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Way Out West'
Way Out WestMastered off the original 2-track tape recorded with a tube AKG-C12 microphone on a tube Ampex 350 machine. Features Ray Brown on bass and Shelly Manne on drums. Over his long and distinguished career, Sonny Rollins has made many dozens of albums. Among those recorded during the fifties, Prestige's Movin' Out and Colossus, Blue Note's A Night at the Village Vanguard, Riverside's The Sound of Sonny, and Way Out West on Contemporary qualify as all-time Rollins classics.
The session for Way Out West, Rollins' first ever in California, was called for 3 a.m. to accommodate everyone's busy schedules. Sonny, who could never be accused of overstatement, announced after four hours of recording: I'm hot now.
Mastered by Doug Sax.
Way Out West is a piano-less trio - another va-va-vivid Roy DuNann production - with Rollins spinning quirky geometric patterns through odd standards like 'I'm an Old Cow Hand.' - Fred Kaplan, The Absolute Sound, December 2005 (included in Kaplan's Best-Sounding Jazz LPs)
1. I'm An Old Cowhand
3. Come, Gone
4. Wagon Wheels
5. There Is No Greater Love
6. Way Out West
$21.99Vinyl LP Reissue - Sealed Buy Now
Way Out WestImport1. I'm An Old Cowhand
3. Come, Gone
4. Wagon Wheels
5. There Is No Greater Love
6. Way Out West$27.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Way Out West (Deluxe Edition) (Pre-Order)Deluxe Edition Celebrating The 60th Anniversary Of This Landmark Album In Rollins' Career
Features A Full Second Lp Of Rare And Previously Unreleased Bonus Material
Deluxe Gatefold Packaging
Includes New Liner Notes And Previously Unseen Photos
Way Out West, originally recorded for the Contemporary label in 1957, qualifies as an all-time Sonny Rollins classic.
Culled from a 3 A.M. session with bassist Ray Brown and drummer Shelly Manne. This deluxe edition celebrates
the 60th anniversary of this landmark album in Rollins' career with a full second LP of rare and previously
unreleased bonus material, deluxe gatefold packaging, new liner notes and previously unseen photos.LP 1
1. I'm An Old Cowhand
3. Come, Gone
4. Wagon Wheels
5. There Is No Greater Love
6. Way Out West
1. Monologue: You Gotta Dig The Lyrics
2. I'm An Old Cowhand (Alternate Version)
3. Dialogue: Titling "Come, Gone"
4. Come, Gone (Alternate Version)
5. There Is No Greater Love (Alternate Version)
6. Way Out West (Take 1)
7. Way Out West (Alternate Version)$79.99Vinyl LP - 2 LPs Sealed PRE-ORDER Buy Now
ADAD-SUP-4656xMarty Stuart And His Fabulous Superlatives
Way Out WestWhile he's too gracious to admit it himself, the Grammy-winning singer, songwriter and musician is living, breathing country music history. He's played alongside the masters, from Cash to Lester Flatt, who discovered him; been a worldwide ambassador for Nashville, Bakersfield and points in between; and safeguarded country's most valuable traditions and physical artifacts.
But most importantly, Stuart continues to record and release keenly relevant music, records that honor country's rich legacy while advancing it into the future. Way Out West, his 18th studio album, hits both of those marks. Produced by Mike Campbell (Tom Petty and the Heartbreakers), the album is a cinematic tour-de-force, an exhilarating musical journey through the California desert that solidifies Stuart as a truly visionary artist.
When it comes to transforming country songs into tangible experience, Stuart has a secret weapon: his longtime band the Fabulous Superlatives, which NPR Music said could "melt your heart with four-part harmonies, rock your bones with honky tonk, and dazzle you with picking worthy of their name,". Made up of guitarist Kenny Vaughan, drummer Harry Stinson and new member, bassist Chris Scruggs, the Superlatives are an extension of Stuart himself. The Superlatives are missionaries, they're fighting partners. They're my Buckaroos, my Tennessee Three, my Strangers. They're my legacy band and have been since Day One, says Stuart.
I would play this record for Hank Williams, Merle Haggard or Ernest Hemingway and never bat an eye, says Stuart. There's something in there that would entertain each of them.1. Desert Prayer - Part I
3. Lost On The Desert
4. Way Out West
5. El Fantasma Del Toro
6. Old Mexico
7. Time Don't Wait
9. Air Mail Special
11. Please Don't Say Goodbye
12. Whole Lotta Highway (With A Million Miles To Go)
13. Desert Prayer - Part II
14. Wait For The Morning
15. Way Out West (Reprise)$18.99Vinyl LP + CD - Sealed Buy Now
Carving Out The Eyes Of GodAfter the release of A Haunting Curse, Goatwhore stayed busy playing multiple tours across all over the world including a coveted spot on 2007's Sounds of the Underground and 2008's Ozzfest in Texas where metal juggernauts Metallica closed out the day of metal. Other tours and dates included Sunn O))), Hatebreed, All Shall Perish, Celtic Frost, Venom, Fear Factory, Suffocation, Cattle Decapitation, God Forbid, and Amon Amarth just to name a few. Obviously Goatwhore kept themselves busy throughout the course of the album cycle playing with a wide variety of bands proving just how multi faceted the group's reach is.
Enter 2009: New Orleans, LA's sons of American no-frills black metal, GOATWHORE, have just announced that the title of their fourth full-length album, and second for Metal Blade, will be Carving Out the Eyes of God. For the follow up to 2006's A Haunting Curse, GOATWHORE headed back to St. Petersburg, FL to record with producer Erik Rutan at Manna Studios with mastering being handled by Alan Douches of West West Side.
Vocalist Ben Falgoust comments on the direction of the new album; I don't really know how to explain this. I don't want to come off with the typical speech about how this record is our best yet and all of that. I will say that I am quite pleased how it has turned out and all parts relating to it. I feel every member put a great deal of effort into their part of the project. I even feel Erik Rutan busted his ass even more this time to make us feel that we didn't take any steps backwards in the recording and production of this release. I don't even really care what the critics say. I think the end result is basically coming up with something you have put a lot of work into and the satisfaction achieved in completing it. I will say that the new material is ripping metal and we still have that 'Goatwhore' sound, whatever that may mean for each individual that enjoys or hates what we do. Just look at it as another step in the evolution of this band. Each person that hears it will have his or her own perception of it. Like it or not, we don't have a say in it. The only thing we can do is just keep writing the way we do and accept the criticism. Doesn't mean we are gonna listen to the criticism and change. Just give it an honest listen and if you dig it, awesome! If you don't, then pass it on to a friend or use it as a new drink coaster.
Guitarist Sammy Duet had this to add; Dark, heavy, evil. Erik Rutan did one hell of a job on it. If you don't like it... kiss my ass.1. Apocalyptic Havoc
2. The All-Destroying
3. Carving Out The Eyes Of God
4. Shadow Of A Rising Knife
5. Provoking The Ritual Of Death
6. In Legions, I Am Wars Of Wrath
7. Reckoning Of The Soul Made Godless
8. This Passing Into The Power Of Demons
9. Razor Flesh Devoured
10. To Mourn And Forever Wander Through Forgotten Doorways$20.99Vinyl LP - Sealed Buy Now
Ellington At NewportNumbered, Limited Edition Mono LP
Pandemonium: Historic 1956 Live Set Triggered Spontaneous Audience Outburst That Fed Directly into Feel, Outcome of Performance
Ellington's Legendary Comeback Punctuated by Paul Gonsalves' 27-Chorus Saxophone Solo
Unrivaled Analog Transparency: LP Mastered on Mobile Fidelity's World-Renowned Mastering System and Pressed at RTI
One of the Most Riveting and Important Jazz Recordings Ever Made
It spurred Duke Ellington's comeback into the mainstream. It captures a performance so energetic, wild, unexpected, and unprecedented that the music literally caused thousands of people to jump up and stand on their chairs, worrying officials that a riot might ensue. It is jazz of the highest order, played at an almost rock n' roll pace, and with an enthusiastic pep that confirms Ellington and his ensemble fed off the crowd's reaction as the collective lit into each new stanza. It is Ellington's best-selling album. It is Ellington at Newport.
Like few records before or since, the 1956 set owes as much to context and circumstance as it does instrumental execution. Years prior to his appearance in Rhode Island, Ellington had suffered lackadaisical record sales and a falling out of the public eye, as bop and hard bop supplanted tradition big bands. Yet in preparation for the event, Ellington worked on experimental ideas and a reshaping of some of his standards.
The iconic arranger/composer's foresight comes into fruition throughout the white-hot set, never more so than on "Diminuendo and Crescendo In Blue," on which tenor saxophonist Paul Gonsalves erases all rules and outlays a 27-chorus solo that left everyone in awe-and prompted them to stand on chairs, dance feverishly, and hoot and holler to an extent that caused Ellington to ultimately cool things off. The improvisational flight epitomizes boldness, freedom, risk, and, to the bandleader, an assuredly loud response to the critics that had believed his well was tapped.
The songs in advance of the climactic moment are no less exciting; Ellington and his 15-piece collective manhandle notes with ease, swinging and sliding through "Festival Junction" with a requisite balance of poise and panache, and kicking heels on Newport Up via Ellington's spry piano riffs, Jimmy Hamilton's spicy clarinet feeds, and Clark Terry's trumpet runs. In every way, Ellington at Newport is as quintessential as Kind of Blue, Giant Steps, and Way Out West.
And now, the 1956 classic can be experienced in an analog fidelity never before as authentic or transparent on any pressing. Mastered on Mobile Fidelity's world-renowned mastering system and pressed at RTI (America's best record plant), this numbered limited edition Silver Series LP of Ellington's triumph boasts tremendous separation, deeper low frequencies, clearer highs, and front-to-back dynamics. Horns blare with multi-hued color, the Duke's 88s ring out with treble finesse, and the rhythm section claims an added presence buried on previous editions. Musically and sonically, you need this LP. It's that simple.
This title is not eligible for discount.1. Festival Junction
2. Blues to Be There
3. Newport Up
4. Jeep's Blues
5. Diminuendo and Crescendo In Blue$24.99Vinyl LP Mono - Sealed Buy Now
Live From Austin, TX (Buck Owens)Maybe it was an epiphany of sorts. As Buck tells it, One day I was watching Austin City Limits and Dwight Yoakam was on, then he dedicates the program to 'Buck Owens.' So I said, I'm going to see what this kid is like. It wasn't long after that he was on stage with Dwight singing his old hits. Buck was bitten by the bug to return to music, after calling it quits almost ten years earlier. This man from Sherman, Texas - probably best-known as the wide-grinning rube on Hee Haw for so many years - started a country music revolution. Or more accurately, a counter-revolution. It was called The Bakersfield Sound. He and fellow revolutionary Merle Haggard were cranking out raw, hard-driving honky-tonk music that stood the country-pop coming out of Nashville on its head. When Buck Owens and the Buckaroos would launch into I've got a tiger by the tail, it's plain to see....! the packed crowds would be on their feet and headed for the dance floor. Along the way Buck inspired none other than The Beatles to record their first country song, his classic Act Naturally, and the master of soul, Ray Charles, to immortalize one of the best-known country songs ever, Crying Time. Buck always loved his home state, and once flew to Austin on his private jet to make a surprise visit to a club that celebrated a Buck Owens Birthday night every year. He was also one of the few artists to ever write a handwritten note thanking us for inviting him on the show. Many thanks, he wrote, it is very representative of what I am all about. In my mind, Buck Owens will always be a rock star.
- Terry Lickona (producer Austin City Limits)1. Act Naturally
2. Together Again
3. Love's Gonna Live Here
4. Crying Time
5. Tiger By The Tail
7. Hot Dog
8. Put Another Quarter In The Jukebox
10. Under Your Spell Again (With Dwight Yoakam)
11. Johnny B. Goode$21.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Undivided Heart & SoulUndivided Heart & Soul, produced by Dan Molad (Lucius) and
McPherson, and developed largely in the studio (that studio being the historic
RCA Studio B in Nashville), carries a sense of immediacy and irreverence.
"In writing this record, I threw several handfuls of caution to the wind.
Lyrically, I was allowing myself to be exposed in a way I never have before.
Concurrently, maybe as some sort of a self-defense mechanism, the guitars
got fuzzier and louder. The first day at RCA was like being in church...
by the second day, it was a high school band's rehearsal space."
Putting the hands of Dan Molad on the wheel of the record ensured that
the music didn't take too many expected turns. "Having toured with
Lucius and befriended Dan, I knew he was the guy to push my buttons
and challenge me to try new things. He's a tireless worker. He's constantly
tinkering away on something... and music just falls out of him."
The vintage recording equipment and instruments still housed
in RCA Studio B greatly informed the direction of the record. "Each night,
at the end of tracking, someone would invariably say, 'You wanna put vibes
on this?', speaking of the old RCA Vibraphone. I mean, you can hear THAT
vibraphone on Roy Orbison's 'Crying'... we couldn't keep our hands off of it.
It guided some of the songs into some strange and wonderful places.
'Lucky Penny' took such a cool turn once Ray (Jacildo, keys) added some to it.
We wrote several songs on the piano that Floyd Cramer played 'Last
Date' on. We were soaking up so much of the phantom energy in
that room, it led to some incredible sonic territory."
"Most folks know us for our take on vintage R&B and early Rock N' Roll.
The past year, I've been digging so much into the heavier, brasher sounds of
early Rock N' Roll... from bands like The Sonics, Link Wray, and into some
early British Rock such as The Creation... these influences feature heavily in
these songs. The tunes that showed up weren't exactly always in familiar
territory, and... we greeted them as welcome strangers. They have a lot
of heart... and that's what Rock N' Roll should always have."1. Desperate Love
2. Crying's Just A Thing You Do
3. Lucky Penny
4. Hunting For Sugar
5. On The Lips
6. Undivided Heart & Soul
7. Bloodhound Rock
8. Style (Is A Losing Game)
10. Under The Spell Of City Lights
11. Let's Get Out Of Here While We're Young$19.99Vinyl LP - Sealed Buy Now
Fear Of LifePressed On Colored Vinyl
Creative Adult's sophomore full-length Fear of Life finds the band peeling back some
of their chaotic, fuzzed out psychdelia in favor of a newfound sense of melody. Taking
cues from The Cure and Oasis, jangly and melodic guitar lines weave their way through
smoky, atmospheric west coast post punk. Recorded with Jack Shirley at his Atomic
Garden studio, Fear of Life is Creative Adult at its best with just the right amount of
polish to help guide through the hypnotic layers of sonic haze.1. Connected
2. I Can Love
3. Moving Window
4. Know Who
5. Pen Guy (Interlude)
7. Reality Tunnel
9. Hand in Shove$17.99Colored Vinyl LP - Sealed Buy Now
Climbing!Mastered Impeccably from the Original Windfall Records Tapes by Joe Reagoso at Friday Music Studios with Kevin Gray and Pressed at R.T.I., This 1970 Masterpiece is Seeing its First Time Audiophile Vinyl Mastering as well as Seeing the Vinyl Format in Almost Four Decades!
Includes the Original LP Cover Gatefold Cover Graphics, Including the Stunning Artwork and Photography not Seen in Years and the Unique Windfall LP Label Artwork Which was also a Part of the Whole Package.
Climbing! also referred to by fans as Mountain Climbing! was released in 1970, went gold immediately and began a very successful partnership albeit brief for this arena packing quartet. Consisting of guitar shredder/vocalist extraordinaire Leslie West, the late great Felix Pappalardi on bass, keys and vocals, the explosive Corky Laing on drums and the masterful Steve Knight on organ/piano, Mountain was the band of choice for many hard rock fans throughout the seventies.
Gaining mass momentum from their appearance at Woodstock in 1969, the band got in the studio and cut this masterwork with mega producer and Mountain bassist Felix Pappalardi (Cream, Hot Tuna, Jack Bruce), churning out soon to be smash hits that would be forever played on classic rock stations globally. Since Cream was no longer an entity, the great Felix Pappalardi's affiliation with this groundbreaking trio surely paid off with his studio skills, production techniques and knowledge of working with sounds and elements that surely changed the way a lot of us listen to albums these days.
Tracks like Jack Bruce and Pete Brown's Theme For An Imaginary Western and For Yasgur's Farm would show not only the studio wizardry of the great Felix Pappalardi but also his unique vocal prowess and artillery like bass playing, which today is emulated by many, and made this album the masterpiece it is.
More burners like Leslie West's delivery on Never In My Life and Sittin' On A Rainbow showcase the brilliance of the man, the guitar and the voice which is equally important whenever discussing the talents of this superstar blues rock master. Corky Laing and Steve Knight propel the band into realms not heard in years with their never tiring percussive drum and keyboard interplay. Just check out the hard work driving sounds of Silver Paper and Boys In The Band.
Even an acoustic side of Mountain enhances the masterwork with a pair of exceptional tunes To My Friend and The Laird, highlighting the acoustic and folk roots of both Leslie West and Felix Pappalardi.1. Mississippi Queen
2. Theme For An Imaginary Western
3. Never In My Life
4. Silver Paper
5. For Yasgur's Farm
6. To My Friend
7. The Laird
8. Sittin' On A Rainbow
9. Boys In The Band$29.99180 Gram Audiophile Virgin Vinyl LP Buy Now
Sky SoundsMagic Castles are a five-piece psychedelic rock band from Minneapolis MN. Their sound has been described as minimalistic, dream pop & neo-psychedelic rock. Drawing from a myriad of influences, combining the hazy, floaty atmospherics of bands like Spacemen 3 and Galaxie 500, with the organ-drenched psych of the mid/late 60's- particularly American west coast folk-rock, Magic Castles continue to create an altogether unique sound. Since their 2012 release on Anton Newcombe s imprint they have toured consistently, building a solid reputation for wall-of-sound live shows, stretching out their songs to new dimensions. The Magic Castles were the supporting act for BJM's east coast tour in 2012. Thrasher Magazine recently used their song Big Sur in a skate video alongside Kurt Vile. On April 20th 2014, BJM released a beautiful 12 split single with The Magic Castles for Record Store Day. Sky Sounds was recorded at The Old Blackberry Way Studio in Minneapolis, MN by Neil Weir. Produced by Neil Weir & Jason Edmonds, Sky Sounds sees the band reaching new heights. The album is dense with lush arrangements, jangling backward guitar sweeps, ever deepening melodic layers, symphonic Farfisa tones, and bright vocal harmonies. A host of guest musicians were included on select tracks, adding cello, viola, flute & trombone.1. Trembling Hands
2. Sky Sounds
5. Rebecca's World
6. White Stone
7. Mole People
8. Wander$23.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Winter's GateWinter's Gate is the 7th studio album from the Finnish melodic death metal band from Joensuu, Finland. The core 3 members have been intact since their debut in 2002.
It's a concept album made up of one epic 40 minute song. The album is built around a short story, Winter's Gate (Talven portti in Finnish), written by vocalist & bassist Niilo SevÄnen, recipient of numerous Finnish awards and nominations. The compelling short story is about a group of Vikings who set out to find a fabled island west of Ireland, despite the treacherous winter drawing near. The full story will be released together with the album as a book with translations in English, Finnish and German, and illustrated by the artist Teemu TÄhkÄnen.
Early on, Insomnium were inspired by bands such as their legendary countrymen Amorphis and Sentenced, Paradise Lost, Dark Tranquillity, At The Gates and Opeth. Since their 2002 debut, tour by tour the passionate musicians edged their way to the very top of the scene and have by now become the spearhead of melodic death metal made in Finland.1. Winter's Gate*
*This album is one long track which was split into sides A & B for vinyl.$22.99Vinyl LP - Sealed Buy Now
Ad InfinitumWhen it came time to make Ad Infinitum, the fourth Telekinesis album, drummer/songwriter/principal architect Michael Lerner found himself in a predicament. In just under five years, he had released three fantastic records-Telekinesis! (2009), 12 Desperate Straight Lines (2011), and Dormarion (2013)-each more ambitious than the last. He had toured all over the world, shared stages with great bands, and enthralled fans of his infectious, ebullient power pop.
Newly married and happily ensconced in the home studio he'd assembled in his West Seattle basement, Lerner found himself asking the question that has haunted modestly successful bands down the ages: What do you do after the rock and roll dreams you had when you were 19 have come true? "I went down to the basement," Lerner recalls, "and started playing the same chords I always play I just felt like I'd exhausted everything I knew. I was not excited at all. I just could not make another power-pop album." While many artists have made fruitful use of vintage sounds and production techniques in recent years, Ad Infinitum is a different animal.
It feels less like a time capsule and more like a time machine. In the movie version of the story, Lerner would stumble on his way down the stairs, hit his head, and wake up in 1983, and the only way he could get back to the present day would be to make a record using available instruments. Then he'd wake in 2015 to discover he'd been in his basement studio all along. And the record he'd made in that strange dream state would turn out to be Ad Infinitum, the most ambitious and assured Telekinesis release to date.1. Falling (In Dreams)
3. In a Future World
4. Courtesy Phone
5. Sleep In
7. It's Not Yr Fault
8. Farmers Road
9. Ad Infinitum, Pt. 1
10. Ad Infinitum, Pt. 2$18.99Vinyl LP - Sealed Buy Now
Barefoot AdventureOne of the most stubborn myths of revisionist musical history is this: the early '60s were the Dark Ages of American pop, a sad and embarrassing era of prefab teen idols and silly dance crazes that was put out of its misery by the British Invasion.
In reality, strange and wonderful things were happening with American music in the months before The Beatles met Ed Sullivan, creative big bangs that continued to evolve for decades to come.
In Detroit, Berry Gordy was defining the Motown Sound, while Stax and James Brown were inventing soul music. At 1650 Broadway, the Aldon table of songwriters was bringing sophistication to teen pop, while The Four Seasons reinvented group harmony. And in California, where Americas youth culture was being born, a trio of songwritersBrian Wilson, Roger Christian and Gary Usherwere drawing up the blueprints for the West Coast sound.
This collection explores Gary Ushers tenure as co-architect of the happiest pop music ever written, a guileless celebration of sun, surf and cars thats become an enduring symbol of the American dream.
Barefoot Adventure does more than simply collect a bunch of songs that sound great on the car radio and mean exactly what they say (take that, psychedelic music!). Its also a remarkable glimpse of the process, of a struggling songwriter angling for a break, sometimes tapdancing in tangents, oblivious to the bullseye he was hitting on the way
to forging an important new sound.
So heres the whole story, 36 terrific tracks, including exclusive Sundazed interviews with Usher himself, with an illuminating essay and track commentary by author and Usher-biographer Stephen McParland. Its musical scholarship thats perfect for parties!
Were not sure if this is history masquerading as fun, or vice-versa, but were definitely sure that its fun. Which, in the end, is all that matters.
1. R.P.M. (The Four Speeds)
2. My Little Surfin' Woodie (The Sunsets)*
3. Barefoot Adventure (The Four Speeds)*
4. Four On the Floor (The Four Speeds)
5. Cheater Slicks (The Four Speeds)
6. C.C. Cinder (The Sunsets)
7. The Chug-A-Lug (The Sunsets)
8. Gary Usher Interview Part 1*
9. My Little Beach Bunny (The Sunsets)
1. Playmate of the Year (The Sunsets)
2. Lonely Surfer Boy (The Sunsets)
3. Soul Stompin'*
4. Nifty '50*
5. Power Shift
6. Mag Wheels
7. Gary Usher Iinterview Part 2*
8. My Sting Ray (The Four Speeds)
9. 426 Super Stock (The Competitors)
1. Wax, Board, and Woodie*
2. Draggin' Deuce*
3. '54 Corvette*
4. My Little Surfin' Woodie (The Sunsets)
5. Gary Usher Interview Part 3*
7. Barefoot Adventure (The Four Speeds)
8. Cactus Juice*
9. Coney Island Wild Child*
1. Sugar & Spice*
3. Milky Way
5. Gary Usher interview Part 4*
6. You Made A Believer Out Of Me
(with The Honeys)*
7. Waiting For The Day (with The Honeys)*
8. Tied Down*
9. Harder & Harder*
* previously unissued$38.99Colored Vinyl LP - 2 LPs Sealed Buy Now
Ramble OnThe Ramblin' Ambassadors' third album for Mint Records proves again that the Canadian West is the true home of instrumental rock 'n' roll. Serving up another platter of big beat, no bullshit guitar instrumentals, the boys from Calgary kick up way more turf than surf.
Ever spend too much time at the Brazilian Barbecue? One hot dog too many? Then check out "Meat Sweats"; a greasy homage to that pulled pork you just washed down with a shot of cheap booze. "Back Seat Action" recalls borrowing Mom's land yacht for the big date, and every electric note of "Dallas B. Goode" counts the odometer clicks on your '56 Buick, or maybe even your '73 Pacer. Parties ("Clambake!"), cars ("Super Bee") and even the environmental activism of the forest-scorching "Pine Beetle Express" define what occupies the rock 'n' roll minds of The Ramblin' Ambassadors.
Ramble On was recorded entirely in the band's secret underground bunker, under the tutelage of musical whiz-kid Russell Broom. The album strips the Ambassadors' sound even further back, with pretty much a single track for each instrument. Ramble On has the familiar fiery twin guitar attack of Brent J. Cooper and Gentleman Doug Waite, and careful listeners will notice that Cooper occupies one side of the stereo spectrum and Waite the other.
Scott Nickless rides the yellow line, keeping his big bass right up the middle, and Tyler Pickering's able drumming puts the tyger in the tank. Ramble On maintains the reputations of the Ambassadors' two previous Mint releases, slamming home the fact that they remain, according to Exclaim Magazine, "one of the best instrumental acts around today."1. Standoff at Calfrobe Bridge
3. Back Seat Action
4. The Savage
5. Tyger Beat
6. Pine Beetle Express
7. Meat Sweats
8. Super Bee
9. Dallas B. Goode
10. Super Lungbucket$19.99Vinyl LP - Sealed Buy Now
InjusticiaProducer and guitarist Jacob Plasse has united some of his old friends-players from the Daptones, Pedrito Martinez Group, and Los Hacheros-to form Peliroja, a New York collective inspired by the sounds of Ethiopia, Dominican Republic, Cuba, and the Congo. Injusticia is their debut album.
"Some of the musicians in Peliroja and I would meet up after school on Jane Street in the West Village, at a stoop with some Old English, a spliff, and a tape deck," says Jacob, best known as producer and musician for salsa masters, Los Hacheros. "We were gangly, awkward 15-year-olds and not cool by any means. I'm not sure how we became obsessed with obscure '70s funk and Afrobeat music, but that's what we would listen to: the 3 Sounds, Lyn Collins, Africa 70." Two decades later, his friends have gone on to become key players in the Brooklyn funk scene, and Jacob has spent the last ten years refining his music on the road with salsa and bachata bands.
Produced and cowritten by Plasse, Injusticia was recorded live to tape at his studio in Brooklyn, in the spirit of the music he was raised on. The groove to this music is deep and heard in the way the Daptones' rhythm section-drummer Homer Steinweiss and bassist Nick Movshon-play off the polyrhythms of Carlos Padron's timbales and Jhair Salas's congas, forming a new fusion of old sounds. Jainardo Batista's vocals soar over these rhythms, propelled forward by Mike Eckroth's mercurial arrangements.
"I think the experience of growing up in New York and getting to hear and play with all these wonderful musicians and having them in my life has let me create something that is true to myself, and hopefully them as well," Jacob adds. "This album is for those boys on the stoop who hadn't figured out how to be in this world, but were lucky enough to know what they loved."
- Wax Poetics1. Bohemio
4. Se Equivico
5. Te Wa' Tumblar
6. Honor Enjendrada
7. La Fobia
8. Mal Carrusel
9. Ciudad De Nadie
10. Ingrata Conclusion
11. Epilogue$17.99Vinyl LP - Sealed Buy Now
UtahAt the heart of Jamestown Revival is a friendship that spans over a decade.
Jonathan Clay and Zach Chance grew up together in the small Texas town of Magnolia. From a young age, they shared a love for music as well as the outdoors. About an hour north of Magnolia TX, there was some old family land with a dilapidated ranch house where they spent the better part of their adolescence.
At one point or another, music from Creedence Clearwater and The Everly Brothers, to fellow Texans Willie Nelson, Guy Clark, and Stevie Ray Vaughan found its way through an old pair of speakers that sat on the back porch. The pair spent the day exploring that thousand-acre plot of land, and when the sun when down they took to the records of the songwriters and bands that inspired them. At the age of 22, they moved to Austin and began to craft a sound of their own. Deeply rooted in harmony, they merged the sounds of the South with classic American, and Western rock.
Looking for adventure, as well as a change of pace, they eventually made the decision to head west and make the move to Los Angeles, CA. Throughout the course of the next 12 months, they wrote what will be Jamestown Revival's first full-length album. It's heavily autobiographical, telling the stories of their adventures, their discomforts, and their observations. In order to capture the spirit of the music, the two found a log cabin high within the Wasatch Mountains of Utah. The pair, along with their band and engineer, set out to convert it in to a temporary recording studio. With wild moose right outside the window, and aspen leaves spinning in the wind, they tracked 14 songs. Performed live, with no headphones, and entirely to tape, the process captured the moments in the room.1. Fur Coat Blues
2. California (Cast Iron Soul)
3. Golden Age
4. Wandering Man
5. Heavy Heart
10. Time Is Gone
11. Hom$22.99Vinyl LP - Sealed Buy Now
SLAVVESLAVVE is a three-piece band that originated in West Palm Beach, FL
in 2012. Though they have since relocated to Brooklyn, the trio has
deep roots in the music they've always loved. From ripping guitars
reminiscent of No Age and early Poison the Well to the melodic
heaviness of acts like Deftones and Autolux, SLAVVE started out as a
home project by vocalist/guitarist Chuka Chukuma. He then recruited
bassist Alex Goldstein and childhood friend Marcos Marchesani, a
former member of Surfer Blood and Weird Wives, to turn SLAVVE into
a fully-formed beast. Recorded in just two days, their self-titled debut
EP is a glimpse into the powerful, gripping force of what they call
"working class music." It spans issues of uncertainty within oneself
("Better Half"), the strange pride of self-loathing ("Pity Party"),
deception and frustration ("In Your Dreams"), and the futile nature of
trying to make something work when it just doesn't ("Out of Mind"). In a
world over-saturated with bands feeding into short-lived hype, SLAVVE
is paving its own way, staying true to the music they loved growing up
while looking ahead to carve their own landscape.!1. Pity Party!
2. In Your Dreams!
3. No Joke!
5. Out of Mind!
6. Better Half!$17.99Vinyl LP - Sealed Buy Now
Iron Butterfly Live
First Time 180 Gram Audiophile Vinyl Release
Mastered Impeccably By Joe Reagoso At Friday Music And Capitol Mastering, Hollywood, CA
Features The 1970 Concert Classic 19 Minute Version Of In-A-Gadda-Da-Vida
Iron Butterfly is truly an amazing success story in the record business. For over forty years, this band remained a significant force in the classic rock world with their original mix of rock, metal and classic leanings, solidifying them as one of the true purveyors of the progressive rock movement. Founded by the multi-talented keyboardist/vocalist Doug Ingle in San Diego in 1966, the band hit the charts immediately and soon became one of the key favorite biker bands and west coast hard rockers alongside entities like Steppenwolf, Grateful Dead and The Doors.
Their live performances were challenging, loud, exciting and definitely original, which brought them huge popularity in a very short period of time. 1968 changed everything as In-A-Gadda-Da-Vida became a massive smash garnering Iron Butterfly major success globally. This tune displayed the first example of a driving hard rock jam and lyric, with classical, organic and tribal rhythms, making it one of the most important songs of our time. Featuring Doug Ingle's keyboard and vocal expertise, Lee Dorman's power bass, guitar shredder Erik Brann, and Ron Bushy's primitive drum beat, this amazing stage shows will forever be associated with the acid rock era, which paved the way for heavy metal bands into the seventies and beyond.
ATCO Records knew the power of their live performances,therefore the quartet was awarded with another smash Lp, the concert recording masterwork chart topper Iron Butterfly Live. The 1970 smash contained 6 smokin' selections from their first three hit albums. Hard rock is abounding like the 19 minute workout on In-A Gadda-Da-Vida and other killer jams like Soul Experience, Are You Happy and Filled With Fear.
This masterpiece has been out of print on vinyl for many decades that is until now! Friday Music is very proud to offer another installment in our Iron Butterfly 180 Gram Audiophile Vinyl Series with their classic 1970 smash album Iron Butterfly Live .
Impeccably mastered from the original Atco tapes by Joe Reagoso (Grateful Dead/Yes/Deep Purple) at Friday Music Studios, this limited edition 180 Gram LP is also presented in the original album cover layout, featuring the original photos and artwork elements not seen in years.
We believe this is the definitive sounding version of this monumental recording and will be one of the more anticipated audiophile releases of 2016. Iron Butterfly Live Their greatest hits in concert First Time 180 Gram Vinyl From your friends at Friday Music In-A-Gadda-Da-Vida !!!1. In The Time Of Our Lives
2. Filled With Fear
3. Soul Experience
4. You Can't Win
5. Are You Happy
6. In-A-Gadda-Da-Vida$32.99180 Gram Audiophile Virgin Vinyl LP Buy Now
REDD-SIL-4075xChris Robinson Brotherhood
Barefoot in the HeadThey say the only people who know true freedom are musicians and gangsters, Chris Robinson says with a laugh. And Bob Dylan said to live outside the law you must be honest. We're living in these anxiety-filled times, in an era of 'no truth,' but what our music represents is this truly honest way of communicating with people, and that's a really freeing thing.
If their stellar new album, 'Barefoot In The Head,' is any indication, freedom suits the Chris Robinson Brotherhood well. The band is in the midst of one of their most prolific periods to date, with a slew of studio and live records coming out amidst a rigorous tour schedule that only seems to fuel their fire even further. 'Barefoot In The Head' finds the band pushing boundaries and breaking new ground with more joy and wonder than ever before. The album showcases the continued growth of Robinson's songwriting partnership with his bandmates (guitarist Neal Casal, drummer Tony Leone, keyboardist Adam MacDougall, and bassist Jeff Hill), while reveling in the kind of playful adventurousness that can only come from five artists tuned in to the same sonic wavelength.
The album opens with the Americana funk of Behold The Seer, which sounds like something of a mission statement for the CRB as Robinson sings, If you want to keep your engine humming / Keep your eyes wide ahead and don't look back. On the dreamy She Shares My Blanket, Robinson crafts cinematic scenes from a winter love affair in the mountains, while elegant pedal steel added by special guest Barry Sless on Blonde Light Of Day casts a warm, romantic haze and Blue Star Woman sounds like T-Rex dressed in overalls living on a West Coast commune. Throughout the album, Robinson and the band deftly intertwine country, blues and psychedelia, even channeling freewheeling 60s' folk on Hark The Herald Hermit Speaks, a breakneck stream of consciousness that blurs the lines between fantasy and reality. On the English psych inspired Glow, which Robinson calls one of the most special things I've ever done in the studio, The CRB are joined by the celebrated sarodist Alam Khan (son of the legendary Ali Akbar Khan).
After six years of solid touring with this band, we can still roll into Fayetteville, AR on a Tuesday night and have the most fun of any musical thing I've ever been a part of, says Robinson. We don't have the weight of responsibility or nostalgia, which means we're in the very psychedelic situation of getting to be totally honest and create everything in the moment. That's freedom.1. Behold the Seer
2. She Shares My Blanket
3. Hark, the Herald Hermit Speaks
4. Blonde Light of Morning
5. Dog Eat Sun
6. Blue Star Woman
7. High Is Not the Top
8. If You Had a Heart To Break
10. Good To Know$21.99180 Gram Audiophile Virgin Vinyl LP 45 RPM - 2 LPs Sealed Buy Now
No Love Deep WebDeath Grips shocked the world and their record label when they released their second release of the year No Love Deep Web, but upon listening it's pretty clear that this is a mixtape that the label had no intention of releasing. No Love Deep Web was probably just an elaborate way to hype up the band, and it's safe to say it worked. No Love Deep Web had over 34.2 million downloads on BitTorrent thanks to the help of Twitter, and I think its safe to say their plan worked. Speaking of the album itself, it employs very minimalistic stripped down beats and has a much chiller vibe overall compared to the previous two records. That doesn't mean the beats are soft though, because they are harder than the phallus on the album cover. No Love Deep Web is one big grimy middle finger to the music industry and one of the most sordid albums ever released by a group on a major label.
This isn't your father's hip hop, but that should be common knowledge by now. If you go into this expecting insightful lyrics and smooth flow over catchy beats you're going to have a bad time, hell even if you expect to understand the lyrics most of the time you're going to get very little out of No Love Deep Web. MC Ride is his schizophrenic self on tracks like No Love and World Of Dogs, but he also comes down to earth and actually calms down a bit on tracks like Artificial Death In The West adding a lot more depth to their sound. The whole album feels like the fever dreams of a severely withdrawn drug addict, tracks like World Of Dogs, No Love and Hunger Games sound like a sick drug addicts crash back down to earth and their gritty existence. The line I got some *** to say just for the *** of it perfectly encapsulates not only MC Ride's style, but No Love Deep Web, and Death Grips' whole career.
The beats on this thing are raw and stripped down, some of the tracks don't even have a melody some of the time, just drums and vocals like in Lock Your Doors. The beats are fidgety electronic bells and whistles, lots of interesting sounds and synths creating a gritty atmosphere for MC Ride to spit his insane lyrics over. The rawness and harsh production of the beats help point to the fact that this is a mixtape and not a studio release, the minimalistic approach also creates a fresh sound compared to the over produced and at times gimmicky production on The Money Store, and this approach will likely convert a few people who were not fond of the over the top nature of The Money Store.
No Love Deep Web inevitably sounds a tad rushed, no *** it was made in only a few months, but it definitely did its job as a hype generator. It doesn't do enough different to warrant its early release date and the band's sound is getting a bit tiring. The main problem though is the lack of standout tracks, with most of the hooks gone and with such stripped down beats a lot of the songs blend together in an unflattering way. Exhausting as it can be at times, No Love Deep Web turned out to be another great addition to Death Grips' ever expanding discography that is likely to turn a few heads just as all of their previous work has done.
- Robert Lowe (Sputnik Music)1. Come Up And Get Me
2. Lil Boy
3. No Love
4. Black Dice
5. World Of Dogs
6. Lock Your Doors
8. Hunger Games
9. Deep Web
12. Bass Rattle Stars Out The Sky$25.99Vinyl LP - Sealed Buy Now
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.
- 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
3. Saturday Night Dance
4. Big Pow Wow
6. Blue Monk$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
REDD-SIN-7524xJohn Paul White
BeulahBeulah. It's a small, complicated word with a tangle of meanings.
It's the title of John Paul White's new album, his first in nearly a decade, a remarkably and assuredly diverse collection spanning plaintive folk balladry, swampy southern rock, lonesome campfire songs, and dark acoustic pop. Gothic and ambitious, with a rustic, lived-in sound, it's a meditation on love curdling into its opposite, on recrimination defining relationships, on hope finally filtering through doubt.
Beulah is also a White family nickname. "It's a term of endearment around our house," White explains, "like you would call someone 'Honey.' My dad used to call my little sister Beulah, and I call my daughter Beulah. It's something I've always been around."
Beulah is also something much loftier. For the poet and painter William Blake, Beulah was a place deep in the collective spiritual unconscious. "I won't pretend to be the smartest guy in the world," says White, "but I dig a lot of what he's written. Beulah was a place you could go in your dreams. You could go there in meditation, to relax and heal and center B photo credit: Allister Ann 119 west 57th street, penthouse north, new york, ny 10019 t 212.741.1000 www.sacksco.com SACKS A CO. N D yourself. It wasn't a place you could stay, but you came back to the world in a better state."
And perhaps the music on this album originated in that "pleasant lovely Shadow where no dispute can come." According to White, the songs came to him unbidden-and not entirely welcome. "When these songs started popping into my head, I had been home for a while and I was perfectly happy. I wasn't looking for songs. I didn't know whether any would pop back in my head again, and I was honestly okay with that. I'm a very happy father and husband, and I love where I live. I love working with artists for a label that I think is doing good work."
Far from the grind and glamour of Nashville-where he worked for years as a working songwriter before stepping into the spotlight himself-White settled in his hometown of Muscle Shoals, Alabama, a wellspring of gritty Southern rock and soul since the 1960s. Together with Alabama Shakes keyboard player Ben Tanner and Shoals native Will Trapp, he founded and runs Single Lock Records, a local indie label that has released records by some of the Yellowhammer State's finest, including Dylan LeBlanc, St. Paul & the Broken Bones, and legendary songwriter and keyboard player Donnie Fritts. The label is based in a small ranch house a stone's throw from White's own home, which would come in handy when those songs started invading his head.
"Honestly, I tried to avoid them, but then I realized the only way I was going to get rid of them was if I wrote them down. I got my phone out and I'd sing these little bits of melody, then put it away and move on. But eventually I got to a place where it was a roar in my head, and that pissed me off." Due to his experiences as a gun-for-hire in Nashville, White was reluctant to romanticize the creative process, to turn it into a spiritual pursuit. "Then one day I told my wife I think I'm going to go write a song. She was as surprised as I was. I went and wrote probably eight songs in three days. It was like turning on a faucet."
Most artists would kill for such a downpour, but White was wary of the consequences. He knew that writing songs would lead to recording them, which would result in releasing them, and that means touring and leaving home for weeks at a time. "As soon as I write a song, I start thinking what other people might think of it. I've talked to friends about this: What is it about us that makes us do that? Why can't I just sit on my back porch and sing these songs out into the ether? I don't have an answer for it yet, but I think it's just part of who I am. I need that reaction. I need to feel like I'm moving someone in a good way or in a bad way. I need to feel like there's a connection."
White threw himself into the project, no longer the reluctant songwriter but a craftsman determined to make the best album possible-to do these songs justice. He cut several songs at the renowned FAME Studios in his hometown, where Aretha Franklin, Wilson Pickett, the Allmans, the Osmonds, Bobbie Gentry, Arthur Conley, and Clarence Carter recorded some of their most popular hits.
One product of those sessions is "What's So," which introduces itself by way of a fire-andbrimstone riff, as heavy as a guilty conscience-the kind of riff you wouldn't be surprised to hear on a Sabbath album. But White's vocals are gritty and soulful, a product of the Shoals, almost preacherly as he sings about earthly and eternal damnation: "Sell your damn soul or get 119 west 57th street, penthouse north, new york, ny 10019 t 212.741.1000 www.sacksco.com SACKS A CO. N D right with the man, keep treading water as long as you can," he exhorts the listener. "But before you do, you must understand that you don't get above your raisin'." It's the heaviest moment on the record, perhaps the darkest in White's career.
At the other end of the spectrum is "The Martyr," one of the catchiest tunes White has ever penned. The spryness of the melody imagines Elliott Smith wandering the banks of the Tennessee River, yet the song is shot through with a pervasive melancholy as White wrestles with his own demons. "Keep falling on your sword, sink down a little more," he sings over a dexterous acoustic guitar theme. This is not, however, a song about some unnamed person, but rather a pained self-diagnosis: "These are the wounds that I will not let heal, the ones that I deserve and seem so real." White knows he's playing the martyr, but he leaves the song hauntingly open-ended, as though he isn't sure what to do with this epiphany beyond putting it in a song.
The rest of Beulah was recorded in the Single Lock offices/studio near White's home. "I can be more relaxed about the process. We can all just sit there and talk about records or baseball without feeling like someone's standing over our shoulders. That's a big deal to me, not to feel pressured. And I'm only about twenty yards away from home, so I can walk over and throw a baseball with my kids or make dinner with my wife."
Some of the quieter-but no less intense-songs on Beulah were created in that environment, including the ominously erotic opener "Black Leaf" and the Southern gothic love song "Make You Cry." As he worked, a distinctive and intriguing aesthetic began to grow clearer and clearer, one based in austere arrangements and plaintive moods. These are songs with empty spaces in them, dark corners that could hold ghosts or worse. "There were certain moments when Ben and I would finish up a song, listen back to it, and think how in the world did we get here. But that's just what the songs ask for. These are the sounds in my head. This is the sound of me thinking and living and breathing and doing."
Once White had everything assembled and sequenced, it was time to give the album a title, to wrap everything up for the listener. Beulah stuck-not only because of family history or Blake, but because White realized that making music was his own trip to Beulah. "If you had to sum up what music is for most people in this world, it's that. It's that escape. It's that refuge. You go there and you come back and you use that to help you with your life. You always have that as a place to go."1. Black Leaf
2. What's So
3. The Once And Future Queen
4. Make You Cry
5. Fight For You
6. Hope I Die
7. I've Been Over This Before (Feat. The Secret Sisters)
8. The Martyr
9. Hate The Way You Love Me
10. I'll Get Even$18.99Vinyl LP - Sealed Buy Now
Vessel Of Love (Pre-Order)Hollie Cook combines her unique vocal talent with charming charisma to craft her own dynamic strand of lovers rock with enduring tropical vibes, weaving a path from her West London roots to an arena of diverse collaborations, critically acclaimed records, and iconic live appearances around the world. Cook's ability to continually surprise, delight, and progress solidifies her position as one of the most exciting voices in reggae, and this is crystal clear on her third full-length and Merge debut, Vessel of Love.
Cook's music career commenced early when family friend and punk trailblazer Ari Up asked Cook, age 19 at the time, to join the raucous '70s feminist UK post-punk outfit The Slits for their reformation in 2006. She thrived on being thrown into the deep end and quickly cut her teeth with four years of back-to-back shows around the globe. Her talents recognized and nurtured, she then released her first solo album Hollie Cook in 2011, with a revered 2012 dub album follow-up, while singles such as "Milk & Honey" and "That Very Night" gained support from influential radio stations across Europe. After performing at The Stone Roses concert at Manchester's Heaton Park at the personal request of Ian Brown, and her hypnotic performance on the prestigious Later With Jools Holland, the way was paved for Hollie's solo career to take off.
For someone who claimed "it's hard for a band to really stand out and shake up the world," Cook was certainly making a good go of proving herself wrong. By the end of 2014, Jamie T had requested her support for his Alexandra Palace show and featured her on his track "They Told Me It Rained." Cook had also unleashed Twice via Mr. Bongo Records, and with Mike "Prince Fatty" Pelanconi once again aiding in the album's conception, Cook confidently delivered with her follow-up to a well-received debut. In the wake of another successful release, Hollie hit the road with both The Skints and Protoje, and lent her vocal talent to Quantic's "Shuffle Them Shoes" single, which also featured on his 1000 Watts album.
Acclaimed legendary producer Martin "Youth" Glover is Cook's most recent collaborator, lending his venerable production expertise to Vessel of Love. His success with Killing Joke is only surpassed by his enduring reputation as one of the most prolific producers in the UK. "I'm very honored to work with Hollie, one of the most exciting emerging singers and writers over the last ten years," says Glover. Hollie Cook sits in good company on his impressive production list, joining the likes of Paul McCartney, Tom Jones, The Verve, Primal Scream, Pink Floyd, and Depeche Mode. Glover describes Cook's songs as "sharp lyrical observations and clever word play combined with an exquisite and informed pop sensibility," and they are only elevated by Glover's production on Vessel of Love, in particular the singles "Survive" and "Freefalling" as well as deeper cuts like "Ghostly Fading" and "Together."1. Angel Fire
2. Stay Alive
4. Ghostly Fading
6. Lunar Addiction
7. Turn It Around
8. Vessel of Love
10. Far From Me$18.99Vinyl LP - Sealed PRE-ORDER Buy Now