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  • Black Sunday 20th Anniversary Black Sunday 20th Anniversary Quick View

    $34.99
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    Black Sunday 20th Anniversary

    Cypress Hill's 1993 release Black Sunday helped to expand the group's audience with its deftly culled soul and Latin jazz samples and funky grooves. Tracks like I Wanna Get High, Insane in the Brain and I Ain't Goin' Out Like That have all gone on to become hip-hop classics, each featuring the signature rolling bass hooks that defined Cypress Hill's sound before the group began to experiment with heavy metal.
    1. I Wanna Get High
    2. I Ain't Goin' Out Like That
    3. Insane In The Brain
    4. When The Ship Goes Down
    5. Lick A Shot
    6. Cock The Hammer
    7. Interlude
    8. Li'l Putos
    9. Legalise It
    10. Hits From The Bong
    11. What Go Around Come Around Kid
    12. A To The K
    13. Hand On The Glock
    14. Break 'em Off Some
    Cypress Hill
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Black Sunday Black Sunday Quick View

    $44.99
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    Black Sunday

    Import

    Remastered


    Cypress Hill's 1993 release Black Sunday helped to expand the group's audience with its deftly culled soul and Latin jazz samples and funky grooves. Tracks like I Wanna Get High, Insane in the Brain and I Ain't Goin' Out Like That have all gone on to become hip-hop classics, each featuring the signature rolling bass hooks that defined Cypress Hill's sound before the group began to experiment with heavy metal.

    1. I Wanna Get High
    2. I Ain't Goin' Out Like That
    3. Insane In The Brain
    4. When The Ship Goes Down
    5. Lick A Shot
    6. Cock The Hammer
    7. Interlude
    8. Li'l Putos
    9. Legalise It
    10. Hits From The Bong
    11. What Go Around Come Around Kid
    12. A To The K
    13. Hand On The Glock
    14. Break 'em Off Some
    Cypress Hill
    $44.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Cypress Hill Bundle Cypress Hill Bundle Quick View

    $59.99
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    Cypress Hill Bundle

    2 classic Cypress Hill albums in one bundle!! The Cypress Hill bundle features Cypress Hill and Black Sunday.


    This title is not eligible for discount.

    1. Pigs
    2. How I Could Just Kill A Man
    3. Hand On The Pump
    4. Hole In The Head
    5. Ultraviolet Dreams
    6. Light Another
    7. Phuncky Feel One
    8. Break It Up
    9. Real Estate
    10. Stoned Is The Way Of The Walk
    11. Psycobetabuckdown
    12. Something For The Blunted
    13. Latin Lingo
    14. Funky Cypress Hill Shit
    15. Tres Eqyis
    16. Born To Get Busy



    Black Sunday Track Listing:


    1. I Wanna Get High
    2. I Ain't Goin' Out Like That
    3. Insane In The Brain
    4. When The Ship Goes Down
    5. Lick A Shot
    6. Cock The Hammer
    7. Interlude
    8. Li'l Putos
    9. Legalise It
    10. Hits From The Bong
    11. What Go Around Come Around Kid
    12. A To The K
    13. Hand On The Glock
    14. Break 'em Off Some

    Cypress Hill
    $59.99
    180 Gram Audiophile Virgin Vinyl LP - 4 LPs Sealed Buy Now
  • Black, Brown And Beige (Speakers Corner) Black, Brown And Beige (Speakers Corner) Quick View

    $34.99
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    Black, Brown And Beige (Speakers Corner)

    Black, Brown, & Beige is Duke Ellington's musical representation of the African-American experience in the United States. It is arguably The Maestro's greatest work. The triumph of telling so important a story so well through music alone makes Duke Ellington's Black, Brown, & Beige a masterpiece. It also displays Duke's, and Jazz's, highest achievement in long form. Whether you perceive it as a three-movement symphony or accept Ellington's own personalized terminology »Tone Parallel«, Black, Brown, & Beige matches conceptually and in artistic content the musical continuity of Western Classical's greatest names in their lengthiest works.


    The history of Black, Brown, & Beige is in its own right momentous. Ellington premiered the work at Carnegie Hall on January 23, 1943, at Duke's first performance on that illustrious stage. The Maestro has created the Come Sunday Suite. Duke Ellington basically reduced his three movement work to its first, Black, elevating that movement's spiritual theme, Come Sunday, making it the melody of the edited work. Truncating the symphony Black, Brown, & Beige into the song Come Sunday works because Duke Ellington has expanded Come Sunday through numerous theme and variations unknown to the original. The piece de resistance: a sacred text, by Duke himself, a text sung by the best known African-American religious singer in history, Mahalia Jackson. There is no doubt that it is the presence and performance of Mahalia Jackson which secures a home in the pantheon for this recasting of Black, Brown, & Beige, a work that already resided there.


    And Duke Ellington pulled off this coup with one hand tied behind his back, or without the services of his right-hand man. Overlooked over the years since the album Black, Brown, & Beige was recorded in February 1958 is the absence of Johnny Hodges (Hodges did a gig with Strayhorn in Florida during this period), the Ellington band's premier soloist


    The sides C & D are released on vinyl for the first time with this issue.


    Recording in mono.


    Musicians:



    • Duke Ellington (piano)

    • Mahalia Jackson (vocal)

    • Clark Terry (trumpet)

    • Ray Nance (trumpet, vocal)

    • Quentin Jackson (trombone)

    • Harry Carney (bassoon)

    • Paul Gonsalves (tenor saxophone)

    • Jimmy Hamilton (clarinet)

    • Russell Procope (clarinet, alto saxophone)

    • Jimmy Woode (bass)

    • Sam Woody (drums)



    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.



    LP 1
    1. Part I
    2. Part II
    3. Part III (AKA Light)
    4. Part IV (AKA Come Sunday)
    5. Part V (AKA Come Sunday)
    6. Part VI (23rd Psalm)


    LP 2
    1. Track 360 (AKA Trains)(Alt. Take)
    2. Blues In Orbit (AKA Tender)(Alt. Take)
    3. Part I (Alt. Take)
    4. Part II (Alt. Take)
    5. Part III (AKA Light) (Alt. Take)
    6. Part IV (AKA Come Sunday)(Alt. Take)
    7. Part V (AKA Come Sunday)(Alt. Take)
    8. Part VI (23rd Psalm)(Alt. Take)
    9. Studio Conversation (Mahalia Swears)
    10. Come Sunday (A Capella)

    Duke Ellington & Mahalia Jackson
    $34.99
    180 Gram Audiophile Virgin Vinyl LP Mono - 2 LPs Sealed Buy Now
  • Coast To Coast Coast To Coast Quick View

    $16.99
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    Coast To Coast

    The River City Tanlines (named in honor of the farmer tan) is a three-piece rock band from Memphis, TN. Principle songwriter and hardest working woman in the music business, Alicja Trout, is a veteran of countless noteworthy punk/indie bands over the years, including The Clears, The Lost Sounds and her current projects Alicja-pop, MouseRocket and Black Sunday. Likewise the powerful rhythm section of Terrence Bishop and John Bonds are no strangers to the scene either, having played together behind such names as Jack Oblivion, R.L. Burnside, Jim Dandy & Black Oak Arkansas, and Monsieur Jeffrey Evans.


    In 2009 the River City Tanlines appeared in Craig Brewer's (Hustle and Flow, Black Snake Moan) web-series Five Dollar Cover for MTV, and performed I'm Your Negative in a rollerderby fight scene. They also have a song (Black Knight, a crowd favorite at live shows) featured in the EA Sports video game Skate. Together since late 2004, the band has toured extensively in North America and Europe playing clubs and festivals, and has ten releases on various record labels around the world. Their last album I'm Your Negative was released in 2006 by Dirtnap Records out of Portland, OR.


    This, their newest offering, Coast To Coast, was produced by Bruce Watson (Hasil Adkins, T-Model Ford, John Paul Keith) at his Dial Back Sound Studios and will be released on Big Legal Mess Records/Fat Possum. The 10-song set runs the gamut from the galloping opener I Don't Get It to the poppy Stop My Heart to the Ramones-esque Pretty Please and the psyche rock of Dark Matter, all adding up to what is sure to become another Memphis classic!

    1. I Don't Get It
    2. Stop My Heart
    3. Pretty Please
    4. Lights
    5. When I Became You
    6. Dark Matter
    7. You Shot Me
    8. Can't Stand You Anymore
    9. Can You Handle This Heart
    10. Waiting For Nothing
    River City Tanlines
    $16.99
    Vinyl LP - Sealed Buy Now
  • Awe Naturale Awe Naturale Quick View

    $17.99
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    Awe Naturale

    Colored Vinyl


    TheeSatisfaction are Stasia Irons and Catherine Harris-White. The pair live/laugh/love/dance and create in Seattle, WA. They write, produce and perform their own material: funk-psychedelic feminista sci-fi epics with the warmth and depth of Black Jazz and Sunday morning soul, frosted with icy raps that evoke equal parts Elaine Brown, Ursula Rucker and Q-Tip. Immediately embraced for their singular sound, unflinching commentary, and immortal groove, Stas and Cat made friends, fans and family from coast to coast via their own immaculate grind; a combo of sharp digital hustle and self-booked, self-financed tours that connected them to like minds everywhere.


    Even crowds with nary a right foot between them find the steps when indoctrinated with TheeSatisfactions unorthodox but right-on-time rhythms. Like their comrades Shabazz Palaces (you may have heard these two on the 2011 Shabazz Palaces album Black Up), TheeSatisfaction came upon the scene with lovingly handmade CDs of their self-released albums, the first of which was 2008s Thats Weird. All has been in preparation for the album theyve envisioned for years, their debut full-length on Sub Pop Records, Awe Naturale. Tip-on single sleeve with colored vinyl and MP3 coupon.

    1. Awe
    2. Bitch
    3. Earthseed
    4. QueenS
    5. Existinct
    6. Deeper
    7. Sweat
    8. Juiced
    9. God
    10. Enchantruss
    11. Needs
    12. Crash
    13. Naturale
    TheeSatisfaction
    $17.99
    Colored Vinyl LP - Sealed Buy Now
  • Blue Blood Blues - No Hassle Night/I Just Want To Make Love To You (Live) Blue Blood Blues - No Hassle Night/I Just Want To Make Love To You (Live) Quick View

    $10.99
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    Blue Blood Blues - No Hassle Night/I Just Want To Make Love To You (Live)

    The standout track on the Dead Weathers sophomore album Sea of Cowards and its second single, Blue Blood Blues is full of bluster and wicked licks. With lead vocals by Jack White, the lyrics are line after line of gems all worth repeating, especially All the white girls trip when I sing at Sunday service. The Blue Blood Blues 12 comes backed with two non-LP tracks, No Hassle Night and a stellar live cover version of the Muddy Waters blues classic, I Just Want To Make Love To You. 12 vinyl single, black generic die-cut jacket.
    Side One

    1. Blue Blood Blues

     

    Side Two

    1. No Hassle Night

    2. I Just Want to Make Love to You (Live)
    The Dead Weather
    $10.99
    12'' Vinyl LP - Sealed Buy Now
  • Springtime Carnivore Springtime Carnivore Quick View

    $19.99
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    Springtime Carnivore

    Evoking a mellow high on a warm Sunday afternoon, where everything is magnified and glows in
    Technicolor, the debut album from Springtime Carnivore is a dreamy work of ebullient pop and
    looming psychedelia. Springtime Carnivore is the nom de tune of Greta Morgan. Produced by
    Morgan and sonic wizard Richard Swift (The Black Keys, The Shins, Foxygen) the album crackles with warmth, employing faded strings, blown-out drums, fuzzy guitars, and pawnshop keyboards to adorn widescreen vocals. Due out November 4th from Aquarium Drunkard's Autumn
    Tone Records, the album builds on a foundation of classic folk and pop songwriting, synthesizing
    those roots with production that turns and careens unexpectedly, shooting her melodic songs in
    varied light and from surprising angles: "Name on a Matchbook" merges off kilter grooves to
    a strident glide; "Sun Went Black" charges marries fuzzy power pop to wistful longing; "Other
    Side of the Boundary" is an aching psychedelic ballad, at once intimate but also cosmically faraway. Springtime Carnivore makes songs that sound familiar but skewed. Already a music veteran, Springtime Carnivore recently completed a tour supporting legendary soft psych band The
    Zombies, with whom she shares a distinct melodic touch. The songs on the album utilize classic
    approaches, but are distinctly modern. There's an index card tacked to the wall of Morgan's rehearsal space. It reads "no cheap tricks," and its command is heeded on Springtime Carnivore's
    14 heavenly songs.
    1. Western Pink
    2. Collectors
    3. Name on a Matchbook
    4. Sun Went Black
    5. Foxtrot Freak (Something In The Atmosphere)
    6. Other Side of the Boundary
    7. Karen Bird's Theme
    8. Keep Confessing
    9. Last One to Know
    10. Two Scars
    11. Talk to Me Slow
    12. Creature Feature
    13. Find a New Game
    14. Low Clouds
    Springtime Carnivore
    $19.99
    Vinyl LP + CD - Sealed Buy Now
  • Kiss Kiss Quick View

    $24.99
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    Kiss

    Kiss' 1974 self-titled debut is one of hard rock's all-time classic studio recordings. Kiss is chock full of their best and most renowned compositions, containing elements of Rolling Stones/New York Dolls party-hearty rock & roll, Beatles tunefulness, and Sabbath/Zep heavy metal, and wisely recorded primal and raw by producers Richie Wise and Kenny Kerner (of Gladys Knight fame). Main songwriters Stanley and Simmons each had a knack for coming up with killer melodies and riffs, as evidenced by Nothin' to Lose and Deuce (by Simmons), Firehouse and Black Diamond (by Stanley), as well as Strutter and 100,000 Years (collaborations by the two). Also included is the Ace Frehley alcohol anthem Cold Gin, Let Me Know (a song that Stanley played for Simmons upon their very first meeting, then titled Sunday Driver), and one of Kiss' few instrumentals: the groovy Love Theme from Kiss (penned by the entire band). The only weak track is a tacky cover of the 1959 Bobby Rydell hit Kissin' Time, which was added to subsequent pressings of the album to tie in with a Kissing Contest promotion the band was involved in at the time. Along with 1976's Destroyer, Kiss' self-titled debut is their finest studio album, and has only improved over the years.


    - Greg Prato (All Music Guide)

    1. Strutter
    2. Nothin' To Lose
    3. Firehouse
    4. Cold Gin
    5. Let Me Know
    6. Kissin' Time
    7. Deuce
    8. Love Theme From Kiss
    9. 100,000 Years
    10. Black Diamond
    Kiss
    $24.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Chocolat Soundtrack Chocolat Soundtrack Quick View

    $42.99
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    Chocolat Soundtrack


    First Pressing Of 750 Numbered Copies On 180 Gram Chocolate Brown Vinyl, Black Vinyl Thereafter


    First Time On Vinyl


    4-Page Insert


    Chocolat is the 2000 British-American romantic comedy-drama film directed by Lasse Hallström (The Cider House Rules) starring Juliette Binoche, Judi Dench and Johnny Depp. The movie was adapted from the novel written by Joan Harris, and is about a woman and her daughter opening a chocolate shop - with Sunday hours - across the street from the local church in a small French village.


    The music is composed by Rachel Portman and the soundtrack also includes Minor Swing from Django Reinhardt/StÉphane Grappelli and the 1936 jazz standard Caravan from Duke Ellington and Juan Tizol.


    Rachel Portman has written over 100 music scores for film, television and theatre. She was also the first female composer to win an Academy Award in the category of Best Musical or Comedy Score for Emma in 1996 and in 2015 she received the Primetime Emmy Award for Outstanding Music Composition for the HBO TV series Bessie.

    1. Minor Swing (Django Reinhardt/StÉphane Grappelli)
    2. Chocolat: Main Titles
    3. The Story Of Grandmere
    4. Vianne Sets Up Shop
    5. Three Women
    6. Vianne Confronts The Comte
    7. Other Possibilities
    8. Guillaume's Confession
    9. Passage Of Time
    10. Boycott Immorality
    11. Party Preparations
    12. Chocolate Sauce
    13. Fire
    14. Vianne Gazes At The River
    15. Mayan Bowl Breaks
    16. Taste Of Chocolate
    17. Ashes To The Wind / Roux Returns
    18. Caravan (Duke Ellington/Juan Tizol)
    Rachel Portman
    $42.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • The Complete Village Vanguard Recordings, 1961 The Complete Village Vanguard Recordings, 1961 Quick View

    $99.99
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    The Complete Village Vanguard Recordings, 1961


    4 LP Box Set Pressed On 180 Gram Vinyl


    Includes 12 Page Booklet


    Ranked time after time as one of the best live jazz recording sessions in history, and yielding two of Evans' most classic albums (Waltz for Debby, Sunday
    at the Village Vanguard), The Complete Village Vanguard Recordings, 1961 represents the pinnacle of spontaneous musical communication: three men
    breathing as one on a tiny bandstand.


    This box set is the ultimate collectible item for any jazz fan. Pressed on 180-gram vinyl, this four-LP set comes with a 12-page booklet, complete with
    new liner notes by reissue producer Bill Belmont, as well as the original liner notes by the producer of the original recordings,Orrin Keepnews.
    Reproductions of session notes and photographer Steve Schapiro's proof sheets from the performances add vintage context to the packaging. Also
    included in the box is a stunning metallic and black poster of the famous cover - Evans, in profile, deep in concentration at his piano.


    Everything Bill Evans, Scott LaFaro, and Paul Motian had been working on for the previous 18 months led to this moment on June 25, 1961. The little-known pianist and his trio performed afternoon and evening sets that Sunday to a small audience that unknowingly sat through what would become a very
    famous - and final - set by the trio as a whole. The 25-year old LeFaro died tragically in a car accident just ten days later. The performances on these
    LPs demonstrate a new and more interactive approach to playing as a trio, one in which all instruments carry melodic responsibilities and function as
    equal voices. Contrapuntal dialogues take place between Evans's poetic piano and LaFaro's bass, with Motian's sustained riveted ride cymbal providing a
    carpet of stars. These recordings provide something of a sonic time capsule: sequenced in the original order of the five sets; the audience's murmurings
    and applause peppered throughout; even an interrupted take is left intact.


    This box set is the definitive keepsake for audiophiles, Bill Evans fans and jazz collectors, alike, and, in its limited run, will go quickly.

    LP 1
    1. Spoken Introduction
    2. Gloria's Step (Take 1, Interrupted)
    3. Alice In Wonderland (Take 1)
    4. My Foolish Heart
    5. All Of You (Take 1)
    6. Announcement And Intermission


    LP 2
    1. My Romance (Take 1)
    2. Some Other Time
    3. Solar
    4. Gloria's Step (Take 2)
    5. My Man's Gone Now
    6. All Of You (Take 2)


    LP 3
    1. Detour Ahead (Take 1)
    2. Discussing Repertoire
    3. Waltz For Debby (Take 1)
    4. Alice In Wonderland (Take 2)
    5. Porgy (I Loves You, Porgy)
    6. My Romance (Take 2)
    7. Milestones


    LP 4
    1. Detour Ahead (take 2)
    2. Gloria's Step (Take 3)
    3. Waltz For Debby (Take 2)
    4. All Of You (Take 3)
    5. Jade Visions (Take 1)
    6. Jade Visions (Take 2)
    7. ...A Few Final Bars

    Bill Evans Trio
    $99.99
    180 Gram Audiophile Virgin Vinyl LP Box Set - 4 LPs Sealed Buy Now
  • The Quine Tapes The Quine Tapes Quick View

    $109.99
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    The Quine Tapes

    The Velvet Underground's revolutionary mix of boundary-breaking sonic extremism and transgressive lyrical content changed the face of rock 'n' roll forever. It was on stage that the band's unprecedented vision truly came to life. But the band never made any official live recordings, leaving fans with the small handful of live Velvets tapes that have emerged over the years. Undeniably, the most comprehensive and compelling embodiment of the Velvet Underground's live brilliance is the bountiful cache of 1969 tapes recorded by Velvets fan and future alt-rock guitar icon Robert Quine (who would go on to play with the Velvet Underground's leader Lou Reed more than a decade later).


    The Velvet Underground - The Quine Tapes is a definitive document of the live Velvet Underground. Captured on tape by Quine in San Francisco and St. Louis between May and December of 1969, the recordings feature the Velvet Underground's final lineup of Reed, guitarist Sterling Morrison, drummer Moe Tucker and bassist Doug Yule. The material includes incendiary performances of such seminal Velvets standards as I'm Waiting for the Man, What Goes On, Sunday Morning, Femme Fatale, White Light/White Heat, Venus in Furs, Heroin, New Age, The Black Angel's Death Song and Rock and Roll. Also included is a rare performance of the Follow the Leader, an original song which the band never officially released, as well as stunningly different versions of the epic Sister Ray.


    These historic Velvet Underground performances are now available on vinyl for the first time ever. To commemorate the occasion, Sundazed Music has designed a lavish six-LP box set, with the discs packaged in three separate gatefold jackets and contained in a deluxe slipcase. The package features incredible new cover art commissioned especially for this vinyl release, plus rare photos, Verve label repro's, poster/handbill inserts, and detailed liner notes by Rolling Stone's David Fricke. In keeping with Sundazed's usual exacting standards, this set has been newly mastered by Bob Irwin from the original source material and is perfectly pressed on high-definition virgin vinyl.

    V.1


    Side One
    1. I'm Waiting For The Man (The Family Dog, San Francisco, November 8, 1969)
    2. It's Just Too Much (The Family Dog, San Francisco, November 8, 1969)
    3. What Goes On (The Family Dog, San Francisco, November 8, 1969)


    Side Two


    4. I Can't Stand It (The Family Dog, San Francisco, November 8, 1969)
    5. Some Kinda Love (The Family Dog, San Francisco, November 8, 1969)
    6. Foggy Notion (The Family Dog, San Francisco, November 8, 1969)
    7. After Hours (The Family Dog, San Francisco, November 8, 1969)
    8. I'm Sticking With You(The Family Dog, San Francisco, November 8, 1969)


    Side Three


    9. Sister Ray (The Family Dog, San Francisco, November 7, 1969)


    Side Four


    10. Sunday Morning (The Family Dog, San Francisco, November 9, 1969)
    11. Follow The Leader (The Matrix, San Francisco, November 27, 1969)


    V.2


    Side Five


    12. Femme Fatale (The Family Dog, San Francisco, November 7, 1969)
    13. White Light/White Heat(The Matrix, San Francisco, December 1, 1969)
    14. Venus In Furs (The Matrix, San Francisco, December 1, 1969)


    Side Six


    15. Heroin (The Matrix, San Francisco, November 23, 1969)
    16. New Age(The Matrix, San Francisco, November 24, 1969)


    Side Seven


    17. Sister Ray Part 1 (The Matrix, San Francisco, December 3, 1969)


    Side Eight


    18. Sister Ray Part 2 (The Matrix, San Francisco, December 3, 1969)


     


    V.3


    Side Nine


    19. The Black Angel's Death Song (The Matrix, San Francisco, November 23, 1969)
    20. Over You (The Matrix, San Francisco, November 25, 1969) I'm Waiting For The Man (The Matrix, San Francisco, November 27, 1969)p>

    Side Ten


    21. Rock And Roll(The Matrix, San Francisco, November 25, 1969) Ride Into The Sun (The Matrix, San Francisco, November 24, 1969)


    Side Eleven


    22. Sister Ray/Foggy Notion Part 1 (Washington University, St. Louis, May 11, 1969)


    Side Twelve


    23. Sister Ray/Foggy Notion Part 2 (Washington University, St. Louis, May 11, 1969)

    Velvet Underground
    $109.99
    Vinyl LP Box Set - 6 LPs Sealed Buy Now
  • The Best Of Gloucester County The Best Of Gloucester County Quick View

    $16.99
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    The Best Of Gloucester County

    The whole represents a new and welcome chapter in the Danielson oeuvre-a startlingly effective new band, a new thematic field (the locally-grown opus), produced with more sonic ambition than any recent Danielson effort, but without sacrificing the brave interior journey that we have come to expect from Daniel Christopher Smith: the world is complex, slightly dangerous, full of temptations, but there is still grace, beauty, meaning, and the music that is required to suggest all this is anything but easy, but that doesn't mean it is not rewarding, beautiful, funny, sad, and generous.


    Released five years after 2006's well-received Ships, Daniel Smith's Best of Gloucester County finds the Danielson Famile in a bit of disarray. While sisters Megan and Rachel and Smith's wife Erin all make appearances, the bulk of the Famile has fled the nest, but adding four new members (Jens Lekman and longtime Danielson staple Sufjan Stevens appear as well) has done little to tarnish Smith's signature blend of art school indie pop and freak folk Sunday school gospel. While Best of Gloucester County (named for the New Jersey province that serves as the members' stomping grounds) may feel a bit more settled than previous outings, the complacencies of adulthood, as filtered through Smith's manic croon, are hardly destined for commercial airplay. Closer in tone to 2004's Brother Is to Son but with Ships' loftier (but still D.I.Y.) production, Gloucester County's opening cut, Complimentary Dismemberment Insurance, sets the tone with a straightforward blast of Neil Young-meets-Frank Black folk-rock, in which Smith delivers some his most evenhanded vocals in years. The Day Is a Loaf and Grow Up follow similar suit, but overly precious cuts like Lil Norge and People's Partay come away feeling more uncomfortable than whimsical. Still, a middle-of-the-road Danielson Famile/Danielson/Brother Danielson album is hardly a disappointment, as Smith has always been the sole proprietor of his niche, and with each new collection can rewrite the rules however he sees fit. If anything, Gloucester County proves that Smith is willing to let his unique style mature, which may at some point provide some insight into one of the underground's most elusive personalities. - James Christopher Monger

    1.Complimentary Dismemberment Insurance
    2.This Day is a Loaf
    3.Grow Up
    4.Lil Norge
    5.But I Don't Wanna Sing About Guitars
    6.People's Partay
    7.Olympic Portions
    8.You Sleep Good Now
    9.Hovering Above That Hill
    10.Denominator Bluise
    11.Hosanna In the Forest
    Danielson
    $16.99
    Vinyl LP - Sealed Buy Now
  • Greatest Hits Volume II Greatest Hits Volume II Quick View

    $32.99
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    Greatest Hits Volume II

    The Johnny Cash - Friday Music 180 Gram Audiophile Vinyl Series Continues!!!

    The Hits Continue... Now On First Time Beautiful Translucent True Blue Vinyl!

    Mastered Impeccably By Joe Reagoso (Johnny Cash/Willie Nelson) & Pressed At R.T.I.

    Features Smash Hits: A Boy Named Sue, Hey Porter, Sunday Mornin' Comin' Down, Folsom Prison Blues, If I Were A Carpenter

    First Time Gatefold Cover Art Featuring Rare Color Photo Of The Legendary Man In Black From The Sony Music Archives

    Johnny Cash was born during the great depression into a poor family in Arkansas. At a very young age, he worked on the family farm and experienced many of life's struggles. This is also the time he would develop his love for music, family and the Bible, which followed him closely throughout his long career.

    In the early fifties after spending time in the Air Force, he moved to Memphis, became friends with folks like Roy Orbison, Carl Perkins, Elvis Presley and Jerry Lee Lewis, and ultimately cut some sides at Sun Studios which became the catalyst that would kick-start the beginnings of a soon to be worldwide superstar, troubadour and humanitarian unlike the world has ever known.

    The folks at Columbia Records knew that this young fellow named Johnny Cash was destined for super stardom. They quickly signed the legend to a long-term deal, and his first singles like his Guess Things Happen That Way & Hey Porter etched The Man In Black trademark to his name.

    In 1971 after many chart-topping country and pop albums and a bevy of hit singles and Grammy Awards, more fame followed as the brass at Columbia Records honored their journeyman Johnny Cash with his 2nd greatest hits collection, the gold and platinum smash Johnny Cash's Greatest Hits Volume II.

    The album was a blockbuster as it hit the Top 5 in the charts, making this a crossover hit with both country and pop audiences, proving once again that his career was of historic merit. Filled with more hits than a roadside jukebox, the amazing album features his biggest hits like the groundbreaking Folsom Prison Blues and his Shel Silverstein classic A Boy Named Sue. The classic top charter duet with June Carter Cash If I Were A Carpenter is also included, followed up by one of his finest interpretations of his dear friend Kris Kristofferson's Sunday Mornin' Comin'Down.

    More treasures follow with the country belter Big River and Cash's gospel smash of Daddy Sang Bass, which truly continues the treasure trove of hits contained in this masterwork.

    In total, the album showcases eleven important Johnny Cash recordings which have truly gone on to become international classics for all time.

    In honor of the Man, the Music and the Legend, Friday Music is very honored to announce the first time 180 Gram Audiophile Translucent Blue Vinyl release of the Columbia Records classic Johnny Cash Greatest Hits Volume II by Johnny Cash.

    As another fine installment in our exciting Johnny Cash 180 Gram Audiophile Vinyl Series, we are very pleased to present this masterwork in all its stereophonic glory. Mastered impeccably by Joe Reagoso at Friday Music Studios and Capitol Mastering and manufactured at R.T.I., Johnny Cash's Greatest Hits Volume II will be a much-anticipated audiophile dream release for his fans everywhere!

    For this exclusive limited edition presentation, we are also including for the first time ever gatefold artwork which includes the groundbreaking original LP cover artwork and a rare inside photo of the legend directly from the Sony Music Archives.

    As usual, we are also enclosing a poly bag to protect your album cover and poly lined inner sleeve to help keep your Johnny Cash vinyl in mint shape. Johnny Cash's Greatest Hits Volume II A history making album from a historic legend, an audiophile dream release First-time gatefold cover is now an audiophile vinyl dream on true blue vinyl come true From your friends at Friday Music

    Stay tuned for more Johnny Cash original Columbia Records audiophile vinyl and remastered compact disc recordings from Friday Music.

    1. A Boy Named Sue
    2. Hey Porter
    3. Guess Things Happen That Way
    4. Blistered
    5. Big River
    6. Long-Legged Guitar Pickin' Man
    7. Folsom Prison Blues
    8. Sunday Morning Coming Down
    9. If I Were A Carpenter
    10. Frankie's Man Johnny
    11. Daddy Sang Bass
    Johnny Cash
    $32.99
    180 Gram Audiophile Virgin Vinyl LP Buy Now
  • By The Light Of The Moon (On Sale) By The Light Of The Moon (On Sale) On Sale Quick View

    $34.99 $31.49 Save $3.50 (10%)

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    By The Light Of The Moon (On Sale)

    Mastered from the original master tapes, Mobile Fidelity's numbered limited edition 180g LP brings these 11 songs to life and out of the clouded, foggy sonic environment in which they've remained for more than two decades. For the first time, T Bone Burnett's stripped-back production functions as it should. Namely, Los Lobos sound as if they're playing at a small, sweaty neighborhood joint late on a Sunday night for an audience of locals, friends, and family.


    The group's uncanny ability to switch between instruments and effortlessly play each as if it's their innate right-listen to the seamless fashion in which electric and acoustic guitars, marimbas, organs, saxophones, harmonicas, and percussion create strikingly memorable soundscapes-comes to light amidst a warmer, airier, more organic and deep-black background.David Hidalgo's sweet, honeysuckle timbre, he and Cesar Rosas' overlapping tremolo guitars, and stacks of interwoven rhythms jump with vibrant electricity.


    Shifting into storytelling mode, Los Lobos use By the Light of the Moon as an opportunity to meditate on everyday America and channel the fate of normal communities. Issues of faith, mortality, love, disillusionment, and melancholy inform narratives that are on the same socially conscious level as those of period-era Bruce Springsteen and John Mellencamp. As for the songs, they crackle, waltz, shuffle, dance, tremble, and kick. The band almost dares listeners not to care.


    Whether leaning into twangy two-step country-rock ("One Night In America"), dual-guitar shootout rockabilly ("Shakin' Shakin' Shakes"), swinging jump R&B ("Is This All There Is?"), tequila-spiked East Los Angeles-style rock ("Set Me Free (Rosa Lee)"), searing Latin-tinged blues ("My Baby's Gone"), or poignant gospel-lined folk ("River of Fools"), Los Lobos' Tex-Mex gumbo continually impresses and delights.


    Don't pass up one of the best releases of the 1980s and one of Los Lobos' definitive statements. You'll never hear a better pressing. Boleros, rancheros, and more await!


    This title is not eligible for further discount.

    1. One Time One Night
    2. Shakin' Shakin' Shakes
    3. Is This All There Is?
    4. Prenda Del Alma
    5. All I Wanted To Do Was Dance
    6. Set Me Free (Rosa Lee)
    7. The Hardest Time
    8. My Baby's Gone
    9. River of Fools
    10. The Mess We're In
    11. Tears of God
    Los Lobos
    $34.99 $31.49 Save $3.50 (10%)
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Do What You Want To, It's What You Should Do Do What You Want To, It's What You Should Do Quick View

    $16.99
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    Do What You Want To, It's What You Should Do

    "Flowers' early gigs have shown heaps of promise" - NME


    "A little Jesus And Mary Chain, a lot of Black Tambourine, and one hell of a voice." - DoNYC


    "The trio blasted the stage with their sprawling guitars, booming percussion and epic vocals" - PREFIX MAG (Artist to Watch)


    Often it's the moments of silence that hit you hardest. - This is Fake DIY


    "A radiant, warm and endearingly amateurish talent. THE FADER


    "Steeped in indie lore, in a charming, self-effacing way of translating emotion into sound" CLASH MUSIC


    London based trio Flowers ends their live shows with singer Rachel Kenedy utterly still, accompanying herself on a one string bass guitar, soul laid bare. It is a stark and quiet moment in comparison to what came before, which can be characterized by Sam Ayres blur of kinetic energy on guitar and Jordan Hockley's urgent and precision drumming all performed with a sense of minimalism and brevity. It is this minimalist approach that best characterizes the fourteen deceptively simple pop songs that comprise Flowers debut, Do What You Want To, It's What You Should Do.


    Produced by Bernard Butler, Flowers' genius is in their ability to convey a remarkable amount of emotion with minimal instrumentation. Rachel possesses one of those beautiful pop voices to die for, with echoes of Elizabeth Fraser (Cocteau Twins), Hope Sandoval (Mazzy Star) and Harriet Wheeler (The Sundays). Haunting, mesmerizing and intense, Do What You Want To, It's What You Should Do is an impressive calling cared from a sensational new band.

    1. Young
    2. Forget the Fall
    3. Drag Me Down
    4. Worn Out Shoes
    5. Lonely
    6. Joanna
    7. If I Tell You
    8. Comfort
    9. I Love You
    10. All Over Again
    11. Anna
    12. Be With You
    13. Plastic Jane
    14. Stuck
    Flowers
    $16.99
    Vinyl LP - Sealed Buy Now
  • Indoor Living Indoor Living Quick View

    $21.99
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    Indoor Living

    With a lot of Superchunk products, it's easy to think there's a simple message because
    the music is so direct. But on Indoor Living, typically unfussy guitar hooks and
    shout-sung tag lines that beg for an audience to croon along-"Let's burn last
    Sunday"-are just the overarching structure of a record that moons over details:
    "Marquee" drapes a lazy sonic arm over the seat, pulling you in for a story about egos
    twisting apart ("The arc of lights / above your head / is not to be believed").
    "Martinis on the Roof " puts a slightly manic, rueful smile on the loss of a friend, a
    search for that emotion that lurks in a mix of anger and nostalgia: "Well the wasted
    space is mine / Yeah I hardly have the right to sing about it."


    Indoor Living is about domestication: The taming and training of human beings to inhabit each others' lives, during which a certain amount of blood is spilled. But anyone
    can write a break-up record, anyone can color in a broken heart all black. It takes a
    more sophisticated eye to find the light and perfect moments that happen even when
    we wish they didn't, and Indoor Living is a scrapbook of those moments. A request
    for mercy comes across like an in-joke ("We both know that I've got bad knees") in
    "Watery Hands." "European Medicine" is a lively travelog that's by turns amusingly
    fatalistic ("All our wine just froze, so much for your sunny coast") and achingly needy
    ("Hold my hand steady while I write / Look over my shoulder all night"). Even "The
    Popular Music," the record's angriest slice of heartache, has a protagonist that can't
    quite pull off a fully punk rock tantrum: "I'm smashing not washing the china you left
    me to use," but "making mosaics of scenes from the parts of my life that you left me
    to lose."


    Angst is easy, hope is hard. Thinking you're going to die from a broken heart is easy,
    knowing you won't is hard. Adulthood is about forsaking the black and white
    resolutions of youth for a more complicated, and resonant, resilience: From "Burn
    Last Sunday," one of the saddest lines in indie rock: "The branches you thought you'd
    break / Well, they just bend." In music and with people, maturity happens when the
    sharp edges and jangly rhythms of angst and outrage give over to fuller conversations.
    Indoor Living shows that you don't have to lose a single joule of energy in becoming a
    little more self-reflective. You just have to be willing to take it all in.


    Trying to hear Indoor Living the way I heard it sixteen years ago was easier than I
    wanted it to be. Though of course-of course!-I've listened to the record on and
    off in the intervening time, I had forgotten how familiar this record is to me. I had
    forgotten I knew all the words to every song, could anticipate every hesitant drop in
    rhythm and wavering chorus. This record was the soundtrack of being 25 and because
    of that, it does remind me of a really specific time; but that time is not so much the
    late '90s as the turning point between adolescence and adulthood, which happens later
    and later to me every year.


    -Ana Marie Cox, 2013

    1. Unbelievable Things
    2. Burn Last Sunday
    3. Marquee
    4. Watery Hands
    5. Nu Bruises
    6. Every Single Instinct
    7. Song for Marion Brown
    8. The Popular Music
    9. Under Our Feet
    10. European Medicine
    11. Martinis on the Roof
    Superchunk
    $21.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • What Were Once Vices Are Now Habits What Were Once Vices Are Now Habits Quick View

    $29.99
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    What Were Once Vices Are Now Habits

    180 Gram Anniversary Edition in First Time Gatefold Cover with Artwork Elements Not Seen in Years


    Mastered by Joe Reagoso from the Original Warner Brothers Tapes at Friday Music Studios and at Capitol Mastering with Ron McMaster


    Known for their ability to churn out hit songs, chart-topping albums and sell-out shows across the globe, The Doobie Brothers continue to be a force in the music business, garnering them success now for over four decades. They were also leaders in creating excellent sounding recordings and utilizing their masterful skills in the studios. Their amazing catalog of albums has truly stood the test of time.


    1974 was a banner year for the band as they took their Bay Area soul and rock driven sounds to a further dimension, thanks to the hits on their fourth smash LP What Were Once Vices Are Now Habits. Produced by Ted Templeman, this multi-platinum event would go on to become one of the most successful albums by The Doobie Brothers, as the LP gave them a huge number-one single with Patrick Simmons' Black Water. Plus the hard rockin' session yielded more hits like the Memphis R&B sounds of Eyes Of Silver and Tom Johnston's classic summertime ballad Another Park, Another Sunday.


    Fronted by dual lead vocalists and guitar mavens Tom Johnston and Patrick Simmons, Tiran Porter on bass, and the dual drummers John Hartman and the late great Michael Hossack, The Doobie Brothers continued their trek to the top of the music charts as the LP went even deeper on album radio with more amazing hits like the hard rocker Pursuit on 53rd Street, the funk/acoustic vibe of Daughters Of The Sea, and the tour de force masterpiece Road Angel.
    Even superstar friends like future Doobie Brothers Jeff "Skunk Baxter" and the late Keith Knudsen, Billy Payne from Little Feat, the legendary Arlo Guthrie and The Memphis Horns are all featured on this once in a lifetime classic rocker.

    1. Song to See You Through
    2. Spirit
    3. Pursuit on 53rd St
    4. Black Water
    5. Eyes of Silver
    6. Road Angel
    7. You Just Can't Stop It
    8. Tell Me What You Want (And I'll Give You What You Need)
    9. Down in the Track
    10. Another Park, Another Sunday
    11. Daughters of the Sea
    12. Flying Cloud
    The Doobie Brothers
    $29.99
    180 Gram Audiophile Virgin Vinyl LP Buy Now
  • Ire Works (Colored Vinyl) (Awaiting Repress) Ire Works (Colored Vinyl) (Awaiting Repress) Quick View

    $19.99
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    Ire Works (Colored Vinyl) (Awaiting Repress)

    Limited Edition Electric Blue Vinyl


    Ire Works succeeds in many of the same ways that their previous album did, while branching out creatively. They continue to toy with technical metal, blistering hardcore, jazz breaks, and post-punk, but here they evolve again by adding more twists and turns with additional electronic elements. While the merging of too many styles in hardcore can make for a convoluted result (see Avenged Sevenfold's self-titled release), the added instruments and genre changeups enhance the result rather than acting as ornamental distractions.


    Edgy Aphex Twin-style drill'n'bass drum breaks and stretched and squeezed electro blips feel strangely at home next to the psychotic time-signature changes and manic riffs, especially on the tracks Sick on Sunday, Dead as History, and When Acting as a Wave. Violins, pianos, and trumpets sit nicely in the mix, and the group's willingness to take chances leads to stunning artistic endeavors rather than stale attempts at crossing genres just for the sake of being clever. Original vocalist Dimitri Minakakis makes an appearance, as does Mastodon guitarist Brent Hinds, but the most notable inclusion is drummer Gil Sharone, who proves himself an expert at picking up the slack after the departure of founding member Chris Pennie to play in Coheed and Cambria.


    Undoubtedly, this act added anger to fuel the fire of their heavier numbers. 82588, Fix Your Face, and Party Smasher are as wicked and manic as their most difficult earlier stuff; conversely, the melodic hooks and falsetto of Black Bubblegum and the watery ambience of Mouth of Ghosts balance out the album nicely. It can be inaccessible and terrifying all at once, but in a genre overly saturated with formulaic groups, Ire Works is a true standout. If DEP aren't careful and continue down this innovative path, they could easily be labeled the Radiohead of metalcore- a visceral metal album that pushes the envelope.

    1. Fix Your Face
    2. Lurch
    3. Black Bubblegum
    4. Sick On Sunday
    5. When Acting As a Particle
    6. Nong Eye Gong
    7. When Acting As a Wave
    8. 82588
    9. Milk Lizard
    10. Party Smasher
    11. Dead As History
    12. Horse Hunter
    13. Mouth Of Ghosts
    Dillinger Escape Plan
    $19.99
    Colored Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • Gratitude Gratitude Quick View

    $44.99
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    Gratitude

    180 Gram Translucent Blue Colored Vinyl With Gatefold Cover


    Mastered Impeccably By Joe Reagoso


    Manufactured At R.T.I.


    During the 1970s, a new brand of pop music was born - one that was steeped in African and African-American styles - particularly jazz and R&B but appealed to a broader cross-section of the listening public. As founder and leader of the band Earth, Wind & Fire, Maurice White not only embraced but also helped bring about this evolution of pop, which bridged the gap that has often separated the musical tastes of black and white America. It certainly was successful, as EWF combined high-caliber musicianship, wide-ranging musical genre eclecticism, and '70s multicultural spiritualism. "I wanted to do something that hadn't been done before," Maurice explains. "Although we were basically jazz musicians, we played soul, funk, gospel, blues, jazz, rock and dance music which somehow ended up becoming pop. We were coming out of a decade of experimentation, mind expansion and cosmic awareness. I wanted our music to convey messages of universal love and harmony without force-feeding listeners' spiritual content."Maurice was born December 19, 1941, in Memphis, TN. He was immersed in a rich musical culture that spanned the boundaries between jazz, gospel, R&B, blues and early rock. All of these styles played a role in the development of Maurice's musical identity. At age six, he began singing in his church's gospel choir but soon his interest turned to percussion. He began working gigs as a drummer while still in high school. His first professional performance was with Booker T. Jones, who eventually achieved stardom as Booker T and the MGs.After graduating high school, Maurice moved to the Windy City to continue his musical education at the prestigious Chicago Conservatory Of Music. He continued picking up drumming jobs on the side, which eventually lead to a steady spot as a studio percussionist with the legendary Chicago label, Chess Records. At Chess, Maurice had the privilege of playing with such greats as Etta James, Fontella Bass, Billy Stewart, Willie Dixon, Sonny Stitt and Ramsey Lewis, whose trio he joined in 1967. He spent nearly three years as part of the Ramsey Lewis Trio. "Ramsey helped shape my musical vision beyond just the music," Maurice explains. "I learned about performance and staging." Maurice also learned about the African thumb piano, or Kalimba, an instrument whose sound would become central to much of his work over the years.In 1969, Maurice left the Ramsey Lewis Trio and joined two friends in Chicago, Wade Flemons and Don Whitehead, as a songwriting team composing songs and commercials in the Chicago area. The three friends got a recording contract with Capitol and called themselves the "Salty Peppers," and had a marginal hit in the Mid-western area called "La La Time." That band featured Maurice on vocals, percussion and Kalimba along with keyboardists/vocalists Wade Flemons and Don Whitehead.


    After relocating to Los Angeles and signing a new contract with Warner Bros., Maurice simultaneously made what may have been the smartest move of his young career. He changed the band's name to Earth, Wind & Fire (after the three elements in his astrological chart). The new name also captured Maurice's spiritual approach to music - one that transcended categories and appealed to multiple artistic principals, including composition, musicianship, production, and performance. In addition to White, Flemons and Whitehead, Maurice recruited Michael Beal on guitar, Leslie Drayton, Chester Washington and Alex Thomas on horns, Sherry Scott on vocals, percussionist Phillard Williams and his younger brother Verdine on bass.


    Earth, Wind & Fire recorded two albums for Warner Brothers: the self-titled 1970 album Earth, Wind And Fire and the 1971 album The Need Of Love. A single from this album, "I Think About Lovin' You," provided EWF with their first Top 40 R&B hit. Also in 1971, the group performed the soundtrack to the Melvin Van Peebles film 'Sweet Sweetback's Baadasssss Song'.


    In 1972, White dissolved the line-up (except he and brother Verdine White) and added Jessica Cleaves (vocals - formerly of the R&B group The Friends of Distinction), Ronnie Laws (flute, saxophone), Roland Bautista (guitar), Larry Dunn (keyboard), Ralph Johnson (percussion) and Philip Bailey (vocals, formerly of Friends & Love). Maurice became disillusioned with Warner Brothers, which had signed the group primarily as a jazz act. Maurice, in contrast, was more interested in combining elements of jazz, rock, and soul into an evolving form of fusion, a truly universal sound.


    A performance at New York's Rockefeller Center introduced EWF to Clive Davis, then President of Columbia Records. Davis loved what he saw and bought their contract from Warner Bros. With Columbia Records, debuting with the 1972 album Last Days And Time, the group slowly began to build a reputation for innovative recordings and exciting, live shows, complete with feats of magic (floating pianos, spinning drum kits, vanishing artists) engineered by Doug Henning and his then-unknown assistant David Copperfield. Their first gold album, Head To The Sky, peaked at number 27 pop in the summer of 1973, yielding a smooth tangy cover of "Evil" and the title track single. The first platinum EWF album, Open Our Eyes, whose title track was a remake of the classic originally recorded by Savoy Records group the Gospel Clefs, included "Mighty Mighty" (number four R&B) and "Kalimba Story" (number six R&B).


    Maurice once again shared a label roster with Ramsey Lewis, whose Columbia debut Sun Goddess, was issued in December 1974. The radio-aired title track was released as a single under the name Ramsey Lewis and Earth, Wind & Fire. It went to number 20 R&B in early 1975. The Sun Goddess album went gold, hitting number 12 pop in early 1975. Maurice had also played on Lewis' other high-charting album, Wade In The Water; the title track single peaked at number three R&B in the summer of 1966.


    The inspiration for "Shining Star" (one of EW&F's most beloved singles) was gleaned from thoughts Maurice had during a walk under the star-filled skies that surrounded the mountains around Caribou Ranch, CO a popular recording site and retreat during the '70s. The track was originally included in the 'That's The Way Of The World' movie that starred Harvey Keitel and was produced by Sig Shore (Superfly). "Shining Star" glittered at number one R&B for two weeks and hit number one pop in early 1975. It was included on their 1975 multi-platinum album That's The Way Of The World that held the number one pop spot for three weeks in Spring 1975 and earned them their first Grammy Award. The title track single made it to number five R&B in summer of 1975. It also yielded the classic ballad "Reasons," an extremely popular radio-aired album track.


    The multi-platinum album Gratitude held the number one pop album spot for three weeks in late 1975. On the album was "Singasong" (gold, number one R&B for two weeks, number five pop), the Skip Scarborough ballad "Can't Hide Love" (number 11 R&B), and the popular radio-aired album tracks "Celebrate," "Gratitude," and the live version of "Reasons." In 1976, Maurice decided he wanted to record a spiritual album. The multi-platinum album Spirit parked at number two pop for two weeks in fall of 1976 and boasted the gold, number one R&B single "Getaway" and "Saturday Nite." Spirit is remembered as one of EWF's best albums and sadly for also being the last project of Producer Charles Stepney. He died May 17, 1976, in Chicago, IL, at the age of 45. Charles was a former Chess Records arranger/producer/session musician/multi-instrumentalist/songwriter and Maurice's main collaborator on his EWF projects. The multi-platinum album All 'N All peaked at number three pop in late 1977, won three Grammy's, and had arrangements by Chicago soul mainstay Tom Tom Washington and Eumir Deodato. The singles were "Serpentine Fire" (number one R&B for seven weeks) and "Fantasy." The group's horn section, the legendary Phenix Horns (Don Myrick on saxophone, Louis Satterfield on trombone, Rahmlee Michael Davis and Michael Harris on trumpets) became an integral part of the Earth, Wind & Fire sound.


    During this time, Maurice produced several artists such as The Emotions (1976's Flowers and 1977's Rejoice which included the number one R&B/pop hit "Best Of My Love") and Deniece Williams (1976's This Is Niecy which included the Top Ten R&B hit "Free"). In the late seventies, in association with Columbia Records, Maurice also launched a record label, ARC.


    The multi-platinum greatest-hits set The Best Of Earth, Wind & Fire, Vol. I included a cover of the Beatles' "Got To Get You Into My Life" went to number one R&B and number nine pop in Summer 1978. The group performed the song in the 1978 Bee Gees/Peter Frampton movie 'Sgt. Pepper's Lonely Hearts Club Band'. Another single, "September," made it to number one R&B, number eight pop in early 1978. On the flip side was the enchanting popular radio-aired album track "Love's Holiday" from All 'N All.


    Their live performances were stellar as well. Sellout crowds were spellbound by the band's bombastic performances. Their performances blasted a cosmic wave of peace, love and other happy vibrations to audiences using a combination of eye-popping costumes, lights, pyrotechnics and plain old good music. Sometimes they even threw in magic illusions. Earth, Wind & Fire's message was one of universal harmony, in both musical and cultural senses. "We live in a negative society," Maurice told Newsweek. "Most people can't see beauty and love. I see our music as medicine."


    The multi-platinum album I Am hit number three pop in Summer 1979 on the strength of the million-selling single "Boogie Wonderland" with The Emotions (number two R&B for four weeks, number six pop) and the phenomenal gold ballad "After The Love Has Gone," written by David Foster, Jay Graydon and Bill Champlin that stayed at number two R&B/pop for two weeks. Their Faces album peaked at number ten pop in late 1980 and was boosted to gold by the singles "Let Me Talk" (number eight R&B), "You" (number ten R&B), and "And Love Goes On."


    The million-selling funked-up "Let's Groove," co-written by The Emotions' Wanda Vaughn and her husband Wayne Vaughn, was the track that re-energized EWF's career, parking at number one R&B for eight weeks and number three pop, causing their Raise! album to go platinum (hitting number five pop in late 1981). Their next gold album Powerlight made it to number 12 pop in spring 1983 and included the Top Ten R&B single and Grammy-nominated "Fall In Love With Me." Their 1983 Electric Universe album stalled at number 40 pop, breaking the band's string of gold, platinum and multi-platinum albums.


    In 1983, Maurice decided he and the band needed a break. During this hiatus, Maurice recorded his self-titled solo album Maurice White and produced various artists including Neal Diamond, Barbra Streisand and Jennifer Holliday. Reuniting with the band in 1987, EWF released the album Touch The World and scored yet another number one R&B single, "System of Survival" and embarked on a corresponding nine-month world tour. This was followed by the 1988 release The Best Of Earth, Wind & Fire Vol. II.


    In 1990 the group released the album Heritage. Two years later, Earth, Wind & Fire released The Eternal Dance; a 55-track boxed set retrospective of the band's entire history. The appearance of such a project after a prolonged period of relative inactivity signaled to many listeners that the band was calling it quits but that did not turn out to be case. In 1993, EWF released the album, Millennium that included the Grammy-nominated "Sunday Morning" and "Spend The Night."


    Earth, Wind & Fire kept recording and in 1996 released Avatar and Greatest Hits Live; followed by 1997's In The Name Of Love; 2002's That's The Way Of The World: Alive In '75; Live In Rio which was recorded during their 1979 "I Am World Tour;" 2003's The Promise, which included the Grammy-nominated "Hold Me" and 2005's Illumination, which included the Grammy-nominated "Show Me The Way."


    In 2000, the nine-piece '70s edition of Earth, Wind & Fire reunited for one night only in honor of their induction into The Rock And Roll Hall Of Fame. In 2001, Eagle Rock Entertainment released the documentary 'Earth, Wind & Fire: Shining Stars', which contains rarely seen historic video footage along with in-depth interviews with the band members.


    Even though Maurice is no longer a part of the touring group, he remains the band's heart and soul from behind the scenes as composer and producer. Maurice reflects, "I wanted to create a library of music that would stand the test of time. 'Cosmic Consciousness' is the key component of our work. Expanding awareness and uplifting spirits is so important in this day. People are looking for more. I hope our music can give them some encouragement and peace."

    LP 1
    1. Introduction

    2. Africano/ Power Medley

    3. Yearnin' Learnin'

    4. Devotion

    5. Sun Goddess
    6. Reasons

    7. Sing A Message To You


    LP 2
    1. Shining Star

    2. New World Symphony
    3. Sunshine

    4. Singasong

    5. Gratitude

    6. Celebrate

    7. Can't Hide Love

    Earth, Wind & Fire
    $44.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Buy Now
  • Greatest Hits (Awaiting Repress) Greatest Hits (Awaiting Repress) Quick View

    $42.99
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    Greatest Hits (Awaiting Repress)

    180 Gram Translucent Gold Colored Vinyl With Gatefold Cover


    During the 1970s, a new brand of pop music was born - one that was steeped in African and African-American styles - particularly jazz and R&B but appealed to a broader cross-section of the listening public. As founder and leader of the band Earth, Wind & Fire, Maurice White not only embraced but also helped bring about this evolution of pop, which bridged the gap that has often separated the musical tastes of black and white America. It certainly was successful, as EWF combined high-caliber musicianship, wide-ranging musical genre eclecticism, and '70s multicultural spiritualism. "I wanted to do something that hadn't been done before," Maurice explains. "Although we were basically jazz musicians, we played soul, funk, gospel, blues, jazz, rock and dance music which somehow ended up becoming pop. We were coming out of a decade of experimentation, mind expansion and cosmic awareness. I wanted our music to convey messages of universal love and harmony without force-feeding listeners' spiritual content."Maurice was born December 19, 1941, in Memphis, TN. He was immersed in a rich musical culture that spanned the boundaries between jazz, gospel, R&B, blues and early rock. All of these styles played a role in the development of Maurice's musical identity. At age six, he began singing in his church's gospel choir but soon his interest turned to percussion. He began working gigs as a drummer while still in high school. His first professional performance was with Booker T. Jones, who eventually achieved stardom as Booker T and the MGs.After graduating high school, Maurice moved to the Windy City to continue his musical education at the prestigious Chicago Conservatory Of Music. He continued picking up drumming jobs on the side, which eventually lead to a steady spot as a studio percussionist with the legendary Chicago label, Chess Records. At Chess, Maurice had the privilege of playing with such greats as Etta James, Fontella Bass, Billy Stewart, Willie Dixon, Sonny Stitt and Ramsey Lewis, whose trio he joined in 1967. He spent nearly three years as part of the Ramsey Lewis Trio. "Ramsey helped shape my musical vision beyond just the music," Maurice explains. "I learned about performance and staging." Maurice also learned about the African thumb piano, or Kalimba, an instrument whose sound would become central to much of his work over the years.In 1969, Maurice left the Ramsey Lewis Trio and joined two friends in Chicago, Wade Flemons and Don Whitehead, as a songwriting team composing songs and commercials in the Chicago area. The three friends got a recording contract with Capitol and called themselves the "Salty Peppers," and had a marginal hit in the Midwestern area called "La La Time." That band featured Maurice on vocals, percussion and Kalimba along with keyboardists/vocalists Wade Flemons and Don Whitehead.


    After relocating to Los Angeles and signing a new contract with Warner Bros., Maurice simultaneously made what may have been the smartest move of his young career. He changed the band's name to Earth, Wind & Fire (after the three elements in his astrological chart). The new name also captured Maurice's spiritual approach to music - one that transcended categories and appealed to multiple artistic principals, including composition, musicianship, production, and performance. In addition to White, Flemons and Whitehead, Maurice recruited Michael Beal on guitar, Leslie Drayton, Chester Washington and Alex Thomas on horns, Sherry Scott on vocals, percussionist Phillard Williams and his younger brother Verdine on bass.


    Earth, Wind & Fire recorded two albums for Warner Brothers: the self-titled 1970 album Earth, Wind And Fire and the 1971 album The Need Of Love. A single from this album, "I Think About Lovin' You," provided EWF with their first Top 40 R&B hit. Also in 1971, the group performed the soundtrack to the Melvin Van Peebles film 'Sweet Sweetback's Baadasssss Song'.


    In 1972, White dissolved the line-up (except he and brother Verdine White) and added Jessica Cleaves (vocals - formerly of the R&B group The Friends of Distinction), Ronnie Laws (flute, saxophone), Roland Bautista (guitar), Larry Dunn (keyboard), Ralph Johnson (percussion) and Philip Bailey (vocals, formerly of Friends & Love). Maurice became disillusioned with Warner Brothers, which had signed the group primarily as a jazz act. Maurice, in contrast, was more interested in combining elements of jazz, rock, and soul into an evolving form of fusion, a truly universal sound.


    A performance at New York's Rockefeller Center introduced EWF to Clive Davis, then President of Columbia Records. Davis loved what he saw and bought their contract from Warner Bros. With Columbia Records, debuting with the 1972 album Last Days And Time, the group slowly began to build a reputation for innovative recordings and exciting, live shows, complete with feats of magic (floating pianos, spinning drum kits, vanishing artists) engineered by Doug Henning and his then-unknown assistant David Copperfield. Their first gold album, Head To The Sky, peaked at number 27 pop in the summer of 1973, yielding a smooth tangy cover of "Evil" and the title track single. The first platinum EWF album, Open Our Eyes, whose title track was a remake of the classic originally recorded by Savoy Records group the Gospel Clefs, included "Mighty Mighty" (number four R&B) and "Kalimba Story" (number six R&B).


    Maurice once again shared a label roster with Ramsey Lewis, whose Columbia debut Sun Goddess, was issued in December 1974. The radio-aired title track was released as a single under the name Ramsey Lewis and Earth, Wind & Fire. It went to number 20 R&B in early 1975. The Sun Goddess album went gold, hitting number 12 pop in early 1975. Maurice had also played on Lewis' other high-charting album, Wade In The Water; the title track single peaked at number three R&B in the summer of 1966.


    The inspiration for "Shining Star" (one of EW&F's most beloved singles) was gleaned from thoughts Maurice had during a walk under the star-filled skies that surrounded the mountains around Caribou Ranch, CO a popular recording site and retreat during the '70s. The track was originally included in the 'That's The Way Of The World' movie that starred Harvey Keitel and was produced by Sig Shore (Superfly). "Shining Star" glittered at number one R&B for two weeks and hit number one pop in early 1975. It was included on their 1975 multi-platinum album That's The Way Of The World that held the number one pop spot for three weeks in Spring 1975 and earned them their first Grammy Award. The title track single made it to number five R&B in summer of 1975. It also yielded the classic ballad "Reasons," an extremely popular radio-aired album track.


    The multi-platinum album Gratitude held the number one pop album spot for three weeks in late 1975. On the album was "Singasong" (gold, number one R&B for two weeks, number five pop), the Skip Scarborough ballad "Can't Hide Love" (number 11 R&B), and the popular radio-aired album tracks "Celebrate," "Gratitude," and the live version of "Reasons." In 1976, Maurice decided he wanted to record a spiritual album. The multi-platinum album Spirit parked at number two pop for two weeks in fall of 1976 and boasted the gold, number one R&B single "Getaway" and "Saturday Nite." Spirit is remembered as one of EWF's best albums and sadly for also being the last project of Producer Charles Stepney. He died May 17, 1976, in Chicago, IL, at the age of 45. Charles was a former Chess Records arranger/producer/session musician/multi-instrumentalist/songwriter and Maurice's main collaborator on his EWF projects. The multi-platinum album All 'N All peaked at number three pop in late 1977, won three Grammy's, and had arrangements by Chicago soul mainstay Tom Tom Washington and Eumir Deodato. The singles were "Serpentine Fire" (number one R&B for seven weeks) and "Fantasy." The group's horn section, the legendary Phenix Horns (Don Myrick on saxophone, Louis Satterfield on trombone, Rahmlee Michael Davis and Michael Harris on trumpets) became an integral part of the Earth, Wind & Fire sound.


    During this time, Maurice produced several artists such as The Emotions (1976's Flowers and 1977's Rejoice which included the number one R&B/pop hit "Best Of My Love") and Deniece Williams (1976's This Is Niecy which included the Top Ten R&B hit "Free"). In the late seventies, in association with Columbia Records, Maurice also launched a record label, ARC.


    The multi-platinum greatest-hits set The Best Of Earth, Wind & Fire, Vol. I included a cover of the Beatles' "Got To Get You Into My Life" went to number one R&B and number nine pop in Summer 1978. The group performed the song in the 1978 Bee Gees/Peter Frampton movie 'Sgt. Pepper's Lonely Hearts Club Band'. Another single, "September," made it to number one R&B, number eight pop in early 1978. On the flip side was the enchanting popular radio-aired album track "Love's Holiday" from All 'N All.


    Their live performances were stellar as well. Sellout crowds were spellbound by the band's bombastic performances. Their performances blasted a cosmic wave of peace, love and other happy vibrations to audiences using a combination of eye-popping costumes, lights, pyrotechnics and plain old good music. Sometimes they even threw in magic illusions. Earth, Wind & Fire's message was one of universal harmony, in both musical and cultural senses. "We live in a negative society," Maurice told Newsweek. "Most people can't see beauty and love. I see our music as medicine."


    The multi-platinum album I Am hit number three pop in Summer 1979 on the strength of the million-selling single "Boogie Wonderland" with The Emotions (number two R&B for four weeks, number six pop) and the phenomenal gold ballad "After The Love Has Gone," written by David Foster, Jay Graydon and Bill Champlin that stayed at number two R&B/pop for two weeks. Their Faces album peaked at number ten pop in late 1980 and was boosted to gold by the singles "Let Me Talk" (number eight R&B), "You" (number ten R&B), and "And Love Goes On."


    The million-selling funked-up "Let's Groove," co-written by The Emotions' Wanda Vaughn and her husband Wayne Vaughn, was the track that re-energized EWF's career, parking at number one R&B for eight weeks and number three pop, causing their Raise! album to go platinum (hitting number five pop in late 1981). Their next gold album Powerlight made it to number 12 pop in spring 1983 and included the Top Ten R&B single and Grammy-nominated "Fall In Love With Me." Their 1983 Electric Universe album stalled at number 40 pop, breaking the band's string of gold, platinum and multi-platinum albums.


    In 1983, Maurice decided he and the band needed a break. During this hiatus, Maurice recorded his self-titled solo album Maurice White and produced various artists including Neal Diamond, Barbra Streisand and Jennifer Holliday. Reuniting with the band in 1987, EWF released the album Touch The World and scored yet another number one R&B single, "System of Survival" and embarked on a corresponding nine-month world tour. This was followed by the 1988 release The Best Of Earth, Wind & Fire Vol. II.


    In 1990 the group released the album Heritage. Two years later, Earth, Wind & Fire released The Eternal Dance; a 55-track boxed set retrospective of the band's entire history. The appearance of such a project after a prolonged period of relative inactivity signaled to many listeners that the band was calling it quits but that did not turn out to be case. In 1993, EWF released the album, Millennium that included the Grammy-nominated "Sunday Morning" and "Spend The Night."


    Earth, Wind & Fire kept recording and in 1996 released Avatar and Greatest Hits Live; followed by 1997's In The Name Of Love; 2002's That's The Way Of The World: Alive In '75; Live In Rio which was recorded during their 1979 "I Am World Tour;" 2003's The Promise, which included the Grammy-nominated "Hold Me" and 2005's Illumination, which included the Grammy-nominated "Show Me The Way."


    In 2000, the nine-piece '70s edition of Earth, Wind & Fire reunited for one night only in honor of their induction into The Rock And Roll Hall Of Fame. In 2001, Eagle Rock Entertainment released the documentary 'Earth, Wind & Fire: Shining Stars', which contains rarely seen historic video footage along with in-depth interviews with the band members.


    Even though Maurice is no longer a part of the touring group, he remains the band's heart and soul from behind the scenes as composer and producer. Maurice reflects, "I wanted to create a library of music that would stand the test of time. 'Cosmic Consciousness' is the key component of our work. Expanding awareness and uplifting spirits is so important in this day. People are looking for more. I hope our music can give them some encouragement and peace."

    LP 1
    1. Shining Star

    2. That's The Way Of The World
    3. September

    4. Can't Hide Love

    5. Got To Get You Into My Life
    6. Sing A Song

    7. Gratitude

    8. Serpentine Fire

    9. Fantasy


    LP 2
    1. Kalimba Story
    2. Mighty Mighty

    3. Reasons

    4. Saturday Nite

    5. Let's Groove

    6. Boogie Wonderland ( with The Emotions)
    7. After The Love Has Gone

    8. Getaway

    Earth, Wind & Fire
    $42.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs AWAITING REPRESS Buy Now
  • Sunday at The Village Vanguard (Out Of Stock) Sunday at The Village Vanguard (Out Of Stock) Quick View

    $99.99
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    Sunday at The Village Vanguard (Out Of Stock)


    Mastered from the Original Master Tapes With Mobile Fidelity's One-Step Process: Sunday at the Village Vanguard UD1S 45RPM Box Set the Ultimate Analog Version of Bill Evans' 1961 Jazz Staple


    Deluxe Packaging Includes Opulent Box, Special Jackets and Unique Bonus Artwork: No Expense Spared, Strictly Limited to 3000 Numbered Copies


    Gorgeous Romanticism, Seamless Chemistry, Group Interplay, and Symbiotic Trio Performances Forever Changed Jazz: Evans' Live Masterwork Boasts Brilliant Sound, Lyrical Pianism, Magical Feel


    The gorgeous romanticism of Bill Evans' Sunday at the Village Vanguard cannot be overstated. Neither can the iconic record's place in history - nor what it signifies to generations upon generations of listeners hypnotized by the consummate playing, resplendent compositions, and seamless chemistry. Originally released in1961, the live set remains the gold standard for symbiotic trio performance, empathy, and communication. Because of Orrin Keepnews' brilliant recording, it also survives as one of the best-sounding jazz albums extant - a fact confirmed by its appearance on multiple reissues over the past few decades. But it's never sounded better than this.


    Evans' masterwork reaches three-dimensional sonic and emotional heights never before attained by analog recordings on this opulent Mobile Fidelity UD1S box set complete with special jackets and a unique insert. Strictly numbered to 3000 copies, this ultra-hi-fi audiophile edition literally and figuratively brings you closer to the music of this Riverside staple that, along with the complementary Waltz for Debby, transformed Evans into a legend and became a blueprint for how jazz trios should work together. You'll enjoy deep-black backgrounds, pointillistic details, and staggering dynamics. Experienced via UD1S, Sunday at the Village Vanguard places Evans and his esteemed colleagues in your listening room. Every note, breath, and movement captured by the microphones are reproduced with exquisite accuracy and wowing clarity.


    The deluxe packaging and gorgeous presentation of this Sunday at the Village Vanguard pressing befit its extremely select status. Housed in an opulent box, this UD1S edition contains special jackets and unique bonus artwork that further illuminate the splendor of the recording. No expense has been spared. Aurally and visually, this Sunday at the Village Vanguard is a curatorial artifact meant to be preserved, poured over, touched, and examined. It is made for discerning listeners that prize sound and creativity, and who desire to fully immerse themselves in the music - and everything involved with the album, from the graphics to the textures.


    Recorded just ten days before bassist Scott LaFaro perished in a car accident, Sunday at the Village Vanguard changed the way jazz trios were perceived by audiences and musicians alike. Up until Evans, LaFaro, and drummer Paul Motian proved otherwise, a trio configuration meant two sidemen served as rhythmic support to spotlight the virtuosity of a headline performer or primary soloist. Here, the three instrumentalists operate in complete unison and achieve supreme democratic balance. Expressing their intent via shared conversations, they alight on sublime pieces flush with thematic discovery, improvisational dialog, and raw feeling.


    A quest for discovery informs the music as well as the playing. Evans' lyrical pianism met at every turn by LaFaro's chorded responses and harmonic counterpoints. Indeed, Sunday at the Village Vanguard remains LaFaro's standout moment, his soloing helping shape the melodies and striking a keen equilibrium between modality and traditionalism. Joining poignant renditions of Miles Davis, Cole Porter, and Gershwin numbers, two LaFaro originals - Jade Visions and the opening Gloria's Step - further demonstrate his genius. They furnish the album a supernatural aura that matches the jovial mood of the musicians. It's impossible to think this album could be improved in any way. Particularly now that this UD1S pressing brings the Village Vanguard into your room. Prepare to witness history. Again and again.


    More About Mobile Fidelity UltraDisc One-Step and Why It Is Superior:

    Instead of utilizing the industry-standard three-step lacquer process, Mobile Fidelity Sound Lab's new UltraDisc One-Step (UD1S) uses only one step, bypassing two processes of generational loss. While three-step processing is designed for optimum yield and efficiency, UD1S is created for the ultimate in sound quality. Just as Mobile Fidelity pioneered the UHQR (Ultra High-Quality Record) with JVC in the 1980s, UD1S again represents another state-of-the-art advance in the record-manufacturing process. MFSL engineers begin with the original master tapes and meticulously cut a set of lacquers. These lacquers are used to create a very fragile, pristine UD1S stamper called a convert. Delicate converts are then formed into the actual record stampers, producing a final product that literally and figuratively brings you closer to the music. By skipping the additional steps of pulling another positive and an additional negative, as done in the three-step process used in standard pressings, UD1S produces a final LP with the lowest noise floor possible today. The removal of the additional two steps of generational loss in the plating process reveals tremendous amounts of extra musical detail and dynamics, which are otherwise lost due to the standard copying process. The exclusive nature of these very limited pressings guarantees that every UD1S pressing serves as an immaculate replica of the lacquer sourced directly from the original master tape. Every conceivable aspect of vinyl production is optimized to produce the most perfect record album available today.


    This title is not eligible for discount.

    1. Gloria's Step
    2. My Man's Gone Now
    3. Solar
    4. Alice in Wonderland
    5. All of You
    6. Jade Visions
    Bill Evans Trio
    $99.99
    Vinyl LP UltraDisc One-Step 45 RPM Box Set - 2 LPs Sealed Temporarily out of stock
  • Core (Black Vinyl) (Out Of Stock) Core (Black Vinyl) (Out Of Stock) Quick View

    $39.99
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    Core (Black Vinyl) (Out Of Stock)

    Black Vinyl


    Core is the debut album by the American rock band Stone Temple Pilots, released on September 29, 1992 through Atlantic Records. The album, which peaked at #1 on the Billboard Heatseekers chart and #3 on the Billboard 200, was certified 8x platinum by the RIAA on December 18, 2001, making it the band's best-selling album.


    Core, as a debut album, displayed the band's attempt to revive the album-oriented music approach of the 1970s. Striving to create an intense and emotional sound, vocalist Weiland has said that the main theme of the album is that humanity is confused, with songs like Sex Type Thing and Naked Sunday dealing with social injustice. Sex Type Thing, according to Weiland, deals with abuse of power, macho behavior, and humanity's attitude toward women, treating them as sex objects. Naked Sunday, according to Weiland, is about organized religion. About people who tell others what to do and what to believe. They switch off people's minds and control the masses. It gives me a feeling of isolation, when I think about it. Organized religion does not view everyone as equals.

    1. Dead & Bloated
    2. Sex Type Thing
    3. Wicked Garden
    4. No Memory
    5. Sin
    6. Naked Sunday
    7. Creep
    8. Piece of Pie
    9. Plush
    10. Wet My Bed
    11. Crackerman
    12. Where the River Goes
    Stone Temple Pilots
    $39.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Temporarily out of stock
  • Soho Sessions - Live in Soho (Out of Stock) Soho Sessions - Live in Soho (Out of Stock) Quick View

    $31.99
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    Soho Sessions - Live in Soho (Out of Stock)

    First Time On Vinyl


    Sunday April 5th 1998 at Ronnie Scott's was a night to remember. For that evening the world famous jazz club was taken over by a blues crowd. Gone was the cool reserve for which jazz buffs are renowned and in its place came blues fans all set for a raucous good time, and Green fans eager to see how their man was doing two years into his comeback. This set is released on LP for the first time.


    The recording includes many of Peter Green's most famous compositions such as 'Albatross', 'Black Magic Woman','Rattlesnake Shake', 'The Green Manalishi' and 'The Supernatural', plus versions of other blues classics as 'Travelling Riverside Blues' and 'Steady Rollin' Man', along with extensive liner notes.

    LP1
    1. It Takes Time
    2. Black Magic Woman
    3. Mama, Keep Your Big Mouth Shut
    4. Homework
    5. The Supernatural
    6. Rattlesnake Shake
    7. Shake Your Hips
    8. Albatross


    LP2
    1. Travelling Riverside Blues
    2. Steady Rollin' Man
    3. Honeymoon Blues
    4. Last Fair Deal Gone Down
    5. If I Had Possession Over Judgement Day
    6. The Green Manalishi
    7. Goin' Down
    8. Look On Yonder Wall

    Peter Green
    $31.99
    Vinyl LP - 2 LPs Sealed Temporarily out of stock
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