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Rumor and Sigh
The Most Cohesive and Accessible Album of Richard Thompson's Career: Brilliantly Diverse, Savagely Witty Rumor and Sigh Includes All TIME 100 Song 1952 Vincent Black Lightning
Mastered from the Original Master Tapes, Pressed at RTI, and Strictly Limited to 3000 Numbered Copies: Rumor and Sigh on 180g Vinyl 2LP for the First Time, Features Dynamic Production
Richard Thompson manages all of his usual superhuman feats on Rumor and Sigh. Rippled, vibrant guitar lines that sound like they're coming from four guitars? Check. Lyrics that expose the delicate quirks of human behavior in witty, truthful manners? Here. Engaging vocals that arrive as if they are sung only to you, the words doubling as whispered thoughts in your own head? Yep. But Rumor and Sigh goes further by featuring astute, lively production and well-planned arrangements that turn the 1991 album into one of the - if not the - most cohesive and accessible efforts of Thompson's storied career. And now, courtesy of Mobile Fidelity, it's his best-sounding record.
Mastered from the original master tapes, pressed at RTI, strictly limited to 3000 numbered copies, and on 180g vinyl 2LP for the first time ever to provide needed groove space, Mobile Fidelity's analog edition breathes with an effervescent openness that makes the music emerge with a livelier sheen, standout dynamics, and unstoppable energy. The dead-quiet pressing makes it immediately evident Rumor and Sigh endures as a very special album - a cohesive, varied, and fun set spiked with some of Thompson's finest compositions and an exoticism that extends to the modest use of the hurdy-gurdy, mandolin, concertina, and crumhorn.
Casual fans will likely even recognize the Mitchell Froom-produced release includes the incomparable 1952 Vincent Black Lightning, a motorcycle-based tale of desire, love, and death rightly recognized by TIME magazine as one of its All TIME 100 songs. It, and the other 13 tracks, takes on newfound radiance that showcases the brilliant range of Thompson's instrumentation and tone. You could plug in a guitar amplifier right next to you, connect a Fender, and strum. Yet you still wouldn't have the depth, intimacy, and detail afforded by this audiophile edition. It's that remarkable.
So is the diversity of the album's sonic signatures and themes. Opener Read About Love provides an electric-start jolt, its upbeat tempos, shimmering accents, and massive hooks framing Thompson's amusing story of an inexperienced introvert that applies pop-culture ideas of romance to the real thing. The master wordsmith finds similar ironies in the mischievous intent of I Feel So Good, a Celtic-flavored tune whose uplifting emotions contrast with the character's out-of-control desires. Humor further wriggles in the jaunty Psycho Street and spirited Don't Sit on My Jimmy Shands, an enduring tribute to the Scottish accordionist and the pursuit of collecting rare 78 records.
The singer-songwriter's knack for accentuating biting contrast - and for delving into darker regions where jealousy, bitterness, and self-deprecation reside - pervades Rumor and Sigh in the same manner his band shades his every move with narrative skill. Just listen to the faint keyboard cues on I Misunderstood or Jim Keltner's crisp, hi-hat cracks on You Dream Too Much. Of course, everyone stands aside for the folk-leaning 1952 Vincent Black Lightning, a solo tour de force of musicianship and lyricism that confirms Rumor and Sigh survives not only as one of the finest records of the 1990s - but one of the best platters of the last three decades.
This title is not eligible for discount.1. Read About Love
2. I Feel So Good
3. I Misunderstood
4. Grey Walls
5. You Dream Too Much
6. Why Must I Plead
7.1952 Vincent Black Lightning
8. Backlash Love Affair
9. Mystery Wind
10. Don't Sit on My Jimmy Shands
11. Keep Your Distance
12. Mother Knows Best
13. God Loves a Drunk
14. Psycho Street$49.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
StillRichard Thompson has announced his newest solo album Still, which will be released via Fantasy. The record will be produced by Jeff Tweedy of Wilco.
Tweedy stated in a press release, "Richard's been one of my favorite guitar players for a very long time. When I think about it, he's also one of my favorite songwriters and favorite singers. He's the Ultimate Triple Threat. Getting to work closely with him on this record was a truly rewarding experience, not to mention a great thrill. And he keeps alive my streak of working exclusively with artists who make me look good as a producer."
The album's first single is "Beatnik Walking" which features Thompson's longtime collaborators, bassist Taras Prodaniuk and drummer Michael Jerome.LP 1
1. She Never Could Resist A Winding Road
2. Beatnik Walking
3. Patty Don't You Put Me Down
4. Broken Doll
5. All Buttoned Up
1. Long John Silver
2. Pony In the Stable
3. Where's Your Heart
4. No Peace, No End
5. Dungeons For Eyes
6. Guitar Heroes$35.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
Marigolden"The body remembers what the mind forgets," Chris Porterfield reminisces on his acclaimed band Field Report's sophomore record, Marigolden. The record is strewn with references to the inevitable tolls taken by the passage of time, and prolonged distance from home and loved ones.
The past couple of years have flashed by for Porterfield, who was thrust into the spotlight after years of musical reclusion. His Milwaukee-based band, Field Report (an anagram of his surname), was culled together in the studio while recording their 2012 self-titled debut. They suddenly found themselves championed by their former idols: offered support tours by Counting Crows and Aimee Mann, lauded by the likes of Mark Eitzel and Richard Thompson, and covered by Blind Boys Of Alabama.
The band honed itself from a septet to a quartet in the year that followed, focusing its sound and tightening the screws. With a heavy batch of songs under their arms, they retreated to snowy Ontario in December 2013 to record their sophomore album, Marigolden, with the help of producer Robbie Lackritz (Feist).
Spending two years roaming around the country playing tiny venues and sold-out amphitheaters alike, Porterfield was uncertain whether he was leading the charge toward an artistic epiphany or headed down a misguided path of self-destruction. Marigolden reflects this, as he ruminates across homesick tension and an un-grounded anxiety. But rather than wallow in melancholy, Porterfield finds solace and inspiration through his songs, which reveal themselves as uplifting and celebratory. The album is brighter than their 2012 debut, but somehow remains just as elegantly ominous.
Marigolden's second track, the surprisingly catchy radio single "Home," finds Porterfield on the road, hoping the home, wife, dog, and life he left behind in Milwaukee will still be there upon his return. "Leave the lights on," he asks, "it might be nighttime when I get there, but I'm on my way home." While the song contemplates lonesomeness, there is an undeniable sense of hope driving it. In "Summons," the penultimate track, he recalls this thought, repeating, "I'll be coming home to you" like a mantra. This sense of balance and symmetry across the album helps provide stability to the otherwise volatile themes. Case in point: the album starts with a sunrise in "Decision Day" and ends full circle with another in "Enchantment."
Whether reconsidering sobriety in "Pale Rider," sticking to tonic water in the bars of "Summons," or cashing in a 30-day chip for a kiss in "Enchantment," Porterfield's relationship with alcohol runs through the current of nearly every song. Most notably in "Ambrosia," where he find himself face to face with the reality of where his drinking is destined to lead.
The album runs the musical gamut, from the Traveling Wilburys-esque pop of "Home," to the Neil Young-inspired piano ballad "Ambrosia," to the electronic sonic landscape of "Wings." While the compositions express a wide range in terms of genre, they find unity in themselves within the limits of self-imposed minimalism. In the studio, the songs were stripped down to the bones and built back up using only their essential elements.
Sequestered in a seemingly never-ending Ontario blizzard, the band only broke from this musical process to add logs to the stove, with the snow and the fire providing a proper background for music so rooted in the elemental. The effect that this fundamentals-based approach achieves is universal: the sparse arrangements and common themes speak to everyone, but somehow feel tailored to each listener. The title itself reflects this, a portmanteau of two common images (marigold and golden) to create something that feels both idiosyncratic and familiar: Marigolden.1. Decision Day
2. Home (Leave The Lights On)
3. Pale Rider
4. Cups and Cups
10. Enchantment$16.99Vinyl LP - Sealed Buy Now
Tell 'Em I'm Gone
First Album In Five Years From The 2014 Rock And Roll Hall Of Fame Inductee
10 Brand-New Recordings, Including 5 New Compositions By Yusuf
Features Collaborations With Rick Rubin, Richard Thompson, Charlie Musselwhite, Bonnie 'Prince' Billy, Tinariwen, And Matt Sweeney
Tell 'Em I'm Gone is the first new Yusuf album since 2009's
acclaimed Roadsinger. Recorded all over the world,
including Los Angeles, Dubai, Brussels, and London, the
album features 10 brand-new studio recordings, including five
originals and five carefully-chosen cover songs. Tell 'Em I'm
Gone features musical contributions from Richard Thompson,
blues harmonica legend Charlie Musselwhite, singer-songwriter
Bonnie 'Prince' Billy, Tuareg group Tinariwen, and guitarist
Matt Sweeney, as well as production from Rick Rubin.
Each track on Tell 'Em I'm Gone is threaded together by the
themes of freedom and peace that have prevailed through more
than four decades of Yusuf's musical career. On this album,
Yusuf returns to the roots of his musical inspiration: American
blues and R&B, using these genres to explore the universality
of the desire for freedom with songs that recall the spirit of his
earliest days as a nascent singer-songwriter in London.
"What's powerful and profound, to me, is the overall message
which emerged, lyrically," Yusuf says of the new album.
"It suddenly stared me in the face: the struggle for Freedom!
My God, isn't that what most human beings dream of?
"I hope this record will help revive the spirit of Freedom
and re-kindle some of the excitement of those amazing days,
when every musical door seemed to point us a way out of our
imprisonment," Yusuf says.
Stunning originals like "I Was Raised In Babylon" and "Cat And
The Dog Trap" plus covers of blues-pop standards ("Big Boss
Man," "You Are My Sunshine") and a moving version of Edgar
Winter's "Dying To Live" find Yusuf as strong of voice and as
engaging a performer as ever before.
Having first found fame as a teenage folk singer in 1960s
England, Cat Stevens gained worldwide acclaim for his
intimate and affecting works in the 1970s. His compositions
"Wild World," "Peace Train," "Father and Son" and "Morning
Has Broken" remain staples of the folk genre. Following a
conversion to the Islamic faith in 1978, Stevens retired from
the music business to pursue important causes in the
Muslim community; 2006 saw Yusuf's celebrated return to pop
music with the album An Other Cup.1. I Was Raised In Babylon (Yusuf)
2. Big Boss Man (Luther Dixon-Al Smith)
3. Dying To Live (Edgar Winter)
4. You Are My Sunshine (Jimmie Davis-Charles Mitchell, arr. Yusuf)
5. Editing Floor Blues (Yusuf)
6. Cat And The Dog Trap (Yusuf)
7. Gold Digger (Yusuf)
8. The Devil Came From Kansas (Gary Brooker-Keith Reid)
9. Tell 'Em I'm Gone (originally "Take This Hammer," arr. Yusuf)
10. Doors (Yusuf)$24.99Vinyl LP - Sealed Buy Now
The Royal Philharmonic Orchestra Plays The Music Of RushPurple Pyramid Records, a division of Cleopatra Records, will release The Royal Philharmonic Orchestra Plays The Music Of Rush on November 13. Nearly sixty musicians and thirty vocalists transform nine of Rush's greatest hits into even more intricate, soaring orchestral works.
The Royal Philharmonic Orchestra covers the best-known classics, from Working Man, the self-titled debut album track that launched Rush's career in the U.S. to Subdivisions from Signals, the album that proved electronic rock could reside in the top ten. The band's most successful record, Moving Pictures, is represented by rousing versions of Tom Sawyer and Red Barchetta. Special guest guitarists include Steve Rothery of Marillion on Working Man and Adrian Smith of Iron Maiden on Red Barchetta. The Windrush Choir provides backing vocals and solos.
The Royal Philharmonic Orchestra, formed in 1946 and based in London, has been called the nation's favorite orchestra. It has had internationally known maestros like Andre Previn and Louis Clark, and has toured the world. The RPO is a best-selling and adventurous recording entity as well. In 1969, it recorded a concerto for Deep Purple, composed by the band's organist Jon Lord. It earned a top ten U.S. single in 1982 with Hooked On Classics. Over the years, RPO has orchestrally arranged Pink Floyd, Oasis, Queen, R.E.M., Madonna and ABBA.
The orchestra was recorded at the legendary Abbey Road Studios in London, conducted by BAFTA Award-winning musician and composer Richard Harvey. Harvey performed with the prog rock group Gryphon and as an accomplished multi-instrumentalist (specializing in mediaeval and Renaissance periods), worked with many folk and rock musicians such as Richard and Linda Thompson, Kate Bush and Sweet. He has toured and recorded with John Williams, and has performed and composed film/TV soundtracks for more than thirty years. The album was produced by James Graydon and Richard Cottle, who also arranged all the music.1. 2112 Overture
2. The Spirit Of Radio
3. Tom Sawyer
4. Red Barchetta (feat. Adrian Smith)
6. Fly By Night
7. Closer To The Heart
9. Working Man (feat. Steve Rothery)$18.99Vinyl LP - Sealed Buy Now
Bright PhoebusThe First Time This 1972 Masterpiece Has Been Widely Available On LP
Remastered From The Original Tapes
Originally released in 1972, Bright Phoebus combined the incredible songwriting of siblings Lal & Mike from folk revival group The Watersons. Moving on from, but not forgetting their folk roots, the album is a post psychedelic collection of songs recorded in a 'loose & anarchic'fashion in Cecil Sharpe House with a folk-rock super group numbering Richard Thompson,Norma Waterson, Maddy Prior, Martin Carthy & Ashley Hutchings. Its release was greeted with derision and its initial pressing of 2000 LPs has long since fallen out of print. Since then the album has become legend, its scarcity not hindering generations of music fans falling for its beguiling atmosphere.
Over the course of four decades, the only means of hearing Lal and Mike Waterson's 1972 folk noir masterpiece had been unofficial CDs, cassettes distributed between fans and, in more recent times, YouTube uploads. And yet, despite the relative obscurity of the record being celebrated, 2000 people had packed London's The Barbican to witness live performance sof these songs by an extended family of Watersons, Carthys and kindred musical spirits. Toofolk to be embraced by the rock world, yet not traditional enough for the folk clubs where performing original material was tantamount to heresy, Bright Phoebus has had to wait an awfully long time for its moment of reappraisal. Almost by stealth, however, that moment seems to have arrived. In a Mojo chart of the 50 greatest British eccentric albums of all time, the album sat proudly among household names such as Kate Bush and Pink Floyd. In 2007, Bright Phoebus was the subject of a BBC Radio 4 documentary and Lal was the subject of a tribute concert which was televised by BBC2. With every passing year, its influence on generations of musicians who had yet to be born when it was released grows ever greater.
This release will be the first time that the album will be widely available. Under the supervision of David Suff (Topic/Fledling) & Mary Waterson (daughter of Lal), the album has been remastered from the original master tapes. It's tempting to say that it was a record ahead of its time, but actually, Bright Phoebus is a record that exists outside of its time. A journey into a world where beauty and hardship are intertwined: a world of pagan sacrifice and stillborn children; a world where fairytale endings are frustrated by the demands of mere survival; where even the visiting magical man passing through the town seems to carry with him a faint air of menace.1. Rubber Band
2. The Scarecrow
3. Fine Horseman
4. Winifer Odd
5. Danny Rose
6. Child Among The Weeds
7. Magical Man
8. Never The Same
9. To Make You Stay
10. Shady Lady
11. Red Wine Promises
12. Bright Phoebus$25.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Babes In The Wood (Pure Pleasure)Babes In The Wood is Mary Black's finest, most consistently pleasing album. There is no filler here, and her song selection, culled from new songwriters such as Noel Brazil and classic folkies such as Richard Thompson, is impeccable. The acoustic arrangements (including guitar, piano, mandolin, dobro, and accordion) are carried out by her longtime backing musicians, although the music has a decidedly more pop than Celtic flavor on this album. As with most of her releases, there are many romantic ballads sung with a subtly that adds emotional weight to every song. The main difference on this album is an omnipresent religious tone, whether it's overt in the gospel opener Still Believing or just below the surface in songs such as The Golden Mile. Even a few of the love songs refer to having faith that love will come around again after heartbreak (Just Around the Corner). However, the album is peppered with playful, upbeat tunes that propel the album forward to the final song, a wonderful cover of Joni Mitchells's Urge For Going. A great introduction to the music of Mary Black, and a must-own for fans.
- Mary Black (vocal)
- Pat Crowley (piano, accordion, vocal)
- Maire Breatnach (synthesizer, fiddle)
- Declan Sinnott (dobro, guitar, mandolin, vocal)
- Carl Geraghty (saxophone)
- Garvan Gallagher (bass)
- Noel Bridgeman (percussion)
Recording: March - June 1991 at Ringsend Road Studios, Dublin (Ireland), by Andrew Boland
Production: Declan Sinnott
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. Still Believing
2. Bright Blue Rose
3. Golden Mile
4. Babes in the Wood
5. The Thorn upon the Rose
6. Just Around the Corner
7. Brand New Star
8. Prayer for Love
9. Adam at the Window
10. The Dimming of the Day
11. Might as Well Be a Slave
12. The Urge for Going$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Love And Circumstance2010's Love And Circumstance is the fourth solo full-length from singer/songwriter/musician Carrie Rodriguez. The 12-song collection was produced by Lee Townsend (Bill Frisell) and recorded with Hans Holzen (guitar), Kyle Kegerreis (bass) and Eric Platz (drums). Other artists appearing here also include none other than Bill Frisell (guitar), Greg Leisz (pedal steel/slide guitars), Aoife ODonovan (background vocals) and Buddy Miller (background vocals).
Carrie wraps herself around songs from influences and peers such as John Hiatt/Nick Lowe/Ry Cooder/Jim Keltner (aka Little Village), Buddy Miller & Julie Miller, David Rodriguez, Gillian Welch & David Rawlings, Richard Thompson, Townes Van Zandt, M. Ward, Merle Haggard & Bonnie Owens, Hank Williams, Lucinda Williams, and more. She even pays homage to her family heritage with the soulful Spanish ballad La Puñalada Trapera, popularized in the 1950s by her great-aunt, famed Mexican bolero balladeer Eva Garza.1. Big Love (John Hiatt, Nick Lowe, Ry Cooder, Jim Keltner)
2. Wide River 2. to Cross (Buddy & Julie Miller)
3. When I Heard Gypsy Davy Sing (David Rodriguez)
4. Eyes on the Prize (M. Ward)
5. Steal Your Love (Lucinda Williams)
6. Waltzing's for Dreamers (Richard Thompson)
7. I'm Not For Love (Sandrine)
8. I Made A Lover's Prayer (Gillian Welch & Dave Rawlings)
9. I Started Loving You Again (Bonnie Owens & Merle Haggard)
10. Rex's Blues (Townes Van Zandt)
11. I'm So Lonesome I Could Cry (Hank Williams)
12. La Punalada Trapera (Sosa Tomas Mendez)$42.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Volume OneShe & Him is a story of musical serendipity: two artists, each renowned in their own creative fields, meet and recognize a certain shared nostalgia. The result is destined to be one of the musical highlights of the year.
Zooey Deschanel and M. Ward first met to record a version of Richard and Linda Thompson's When I Get To The Border for a movie soundtrack. Immediately struck by one another's talents and finding an instant rapport Zooey let slip that she wrote her own songs which she recorded alone at home on her computer. Somewhat shy about anyone hearing these musical morsels she eventually sent the demos to Ward who was instantly impressed. They soon reconvened at his Portland studio to begin work.
Embracing the warm sound of early analog recordings, Volume One is more than just a showcase for Zooey's rich and endearing voice; it's a distinctive and endlessly charming album. The songs themselves give a respectful nod to the likes of Dusty Springfield, Linda Ronstadt and The Zombies while Ward's production gives them just the right amount of golden era sheen. Whether Zooey's channeling Ronnie Spector as on I Was Made For You or joining Ward in turning The Beatles I Should Have Known Better into a seductive hula guitar duet, the results are always captivating.
1. Sentimental Heart
2. Why Do You Let Me Stay Here?
3. This Is Not A Test
4. Change Is Hard
5. I Thought I Saw Your Face Today
6. Take It Back
7. I Was Made For You
8. You Really Got a Hold On Me
9. Black Hole
10. Got Me
11. I Should Have Known Better
12. Sweet Darlin'$17.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
AmbsaceThe second album of astonishing duets by guitarists James Elkington (who has toured and/or recorded with Jeff Tweedy, Richard Thompson, and Steve Gunn, among others) and Nathan Salsburg (an accomplished soloist deemed by NPR "one of those names we'll all associate with American folk guitar") is a sublime suite of nimble, filigreed compositions by two singular stylists. Belying its title-"ambsace" is the lowest throw of dice; snake eyes-the record thrives on a gentle empathy and generosity of spirit, sitting sneakily protean original compositions alongside gorgeous arrangements of songs by Duke Ellington and The Smiths at the same big hand-hewn table. "Their playing and guitar tones are so complementary, so perfectly wed that I wouldn't hesitate to put the duo up there with some of the very best acoustic guitar partnerships: Stefan Grossman and John Renbourn come immediately to mind, as does the work of Richard Crandell and Bill Bartels." - Work & Worry1. Up of Stairs
2. Invention #4
3. Dim Recollection
4. The Narrowing of Grey Park
5. The Unhaunted Williams
7. Reel Around the Fountain
8. Great Big God of Hands
9. Fleurette Africaine
10. Bee's Thing
11. Rough Purr
12. Stern and Earnest
13. Slow Train$21.99Vinyl LP - Sealed Buy Now
PlacesCombine evocative production, inventive songwriting, and multi-part harmonies mixed with the duo's passion for 60s and 70s pop, including The Kinks, Richard and Linda Thompson, The Jam, Simon and Garfunkel, and some Shake Some Action -era Flamin' Groovies and you've got Georgie James. These twelve tracks are pure pop bliss that look toward the future, but are undeniably rooted in music from generations past.1.Look Me Up
3.Need Your Needs
6.Henry and Hanzy
11.You Can Have It
12.Only 'Cause You're Young$16.99Vinyl LP - Sealed Buy Now
Blackberry LightCharlie Mars has been a journeyman artist with all the ups and downs that entails. He has gone from uncertainty to redemption with major label releases and high profile gigs opening for the likes of R.E.M., KT Turnstall, Citizen Cope and Steve Earle, among others. Now, with the extraordinary new Blackberry Light, the Mississippi-based troubadour builds his distinctive musical approach employing supple grooves and ambient Daniel Lanois-inspired production to enhance the elemental force of his classic songwriting influenced by Bob Marley, Bill Withers and Dire Straits.
From the dreamlike Nothing But The Rain, to the shimmering Picture of An Island, Blackberry Light sees Mars delving deep within to offer insight and a path to self awareness and ultimately transcendence via a gracefully beatific distillation of folk, rock, and smooth acoustic soul. Mars took a modest tack towards overall recording of Blackberry Light, which took place at Austin's Treefort Studios under production prowess of Billy Harvey (Bob Schneider), looking to capture those perfect uncalculated moments where everything just clicks.
Upon the sessions' conclusion, Mars sought out one of his dream collaborators legendary producer/engineer/mixer Tchad Blake. The Grammy-award winner, known for his distinctive work with such artists as Elvis Costello, Richard Thompson and Sheryl Crow, ultimately agreed and helped give Blackberry Light much of its uniquely spacious warmth. Like any songwriter worth his salt, Mars employs his art as a channel towards personal discovery, candidly exploring all the human limitations, from pride and fear to cynicism and self-doubt, that stand in the way of his attaining true happiness. 180g gatefold vinyl.1. Let The Meter Run
2. How I Roll
3. Nothing But The Rain
4. Blackberry Light
5. Pacific Oceans
6. Back of the Room
7. I Do I Do
8. Picture Of An Island
9. Sometimes The Sky
10. Great Wall of Chine$17.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Upper AirThe follow-up to 2007's acclaimed Hymns For A Dark Horse. Upper Air moves away from the singular sound and sentiment; each song is a unique, beautiful piece. The arrangements are subtle: acoustic guitars, organ, piano, autoharp, violin, percussion, upright bass, and more are used throughout. This music has the spirit of Richard and Linda Thompson, the currency of Devendra Banhart, and the addictively sweet melodicism of Iron & Wine, but it churns with an underlying energy closer to a Beirut or something more raw, more wild.1. House of Diamonds
3. Silver Clouds
4. Beneath Your Tree
5. Ghost Life
6. Northern Lights
8. Bright Future
9. Crooked Lust
10. This Day$16.99Vinyl LP - Sealed Buy Now
Sun Midnight SunSun Midnight Sun is the second solo album from acclaimed singer, songwriter, and fiddle player Sara Watkins. Produced by guitarist, singer, and songwriter Blake Mills, co-founder of the band Simon Dawes, the album features special guest appearances by Fiona Apple, Jackson Browne, Taylor Goldsmith (Dawes), Benmont Tench, and Sean Watkins.
In the three years since her last release, Watkins has been busy touring the world as guest fiddle player and vocalist with the Decemberists and joining Garrison Keillor on his nationwide Summer Love performance tours, as well as acting as his first and only guest host for A Prairie Home Companion broadcasts.
Sun Midnight Sun was recorded, mixed, and mastered by Shawn Everett at Zeitgeist Studio, Los Angeles, and includes songs written by Watkins ("You and Me," "Take Up Your Spade") as well as several collaborations with Mills ("The Foothills," "Be There," "The Accord," "Impossible," and "Lock and Key"). It also features songs by Dan Wilson ("When It Pleases You") and Willie Nelson ("I'm a Memory"), and a rendition of The Everly Brothers classic "You're the One I Love," on which Fiona Apple duets with Watkins.
Watkins first gained recognition as a founding member of the Grammy Award-winning, platinum-selling trio Nickel Creek. When not on the road or in the studio, Watkins has guest-starred as fiddler and/or harmony vocalist on albums by BÉla Fleck, the Chieftains, Ray LaMontagne, Ben Lee, Dan Wilson, Richard Thompson, and Alex Woodward, among others. Additionally, Watkins and her brother Sean continue an informal residency called the Watkins Family Hour at the L.A. club Largo, which often includes surprise cameos from friends and colleagues.1. The Foothills
2. You and Me
3. You're the One I Love (ft. Fiona Apple)
4. When It Pleases You
5. Be There
6. I'm a Memory
8. The Ward Accord
9. Lock & Key
10. Take Up Your Spade$24.99Vinyl LP - Sealed Buy Now
ADAD-DEA-4413xGood Ones, The
Kigali Y' IzahabuThe Good Ones is a trio of Rwandan genocide survivors who play joyous, acoustic love songs written in the ancient local, Kinyarwanda street dialect of their nations capital, Kigali. Adrien Kazigira, Stany Hitimana and Jeanvier Havugimana recorded the songs collected on Kigali Y' Izahabu over the course of one summer evening on the back porch of a friends home. The primary obstacle to recording the group was that the musicians showed up with only one guitar for two players, and that guitar was missing two strings. Hitimana played bass on the 4-string, and a beat-up acoustic was located for the second guitarist, the sullen, primary songwriter, Kazigira, who interweaves intricate harmonies with co-singer Havugimana. In a style often referred to as worker songs from the streets, these simple, direct and plaintive love songs speak more to the healing power of peace than a thousand academic treatises or preachy goodwill ambassadors ever could.
Toiling at hard labor and subsisting on less than 50 cents a day in one of the ten poorest countries in the world, the hard-won spirit of these aging war-veterans shines through in The Good Ones yearning voices. Kazigira, 47, wrote 8 of the 12 songs found on the album and both plays and sings. He cites Bob Marley and reggae as his major influences. Hitimana, 47, on lead guitar and bass, sometimes teaches music in Kigali and finds inspiration in the music of Santana. And harmony singer Jeanvier, 38, who also plays guitar and sings lead on his own compositions, is most influenced by the Caribbean dance music called Zouk. The trio is punk embodied: barefoot, bandaged and jaundiced; armed with broken, mismatchedstringed, borrowed guitars; but singing angelically from amidst a landlocked country that the world abandoned.
Kigali Y' Izahabu is essentially an intimate field recording that even captures the howling and barking of dogs in the background, and it was recorded by two-time Grammy-nominated producer Ian Brennan, who has worked with artists such as Ramblin Jack Elliott, Flea, TV on the Radios Kyp Malone, Richard Thompson and many others.
Brennan traveled throughout Rwanda, hoping to document some of the countrys contemporary music, but up until his mission-affirming encounter with The Good Ones, he had been left wanting. As Brennan reports: They were standing in the dark, their eyes downcast and restless, and holding only one guitar between them. From 100-feet away, I knew instantly that there was something special about them, a feeling one is lucky to experience even once in a lifetime. By that point, Id already visited literally every recording-studio in the capital (Kigali) and surrounding areas over two weeks and listened to hundreds of artists, but to no avail. This meeting had been set up through a mutual friend and the instant the band opened their mouths to sing, it was as if the universe reached down to tap me on the shoulder and say, 'What these guys do is precious and rare. Don't fuck it up.'1. Sara
3. Umuntu N inkundi
4. Amagorwa Y' Abagabo
6. G ahind Umpora Iki
7. Bakame N i' Ingwe
9. Iby' Iyisini Ubusa
10. Invura Yaranka G eyi
12. Eudia$16.99Vinyl LP - Sealed Buy Now
I Thought It Was Us But It Was All Of UsInlcudes Art Print Poster
New Project Led By Montreal Cellist Rebecca Foon
(ESMERINE, SILVER MT ZION, SET FIRE TO FLAMES)
• Features Jamie Thompson (UNICORNS) and Guest Players from LITTLE SCREAM, PATRICK WATSON BAND
and BELL ORCHESTRE
• Recorded and Mixed by Grammy-Winning Engineer
Mark Lawson (ARCADE FIRE)
Saltland is the new project led by Montreal-based cellist Rebecca Foon, best
known as a founding member of contemporary chamber group Esmerine and a former
member of Thee Silver Mt. Zion and Set Fire To Flames. Foon began composing solo
work in 2010, featuring multi-layered cello and hushed vocals at the intersection of
drone, no-wave, improv, dream-pop and minimalism. Joined by Jamie Thompson
(Unicorns, Esmerine) on miniature percussion, programming and signal processing,
Foon's live performances in Montreal and abroad over the past two years have seen
her sound progress towards gently rhythmic and electronic territory as well. She has
transfixed audiences with this new music while sharing the stage with Mary Margaret
O'Hara, Julia Kent, Nat Baldwin and Sam Amidon, among others. As her largely homerecorded debut album began taking shape throughout 2011, with numerous guests
contributing to various pieces, Foon adopted the Saltland moniker for this work.
I Thought It Was Us But It Was All Of Us is a beautifully restrained debut
album that telescopes the directness and economy of Foon's compositional and vocal
styles into lush, twilight atmospheres aglow with luminescent tendrils and flickering
particles. Foon sings of childhood innocence lost, of tender utopic reveries and
downcast dystopic horizons, and the search for soft, stoic strength in a darkening,
devolving world. Foon's voice is discreet but defined, drifting on buoyant currents of
sound sourced from her plucked and bowed cello lines, in most cases propelled by
Thompson's bespoke percussion and understated programming/processing, with
touches of guitar, bass, horns, woodwinds, strings and backing vocals added by a cast
of supporting players. The record unfurls like a gauzy flag in a restless breeze at dusk:
a delicate, resolute sentinel set against the fading light.
The album's ambience also owes much to the work of Mark Lawson, the awardwinning engineer (Arcade Fire) who collaborated closely with Foon to record and mix
these songs at Six Saint V, her apartment studio in Montreal. Lawson, along with
friend and percussionist Thompson, helped to forge a balance between lo-fi intimacy
and shimmering breadth with these recordings, remaining faithful to the all-anologue
instrumentation of the source material while judiciously deploying signal processing
strategies to subtly refract, saturate and expand the sonic landscape. With
contributions from Laurel Sprengelmeyer and Jess Robertson (Little Scream), Mishka
Stein (Patrick Watson), Colin Stetson (Bon Iver), Sarah Neufeld and Richard Reed Parry
(Arcade Fire) among others, Saltland offers up an unassumingly immersive debut
album of searching songs that blend several core influences into a distinctively
naturalistic sound. Saltland stakes out an unaffected, meditative, clear-eyed and
earnest space where minimalism, dream-pop, drone, shoegaze, confessional folk,
modern chamber and ambient/electronic coexist and coalesce.1. Golden Alley
2. I Thought It Was Us
3. Treehouse Schemes
5. But It Was All Of Us
6. Colour The Night Sky
8. Hearts Mend$25.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Workbook 25 (Out Of Stock)
Debut Solo Album From Bob Mould!
25th Anniversary 2-LP Edition
Includes The B-Side, Bonus Track, "All Those People Know."
Available On Vinyl For The First Time Since Its Original Release
"Bob Mould's Workbook, a plaintive, sepia-toned, glimmering, acid-scratched, coal-black masterpiece of disgust, dissolution and redemption. Its
meditative acoustics and electric feedback squall proceeded and even predicted the sonics of several albums by Mould's contemporaries. Workbook
haunted my Walkman in 1989. So glad it's back for the 21st century."
-Scott Devendorf, The National
"Bob Mould has been one of my favourite artists for the last 30 years, and Workbook is a great album"
Alt-rock superstars HÜsker DÜ called it a day in 1987, but the band's Bob Mould would reappear two years later with his first solo album-the incredibly
impassioned and personal Workbook.
In addition to writing and producing the entire album, Mould sang all the vocals and played many of the instruments, sharing duties with The Golden
Palominos' Anton Fier on drums, Pere Ubu's Tony Maimone (bass) and cellist Jane Scarpantoni from Tiny Lights. While always recognized as an
astonishing guitarist, Mould's fretwork on Workbook traveled to levels yet unheard or imagined.
The album has since taken on iconic status, and Omnivore is proud to present Workbook 25
The album will be available on vinyl for the first time since its original release and will be pressed on 2 LPs for sonic superiority. The vinyl edition will also
include the B-side, bonus track, "All Those People Know."
As innovative as HÜsker DÜ was, fans had to wonder if Bob Mould could take them on another journey as rewarding. Workbook not only proved he could,
but did.LP 1
2. Wishing Well
3. Heartbreak A Stranger
4. See A Little Light
5. Poison Years
6. Sinners And Their Repentances
1. Brasilia Crossed With Trenton
2. Compositions For The Young And Old
3. Lonely Afternoon
4. Dreaming, I Am
5. Whichever Way The Wind Blows
6. All Those People Know *Bonus Track$34.99Vinyl LP - 2 LPs Sealed Temporarily out of stock