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  • ...And Justice For All ...And Justice For All Quick View

    $24.99
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    ...And Justice For All

    Metallica's 1988 release, ...And Justice For All was the thrash metal giants' commercial breakthrough. It was their first album to reach the Top 10 (#6), first to earn a Top 40 single (One) and first to win a Grammy Award (One). ...And Justice For All went platinum in 9 weeks and today is certified eight times platinum in the U.S. alone. The album was also the band's first without original bassist Cliff Burton who passed away in 1986 when the band's tour bus overturned in Sweden while the band was on tour promoting Master of Puppets.
    1. The Shortest Straw
    2. Blackened
    3. To Live Is To Die
    4. Eye Of The Beholder
    5. And Justice For All
    6. Dyers Eve
    7. One
    8. Harvester Of Sorrow
    9. The Frayed Ends Of Sanity
    Metallica
    $24.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Goddamage (On Sale) Goddamage (On Sale) On Sale Quick View

    $19.99 $15.79 Save $4.20 (21%)

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    Goddamage (On Sale)

    Deluxe Edition

    Now that the mighty Coliseum have successfully completed their metamorphosis from breakneck thrash-punk to sublimely melodic death marchers, what better time than now to revisit their most iconic record and do it the justice that it has so deserved since its original release over 5 years ago.



    Goddamage has stood as Coliseums benchmark for much of their career, and for good reason. The combination of chugging hooks and turbo-charged riffs is an addictive rush that sounds as vital now as the day it was first unleashed. Out of print and increasingly difficult to find, the time for a reissue is well overdue.



    Goddamage is given the royal treatment here with the addition of ten bonus tracks, most of which are previously unreleased, more than doubling the length of the original Goddamage release. Included are all three tracks from their 2005 split EP with Doomriders, plus seven live tracks from a Los Angeles show that same year, all remastered from the original master tapes.



    Packaged in a breathtaking metallic gold triple-gatefold jacket that spreads out to a whopping 3 feet in length, the original Goddamage artwork is augmented by previously unreleased images and live photos. Goddamage is the perfect display of where Coliseum came from, and a shining example of why they are one of underground rocks most inspiring bands.

    1. Year of the Pig
    2. Theme
    3. Miracle Cure
    4. Dehumanize
    5. Turn To Dust
    6. Reborn To Hang
    7. Head Down & Burn
    8. Set It Straight
    9. American Machine
    10. Ride On Death Riders
    11. Am I Demon
    12. Children of Our Own Creation (Live)
    13. Miracle Cure (Live)
    14. Give Up and Drive (Live)
    15. No Salvation (Live)
    16. Turn To Dust (Live)
    17. Set It Straight (Live)
    18. Claim Control (Live)
    Coliseum
    $19.99 $15.79 Save $4.20 (21%)
    Vinyl LP - Sealed Buy Now
  • ...And Justice For Y'all ...And Justice For Y'all Quick View

    $21.99
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    ...And Justice For Y'all

    The South will smoke again. The Bible Belt state of North Carolina, USA seems a fertile ground for hemp and stoner rock. When cult sludge act BUZZOV•EN called it a day, bass player Dave Dixie Collins teamed up with guitarist Dave Shep Shepherd and founded WEEDEATER in the harbor town of Wilmington about the year 1998. Their crushing and massive first full-length and Justice for Y'all created an immediate buzz, while critics were struggling to put a tag on their sound. Nearly everybody agreed that stoner rock, doom, sludge and some crusty elements were part of the mix, which the band simply calls weed metal. The debut was produced by renowned engineer Billy Anderson (EYEHATEGOD, NEUROSIS) as well as sophomore album Sixteen Tons (2002). WEEDEATER went out to perform live with CORROSION OF CONFORMITY and ALABAMA THUNDERPUSSY among others. After some detours of Dixie Dave, who played shortly with BONGZILLA and SOURVEIN, the third album God Luck and Good Speed hit the world in 2007 and shifted the band's focus slightly towards the stoner side. The latest full-length Jason the Dragon got delayed when guitarist Shep lost a toe due to an incident with his favourite shotgun. When the sludge driven album finally came out in 2011 shows in the US and Europe cemented the band's reputation as a fierce live entity. For the next release WEEDEATER have signed up with Season of Mist, which will reissue the complete back catalogue. Remastered and presented with its original artwork, And Justice for Y'all will also be available on vinyl for the first time. Time to lean back and get high on this WEEDEATER cult classic!
    1. Tuesday Night
    2. Monkey Junction
    3. Free
    4. Hungry Jack
    5. Shitfire
    6. Calico
    7. Truck Drivin' Man
    8. Southern Cross
    9. #86
    10. Bucket
    Weedeater
    $21.99
    Vinyl LP - Sealed Buy Now
  • Justice (Awaiting Repress) Justice (Awaiting Repress) Quick View

    $24.99
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    Justice (Awaiting Repress)

    Bobby Ingram, brain, guitarist and main songwriter of American Southern rock act Molly Hatchet, the term 'justice' is more than just a word. To him, this basic concept expresses his whole philosophy of life. Justice, fairness, trust between friends, family members, parents and their children: what could be more important? Molly Hatchet live this maxim, to them this solemn promise applies not only within the international Southern rock community, but also to their music and its impact on their fans.


    A dozen haunting rock numbers prove that Molly Hatchet are justly considered to be on a par with legends such as Lynyrd Skynyrd and the Allman Brothers. Justice is marked by hot Southern rock that could hardly be more powerful and diverse. Almost every single track signals its musical and thematic direction. Producer Ingram is responsible for the awesome sound, supported by sound engineer Tommy Newton, who mixed the album. "I wanted a warm, natural sound, which you only get with an analog mixing desk," Ingram explains his decision in favor of Newton and his Area 51 studio.


    And so Justice has turned into an album that impresses at all levels: earthy, dynamic, with a lot of love for detail and loads of energy. One could say it's Molly Hatchet at their best!

    1. Justice


    2. American Pride

    3. Vengence

    4. Sacred Ground

    5. Deep Water

    6. Fly On Wings Of Angels

    7. As Heaven Is Forever

    8. I'm Gonna Live Till I Die

    9. Darkness Of The Night

    10. Safe In My Skin

    11. To Heaven To Hell

    12. Tomorrows And Forevers
    Molly Hatchet
    $24.99
    Vinyl LP - 2 LPs Sealed AWAITING REPRESS Buy Now
  • West Of Memphis: Voices For Justice West Of Memphis: Voices For Justice Quick View

    $34.99
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    West Of Memphis: Voices For Justice

    The avalanche of emotions experienced after seeing the highly regarded documentary West Of Memphis quickly leads to perhaps the most primal impulse of all: "Act. Do something. Do anything." It's in this spirit that West of Memphis: Voices For Justice has been created. In every instance, the artists involved have made the decision about which song they felt reected their personal feelings about the case of the West Memphis 3. There's a connection between the music and the man remaining at its center, Damien Echols. This compilation features music from Eddie Vedder, Natalie Maines, Lucinda Williams, Patti Smith and more.
    LP 1
    1. Damien Echols Death Row Letter, Year 9 - Henry Rollins (feat. Nick Cave & Warren Ellis Original Score)
    2. Mother - Natalie Maines
    3. Joy - Lucinda Williams
    4. The Jean Genie - Camp Freddy
    5. Little Lion Man - Tonto's Giant Nuts (feat. Johnny Depp and Bruce Witkin)
    6. You're So Vain - Marilyn Manson
    7. Dumpster World (Live) - Band Of Horses


    LP 2
    1. DFW - Citizen Cope
    2. Satellite - Eddie Vedder
    3. Anything Made Of Paper - Bill Carter
    4. House Of Pain - The White Buffalo
    5. Ring Them Bells - Bob Dylan
    6. Score Suite - Nick Cave & Warren Ellis
    7. Damien Echols Death Row Letter - Tonto's Giant Nuts (feat. Johnny Depp, Nick Cave & Warren Ellis Score)
    8. Wing (Live) - Patti Smith

    Various Artists
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • If All I Was Was Black (Pre-Order) If All I Was Was Black (Pre-Order) Quick View

    $21.99
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    If All I Was Was Black (Pre-Order)

    "Mavis has done it all and worked with
    just about everybody from Bob Dylan to
    Prince to Jeff Tweedy She still is singing
    for justice and equality and influencing a
    new generation of musicians and fans."
    - President Barack Obama


    A voice of reassurance in troubled times." - Chicago Tribune


    "Rather than protest the state of the world, Staples is toasting
    human endurance-- hers as well as ours." - Pitchfork


    "a voice that has lost none of its gutsy power since she unleashed
    it, some six decades ago." - New York Times


    MAVIS STAPLES is an American Music legend. She
    was at the forefront of the civil rights movement in the
    1960's, as singer for the legendary gospel group, The
    Staples Singers. Mavis, along with her father, Pops,
    and siblings marched and worked alongside Dr. Martin
    Luther King, Jr on the fight for equality in this country.


    In December 2016, Mavis went to Washington, DC
    to receive the coveted Kennedy Center Honors from
    President Obama, with whom she has had a long
    standing friendship. Mavis invited Wilco frontman and
    dear friend, Jeff Tweedy as her guest for the weekend's
    festivities. The two spent hours discussing the
    current events and how today's fight for equality is
    very similar to those in the '60s. Inspired by these
    events, Mavis and Jeff got together and wrote Mavis'
    new album, If All I Was Was Black, produced by Jeff
    Tweedy. The new album is a perfect message for our
    time and is by far Mavis' best work to date.

    1. Little Bit
    2. If All I Was Was Black
    3. Who Told You Tha
    4. Ain't No Doubt About It
    5. Peaceful Dream
    6. No Time For Crying
    7. Build A Bridge
    8. We Go High
    9. Try Harder
    10. All Over Again
    Mavis Staples
    $21.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed PRE-ORDER Buy Now
  • The Times They Are A Changin' (MONO) The Times They Are A Changin' (MONO) Quick View

    $28.99
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    The Times They Are A Changin' (MONO)

    The Times They Are A-Changin', the third album featured in our ongoing campaign to restore Bob Dylan's legacy on vinyl, is also the third album Dylan recorded for Columbia. Released in February 1964, the incisive title track quickly became an anthem for all those seeking social justice, and served as the soundtrack for an entire generation.
    This Sundazed edition is an exact reproduction of the rare original 1964
    mono album, featuring the original 11 Outlined Epitaphs insert and
    all-analog mastering from the absolute original source tapes.
    1. The Times They Are A-Changin'
    2. Ballad Of Hollis Brown
    3. With God On Our Side
    4. One Too Many Mornings
    5. North Country Blues
    6. Only A Pawn In Their Game
    7. Boots Of Spanish Leather
    8. When The Ship Comes In
    9. The Lonesome Death Of Hattie Carroll
    10. Restless Farewell
    Bob Dylan
    $28.99
    Vinyl Mono LP - Sealed Buy Now
  • Birds Birds Quick View

    $19.99
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    Birds

    Seth Glier's new album Birds is steeped in conflict and contradictions. There's grief and loss, but also strength and resilience; doubt and dismay, but also a sense of optimism as Glier confronts heavy topics and wrestles them into the daylight.

    Glier (pronounced Gleer) recorded Birds in an airy loft in western Massachusetts outfitted with a grand piano and floor-to-ceiling windows. Birds roost just outside those windows, on the roof of the converted mill building where he lives, and they became his sympathetic audience while Glier made the album. I felt a tremendous amount of comfort talking to the Birds, he says I'd check in with them regularly to see how they thought things were going so far.

    Birds is Glier's fifth album, and the latest entry in a burgeoning career that has included a Grammy nomination and a pair of Independent Music Awards while touring with artists including Ani DiFranco and Ryan Adams.

    The songs on Birds range from personal to political, and are bound together by the awareness that our world is a fragile place that is all the more magical for it. Glier makes that point on a large scale with Water on Fire, a terse, grinding tune that opens with a cynical reworking of a Ray Charles lyric as Glier uses fracking to dig into the false equivalence between freedom and capitalism. Hasn't Hit Me Yet has a more visceral, intimate approach: the soulful slow jam, full of warm guitars and multi-tracked vocals, is about the death of Glier's autistic brother.

    Together, those songs represent the opposite poles of Birds. I was really trying to explore connections on this record, Glier says. Among those connections is the one between race and the criminal justice system on Justice for All, a raw chain-gang stomp that sounds almost like an old field recording. Like I Do takes a more oblique tack, drawing out feelings of anger through the use of noisy synthesizers and fuzzed-out bass pads.

    The songs on Birds reflect a scope of sound and style: the title track is lush and & orchestral, for example, while Too Much Water pairs Glier's voice and piano with subtle accompaniment from horns, for a classic, elegant feel that calls to mind Harry Nilsson in the early '70s. People Like Us is jaunty and up-tempo, while the trebly guitar arpeggios and moaning saxophone on Just Because I Can sound like a sock-hop slow dance, until you zero in on lyrics delivered by a narrator who dynamites his domestic bliss simply for the power trip. Conflict. Contradiction.

    Even the cover tune, a reimagined version of Buffalo Springfield's For What It's Worth, evokes urgency. Although it was written 50 years ago, it's still about what's happening right now, Glier says.

    Birds began taking shape after Glier lost his brother, Jamie, who died in October 2015, and inspired a TED Talk performance that Glier gave in 2016. My brother passing away was a huge component of where I was and what I was looking for, Glier says. In particular, I was looking for meanings, wanting his life to mean more than just being over.

    For a long time afterward, Glier passed the time by writing songs and inspecting each melody with the feathered fellows by his windowsill. Instead of recording the album in a Los Angeles studio, as he did on his 2015 album If I Could Change One Thing, he decided to make Birds at home.

    I thought that I should just stay close to the windows here, Glier says. I think this sort of happened by accident, but by the time I started recording the record, it was fall in New England, which is a profoundly beautiful death. The air is full of honesty, the sky is full of geese, and there is bright gorgeousness woven into the dying of things. It all seeped into the textures of this record.

    1. Sunshine
    2. Water On Fire
    3. Birds
    4. Just Because I Can
    5. People Like Us
    6. Like I Do
    7. For What It's Worth
    8. Too Much Water
    9. Justice For All
    10. Hasn't Hit Me Yet
    11. I'm Still Looking
    Seth Glier
    $19.99
    Vinyl LP - Sealed Buy Now
  • Full Communism Full Communism Quick View

    $15.99
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    Full Communism

    Downtown Boys are a bilingual political sax punk party from Providence, RI. Their first length LP Full Communism on Don Giovanni Records is full of songs about smashing the prison-industrial complex, racism, queerphobia, capitalism, fascism, boredom, and all things people tell us that try to close our minds, eyes, and heart. The record comes directly pout of our current critical moment in the struggle for justice being fought in the US and throughout the world.
    1. Wave Of History
    2. Santa
    3. 100% Inheritance Tax
    4. Tall Boys
    5. Break A Few Eggs
    6. Monstro
    7. Desde Arriba
    8. Future Police
    9. Traders
    10. Poder Elegir
    Downtown Boys
    $15.99
    Vinyl LP - Sealed Buy Now
  • 40 Blue Fingers, Freshly Packed and Ready to Serve 40 Blue Fingers, Freshly Packed and Ready to Serve Quick View

    $39.99
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    40 Blue Fingers, Freshly Packed and Ready to Serve

    Import

    Remastered


    Featuring Christine Perfect (better known as the future Christine McVie of Fleetwood Mac) the British ensemble Chicken Shack offers up a solid set of blues-influenced rock on their 1968 LP, fully titled 40 Blue Fingers Freshly Packed And Ready To Serve.


    This LP was a promising debut, especially noteworthy for Stan Webb's Freddie King-inspired guitar playing and Christine Perfect's vocals. Webb does justice to his mentor with two instrumentals, King's San-Ho-Zay and his own Webbed Feet, and Christine proves the ideal counterpart: one of the few pianists paying homage to King's longtime collaborator Sonny Thompson.


    It remains their finest work; Perfect left the band in 1969 when she married John McVie of Fleetwood Mac. Pianist Paul Raymond, bassist Andy Silvester, and drummer Dave Bidwell all left in 1971 to join Savoy Brown.


    The album - with a nice spare sound, typical of Mike Vernon's Blue Horizon label- will be enjoyed again, this time on audiophile vinyl.


    * 180 grams audiophile vinyl


    1. The Letter
    2. Lonesome Whistle Blues

    3. When the Train Comes Back
    4. San-Ho-Zay
    5. King of the World
    6. See See Baby
    7. First Time I Met the Blues
    8. Webbed Feet
    9. You Ain't No Good
    10. What You Did Last Night
    Chicken Shack
    $39.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Brahms: Violin Concerto (Pre-Order) Brahms: Violin Concerto (Pre-Order) Quick View

    $21.99
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    Brahms: Violin Concerto (Pre-Order)

    Warner Classics continue releasing iconic recordings of the core catalogue in their original cover artwork on LP to benefit from the booming vinyl market. Heroic, dramatic, reflective and joyous, Brahms's Violin Concerto, written for the great Joseph Joachim, a close friend of the composer, is one of the monuments of the Romantic repertoire.


    In a performance of epic sweep, Itzhak Perlman and Carlo Maria Giulini do full justice to its ambitions. This record has been regarded at the time it was released as "one of the greatest Brahms recordings of all time" (Guide Diapason). 40 years after its original release, it remains an absolute must-have, and a reference recording of the Brahms Concerto. It also benefits from the 24-BIT/96kHz remastering done at Abbey Road in 2015.

    1. Violin Concerto in D Major, Op. 77: I. Allegro non troppo - By Itzhak Perlman/Carlo Maria Giulini
    2. Violin Concerto in D Major, Op. 77: II. Adagio - By Itzhak Perlman/Carlo Maria Giulini
    3. Violin Concerto in D Major, Op. 77: III. Allegro giocoso, ma non troppo vivace - By Itzhak Perlman/Carlo Maria Giulini
    Itzhak Perlman
    $21.99
    Vinyl LP - Sealed PRE-ORDER Buy Now
  • Wonder Woman Soundtrack Wonder Woman Soundtrack Quick View

    $39.99
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    Wonder Woman Soundtrack

    Pressed On Double 180-Gram Audiophile Vinyl

    Limited Edition Of 3000 Numbered Copies On Gold Vinyl, Black Vinyl Thereafter

    Gatefold Sleeve

    PVC Protective Sleeve

    Score By Rupert Gregson-Williams

    Featuring The Song To Be Human By Sia (feat. Labyrinth)

    Wonder Woman is a 2017 American superhero film based on the DC Comics character of the same name. After Man of Steel, Batman v Superman: Dawn of Justice and Suicide Squad, it is the fourth installment in the DC Extended Universe.

    Before she was Wonder Woman she was Diana, Princess of the Amazons, trained warrior. When a pilot crashes and tells of conflict in the outside world, she leaves home to fight a war to end all wars, discovering her full powers and true destiny.

    Rupert Gregson-Williams, a member of Hans Zimmer's Remote Control Productions team of composers, wrote and composed the film's music. He was joined by Tom Howe, Paul Mounsey and Andrew Kawczynski who provided additional music.

    Australian singer Sia wrote a song for the film, titled To Be Human, featuring English musician Labyrinth, which is also featured on the soundtrack.

    LP 1
    1. Amazons Of Themyscira
    2. History Lesson
    3. Angel On The Wing
    4. Pain, Loss & Love
    5. Ludendorff, Enough!
    6. No Man's Land
    7. Fausta


    LP 2
    1. Wonder Woman's Wrath
    2. The God Of War
    3. We Are All To Blame
    4. Hell Hath No Fury
    5. Lightning Strikes
    6. Trafalgar Celebration
    7. Action Reaction
    8. To Be Human (Performed By Sia [feat. Labrinth])

    Rupert Gregson-Williams
    $39.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Slaves To The Grave Slaves To The Grave Quick View

    $19.99
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    Slaves To The Grave

    Slaves to the Grave is the last will and testament of the Dallas/Ft Worth band who influenced artists from Nine Inch Nails to Slipknot, and features members of GWAR, Ministry, Warbeast, Revolting Cocks and Lard. Fated for release, the recording sessions wrapped just days before the tragic loss of guitarist Mike Scaccia, who suffered a massive heart attack and collapsed while performing on stage. Rigor Mortis hit the national scene in 1987 as the first underground Heavy Metal band to sign to a major label. Their 1988 debut record, RIGOR MORTIS (Capitol), has since become legendary in the thrash/speed metal community, influencing bands like Toxic Holocaust and Goatwhore, and motivating Ministry to leave the disco for the Metal arena. Ministry would, in turn, influence everything from Nine Inch Nails to Marilyn Manson and Slipknot. The members would remain friends through thick and thin throughout the years, and in 2012 the pieces finally came together. Rigor Mortis entered the studio to record what was to be their comeback record. Older, wiser and good with their personal lives Rigor Mortis had finally come full circle. Then, on December 22nd, 2012, it all came to a halt. While playing their home town club in Ft. Worth in celebration of singer Bruce Corbitt's 50th birthday, midway through the set Mike Scaccia suffered a massive heart attack and collapsed on stage. He could not be revived and was pronounced dead shortly after midnight. Rigor Mortis was over. Though never discussed, all knew there was no Rigor Mortis without Mike, but the album was recorded and almost finished. As fate would have it, just days before he died Mike went into the studio and put the finishing touches on all of his parts, effectively enabling the guys to finish the record, knowing that Scaccia was happy with it. They endeavored every step of the way to do justice to the Rigor Mortis legacy, and bring honor to Mike Scaccia's last recorded testament. We think he would be proud.
    Poltergeist
    Rain Of Ruin
    Flesh For Flies
    The Infected
    Blood Bath
    Ancient Horror
    Fragrance Of Corpse
    Curse Of The Draugr
    Sacramentum Gladiatorum
    Ludus Magnus
    Rigor Mortis
    $19.99
    Vinyl LP - Sealed Buy Now
  • Uniquely Yours Uniquely Yours Quick View

    $24.99
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    Uniquely Yours

    A decade before he was topping the country charts, Joe Stampley fronted one of the deep souths most legendary and rockin 60s combos, the Uniques. Once signed to Shreveport, Louisiana-based Paula Records, the Uniques made waves nationally on their very first release, Not Too Long Ago. That pop classic (faithfully/recently covered by Nick Lowe) is just one of many highlights of their 66 debut LP, Uniquely Yours. According to the master tape, this record was originally going to be tagged The Uniques in Action; a shelved album title that could not have been more apt.


    Finally reissued (and in fabulous mono, to boot), this is southern rock n soul at its finest; a real mÉlange of styles that swings wildly from deep-fried garage rock, frenzied frat-beat, infectious Stampley-penned pop, and gorgeously soulful ballads. From Presley and Gene Vincent to any Justice label 60s garage band worth mentioning, southerners have always littered their LPs with this latter fare. But when it comes to delivering a soulful ballad, Joe Stampley is up there with the very best of em. Uniquely Yours includes the groups all-time biggest regional hit, a cover of Art Nevilles All These Things (in its original mix, unadorned by string overdubs) and a Georgia (On My Mind) that simply blows away all other white boy soul renditions. But make no mistake, this is a largely uptempo set marked by the ferocious punk pace of You Aint Tuff, updated rockabilly funkiness of Fast Way of Living, blistering guitar workouts like Strange, plus some of the best damned covers ever waxed. For a positively unique album experience, Sundazed includes the classy period sleeve design from the original Paula release.

    1. You Ain't Tuff
    2. From Heaven To a Heartbreak
    3. Midnight Hour
    4. All These Things
    5. Not Too Long Ago
    6. Fast Way of Living
    7. Treat Her Right
    8. Georgia On My Mind

    9. Strange
    10. Never Been In Love Before
    11. Don't Be a Fool

    12. House of the Rising Sun
    The Uniques
    $24.99
    Vinyl LP - Sealed Buy Now
  • Live From Austin, TX (Fats Domino) Live From Austin, TX (Fats Domino) Quick View

    $24.99
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    Live From Austin, TX (Fats Domino)

    In my humble opinion, this is the definitive Fats Domino performance ever captured on camera. First of all, like his hero Louis Armstrong a generation earlier, Fats is synonymous with New Orleans. Not to mention the early days of rock-and-roll. Who doesn't love the infectious lyrics and floating melodies of "Blueberry Hill," "Ain't That A Shame," "I'm Walkin'," "I'm In Love Again" or "Blue Monday?" Music was practically a birthright for Antoine Domino, Jr., one of nine kids from a poor family. He never made it past 4th grade, but he was already playing boogie-woogie piano. By the time he cut his first record at 21, he already stood out from the crowd with his baby face smile, rollicking beat and that magic voice - youthful, warm and rich. Despite all the hits, his records don't do justice to the incredible excitement and energy of his live shows, driven by one of New Orleans' preeminent bandleaders and Fats' mentor, Dave Bartholomew. Fats is notoriously shy, but I pursued him to Las Vegas in my quest to lure him to the ACL stage. I found him in the old Elvis suite at The Flamingo, where he sat in his bathrobe peeling fresh Louisiana shrimp. I don't remember what I said or he said, but it worked - a few weeks later he came to Austin. When Hurricane Katrina hit, Fats had to be rescued from his home, sharing the trauma and devastation with his old neighbors in the Lower Ninth Ward. But don't worry - careers fade and styles change, but the music of Fats Domino is timeless.


    - Terry Lickona (producer Austin City Limits)

    1. I'm Walkin'
    2. My Blue Heaven
    3. Blue Monday
    4. I'm Ready
    5. My Girl Josephine
    6. Want To Walk You Home
    7. I'm In Love Again
    8. Let The Four Winds Blow
    9. Poor Me
    10. Walking To New Orleans
    11. Shake, Rattle and Roll
    12. Ain't That A Shame
    13. I Hear You Knocking
    14. Blueberry Hill
    15. Your Cheatin' Heart
    16. Three Nights A Week
    17. All By Myself
    Fats Domino
    $24.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Rimsky-Korsakov: Scheherazade Rimsky-Korsakov: Scheherazade Quick View

    $34.99
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    Rimsky-Korsakov: Scheherazade

    RCA Living Stereo Classical LPs - The Gold Standard For Top Quality Orchestral Performance And Sound!


    Remastered And Cut At 33 1/3 RPM By Ryan Smith At Sterling Sound


    Lacquers Plated By Gary Salstrom And Pressed On 200-Gram Vinyl At Quality Record Pressings!


    Grade A+. Another one of HP's favorites, this LP (at least in its earliest pressings) is famously wonderful sounding, and the Analogue Productions version certainly lives up to the hype. Once again string tone - and this disc is celebrated for its string tone - is ravishingly beautiful. The bass is astonishingly deep and authoritative. And the dynamics are tremendous. In sum, I highly recommend all of these celebrated RCAs in their Analogue Productions reissues. They will cost you $30 a disc, which is a more-than-fair price considering that they are, IMO, uniformly superb (yes, better than the Classic Record versions). - Jonathan Valin, The Absolute Sound.com, June 11, 2013


    We compared this new 200-gram, 33 RPM LP from Analogue Productions with the original RCA Living Stereo issue and Classic Records' 33 RPM version, and were surprised at the outcome. Why? Because to these ears, the new Analogue Productions version was the more relaxed and natural sounding of the bunch. The sound is as it should be, inviting the listener into the music and entirely constant with Reiner's readings. ... If ever there were a must-have LP in the recent wave of audiophile vinyl reincarnations, this is it. Treat yourself and thank (Analogue Productions' Chad) Kassem for doing it the justice it deserves. - Harry Pearson, HP Soundings, May 2013.


    Without a doubt, the AP pressing sounds much more natural than the Classic Records reissue; the sound is simply less forced, as if the notes and rhythms have more air to explore, more ambient Hall to reverberate, and more of the acoustic envelope to reveal. ... the vinyl is so damn quiet, you can turn it up without any hesitation ... The solo violin is the heart of this recording and it's supposed to sound seductive, and on this reissue, it does. One thing if for certain, there is a lot more information coming through than on the original. The AP pressing takes the simplistic approach of the Chesky, but with a more developed sound, making the Chesky appear a bit more subdued by comparison. ... If you are interested in hearing this classic RCA in all of its natural glory, you needn't look any further than Chad Kassem's latest offering. If this is any indication of Analogue Production's current batch of RCA reissues (approximately 24 more on the way), it just may be a new golden age for the modern vinyl listener. - Joey Weiss, HP Soundings, May 2013


    The second movement is just ravishing in the beauty of the Chicago's playing and Reiner's romantic approach; there is some staccato triple-tonguing done by trumpeter Adolph Herseth in the fourth movement that should leave you, if not him, breathless. But let is just be said that, after you hear this, no other Scheherazade will ever replace it in your affections. HP's The Golden Dozen LPs - Harry Pearson, The Absolute Sound, June/July 2007


    The jewel in the Living Stereo crown. This, like the Respighi, is considered one of the very best LPs by Reiner, the Chicago Symphony Orchestra and RCA's crew. Another Mohr and Layton classic.


    This title is not eligible for discount.

    1. The Sea And Sinbads Ship
    2. The Story Of The Kalender Prince
    3. The Young Prince And The Young Princess
    4. Festival In Bagdad; The Sea; The Ship Goes To Pieces On A Rock Surmounted By A Bronze Warrior
    Fritz Reiner with the Chicago Symphony Orchestra
    $34.99
    200 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Getaway Getaway Quick View

    $27.99
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    Getaway

    Includes Bonus CD compiling 2001's Slush Fund EP & 2003's Syd's Pink Wiring System Album


    2001's Getaway may be the best illustration of whatever mercurial, inexplicable musical power animates The Clean. After the band's initial rush of activity between 1978 and 1982, the trio lay dormant until the end of the '80s, when a string of reunion shows inspired the Kilgours and Scott to start recording again. After three well-received albums in the first half of the nineties-1990's Vehicle, 1994's Modern Rock, and 1996's Unknown Country-The Clean disappeared again until the end of the decade, when another tour inspired another record.


    While playing gigs across New Zealand in celebration of their original label Flying Nun, David says they brought along a TEAC 4-track quarter-inch tape machine. "As usual, we started jamming and recording, and before you know, we thought we may be onto an LP." Speed and spontaneity ended up defining Getaway. Robert says, "I remember writing 'Silence or Something Else' while the others went for a long walk. It was done by the time they got back. I probably would have gone for a straighter version, but I still like it." David remembers, "Hamish wrote the instrumental 'Jala' in about five minutes in a motel outside of Turangi." At one point in the process, Yo La Tengo's Ira Kaplan and Georgia Hubley were visiting from America, and they ended up on the record too. Getaway came out in August of 2001, with cover art by Hamish who says that his original artwork was the actual size of a compact disc case. After that, The Clean set out on another tour-including in New York City, where they happened to be during the terrorist attacks on 9/11. They coped with the tragedy by playing gigs with their American friends, and staying in the same creative space they'd been in since before they started working on the album. "I remember we did some great gigs on the New Zealand tour, debuting some of the new material," Hamish says. "'Stars' was a favorite for the big 12-string sound."


    A live version of the pulsing, soaring "Stars"-along with a couple of other Getaway songs and Clean classics like "Fish," "Side On," "Quickstep," and "Point That Thing Somewhere Else"-appear on the rare 2003 album Syd's Pink Wiring System. That record is included with the Getaway reissue, along with the more experimental, piano-driven EP Slush Fund, from the same era. These bonus tracks reinforce the idea of the Getaway-era Clean as especially plugged in, generating inspired and beautiful music almost on instinct. Indeed, they've done justice to a key album in The Clean discography-a record that honors the band's origins as garage-rock-loving New Zealand kids, excited just by the hum of a good, cheap amplifier. Songs like the twangy, easygoing "Crazy," the jaunty acoustic snippet "Cell Block No. 5," and the trance-inducing "Circle Canyon" are more fine examples of Scott and the Kilgours' interest in immediacy and a strong vibe, applied to catchy melodies. "Each album is a completely different beast," Robert says. "We all change in different ways between each one, bringing different things to the table, and sometimes bringing nothing much at all." But if Getaway proves anything, so long as all three members of The Clean are in the same space at the same time, anything can happen.

    LP 1
    1. Stars
    2. Jala
    3. Crazy
    4. Golden Crown
    5. Cell Block No. 5
    6. E Motel
    7. Twighlight Agency
    8. Poor Boy
    9. Silence or Something Else


    LP 2
    1. Alpine Madness
    2. Circle Canyon
    3. Aho
    4. Holdin' On
    5. Reprise 1*2*3* & 4*
    6. Complications


    Bonus CD
    Slush Fish (2001)
    1. Rollo
    2. Slush Fund
    3. Filling A Hole
    4. Caveman
    5. Point That Thing Somewhere Else
    6. Wipe Me I'm Lucky
    7. Fish
    8. Quickstep
    Syd's Pink Wiring System (2003)
    9. Fish
    10. I Wait Around
    11. Hold On To The Rail
    12. At The Bottom
    13. Do Your Thing
    14. Quickstep
    15. Crazy
    16. Side On
    17. Stars
    18. Jala

    The Clean
    $27.99
    Vinyl LP + CD - 2 LPs Sealed Buy Now
  • Cool Cat Blues (Pure Pleasure) Cool Cat Blues (Pure Pleasure) Quick View

    $49.99
    Buy Now
    x

    Cool Cat Blues (Pure Pleasure)

    At last! ... British blues legend Georgie Fame finally has his Magnum Opus committed to the stuff we all love.



    Contained within is a collection of Blues, Jazz and R&B standards mixed with some originals. This musicians' musician is backed by a world class band including Steve Gadd, Robben Ford, Richard Tee, Will Lee, Ralph MacDonald, Hugh McCracken and an uber horn section. Fame's classy, economic Hammond and great voice inspires superb duets with Bozz Scaggs and Richard Tee. Van Morrison, Fame's erstwhile boss, joins him on Moondance and one of his heroes, Jon Hendricks, aids him to fly through Little Pony. There is a slowed down, super sexy Yeah,Yeah and a blistering take on Willie Dixon's I Love The Life I Live. If you like Brother Ray, Mose Allison, Hoagy Carmichael, Van the Man, Peggy Lee and Lambert, Hendricks & Ross then you'll love this.



    On an audiophile note, this studio album from 1990 was recorded 'live' with most tracks done in one or two takes, no overdubs and entirely in the analogue domain. A great album, beautifully recorded, finally done justice on two slabs of 180g by Pure Pleasure.




    Musicians:



    • Georgie Fame (vocal, piano, organ)

    • Van Morrison (vocal)

    • Bob Malach (saxophone)

    • Richard Tee (piano, organ)

    • Michael Weiss (piano)

    • Ben Sidran (vocal, tambourine)

    • Robben Ford (guitar)

    • Dennis Irwin, Will Lee (bass)

    • Steve Gadd (drums)

    • Ralph MacDonald (percussion)




    Recording: 1990 at Skyline Studios, New York City, by James Farber

    Production: Ben Sidran




    About Pure Pleasure



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



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



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



    We should like to emphasize that Pure Pleasure Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle.



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



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



    1. Cool Cat Blues
    2. Every Knock Is a Boost
    3. Moondance
    4. It Should Have Been Me
    5. Yeah Yeah
    6. I Love the Life I Live, I Live the Life I Love
    7. Big Brother
    8. Georgia on My Mind
    9. Cat's Eyes
    10. You Came a Long Way from St. Louis
    11. Survival
    12. Little Pony
    13. Rocking Chair
    Georgie Fame
    $49.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Schubert - Symphony 9 (Speakers Corner) Schubert - Symphony 9 (Speakers Corner) Quick View

    $34.99
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    Schubert - Symphony 9 (Speakers Corner)

    This is Schubert's longest symphony, and its music has been described as heavenly. The symphony is typically and specifically Schubertian in its form, occupying a position in the history of music between Beethoven, Bruckner and Mahler - right on the threshold which separates classicism from romanticism.



    It is hard to say if Josef Krips ever succeeded in making a finer recording. The presentation has a direct, unforced spontaneity, confirming that Krips had an intuitive understanding of Schubert's compositions. The orchestra plays with dynamic vivacity without ever sounding aggressive. The interpretation of the two final movements is delightful in its airy exhilaration: swaying in a dance-like rhythm, tripping lightly through virtually every key there is, and in between, in the Scherzo, the gravity of the trio. The Finale, again, is merry in character with triplets rushing past, and the listener revels in every single repetition as the magnificence of this work reveals itself.



    The inspired orchestra does full justice to the music and renders an interpretation in the Viennese tradition at its very best. This recording simply cannot be surpassed in terms of performance or sound quality - it is a must not only for the lover of Schubert's music.





    Musicians:



    • London Symphony Orchestra

    • Josef Krips (conductor)




    Recording: May 1958 at Kingsway Hall in London by Kenneth E. Wilkinson

    Production: Erik Smith




    About Speakers Corner



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



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



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



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



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



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



    1. First Movement: Andante
    2. First Movement: Allegro Ma Non Troppo
    3. Second Movement: Andante Conmoto
    4. Third Movement: Scherzo
    5. Fourth Movement: Allegro Vivace
    Josef Krips with London Symphony Orchestra
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Smiling Like I'm Happy (Pure Pleasure) Smiling Like I'm Happy (Pure Pleasure) Quick View

    $34.99
    Buy Now
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    Smiling Like I'm Happy (Pure Pleasure)

    One of the unsung heroes of British blues, this one-man band was a fine harmonica player and singer, a decent guitarist, and a soulful enough singer to make one overlook his distinctly unbluesy high voice. The opening Worried Mind - just Duster on harp, guitar, voice, high-hat and kick drum - is a marvelously sloppy shuffle romp that holds its own with the Fabulous Thunderbirds' work ten years hence. On other tracks Bennett is backed by three-fourths of the original Fleetwood Mac, who provide simple, effective support without stealing any limelight; solos are kept to a minimum. Originals My Lucky Day (with chromatic harmonica) and Jumping at Shadows (which Mac would later cover) are absolutely outstanding, and Duster does justice to Magic Sam's My Love Is Your Love.



    Musicians:



    • Duster Bennett (vocal, harmonica, guitar, percussion)

    • Ham Richmond (piano)

    • Stella Sutton (vocal)

    • Peter Green (guitar)

    • John McVie (bass)

    • Mick Fleetwood (drums)




    Recording: July and September 1968 at CBS Studios, London

    Production: Mike Vernon




    About Pure Pleasure



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



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



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



    We should like to emphasize that Pure Pleasure Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle.



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



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



    1. Worried Mind
    2. Life Is a Dirty Deal
    3. Country Jam
    4. Trying to Paint It In the Sky
    5. My Lucky Day
    6. Times Like These
    7. Got a Tongue In Your Head
    8. Jumping At Shadows
    9. 40 Minutes From Town
    10. Shame Shame of Shame
    11. My Love Is Your Love
    12. Shady Little Baby
    Duster Bennett
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Rough Guide To The Blues Songsters Rough Guide To The Blues Songsters Quick View

    $19.99
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    Rough Guide To The Blues Songsters

    Before there was the bluesman there was the songster and it was these traveling troubadours who helped lay the foundations for the development of the blues. In the decades preceding the phonograph and radio and before the American national entertainment industry had reached into the deepest parts of the South, it was these wandering musicians who provided the musical entertainment for all manner of social events.


    In order to be able to scrape a living together, the songster had to be incredibly versatile and come up with something for everyone. Armed with a banjo or guitar they performed every form of popular music of the day from folk songs and ballads to rags and spirituals. Priding themselves on their huge repertoires, they could be described as the human jukeboxes of their time.


    Along with the many musicians shrouded in mystery, this collection boasts tracks by legendary bluesmen such as Leadbelly, Charley Patton, and Mississippi John Hurt. Aside from the blues, these great performers would have been able to play everything asked of them at local bars and rural dances, and it is said that Leadbelly could draw on a repertoire of over 500 songs from many different genres. Likewise, the 'Father of the Delta Blues', Charley Patton left glimpses into his songster roots and true musical versatility with songs such as the featured 'Mississippi Boweavil Blues'. Henry Thomas's projected birthdate of 1874 predates that of Charley Patton by a good 17 years and gives us an idea of what rural black music sounded like before the turn of the twentieth century. He was 53 years old during his first recording session in 1927 by which point much of his music was already a representation of a bygone era. The same could be said of Richard 'Rabbit' Brown from New Orleans who worked as a ferryman on lake Pontchartrain and whose recorded legacy of just five songs includes 'James Alley Blues' which has been covered by Bob Dylan. Also from New Orleans, Papa Charlie Jackson accompanied himself with a banjo guitar and became one of the first songsters to record from the mid-1920s. His unique brand of hokum, used comic, often sexually suggestive lyrics and lively, danceable rhythms.


    This selection features several variations on traditional ballads about legendary characters such as Frankie and Johnny, Stagger Lee, John Henry and Railroad Bill. These became standards in the repertoires of songsters, both black and white, who shared a similar colour-blindness when it came to the racial origins of a tune. Frank Hutchison and Dick Justice were both white performers whose styles were heavily influenced by black musicians, in particular, Luke Jordan whose featured track 'Pick Poor Robin Clean' is a gambling song masterpiece. Like Jordan, many other well-known East Coast songsters such as Blind Blake, Pink Anderson, and Peg Leg Howell worked with traveling shows, which became a major factor in the spreading of the blues. Many of these shows were operated by vendors of patent medicines who would attract crowds by putting on a performance.


    As these shows began to disappear and recorded music and dancing in juke joints became popular, so the older songster style became less fashionable. Apart from the few waxed recordings which leave a tempting glance into a world before the blues, many of the featured artists faded into obscurity, as the songsters were overtaken by blues singers whose music was heavily promoted by record companies. Those songsters who were able to embrace this new music such as Charley Patton and Leadbelly became seminal figures and the rest is history.

    1. Pick Poor Robin Clean - By Luke Jordan
    2. Don't Leave Me Here - By Henry Thomas
    3. The Spasm - By Daddy Stovepipe & Mississippi Sarah
    4. Your Baby Ain't Sweet Like Mine - By Papa Charlie Jackson
    5. John Henry (The Steel Driving Man) - Part 1 - By Furry Lewis
    6. Mississippi Boweavil Blues - By Charley Patton
    7. Cocaine - By Dick Justice
    8. Midnight Special - By Leadbelly
    9. Come On Boys Let's Do That Messin' Around - By Blind Blake
    10. Stackalee - By Frank Hutchison
    11. James Alley Blues - By Richard 'Rabbit' Brown
    12. Going To Germany - By Cannon's Jug Stompers
    13. Coal Man Blues - By Peg Leg Howell
    Various Artists
    $19.99
    Vinyl LP - Sealed Buy Now
  • The Mugician (Pre-Order) The Mugician (Pre-Order) Quick View

    $19.99
    Buy Now
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    The Mugician (Pre-Order)

    Grammy Award winner, Keyon Harrold, one of the world's most sought-after genre-bending trumpeters, will release The Mugician via Legacy Recordings/Mass Appeal Records.


    Long known as the artist's artist - he has worked with Maxwell, Common, BeyoncÉ, Jay-Z, Rihanna, Eminem and a long list of the world's top musical icons - The New York-based musician now takes center stage with a captivating LP that ponders the fears and frustrations of a divided country while yearning for justice and peace.


    As the word "Mugician" is an impromptu hybrid of words, this album is an accumulation of Keyon's eclectic tastes, with stylistic twists and turns everywhere taking cues from jazz, hip-hop, blues, rock, reggae, and rap. The new LP features an all-star list of collaborators, including Gary Clark Jr., Big K.R.I.T., Bilal, Pharoahe Monch and Robert Glasper. From spiritual chants and soulful singing to bombastic expressions of frustration and melodic pleas for understanding, Keyon's arrangements color the different ways to hear the world in 2017.


    If there are echoes of Miles Davis in Keyon's style and sound, it's no mere coincidence; Keyon played the trumpet sound of Don Cheadle playing Davis in his 2015 biopic Miles Ahead and on its Grammy-winning soundtrack. Don reflects on this and the birth of The Mugician, the nickname that came from that project, in the liner notes, which he contributed to the album.


    Ferguson holds a large presence throughout The Mugician. The instrumental "MB Lament" is a tribute to Michael Brown as strings echo a smoking gun while the bass line repeats over and over, reminiscent of the frequency of gun violence and systemic police brutality. "When Will It Stop" answers the calling of "MB Lament" as actor and comedian Guy Torry, also from the St. Louis area, uses humor to confront bigotry, sexism, racism, and more while Keyon leads a driving groove. And on "Circus Show," Keyon and Gary Clark Jr. trade verses and hooks while trying to make sense of America's "Broken" newscast over the repeated phrase "What's going on?"


    Themes of home and family loom large on The Mugician. With nine brothers and seven sisters, several of whom are also accomplished musicians, Keyon considers family essential; the album opener "Voicemail" features Keyon's own mother encouraging her son to stay true to himself and to never give up in the face of trials and tribulations. The Mugician is Keyon upholding his mother's wisdom.


    Keyon Harrold has become one of the most sought-after trumpeters in the world having been featured on nearly 100 albums spanning jazz, R&B, pop, gospel, blues, and hip-hop. Harrold has recorded with the world's leading artists from Maxwell to Keith Richards and has toured with music's most bold-faced names including BeyoncÉ, Jay-Z, Rihanna, Common, Maxwell, Mary J. Blige, Eminem, D'Angelo and the Vanguard, and more. In 2016, Keyon released "Running (Refugee Song)" in collaboration with songwriting partner Andrea Pizziconi as part of their initiative Compositions for a Cause. The song, also featuring Grammy Award-winning rapper Common and Grammy Award-winning singer Gregory Porter was included on Billboard's list of "6 Songs Offering Hope & Perspective During Immigration Ban" this past January.


    Legacy Recordings and Mass Appeal Records have combined their creative and marketing resources in a first-of-its-kind collaboration on behalf of Keyon Harrold's, The Mugician. "We couldn't be more proud of signing Keyon Harrold and of the album he's made," said Adam Block, President of Legacy Recordings."We're especially excited by the record's range of repertoire and the broadness of Keyon's appeal. Working with Mass Appeal, who've long been champions of Keyon's, exponentially expands our ability to reach fans with Key's music and the creativity and channels with which we'll do that."

    1. Voicemail (feat. Shirley Harrold)
    2. The Mugician (feat. Josh David Barrett)
    3. MB Lament
    4. When Will It Stop? (feat. Guy Torry)
    5. Wayfaring Traveler (feat. Jermaine Holmes, Georgia Anne Muldrow, and Robert Glasper)
    6. Stay This Way (feat. Bilal and Big K.R.I.T.)
    7. Lullaby
    8. Her Beauty Through My Eyes (feat. Pharoahe Monch)
    9. Ethereal Souls
    10. Broken News (feat. Andrea Pizziconi)
    11. Circus Show (feat. Gary Clark Jr.)
    12. Bubba Rides Again
    Keyon Harrold
    $19.99
    Vinyl LP - Sealed PRE-ORDER Buy Now
  • True Romance True Romance Quick View

    $21.99
    Buy Now
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    True Romance

    Over the past few years, Charli has released a series of singles and mixtapes, toured the globe supporting the likes of Coldplay, Santigold, Sleigh Bells and Justice and garnered champions from practically every tastemaker blog and magazine on both sides of the Atlantic. She's had 2.5 million views on YouTube, 470k views of new video for 'You (Ha Ha Ha)' (in one month) and over 630k total plays on Soundcloud. It's hard to believe someone so young could achieve so much. Through it all her main focus has always been on making the best possible album she could. This was made possible by working with some fantastic collaborators who helped hone her vision for a dark, emotional pop record including Ariel Rechtshaid (Usher, Major Lazer, Solange), Patrik Berger (Lana del Rey, Robyn) as well as hotly tipped blog favourites Blood Diamonds and J£zus Millions.


    As well as being an artist in her own right, Charli has written and featured on one of the biggest global breakthrough hits of 2012 for Icona Pop. I Love It created an absolute frenzy stateside, having blown up all over the world.


    True Romance shares its title with an unbelievably well-cast 1993 movie written by Quentin Tarantino, who was reassembling cultural detritus way before mash-ups and microblogging. Charli XCX's approach to pop is similarly postmodern (how 90s does that sound?), pulling from moody 80s synth-pop, sassy turn-of-the-millennium girl groups, and state-of-the-art contemporary producers to create something distinctive and immediately memorable. She clearly understands the internet, having shared two original mixtapes and two influences mixtapes before her official full-length, but this carefully pruned set is no data dump. And there you'll see a glimmer of True Romance's most throwback aspect: its evident pop ambition, an overriding sense of an imagined mass audience for music that's radio-ready yet outsider-friendly. It's almost like Napster-- and the filler-crammed album sales model that preceded it-- never happened.


    In fact, by the time Charli XCX was a teenage electro-house devotee, illegal file-sharing's early free-for-all had already given way to iTunes and other legal download services. Robyn had already released her self-titled comeback album. So it might be only natural that Charli XCX would keep the pre-bubble faith that people will pay for emotionally direct, bubblegum-catchy, yet stubbornly left-of-center songs about falling in and out of love. But the generous hooks on the previously released singles here, such as the gospel-kissed prechorus of the yearning Stay Away or the Santigold-savvy lilt of love-and-the-bomb brooder Nuclear Seasons, are extraordinarily welcome just the same. Even better are newer singles such as the gorgeously bitter You (Ha Ha Ha), which inhabits its cloud-rappy Gold Panda sample like they were made for each other, and the almost-as-gorgeously blissful What I Like, which recounts a still-young relationship with the cheeky frankness of Lily Allen or the Streets, and the sing-songy near-rapping of the Spice Girls.


    The several songs on True Romance that hadn't previously surfaced in videos or other releases aren't quite as strong, but they're effective enough to suggest Charli XCX's best work might still be ahead of her. The Todd Rundgren-sampling So Far Away, with the sun-dappled lushness of the Avalanches, is a clear highlight; Charli XCX's vocals are usually plain-spoken, but the anguished break-up plea Set Me Free proves she can reach for Jessie Ware-like dramatics when appropriate. The pitch-shifting no one is forever intro added at the start of opener Nuclear Seasons probably should've been given its own track-- and later on the album it is, when the same backing vocal forms the base of the cloudy, broken-hearted Grins. Elsewhere, the haunted confession How Can I, while solid enough, is a reminder that Charli XCX's lyrics so far tend to fall relatively flat; when, on swooning finale Lock You Up, she sings, It hits me like a ton of bricks, she leaves the clichÉ untweaked.


    And then there's Cloud Aura, a lovelorn, engagingly laid-back bit of groove that lets Grimes' Genesis video co-star Brooke Candy rap horribly about Chris Brown. Candy's guest verse previously appeared on 2012's uneven Super Ultra mixtape, and it was near-universally panned. It isn't any better now. But in an era when too many up-and-comers are all too eager to please, this stubborn refusal to back down displays another quality in short supply: genuine irreverence. The songwriting and production credits on True Romance include Usher's Climax co-conspirator Ariel Rechtshaid and I Love It collaborator Patrick Berger, among others, who also share some credit (and blame). But like 90s pop stars turned 10s pop sophisticates Justin Timberlake and BeyoncÉ, Charli XCX stamps her personality across the entire project, and True Romance suggests she'll be worth following for a while.
    - Marc Hogan, Pitchfork

    1. Nuclear Seasons
    2. You (Ha Ha Ha)
    3. Take My Hand
    4. Stay Away
    5. Set Me Free (Feel My Pain)
    6. Grins
    7. So Far Away
    8. Cloud Aura
    9. What I Like
    10. Black Roses
    11. You're the One
    12. How Can I
    13. Lock You Up
    Charli XCX
    $21.99
    Vinyl LP - Sealed Buy Now
  • What's Real What's Real Quick View

    $18.99
    Buy Now
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    What's Real

    Dear Listener / Internet Surfer / Intrigued Music Consumer-


    Thank for you for taking the time to read about our new record, What's Real. We have been working on this album for the better part of two years. Or maybe I have been working on this album since I was 14. That was when I first heard the bands that made me want to pick up the guitar and learn to play. When I became consumed over the angst, the freedom, the recklessness of rock and roll, the escape it created and allowed, and the feeling of unity with anyone who was discovering and finding the same.


    I started writing this album as soon as we got home from touring behind our debut record Out In The Light. All of a sudden, I was sitting still for the first time in years, and I dove into my early musical influences to find that what I once thought were alternative anthems of recklessness, of angst, of societal alienation, were also perfectly constructed songs. It wasn't pop. But it became popular for a reason. And as a songwriter I began to see that music in a new light.


    I approached this album from that place. From a place of seeing that songs can sound big, feel big, and still be incredibly personal. Still be brutally honest. Still leave everything on the table. And while current alternative radio is pumping out songs about the "best day of my life" and "wanting to be like the cool kids", I wanted to write songs about heartbreak, about finding clarity, about feeling stuck in your hometown. And I wrote it with the hope that people connect with it in a visceral way. In an emotional way. The way I am connecting to it. A connection I feel is not as expected these days.


    This record was recorded over a 15 month period while I was living in San Francisco and taking road trips down to record with friend and Grouplove producer/drummer Ryan Rabin. The first song we recorded together was "Got To My Head". He got where I was coming from and became my collaborator throughout the majority of the process. We pushed this record to the extremes, trying to fit as many hooks at times, capturing throat wrenching vocal takes at others. I was writing while recording. A lot of the writing takes on past tragic relationships I have since moved on from. "I Feel Everything" is a song about the addiction of abusive and extreme relationships, "Over It" is a song about finally getting out of it, and "What's Real" is about the constant struggle to weed out the impersonal and temporary relationships and yearning for something more. The songs came from desperate times. They came from a place where I would rather be in any situation than the one I was in. Some of them were written while in it, some of them are reflection.


    I recorded a handful of the songs with another producer Carlos De La Garza. Among those are "Rebel Yell", a song about longing for the drive to care about the state of the world like I once did so intensely, but has faded with the distractions of adulthood, and "Mom And Dad's," a song about the realities of having to move back in with your parents after you thought you were gone for good, and finding everything both completely changed and exactly the same.


    This record could not have been possible without my band. I met them all while living in San Francisco. It's a new band from the last record. Andrew Wales plays Drums. Brian DaMert plays Guitar. Greg Sellin plays Bass. And Sara DaMert plays Keys. They have helped me take these songs from my headphones to the stage and have realized them in the greatest way possible. they do them every justice I could have asked. I am so grateful to have them.


    When we finished the record I felt like we had made a sonic place. It felt like my bedroom in high school. We accomplished my goal in providing a world for someone who needs a real alternative. An escape. I don't care if that sounds cheesy. I am not worried about it. Come to our shows. Participate in the energy. We will leave it all on the table. We expect the audience to as well. There is something really rewarding in doing so. It's what I dreamt about when I was 14 and started playing guitar. It's what I still dream about today. It's What's Real.


    Love,

    Van (WATERS)

    1. Got To My Head
    2. I Feel Everything
    3. Mom and Dads
    4. The Avenue
    5. What's Real
    6. Inside My Room
    7. Stupid Games
    8. Breakdown
    9. Over It
    10. Rebel Yell
    11. Green Eyes
    Waters
    $18.99
    Vinyl LP - Sealed Buy Now
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