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  • Crosley Everett Record Player Stand (On Sale) Crosley Everett Record Player Stand (On Sale) On Sale Quick View

    $189.99$169.99Save $20.00 (11%)

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    Crosley Everett Record Player Stand (On Sale)

    Have a question about this product? Please email our audio advisor or call 1-877-929-8729 with any questions or concerns regarding your equipment purchase.


    The classic mid-century modern design of Crosley's Everett Record Player Stand is the perfect compliment to your treasured turntable. The finished top is sized perfectly to accommodate most component - style record players. Tucked behind the door are wire dividers -- to keep your records organized -- and an accessory shelf, which is perfect for your odds and ends.


    Unadorned lines and genuine metal accents round out an authentic design that speaks to a simpler time. Combined with Crosley's reputation for quality craftsmanship and design, our Everett Record Player Stand is a timeless piece you will enjoy for years to come.

    Crosley
    $189.99 $169.99 Save $20.00 (11%)
    Everett Record Player Stand Buy Now
  • Crosley Brooklyn Turntable Stand (On Sale) Crosley Brooklyn Turntable Stand (On Sale) On Sale Quick View

    $359.99$319.99Save $40.00 (11%)

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    Crosley Brooklyn Turntable Stand (On Sale)

    Have a question about this product? Please email our audio advisor or call 1-877-929-8729 with any questions or concerns regarding your equipment purchase.


    Give your record player pride of place. Custom-designed and built as a companion to Crosley's new component turntables, the Brooklyn Turntable Stand embraces the industrial elements of skyscrapers, while sticking to the roots of modern woodwork. Constructed from solid hardwood and veneers rubbed to an antique, distressed finish, and standing on sturdy steel legs, this piece is easy to assemble, but built to last.


    The platform, perfect for any turntable, sits below a 3D-punched metal Crosley logo. There's also a handy bin for storing your favorite vinyl selections. Beneath the platform, a narrow shelf is perfect for placing other components like a speaker bar or pre-amp.

    Crosley
    $359.99 $319.99 Save $40.00 (11%)
    Brooklyn Turntable Stand Buy Now
  • Pro-Ject Xtension 12 Evolution Turntable 6 OPTIONS AVAILABLE Pro-Ject Xtension 12 Evolution Turntable Quick View

    $4,499.00
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    Pro-Ject Xtension 12 Evolution Turntable


    Have a question about this product? Please email our audio advisor or call 1-877-929-8729 with any questions or concerns regarding your equipment purchase.


    Manual turntable with build in Pro-Ject Speed Box SE


    Pro-Ject's Xtension 12 incorporates over 20 years of experience in turntable design and manufacture. The Xtension 12 represents their latest technological efforts to address mass-decoupling and resonance reduction. Beginning with the mass-loaded magnetically floated sub-chassis and the precision balanced sandwich alloy platter (recycled vinyl/alloy), the foundation of this system weighs in at a super-heavy 55lbs. Additionally, Pro-Ject employs magnetic decoupling feet to thwart airborne or mechanical vibration from disturbing playback. This mass and isolation creates an environment of extremely low resonance allowing music to emerge from an ultra-silent black background. An AC motor with a two-step pulley drive with Electronic Speed Control maintains perfect pitch and rhythm resulting in inaudible wow, flutter and noise. There's even a built-in spirit level to assist setting the height-adjustable magnetic footers.


    Further reducing noise and vibration is the isolated Sorbothane mounting board for the 12 carbon-fiber tonearm. The conical arm and unified headshell are fabricated from a single piece of carbon fiber to avoid problems associated with standing wave reflections. Single screw fixing of the armtube allows for easy rotation for adjustment of needle azimuth. Additionally the arm is fully adjustable for VTA. A high-performance 123cm phono interconnect cable is included.


    Optional SuperPack includes Sumiko Blackbird Cartridge at a significantly reduced price.


    Pro-Ject
    $4,499.00
    Xtension 12 Evolution Turntable - 3 Colors Available - SuperPack Option
    Buy Now
  • VPI Player Turntable VPI Player Turntable Quick View

    $1,500.00
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    VPI Player Turntable



    Need help choosing the right turntable for you? Please email our audio advisor or call 1-877-929-8729 with any questions or concerns regarding your equipment purchase.


    Comes Pre-Mounted With An Ortofon 2m Red Cartridge, Phonostage And Headphone Amplifier


    The VPI Player is an all in one high-end entry level turntable. It comes complete with a phonostage, and pre-mounted Ortofon 2M Red cartridge, and a headphone amplifier. It is the perfect solution to enjoying your records! It also has standard RCA connections providing the ability to connect to a standard amplifier and desktop/floor standing speakers. The Player turntable is a precision instrument that has been thoroughly tested to create the musical experience you're looking for! It is also now available in two finished Hard Rock Maple and Mocha Walnut.


    VPI Turntables
    $1,500.00
    Player Turntable
    Buy Now
  • Pro-Ject VT-E Turntable 3 COLORS AVAILABLE Pro-Ject VT-E Turntable Quick View

    $349.00
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    Pro-Ject VT-E Turntable



    Have a question about this product? Please email our audio advisor or call 1-877-929-8729 with any questions or concerns regarding your equipment purchase.


    Plug & play audiophile turntable with space-saving vertical design and wall-mount option


    Our VT-E turntable proves that turntable setup doesn't have to be rocket science. This great sounding belt-driven deck even comes in two separate versions for both left- and right-handed users*. The VT-E can be positioned either free-standing on a table or wall-mounted using the included low-profile metal bracket. Installation is a breeze since everything is pre-adjusted out of the box - tracking and anti-skating force are carefully set so no further set-up needed! The VT-E turntable is available in matte black, red, or white.


    *for the left-handed option, please contact our audio advisor.


    Pro-Ject
    $349.00
    VT-E Turntable - 3 Colors Available
    Buy Now
  • Crosley Manchester Entertainment Center Stand (On Sale) Crosley Manchester Entertainment Center Stand (On Sale) On Sale Quick View

    $79.99$59.99Save $20.00 (25%)

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    Crosley Manchester Entertainment Center Stand (On Sale)

    Have a question about this product? Please email our audio advisor or call 1-877-929-8729 with any questions or concerns regarding your equipment purchase.


    Give your turntable a home in your home. The Manchester's beautiful hardwood and veneer finish gives this mid-century modern turntable stand a craftsman's touch.

    Crosley
    $79.99 $59.99 Save $20.00 (25%)
    Manchester Entertainment Center Stand Buy Now
  • Couldn't Stand The Weather (Pure Pleasure) Couldn't Stand The Weather (Pure Pleasure) Quick View

    $49.99
    Buy Now
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    Couldn't Stand The Weather (Pure Pleasure)

    With his astonishingly accomplished guitar playing, Stevie Ray Vaughan ignited the blues revival of the '80's. Vaughan drew equally from bluesmen like Albert King, Otis Rush, and Muddy Waters and rock & roll players like Jimi Hendrix and Lonnie Mack, as well as the stray jazz guitarist like Kenny Burrell, developing a uniquely eclectic and fiery style that sounded like no other guitarist, regardless of genre. Vaughan bridged the gap between blues and rock like no other artist had since the late '60s. For the next seven years, Stevie Ray was the leading light in American blues, consistently selling out concerts while his albums regularly went gold. His tragic death in 1990 only emphasized his influence in blues and American rock & roll.

    Musicians:



    • Stevie Ray Vaughan (vocal, guitar)

    • Jimmie Vaughan (guitar)

    • Stan Harrison (tenor saxophone)

    • Tommy Shannon (bass)

    • Chris "Whipper" Layton, Fran Christina (drums)



    Format: 2LPs 33rpm / standard sleeve



    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.


    Side 1
    1. Scuttlebuttin'
    2. Couldn't Stand The Weather
    3. Things That I Used To Do


    Side 2
    4. Voodoo Chile (Slight Return)
    5. Cold Shot


    Side 3
    6. Tin Pan Alley
    7. Honey Bee
    8. Stang's Swang


    Side 4
    9. SRV Speaks
    10. Hide Away
    11. Look at Little Sister
    12. Give Me Back My Wig
    13. Come On (Pt.3)

    Stevie Ray Vaughan
    $49.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Rega Neo PSU Turntable Power Supply (Standard) Rega Neo PSU Turntable Power Supply (Standard) Quick View

    $395.00
    Buy Now
    x

    Rega Neo PSU Turntable Power Supply (Standard)

    40th


    Have a question about this product? Please email our audio advisor or call 1-877-929-8729 with any questions or concerns regarding your equipment purchase.


    The Neo PSU is an advanced turntable power supply providing user controllable fine speed adjustment, advanced anti-vibration motor circuit and the convenience of electronic speed change. The Neo will make a welcome addition to any compatible Rega turntable by reducing motor noise, improving speed stability and rotational speed accuracy.


    The Neo PSU Standard is compatible with the following Rega turntable models:
    P7 / RP40 Special Edition / RP6 / RP8 / or any model that originally came with the TTPSU as standard.


    (For P3-24 / RP3 / Planar 3 2016 / P5 / Or any older Rega turntable fitted with a 24v motor upgrade kit: purchase this model.)


    Using the same DSP (digital signal processing) generator found in the RP10 the Neo is built upon a high stability crystal. The Neo features an advanced anti vibration circuit, fine motor speed adjustment and the convenience of electronic speed change. The DSP generator will divide the accurate signal from the crystal to the exact frequency required to turn the platter at the selected speed whilst will producing a near perfect sinusoidal waveform to drive the 24v motor.



    Rega
    $395.00
    Turntable Power Supply - See Compatible Models Buy Now
  • Thorens TD 295 MKIV Turntable - Mahogany Thorens TD 295 MKIV Turntable - Mahogany Quick View

    $1,199.00
    Buy Now
    x

    Thorens TD 295 MKIV Turntable - Mahogany


    Have a question about this product? Please email our audio advisor or call 1-877-929-8729 with any questions or concerns regarding your equipment purchase.


    An Elegant Classic


    In the TD 295 MK IV, technical finesse and first-rate sound go hand in hand with elegant appearance. It is based on tried and tested components, which are complemented by the new TP 41 tonearm. The warm wooden colours of the plinth may be freely combined with either classic or contemporary furniture styles in order to have this record player stand out in any room. Indeed an elegant classic at its best.


    Thorens Turntables
    $1,199.00
    Thorens TD 295 MKIV Turntable Buy Now
  • Thorens TD 295 MKIV Turntable - Black Piano Thorens TD 295 MKIV Turntable - Black Piano Quick View

    $1,199.00
    Buy Now
    x

    Thorens TD 295 MKIV Turntable - Black Piano


    Have a question about this product? Please email our audio advisor or call 1-877-929-8729 with any questions or concerns regarding your equipment purchase.


    An Elegant Classic


    In the TD 295 MK IV, technical finesse and first-rate sound go hand in hand with elegant appearance. It is based on tried and tested components, which are complemented by the new TP 41 tonearm. The warm colour of the plinth may be freely combined with either classic or contemporary furniture styles in order to have this record player stand out in any room. Indeed an elegant classic at its best.


    Thorens Turntables
    $1,199.00
    Thorens TD 295 MKIV Turntable Buy Now
  • Crosley C20A-ZE Two Speed Manual Turntable (On Sale) Crosley C20A-ZE Two Speed Manual Turntable (On Sale) On Sale Quick View

    $559.99$499.99Save $60.00 (11%)

    Buy Now
    x

    Crosley C20A-ZE Two Speed Manual Turntable (On Sale)


    Have a question about this product? Please email our audio advisor or call 1-877-929-8729 with any questions or concerns regarding your equipment purchase.


    From the Crosley C-series, the C20 turntable has been designed and engineered with style and sound in mind. Crafted from audio-quality MDF and wrapped in genuine zebrano wood veneer, the minimalist plinth supports a solid semi-opaque acrylic platter and stands on three feet to keep vibrations at bay. The powerful belt-driven motor turns two speeds, 33rpm and 45rpm, to play both LPs and singles.


    The C20 is installed with a built-in phono-stage with USB output, useful for capturing favorite albums for the future. The S-shaped aluminum tonearm with sapphire bearings is equipped with an Ortofon OM10 Cartridge pre-mounted and adjusted. Tuning to taste has never been easier with adjustable tonearm counterweights and anti-skate adjustment. High-end features and timeless style meet in one classic turntable.


    Crosley
    $559.99 $499.99 Save $60.00 (11%)
    C20A-ZE Two Speed Manual Turntable Buy Now
  • Lee-Way Lee-Way Quick View

    $49.99
    Buy Now
    x

    Lee-Way

    Blue Note Reissue


    How do these new deluxe re-issues stack up to the alternatives? Not surprisingly, the big difference comes from the 45-RPM cutting. The faster cutting speed creates greater dynamic range and the sense of more air around the instruments, which stand out in better relief and give that you-are-there feel. The tradeoff requires you to flip the record twice as often, a small price to pay for this level of enhanced realism. These new issues maintain that timbral accuracy and at the same time bring out the piano sound like never before, for the first time Blue Note re-issues sound right. Dennis D. Davis, Hi-Fi+, Issue 57


    As much as I'd love to relay all kinds of anecdotes about the challenges Steve Hoffman and Kevin Gray encounter during the mastering sessions, I witness none. These boys know the sound of the facility and the Van Gelder masters like the backs of their hands. Back home a month later, I unpack some test pressings Chad Kassem has sent me. I hear the most realistic-sounding drums ever reproduced by my system. It's as though I'm sitting at the point of creation, experiencing the same high that brought such gifted musicians together as one. Steve Hoffman, Kevin Gray, Chad Kassem, and Don MacInnis have done Rudy Van Gelder and his Blue Note artists proud. Jason Victor Serinus, Stereophile, April 2008


    ...these first five Acoustic Sounds Blue Note re-issues are pure bop genius...The best news is that Kevin Gray and Steve Hoffman were keen enough to do nothing more than gently clean up the masters, bringing us even closer to the hard bop edge. The 45 rpm pressings that I received were all super quiet with every last drop of resolution from the master tapes. I had almost forgotten just how good Paul Chambers and Phil Joe were together as the backbone of these groups. I've always loved this music but I didn't remember it sounding this good! Hank Mobley offers us some brilliant sax bits on one of Kenny Dorham's finest recordings, Whistle Stop and Dexter Gordon's performance blew me away as well. The biggest surprise were the Lee Morgan records. I suggest turning these up loud, since they possess unlimited energy and some hooks that will knock you out. Amazing! Just a small warning: Once you start playing these Blue Note recordings you will be hooked. The good news is that Acoustic Sounds is working on at least 20 more of these jazz gems. So make sure your turntable has a setting for 45 rpm, clean your stylus occassionally, and get ready to be transported to nirvana. - Dan Babineau, Tone Audio, No. 14 2008, www.tonepublications.com


    This album is unique within Lee Morgan's vast and rich Blue Note discography. With then current employer Art Blakey, band mate Bobby Timmons on piano, Paul Chambers on bass and Jackie McLean on alto saxophone, the trumpeter abandons time constraints and stretches out on four, soulful, hard-bop compositions (the first and the last are by Cal Massey). These hard bop masters are constantly inspired by Blakey's explosive grooves.


    This title is not eligible for discount.

    These Are Soulful Days
    The Lion and the Wolf
    Midtown Blues
    Nakatini Suite
    Lee Morgan
    $49.99
    180 Gram Audiophile Virgin Vinyl LP 45 RPM - 2 LPs Sealed Buy Now
  • Western Suite (Pure Pleasure) Western Suite (Pure Pleasure) Quick View

    $34.99
    Buy Now
    x

    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.



    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
  • Black Beauty Black Beauty Quick View

    $37.99
    Buy Now
    x

    Black Beauty

    28-page, full-color book (11" x 11")


    Extensive essay by Ben Edmonds (Creem, Rolling Stone, Mojo) featuring all-new interviews


    Abundant, never-before-seen photographs by Herbert Worthington (Fleetwood Mac's Rumours)


    Brilliantly mastered by multi-GRAMMY® nominee Dan Hersch (Paul Simon, Kinks, Cars,The Band)


    Mastered for vinyl by multi-GRAMMY® winner Doug Sax (The Who, Rolling Stones, Pink Floyd)


    Black Beauty, the never-before-released masterpiece by Arthur Lee's legendary psychedelic rock band Love, is available on 180-gram vinyl LP. Recorded in 1973 for the ambitious new label Buffalo Records,
    the album remained unreleased when the company folded. Finally, after 39 years High Moon Records is honored to fulfill Arthur Lee's wish that Black Beauty be heard by music fans worldwide. Black Beauty is making its first-ever official release
    in any format, anywhere! With unparalelled sound and state-of-the-art packaging, critics are hailing Black Beauty as an instant classic. Black Beauty is that rarest of rock artifacts: an unreleased,
    full-length studio album, from an undisputed musical
    genius. Black Beauty is the missing link in a catalog that includes Forever Changes, the classic 1967 Love album the New York Times called "one of the most affecting and beguiling albums of all time. With Black Beauty, Arthur Lee manages to combine searing 70's-rock with gorgeous melodies and stellar songwriting - topped off by his most distinctive, snarling, soulful vocals ever. With its wonderfully eclectic collection of songs, the
    album offers Love fans a rare glimpse into a previously undocumented phase of Arthur Lee's fabled career, while shining a light for new fans to discover the unique genius that is the music of Arthur Lee and Love.



    It's tempting to play what-if with Love's lost labor, Black Beauty, which was recorded in 1973 but shelved for nearly four decades. What if Buffalo Records hadn't gone out of business just prior to the album's release? What if Black Beauty had actually hit stores? What if it hadn't languished in limbo until years after Arthur Lee's death? Would it have stopped Love's slide into obscurity? Would it have signaled a comeback for the man who masterminded Forever Changes, still one of the most complex and compelling artifacts of 1960s Los Angeles? Would his life and career have played out any differently? Would we think of him today as something other than a cult artist, inspired as well as damned by his era?


    It's difficult to imagine any answers to those questions, but it says a lot about Lee that the album even raises these what-ifs and coulda-beens. The very qualities that made him such a fascinating voice-- restlessness, excitability, paranoia, perfectionism, single-mindedness-- may have doomed any commercial prospects more than his notorious fear of travel ever did. After recording Forever Changes, he fired the band and hired new musicians to take their places. Every subsequent album featured a different line-up, although the changes seem based more on personality than on musical direction or ability. Never stagnant, Love was in constant flux, always in a state of development but never quite arriving. So the operative question becomes: Was this the version of Love that Lee had been working toward?


    For Black Beauty-- which is finally seeing release via High Moon Records, although the reissue has been delayed for two years-- Lee assembled guitarist Melvan Whittington, bass player Robert Rozelle, and drummer Joe Blocker. This may be the hardiest and most muscular of Love's post-Changes rosters, with remarkable force and range. With crisp production by Paul Rothchild, best known for his work with the Doors, Love build from a potent blues rock foundation not dissimilar to that of Jimi Hendrix, but without the distracting shamanistic persona and guitar pyrotechnics. "Walk Right In" struts into country rock territory, rewriting Cannon's Jug Stompers 1929 hit into a plea for empathy, and "Beep Beep" attempts a sort of pop reggae, albeit not entirely convincingly.


    On the whole, this particular line-up sounds perfectly rough and unrehearsed, generating a tense energy on "Skid" and "Stay Away" even as they suggest a band still figuring out exactly what they can do together. It's a strong album, but it's not another Forever Changes, whose accomplishments in retrospect were unrepeatable, or even another Four Sail. On the other hand, Lee wasn't aiming to craft something in that vein. Still, especially considering the professional setbacks he had faced in the years leading up to Black Beauty-- which includes being dropped by Elektra and shuffling through a series of independent labels-- Lee sounds engaged and invigorated, forgoing the bitterness that had rankled the band for a slightly more hopeful outlook. On stand-out "Can't Find It", he sings, "Every time I cry my heart out, and every time I play the fool, but there's gotta be something in this lonely world for me." The confession is all the more bittersweet for being capped with the line, "but I can't find it without you." It's ostensibly a love song, but could just as easily be addressed to his audience. His creative satisfaction relies on having a listener to complete the circuit, which makes this album's long shelf life all the sadder.

    -Stephen M. Deusner (Pitchfork, May 15, 2013)

    1. Young & Able
    2. Midnight Sun
    3. Can't Find It
    4. Walk Right In
    5. Skid
    6. Beep Beep
    7. Stay Away
    8. Lonely Pigs
    9. See Myself In You
    10. Product Of The Times
    Love
    $37.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Mad Dogs & Englishmen Mad Dogs & Englishmen Quick View

    $42.99
    Buy Now
    x

    Mad Dogs & Englishmen

    Import


    Mad Dogs and Englishmen is Joe Cocker's legendary live album, recorded in 1970 at the Fillmore East.


    For this record Joe Cocker created a unique sound: a veritable definition of big-band rock with three dozen players working behind the singer.
    Mad Dogs and Englishmen consists mostly of covers, drawing equally from rock (The Rolling Stones, Traffic, Bob Dylan, The Beatles) and soul (Ray Charles, Sam and Dave, Otis Redding), and is as much a showcase for arranger & bandleader Leon Russell as it is for Joe Cocker.


    As we now know the tour from which this album was drawn took a heavy toll on Joe Cocker and especially his vocal chords because the music was presented on such a grand scale.


    Nevertheless, the music still stands to this date and beyond.

    LP 1
    1. Introduction
    2. Honky Tonk Women
    3. Introduction
    4. Sticks And Stones
    5. Cry Me A River
    6. Bird On The Wire 6:15
    7. Feelin' Alright
    8. Superstar
    9. Introduction
    10. Let's Go Get Stoned


    LP 2
    Blue Medley:
    1a I'll Drown In My Own Tears
    1b When Something Is Wrong With My Baby
    1c I've Been Loving You Too Long
    2. Introduction
    3. Girl From The North Country
    4. Give Peace A Chance
    5. Introduction
    6. She Came In Thru The Bathroom Window
    7. Space Captain
    8. The Letter
    9. Delta Lady

    Joe Cocker
    $42.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Magnolia Electric Co Magnolia Electric Co Quick View

    $24.99
    Buy Now
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    Magnolia Electric Co


    10th Anniversay Deluxe Edition


    Expanded Reissue Of Songs: Ohia's Classic Record Gathering Together One Unreleased Song, Demos And Full-band Song Only
    Previously Available In Japan.


    Includes Rare Photos From The Era In Which It Was Recorded


    The hallmark of Jason Molina's career, Magnolia Electric Co., is both a confluence of all he would create and a line in the
    sand to mark a shift in his songwriting approach. It was the last statement under his iconic Songs: Ohia moniker, and the
    moment before he began making new legends as Magnolia Electric Co. for the next 10 years. Now- here at the end of that
    decade - with Molina gone, his work gathers more weight and meaning. This expanded 10-year anniversary edition of
    Magnolia Electric Co. features one never-before-released track plus many rarities. The full-band studio outtake of fan
    favorite Whip Poor Will is a sweet and spare version that ended up being played far differently on Magnolia Electric Co.'s
    final album Josephine (2009). Also included is the studio version of The Big Game Is Every Night. Previously only available
    on the Japanese version of the album, this opus serves as Molina's thesis statement, its poetry weaving through the 20th
    Century, through art and sporting culture - ultimately questioning what it means to be an American in the autumn of the
    American Era. The edition also gathers Molina's gutting demos for the record, including those two outtakes. Nearly each
    begins with audible sound of the RECORD button being pressed down on the tape player. They are so close and intimate,
    it's hard to look them right in the eyes. But you should.


    With the wailing lap steel of the album opener Farewell Transmission, Jason Molina & Company usher in a new day,
    playing the sort of rock that your cool uncle rolled to back in the '70s. Landing somewhere on the radar sonically between
    Bob Dylan's Desire and Bob Seger's Beautiful Loser, though thematically in-line with Lynyrd Skynyrd's Simple Man, The
    Magnolia Electric Co lies at the crossroads of working class rock, white soul, swamp rock and outlaw country


    While Songs: Ohia's last record Didn't It Rain was a meditation on roots and stability, Magnolia Electric Co. finds itself
    toiling with the wages of change, which is well illustrated in I've Been Riding with the Ghost, a real rig rocker that could
    have easily fit on Time Fades Away, on which Molina sings: See I ain't getting better, I am only getting behind. Standing on
    the crossroad trying to make up my mind. Trying to remember how it got so late. Why every night pain comes from a
    different place. Now something's got to change.


    This thematic preoccupation with change also manifests itself in the rotating cast of lead vocalists. While the entire album
    boasts a doo wop-like line-up with five vocalists on the floor, six of the eight songs have Molina in the tall stool with the
    ever-enchanting Jennie Benford (of Jim & Jennie & the Pinetops, who was also a key player on Didn't It Rain) as primary
    back-up vocalist. But on two songs, new Songs: Ohia players step up to take on lead vocal duties, singing Molina-penned
    songs. Lawrence Peters takes the lead on The Old Black Hen with his fantastic Merle Haggard-esque country croon, while
    Miss Scout Niblett appears from the nether world of the Ohia wardrobe with feathers in her hair and casts her spell on the
    Ohia rig barreling through Peoria Lunch Box Blues.


    Recorded live, in its entirety, at the hands of Steve Albini at his Electrical Audio Studio in Chicago, Illinois, with the same
    core back-up band that played on the Mi Sei Apparaso Come Un Fantasma Italian live album, this is the record where the
    Songs: Ohia fan demographics make a radical shift from the dominant bedroom universe of the world's lonely, sensitive,
    overqualified young white dudes, and finds refuge in the masses by being embraced by the world's truck drivers, sorority
    chicks, and hockey players, alike. Indeed, this is the first Songs: Ohia record with more than one song that could be played
    at a strip joint or monster truck show. Amid the mid-tempo slow jams, there lie some of the most upbeat material that
    Songs: Ohia has recorded to date.

    LP 1
    1. Farewell Transmission
    2. I've Been Riding With The Ghost
    3. Just Be Simple
    4. Almost Was Good Enough
    5. The Old Black Hen
    6. Peoria Lunch Box Blues
    7. John Henry Split My Heart
    8. Hold On Magnolia
    9. The Big Game Is Every Night (Bonus Track)
    10. Whip Poor Will (Bonus Track)


    LP 2
    1. Farewell Transmission (Demo)
    2. I've Been Riding With The Ghost (Demo)
    3. Just Be Simple (Demo)
    4. The Old Black Hen (Demo)
    5. Peoria Lunch Box Blues (Demo)
    6. John Henry Split My Heart (Demo)
    7. Hold On Magnolia (Demo)
    8. The Big Game Is Every Night (Demo)
    9. Whip Poor Will (Demo)

    Songs: Ohia
    $24.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Axis: Bold As Love Axis: Bold As Love Quick View

    $19.99
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    Axis: Bold As Love

    Ranked 82/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.


    Very few albums radically change the musical and cultural landscape, altering our perceptions by way of a mad combination of forward-looking performance, liberating lyrical narratives, spiritual overtones, and unimaginable sounds. Jimi Hendrix's sophomore Axis: Bold As Love is one of those records, a timeless and prophetic set that still seems as if it comes to us from the future. Unrelentingly ambitious, deeply mythical, and profoundly virtuosic, the stupendous 1967 collection dives into a pool of lustful psychedelia, earthy blues, cosmic soul, and unhinged rock. Along with jazz-schooled drummer Mitch Mitchell and melodic bassist Noel Redding, Hendrix establishes a new musical language, a foundation on which fellow guitar giants such as Eric Clapton, Jeff Beck, Pete Townshend, and Prince would build. Ranked by Rolling Stone as the 82nd greatest album ever released, and leagues ahead of its time, Axis: Bold As Love is an absolute must-have for every music lover. Particularly now that it's finally been afforded the sonic treatment it's always deserved.


    Mastered from the original two-track mix-down analog master tapes, cut by legendary engineer George Marino on upgraded equipment at Sterling Sound, and pressed on 180-gram virgin vinyl at RTI, this LP is a sonic knockout on par with the very best audiophile recordings. With all apologies to previous editions from Classic and Universal, this pressing blows away any competition. It's no wonder that this release spearheads Legacy Recordings' unprecented 2010 Jimi Hendrix Catalog Project of reissues and new releases from the greatest guitar player in history.


    Featuring seminal classics such as Spanish Castle Magic, Little Wing, and Castles Made Of Sand, Axis: Bold As Love stands as one of the Jimi Hendrix Experience's monumental moments, a tapestry scorched with color, sewn together with erotic threads, and varnished with rich personality. Do not miss this seminal pressing of a most seminal recording.

    1. EXP
    2. Up From The Skies
    3. Spanish Castle Magic
    4. Wait Until Tomorrow
    5. Ain't No Telling
    6. Little Wing
    7. If 6 Was 9
    8. You Got Me Floatin'
    9. Castles Made Of Sand
    10. She's So Fine
    11. One Rainy Wish
    12. Little Miss Lover
    13. Bold As Love
    Jimi Hendrix
    $19.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Cast The First Stone Cast The First Stone Quick View

    $21.99
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    Cast The First Stone

    Pressed On Camo Green Vinyl


    Death metal is more than just music. It transcends such a limited mortal state of mind. Death metal is the aural expression of humanity's darkest side, of devastation, sorrow and the harbingers of mankind's own inhumanity and ultimate destruction. Death metal is not a trend, a fashion parade or a means to an end. It is much more than that. It is a way of life. A life in death.


    This is the doctrine Italy's HOUR OF PENANCE, spewn forth with unrelenting musical ferocity through their sickening, mind-obliterating auditory assault on the senses.


    Forged in the dark shadows of "The Holy Capital," this most unholy of quartets have steadily been making a name for themselves as one of the most intense, talented and impressive modern death metal bands both in-studio and onstage.


    Like clockworks Hour of Penance is ready to release "Cast the First Stone" as the follow-up of his last successful album Regicide. Releasing an album every 2 years, the band has been described by the fans and worldwide press as one of the most "productive" band in the genre, "Cast the First Stone" will mark album number 7 in the band's career .


    Singer Paolo Pieri describes the concept of the new album : "Cast the First stone" revolves around the idea that the injustices suffered during the Crusades and Colonialism cannot justify indefinitely a chain of hate that propagandize the destruction of the West. I believe that the political situation in recent years has brought to light again a millennial conflict between West and East, and events like the terrorist attack at the Bataclan, where we only played a few months before the massacre, have influenced the lyrics on this record very much.


    It does not matter who has thrown the first stone, but who first evolved his ideology to seek peace and coexistence instead of war to the bitter end. In Europe, people have massacred each other for millennia but in the last 60 years, we were able to overcome differences and secular hatred that divided us, while the blind hatred of Islamic extremism is bringing entire geographic areas back to the darkest middle ages.


    We find ourselves once again in front of a war between reason and religion, and unless we take a strong stand in defense of our Western values, we risk falling into chaos because of a weak and coward enemy stubbornly convinced of his senseless laws."


    Lead guitarist and songwriter, Giulio Moschini, adds : "Sonically speaking , this is the best sounding album we've ever recorded , we really worked hard on this, listening to the album countless times before finally delivering the masters to Prosthetic Records.. it was definitely worth the wait and we're 100% satisfied by the great work our bass player Marco Mastrobuono has done behind the mixing desk. We've literally spent weeks trying different micing techniques, hardware, preamps- trying to avoid plugins technologies as much as we could. We wanted our album to sound more dynamic and I think that we've achieved that 100%. "


    Since releasing 2012's acclaimed "Sedition", which Decibel lauded as a "hyper-blasting, inhuman, machine-like attack," HOUR OF PENANCE has annihilated fans worldwide with its fiery exuberance, playing well over 200 gigs alongside such acts as BEHEMOTH, SKELETONWITCH, CANNIBAL CORPSE, THE BLACK DAHLIA MURDER, DEVILDRIVER, PSYCROPTIC, MISERY INDEX, DEICIDE, BELPHEGOR, NILE and KRISIUN.

    1. XXI Century Imperial Crusade
    2. Cast the First Stone
    3. Burning Bright
    4. Iron Fist
    5. The Chains of Misdeed
    6. Horn of Flies
    7. Shroud of Ashes
    8. Wall of Cohorts
    9. Damnatio Memoriae
    Hour Of Penance
    $21.99
    Colored Vinyl LP - Sealed Buy Now
  • VPI 3D Tonearm - 10 (With VTA Base) VPI 3D Tonearm - 10 (With VTA Base) Quick View

    $3,000.00
    Buy Now
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    VPI 3D Tonearm - 10 (With VTA Base)



    Have a question about this product? Please email our audio advisor or call 1-877-929-8729 with any questions or concerns regarding your equipment purchase.


    10 3D Printed Tonearm with stand


    The arm looks like a traditional VPI Unipivot arm, except it's made in a 3D printer. The material is basically epoxy, which forms a rigid, lightweight, structure with good insulation properties. Epoxy is non-crystalline which impedes the transfer of vibration, so it's the perfect material for tone arms. The shape of the tone arm shaft also adds rigidity to the structure and further prevents the transmission of surface vibrations. The result is a low resonance lightweight tone arm.


    This tonearm is backwards compatible and will fit on all past and current VPI Turntables.


    JMW 3D compatibility as of 5/16/13:

    Classic 1

    Classic 2

    Classic 3

    Classic 4 (secondary arm only)


    VPI Accessories
    $3,000.00
    3D Complete Tonearm - 10 (With VTA Base) Buy Now
  • Devil's Halo Devil's Halo Quick View

    $19.99
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    Devil's Halo

    Devils Halo, Meshell Ndegeocello's 8th album, harkens back to the way records used to be made with live band energy and phenomenal musicianship. Influenced by a breadth of sounds, from The Human League to Wu Tang to Yes, Devils Halo displays Meshells own diversity of formidable gifts. Always the uncompromising artist and bass player, this record brings a broad range of musical and lyrical voices and selves: the searcher, the skeptic, the dissenter, and the lover. True to form, Meshell offers compositions with raging climaxes alongside moments of terrifying tenderness and honesty. Genre-defiant as ever, Devils Halo asks for the real fans of exploration to please stand up.


    Canonized, marginalized or just scrutinized, Meshell Ndegeocello has given up with the politics of explaining herself. After 20 years in an industry that has called her everything from avant garde to a dying breed, what unquestionably remains is the fearsome bassist, prolific songwriter and the creativity and curiosity of an authentic musical force. With that, she has earned critical acclaim, the unfailing respect of fellow players, songwriters and composers, and the dedication of her diverse, unclassifiable fans. For the sake of setting the record straight, a few brass tacks remain: Meshell was born in Germany, raised in DC, signed at 23, and has been nominated for 10 Grammy awards.

    1. Slaughter
    2. Tie One On
    3. Lola
    4. Hair Of The Dog
    5. Mass Transit
    6. White Girl
    7. Love You Down
    8. Devils Halo
    9. Bright Shiny Morning
    10. Blood On The Curb
    11. Die Young
    12. Crying In Your Beer
    Meshell Ndegeocello
    $19.99
    Vinyl LP - Sealed Buy Now
  • Going Back To Acoustic (Pure Pleasure) (Awaiting Repress) Going Back To Acoustic (Pure Pleasure) (Awaiting Repress) Quick View

    $34.99
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    Going Back To Acoustic (Pure Pleasure) (Awaiting Repress)

    Originally issued in France on Isabel Records 900.510 under the title "Going Back" this LP presents one of the best duos in the history of the blues, guitarist Buddy Guy and harmonica player Junior Wells. Over the years they made many recordings together but this one is unique. Recorded whilst on a 1981 tour of Europe, Guy and Wells took a break from their backing musicians and amps to cut this spontaneous, all acoustic set. The results stand in stark contrast to the steamy Chicago blues the duo is best known for. Instead these recordings are relaxed and personal, with an intimate, back porch feel. Guy switches between six and twelve string guitars, and lays down rootsy acoustic rhythms for Wells's tasteful harmonica lines. The two share vocal duties on the performances as they pay homage to the rural, country blues roots these modern bluesmen share.



    Musicians:



    • Buddy Guy (guitar, vocal)

    • Junior Wells (harmonica, vocal)



    Recording: May 1981 at Sysmo Studio, Paris
    Production: Didier Tricard




    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.



    and that the lacquer discs are newly cut.


    1. Boogie Chillen
    2. Im In The Mood
    3. Dont Leave Me
    4. Give Me My Coat And Shoes

    5. Medley:Baby What You Want Me To Do/Thats Allright
    6. Big Boat(Buddy and Juniors Thing)
    7. High Heel Sneakers
    8. My Home Is In The Delta
    9. Wrong Doing Woman
    10. Diggin My Potatoes
    Buddy Guy & Junior Wells
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • Dalmak Dalmak Quick View

    $25.99
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    Dalmak

    180g LP Audiophile Pressing Includes Art Poster


    Fourth Album From Modern Contemporary / Instrumental Rock Ensemble Led By Percussionist Bruce Cawdron (Godspeed You! Black Emperor) & Cellest Rebecca Food (Silver Mr Zion, Saltland, Set Fire To Flames)


    Partly Recorded In Istanbul With Four Turkish Guest Players


    Mixed By Jace Lasek (The Besbard Lakes, Wolf Parade, Suuns)


    When Esmerine surfaced with La Lechuza in 2011, the album signaled many things: the band's first new recordings in six years, an expanded line-up, and a song cycle inspired by and dedicated to the life and untimely death of a dear friend and fellow musician. What wasn't immediately clear was whether this acclaimed record would mark the opening of a new chapter for the band, or stand alone as a singular work of eulogy and homage driven by emotion and circumstance.


    Esmerine's new album Dalmak emphatically confirms that the group has indeed continued writing, exploring and collaborating - definitively extending its horizons in this new iteration of the band's trajectory. Bruce Cawdron (marimba) resigned from his seat as drummer for Godspeed You! Black Emperor in 2012, allowing him to focus more fully on Esmerine alongside co-founder and cellist Rebecca Foon (Silver Mt. Zion, Set Fire To Flames); the two
    principals also recruited percussionist Jamie Thompson (Unicorns, Islands) and multi-instrumentalist Brian Sanderson as full-time members to solidify the group as a writing and performing quartet.


    European tours in 2011-2012 brought Esmerine to Istanbul, where the group's enthusiastic reception led to an invitation for an artist residency in the city. Dalmak is the fruit of that visit: the majority of the album was recorded in Istanbul, where compositions by the band's four Canadian musicians were augmented by a number of Turkish guest players.


    Dalmak is a Turkish verb with many connotations: to be absorbed in, to dive into, to bathe in, to contemplate, to plummet. As a title for Esmerine's new album, "dalmak refers in a literal sense to immersion in the culture and music of Istanbul but also appropriately evokes the range of music that emerged from this immersion: a collection of songs that shift between meditative pulsing and enveloping restraint to headlong flights into rhythm and groove. With Dalmak, Esmerine presents some of its most richly minimal and intimate music alongside what is surely its most explosive, energized and ornate. The album is a tour-de-force of cross-cultural music-making, emotive but unsentimental,
    deeply textured and detailed but never precious or pedantic, superbly guided throughout by a balance of DIY rock, new folk and modern classical/contemporary sensibilities.


    With initial recording by Barkin Engin and Metin Bozkurt in Istanbul, Esmerine laid down the
    live bed tracks for the up-tempo rhythmic songs at the album's core: Lost River Blues, Barn Board Fire and Translator's Clos. Marimba, cello, drums, tenor banjo, bass and trumpet are joined by bendir, darbuka, erbane, meh, barama, saz and electric guitar from local players for these centerpiece tracks, where extended melodic themes and short solos are passed around and woven through staccato grooves and polyrhythmic vamps in deeply
    satisfying fashion. The sessions continued back in MontrÉal at Breakglass, where Cawdron and Foon tracked the more studied cello and marimba songs Learning To Crawl and White Pine, and where the album's gorgeously saturated warmth, depth and propulsive grit was achieved courtesy of Breakglass head engineer Jace Lasek (The Besnard Lakes,
    Wolf Parade, Suuns) and Ian Ilavsky, who mixed the album alongside Rebecca and Bruce.


    We're thrilled to present this new album from Esmerine and to document the continued evolution of Bruce Cawdron and Rebecca Foon, two musicians with whom Constellation has enjoyed a decade-long relationship spanning multiple projects. Dalmak is a distinct and exciting highlight in their diverse and adventurous discographies.

    1. Learning To Crawl
    2. Lost River Blues I
    3. Lost River Blues II
    4. Barn Board Fire
    5. Hayale Dalmak
    6. Translator's Clos I
    7. Translator's Clos II
    8. White Pine
    9. Yavri Yavri
    Esmerine
    $25.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Natty Dread Natty Dread Quick View

    $24.99
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    Natty Dread

    Features Original Artwork

    Natty Dread is Bob Marley's finest album, the ultimate reggae recording of all time. This was Marley's first album without former bandmates Peter Tosh and Bunny Livingston, and the first released as Bob Marley & the Wailers. The Wailers' rhythm section of bassist Aston Family Man Barrett and drummer Carlton Carlie Barrett remained in place and even contributed to the songwriting, while Marley added a female vocal trio, the I-Threes (which included his wife Rita Marley), and additional instrumentation to flesh out the sound. The material presented here defines what reggae was originally all about, with political and social commentary mixed with religious paeans to Jah.


    The celebratory Lively Up Yourself falls in the same vein as Get Up, Stand Up from Burnin'. No Woman, No Cry is one of the band's best-known ballads. Them Belly Full (But We Hungry) is a powerful warning that a hungry mob is an angry mob. Rebel Music (3 O'Clock Road Block) and Revolution continue in that spirit, as Marley assumes the mantle of prophet abandoned by '60s forebears like Bob Dylan.


    In addition to the lyrical strengths, the music itself is full of emotion and playfulness, with the players locked into a solid groove on each number. Considering that popular rock music was entering the somnambulant disco era as Natty Dread was released, the lyrical and musical potency is especially striking. Marley was taking on discrimination, greed, poverty, and hopelessness while simultaneously rallying the troops as no other musical performer was attempting to do in the mid-'70s.

    1. Lively Up Yourself
    2. No Woman No Cry
    3. Them Belly Full (But We Hungry)
    4. Rebel Music (3 O'Clock Roadblock)
    5. So Jah S'eh
    6. Natty Dread
    7. Bend Down Low
    8. Talkin' Blues
    9. Revolution
    Bob Marley
    $24.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Vision Crimes / Monomania Vision Crimes / Monomania Quick View

    $22.99
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    Vision Crimes / Monomania

    This album collects Child Bite's recent two sibling EP's into one brutal package. For years, we have watched Child Bite change, contort, and rearrange itself in to the gnarly powerhouse that exists in its current period. Their sound has become more abrasive over time then their spastic avant-pop beginnings.


    Within the rst few moments of Worship, you will nd yourself encouraged to "worship the father / slaughter the son" as well as "snip off the tip of the blasphemer's tongue." However you choose to interpret singer Shawn Knight's vocals, which are easily his most hostile to date, you wont escape the mood of this piece. And, the mood is that of 4 perplexed soldiers foraging for rushes of adrenaline to keep themselves alive while condemned to ght an unjust, unwinnable war.


    Wrong Flesh is a gritty battle march, which conjures memories of the Deadites storming the castle in search of the Necronomicon. From here, they take us down paths that are exponentially dark - with, No pussy shit as their credo. This is, in fact, the darkest and most mature effort we have seen from Child Bite. The shrilling, and impulsively head-bobbing verses of Scum Gene (Trash Vibrato) - are only rivaled in turpitude by Shawn Knight's lyrics; like those of Smear Where the Face Was that read: Drag behind or standing still - Impulse is fear, and fear you will. The lyrics, as a whole, paint a fuzzy picture of fear, paranoia, and despair.


    Bass player Sean Clancy expands on his unique style with brutal tones and syncopated rhythms that match the band's progression further into the macabre. Brandon Sczomak has made the switch from drums to guitar (who knew?). He has awlessly adapted to the precedent set by his predecessors, and he is taking it to fantastic new place. If you are a drummer and you are unfamiliar with Moshe Rozenberg (ex-DD/MM/YYYY), just buy this record right away. I would still listen to this record if it were only drums. The beats were also partly written and arranged during pre-production by Detroit drummers: Brandon Moss (Bars of Gold), Matt Rickle (Javelins/Fawn), Brandon Sczomak (current Child Bite guitarist), and Dave Vaughn (Detroit Cobras). The album was recorded with Chris Koltay of High Bias Recordings (Akron/Family) riding the faders. It was mastered by the infamous Weasel Walter (XBXRX, Flying Luttenbachers).

    1. Abysmal Splatter
    2. The Nerves
    3. Mutilation Revival
    4. Life As A Parasite
    5. Puke For The Youth
    6. Worship
    7. Save Your Scream
    8. Wrong Flesh
    9. The Nab Munch is On
    10. Smear Where the Face Was
    11. Vapor in the Orphan Loop
    12. Begin The Hiss
    13. Scum Gene (Trash Vibrato)
    Child Bite
    $22.99
    Vinyl LP - Sealed Buy Now
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