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  • As Nasty As They Wanna Be As Nasty As They Wanna Be Quick View

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    As Nasty As They Wanna Be

    As Nasty As They Wanna Be is the third album by Miami bass group 2 Live Crew. It was originally released on July 11, 1989, and became the group's largest seller, being certified double platinum by the Recording Industry Association of America. In 1990, the United States District Court for the Southern District of Florida ruled that the album was legally obscene; this ruling was later overturned by the Eleventh Circuit. It is the first album in history to be deemed legally obscene.
    LP 1
    1. Me So Horny
    2. Put Her In The Buck
    3. Dick Almighty
    4. C'mon Babe
    5. Dirty Nursery Rhymes
    6. Break It On Down
    7. 2 Live Blues
    8. I Ain't Bullshittin'
    9. Get Loose Now


    LP 2
    1. The Fuck Shop
    2. If You Believe In Having Sex
    3. My Seven Bizzos
    4. Get The Fuck Out Of My House
    5. Reggae Joint
    6. Fraternity Record
    7. Bad Ass Bitch
    8. Mega Mixx III
    9. Coolin'

    2 Live Crew
    $24.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Greatest Hits Greatest Hits Quick View

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    Greatest Hits

    Uncle Luke and company have made a career out of Miami bass/electro that's as raw, funky, and unforgivingly sexually explicit as humanly possible. This collection takes the highlights from four of their earliest and most controversial records and puts them together for a very convenient and near-accurate survey of their classic and most recognizable hits. Completists will note the glaring absence of such 2 Live staples as Do Wah Diddy, One and One, and Banned in the USA, but this shouldn't deter anyone other than the cult followers. This is still by far the most comprehensive collection of their work on the market and is the ideal place to start filling freaky needs.


    - Rob Theakston (AllMusic.com)

    LP 1
    1. We Want Some Pussy
    2. Throw The 'D'
    3. Check It Out Ya'll
    4. Move Somethin'
    5. HBC
    6. Me So Horny
    7. C'mon Babe
    8. If You Believe In Having Sex


    LP 2
    1. Pop That Pussy
    2. Some Hot Head
    3. The Pussy Caper
    4. The 2 Live Crew Mega Mix
    5. Boyz With Da Bass
    6. The Splak Shop
    7. We Like To Chill

    2 Live Crew
    $24.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Greatest Hits: Volume 2 Greatest Hits: Volume 2 Quick View

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    Greatest Hits: Volume 2

    While 2 Live Crew are certainly associated with a moment in time, Luke and company's body of work is surprisingly deep. More a re-examination of their entire career than a bookend to its first part, GREATEST HITS Volume 2 contains both the Miami bass troupe's top 40 hits, the signature track Me So Horny, and the biography of its aftermath Banned in the U.S. A. This collection digs further into the 2 Live Crew catalog, which includes minor hits such as the Manfred Mann sampling Do Wah Diddy and the Clinton Scandal reworking of the act's biggest hit, Bill So Horny, a true timepiece.
    LP 1
    1. Intro
    2. Bill So Horny
    3. Me So Horny
    4. Do Wah Diddy
    5. Pretty Woman
    6. C'mon Babe (Doo Doo Brown Version)
    7. Hoochie Mama
    8. Shake a Lil' Somethin'
    9. 2 Live Party


    LP 2
    1. Banned in the U.S.A.
    2. Sex, I Like It, I Love It
    3. We Want Some Pussy (Live in Berlin Extended Mix)[Live]
    4. Baby Baby Please Just a Little More Head
    5. Who's Fucking Who
    6. Get It Girl (Extended Mix)
    7. Fuck Shop

    2 Live Crew
    $24.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Greatest Hits Greatest Hits Quick View

    $29.99
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    Greatest Hits

    In the fall of 1976 The Marshall Tucker Band went to the UK and Europe for their only tour so far in those territories. The tour featured Bonnie Bramlett and Grinders Switch as support acts. The band was red hot in America and the time was right to spread the word to other countries. Founding member and lead singer Doug Gray remembers We didn't know what to expect but from the people at the hotel to the crew at the Hammersmith Odeon and finally the sold out crowd all made us feel so welcome we couldn't believe it. It was the same in Scotland with a different accent. When the label and band decided to release the new version of Greatest Hits on vinyl, they had the space to include these three live tracks, recorded in Glasgow, Scotland, and London, England, which have never before been released.
    1. Take The Highway
    2. Blue Ridge Mountian Sky
    3. In My Own Way
    4. Fire On The Mountain
    5. Heard It In A Love Song
    6. Ramblin'
    7. Searchin' For A Rainbow (Single Version)
    8. I Should Have Never Started Lovin' You
    9. 24 Hours At A Time
    10. Long Hard Ride (45 Version)
    11. Can't You See (45 Version)
    12. Too Stubborn
    13. This Ol' Cowboy (Single Version)
    14. Desert Skies
    The Marshall Tucker Band
    $29.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Loose Loose Quick View

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    Loose

    Spank Rock and Benny Blanco do their best 2 Live Crew impression here throwing down raunchy sex rhymes over five booty-shakin' neo-Miami Bass cuts.
    1. Loose dirty
    2. Loose radio
    3. Loose instrumental
    4. Loose acapella
    Spank Rock & Benny Blanco
    $4.99
    Vinyl LP - Sealed Buy Now
  • Tony Bennett At Carnegie Hall Tony Bennett At Carnegie Hall Quick View

    $54.99
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    Tony Bennett At Carnegie Hall


    Live In 1962, Tony Bennett At Carnegie Hall, A Testament To Bennett's Live Vocal Ability!


    Mastered By Ryan Smith At Sterling Sound From The Original Analog 3-track Tapes!


    200-Gram Double LP Plated And Pressed At Quality Record Pressings!


    Deluxe Old School Tip-On Heavyweight Gatefold Jackets By Stoughton Printing


    Featuring Original Studio Photography Expanded And Enhanced!


    This is it, the live, double LP where the magical Tony Bennett created indelible memories! Tony Bennett at Carnegie Hall is the Tony Bennett album to buy for any Bennett fan or those just introduced to his music. And you'll never hear or experience it presented in finer fashion than from this outstanding reissue by Analogue Productions and Quality Record Pressings!


    We've given Tony Bennett at Carnegie Hall the deluxe reissue treatment. Starting with premier mastering by Ryan Smith at Sterling Sound from the original analog tapes. Then plating and presssing by Gary Salstrom and the crew at Quality Record Pressings, where the finest quality LPs in the world are pressed. But it doesn't stop there: We've expanded and enhanced the original studio photography, which was supplied by Sony to our graphic designers. And we've wrapped up the whole package in a deluxe old-school tip-on gatefold jacket from Stoughton Printing!


    Originally recorded in 1962, Tony Bennett at Carnegie Hall is a testament to Bennett's live vocal ability, writes AllMusic.com. Backed by the Ralph Sharon Orchestra, Bennett moves far beyond his standard musical catalogue.


    Along with standards like I Left My Heart in San Francisco and Just in Time, Bennett reached out to create great medleys such as (I Like New York in June) How About You/April in Paris, that automatically become his as soon as they are performed. Altogether there are 30 tracks on the album. Most remarkable is the clarity of the recording of the concert. If not for the tremendous applause of the audience, you could swear that Bennett had recorded each track in the studio. A masterpiece!

    LP 1
    1. Lullaby Of Broadway
    2. Just In Time
    3. All The Things You Are
    4. Stranger In Paradise
    5. Love Is Here To Stay
    6. Climb Ev'ry Mountain
    7. Ol' Man River
    8. It Amazes Me
    9. Firefly
    10. In San Francisco
    11. How About You
    12. April In Paris
    13. Solitude
    14. I'm Just A Lucky So And So


    LP 2
    1. Always
    2. Anything Goes
    3. Blue Velvet
    4. Rags To Riches
    5. Because Of You
    6. What Good Does It Do
    7. Lost In The Stars
    8. One For My Baby
    9. Lazy Afternoon
    10. Sing You Sinners
    11. Love Look Away
    12. Sometimes I'm Happy
    13. My Heart Tells Me
    14. De Glory Road

    Tony Bennett
    $54.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Mwahaha Mwahaha Quick View

    $18.99
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    Mwahaha

    First Time On Vinyl!


    Includes Two Bonus Tracks


    What's in a name? A little over a year ago this question was asked of Mwahaha (Oakland, CA) in regard to both their name, and their self-titled independent debut. The answer? A flurry of accolades, a performance at Warp Records' SXSW showcase, shout outs from NPR & Spin Magazine amongst others, and a tour of the South and the Midwest including 2012's Treefort Festival. All of the attention drew the eye of Plug Research, who
    subsequently signed the band. Now Mwahaha will be re-issued by the label world-wide and will appear for the first tine on vinyl (AT LAST!), complete with new tracks not found on the original release, creating an expanded edition.


    The band consists of Ross Peacock (formerly of Clipd Beaks) and brothers Nathan and Cyrus Tilton (all three were previously in the Bay Area cult band NED). Throbbing ebb and flow, electronic undercurrents and elated pop flourishes characterize the album. Instruments are filtered through an array of analogue synths, analog drum machines exist in harmony with live drums, and other morphing walls of sound and spiraling sonic landscapes, Peacock's lyrics and often times haunting vocals distinctly ground the album.


    The band tracked most of the album at their own studio with Eil Crews (Deerhoof, tUnE-yArDs, WHY?,
    Exray's), who also mixed the album at New and Improved Studios in Oakland, CA. Inspiration was drawn from the tangible energy of the Oakland music scene which continues to burst with new bands and collaborations. Mwahaha took full advantage of this, enlisting friends from other bands to lend drum parts, as well as the singular voice of Merrill Garbus of tUnE-yArDs on one of the album's stand-outs Love. Anticon's Odd Nosdam also provided a notable remix upon the album's original release as well.

    LP1
    1. Swimmer
    2. Rainbow Diamond
    3. Poinsettia
    4. Love (feat. Merril Garbus of tUnE-yArDs)
    5. Lime Tree
    6. We Build


    LP2
    1. Rivers And Their Teeth
    2. Sleep Deep
    3. Bathynomus Gigantes
    4. AMBA (Bonus Track)

    Mwahaha
    $18.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Sweet Home Alabama Live At Rockpalast Sweet Home Alabama Live At Rockpalast Quick View

    $29.99
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    Sweet Home Alabama Live At Rockpalast

    Lynyrd Skynyrd is the ultimate Southern Rock band. Their signature three guitar attack coupled to superb
    songwriting and massive on stage charisma has rightfully earned them a reputation as one of the greatest live
    bands of all time. The original band infamously had their career cut short by a disastrous plane crash in 1977 which
    took the lives of three members plus two of their road crew and seriously injured several others.


    In 1987 the surviving members reformed the band with Johnny Van Zant taking the place of his brother Ronnie. This concert from 1996 captures the band on top form at Rockpalast's Loreley Festival on June 23, 1996.

    LP 1
    1. Workin' For MCA
    2. I Ain't The One
    3. Down South Junkin'
    4. Double Trouble
    5. I Know A Little
    6. Saturday Night Special
    7. Swamp Music
    8. What's Your Name
    9. That Smell


    LP 2
    1. Simple Man
    2. Gimme Three Steps
    3. Call Me The Breeze
    4. Sweet Home Alabama
    5. Free Bird

    Lynyrd Skynyrd
    $29.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Pussy Pussy Quick View

    $4.99
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    Pussy

    Spank Rock and Benny Blanco do their best 2 Live Crew impression here throwing down raunchy sex rhymes over five booty-shakin' neo-Miami Bass cuts.
    1. Pussy dirty
    2. Pussy clean
    3. Pussy instrumental
    4. Pussy acapella
    Spank Rock & Benny Blanco
    $4.99
    Vinyl LP - Sealed Buy Now
  • Deer Tick Vol. 2 (Pre-Order) Deer Tick Vol. 2 (Pre-Order) Quick View

    $19.99
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    Deer Tick Vol. 2 (Pre-Order)

    The best art often challenges widely held preconceptions about performance and beauty.We're moved when we find the sublime in the gross, entranced when crassness collides with grace. It makes poetic sense that one of this practice's finest current purveyors is named after a blood-sucking survivor.

    Deer Tick: undercutting expectations since 2004.

    I think a lot of my favorite artists have always done stuff like that, Deer Tick front man John McCauley says from his home in Nashville, reflecting on his band's love of unexpected mashups: tender lyrics layered over pissed off guitars; classical music flourishes delivered nearly naked and high. Deer Tick's perfected it all, mostly as an outlier, revered by a legion of fans, respected by peers, but not part of any one scene. With their highly anticipated new project(s), two new albums released simultaneously titled Deer Tick Vol. 1 and Deer Tick Vol.2, the crew from Rhode Island prove that their punk-roots rock has only gotten better with age.

    Ambitious and smart, the twin albums complement one another but also stand independently.Vol. 1 is classic Deer Tick: folk-rooted acoustic guitars and soft piano cushion out-front vocals. Vol. 2 commits wholly to the band's longtime garage-rock flirtations for a triumphant foray into punk.

    McCauley sees the two records as a natural progression. I think it's something that wa sbound to happen, just because I've always had one foot in each door, he says. Every album we've put out has had its manic moments in one way or another. I felt good enough about everything that I was writing to think that we could truly separate our two big interests: quiet and loud.

    It's been four years since Deer Tick's last release Negativity, and devotees have grown restless. It wasn't that the band-made up of McCauley, guitarist Ian O'Neil, drummer DennisRyan, and bassist Christopher Ryan-was withholding information. They just weren't sure they had anything more to share. It wasn't anything that we actually talked about, McCauleysays. We never said, 'Hey, we should take a break,' or 'Maybe this isn't working anymore.'We just took some time off. We'd just done our 10-year anniversary shows, and I had a kid like two weeks later. He pauses before adding with a hint of a laugh, We just kind of got comfortable away from each other.

    McCauley, O'Neil, and the two Ryans popped up solo and on others' projects. Personal lives also underwent massive changes, especially for McCauley, who married Vanessa Carlton and became a dad. The couple's little girl is now two years old. For the first time ever, Deer Tick-an all-consuming band known for constant touring and steady artistic output-took a backseat.

    When the band came back together for their beloved after-party shows at the Newport Folk Festival, the reunion reminded them what they missed about creating with one another.Playing that week with the guys made me really want to do it-it made everyone want to do it, McCauley says. So we started making some plans to go in the studio.

    The result, recorded at Ardent Studios in Memphis, Tennessee, is a bold double punch that reminds us not only why Deer Tick has been so missed, but why they've become important artists. The songwriting on both volumes is masterful. McCauley wrote most of the tunes alone, but O'Neil and Dennis Ryan also make killer contributions. Self-aware and never self important,McCauley excels at provocative lyrics that are sometimes confessional, sometimes accusatory. His compositions capture those internal contradictions that define us, like rock and-rollsongs of myself delighting in the multitudes and putting them on display.

    Vol. 1 opener Sea of Clouds is a dreamy mediation on letting go, featuring stripped down instrumentation that swells into a mini-symphony, all anchored by angelic harmonies and McCauley's familiar melodic snarl. It's not the only time McCauley mulls over what it takes to move on. Heart-tugging Only Love mixes sadness and hope for a snapshot of impending loss. I thought, 'Nobody writes a song about that kind of weird, ominous feeling you get inthe final 24 to 48 hours of a relationship,' McCauley says. I wanted to capture that mood in a song.

    Sauntering Card House is a flamenco-soaked threat with grotesque imagery, while lounge readyCocktail is a wry, piano-fueled stroll through fond boozy memories. I guess it's kindof a song about my strange relationship with alcohol-I'm still learning how to deal with it,McCauley says. I'm not a teetotaler. I've tried that. It's not for me. I'm not into the support group thing. I enjoy life with a drink. Trying to keep my life in balance can be hard, but it's something I'm capable of doing now.

    Tricky relationships with drugs and alcohol are addressed in different ways on both volumes.Hushed Vol. 1 closer Rejection pulses with vulnerability. I wrote it about trying to help somebody in some way, McCauley says. What was going through my mind but I didn't say in the lyrics is just reaching your hand out to somebody who's going through substance abuse problems. Vol. 2's Jumpstarting-a favorite track of McCauley's-offers the same kind of lifeline: he shouts startlingly sweet promises over crunchy guitars.

    Look How Clean I Am immediately follows. Written and sung by O'Neil, the song doesn't poke fun at sobriety but offers a droll take down of how some use it as a means or marketing vehicle to further celebrity. It's one of many genuinely funny moments on the project. JumpingS.M.F., (aka Shitty Music Festival) written and delivered by McCauley, takes hilarious shots at a summer institution. I thought I'd write that one for any band who's ever had a bad time at a music festival. It's one of my attempts at humor on the record, but then it just kind of comes off as anger, McCauley says with a laugh.

    McCauley wrote gorgeous instrumental Pulse thinking about the 2016 Orlando nightclub shooting. He lets his piano do the talking. It's a Whale is punk perfection, all screams and growling guitars. That's probably the most political I'll ever get in a song, McCauley says. I tried to put myself in the really dark head space of maybe a men's rights activist or something like that while trying to poke fun at it. His chants of Atta boy! Atta girl! are the ideal blend of smirk-inducing and scary.

    McCauley says he believes Sea of Clouds and It's a Whale probably best capture theextremities of both records. He's right, of course: it's Vol. 1's quiet vs. Vol. 2's loud-Deer Tick's dual personalities, finally channeled onto two distinct and equally brilliant records.These albums represent a new phase of my life that I haven't entirely figured out yet,McCauley says. I don't really know what's going to happen, but that's part of the excitement for me.

    1. Don't Hurt
    2. Jumpstarting
    3. Look How Clean I Am
    4. It's a Whale
    5. Tiny Fortunes
    6. Sloppy
    7. Wants / Needs
    8. S.M.F.
    9. Pulse
    10. Mr. Nothing Gets Worse
    Deer Tick
    $19.99
    Vinyl LP - Sealed PRE-ORDER Buy Now
  • Urbs In Horto Urbs In Horto Quick View

    $22.99
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    Urbs In Horto

    Twin Peaks will be releasing a live double LP they're calling Urbs in Horto. The record features analog recordings from the sold out hometown shows at Metro and Thalia Hall in Chicago on Dec 17+18, 2016. The tracklist includes songs from across the band's three studio records as well as Rolling Stones cover "Dead Flowers" and "What Up Dawg?," a fan favorite by the band's friend James Swanberg. Urbs was recorded by the crew from Treehouse Records and mixed by the band, with album art by the band and concert photos by Daniel Topete and Cooper Fox. The band's own Cadien Lake James had this to say of the retrospective collection:


    We're proud to be releasing Urbs In Horto, a live LP recorded in Chicago. Our live show varies greatly from our recorded output, still retaining the energy we learned in our days playing basements. Our live show has been an important part of our existence, so it felt right to release a record from our homecoming shows at the end of 2016, our 5th year on the road. We're proud to have recorded it live to 2 reel-to-reel tape with the help of our brothers at Treehouse Records and to have it as a show of respect to the city we call home. Urbs In Horto is Chicago's motto, meaning City in a Garden. Record sounds more like a jungle, though.

    1. Butterfly
    2. Flavor
    3. Boomers
    4. Stand in the Sand
    5. Holding Roses
    6. Telephone
    7. Getting Better
    8. Walk to the One You Love
    9. Making Breakfast
    10. Cold Lips
    11. Keep it Together
    12 .Good Lovin'
    13. My Boys
    14. Natural Villain
    15. Stain
    16. Have You Ever?
    17. Wanted You
    18. What Up Dawg?
    19. Dead Flowers
    20. Strawberry Smoothie
    Twin Peaks
    $22.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Alive At Brushy Mountain State Penitentiary Alive At Brushy Mountain State Penitentiary Quick View

    $19.99
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    Alive At Brushy Mountain State Penitentiary

    Until it closed in 2009, Tennessee's Brushy Mountain State Penitentiary was one of the most notorious penal institutions in America. Located in mountainous Petros, it was a forbidding rockpile hewn out of the rough countryside by its own inmates in 1896.


    On Oct. 17, 2001, Mark Collie came to Brushy Mountain with a sheaf of newly written songs about crime and punishment and an all-star band for a pair of performances that were recorded for a live album release. Mostly, though, Collie showed up at Brushy Mountain with a mission.


    God gave me the opportunity to get in there and share something that might make a difference, he says. I believed the songs could matter. I wanted to make something that people could find hope in, or redemption, or restoration, or forgiveness.


    His close friendship with country icon Johnny Cash supplied the principal inspiration for his own prison recording. Collie was well aware of Cash's celebrated 1968-69 live albums recorded at California's Folsom and San Quentin penitentiaries. He also knew the impact that a 1959 performance at the latter facility had on Inmate #A-45200, better known as the legendary country star Merle Haggard. Without Johnny going to San Quentin, Collie says, there might not have been a Merle Haggard. A lot of lives were changed or made better as a result of that music. Collie began writing his own cycle of prison songs.


    A top-flight crew of musicians was assembled, including guitarist Dave Grissom (John Mellencamp, Joe Ely), keyboardist Mike Utley (Jimmy Buffett, the Dixie Flyers), guitarist-mandolinist Tommy Burroughs (Memphis Riverbluff Clan), Collie's longtime accordionist Hassel Tekkle, bassist Willie Weeks (the Rolling Stones, Eric Clapton, B.B. King), drummer Chad Cromwell (Neil Young, Mark Knopfler), and guitarist-fiddler-vocalist and solo star Shawn Camp. Austin-based critics darling Kelly Willis, who takes lead vocals on two tracks, also supplied backup vocals on several numbers; the late Texas blues giant Clarence Gatemouth Brown is the album's other special guest.


    Alive at Brushy Mountain embraces a breadth of American styles - country, blues, gospel, bluegrass, and rock n roll. It largely comprises striking original material, which contemplates the convict's lot with compassion, keen detail, and sometimes boisterous humor.

    LP 1
    1. One More Second Chance
    2. I Could've Gone Right
    3. Maybe Mexico
    4. Heaven Bound (feat. Kelly Willis)
    5. Got A Felling for Ya (feat. Kelly Willis)
    6. On The Day I Die
    7. Dead Man Runs Before He Walks (feat. Shawn Camp)
    8. Rose Covered Garden


    LP 2
    1. Why Me Lord (feat. Kelly Willis)
    2. Do As I Say
    3. Someday My Luck Will Change (feat. Clarence "Gatemouth" Brown)
    4. Folsom Prison Blues
    5. Reckless Companions
    6. Gospel Train (feat. Brushy Mountain Prison Choir)

    Mark Collie & His Reckless Companions
    $19.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Belafonte At Carnegie Hall Belafonte At Carnegie Hall Quick View

    $54.99
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    Belafonte At Carnegie Hall

    Mastered By Ryan Smith At Sterling Sound From The Original 3-Track Analog Tapes


    200-Gram Double LP, Plating By Gary Salstrom, Pressing At Quality Record Pressings!


    Old-School Tip-On Heavyweight Gatefold Jacket By Stoughton Printing


    AllMusic.com writes: The grandaddy of all live albums, this double LP set captures the excitement of a Harry Belafonte concert at the height of his popularity. Sampled from two consecutive performances of identical material, Belafonte at Carnegie Hall was an anomaly at a time when only comedy albums were recorded outside of the studio environment. It wasn't the first live album ever made, but it was certainly the first to be a major financial and artistic success. It stayed on the best-selling album charts for over three years and remained in print until RCA discontinued pressing LPs.


    Well, wait no more if you haven't heard this marvelous record. We've gone all out for this deluxe reissue. Starting with premier mastering by Ryan Smith at Sterling Sound from the original analog tapes. Then plating and presssing by Gary Salstrom and the crew at Quality Record Pressings, where the finest quality LPs in the world are pressed. But it doesn't stop there: We've enhanced the original studio photography and wrapped up the whole package in a deluxe old-school tip-on gatefold jacket from Stoughton Printing!


    Belafonte's mastery in front of an audience was never better displayed than here, a mastery that resulted in him becoming one of the most popular concert draws in history. Producer Bob Bollard and orchestra leader Bob Corman deftly integrated the 47-piece orchestra into the performance but knew when to lie back to let Belafonte sing, accompanied by a small combo of two guitars, bass, and percussion. The concert is divided in three sections: Moods of the American Negro, In the Caribbean, and Around the World. All the hits are here: Day O, Jamaica Farewell, Mama Look a Boo Boo, and others, plus calypso, folk songs, chain gang songs, spirituals, and songs from other lands, representing a veritable best-of package of Belafonte's first decade with RCA Victor.


    From the opening trumpet fanfare and brief orchestral overture to the epic 12-minute version of Matilda (which set a standard for audience participation), the album never lets up. It is exciting, poignant, thrilling, intimate, and at times, spontaneously hilarious. Have a seat, sip a beverage and enjoy!

    Act 1: The Moods of the American Negro
    Introduction - Darlin' Cora
    Sylvie
    Cotton Fields
    John Henry
    Take My Mother Home
    The Marching Saints


    Act 2: In The Caribbean
    Day O
    Jamaica Farewell
    Man Piaba
    All My Trials
    Mama Look A Boo Boo
    Come Back Liza
    Man Smart


    Act 3: Round The World
    Hava Nageela
    Danny Boy
    Cu Cu Ru Cu Cu Paloma
    Shenandoah
    Matilda

    Harry Belafonte
    $54.99
    200 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Under Great White Northern Lights Under Great White Northern Lights Quick View

    $24.99
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    Under Great White Northern Lights

    In the summer of 2007, shortly after the release of their 6th album Icky Thump, The White Stripes headed north of their hometown of Detroit to embark on an ambitious journey across Canada. The plan was to play a show in every province and territory in Canada, from B.C. to Newfoundland to Nunavut. Having never done a tour of Canada, Meg and I thought it was high time to go whole hog, from the ocean to the permafrost explains Jack White. We wanted to play out of the way towns that don't usually get shows, the shows are better, it's better for the people, it's a better experience, it's way more unique, something interesting is going to happen, hopefully.


    White called upon filmmaker Emmett Malloy to come and document this trek for the band. Malloy had directed videos for the band in the past, and seemed eager to hit the road with them. Equipped with a couple of 16mm cameras, and a few other documenting devices, the band and crew all headed north. The end result was Under Great White Northern Lights.


    Under Great White Northern Lights is a visual and emotional feature length film documenting The White Stripes making their way through Canada and culminating with their 10th Anniversary show in Nova Scotia. The film documents the band playing shows all over Canada; from local bowling alleys, to city buses, and onward to the legendary Savoy Theater for the 10th Anniversary show. A show that turned out to be the longest show the band had ever done on stage together.


    The film captures intimate moments of Jack and Meg both on and off stage as they travel through some of the most remote parts of the northern Yukon Territory. Along the way, they have some nice casual conversations about their ten years together, fire cannons, play some of their biggest songs together on stage, and even play a one note show. The cameras were there to capture every waking moment.


    What Northern Lights does best is document one of the biggest bands in the world, playing to local crowds in small towns. Some of these towns were so small that many of the locals had no idea who The White Stripes were, they just knew something big was going on in their town. This forced a band that had been together for a decade to go back to a place reminiscent of the first shows they ever played together. For the first time in a long time, no one knew who they were and they had to make a first impression with their music.


    The live footage captured in this film shows that Jack and Meg were clearly ready for this. Beyond the live footage, some of the films most memorable moments happen off-stage, offering an insightful look into the very private and complex world that is The White Stripes. It was shortly after this tour that The White Stripes cancelled their fall tour of the U.S., making the ten year anniversary a truly pivotal milestone for this legendary band.


    This double 180g vinyl LP set features 16 tracks and serves as the soundtrack to the documentary film of the 2007 Canadian White Stripes tour.

    1. Let's Shake Hands
    2. Black Math
    3. Little Ghost
    4. Blue Orchid
    5. The Union Forever
    6. Ball And Biscuit
    7. Icky Thump
    8. I'm Slowly Turning Into You
    9. Jolene
    10. 300 M.P.H. Torrential Outpour Blues
    11. We Are Going To Be Friends
    12. I Just Don't Know What To Do With Myself
    13. Prickly Thorn, But Sweetly Worn
    14. Fell In Love With A Girl
    15. When I Hear My Name
    16. Seven Nation Army
    The White Stripes
    $24.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • World Boogie Is Coming World Boogie Is Coming Quick View

    $22.99
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    World Boogie Is Coming

    North Mississippi Allstars have announced the release of their record, World Boogie Is Coming. They produced it themselves at their own Zebra Ranch Studios in Hernando, MS, aside from a day in the studio with Robert Plant (and his harmonica) at Memphis' legendary Royal Studios. The Dickinson Brothers did it with the help of long-time friends Duwayne and Garry Burnside, Kenny Brown, Alvin Youngblood, Sharde Thomas (Otha Turner's granddaughter), Chris Chew, Steve Selvidge, Lightnin Malcolm, Plant and others. World Boogie Is Coming is the record that perfectly ties it all together, fusing all the elements that have made the Allstars special while pushing the band's sound further into the future than ever before.


    Luther Dickinson says, "It all started when Seasick Steve told me: 'You are the one, you are the link, you have to keep it primitive and take it to the people.'" He continues, "I feel like I owe it the elders who taught me the traditional music in which I operate to let the music evolve and allow outside modern influences into the tradition to keep it alive and healthy. I realized that I had not been holding up my end of the deal. Since I am virtually devoid of modern influences, I turned to my brother Cody, who is my opposite in taste and style and loves modern music and production. Allowing Cody to produce the tracking sessions allowed me to sing and play wild and with abandon. Our contrasting styles are the heart of NMA."


    Cody has discovered a love of filmmaking and knows that in this day and age you need multi media. He set out to use our landscape of modern day Mississippi and roadwork experiences to share with the audience a vision, a dreamscape of our world. We wanted the World Boogie Is Coming package to have as much visual content as possible, with the record itself being sonically cinematic, a montage of medleys similar to our live shows - the recording fell together beautifully with that intent. We set ambient microphones up around the whole studio - footsteps, rain, wind, talking, bugs and birds all played their part. Archival tapes of Otha and R.L. fell right into the pocket as soon as we transferred them, laughing, joking and jamming with their kids -transcending time and space, life and death."


    "'World boogie is coming' was my father's favorite valediction," says Cody. "Naming this record after his closing phrase seemed like a great way to honor him and his memory. World boogie is coming is also a rallying cry. And the cry is this: It's time to boogie!"


    This record represents two years of our collective lives," he continues. "Luther, myself and our crew touring the world and doing what we do best: Bringing our music straight to the people. World Boogie Is Coming documents that journey and narrative. The story tells itself. We set out to make a definitive and decisive record. It turned into the experience of a lifetime; our magnum opus. It is cinematic by design and infectious by nature, so sit back, relax and enjoy. Let's get large and have a good time."


    - Glide Magazine

    1. Cuttin' Shorty
    2. Rollin 'n Tumblin
    3. Boogie
    4. Get the Snakes Out of the Woods
    5. Snake Drive
    6. That Dog After That Rabbit
    7. Meet Me In The City
    8. Turn Up Satan
    9. Shimmy
    10. My Babe
    11. Granny Does Your Dog Bite
    12. World Boogie
    13. Goin' to Brownsville
    14. JR
    15. I'm Leaving
    16. Jumper on the Line
    North Mississippi Allstars
    $22.99
    Vinyl LP - Sealed Buy Now
  • Eyehategod (Awaiting Repress) Eyehategod (Awaiting Repress) Quick View

    $19.99
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    Eyehategod (Awaiting Repress)

    Legendary New Orleans gods of sludge, excess and mayhem EYEHATEGOD release their new, self-titled album.


    Mixed by Sanford Parker, Eyehategod will feature the final recordings of EYEHATEGOD drummer Joey LaCaze, who passed away last August of respiratory failure. He also suffered from severe long-term asthma. He has since been replaced by Aaron Hill, who comes by way of New Orleans' local acts MISSING MONUMENTS and MOUNTAIN OF WIZARD.


    In a recent interview with NPR, EYEHATEGOD frontman Mike IX Williams stated about the band's forthcoming album: We started out the recording with Billy Anderson. He recorded the drums, bass and some guitar, but that was a mess. There was a documentary crew in there filming, and it was distracting away from our time recording. Jimmy [Bower, guitar] was having a couple problems at the time too, waiting for his kid to be born, so it was a weird time to be in the studio. We ended up using just Joey's drum tracks from Billy. He's awesome - I love him and there's no hard feelings, but we just wanted to finish it somewhere else. We got Steve Berrigan to come out to where I live two hours outside of NOLA, and redid the bass and the guitars. Phil Anselmo [PANTERA, DOWN] gave me some ideas for the vocals, like how we did the ARSON ANTHEM record; me and him work well together.


    Asked if EYEHATEGOD ever considered giving up following Joey's passing, Mike said: It was never an option as far as I'm concerned. I don't think it was for anybody else either.


    This all happened at the end of September, when we'd just gotten back from a six-week tour of Europe. He's had pretty bad asthma ever since I've known him, and in Europe he was having these weird sleep apnea things when he was sleeping. It was a breathing issue, a respiratory thing, but I don't know; I'm not a doctor. So when we got back, that's when he passed away, so there was a little bit of time in there when we had to think - 'We've got shows booked. What do we do?' We did have to cancel probably 50% of them, but we still just said, 'Let's keep going, that's what he would want us to do.' We'd even had conversations before, when Joey and I would talk, and he'd ask me, 'Who would you get to replace me?' Things like that, and just be honest with each other. He knew the band would keep going, and he wanted it to.


    To me, it's just part of life; it's just the way things happen, what cards you're dealt, how life treats you.


    We don't know how to give up. That's been the story of our entire career, our lives, even without the band. We just don't know when to quit. It's just a matter of moving forward.


    - Blabbermouth

    1. Agitation! Propaganda!
    2. Trying to Crack the Hard Dollar
    3. Parish Motel Sickness
    4. Quitter's Offensive
    5. Nobody Told Me
    6. Worthless Rescue
    7. Framed to the Wall
    8. Robitussin and Rejection
    9. Flags and Cities Bound
    10. Medicine Noose
    11. The Age of Bootcamp
    Eyehategod
    $19.99
    Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • Today! (Mono) Today! (Mono) Quick View

    $34.99
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    Today! (Mono)

    33 1/3 RPM Mono Mixes Created Under Brian Wilson's Supervision


    Audio Production - Mark Linett


    For Brother Records - Elliott Lott


    Mastered By Kevin Gray At Cohearent Audio, Most From The Original Master Tapes Or Best Sources Available


    Lacquer Plating By Gary Salstrom And 200-Gram Vinyl Pressing By Quality Record Pressings


    To meet the standards of Analogue Productions, our Beach Boys album reissues had a mission to achieve: Present the band's music the way that Brian Wilson - famed co-founder, songwriter and arranger - intended. Mono mixes created under Wilson's supervision were how the surf rockin' California crew rose to fame! And we've got 'em!


    For the early part of the Beach Boys career, all of their singles were mixed and mastered and released only in the mono format - they didn't release a single in stereo until 1968. In those days, hits were made on AM radio in mono. And the mono of those times worked well for Wilson, who suffers from partial deafness. Still, apart from Surfin' Safari, which was mono only, the Beach Boys did turn in stereo masters on all of their early albums up until 1965. The Beach Boys Today! was the first LP for which they only delivered a mono master.


    We've taken 10 of the most classic, best-sounding Beach Boy titles ever and restored them to their mono glory!


    But there's no disputing that the close harmonies and one-of-a-kind rhythms of hits like "Surfer Girl," "In My Room," "Little Deuce Coupe" and more lend themseleves naturally to stereo. So we've got your 2-channel needs covered with prime stereo mix versions as well.


    Mastered by Kevin Gray, most from the original master tapes, and plated and pressed by Quality Record Pressings, the finest LP pressing facility in the world, these are awesome recordings to experience. And the look of each album befits its sonic superiority! Presented in old school Stoughton tip-on jackets, these time honored favorites shine brighter than the originals!


    Put simply, this is the Beach Boys at their mid-'60s prime. Ironically, the band's greatest evolutionary leap was spurred by its leader, Brian Wilson, who decided to drop out of the band's live performances after a December 1964 nervous breakdown to concentrate on honing the Beach Boys' studio sound. With Wilson's productions gaining a significant new depth and confidence (note the innovative modulations on 'Dance, Dance, Dance'), the first half of Today seems a logical, upbeat step forward from its predecessors. But it's the album's second act that steals the show, setting the stage for the triumph of Pet Sounds. Indeed, it's easy to imagine gorgeous, introspective tracks such as 'Please Let Me Wonder,' 'She Knows Me Too Well,' and 'In the Back of My Mind' intertwined with the best of Sounds. - Amazon.com

    1. Do You Wanna Dance?
    2. Good To My Baby
    3. Don't Hurt My Little Sister
    4. When I Grow Up
    5. Help Me, Ronda
    6. Dance, Dance, Dance
    7. Please Let Me Wonder
    8. I'm So Young
    9. Kiss Me, Baby
    10. She Knows Me Too Well
    11. In The Back Of My Mind
    12. Bull Sessions With The "Big Daddy"
    Beach Boys
    $34.99
    200 Gram Audiophile Virgin Vinyl LP Mono - Sealed Buy Now
  • Gold: Their Great Hits (Pre-Order) Gold: Their Great Hits (Pre-Order) Quick View

    $34.99
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    Gold: Their Great Hits (Pre-Order)


    Single 33 1/3 RPM LP Includes Poster Insert


    Gatefold Jacket


    Mastering By Kevin Gray At Cohearent Audio


    Mastered From The Original Analog Tapes


    200-Gram Plating And Pressing By Quality Record Pressings


    Get your motor runnin' baby - Steppenwolf's Gold: Their Great Hits took its title literally. The towering rock album success rang in at No. 24 on the Billboard Pop Albums chart and became certified gold for record sales in excess of 500,000 units by the Record Industry Association of America (RIAA) in April 1971.


    AllMusic praised the production and engineering of most of the tracks and called it a nearly perfect introduction to the band. Acoustic Sounds and Analogue Productions want to introduce you to the most sonically perfect version of this historic album you've ever heard on vinyl. Our 200-gram 33 1/3 RPM reissue was remastered from the original analog tapes by Kevin Gray at Cohearent Sound and plated and pressed by Gary Salstrom and his crew at Quality Record Pressings, makers of the world's finest-sounding LPs.


    The Canadian-American rock band, named for Hermann Hesse's mystical novel, rocketed to worldwide fame after their third single Born to Be Wild dropped in 1968. The song and Steppenwolf's version of Hoyt Axton's The Pusher figured prominently in the 1969 counterculture cult film Easy Rider, and both show up on Gold's track list. Two other singles on this stunning album compilation also cracked the Top 10 on the charts: Magic Carpet Ride and Rock Me.


    Magic Carpet Ride was released in 1968 on the album The Second. It was written by band members John Kay and Rushton Moreve, peaked at No. 3 in the U.S. and stayed on the charts for 16 weeks, longer than any other Steppenwolf song.


    You also get the Don Covay soul cover Sookie, Sookie, which got airplay on some soul stations nationwide, as well as rock 'n' roll radio. Gold also includes Hey Lawdy Mama the hit studio single from Steppenwolf Live.


    Steppenwolf enjoyed worldwide success from 1968 to 1972, when clashing personalities ultimately broke up the core group after a farewell concert in Los Angeles on Valentine's Day, 1972. Today, John Kay remains as the only original Steppenwolf member.

    1. Born to Be Wild
    2. It's Never Too Late
    3. Rock Me
    4. Hey Lawdy Mama
    5. Move Over
    6. Who Needs Ya
    7. Magic Carpet Ride
    8. The Pusher
    9. Sookie, Sookie
    10. Jupiter's Child
    11. Screaming Night Hog
    Steppenwolf
    $34.99
    200 Gram Audiophile Virgin Vinyl LP - Sealed PRE-ORDER Buy Now
  • I Can Spin A Rainbow I Can Spin A Rainbow Quick View

    $32.99
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    I Can Spin A Rainbow

    I CAN SPIN A RAINBOW is the fulfillment of a lifelong dream for Amanda Palmer, an avowed fan of Edward Ka-Spel and the Legendary Pink Dots since discovering their psycho-theatrical, multi-textural work in her teens. As noted in her best-selling 2014 memoir, The Art of Asking, the LPD have long been an inspiration to Palmer, their deeply connected relationship with fans as important to her life and work as their fearless autonomy and impossible-to-pigeonhole musical approach.


    The two musicians first met in 1992 when Palmer, then 16, attended a Legendary Pink Dots show in her hometown of Boston. In 1995, having found that the Pink Dots were looking for lodging with fans to save money on the road, Palmer hosted five members of the band and crew at her childhood home. Ten years later, Palmer's internationally acclaimed punk cabaret duo, The Dresden Dolls, had achieved enough success that they were able to invite the Dots to support them on a German tour, and it was then that Palmer and Ka-Spel vowed to carve out time to collaborate on an original recording. A decade passed and in July 2015 a very pregnant Palmer flew to London to start the long-discussed project but was informed on the first day of recording that her dear friend Anthony was losing his battle with cancer and had been given less than a week to live. Heartbroken, she assured Ka-Spel she would be back within the year. Indeed Palmer made good on her promise, returning in the spring of 2016 with her eight-month-old son, Anthony, in tow.


    Palmer and Ka-Spel's search for a London recording studio was interrupted by an incredibly generous offer from Palmer's friend Imogen Heap, who suggested they make use of her Essex home recording studio, The Hideaway, conveniently located near Ka-Spel's own home in Hornchurch. With Palmer traveling between London, Hornchurch, and Heap's home studio, the pair spent just under a month composing and cutting an album entirely from scratch.


    Recorded largely on Ka-Spel's computer, I CAN SPIN A RAINBOW is a truly collaborative effort, "a spiritual experience," says Palmer, in which both artists' stories, song fragments, poems, and lyrics became wholly meshed with loops, melancholy piano playing, melodic beds, and strange rhythms. The results range from the enchantingly minimal "The Clock at the Back of the Cage" and the album-opening "Pulp Fiction," mysterious and strange with a luxurious theatricality that conjures both of its creators' prior oeuvres while also opening a curtain into a heretofore unheard shared sonic world. Sensing the need for strings, the pair enlisted frequent LPD collaborator Patrick Q Wright, who contributed violin tracks from his studio in Italy. Alexis Michallek, Heap's longtime studio assistant, contributes singing saw to "Beyond The Beach."


    "We merged our songwriting heads and poetic worlds to make a new universe," Palmer says. "We would sit in Imogen's house drinking cups of tea, bemoaning the state of the upcoming election, binge drinking in the UK, the refugee crisis, our internet addictions, frightening news we had read, our relationships and then we'd compost all of the ingredients of our fears and conversations into song form. The Rainbow metaphor - which is also a nod to the 'spinning beach ball of death' on a Mac - was a wide-open image that kept popping up as a recurring theme on the record. It's both dark and light at the same time. To me, the songs are simultaneously frightening and comforting, like a thunderstorm heard from a living room."


    "Making this record with Amanda felt a little like discovering a twin you didn't know you had," says Ka-Spel, "until a mysterious email lands in your inbox at a particularly auspicious moment. Some things are just meant to be "

    1. Pulp Fiction
    2. Shahla's Missing Page
    3. The Shock of Kontakt
    4. Beyond The Beach
    5. The Clock at the Back of the Cage
    6. The Changing Room
    7. The Jack of Hands
    8. Prithee: Liquidation Day
    9. Rainbow's End
    10. The Sun Still Shines
    11. Subway
    Amanda Palmer and Edward Ka-Spel
    $32.99
    Vinyl LP - Sealed Buy Now
  • Deer Tick Vol. 1 (Pre-Order) Deer Tick Vol. 1 (Pre-Order) Quick View

    $19.99
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    Deer Tick Vol. 1 (Pre-Order)

    The best art often challenges widely held preconceptions about performance and beauty.We're moved when we find the sublime in the gross, entranced when crassness collides with grace. It makes poetic sense that one of this practice's finest current purveyors is named after a blood-sucking survivor.

    Deer Tick: undercutting expectations since 2004.

    I think a lot of my favorite artists have always done stuff like that, Deer Tick front man John McCauley says from his home in Nashville, reflecting on his band's love of unexpected mashups: tender lyrics layered over pissed off guitars; classical music flourishes delivered nearly naked and high. Deer Tick's perfected it all, mostly as an outlier, revered by a legion of fans, respected by peers, but not part of any one scene. With their highly anticipated new project(s), two new albums released simultaneously titled Deer Tick Vol. 1 and Deer Tick Vol.2, the crew from Rhode Island prove that their punk-roots rock has only gotten better with age.

    Ambitious and smart, the twin albums complement one another but also stand independently.Vol. 1 is classic Deer Tick: folk-rooted acoustic guitars and soft piano cushion out-front vocals. Vol. 2 commits wholly to the band's longtime garage-rock flirtations for a triumphant foray into punk.

    McCauley sees the two records as a natural progression. I think it's something that was bound to happen, just because I've always had one foot in each door, he says. Every album we've put out has had its manic moments in one way or another. I felt good enough about everything that I was writing to think that we could truly separate our two big interests: quiet and loud.

    It's been four years since Deer Tick's last release Negativity, and devotees have grown restless. It wasn't that the band-made up of McCauley, guitarist Ian O'Neil, drummer Dennis Ryan, and bassist Christopher Ryan-was withholding information. They just weren't sure they had anything more to share. It wasn't anything that we actually talked about, McCauley says. We never said, 'Hey, we should take a break,' or 'Maybe this isn't working anymore.'We just took some time off. We'd just done our 10-year anniversary shows, and I had a kid like two weeks later. He pauses before adding with a hint of a laugh, We just kind of got comfortable away from each other.

    McCauley, O'Neil, and the two Ryans popped up solo and on others' projects. Personal lives also underwent massive changes, especially for McCauley, who married Vanessa Carlton and became a dad. The couple's little girl is now two years old. For the first time ever, Deer Tick-an all-consuming band known for constant touring and steady artistic output-took a backseat.

    When the band came back together for their beloved after-party shows at the Newport Folk Festival, the reunion reminded them what they missed about creating with one another.Playing that week with the guys made me really want to do it-it made everyone want to do it, McCauley says. So we started making some plans to go in the studio.

    The result, recorded at Ardent Studios in Memphis, Tennessee, is a bold double punch that reminds us not only why Deer Tick has been so missed, but why they've become important artists. The songwriting on both volumes is masterful. McCauley wrote most of the tunes alone, but O'Neil and Dennis Ryan also make killer contributions. Self-aware and never self important,McCauley excels at provocative lyrics that are sometimes confessional, sometimes accusatory. His compositions capture those internal contradictions that define us, like rock and-rollsongs of myself delighting in the multitudes and putting them on display.

    Vol. 1 opener Sea of Clouds is a dreamy mediation on letting go, featuring stripped down instrumentation that swells into a mini-symphony, all anchored by angelic harmonies and McCauley's familiar melodic snarl. It's not the only time McCauley mulls over what it takes to move on. Heart-tugging Only Love mixes sadness and hope for a snapshot of impending loss. I thought, 'Nobody writes a song about that kind of weird, ominous feeling you get in the final 24 to 48 hours of a relationship,' McCauley says. I wanted to capture that mood ina song.

    Sauntering Card House is a flamenco-soaked threat with grotesque imagery, while lounge readyCocktail is a wry, piano-fueled stroll through fond boozy memories. I guess it's kind of a song about my strange relationship with alcohol-I'm still learning how to deal with it,McCauley says. I'm not a teetotaler. I've tried that. It's not for me. I'm not into the support group thing. I enjoy life with a drink. Trying to keep my life in balance can be hard, but it's something I'm capable of doing now.

    Tricky relationships with drugs and alcohol are addressed in different ways on both volumes.Hushed Vol. 1 closer Rejection pulses with vulnerability. I wrote it about trying to help somebody in some way, McCauley says. What was going through my mind but I didn't sayin the lyrics is just reaching your hand out to somebody who's going through substance abuse problems. Vol. 2's Jumpstarting-a favorite track of McCauley's-offers the same kind of lifeline: he shouts startlingly sweet promises over crunchy guitars.

    Look How Clean I Am immediately follows. Written and sung by O'Neil, the song doesn't poke fun at sobriety but offers a droll takedown of how some use it as a means or marketing vehicle to further celebrity. It's one of many genuinely funny moments on the project. JumpingS.M.F., (aka Shitty Music Festival) written and delivered by McCauley, takes hilarious shots at a summer institution. I thought I'd write that one for any band who's ever had a bad time ata music festival. It's one of my attempts at humor on the record, but then it just kind of comes off as anger, McCauley says with a laugh.

    McCauley wrote gorgeous instrumental Pulse thinking about the 2016 Orlando nightclub shooting. He lets his piano do the talking. It's a Whale is punk perfection, all screams and growling guitars. That's probably the most political I'll ever get in a song, McCauley says. I tried to put myself in the really dark headspace of maybe a men's rights activist or something like that while trying to poke fun at it. His chants of Atta boy! Atta girl! are the ideal blend of smirk-inducing and scary.

    McCauley says he believes Sea of Clouds and It's a Whale probably best capture theextremities of both records. He's right, of course: it's Vol. 1's quiet vs. Vol. 2's loud-Deer Tick's dual personalities, finally channeled onto two distinct and equally brilliant records.These albums represent a new phase of my life that I haven't entirely figured out yet,McCauley says. I don't really know what's going to happen, but that's part of the excitement for me.

    1. Half Believing (By The Black Angels)
    2. Card House
    3. Doomed From The Start
    4. Hope Is Big
    5. Only Love
    6. Cocktail
    7. Me And My Man
    8. End Of The World
    9. Limp Right Back
    10. Rejection
    Deer Tick
    $19.99
    Vinyl LP - Sealed PRE-ORDER Buy Now
  • All Mitch Ryder Hits! All Mitch Ryder Hits! Quick View

    $29.99
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    All Mitch Ryder Hits!

    As a very talented teenager playing in rock and soul bands across the Detroit area, future rock and roll legend Mitch Ryder was soon discovered by mega producer and label owner Bob Crewe (Frankie Valli & The Four Seasons). Having a knack for producing and writing many hit records, in 1966 Crewe recorded Mitch Ryder & The Detroit Wheels in the studio and cut what many believe to be one of the first rock meets blue eyed soul albums with the Take A Ride, which of course featured their first chart topper Jenny Take A Ride. From this moment on, the Mitch Ryder persona was born, becoming a hero to many rock and roll fans throughout the world.


    Mitch Ryders numerous appearances on national television shows, the concert circuit and continual airplay on all his records made him a fixture on the music charts. His next number of hit singles and albums truly impacted the way a lot of us listen to music to this day. The two and a half to three minute anthems like Devil With a Blue Dress On/Good Golly Miss Molly, Too Many Fish in the Sea/Three Little Fishes and the near riot pandemonium of Sock It to Me-Baby have all truly stood the test of time.


    Noting all of the chart successes and sales of the Mitch Ryder name brand, the good folks at New Voice Records honored this famed artist with his own greatest hits album, the magnificent All Mitch Ryder Hits in 1968. This original album has been out of print for many years and for several decades in the vinyl format, that is until now.


    Friday Music is proud to offer the original New Voice Records masterpiece, the All Mitch Ryder Hits for the first time on 180 Gram Audiophile Vinyl. Mastered impeccably from the original New Voice stereo tapes by Joe Reagoso at Friday Music Studios and at Capitol Records in Hollywood, California, this amazing album truly sounds incredible in the audiophile vinyl domain. It is also the first installment in Friday Music's Mitch Ryder Original Recording Masters series, which will feature ongoing reissues from his classic and most important recordings from the classic rock era.


    This greatest hits album features all of the Mitch Ryder & The Detroit Wheels original hit recordings mentioned above as well as more killer workouts like Little Latin Lupe Lu, Joy, Breakout, Id Rather Go to Jail and a super soul interpretation of Wilson Picketts classic In the Midnight Hour.


    Friday Music has also included the original rare album cover artwork featuring the hip full color live front cover photo and the live concert action shots on the back cover. Their All Mitch Ryder Hits LP also includes a poly bag to protect your album cover and a poly lined vinyl sleeve to protect your 180 Gram vinyl.


    1. Devil With a Blue Dress On/Good Golly Miss Molly
    2. Jenny Take a Ride
    3. Joy
    4. Breakout
    5. In the Midnight Hour
    6. Sock It To Me, Baby!
    7. Little Latin Lupe Lu
    8. Takin' All I Can Get
    9. Too Many Fish In the Sea/Three Little Fishes
    10. I'd Rather Go To Jail
    11. Shake a Tail Feather
    Mitch Ryder
    $29.99
    180 Gram Audiophile Virgin Vinyl LP Buy Now
  • The Journey Man The Journey Man Quick View

    $35.99
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    The Journey Man

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


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


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


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


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


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


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


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


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


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


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


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


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


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


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


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


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


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


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


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


    - Tim Barr, 2017

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


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


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

    Goldie
    $35.99
    Vinyl LP - 3 LPs Sealed Buy Now
  • Save For A Rainy Day Save For A Rainy Day Quick View

    $36.99
    Buy Now
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    Save For A Rainy Day

    When Jan Berry lived out the lyrics to Deadman's Curve in 1966 and wound up in a coma, his partner, Dean Torrence, kept the duo's name alive. Helped out by friends from Phil Spector's Wrecking Crew, Dean cut this sparkling little mini-masterpeice, shing as the raindrops beading up on the top of a Grand Prix.
    1. Yellow Balloon
    2. Here Comes The Rain
    3. Pocket Full Of Rainbows
    4. When Sunny Gets Blue
    5. Like A Summer Rain

    6. Raindrops
    7. Rain On The Roof
    8. Cryin' In The Rain
    9. Taste Of Rain
    10. Save For A Rainy Day Theme


    Bonus tracks:
    11. Yellow Balloon (ver. two - stereo)
    12. Taste Of Rain (ver. two - stereo)
    13. Here Comes The Rain (stereo)
    14. Lullaby In The Rain (California Lullaby) (stereo)
    15. Yellow Balloon (ver. one - stereo)
    16. Taste Of Rain (ver. one - stereo)
    17. Rain Clouds Long Gone(instr. track - mono - prev. unissued)
    18. When Sunny Gets Blue (instr. track - stereo - prev. unissued)
    19. Pocket Full Of Rainbows (stereo ver.)
    20. Rain On The Roof (stereo ver.)
    21. Yellow Balloon (instr. ver. two - stereo - prev. unissued)
    22. Taste Of Rain (instr. track - stereo - prev. unissued)
    23. Save For A Rainy Day Theme (stereo ver.)

    Jan & Dean
    $36.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Changing Light Changing Light Quick View

    $18.99
    Buy Now
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    Changing Light

    On her fifth solo album, Mirah breaks it down and builds it back up
    again with the street smarts that only years behind the wheel of
    love can inspire.  Ready with the maps and driven to the rhythms
    on the radio dial, Changing Light's ten songs carry us from
    heartbreak to wholeness and all the places in between.
      


    Uprooted from her home after a scorching break-up, Mirah spent
    four years rambling and recording. Tracks were laid down in almost
    two dozen houses and apartments - from the Northwest to
    Southern California to the East Coast. Sparse demos were
    recorded with co-producer Christopher Doulgeris in Portland and
    Los Angeles. Embellishments were then added by a slew of friends
    and collaborators, including Greg Saunier (Deerhoof), Mary
    Timony, Emily Wells, and Heather McEntire (Mount Moriah). In
    Philadelphia, Mirah and her sister Emily Zeitlyn (Divers) penned
    "LC," an homage to childhood inspiration Leonard Cohen.
    Seattle-based composer Jherek Bischoff drew up intricate string
    arrangements which were recorded in the living rooms of each
    individual player. And Tune-Yards producer Eli Crews
    co-produced several tracks with Mirah in her new hometown of
    Brooklyn, New York.


    Changing Light's reassuring compass is found in Mirah's
    shimmering vocals and incisive descriptions.  There is yearning
    ("Gold Rush" and "Fleetfoot Ghost") and hot anger ("Goat
    Shepherd"), but no shortage of lyrical and musical playfulness. 
    Whether it be the T. Rex-inspired rough edges of "Radiomind,"
    the rollicking lo-fi bang-and-pop of "Goat Shepherd," or the lush
    pop balladry of "Turned the Heat Off," the album corrals string
    sections and vintage synths with horns, a multitude of guitar tones
    and overdriven drums. With calm and clamor, Mirah brings us all
    closer together through her universal honesty and occasional use
    of the vocoder.


    "It's a break-up record. It has some moments of darkness, some
    twists and turns , but ultimately, there's a resolution," says Mirah. 
    So much can happen in four years, even forgiveness"


    While Mirah has been making independent pop records for well
    over a decade, Changing Light is the debut release on her new
    imprint, Absolute Magnitude Recordings.

    1. Goat Shepherd
    2. Oxen Hope
    3. Turned the Heat Off
    4. Gold Rush
    5. Fleetfoot Ghost
    6. I am the Garden
    7. No Direction Home
    8. 24th St
    9. LC
    10. Radiomind
    Mirah
    $18.99
    Vinyl LP - Sealed Buy Now
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