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  • We're All In This Together We're All In This Together Quick View

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    We're All In This Together

    We're All In This Together features Walter with a different guest on each track, including artists Kenny Wayne Shepherd, Sonny Landreth, Robben Ford, Warren Haynes, Eric Gales, Joe Louis Walker, John Mayall and Joe Bonamassa. Gonna Hurt Like Hell (feat. Kenny Wayne Shepherd) Ain't Goin' Back (feat. Sonny Landreth) The Other Side Of The Pillow (feat. Charlie Musselwhite) She Listens To The Blackbird Sing (feat. Mike Zito) Mr. Davis (feat. Robben Ford) The Sky Is Crying (feat. Warren Haynes) Somebody Goin' Down (feat. Eric Gales) She Steals My Heart Away (feat. Edgar Winter) Crash And Burn (feat. Joe Louis Walker) Too Much To Carry (feat. John Nemeth) Do You Still See Me At All (feat. Jon Trout) Got Nothin' Left (feat. Randy Bachman) Blues For Jimmy T. (feat John Mayall) We're All In This Together (feat. Joe Bonamassa).
    LP 1
    1. Marie's Introduction
    2. Play The Guitar
    3. Help Me
    4. I'm Back
    5. Say Goodbye To The Blues
    6. Almost Gone


    LP 2
    1. Omaha
    2. Tomorrow Seems So Far Away
    3. Playin' Hideaway
    4. Haunted By The Night
    5. Fly Away
    6. Please Take Me Home


    LP 3
    1. Rock Me Baby
    2. Marie's Mood
    3. Serve Me Right To Suffer
    4. Love That We Once Knew

    Walter Trout
    $24.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • We're All Young Together We're All Young Together Quick View

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    We're All Young Together

    Not wasting much time since The Walkmen announced their hiatus (and then reneged that announcement for a night), the band's multi-instrumentalist and co-writer Walter Martin has revealed details of his debut solo outing. Entitled We're All Young Together, the record is due out in 2014 from Family Jukebox.


    The label name is especially apt as the spark for the album came when Martin's wife was pregnant with their first child. "It wasn't that I wanted to write songs to suit my new situation as a parent," Martin said in a press release. "It was more parenthood made relevant writing the kind of songs I've always loved most." He continued, "I began to imagine a record I really wanted to hear: something new and original that captured the essence of early rock 'n' roll - innocent but mischievous, romantic but funny, and unabashedly sweet."


    Martin brought in the help of some big name friends for the record, including Yeah Yeah Yeahs' Karen O and Nick Zinner, The National's Matt Berninger, Clap Your Hands Say Yeah's Alec Ounsworth, and - proving that their are no hard feelings - The Walkmen's own Hamilton Leithuaser and Matt Barrick.


    Subject matter ranges from sibling similarities ("Hey Sister") to a treatise on the difference amongst The Beatles ("The Beatles (When Ringo Shook His Mop)"). Our first taste of the record, however, comes in the form of the acoustic lullaby "Sing To Me", featuring Karen O.


    - Ben Kaye (Consequence Of Sound)

    1. We're All Young Together ft. Alec Ounsworth
    2. We Like The Zoo ('Cause We're Animals Too) ft. Matt Berninger
    3. I-M-A-G-I-N-A-T-I-O-N ft. Kat Edmonson
    4. Rattlesnakes ft. Karen O and Nick Zinner
    5. Sing To Me ft. Karen O
    6. The Beatles (When Ringo Shook His Mop) ft. Hamilton Leithauser, Nick Stumpf, Josh Wise, and Matt Iwanusa
    7. If I Were a Tiger ft. Martin McAlevey & Nina Dhongia
    8. Costa Rica
    9. Hey Sister ft. Kat Edmonson
    10. It's a Dream
    Walter Martin
    $19.99
    Vinyl LP - Sealed Buy Now
  • Together Forever: The Music City Sessions Together Forever: The Music City Sessions Quick View

    $16.99
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    Together Forever: The Music City Sessions

    The Two Things In One are a band that by rights should have been huge. The precociously talented, soulful quintet were popular in the early '70s in their native San Francisco Bay area, with the three local hit singles, Silly Song, Together Forever and Overdose, all sought after vinyl items today.


    With an average age of 16 at the time these tracks were recorded for the legendary Music City label, this self-contained unit blended Stevie Wonder-like vocal chops and Meters/JB grooves with a rare ability for transforming unlikely covers like the Allman Brothers' Dreams and CSNY's Ohio into deeply funky workouts. During their time together, The Two Things In One recorded more than an album's worth of superb, mostly original material, all of which can now be heard on Together Forever: The Music City Sessions.


    Members later played with Tower of Power, Maze, Sly & The Family Stone and the Two Things In One story is a fascinating rundown of what could have been. Produced in full cooperation with the band, Together Forever: The Music City Sessions gives props to an unheralded yet remarkably talented combo.

    1. Let's Get It Together
    2. Over Dose (Of Your Love)
    3. Snag Nasty
    4. Silly Song
    5. Dreams
    6. Stop Telling Me
    7. Walk On By
    8. Confusion
    9. You're No Good
    10. Together Forever
    The Two Things In One
    $16.99
    Vinyl LP - Sealed Buy Now
  • For All Kings For All Kings Quick View

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    For All Kings


    Blue Colored Vinyl


    Eleven studio albums and 33 years into their career, and ANTHRAX is set to output quite possibly the best thing they've ever done. "For All Kings" pulls no punches. This is a seriously heavy and astonishingly good record.


    2013 saw the departure of guitarist Rob Caggiano to Volbeat, and the arrival of Jon Donais from Shadows Fall, who also makes his recording debut with Anthrax. Joey Belladonna is far and away the star of this recording, and I'll tell you why. In a world where an organic instrument like a voice can deteriorate over time and change how it sounds can be devastating for someone who makes their living from it- I'm looking at you, David Lee Roth. It's very evident that Mr. Belladonna does not have such issues, as his delivery is just as powerful as it was 30 years ago. Charlie Benante's amazing drumming is another constant in Anthrax, as is Frank Bello's bass playing; always top-notch and inspired. Band leader, Scott Ian, has brought Anthrax an incredible distance, and really shows off his mature musicianship with the other guys with his superior songwriting, even contributing lyrics for the first single, "Evil Twin", which was loosely written about the terrorist attack on the Charlie Hebdo publication offices in 2015.


    They began recording in late 2014 with producer Jay Ruston in Los Angeles, California. Reportedly 15-20 songs were recorded and completed. Early in 2015, We were treated with a new song, "Soror Irrumator" which was featured on the Catch The Throne Mixtape Volume Two, and was scheduled to appear on "For All Kings", but strangely, does not appear on the album, despite what the band had suggested. Alex Ross gets his third turn as album artist, as he depicts the band as giant statues.


    Anthrax today, is not the Anthrax of 1987, and "For All Kings" is not "Among The Living", even though 4/5 of the band are still intact from their peak period. I say that in a good way, because as good as they were then, to put it simply, they're better now. Better songwriters, better musicians, seasoned bandmates that know that they're better together than apart. If you loved "Worship Music" as much as I did, you'll love this album. When you can be a band that has played together for well over 30 years and still put out quality music like "For All Kings", it's nothing short of magic.


    - Rick Schwartz (Infrared Magazine)

    1. Impaled
    2. You Gotta Believe
    3. Monster At The End
    4. For All Kings
    5. Breathing Lightning
    6. Breathing Out
    7. Suzerain
    8. Evil Twin
    9. Blood Eagle Wings
    10. Defend Avenge
    11. All of Them Thieves
    12. This Battle Chose us
    13. Zero Tolerance
    Anthrax
    $24.99
    Colored Vinyl LP - 2 LPs Sealed Buy Now
  • For All Kings (Pink Vinyl) For All Kings (Pink Vinyl) Quick View

    $24.99
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    For All Kings (Pink Vinyl)

    Pink Colored Vinyl


    Eleven studio albums and 33 years into their career, and ANTHRAX is set to output quite possibly the best thing they've ever done. "For All Kings" pulls no punches. This is a seriously heavy and astonishingly good record.


    2013 saw the departure of guitarist Rob Caggiano to Volbeat, and the arrival of Jon Donais from Shadows Fall, who also makes his recording debut with Anthrax. Joey Belladonna is far and away the star of this recording, and I'll tell you why. In a world where an organic instrument like a voice can deteriorate over time and change how it sounds can be devastating for someone who makes their living from it- I'm looking at you, David Lee Roth. It's very evident that Mr. Belladonna does not have such issues, as his delivery is just as powerful as it was 30 years ago. Charlie Benante's amazing drumming is another constant in Anthrax, as is Frank Bello's bass playing; always top-notch and inspired. Band leader, Scott Ian, has brought Anthrax an incredible distance, and really shows off his mature musicianship with the other guys with his superior songwriting, even contributing lyrics for the first single, "Evil Twin", which was loosely written about the terrorist attack on the Charlie Hebdo publication offices in 2015.


    They began recording in late 2014 with producer Jay Ruston in Los Angeles, California. Reportedly 15-20 songs were recorded and completed. Early in 2015, We were treated with a new song, "Soror Irrumator" which was featured on the Catch The Throne Mixtape Volume Two, and was scheduled to appear on "For All Kings", but strangely, does not appear on the album, despite what the band had suggested. Alex Ross gets his third turn as album artist, as he depicts the band as giant statues.


    Anthrax today, is not the Anthrax of 1987, and "For All Kings" is not "Among The Living", even though 4/5 of the band are still intact from their peak period. I say that in a good way, because as good as they were then, to put it simply, they're better now. Better songwriters, better musicians, seasoned bandmates that know that they're better together than apart. If you loved "Worship Music" as much as I did, you'll love this album. When you can be a band that has played together for well over 30 years and still put out quality music like "For All Kings", it's nothing short of magic.


    - Rick Schwartz (Infrared Magazine)

    1. Impaled
    2. You Gotta Believe
    3. Monster At The End
    4. For All Kings
    5. Breathing Lightning
    6. Breathing Out
    7. Suzerain
    8. Evil Twin
    9. Blood Eagle Wings
    10. Defend Avenge
    11. All of Them Thieves
    12. This Battle Chose us
    13. Zero Tolerance
    Anthrax
    $24.99
    Colored Vinyl LP - 2 LPs Sealed Buy Now
  • All We Love We Leave Behind All We Love We Leave Behind Quick View

    $21.99
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    All We Love We Leave Behind

    All We Love We Leave Behind is the latest album from Converge. Once again recorded and mixed by guitarist Kurt Ballou at his renowned Godcity Studios in Salem, Massachusetts, All We Love We Leave Behind is a no-frills Converge album that sees the band-which also features vocalist Jacob Bannon, bassist Nate Newton and drummer Ben Koller-eschewing fancy production techniques in order to create seventeen songs that work as a cohesive whole yet can also stand on their own. There's no artificial distortion, triggers, or Auto-Tune on this album, Ballou explains, it's all organic, it's real sounds that capture the way the band performs live.


    From the classic rock-inflected, guitar tapping madness of Sadness Comes Home to the technical acrobatics of Aimless Arrow and relentless assault of Shame In The Way, this is an extremely varied album that has enough sonic shifts to captivate each listener's attention. It's always been important for us to have a lot of dynamics in our music because no one wants to listen to a million miles an hour all the time, Bannon responds when asked about the melodic mid-tempo groove of a song like Coral Blue. I really enjoy that song, it has a lot of twists musically that aggressive songs don't usually have and that's something we take pride in.


    Lyrically Bannon approached All We Love We Leave Behind by once again writing about his own personal experiences, however there's no question that this time around his vocals are more direct and decipherable than they've been in the past. This is a personal record and all of the songs tell their own stories, Bannon explains. Every song is rooted in real life, documenting what I have experienced over the past few years. Correspondingly the title of the album is an apology letter to everything he has had to leave behind in order to pursue his path in art and music. Bannon explains that he feels like it's important to acknowledge these sacrifices in order to be a self aware individual.


    All of our albums are emotional but I feel this is our most potent album to date, Bannon continues. For me a songs like 'Predatory Glow' and 'Empty on the Inside' have a tone and resonance that communicates in a new way for our band, he adds, chalking up this ability to the fact that the group have become better songwriters by spending so much time on the road and in the studio perfecting their craft. Success to me is creating something that's moving and fulfilling and I truly feel both of those things when I experience this album from start to finish.


    Converge have always been the type of band that never fit into one subculture and the band credit that to the fact that since their 2001 landmark album Jane Doe they haven't had any member changes. I think because it's been the same four people for the past five records we've been able to really get comfortable with each other and develop our own personality, Ballou explains. I don't listen to much music outside of what we've recorded so I think we're more influenced by our own history of playing together than what's currently happening in any scene.


    In other words when Ballou explains that Converge is the kind of band who have always existed between worlds, it's not just lip service. We don't have one typical type of listener but they tend to be intelligent people who can make up their own minds about things. That works to our advantage because they're willing to go on this journey with us and follow along with whatever twists and turns we take them on, he summarizes. Ultimately All We Love We Leave Behind may not be the most straightforward musical journey you'll embark on but it's one that you'll revisit over and over again to relive prior experiences and simultaneously create new ones. It all begins now.

    1. Aimless Arrow
    2. Trespasses
    3. Tender Abuse
    4. Sadness Comes Home
    5. Empty on the Inside
    6. Sparrow's Fall
    7. Glacial Pace
    8. No Light Escapes
    9. Vicious Muse
    10. Veins and Veils
    11. Coral Blue
    12. Shame in the Way
    13. On My Shield
    14. Precipice
    15. All We Love We Leave Behind
    16. Runaway
    17. Predatory Glow
    Converge
    $21.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • In Remembrance In Remembrance Quick View

    $24.99
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    In Remembrance

    Limited Edition of 1000 On Purple Vinyl With A DVD Of All Four Ballet Dance Films


    DFA Records is proud to announce the release of In
    Remembrance, a multimedia project by acclaimed
    contemporary artist Delia Gonzalez. Delia transplanted
    from Miami to New York City in the mid-1990s, working
    in various dance and guerilla theatre troupes. It was
    around this time that she met synth wizard Gavin Russom,
    beginning a series of multi-disciplinary collaborations,
    one of the most notable being their album of cosmic
    acid-house "The Days of Mars", released by DFA in 2005.
    Single "Relevee" is oft-cited as one of the high points
    of DFA's early years, especially the monstrous remix by
    Detroit techno legend Carl Craig.


    In Remembrance is the next landmark in Delia's artistic
    pursuits. In Remembrance originates in a 2010 solo
    show of the same name at Galleria Fonti in Naples, which
    was further realized in 2012, with additional films, in the
    exhibition "I Must Stop Here". The music was initially
    inspired by a text by Henry Miller and a theory by spiritual
    teacher George Gurdjieff, which states that "to play
    scales is to become more in tune with your inner self."
    This coincided conceptually with the music that Delia
    had been making at the time. Both exhibitions consisted
    of four 16mm ballet dance films, accompanied by music
    composed by Gonzalez. In her words, "The film is meant to
    re-create the fleeting sensation of inspiration - that sacred
    feeling when suddenly your mind clears and you know
    exactly what you're meant to create and become."


    The films were exhibited for a third time at the Clocktower
    Gallery in New York City in 2013, featuring a live electronic
    adaption of the composition, performed with New York
    underground musicians Bryce Hackford and Alice Cohen.
    Bryce later contributed four remixes, which are included
    on this album. Delia explains; "When I lived in Berlin I
    became good friends with the artist and musician Viktor
    Timofeev, who kept telling me about his best friend Bryce,
    who he played music with. In 2012 we were all in Vienna
    participating in a show entitled You Are Free. There I met
    Bryce and I instantly loved him. In 2013 I moved to NYC
    temporarily and ran into him at the New Museum and he
    said, "we should get together and play". I took him up on
    it."

    1. I
    2. II
    3. III
    4. IV
    5. Remix I
    6. Remix II
    7. Remix III
    8. Remix IV
    Delia Gonzalez
    $24.99
    Colored Vinyl LP + DVD - 2 LPs Sealed Buy Now
  • Built In Sun Built In Sun Quick View

    $15.99
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    Built In Sun

    Built In Sun is a new project from Joe Plummer, drummer for The Shins, Cold War Kids
    and Mister Heavenly. Joe has also produced and co-recorded an all drum project
    called Hew Time (with Dale Crover and Coady Willis from The Melvins), released on
    Joyful Noise in 2014. Joe has also toured and recorded with Modest Mouse and The
    Black Heart Procession drums and percussion over the course of the last 10 years.
    Built In Sun started during touring breaks between The Shins "Port of Morrow" and
    Cold War Kids "Hold My Home" releases. Built in Sun began as an instrumental idea,
    with inspirations landing somewhere between John Cales "Fear", the punk vibe of the
    Wipers and John Reis, and his favorite soundtrackists John Brion and Clint Mansell.
    After the first instrumental mixes were finished (with the help of Richard Swift) he
    decided that the tunes and melodies just might be cool enough to ask a few of his pals
    to sing. Pall Jenkins (The Black Heart Procession) was the first. Within a day Pall sent
    back John John, with solid scratch vocals. Another song came the next day, with new
    ones following almost each day afterward .There was no use to ask anyone else.
    The songs really came together with the addition of Pall's vocals and it felt great to
    collaborate with him again. With this, Built In Sun was complete
    1. Honeybear
    2. V
    3. 13.13
    4. Due To Rain
    5. OK
    6. Winters Fall
    7. John John
    8. Live Mate
    9. G Nights
    Built In Sun
    $15.99
    Vinyl LP - Sealed Buy Now
  • Echo In The Valley Echo In The Valley Quick View

    $24.99
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    Echo In The Valley

    With one eye on using the banjo to showcase America's rich heritage and the other pulling the noble instrument from its most familiar arena into new and unique realms, Bela Fleck and Abigail Washburn's second album Echo in the Valley is simultaneously familiar and wildly innovative.


    "Some of the most interesting things in the world come together in strange and unique ways and show our diversity," reflects Bela, a fifteen-time Grammy award winner who is often considered the world's premier banjo player. "The banjo is just one of those things. It's a great example of how the world can combine things and create surprising hybrids," a reference to the ancestral African roots of the banjo combining with Scotch-Irish music in Appalachia.


    Echo in the Valley is the follow up to Bela and Abigail's acclaimed, self-titled debut that earned the 2016 Grammy for Best Folk Album. This time around, the mission was to take their double banjo combination of three finger and clawhammer styles "to the next level and find things to do together that we had not done before," says Bela. "We're expressing different emotions through past techniques and going to deeper places." The results are fascinating, especially considering their strict rules for recording: all sounds must be created by the two of them, the only instruments used are banjos (they have seven between them, ranging from a ukulele to an upright bass banjo), and they must be able to perform every recorded song live.


    Fleck and Washburn met at a square dance and began playing music together a dozen years ago, beginning with the Sparrow Quartet. They married shortly thereafter and became parents to a cute little tot. They've been touring the globe as a duo for years, almost nonstop but for each other's performances with various other musical iterations: Bela with the likes of Bela Fleck and the Flecktones, Chick Corea and Chris Thile, among many others, and Abigail with Wu Fei (a master of the ancient 21-string Chinese zither), The Wu-Force and Uncle Earl.


    With the exception of a few restyled traditional tunes, all tracks on Echo in the Valley are originals, and are largely co-written - a different creative approach from their first album, where songs were mostly his or hers.


    "This time, we really wanted to truly write together," Bela adds. "We spent a lot of our time on the lyrics, deciding what we want the songs to communicate, both literally and under the surface."


    Echo in the Valley reflects relevant issues while simultaneously connecting us to our past through wild re-imaginings of traditional pieces. New original tunes range from "Over the Divide," a song inspired by Hans Breuer, who worked to ferry Syrian refugees to safety, to "Blooming Rose," inspired by Native American voices and lamenting a continual distancing from nature, and "Don't Let It Bring You is an emphatic mantra for hard times.


    With I don't wanna cry, cry, cry, oh, "Let it Go" is ultimately about release from the pain of transition, surrendering to growth. The song acknowledges that we must let our children grow up; the concession that youthful innocence will one day give way to adult cares and worries.


    Clarence Ashley's "My Home's Across the Blue Ridge Mountains" has been turned into a rural blues, and Bela's well-known piece "Big Country" is framed by the traditional Appalachian tunes "Sally in the Garden" and "Molly Put the Kettle On," a medley Bela and Abigail performed hundreds of times on stage before recording. "'Big Country' is one of the most beauty melodies I have ever heard played on the banjo," says Abigail, who takes the lead on this version.


    "Come All You Coal Miners" is the point-of-view of coal-miner advocate Sarah Ogan Gunning, whose passages remain poignant and powerful today. "This song came from a very emotional, mother-driven, daughter-driven, wife-driven place, and there are not many songs throughout history from that perspective, so I am incredibly moved by her," says Washburn.


    As the story goes, Bela was struck by the sound of Mr. Earl Scruggs' banjo when hearing the Beverly Hillbillies theme song. He got hold of a banjo, took his musical namesakes (Bela for Bartok, Anton for Weburn, Leos for Yanecek) to heart, and has since continuously broken new musical ground with his instrument. Fleck has the distinction of being nominated in more categories than any other instrumentalist in Grammy history, and has brought his banjo through scorching hot newgrass, traditional bluegrass, otherworldly funk, modern jazz, African originals, transatlantic Celtic, and classical realms, with two self-composed banjo concertos to his name (The Impostor and Juno Concerto), with a third one in the works.


    Abigail was similarly jolted into life as a banjoist, but for her it was hearing Doc Watson.


    "I was proud to discover that I came from a country where you can hear that ancient sound - from Africa, from Scotland, from Ireland - all mixed up in this beautiful new sound, with those ancient tones in it," Abigail reflects. "The ancient sounds of our culture remind us who we are, and in them, we see a constellation of who we are becoming."


    Washburn has imbued this philosophy in all aspects of her work, from the string band Uncle Earl to her acclaimed solo albums, Song of the Traveling Daughter and City of Refuge, and her semi-autobiographical theatrical work, Post-American Girl, as well as in her musical ambassadorship with China, a country with which she has a long, profound history. Abigail is deftly following in the footsteps of the founding mothers of folk, and has become a prominent voice of old-time in our time while bringing to light those ancient sounds of American and Far East cultures in new and exciting ways.


    Bela and Abigail's creative process on Echo in the Valley is sonically made manifest in the record's major themes of harmony, empathy and surrender. As Abigail explains, the intense, intimate collaboration that Fleck and Washburn put forward on this project required "a spirit of staying strong, but also a willingness to release into the other's ideas to create something new," possibly something bigger and more beautiful than one could do on one's own.

    1. Over The Divide
    2. Take Me To Harlan
    3. Let It Go
    4. Don't Let It Bring You Down
    5. Sally In The Garden / Big Country / Molly Put The Kettle On
    6. My Home's Across The Blue Ridge Mountains
    7. Hello Friend
    8. If I Could Talk To A Younger Me
    9. On This Winding Road
    10. Come All You Coal Miners
    11. Bloomin' Rose
    Bela Fleck / Abigail Washburn
    $24.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Relations In The Unseen Relations In The Unseen Quick View

    $20.99
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    Relations In The Unseen

    Almost two years after the suprising German chart success of "Hold On, Liberty!", The Intersphere return with a brand new studio album. And instead of relying on formulas or formats, the band have relied completely on their hands an hearts. That being said, The Intersphere are pushing the boundaries of rock music towards new horizons with a pace
    and precision seldom found in German bands in the last few years. Under the production acumen of Singer/Guitarist Christoph Hessler and co-producer/mixer Moritz Enders (whose credits include German indie powerhouses Casper, Kraftklub and Madsen), this fourth release in The Intersphere discography was recorded together with Wolfgang Manns at Toolhouse Studios.


    "'Relations In The Unseen' is not a concept album, but there is definitely a purveying train of
    thought overall. We all communicate, not only directly, but also indirectly through gestures,
    body language, thoughts and connections that are unconcious at first," says Christoph Hessler. Lyrically, the album concentrates on these unconcious things that influence our feelings, thoughts and reactions. Every day we're offered countless examples of this - invisible, unknown - over distances, times and dimensions. With "Relations In The Unseen" The Intersphere have succeeded at a return to self - and to the really important things in music.

    1. Relations In The Unseen
    2. Thanks For Nothing
    3. The Ones We Never Knew
    4. Out Of Phase
    5. Panic Waves
    6. Joker
    7. Tonight
    8. Origin: Unknown
    9. Walk On Broken Glass
    10. The Ghost Of A Chance
    11. ...Like It Is
    12. Golden Mean
    The Intersphere
    $20.99
    180 Gram Audiophile Virgin Vinyl LP + CD - 2 LPs Sealed Buy Now
  • Covered In Black Covered In Black Quick View

    $18.99
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    Covered In Black


    And they are glorious, beautiful. Sounding a bit like She &
    Him might were they produced by Sufjan Stevens - to create a
    sort of She & She & She & She, they are four alt-pop Brontës
    who beam right into your stereo like a comforting aural torch
    you never need to buy batteries for. - Drowned In Sound


    "Best referenced midway between the Bangles and Go-Gos in
    terms of a girl group approach, there's a kind of slacker
    sensibility at work here, one that never muffles the drive or
    conviction. I was meant for something more, Cottingham
    sings on the final track, aptly entitled Anything and indeed a
    lyric has never sounded so true." - Blurt


    Precociousness always catches its observer off guard; we are
    witness to a stubborn incongruity, a disproportionate relationship
    between limited years and elevated levels of skill, insight, or
    vision. It confounds common experience, and we wonder. When
    Ortolan's debut album Time On A String was released in 2010,
    three quarters of the family foursome were yet under drinking
    age. Along with copious kudos given to the quality of the music
    and the maturity of the songwriting, every single review made
    mention of their age. Wonder indeed.


    What may be the greater marvel though, is when a nascent talent
    starts to grow into itself; when prodigious promise begins to
    deliver something beyond spectacle, when it begins to nourish
    those who are witness to it. Such is the case with Ortolan's latest,
    Covered In Black.


    The pulse at the heart of Ortolan's music has always been
    Stephanie Cottingham's voice, a curious combination of
    innocence, wisdom, and wit (all rare commodities in the greater
    landscape of popular music today). These beguiling qualities
    remain, but here her voice is imbued with a greater richness. The
    bandwidth of color, hue, and shade has widened; the reds are
    redder and the blues are bluer. Even more significant though, is
    Cottingham's development as an interpreter of her own songs.
    Her voice remains a thing to behold, but in the tradition of Kitty
    Wells, Etta James, or Emmylou Harris, she is becoming a
    storyteller. Each note is now is its own scene in a greater drama.
    Each vocal push and lilt tells of loss and love, fear and
    friendship.


    As much as Ortolan is about Stephanie Cottingham's voice and
    songwriting, it is about family, and the picture is incomplete
    without the powerful presence of Jill (keys), Briana (bass), and
    Lara (drums). Floor toms drum and drive, strumming guitars
    strum and strum faster, basses rock and keyboards swirl and
    swoop. Their commitment to one another is palpable, and is as
    important to the music as the notes and rhythms they're playing.


    That their voices also join Stephanie's throughout the record is
    not insignificant. There is an excess of animosity in the world: so
    much time is spent competing, resisting, debating, conflicting,
    arguing. There is something so vital and humane in joining voices
    for once, in unison. One of the simplest and most powerful
    activities of human beings is singing together, and this is a
    central ingredient to Ortolan's music and life. Nothing is
    pretended-it's what they do: voices are raised and raised
    together -- to cry, to question, to pray, to laugh, to celebrate.


    The color black is achieved through the mixing of different
    paints and opposing pigments; as such, black represents the
    presence of color, not the absence of it, and Ortolan's latest is
    covered in it.

    1. Bottle's Broken
    2. Holding This Fire
    3. Votes Are In
    4. Covered In Black
    5. Surprise

    6. Spring
    7. Green Were The Days
    8. You Don't Know
    9. Above The Mountain

    10. Miles
    Ortolan
    $18.99
    Vinyl LP - Sealed Buy Now
  • Rest In Chaos Rest In Chaos Quick View

    $25.99
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    Rest In Chaos

    Let me explain what it's like to summarize Rest in Chaos. What you have here is, in the first place, the book of Genesis as deftly reconceived by Todd Snider who has been inhabited by a spirit resembling Philip K. Dick. The rest of the Hard Working Americans are under the direction (or perhaps in the thrall) of an older wiser Jimi Hendrix and a Frank Zappa no less exacting than he was when he departed. It is rock'n'roll music, past, present and future, and that's no dream, it's just a fact. There are moments here when the walls of Babel might be falling, there are moments when they are reinvented and every time you try to pin it down, it shows you something else. "Half Ass Moses," the third song, ends by declaring "The song wasn't all that complicated."


    Like hell it isn't. When, in the very next song, "Dope is Dope," Todd Snider is a voice more inflammatory and gritty than I have ever heard from him before, "His mother didn't understand him / Whose mother ever does?" am I supposed to laugh, cry, applaud or beg for mercy. All that's really sure is, you're not leaving 'til the show's over. Even if you want to. There's nowhere else to go, and even if there were, the music's too good.


    So much for metaphysics. The actual physics of the thing is seven billion people out for what they only think is a stroll, armed with nothing more than some quite treacherous Roman candles Rest in Chaos might, if these Hard Working Americans were scientists of something other than sound, be the story of the entropy of the universe, and if you think I'm kidding that's only because you haven't taken the deep dive into its complexity, which if not quantum is at least a quandary. Albums aren't this good anymore; they're not this ambitious; their parts are not so finely conceived, the risks they take are not so reckless, the ways they resolve contradictions are not so elegant. Most of all they don't kick you in the preconceptions anywhere near so often. (How did they manage to create harmonies in "Something Else" that recall both the Hollies and the Mothers of Invention?)


    Todd's songs sound like he swiped part of them from Billy Joe Shaver and part from Tim Buckley and welded them together with spare parts from Iggy and Paul McCartney. There's a nightmare embedded here, and what cares the weight of it, the aspect of doom and the hint of doom is Dave Schools' bass. Neal Casal, who might be the most under-rated guitarist in rock, is constantly making the chaos more beautiful than you'd think possible. The roots of the sound are in the jam bands and Americana groups and singer-songwriter sessions the band members have played in but when they get to "Throwing Goats" (OK, maybe I should have said Thomas Pynchon or John Barth rather than Dick) and "Something Else" (both parts), they've joined the ranks of the rockers who no longer look for interstellar overdrive, because they've already found it.


    All this is, of course, metaphor. Well, most of it. Some of it. The part about how strong it is, how smart, how completely the product of the past ("stand up for your brother, stick it to the man") and how anticipatory of one of the best futures anyone has shown us is straight up. It's one of the most well-sustained albums I've heard in years, and what it sustains is not only my faith in rock'n'roll or even how hard the Hard Working Americans really do work to make their magic, but how much it means to them, which is the only way it can mean very much to the rest of us.


    Let me put it this way: I've heard Rest in Chaos any number of times and there's no way I'm done with it. I can tell you about its surface but I haven't gotten to the bottom of it. I'm not really sure there is one. It is humbling to confront it, and reassuring to know that there is all the rest of our lives for that. "The High Price of Inspiration"? A bargain.

    1. Opening Statement
    2. It Runs Together
    3. Half Ass Moses
    4. Dope Is Dope
    5. Burn Out Shoes
    6. Roman Candles
    7. Ascending Into Madness
    8. Throwing The Goats
    9. Something Else
    10. Massacre
    11. The High Price of Inspiration
    12. Acid
    13. Purple Mountain Jamboree
    Hard Working Americans
    $25.99
    Vinyl LP - Sealed Buy Now
  • Songs In A&E Songs In A&E Quick View

    $24.99
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    Songs In A&E

    Who would have thought that Jason Pierce's Spiritualized would have had any life in them after the rather uninspiring Amazing Grace in 2003? In the intervening five years, Pierce nearly died from double pneumonia. Near death experiences by their very nature are life-changing events. The music on Songs in A&E were recorded in that aftermath, but most of the album was written two years before he got sick; with so much of it about near death and survival, it feels like life imitating art. From the first notes of Sweet Talk, it's obvious that a very different Spiritualized is up and about; an acoustic guitar, a sparse drum kit, the voice quartet, a few horns, and a minimal bassline fuel it. Pierce sweetly croons to a loved one in waltz time; his words are
    simultaneously appeasing and accusatory. The gospel chorus isn't as overblown as it was on Amazing Grace or Let It Come Down. They are in a support role, offering Pierce's reedy voice a fullness and authority it wouldn't have otherwise. The arrangement is lilting but powerful. How strange, then, the sounds of a ventilator that usher in the next track Death Take Your Fiddle: I think I'll drink myself into a coma/And I'll take every way out I can find/But morphine, codeine, Whisky, they won't alter/The way I feel/Now death is not around...Death take your fiddle/And play a song for me. Minor-key acoustic
    guitar and ghostly bass frame Pierce singing a mutant folk-blues that evokes Gary Davis' Death Don't Have No Mercy. The backing vocals float
    wordlessly like death angels, hovering around the vocalist and giving the tune an otherworldly quality.


    But this isn't a song about dying; it's a song about coming close and cheating it; it's eerie. The proof? The next two tracks: I Gotta Fire, and Soul on
    Fire. The former is a taut, Gimme Shelter-esque rocker, the latter, a lush, uptempo love song. Sitting on Fire is a beautifully orchestrated love song:
    it's an admission of weakness and codependency but celebrates both of them at the same time: Baby, I'm sitting on fire/but the flames put a hole in my
    heart/when we're together we stand so tall/But a part of me falls to the floor/Sets me free /I do believe it'll burn up in me for the rest of my life. Strings,
    vibes, marimbas, and drums crash in to the center of the mix carrying the protagonist into oblivion. Yeah, Yeah is a scorching rocker that feels like the
    Bad Seeds meeting the old Spacemen 3. You Lie You Cheat, crashes in Velvets style with acoustic guitar and screeching feedback. The chorus sings
    atop a flailing drum kit, distorted strings, and wailing electric guitar. The marimbas and strings that power Baby, I'm Just a Fool, sweetly underscore a
    very dark pop song, complete with da-do-da-do-dat det-det-do's. It descends into beautifully textured chaos led by a loopy violin solo over seven
    minutes. Songs in A&E is the most consistent recording Spiritualized has issued since 1997's Ladies and Gentlemen We Are Floating in Space. It
    contains the best elements of the band's signature sound, and paradoxically hedonistic yet utterly spiritual lyric themes. That said, newly focused energy,
    willfully restrained arrangements, and taut compositions give the set a sheer emotional power that no Spiritualized recording has ever displayed before,
    making it, quite possibly, their finest outing yet.

    - Thomas Jurek (All Music)

    LP1
    1. Harmony 1 (Mellotron)
    2. Sweet Talk
    3. Death Take Your Fiddle
    4. I Gotta Fire
    5. Soul on Fire
    6. Harmony 2 (Piano)
    7. Sitting on Fire
    8. Yeah Yeah
    9. You Lie You Cheat


    LP2
    1. Harmony 3 (Voice)
    2. Baby I'm Just a Fool
    3. Don't Hold Me Close
    4. Harmony 4 (The Old Man )
    5. The Waves Crash In
    6. Harmony 5 (Accordion)
    7. Borrowed Your Gun
    8. Harmony 6 (Glockenspiel)
    9. Goodnight Goodnight

    Spiritualized
    $24.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Something In Blue (Pure Pleasure) Something In Blue (Pure Pleasure) Quick View

    $34.99
    Buy Now
    x

    Something In Blue (Pure Pleasure)

    Alan Bates took Thelonious Monk into the studio for his first trio recording in fifteen years with his old sidekick Art Blakey. It has been said often enough that Blakey is the ideal drummer for Monk, and one has only to hear them together again after all this time to realize the truth of the statement. If Blakey at times seems to push the pianist almost too hard, that is in fact the nature of their musical relationship. And, throughout the session, Blakey appeared to be vying with the producer in alternately cajoling and coercing Monk into fulfilling various requests from the small invited audience.



    Musicians:



    • Thelonious Monk (piano)

    • Al McKibbon (bass)

    • Art Blakey (drums)




    Recording: November 1971 at Chappell Studios, London, by John Timperley

    Production: Alan Bates



    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. Blue Sphere
    2. Hackensack
    3. Nice Work If You Can Get It
    4. Criss Cross
    5. Something in Blue
    6. Evidence
    7. Jackie-ing
    8. Nutty
    Thelonious Monk
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Let Them Fall In Love Let Them Fall In Love Quick View

    $19.99
    Buy Now
    x

    Let Them Fall In Love

    The best-selling and most-awarded female gospel artist of all time, CeCe Winans has long since cemented her status as one of the most accomplished and celebrated women in modern music history. It'd be easy to look back and rest on such illustrious laurels, but Winans has always had her eyes fixed firmly on the future, so it should come as little surprise that she jumped at the opportunity when her son, Alvin Love III, proposed she record the generation-bridging new album 'Let Them Fall In Love.' Her first in nearly a decade, the record finds Winans returning to the studio with gusto, working for roughly three years to craft her most confident, adventurous collection yet.


    Recording and performing as both a solo artist and as a duo with her brother BeBe, CeCe has influenced a generation of gospel and secular vocalists over the course of her astonishing career. Her mantel today holds a staggering 10 GRAMMY Awards, 20 Dove Awards, and 7 Stellar Awards. She's been inducted into the Gospel Music Hall of Fame, the Hollywood Walk of Fame, and the Nashville Music City Walk of Fame, in addition to being named a Trailblazer of Soul by BMI and garnering multiple NAACP Image Awards, Soul Train Awards, Essence Awards, and more. She's sold in excess of 5 million albums in the US, topping the Gospel charts repeatedly while crossing over with smashes like "Count On Me," her stunning duet with Whitney Houston from the multi-platinum 'Waiting To Exhale' soundtrack, which sold 2 million copies and cracked the Top 10 on the Pop, R&B, and Adult Contemporary charts. She touched millions more with inspirational performances everywhere from Oprah to The White House, and even showed off her acting chops on television series like '7th Heaven' and 'Doc.'


    While collaborating with family is nothing new for Winans, the recording sessions for 'Let Them Fall In Love" found the Detroit native working for the very first time with her son in the producer's chair.


    "Alvin shared with me a vision that he had of a record that was bold and a little different than anything I'd ever done before," remembers Winans. "When I heard the songs he'd been writing, I got so excited. He has great ears and great style and a unique way of writing and thinking things through. It made it extra special that two generations of family were able to come together on this record."


    Bringing together generations is Winans' specialty, and she drew inspiration for the album from her extensive work with the young men and women who attend the church she and her husband founded in Nashville.


    "It's really important to me to share where I've been and to encourage young people to understand that they can go even further," reflects Winans. "I wanted to make an album that ties us together, something that young people would be able to learn from and be inspired by."


    Written primarily by Alvin and co-produced by Alvin along with Winans' long-time collaborator Tommy Sims (Garth Brooks, Michael McDonald, Bonnie Raitt), 'Let Them Fall In Love' was mixed by Dae Bennett (Tony Bennett, Amy Whinehouse, Olivia Newton John) and Jimmy Douglass (Pharrell Williams, Micheal Buble). The album, recorded both in Nashville and New York City, finds Winans more confident than ever before, merging eras and genres in a glorious blend of past and present that simultaneously recalls the heyday of Motown and still sounds undeniably modern. Big band horns meet strings from the Nashville String Machine as Winans' soaring voice hits new heights, fueled in part by the encouragement and motivation of her son.


    "Alvin was hard on me in the studio," remembers Winans. "He'd really work me during the songs, and I knew that was a good thing because it meant he was pressing me to get the best performances possible. Now I listen back and I know he was right. It was so important to get the right interpretation of each song."


    Winans is able to inhabit each song on the record so fully in part because she's lived their stories. She describes album opener "He's Never Failed Me Yet" as "my personal testimony," "Run To Him" as her frequent act of refuge, and "Marvelous" as a musical embodiment of the black church. On "Hey Devil!," she's joined by fellow gospel powerhouses The Clark Sisters for a playful rebuke of temptation, while "Peace From God" is a prayer for light in an increasingly dark world, and "Lowly" is a lesson about pride and humility aimed at the young men who might need it most. Winans' eclectic ability shines through on the pedal steel country waltz of "Why Me," a song she discovered when she was invited to perform it live with its writer, Kris Kristofferson.


    "I ended up getting sick and I couldn't perform it with him at the show, but my son heard it and knew it would be perfect for the album," explains Winans. "It's so different for me in this whole new field of country music, but it spoke to my heart and I felt like it was written just for me."


    On the album's other cover, "Dancing in The Spirit," Winans is joined by Hezekiah Walker and his choir for a jubilant celebration, while "Never Have To Be Alone" finds her taking a far more somber approach, singing to the young members of her congregation. It's the album's closer and title track, though, that seems to light Winans up more than any other.


    "That was the first song for this album and I knew right away that I wanted the record to be named 'Let Them Fall In Love,'" she explains. "I told my son that it had to be the heartbeat of the album. There's a lot of different styles and a lot of strong messages on there, but all of them are to bring us to this point. It's why I came back and recorded another album, to express my heart and my desire that people young and old can listen and fall in love with the higher power, fall in love with love, and fall in love with faith and joy and peace."

    1. He's Never Failed Me Yet
    2. Run To Him
    3. Hey Devil! (feat. The Clark Sisters)
    4. Peace From God
    5. Why Me
    6. Lowly
    7. Never Have To Be Alone
    8. Dancing In The Spirit (feat. Hezekiah Walker's Love Fellowship Choir)
    9. Marvelous
    10. Let Them Fall In Love
    Cece Winans
    $19.99
    Vinyl LP - Sealed Buy Now
  • In The Wee Small Hours In The Wee Small Hours Quick View

    $22.99
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    In The Wee Small Hours

    Expanding on the concept of Songs for Young Lovers!, In the Wee Small Hours was a collection of ballads arranged by Nelson Riddle. The first 12 album recorded by Sinatra, Wee Small Hours was more focused and concentrated than his two earlier concept records. It's a blue, melancholy album, built around a spare rhythm section featuring a rhythm guitar, celesta, and Bill Miller's piano, with gently aching strings added every once and a while. Within that melancholy mood is one of Sinatra's most jazz-oriented performances -- he restructures the melody and Miller's playing is bold throughout the record. Where Songs for Young Lovers! emphasized the romantic aspects of the songs, Sinatra sounds like a lonely, broken man on In the Wee Small Hours. Beginning with the newly written title song, the singer goes through a series of standards that are lonely and desolate. In many ways, the album is a personal reflection of the heartbreak of his doomed love affair with actress Ava Gardner, and the standards that he sings form their own story when collected together. Sinatra's voice had deepened and worn to the point where his delivery seems ravished and heartfelt, as if he were living the songs.

    - Stephen Thomas Erlewine (All Music)
    1. In the Wee Small Hours of the Morning
    2. Mood Indigo
    3. Glad to Be Unhappy
    4. I Get Along Without You Very Well
    5. Deep in a Dream
    6. I See Your Face Before Me
    7. Can't We Be Friends?
    8. When Your Lover Has Gone
    9. What Is This Thing Called Love?
    10. Last Night When We Were Young
    11. I'll Be Around
    12. Ill Wind
    13. It Never Entered My Mind
    14. Dancing on the Ceiling
    15. I'll Never Be the Same
    16. This Love of Mine
    Frank Sinatra
    $22.99
    Vinyl LP - Sealed Buy Now
  • Schubert: Octet In F Major (Speakers Corner) Schubert: Octet In F Major (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Schubert: Octet In F Major (Speakers Corner)

    Schubert's light and flowing Octet in F major is of great importance in both an historical and a compositional aspect. Thanks to its combination of string and wind instruments, it is akin in character to the cheerful divertimento and the contemplative serenade. That the commissioned work is very similar to Beethoven's popular Septet op. 20 with regard to the individual movements and the key relationships is by no means accidental - that was what was ordered. Schubert occupied himself with the almighty giant's composition, though for a different reason: with his own Octet he wanted to »pave his way towards writing a great symphony«, whose dramatic force and form is clearly suggested here.



    Steeped in the musical traditions of the city on the Danube, the Vienna Octet is the ideal ensemble to perform this work. Led by Willi Boskovsky, who became world famous as concertmaster of the Vienna Philharmonic Orchestra and conductor of the New Year's Day Concerts, the ensemble plays with great agility, joy and togetherness from the first note on. The sound of each individual instrument comes over vividly in a natural, chamber-music-like atmosphere.



    Musicians:



    • Philip Matheis (violin)

    • Gunther Breitenbach (viola)

    • Nikolaus Hubner (cello)

    • Johann Krump (bass)

    • Alfred Boskovsky (clarinet)

    • Josef Veleba (horn)

    • Rudolf Hanzl (bassoon)





    About Speakers Corner



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



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



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



    We should like to emphasise that Speakers Corner Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle. We have one digital recording in our catalogue (Alan Parsons / Eye In The Sky"), but even in this particular case we used the analogue tapes for cutting.



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



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




    This title is not eligible for discount.

    Octet in F Major for Clarinet, Horn, Basson and Strings, D 80
    Franz Schubert
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • The Hottest New Group In Jazz (Pure Pleasure) The Hottest New Group In Jazz (Pure Pleasure) Quick View

    $34.99
    Buy Now
    x

    The Hottest New Group In Jazz (Pure Pleasure)

    The premier jazz vocal act of all time, Lambert, Hendricks & Ross revolutionized vocal music during the late '50s and early '60s by turning away from the increasingly crossover slant of the pop world to embrace the sheer musicianship inherent in vocal jazz. Applying the concepts of bop harmonies to swinging vocal music, the trio transformed dozens of instrumental jazz classics into their own songs, taking scat solos and trading off licks and riffs in precisely the same fashion as their favorite improvising musicians. Vocal arranger Dave Lambert wrote dense clusters of vocal lines for each voice that, while only distantly related, came together splendidly. Jon Hendricks wrote clever, witty lyrics to jazz standards like Summertime, Moanin', and Twisted, and Annie Ross proved to be one of the strongest, most dexterous female voices in the history of jazz vocals. Together Lambert, Hendricks & Ross paved the way for vocal groups like Manhattan Transfer while earning respect from vocalists and jazz musicians alike.



    Musicians:



    • Dave Lambert (vocals)

    • Joe Hendricks (vocals)

    • Annie Ross (vocals)

    • Harry Edison (trumpet)

    • Gildo Mahones (piano)

    • Ike Isaacs (bass)

    • Jimmy Wormworth (drums)



    Recording: 1959



    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. Charleston Alley
    2. Moanin'
    3. Twisted
    4. Bijou
    5. Cloudburst
    6. Centerpiece
    7. Gimme That Wine
    8. Sermonette
    9. Summertime
    10. Everybody's Boppin'
    Lambert, Hendricks & Ross
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Echoes of Indiana Avenue Echoes of Indiana Avenue Quick View

    $44.99
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    x

    Echoes of Indiana Avenue

    With a lot of sleuthing and a team of experts on the case, long lost tapes of Wes Montgomery have been discovered and restored. Resonance Records will release Echoes of Indiana Avenue, the first full album of previously unheard Montgomery music in over 25 years on March 6, 2012, which would have been Montgomery's 88th birthday. Over a year and a half in the making, the release will provide a rare, revealing glimpse of a bona fide guitar legend. The tapes are the earliest known recordings of Montgomery as a leader, pre-dating his auspicious 1959 debut on Riverside Records. The album showcases Montgomery in performance from 1957-1958 at nightclubs in his hometown of Indianapolis, Indiana, as well as rare studio recordings. The release is also beautifully packaged, containing previously unseen photographs and insightful essays by noted music writers and musicians alike, including guitarist Pat Martino and Montgomery's brothers Buddy and Monk.


    On this scintillating discovery, Montgomery plays it strictly straight ahead, swinging with a momentum and ferocity that is positively visceral, a clear display of Montgomery's bebop side. Listening to these recordings only reaffirms how Montgomery exerted such a profound influence over generations of guitarists from George Benson, Pat Martino and Joe Pass to John Scofield, Pat Metheny, Kevin Eubanks, and Russell Malone to Kurt Rosenwinkel.


    Joined by such Naptown colleagues as drummer Paul Parker and keyboardist Melvin Rhyne (who would later appear on Montgomery's first Riverside release), pianist Earl Van Riper, bassist Mingo Jones and drummer Sonny Johnson, as well as brothers Monk on acoustic bass and Buddy on piano (the brothers featured on one track), Montgomery swings with blistering abandon on a program of burners and ballads. Included here are renditions of Shorty Rogers' Diablo's Dance, Erroll Garner's Misty and Billy Strayhorn's Take The A Train as well as jazz standards Darn That Dream and Body and Soul. Montgomery also reveals some bluesy roots with an earthy improvised After Hours Blues, which has him playing with Guitar Slim-like nastiness. Elsewhere on Echoes of Indiana Avenue there's a stirring duet between Wes and organist Rhyne on a moody rendition of Thelonious Monk's 'Round Midnight and a faithful rendition of Horace Silver's Latin-tinged Nica's Dream. Montgomery and his brothers also tackle Thelonious Monk's Straight, No Chaser with bop-ish authority.


    Echoes of Indiana Avenue consists of three different sessions, one studio and two live. Four of the tracks were recorded at The Hub Bub, a long-forgotten jazz club in Indianapolis. The title of the collection refers to a longstanding popular commercial strip in Indianapolis, with historical roots. As Dr. Baker remarks, In Indianapolis during the 1940s and 1950s twenty or more clubs and other performance venues were operating at any given time. Generally speaking, the important clubs lay on or near main thoroughfares in predominantly black areas. The busiest and most notable area was known as 'The Avenue,' which was the portion of Indiana Avenue.


    How these long lost tapes from the early stage of Montgomery's solo career finally emerged after being on the shelf for more than 50 years is a tale of intrigue that will enthrall collectors and aficionados. Although the identity of the person who made the original recordings remains unknown, the tapes may have passed through several hands before they were eventually acquired in 1990 by a guitarist and Montgomery fan Jim Greeninger. Due to their fragile condition, he immediately made digital transfers of the original tapes and set out to make a deal with a record company. It wasn't until 2008 that Greeninger, who had tried selling the tapes on eBay, contacted Michael Cuscuna, the respected veteran producer who has had a long track record with Blue Note Records and is also the co-founder of Mosaic Records.


    In the summer of 2010, Cuscuna contacted Zev Feldman of Resonance Records, who served as a producer on the project. We had no idea when we got the tapes what they were exactly, Feldman recalls. All we knew was that Wes was on them. So between 2010 and 2011, I made three trips to Indianapolis where I interviewed and discussed the recordings with scholars, musicians and friends of Wes. It was a big mystery and we had to act like gumshoes in piecing it all together. It was actually in part because of label founder and president George Klabin's support that we were able to make this project possible.


    Resonance has created a hand-numbered, hand-assembled LP edition pressed by audiophile embraced Record Technology, Inc. (RTI) and with a deluxe gatefold LP jacket by Stoughton Press. The two 12 LP's were mastered by the legendary Bernie Grundman at 180g 45 RPM for the best sound.

    1. Diablo's Dance
    2. Round Midnight
    3. Straight No Chaser
    4. Nica's Dream
    5. Darn That Dream
    6. Take the A Train
    7. Misty
    8. Body and Soul
    9. After Hours Blues (Improvisation)
    Wes Montgomery
    $44.99
    180 Gram Audiophile Virgin Vinyl LP 45RPM - 2 LPs Sealed Buy Now
  • One Fast Move Or I'm Gone: Music From Kerouac's Big Sur (Ben Gibbard & Jay Farrar) One Fast Move Or I'm Gone: Music From Kerouac's Big Sur (Ben Gibbard & Jay Farrar) Quick View

    $26.99
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    One Fast Move Or I'm Gone: Music From Kerouac's Big Sur (Ben Gibbard & Jay Farrar)

    LP and DVD


    Jay Farrar (Son Volt) and Ben Gibbard (Death Cab for Cutie) originally got together in 2007 to record music for the Jack Kerouac documentary One Fast Move or I'm Gone: Kerouac's Big Sur (Both Gibbard and Farrar appear in the film). That collaboration blossomed into an entire full-length album of the same name with Gibbard and Farrar writing and performing all the songs together. All of the lyrics were taken from Kerouac's 1962 novel Big Sur.

    1. California Zephyr
    2. Low Life Kingdom
    3. Willamine
    4. All In One
    5. Breathe Our Iodine
    6. These Roads Dont Move
    7. Big Sur
    8. One Fast Move Or Im Gone
    9. Final Horrors
    10. Sea Engines
    11. The Void
    12. San Francisco
    Various Artists
    $26.99
    Vinyl LP - Sealed Buy Now
  • Philip Glass: Piano Works Philip Glass: Piano Works Quick View

    $35.99
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    Philip Glass: Piano Works

    Icelandic pianist Víkingur Ólafsson pays tribute to the master of minimal music, Philip Glass. Ólafsson was one of a handful of young pianists selected by Glass to perform all of his Etudes together in London, and the reviews were ecstatic. The Financial Times claimed, "Best of all was Ólafsson in the supersensitive stillness of Etude 5." In addition to the Etudes for solo piano, the album includes reworks of the originals for piano and string quartet. This recording is now available on vinyl.
    LP 1
    1. Opening
    2. No. 6

    3. No. 3

    4. Opening
    5. No. 5

    6. No. 13

    7. No. 14

    8. No. 5


    LP 2
    1. No. 9

    2. No. 15

    3. No. 18

    4. No. 9
    5. No. 2

    6. No. 20

    7. No. 2

    Víkingur Olafsson
    $35.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Highwayman Highwayman Quick View

    $37.99
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    Highwayman

    180 Gram Audiophile Vinyl

    Includes Insert

    Four Legendary Country Artists In One Super-group: Johnny Cash, Willie Nelson, Waylon Jennings And Kris Kristofferson

    Featuring The Hit-Singles Highwayman And Desperados Waiting For A Train

    The Highwaymen were a country music super-group composed of four of the biggest outlaw country artists: Johnny Cash, Waylon Jennings, Willie Nelson, and Kris Kristofferson. The band was active as a group between 1985 and 1995.

    In 1984, Glen Campbell first played the song Highwayman for Johnny Cash. The four were all together in Switzerland doing a television special and decided that they should do a project together. While the four were recording their first album, Marty Stuart again played the song for Cash, saying it would be perfect for them-four verses, four souls, and four of them.

    Campbell then played the song and the quartet had the name for their new super-group The Highwaymen, the name of their first album, Highwayman, and the name of their first single. The four thought it was a perfect name for them because they were always on the road and all four had the image of being outlaws in country music.

    Both the album and the single eventually reached the top spot on the country music charts.

    Their remake of Guy Clark's Desperados Waiting for a Train reached the Top 20. (Clark is frequently referred to as The Fifth Highwayman.)

    The four original members starred together in the 1986 film Stagecoach.

    1. Highwayman
    2. The Last Cowboy Song
    3. Jim, I Wore A Tie Today
    4. Big River
    5. Committed To Parkview
    6. Desperados Waiting For A Train

    7. Deportee (Plane Wreck At Los Gatos)
    8. Welfare Line
    9. Against The Wind

    10. The Twentieth Century Is Almost Over
    The Highwaymen
    $37.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Anthology - A Very British Synthesizer Group Anthology - A Very British Synthesizer Group Quick View

    $79.99
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    Anthology - A Very British Synthesizer Group


    Half-Speed Mastered


    A Very British Synthesizer Group is a deluxe 3-LP boxed anthology of multi-million-selling synth pioneers, The Human League. Bringing together all of the hits including 7 previously unreleased DJ edits, the package comes in a hardback slipcase with a 20-page booklet featuring a new essay by David Buckley plus rare memorabilia and photographs. Art direction and sleeve illustrations come from renowned Sheffield artist Pete McKee. These special vinyl discs were mastered at half-speed at Abbey Road Studios.

    LP 1
    1. Being Boiled (Fast Version)
    2. The Dignity Of Labour (Part 3)
    3. Empire State Human
    4. Only After Dark (Single Edit)
    5. Nightclubbing
    6. Boys And Girls
    7. The Sound Of The Crowd (Instrumental Version)
    8. Hard Times
    9. Love Action (I Believe In Love) (7 Edit)
    10. Open Your Heart
    11. Don't You Want Me


    LP 2
    1. Mirror Man
    2. You Remind Me Of Gold
    3. (Keep Feeling) Fascination (Extended Version)
    4. The Lebanon (Single Version)
    5. Louise (DJ Edit)
    6. Life On Your Own (Single Version)
    7. Human (Extended Version)
    8. I Need Your Loving (DJ Edit)
    9. Love Is All That Matters (DJ Edit)
    10. Heart Like A Wheel (William Orbit Remix)


    LP 3
    1. Soundtrack To A Generation (Edit)
    2. Tell Me When (Radio Edit)
    3. One Man In My Heart
    4. Filling Up With Heaven
    5. Stay With Me Tonight
    6. All I Ever Wanted (Radio Edit)
    7. Night People (Radio Edit)
    8. Never Let Me Go
    9. Sky (Radio Edit)

    The Human League
    $79.99
    180 Gram Audiophile Virgin Vinyl LP - 3 LPs Sealed Buy Now
  • Wild Flag Wild Flag Quick View

    $18.99
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    Wild Flag

    Wild Flag is a Portland, Oregon and Washington, DC based quartet consisting of Carrie Brownstein, Rebecca Cole, Mary Timony and Janet Weiss. The members of Wild Flag have played in numerous and notable bands including Sleater-Kinney, Helium, Quasi, The Minders, Stephen Malkmus and the Jicks, and others.


    The four musicians who make up Wild Flag have known one another for well over a decade; playing together felt almost inevitable. Brownstein and Weiss were in Sleater-Kinney and toured with Timonys band Helium on numerous occasions. Brownstein and Timony played in a side project called The Spells. Rebecca Coles Portland-based band The Minders was a frequent opener for Sleater-Kinney. Weiss and Cole play together in the 1960s garage-rock cover band The Shadow Mortons. After collaborating on a score for a documentary, the ease with which they worked together proved infectious and promising. Wild Flag was formed.


    In April of 2011, they went to Sacramento, California, where they recorded their self-titled album with engineer Chris Woodhouse at the Hangar. All tracks were recorded live except for the vocals.

    1. Romance
    2. Something Came Over Me
    3. Boom
    4. Glass Tambourine
    5. Endless Talk
    6. Short Version
    7. Electric Band
    8. Future Crimes
    9. Racehorse
    10. Black Tiles
    Wild Flag
    $18.99
    Vinyl LP - Sealed Buy Now
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