he muses, before launching into a rapid-fire synthesis of art history, dancefloor evolution and his own hyperactive brand of self-actualization, which loosely translates as: "Why do something ordinary when you can do something extraordinary?"


    It sums up the reason why, in 1994, music critic Simon Reynolds famously observed: "Goldie revolutionized jungle not once but three times. First, there was Terminator (pioneering the use of time stretching), then Angel (fusing Diane Charlemagne's live vocal with David Byrne/Brian Eno samples to prove that hardcore could be more conventionally musical), now there's Timeless, a 22-minute hardcore symphony." Each of these were moments that shaped the musical fabric of the decade and beyond, presaging Goldie's transition from the underground rave scene into the world of bona fide A- list superstars.


    But it didn't start out like that. The boy who would become Goldie was born Clifford Price on 19 September 1965, just as The Rolling Stones hit the top of the charts with Satisfaction. His dad Clement, originally from Jamaica, had been plying his trade as a foundryman in Leeds. His mum Margaret, who had been born in Glasgow, was a popular singer in the pubs and clubs of the West Midlands. Barely more than a toddler, Goldie was just three when she placed him into foster care (though she kept his younger brother Melvin). He still remembers, he says, the day the social workers came to take him away.


    Over the next 15 years, he bounced between a series of foster homes and local government institutions around the Walsall area. His eclectic musical taste was forged, he reckons, in those same local authority homes listening to the sonic tangle of other teenagers' record collections. "In one room," he says, "a kid would be playing Steel Pulse while through the wall someone else had a Japan record on and another guy would be spinning Human League." On rare visits to see his dad, he'd lie sprawled over the living room couch, listening to Jazz FM, marveling at the lavishly-tooled '80s productions of Miles Davis, Pat Metheny, David Sanborn and Michael Franks, adding further layers to his complex musicography.


    Already developing the irresistible urge to excel that has marked his inimitable musical career, Goldie's first love was roller-hockey. He earned a place as goalkeeper in England's national squad before the lure of music overtook the lure of sport. After discovering electro and hip hop, he grew his hair - the "goldilocks" that won him his nickname - and joined a breakdance crew called the B-Boys in nearby Wolverhampton. He also discovered graffiti. "They called me 'the spray can king of the Midlands'," he says proudly. His talent was undeniable, bringing him to the attention not only of Britain's Arts Council but to Dick Fontaine, producer of a Channel 4 TV documentary on graffiti. Fontaine's 1987 film Bombin' captured a visit to the UK by New York artist Brim Fuentes. Brim met Goldie and his B-Boys crew in Wolverhampton's Heathtown before heading a dozen miles away to Birmingham's Handsworth, where the producer filmed the aftermath of rioting that had left four dead, 35 injured and dozens of stores burned out. Several months later, Fontaine reversed the process and took Goldie to New York, introducing him to hip-hop pioneer Afrika Bambaataa. For Goldie, on his first trip abroad, never mind his first trip over the Atlantic, the Big Apple was love at first sight. Back in Britain, he begged, borrowed and saved until he had enough to fund a return trip to the Bronx.


    "I started painting the trains and getting involved on the streets," he says, remembering his total immersion in what was still, at that point, an emerging culture. Art and music as symbiotic technologies. Rubbing shoulders with the Big Apple's best graffiti artists, his own distinctive style was accelerated and enriched. A move to Miami followed. He worked in the flea markets, he says, "painting trucks for drug dealers" and developing a sideline in gold jewelry that included the distinctive grills that became a trademark on his return to the UK. The magical properties of shaping, working and bending precious metals to his will - as close to alchemy as the modern world gets - became an analogue for the way he prefers to operate in the studio, chasing quicksilver dreams, mercury-fast rivulets of imagination into impossibly lush, breakbeat concertos. Back in Britain, Goldie found himself seduced by the sweetheart of the rave. Though it took him eight attempts to get entry into the club, at London's Rage in 1991 he marveled at the alternate sonic worlds being forged by Fabio and Grooverider behind the decks. "It really flipped me out," he remembers. Soon he found himself in the orbit of Dego McFarlane and Mark Clair. Their label Reinforced was in the vanguard of breakbeat, issuing astonishing records that stripped out boundaries and limits while setting the tone for the scene's sense of adventure. At first, he helped out doing artwork and a bit of A&R. But soon he was in Reinforced's Internal Affairs studio watching intently as Mark and Dego recorded tracks like Cookin' Up Ya Brain and Journey From The Light. "I was watching what they could do," says Goldie, "trying to gauge the possibilities of the technology." Soon he was getting involved. "I remember one session we did that lasted over three days," he says, "just experimenting, pushing the technology to its limits. We'd come up with mad ideas and then try to create them. We were sampling from ourselves and then resampling, twisting sounds around and pushing them into all sorts of places."


    What followed was a series of inspired break-driven releases such as Killa Muffin, Dark Rider and Menace. Then Terminator, with its writhing drum loop, dropped and suddenly Goldie's name was on everyone's lips. He followed up with the equally revolutionary Angel, tilting the axis towards the lush, trippy textures that made 1995's debut album Timeless the drum'n'bass scene's first platinum album. Incredibly, given what was happening elsewhere in the scene at the time, the recording of the album's epic title track began as far back as 1993, when most other producers were still focused on the original sonic tropes of hardcore rave.


    Timeless was a masterpiece - of production, of songwriting, of sonic perfection and breakbeat futurism. Even today, it still sounds as astonishingly new and inspired as it did back on those early pre-release cassettes circulated by London Records in the early months of 1995 when Goldie was still living on the 18th floor of a North London tower block.


    By then, Goldie had already set up his own record label - Metalheadz - with his friends the DJ duo Kemistry and Storm. Along with studio collaborator, Rob Playford's Moving Shadow and LTJ Bukem's Looking Good imprint, Metalheadz helped to define drum'n'bass as a distinct musical format with singles by J Majik, Asylum and Goldie himself. Still bursting with energy, he then launched a legendary club night, Metalheadz Sunday Sessions, at London's Blue Note. The scene's best producers - among them revolutionary artists like Photek, Source Direct, Peshay and Dillinja - would compete to have their latest recordings debuted at the club and the scene's faithful came from far and wide to hear the best tunes before anyone else. "Those nights at the Blue Note were magical," he recalls. "It was an underground phenomenon that became an institution." David Bowie, who was making the drum'n'bass-influenced album Earthling at the time, fell in love with the place. "I remember popping out to take a break from all the madness inside the club," says Goldie. "He was outside having a cigarette, a bit of a breather. We chatted for a bit, looked at each other, grinned and then plunged back into it all. It was just that kind of place."


    Goldie is one of only a handful of artists ever to co-write with Bowie - on the track Truth from the drum'n'bass pioneer's second album Saturnz Return. Released in 1998, the album also saw his vision become more expansive (the opening track, Mother, clocked in at just over an hour). The album's collaborative approach included guest spots from rap legend KRS-One, Sex Pistols manager and all-around provocateur Malcolm McLaren, super-producer Trevor Horn and Oasis main man Noel Gallagher (on the single Temper Temper).


    Fuelled by the limitless creativity that has been the hallmark of his career to date, Goldie next turned to acting. He reunited with Bowie in Andrew Goth's 1999 thriller Everybody Loves Sunshine then took the part of Bullion in the 1999 James Bond movie The World Is Not Enough. Other box office smashes - including Guy Ritchie's crime heist caper Snatch - followed before he joined the cast of BBC1 soap opera EastEnders, playing the gangster Angel Hudson.


    A series of blockbuster TV appearances - on shows such as Maestro (where he learned to conduct an orchestra), Classic Goldie (which saw him perform his own orchestral composition at the Royal Albert Hall in the summer of 2009) and Goldie's Band: By Royal Appointment.


    The orchestral training proved useful. In 2014, he translated his original vision for Timeless into the stunning Timeless (Sine Tempore). Performed live with the Heritage Orchestra at the Wilderness Festival to suitably rapturous acclaim, the performance was repeated the following year as part of the Meltdown Festival at London's Royal Festival Hall. In between, he found time to unveil Fragments Of Gold, a piece inspired by medieval chants that he performed live in Glasgow Cathedral.


    Drum'n'bass, of course, has remained a consistent passion, both through his Metalheadz label and his releases under the Rufige Kru moniker (2007's Malice In Wonderland and 2009's Memoirs Of An Afterlife). "Technologically," he says, "breakbeat has managed to surpass all other forms of music to date. There isn't a recording engineer alive who can tell me there's any other form of music that is more complex than the music we make." Goldie has also recently announced he will be releasing a brand new double album 'The Journey Man' this year. The album comprises two parts, 16 brand new tracks in total, all written and produced by Goldie. It also features a host of collaborators handpicked by Goldie to help realize his vision for the album.


    "I often look at music not so much as a producer but like a director. You're drawing together engineers, performers and arrangers to create something special, something magical. It's like alchemy. The notes, the music, the lyrics, they're all in my head and each element has to be communicated and brought to life to create the finished track. I'm always inspired by great movie directors - people like Stanley Kubrick and PT Anderson - and, if you think about it, it's quite a similar approach. They start off with a vision and then they use that vision to deploy the actors and the cameramen and the editors in order to create the finished film."


    Collaborators on 'The Journey Man' album include vocalist and songwriter Natalie Duncan, who was discovered when chosen in the three-part BBC series 'Goldie's Band By Royal Appointment' and later provided the vocals for Goldie's 2012 single 'Freedom'. Other featured vocalists on the album include Terri Walker, Tyler Lee Daly, Natalie Williams, JosÉ James, Naomi Pryor as well as Goldie's wife, Mika Wassenaar Price.


    'The Journey Man' will be released through Cooking Vinyl and Goldie's own record label, Metalheadz.


    Goldie's love affair with painting has remained consistent too and he continues to exhibit visual work that's just as dazzling as his sonic output. Beginning with Night Writers, the 1986 exhibition at Wolverhampton's art gallery that introduced Goldie and his Supreme Graffiti Team to the British Arts Council, his shows have defined a unique aesthetic that's all his own. And through them all, from 1987's Rockin' The City in Birmingham (where he exhibited alongside Massive Attack's Robert Del Naja) and the 1988 Crucial Creators exhibition in Walsall to more recent gallery events like 2007's Love Over Gold and 2012's Athleticizm collection (including portraits of London Olympics stars such as Victoria Pendleton, Tom Daley and Jessica Ennis), runs a consistent thread of energy, experimentalism and boundary-pushing. His 2013 collection, Lost Tribes, an innovative series of pieces fusing Goldie's style with the artistic expression of the ancient peoples of Africa, Asia and America was, he says, "my most important breakthrough".


    And for the kid who lay awake, gazing at the stars, through the window of a children's home, growing up has brought some surprises. In 2012, he was selected as one of the BBC's New Elizabethans, 60 people - ranging from David Hockney to Roald Dahl, David Bowie and Tim Berners-Lee - who have helped shape British culture during the reign of Elizabeth II. Four years later, he was awarded the MBE in the Queen's New Year Honours. It's acceptance, of course, on a grand scale. But at heart, he's still the gatecrasher, amped-up on ideas, buzzing on nothing but love, hope and the certainty that, while his way might not be the easy way, it's very definitely the path of a true artist.


    - Tim Barr, 2017

    LP 1
    1. Horizons (feat. Terri Walker & Swindle)
    2. Prism
    3. Mountains
    4. Castaway
    5. The Mirrored River


    LP 2
    1. I Adore You (w/ Ulterior Motive)
    2. I Think of You
    3. Truth (feat. Jose James)
    4. Redemption


    LP 3
    1. Tu Viens Avec Moi?
    2. The Ballad Celeste
    3. This Is Not A Love Song
    4. The River Mirrored (feat. Terri Walker)
    5. Triangle
    6. Tomorrow's Not Today
    7. Run Run Run

    Goldie
    $35.99
    Vinyl LP - 3 LPs Sealed Buy Now
  • Western Suite (Pure Pleasure) Western Suite (Pure Pleasure) Quick View

    $34.99
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    Western Suite (Pure Pleasure)

    In late 1957, jazz saxophonist, clarinetist, composer, and iconoclast Jimmy Giuffre broke up the original Jimmy Giuffre 3 with Ralph Pena and Jim Hall. In early 1958, for a recording session, he formed a new trio without a rhythm section. For the album Trav'lin' Light, his new trio included Hall on guitar and the underrated trombone giant Bob Brookmeyer.


    For a year, they gigged together up and down the West Coast and played summer festivals, recorded, and even played clubs in New York. They became a trio of adventurous musicians for whom form was not an obstacle to creativity. As the year wound down, Giuffre wanted to document the trio once more, sensing its life was coming to an end. He composed the four-movement Western Suite with the trio's strengths in mind, as a way of documenting how they had come together as a band during that year.


    The piece itself stands as a crowning achievement in a career that included discovering the talents of Steve Swallow and Paul Bley and making the truly revolutionary recording Free Fall for Columbia three years later. The roots of that thinking lie in this set. Jim Hall's playing was dark, funky, ambiguous, sounding like drums and voices all at the same time -- particularly in the fourth movement. Brookmeyer became the pace setter. His lines were played as stage settings for the other two players to dialogue and narrate against. Giuffre, ever the storyteller, advanced the improvisation angle and wrote his score so that each player had to stand on his own as part of the group; there were no comfort zones.


    ithout a rhythm section, notions of interval, extensions, interludes, and so on were out the window. He himself played some of his most restrained yet adventurous solos in the confines of this trio and within the form of this suite. It swung like West Coast jazz, but felt as ambitious as Copland's Billy The Kid. The record is filled out with two other tunes, one of Eddie Durham's, Topsy, and the final moment of mastery this band ever recorded, the already classic Blue Monk. The easy stroll of the front line with Brookmeyer's trombone strutting New Orleans' style is in sharp contrast to Giuffre's clarinet playing. Which carries the bluesy melody through three harmonic changes before he solos and then plays three more. Hall keeps it all on track, and somehow the piece sounds very natural this way, though unlike Monk, there are no edges here -- everything is rounded off. This is as solid as any of the earlier or later Jimmy Giuffre 3 records, and two notches above Trav'lin' Light in that it reveals a fully developed sense of the responsibilities, possibilities, and freedoms of reinventing jazz for the trio.


    Musicians:



    • Jimmy Giuffre (clarinet, tenor saxophone, bassoon)

    • Jim Hall (guitar)

    • Bob Brookmeyer (trombone)




    Recording: 1958 by Heinz Kubicka, Herb Kaplan, and Tom Dowd
    Production: Nesuhi Ertegun




    About Pure Pleasure



    At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Pure Pleasure all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.



    During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s - or employed existent tools from the 80s and 90s for manufacturing.



    A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.



    We should like to emphasize that Pure Pleasure Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle.



    We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.



    To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects and that the lacquer discs are newly cut.


    This title is not eligible for discount.

    1. Pony Express
    2. Apaches
    3. Saturday Night Dance
    4. Big Pow Wow
    5. Topsy
    6. Blue Monk
    Jimmy Giuffre
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Gratitude Gratitude Quick View

    $44.99
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    Gratitude

    180 Gram Translucent Blue Colored Vinyl With Gatefold Cover


    Mastered Impeccably By Joe Reagoso


    Manufactured At R.T.I.


    During the 1970s, a new brand of pop music was born - one that was steeped in African and African-American styles - particularly jazz and R&B but appealed to a broader cross-section of the listening public. As founder and leader of the band Earth, Wind & Fire, Maurice White not only embraced but also helped bring about this evolution of pop, which bridged the gap that has often separated the musical tastes of black and white America. It certainly was successful, as EWF combined high-caliber musicianship, wide-ranging musical genre eclecticism, and '70s multicultural spiritualism. "I wanted to do something that hadn't been done before," Maurice explains. "Although we were basically jazz musicians, we played soul, funk, gospel, blues, jazz, rock and dance music which somehow ended up becoming pop. We were coming out of a decade of experimentation, mind expansion and cosmic awareness. I wanted our music to convey messages of universal love and harmony without force-feeding listeners' spiritual content."Maurice was born December 19, 1941, in Memphis, TN. He was immersed in a rich musical culture that spanned the boundaries between jazz, gospel, R&B, blues and early rock. All of these styles played a role in the development of Maurice's musical identity. At age six, he began singing in his church's gospel choir but soon his interest turned to percussion. He began working gigs as a drummer while still in high school. His first professional performance was with Booker T. Jones, who eventually achieved stardom as Booker T and the MGs.After graduating high school, Maurice moved to the Windy City to continue his musical education at the prestigious Chicago Conservatory Of Music. He continued picking up drumming jobs on the side, which eventually lead to a steady spot as a studio percussionist with the legendary Chicago label, Chess Records. At Chess, Maurice had the privilege of playing with such greats as Etta James, Fontella Bass, Billy Stewart, Willie Dixon, Sonny Stitt and Ramsey Lewis, whose trio he joined in 1967. He spent nearly three years as part of the Ramsey Lewis Trio. "Ramsey helped shape my musical vision beyond just the music," Maurice explains. "I learned about performance and staging." Maurice also learned about the African thumb piano, or Kalimba, an instrument whose sound would become central to much of his work over the years.In 1969, Maurice left the Ramsey Lewis Trio and joined two friends in Chicago, Wade Flemons and Don Whitehead, as a songwriting team composing songs and commercials in the Chicago area. The three friends got a recording contract with Capitol and called themselves the "Salty Peppers," and had a marginal hit in the Mid-western area called "La La Time." That band featured Maurice on vocals, percussion and Kalimba along with keyboardists/vocalists Wade Flemons and Don Whitehead.


    After relocating to Los Angeles and signing a new contract with Warner Bros., Maurice simultaneously made what may have been the smartest move of his young career. He changed the band's name to Earth, Wind & Fire (after the three elements in his astrological chart). The new name also captured Maurice's spiritual approach to music - one that transcended categories and appealed to multiple artistic principals, including composition, musicianship, production, and performance. In addition to White, Flemons and Whitehead, Maurice recruited Michael Beal on guitar, Leslie Drayton, Chester Washington and Alex Thomas on horns, Sherry Scott on vocals, percussionist Phillard Williams and his younger brother Verdine on bass.


    Earth, Wind & Fire recorded two albums for Warner Brothers: the self-titled 1970 album Earth, Wind And Fire and the 1971 album The Need Of Love. A single from this album, "I Think About Lovin' You," provided EWF with their first Top 40 R&B hit. Also in 1971, the group performed the soundtrack to the Melvin Van Peebles film 'Sweet Sweetback's Baadasssss Song'.


    In 1972, White dissolved the line-up (except he and brother Verdine White) and added Jessica Cleaves (vocals - formerly of the R&B group The Friends of Distinction), Ronnie Laws (flute, saxophone), Roland Bautista (guitar), Larry Dunn (keyboard), Ralph Johnson (percussion) and Philip Bailey (vocals, formerly of Friends & Love). Maurice became disillusioned with Warner Brothers, which had signed the group primarily as a jazz act. Maurice, in contrast, was more interested in combining elements of jazz, rock, and soul into an evolving form of fusion, a truly universal sound.


    A performance at New York's Rockefeller Center introduced EWF to Clive Davis, then President of Columbia Records. Davis loved what he saw and bought their contract from Warner Bros. With Columbia Records, debuting with the 1972 album Last Days And Time, the group slowly began to build a reputation for innovative recordings and exciting, live shows, complete with feats of magic (floating pianos, spinning drum kits, vanishing artists) engineered by Doug Henning and his then-unknown assistant David Copperfield. Their first gold album, Head To The Sky, peaked at number 27 pop in the summer of 1973, yielding a smooth tangy cover of "Evil" and the title track single. The first platinum EWF album, Open Our Eyes, whose title track was a remake of the classic originally recorded by Savoy Records group the Gospel Clefs, included "Mighty Mighty" (number four R&B) and "Kalimba Story" (number six R&B).


    Maurice once again shared a label roster with Ramsey Lewis, whose Columbia debut Sun Goddess, was issued in December 1974. The radio-aired title track was released as a single under the name Ramsey Lewis and Earth, Wind & Fire. It went to number 20 R&B in early 1975. The Sun Goddess album went gold, hitting number 12 pop in early 1975. Maurice had also played on Lewis' other high-charting album, Wade In The Water; the title track single peaked at number three R&B in the summer of 1966.


    The inspiration for "Shining Star" (one of EW&F's most beloved singles) was gleaned from thoughts Maurice had during a walk under the star-filled skies that surrounded the mountains around Caribou Ranch, CO a popular recording site and retreat during the '70s. The track was originally included in the 'That's The Way Of The World' movie that starred Harvey Keitel and was produced by Sig Shore (Superfly). "Shining Star" glittered at number one R&B for two weeks and hit number one pop in early 1975. It was included on their 1975 multi-platinum album That's The Way Of The World that held the number one pop spot for three weeks in Spring 1975 and earned them their first Grammy Award. The title track single made it to number five R&B in summer of 1975. It also yielded the classic ballad "Reasons," an extremely popular radio-aired album track.


    The multi-platinum album Gratitude held the number one pop album spot for three weeks in late 1975. On the album was "Singasong" (gold, number one R&B for two weeks, number five pop), the Skip Scarborough ballad "Can't Hide Love" (number 11 R&B), and the popular radio-aired album tracks "Celebrate," "Gratitude," and the live version of "Reasons." In 1976, Maurice decided he wanted to record a spiritual album. The multi-platinum album Spirit parked at number two pop for two weeks in fall of 1976 and boasted the gold, number one R&B single "Getaway" and "Saturday Nite." Spirit is remembered as one of EWF's best albums and sadly for also being the last project of Producer Charles Stepney. He died May 17, 1976, in Chicago, IL, at the age of 45. Charles was a former Chess Records arranger/producer/session musician/multi-instrumentalist/songwriter and Maurice's main collaborator on his EWF projects. The multi-platinum album All 'N All peaked at number three pop in late 1977, won three Grammy's, and had arrangements by Chicago soul mainstay Tom Tom Washington and Eumir Deodato. The singles were "Serpentine Fire" (number one R&B for seven weeks) and "Fantasy." The group's horn section, the legendary Phenix Horns (Don Myrick on saxophone, Louis Satterfield on trombone, Rahmlee Michael Davis and Michael Harris on trumpets) became an integral part of the Earth, Wind & Fire sound.


    During this time, Maurice produced several artists such as The Emotions (1976's Flowers and 1977's Rejoice which included the number one R&B/pop hit "Best Of My Love") and Deniece Williams (1976's This Is Niecy which included the Top Ten R&B hit "Free"). In the late seventies, in association with Columbia Records, Maurice also launched a record label, ARC.


    The multi-platinum greatest-hits set The Best Of Earth, Wind & Fire, Vol. I included a cover of the Beatles' "Got To Get You Into My Life" went to number one R&B and number nine pop in Summer 1978. The group performed the song in the 1978 Bee Gees/Peter Frampton movie 'Sgt. Pepper's Lonely Hearts Club Band'. Another single, "September," made it to number one R&B, number eight pop in early 1978. On the flip side was the enchanting popular radio-aired album track "Love's Holiday" from All 'N All.


    Their live performances were stellar as well. Sellout crowds were spellbound by the band's bombastic performances. Their performances blasted a cosmic wave of peace, love and other happy vibrations to audiences using a combination of eye-popping costumes, lights, pyrotechnics and plain old good music. Sometimes they even threw in magic illusions. Earth, Wind & Fire's message was one of universal harmony, in both musical and cultural senses. "We live in a negative society," Maurice told Newsweek. "Most people can't see beauty and love. I see our music as medicine."


    The multi-platinum album I Am hit number three pop in Summer 1979 on the strength of the million-selling single "Boogie Wonderland" with The Emotions (number two R&B for four weeks, number six pop) and the phenomenal gold ballad "After The Love Has Gone," written by David Foster, Jay Graydon and Bill Champlin that stayed at number two R&B/pop for two weeks. Their Faces album peaked at number ten pop in late 1980 and was boosted to gold by the singles "Let Me Talk" (number eight R&B), "You" (number ten R&B), and "And Love Goes On."


    The million-selling funked-up "Let's Groove," co-written by The Emotions' Wanda Vaughn and her husband Wayne Vaughn, was the track that re-energized EWF's career, parking at number one R&B for eight weeks and number three pop, causing their Raise! album to go platinum (hitting number five pop in late 1981). Their next gold album Powerlight made it to number 12 pop in spring 1983 and included the Top Ten R&B single and Grammy-nominated "Fall In Love With Me." Their 1983 Electric Universe album stalled at number 40 pop, breaking the band's string of gold, platinum and multi-platinum albums.


    In 1983, Maurice decided he and the band needed a break. During this hiatus, Maurice recorded his self-titled solo album Maurice White and produced various artists including Neal Diamond, Barbra Streisand and Jennifer Holliday. Reuniting with the band in 1987, EWF released the album Touch The World and scored yet another number one R&B single, "System of Survival" and embarked on a corresponding nine-month world tour. This was followed by the 1988 release The Best Of Earth, Wind & Fire Vol. II.


    In 1990 the group released the album Heritage. Two years later, Earth, Wind & Fire released The Eternal Dance; a 55-track boxed set retrospective of the band's entire history. The appearance of such a project after a prolonged period of relative inactivity signaled to many listeners that the band was calling it quits but that did not turn out to be case. In 1993, EWF released the album, Millennium that included the Grammy-nominated "Sunday Morning" and "Spend The Night."


    Earth, Wind & Fire kept recording and in 1996 released Avatar and Greatest Hits Live; followed by 1997's In The Name Of Love; 2002's That's The Way Of The World: Alive In '75; Live In Rio which was recorded during their 1979 "I Am World Tour;" 2003's The Promise, which included the Grammy-nominated "Hold Me" and 2005's Illumination, which included the Grammy-nominated "Show Me The Way."


    In 2000, the nine-piece '70s edition of Earth, Wind & Fire reunited for one night only in honor of their induction into The Rock And Roll Hall Of Fame. In 2001, Eagle Rock Entertainment released the documentary 'Earth, Wind & Fire: Shining Stars', which contains rarely seen historic video footage along with in-depth interviews with the band members.


    Even though Maurice is no longer a part of the touring group, he remains the band's heart and soul from behind the scenes as composer and producer. Maurice reflects, "I wanted to create a library of music that would stand the test of time. 'Cosmic Consciousness' is the key component of our work. Expanding awareness and uplifting spirits is so important in this day. People are looking for more. I hope our music can give them some encouragement and peace."

    LP 1
    1. Introduction

    2. Africano/ Power Medley

    3. Yearnin' Learnin'

    4. Devotion

    5. Sun Goddess
    6. Reasons

    7. Sing A Message To You


    LP 2
    1. Shining Star

    2. New World Symphony
    3. Sunshine

    4. Singasong

    5. Gratitude

    6. Celebrate

    7. Can't Hide Love

    Earth, Wind & Fire
    $44.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Buy Now
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