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Blue And Sentimental'
Blue And SentimentalDuring the Blue Note 75th anniversary celebration the label released 100 essential Blue Note LPs and asked New York Times readers what titles they'd like to see make the list. This album is one of five new reissues that were hand-selected by Blue Note President, Don Was, based on New York Times reader recommendations.
Ike Quebec's 1961-1962 comeback albums for Blue Note were all pretty rewarding, but Blue and Sentimental is his signature statement of the bunch, a superbly sensuous blend of lusty blues swagger and achingly romantic ballads. True, there's no shortage of that on Quebec's other Blue Note dates, but Blue and Sentimental is the most exquisitely perfected.
Quebec was a master of mood and atmosphere, and the well-paced program here sustains his smoky, late-night magic with the greatest consistency of tone. Part of the reason is that Quebec's caressing tenor sound is given a sparer backing than usual, with no pianist among the quartet of guitarist Grant Green, bassist Paul Chambers, and drummer Philly Joe Jones. It's no surprise that Green solos with tremendous taste and elegance (the two also teamed up on Green's similarly excellent Born to Be Blue), and there are plenty of open spaces in the ensemble for Quebec to shine through.
His rendition of the Count Basie-associated title cut is a classic, and the other standard on the original LP, Don't Take Your Love from Me, is in a similarly melancholy vein. Green contributes a classic-style blues in Blues for Charlie, and Quebec's two originals, Minor Impulse and Like, have more complex chord changes but swing low and easy.
Through it all, Quebec remains the quintessential seducer, striking just the right balance between sophistication and earthiness, confidence and vulnerability, joy and longing. It's enough to make Blue and Sentimental a quiet, sorely underrated masterpiece.
-Steve Huey (All Music Guide)1.Blue And Sentimental
3.Don't Take Your Love From Me
4.Blues For Charlie
6.Count Every Star$19.99Vinyl LP - Sealed Buy Now
Blue And Sentimental
Cut At 33 1/3 RPM By Kevin Gray At Cohearent Audio From The Original Rudy Van Gelder Blue Note Master Tapes
Pressed On 180 Gram Virgin Vinyl LP By RTI
Top Quality Gatefold Packaging With Laminated Covers & High Quality Session Photos
Ike Quebec was perhaps the least likely musician to be leading albums for Blue Note in the early 1960s for he was a big-toned swing stylist rather than a hard bop or soul jazz player. But Quebec, a superb musician who was making a major comeback, was one of the most important figures in the entire history of Blue Note. He was the one who introduced Alfred Lion to bebop in the mid-1940s (including Thelonious Monk and Bud Powell) which entirely changed the course of Blue Note. Quebec, who gained some fame as a member of the Cab Calloway Orchestra, was a member of the Blue Note family back in the mid-1940s, having a hit with his recording of "Blue Harlem." After Quebec introduced Alfred Lion to the new music, he worked as an A&R man for Blue Note. Inactive during much of the 1950s, Quebec emerged in 1960 in prime form, recording several gems for Blue Note including Blue and Sentimental, his definitive album. Equally skilled on intimate ballads and uptempo romps, Quebec displays his mastery of the tenor and his huge sound throughout this set. Joined by a pianoless quartet that includes Grant Green, Quebec makes every breath and sound count, playing seductive lines on the ballads and swinging forcefully on the hotter numbers. He only lived until 1963 (passing away when he was just 44), but, as Blue And Sentimental shows, Ike Quebec saved the very best for his later period, creating a masterpiece.
Limited Edition of Only 3500 Copies
Remastered from the Original Rudy Van Gelder Blue Note Master Tapes
Remastered by Kevin Gray at Cohearent Audio
Pressed on 180 gram Virgin Vinyl LP by RTI
Ultra-Durable, Extra Thick Album Jackets
Gatefold Album with Session Photos in stunning High Resolution
This title is not eligible for discount.$39.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Blue & SentimentalIke Quebec's timeless, big-toned tenor was a frequent visitor to Rudy Van Gelder's studio in the early sixties. But this album from December 1961 with spare, soulful backing from Grant Green, Paul Chambers and Philly Joe Jones is his masterpiece. The leaner setting works perfectly, evoking an aura of relaxation and monumentality, with the deepest blue of accents.$49.99180 Gram Audiophile Virgin Vinyl 45RPM LP - 2 LPs Sealed Buy Now
$34.99 $31.49 Save $3.50 (10%)
Almost Blue (On Sale)Costellos Soulful Country & Western Covers Album Tackles Standard Tunes by George Jones, Hank Williams, Gram Parsons, and More
Expertly Played 1981 Set Marks the Second of the Encyclopedic Pop Musicians Many Forays Into Multiple Styles
Half-Speed Mastered from the Original Master Tapes: Knockout Sonics Present Costellos Close-Up Vocals, Steve Nieves Piano, and the Pedal-Steel Guitars in Great Relief
Elvis Costello was so enamored with American country music when he finally discovered it, he was motivated to record Almost Blue. Renowned as one of the most passionate and enthusiastic covers albums ever made, the 12-song set finds the iconic singer/songwriter interpreting standards by the likes of Hank Williams, Gram Parsons, George Jones, Merle Haggard, and other legends. Replete with heartbreak, lonesomeness, boozing, cheating, and dreaming, its laden with country and westerns customary themes and dignified by one of the finest performances of Costello and the Attractions peerless career.
Half-speed mastered from the original master tapes, Mobile Fidelitys numbered limited edition 180g LP opens up the soundstages, clears previously muddled midrange frequencies, and places the imaging of the various country-tuned instruments into clear focus. For the first time, listeners can hear just how much of himself Costello invests in the vocal performances, while the Attractions dont miss a beat, particularly pianist Steve Nieve and guest musician John McFee. Moreover, the strings (when employed) take on new life, and the records cover art, a take-off on Kenny Burrells Midnight Blue, is faithfully reproduced.
At the time of the albums recording in 1981, Costello was admittedly emotionally shattered. The title of the effort isnt merely coincidental. Feeling dejected and disenchanted, the vocalist had been put through the ringer: His pop stardom yielded one incredible record after another, but Costellos marriage was in tatters, his behavior deplorable, and his reputation tarnished by a famous drunken incident that shamed him for decades. In addition, he chose to follow his string of original LPs up with the soul- and R&B-minded Get Happy, a creative masterwork that nonetheless caused some of his mainstream fans to believe hed abandon his hit-making pedigree.
So he did what any self-respecting, astute musician would want to do: Cut a country and western record steeped in heartbreak, fragility, sadness, despair, and beer-glass-raising spirit. Largely informed by the stacks of country LPs he bought in used shops during U.S. tours, and in the ideal frame of mind, Costello sought out not to make standards such as Sweet Dreams, Too Far Gone, Honey Hush, and Tonight the Bottle Let Me Down his own but to put a unique spin on the darkness, surprise, soulfulness, foreboding, and authenticity that they contain within.
With each note, Costello succeeds and exceeds expectations, turning in versions that sound both old and new. Such timelessness, and the confluence of contemporary and traditional, distinguishes Almost Blue from nearly every other country tribute album made by pop/rock artists before and since. Costello and the Attractions embody the deep sentiments attached to these weeping ballads, tear-jerking lullabies, honky-tonk rave-ups, and playful shuffles in an incredibly convincing manner. Producer George Sherrill, famous for working with the likes of Tammy Wynette, George Jones, and Marty Robbins, and brought on board specifically for the project, frames the music with the perfect blend of grit and professionalism.
This title is not eligible for further discount.1. Why Don't You Love Me (Like You Used to Do)? (Hank Williams)
2. Sweet Dreams (Don Gibson)
3. Success (Johnny Mullins)
4. Hot Burrito #1 (Gram Parsons, Chris Ethridge)
5. Tonight the Bottle Let Me Down (Merle Haggard)
6. Brown to Blue (George Jones, Virginia Franks)
7. A Good Year for the Roses (Jerry Chesnut)
8. Sittin' and Thinkin' (Charlie Rich)
9. Colour of the Blues (Lawton Williams, George Jones)
10. Too Far Gone (Billy Sherrill)
11. Honey Hush (Lou Willie Turner)
12. How Much I Lied (Gram Parsons, Pam Rifkin)$34.99 $31.49 Save $3.50 (10%)180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Julia With Blue Jeans OnSince January 2010, Spencer Krug has used Moonface as a venue for home-recorded instrumental and
conceptual experimentation, expanding the ideas he developed collaboratively with Wolf Parade, Sunset
Rubdown, and Frog Eyes. Releases under this moniker have come quickly, each distinct from the other. The
Dreamland EP and Organ Music Not Vibraphone Like I'd Hoped were conceptual excursions merging
instrumental and thematic fixations. After moving from Montreal to Helsinki, Krug teamed up with the
Finnish band Siinai to create a lush rock record-2012's Heartbreaking Bravery-driven by the dark despair
of a breakup. Staying in Helsinki, Krug set off on yet another creative departure, driven by a rediscovery of
love and a reconsideration of the Moonface persona he'd created for himself. The quietly stunning Julia with
Blue Jeans On is the fourth Moonface release, bringing a degree of intimacy and self-reflection unlike
anything Krug has produced to date.
There are only two sonic elements on Julia: Spencer Krug's voice and his piano. Richly recorded, they interact
seamlessly with one another. On the opening track "Barbarian," the piano unfolds with the hypnotic energy
of Keith Jarrett's Koln Concert, Krug's right hand doubling his vocal melody. On the closing track "Your
Chariot Awaits," Krug's voice recedes after a minute as the piano swells for an extended showcase with
modern classical undertones. After nearly a decade, across a number of guises, we are well-acquainted with
Krug's inimitable town-crier vocals; on Julia, we are introduced to a facet of his musical skill that feels
conservatory-trained. This is Krug as singer-songwriter, moving beyond star poses to a vision that is at once
more elegant and comfortable.
Or, in Krug's own language, on "Barbarian II": "I have chewed through my beautiful narrative." Much of Julia
is taken with this chewing. "Love the House You're In" opens by masquerading as self-pity, with a statement
that reads like a press release from someone who's given up. "I regretfully withdraw my offer to try and
improve myself," Krug gently sings, establishing a self-reflexive foundation upon which he builds the album's
most universal, humanistic sentiment, and which he delivers via its most soaring melody.
Purposeful self-evaluation is one tactic for reinvention, but as Krug illustrates on Julia's title track, everyday
occurrences can prove transformative as well. The sight of a woman, clad in denim, briefly visible at the
bottom of a staircase, he learns, is capable of "obliterating everything I've ever written down." "Julia" is an ode
in the classical sense, pivoting around the beauty inherent in the most simple, taken-for-granted sights. Krug
acknowledges this, opening the song by admitting that "it's a madman's game, making the commonplace
unreal." What he leaves out in this admission, however, is the key to the countless charms of Julia with Blue
Jeans On: by expertly playing this ridiculous game, he can erase the madness that spawned it.1. Barbarian
2. Everyone is Noah, Everyone is the Ark
3. Barbarian II
4. November 2011
5. Dreamy Summer
6. Julia with Blue Jeans On
7. Love the House You're In
8. First Violin
9. Black is Back in Style
10. Your Chariot Awaits$17.99Vinyl LP - Sealed Buy Now
Blues In OrbitRemastered By Bernie Grundman From The Original Analog Tapes
Gatefold Old-school Tip-On On Jacket By Stoughton Printing
Plated And Pressed At Quality Record Pressings
It's tempting for Blues in Orbit to be overlooked when Duke Ellington's best albums are discussed, but truly it's an undisputed gem. There are 14 tracks, none of them is longer than 4:50 and it is all good stuff. There are some familiar favorites such as In a Mellotone and C Jam Blues as well as less often heard gems like Blues in Blueprint and Sweet and Pungent. It is also in stereo, and the arrangements are superb.
The featured performers include Ellington stalwarts Johnnie Hodges, Ray Nance, Harry Carney and Jimmy Hamilton, as well as the less familiar Booty Wood and Matthew Gee. Johnnie, in particular is well showcased here, taking the lead not only in slow pieces like Brown Penny and Sentimental Lady, but also in the rousing, Smada.
The full Analogue Productions reissue treatment is at work on this smashing LP - famed mastering engineer Bernie Grundman handled the remastering from the original analog tapes. The lacquers were plated and pressed at Quality Record Pressings, maker of the world's finest-sounding LPs. Lastly we've stashed each super-silent 200-gram disc in a premium Stoughton Printing gatefold jacket.
All of the takes were recorded during after midnight sessions recorded over two nights starting on December 2, 1959 in New York at Columbia Record's studio on East 30th Street. Each night Duke's late dinner arrived at 2 a.m. - a sizzling steak, a pot of coffee with lemons in it, portions of American cheese, and grapefruits. After dinner, and a breather for the band, the sessions finished around dawn in a swinging fashion.
If you're just getting into jazz, this album is highly recommended as a great way to initiate your collection. The sound is incredible, with packaging to match. Another audiophile home run.1. Three J's Blues
3. Pie Eye's Blues
4. Sweet and Pungent
5. C Jam Blues
6. In A Mellow Tone
7. Blues In Blueprint
8. The Swinger's Get The Blues Too
9. The Swinger's Jump
10. Blues In Orbit
11. Villes Ville Is The Place, Man$34.99200 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Legrand Jazz (Pre-Order)Numbered Limited Edition 100% Analog 180-Gram Vinyl LP!
Limited To Only 3000 Numbered Copies!
Features Performances By John Coltrane, Miles Davis, Herbie Mann, Bill Evans & More!
In 1958, a young, successful French composer-arranger with a major infatuation on American jazz, worked his way to New York and convinced the very best players of the time to record an album of largely jazz standards. Michel Legrand would go on to win numerous prizes and accolades (3 Oscars, 5 Grammies, 2 Palmes D'or, etc.), but little of what followed matched the sheer brilliance of Legrand Jazz.
Miles Davis, John Coltrane, Bill Evans, Ben Webster, Phil Woods and practically every other session man in town signed up for sessions with Legrand to record his idiosyncratic arrangements of standards (Django, Don't Get Around Much Anymore, Night in Tunisia, etc.). Instead of regurgitating then current bop styles, he reinvented the very nature of orchestral jazz band repertoire to make a unique and forward-looking statement on the genre.
The sound of Impex's all-analog LP preserves the wide soundstage of late 50's Columbia recordings while creating intimate spaces between players on the stage for maximum definition. This rare, highly-praised recording has never sounded as good as it does now. Go big with Legrand Jazz.
Legrand Jazz was greeted by an enthusiastic review in the magazine Down Beat. Dom Cerulli awarded it five stars out of a possible five.
Michel Legrand, Conductor, Arranger (All Songs)
For The Jitterbug Waltz, Django, Wild Man Blues & 'Round Midnight - Recorded June 25, 1958:
Paul Chambers (bass)
John Coltrane (tenor sax)
Eddie Costa (vibes)
Miles Davis (trumpet)
Kenny Dennis (drums)
Bill Evans (piano)
Barry Galbraith (guitar)
Betty Glamann (harp)
Herbie Mann (flute)
Jerome Richardson (baritone sax, bass clarinet)
Phil Woods (alto sax)
For Nuages, Blue And Sentimental, Rosetta & Don't Get Around Much Anymore - Recorded June 27, 1958:
Eddie Bert (trombone)
Billy Byers (trombone)
Jimmy Cleveland (trombone)
George Duvivier (bass)
Major Holly (bass, tuba)
Hank Jones (piano)
Don Lamond (drums)
Herbie Mann (flute)
Frank Rehak (trombone)
Ben Webster (tenor sax)
For Night In Tunisia, Stompin' At The Savoy & In A Mist - Recorded June 30, 1958:
James Buffington (french horns)
Donald Byrd (trumpet)
Jimmy Cleveland (trombone)
Don Elliot (vibes)
Art Farmer (trumpet)
Milt Hinton (bass)
Osie Johnson (drums)
Teo Macero (baritone sax)
Nat Pierce (piano)
Seldon Powell (tenor sax)
Gene Quill (alto sax)
Frank Rehak (trombone)
Ernie Royal (trumpet)
Joe Wilder (trumpet)
Phil Woods (alto sax)1. The Jitterbug Waltz (Fats Waller)
2. Nuages (Django Reinhardt)
3. Night In Tunisia (Dizzy Gillespie)
4. Blue and Sentimental (Count Basie)
5. Stompin' At the Savoy (Benny Goodman)
6. Django (John Lewis)
7. Wild Man Blues (Jelly Roll Morton)
8. Rosetta (Earl Hines)
9. 'Round Midnight (Thelonious Monk)
10. Don't Get Around Much Anymore (Duke Ellington)
11. In A Mist (Bix Beiderbecke)$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed PRE-ORDER Buy Now
Pronounced Leh-nerd Skin-NerdRanked 401/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.
Perhaps people needed help pronouncing Lynyrd Skynyrd's name when the Florida band's debut album came out in 1973, but soon no one would need help recognizing - or requesting - the album's classic rock anthem Free Bird. With the exception of this nine-minute epic, Pronounced is actually quite lean and mean. Full of instantly recognizable Skynyrd standards like I Ain't the One, Gimme Three Steps, Poison Whiskey, Simple Man, and the ultimate rock ballad Tuesday's Gone, there isn't a single weak spot on it. By blending hard rock, blues, country, and the heart of the South with the distinctly sentimental voice and intelligent lyrics of Ronnie Van Zant, Lynyrd Skynyrd didn't just create an anthem with this album, they defined a genre. They also won themselves an opening slot on the Who's US Quadrophenia tour. Fun Fact: Leonard Skinnerd was a physical-education teacher at the band members' high school that busted their chops for having long hair.1. I Ain't the One
2. Tuesday's Gone
3. Gimme Three Steps
4. Simple Man
5. Things Goin' On
6. Mississippi Kid
7. Poison Whiskey
8. Free Bird$37.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
UNIM-CAP-6156xNat King Cole
UnforgettableEmerging as a great pop vocal stylist in 1954, Nat King Cole enjoyed a string of hit singles and albums thereon, but Unforgettable is perhaps the singer at his early peak. With romance as the watchword, Cole slides through some of his most familiar ballads, include the title selection, Portrait of Jennie, Mona Lisa, and I Love You (For Sentimental Reasons). There are quite a few lesser known, but attractive songs, plus a small handful of standards (What'll I Do? is a keeper) that round out this interesting collection. The very artistic, near surreal three-dimensional white, charcoal black, and royal blue-hued front cover may be the best part of this reissue, as it reflects a time period defined by its simplicity and yet its increasingly technological, superimposed modernity.
-Michael G. Nastos (All Music Guide)1. Unforgettable
2. A portrait of Jennie
3. What'll I Do?
4. Lost April
5. Answer Me, My Love
6. Hajji Baba (Persian Lament)
7. Too Young
8. Mona Lisa
9. (I Love You) For Sentimental Reasons
10. Red Sails In the Sunset
12. Make Her Mine$19.99Vinyl LP - Sealed Buy Now
SaltFor an LP likely to be placed in the R&B aisle, Shy Girls' debut album Salt is noticeably impressionistic. At times it bears the painterly, frank essence of a Blue/Court and Spark Joni Mitchell. At others, it strides toward the progressive and cinematic. There is a striking viscerality in the crashing percussion and detuned piano of "I Am Only A Man" and in the hypnotic woodwind outro of "What If I Can." The mournful guitar dressing "Watercolor Dreams" seems to nod to Ennio Morricone -- like a future-Western ballad. And even in the stark songs that bookend the album, Vidmar delivers swelling sentiment fit for the screen.1. Intro
2. You Like the Pain Too
3. Watercolor Dreams
4. Trivial Motion
5. Why I Love
6. Say You Will
7. What If I Can
8. Time (Hell Won't Wait for Us)
9. I Am Only a Man
10. Collecting$18.99Vinyl LP - Sealed Buy Now
$49.99 $44.99 Save $5.00 (10%)
The All Time Greatest Hits of Roy Orbison (Awaiting Repress) (On Sale)
180g 2LP Set Pressed At RTI Contains Four Songs Named To Rolling Stone's List Of 500 Greatest Songs Of All Time
Collection Influenced Tom Petty, Tom Waits, Bruce Springsteen, And Hundreds Of Other Legends
Rare is the voice, personality, and image that defines cool for more than 50 years. But Roy Orbison simply had it all - the tender tone, the laidback charisma, the mellifluous baritone, the cover-magazine looks, the gazing eyes hidden behind black Ray-Ban shades. And of course, the songs. Sad (Only the Lonely). Soaring (Crying). Summery (Dream Baby). Sweet (Blue Angel). Sentimental (Pretty Paper). Sensuous (Shahdaroba).
Few singers ever captured such a rainbow of romantic emotions - longing, heartache, hope, loss, melancholy - with such effortlessness, smoothness, and suaveness. An early rock n' roll pioneer that defied songwriting tradition, Orbison is at home whether playing with orchestral strings, rockabilly bands, doo-wop singers, jumping horn sections, or swinging pop groups. Like fellow Sun Records alums Johnny Cash and Elvis Presley, his art is timeless, his command irreproachable.
No wonder, then, that a basic search literally turns up dozens upon dozens of compilations. Demand for Orbison's trademark vocal shiver and pussycat purr has never been greater. But with so many duplicative collections available, which one to get? Mobile Fidelity recognized that none of the available releases had the necessary mark of quality - namely, first-rate sound. So we changed that by providing a necessary sonic update to the best collection - a 1972 set that has never once gone out-of-print.
Remastered from the original analog master tapes for the first time ever, here are all of the Rock and Roll Hall of Fame member's finest singles for Monument Records in one place, all claiming a clarity, richness, tonality, and presence that has never been before experienced outside of the studio. Captured by legendary producer Fred Foster, Orbison's famous voice now reverberates with a realistic decay and astonishing purity that puts all previous compilations to shame.
And there's no arguing with the 20-song track list, which includes no fewer than 15 Top 100 singles, beginning with the career-launching Only the Lonely and climaxing with the international smash Oh, Pretty Woman, the last cut the Grammy winner made for Monument before departing for MGM in 1965. There is not a weak tune on this album, and you will never hear them sound better.
This title is not eligible for further discount.1. Only The Lonely
3. In Dreams
5. It's Over
7. Dream Baby
8. Blue Angel
9. Working For The Man
10. Candy Man
11. Running Scared
13. Love Hurts
15. I'm Hurtin'
16. Mean Woman Blues
17. Pretty Paper
18. The Crowd
19. Blue Bayou
20. Oh, Pretty Woman$49.99 $44.99 Save $5.00 (10%)180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed AWAITING REPRESS Buy Now
REDD-SUN-8818xEric Burdon & The Animals
The Twain Shall MeetMastered From The Original MGM Records Reels
Burdon and the group returned in April 1968 with The Twain Shall Meet, continuing their psychedelic journey. "Monterey" chronicled the previous summer's seminal festival while "Sky Pilot" reflected the growing anti-war sentiment as the Vietnam Conflict escalated. Steeped in a dense, layered sound full of electric guitars, sitars, strings, brass and washes of phased vocals, the album served notice that Burdon and company were totally in-step with America's youth movement. From blues revivalists to cultural torchbearers in four short years? Believe it!
Meticulously mastered from the original MGM Records reels - cue up these platters and let them take you back to a time when minds were being blown open at an astonishing rate!1. In The Beginning
3. Just The Thought
4. Closer To The Truth
5. No Self Pity
6. Orange And Red Beams
7. Sky Pilot
8. We Love You Lil
9. We Are All One$24.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Elvis Presley: Gold Records Vol. 4 (Speakers Corner)At first sight, it does not look as though Elvis's 31st album was destined to be a hit. But if you take a look at his artistic biography in the year of its release - 1968 - then you will recognise the clever gimmicks that his wide-awake management employed to captivate rock 'n' roll fans when Elvis was somewhat 'stiff in the hips'. In this fourth Gold Edition, a tried and tested method was used to create a new LP: namely, a compilation of single hits from the years 1961 to 1967. The result was just what fans wanted! Alongside sentimental songs such as Love Letters, the tearjerker Lonely Man and the sobbing, heartstring tugging ballad It Hurts Me, we find spirited rock 'n' roll (Witchcraft, Ain't That Loving You Baby) and honky-tonk blues (A Mess Of Blues) in a toned-down 12-beat measure. In contrast, Don't Drag That String Around is cheerful, light and springy and, - for a change - not a blues number.
Then we have the country song Devil In Disguise with its angry lyrics, and the soul title What'd I Say by Ray Charles with an electric sound that is lent by the Rhodes piano. All in all, this LP is a great collection from the grand old days of rock 'n' roll.
- Elvis Presley (guitar, vocal)
- The Jordanaires (vocal)
- and various bands
Recordings: Juyl 1960 - June 1966 at RCA Studio B in Nashville, Tennessee, RCA Studios and Radio Recorders in Hollywood
Production: Steve Sholes, Chet Atkins, George Stoll, Felton Jarvis, a.o.
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. Love Letters
3. It Hurts Me
4. What'd I Say
5. Please Don't Drag That String Around
6. Indescribably Blue
7. You're The Devil In Disguise
8. Lonely Man
9. A Mess Of Blues
10. Ask Me
11. Ain't That Loving You Baby
12. Just Tell Her Jim Said Hello$34.99180 Gram Audiophile Virgin Vinyl - Sealed Buy Now
Liquid SpiritLiquid Spirit is the remarkable major label debut from GRAMMY-nominated jazz and soul singer Gregory Porter. The 14-track album is further justification for Porter's quick ascent into the top ranks of jazz and R&B singers today, and it also features 10 new originals which showcase Porter's innate gift for writing poignant songs based upon personal experiences with a relatable and emotional immediacy. Also included is a stirring rendition of the jazz standard "I Fall In Love Too Easily," as well as covers of Abbey Lincoln's "Lonesome Lover" and Ramsey Lewis' hit "The 'In' Crowd."
"I firmly consider myself a jazz singer but I enjoy blues, southern soul, and gospel," says Porter. "Those elements make their way inside my music. And I've always heard them in jazz." Indeed, Porter wields one of the most captivating baritone voices in music today. It emits enormous soul that conveys both the emotions and intellect of any given song without relying on vocal histrionics. In The New York Times, Nate Chinen wrote: "Gregory Porter has most of what you want in a male jazz singer, and maybe a thing or two you didn't know you wanted." Jazz singer Dee Dee Bridgewater praised Porter in the pages of JazzTimes by saying, "We haven't had a male singer like him in a long time. He's such a wonderful writer. He's a story teller."
On Liquid Spirit, Porter retains the same core musicians that accompanied him on his previous two albums - pianist and music director, Chip Crawford, drummer Emanuel Harrold, bassist Aaron James, alto saxophonist Yosuke Sato, and tenor saxophonist Tivon Pennicott. On a few selections, Porter complements that ensemble with trumpeter Curtis Taylor, and organist Glenn Patscha. Producer Brian Bacchus also returns, as well as arranger and associate producer Kamau Kenyatta.
Porter sees Liquid Spirit as a logical progression in his burgeoning discography as it touches on some of the same themes, particularly the highs and lows of romance, his childhood, and socio-political observations. More pointedly, he views the title-track, a rousing, hand-clapping gospel-jazz romp, dealing with replenishing "thirsty" listeners with more substantial music, as the flipside to last year's "Bling Bling," a blistering song on his previous album Be Good on which the protagonist had so many artistic gifts to give but no one to give them to. Similar sentiments occur on "Musical Genocide," on which Crawford hammers a dark rhythmic figure against James' bluesy bass accompaniment as Porter declares his refusal of accepting the insistent squashing of quality, diverse music and culture by a mainstream in favor of disposable, homogenized pap.
In part, these songs are based upon Porter's reflections on new fans, worldwide, who come to him saying, "Where have you been?" or "How come I've never heard you before." "Not saying that I am 'what is,' Porter says, "But I think maybe what I'm doing is what people actually want to hear. There are some people who want that liquid spirit - a soulful, thoughtful sound - and they haven't been getting it."1. No Love Dying
2. Liquid Spirit
3. Lonesome Lover
4. Water Under Bridges
5. Hey Laura
6. Musical Genocide
9. Brown Grass
10. Wind Song
11. The 'In' Crowd
13. When Love Was King
14. I Fall in Love Too Easily$24.99Vinyl LP - 2 LPs Sealed Buy Now
Music Is Painting In The Air 1974-1977Music Is Painting In the Air is a collection of new mixes and unheard music from Sensations' Fix's prolific output between 1974 and 1977. Revered as one of the great articulations of progressive music, Music Is Painting In the Air offers guide posts to those familiar with Sensations' Fix's amorphous catalog and an approachable primer to those just journeying on the sensational trip.
The story of Sensations' Fix begins - and never quite ends - with Franco Falsini. Born in Florence, Italy in 1948, Falsini became a teenage rock 'n' roll convert through a steady supply of 45s sent home by his London-based sister. Following his sister's footsteps to swinging 60s London, Falsini put his love of music into practice, fronting a space blues trio that riffed its way from the UK back to Italy in a Ford Transit.
Falsini became smitten by Vinnie Sherman, an American woman working as a waitress at a nightclub in Florence where Falsini was holding down a residency. The newlywed lovers made their way to Alexandria, Virginia in the summer of 1969. Arriving on August 15th, the first day of Woodstock, a spirit of freedom filled Falsini and fueled his creative proclivity.
Falsini blazed a trail for home recording that has impressed upon inward resourcing and reflecting musicians and DIY enthusiasts in the decades since. A technology stalwart, Falsini employed a floor model MiniMoog and a tricked-out Teac 4-track machine to transform the Virginia basement of the house shared with Sherman into a cosmic conduit and launch pad for Sensations' Fix.
The reach for space from a personal place is nowhere more apparent than on Fragments of Light, early basement recordings solicited by Falsini as deal demos and surprisingly flipped into the first of six Sensations' Fix albums released over the next five years. The up-close fidelity of Fragments - coupled with Falsini's emotive guitar leads and sparse, sentimental vocals - creates a private quality that separates the album from other extravagant progressive rock productions contemporary to its 1974 release.
Relocating back to Italy on the heels of Fragments' release, Falsini, alongside drummer Keith Edwards and bassist Richard Ursillo (both American expats), charged through another two Sensations' Fix albums, Portable Madness in 1974 and Finest Finger in 1976, and a stunning solo album Cold Nose (Naso Fredo) in 1975. Without marketing or tour support to expose Sensations' Fix to a wider European audience, Falsini and his band of psychedelic renegades left Italy for the golden shores of California and their possible salvation. In 1977, Sensations' Fix released Vision's Fugitive on an independent label and fulfilled their major label obligation shortly after with Boxes Paradise.
Falsini spent the next couple decades between New York City and Paris, creatively contentedly creating above par electro-pop (The Antennas) before returning to Florence to launch the Interactive Test dance music label. Meanwhile, the legend of Sensations' Fix grew. On his 2002 album, The Private Press, DJ Shadow sampled from two Sensations' Fix songs. More recently, Sonic Youth curated a career retrospective titled Sensational Fix at Life Gallery in Saint-Nazaire France.
For Music is Painting in the Air, Falsini and his son Jeyon set forth on a year-long voyage to restore and revisit the original Sensations' Fix analog tapes. Honoring Falsini's tradition of autonomy, this collection, as with the majority of the Sensations' Fix catalog, was mixed solely by Falsini. The sequence is chronologically defiant, encouraging the listener to free associate the recurring themes' origins and immerse in the body of music as its own universe.
Once this celestial body suit is occupied, it becomes apparent why the forward-thinking yet emotionally-accessible quality of Sensations' Fix's music is still finding the universal audience for which its intended. Falsini's disregard for time and insistence on reinvention provides an infinite reach for his music. The end-goal was seemingly unmarketable by the industry then, but perfectly harmonious with a culture constantly evolving now.LP1
1. Barnhause Effect
2. Cold Nose Part 3, 4th Movement
3. Leave My Chemistry
5. Grow On You
6. Scraping Delay
7. Warped Notions Of A Practical Joke (Instrumental)
8. Dark Side of Religion
9. Cosmic Saudade
10. Cold Nose Part 3, Movement 2
11. Fragments of Light
12. Into The Memory
1. Cold Nose Part 3, Movement 5
2. C'e Nessuno
4. Moving Particles
5. Cold Nose Part 3, Movement 3
6. Music Is Painting
7. Left Side Of Green
8. Chelsea Hotel (Room 625)
9. Fix A Water Fountain (Instrumental)
10. Leave My Chemistry
11. Overflowing Ashtrays
13. Cold Nose Story
14. Slow Motion Movie
15. Fortune Teller
16. Fortune Teller Coda$34.99Vinyl LP - 2 LPs Sealed Buy Now
The Nat King Cole StoryAnalogue Productions' Blue Note and Nat King Cole Reissues WIN A Positive Feedback 2010 Brutus Award!
...if you haven't picked up every one of the Blue Note and Nat King Cole reissues from Chad Kassem and company at Acoustic Sounds, you're really missing out! - David W. Robinson, Positive Feedback, Issue 52
The results on this five 45rpm 180g LP set are simply astonishing, particularly if you've heard the originals. The transparency, dynamics and three-dimensionality create the intense sensation of being in the studio with the musicians and especially with Cole who appears as a visceral, floating apparition between the speakers. The size and three-dimensionality of the vocal image produces the sensation of the listener being a 'fly on the microphone mike stand' listening to Cole perform, surrounded by musicians. The arrangements and performances are faithful to the originals but the sound of course is far superior. The feeling is of sitting in on history by being there, not merely eavesdropping after the fact. Music = 10/11; Sound = 11/11 - Michael Fremer, Musicangle
...mastered from the original three-track work tapes is a sonic spectacular that outdoes the original by a wide margin - as does its packaging. The SACD includes three-channel and two-channel mixes. A major reissue. Stereophile Records To Die For - Michael Fremer, Stereophile, February 2010
One of Nat King Cole's crowning achievements and a fittingly lavish celebration of a cultural and musical icon, The Nat King Cole Story offers a glorious overview of the career of one of the greatest and most beloved performers in popular music history. 38 tracks, many re-recorded in stereo for this anthology, offer a selection spanning his popular career.
His beginnings leading the popular jazz-oriented Nat King Cole Trio are represented with selections including Route 66 and I Love You (For Sentimental Reasons). Hits including Nature Boy, Mona Lisa, Unforgettable, Orange Colored Sky, Night Lights and Looking Back are here to represent his unparalleled string of memorable hits as a popular vocalist. Calypso Blues and Ay Cosita Linda help illustrate the range his projects could cover. More contemporary to this anthology, selections including Wild Is Love are augmented here with two huge hits as a special bonus, Ramblin' Rose and Those Lazy, Hazy, Crazy Days of Summer to further expand the scope.
A talent and voice for all times with a body of work that could and did help define their eras, Nat King Cole's career offers some of the finest, most enduring and treasured recordings ever made. Nat King Cole could never be fully served by any one set. But this wonderful cornucopia stands as a fantastic celebration for the enthusiast and a good starting point for someone just beginning to explore The Nat King Cole Story.
Using the original first generation 2-track and 3-track session tapes from Capitol's vaults and all-analogue systems including custom headstacks, 3-track preview heads, console and monitoring chain installed at AcousTech specially for these releases, mastering engineers Kevin Gray and Steve Hoffman realize the stunning beauty of these recordings in this 45-RPM 180-gram five album set.
Originally presented as a deluxe box set of 3 LPs in a canvas-bound embossed box with essays and pictures included in a album-sized booklet, The Nat King Cole Story was a prestigious release Capitol took obvious pride in. Complete with 5 LPs, canvas-bound embossed box and booklet with essays and pictures, Analogue Productions proudly recreates the experience for a new generation to cherish with this deluxe release. This truly is a no-expenses-spared project, resulting in the ultimate version of this title and a historic reissue.
There are 38 songs in this collection. Of those, three are the same recordings included on other Analogue Productions Nat King Cole reissues. Stardust (track 28) is the same version included on Love Is The Thing. St. Louis Blues (track 30) is the same version included on the album of that title. And Paradise (track 33) is the same version included on The Very Thought Of You. Three more songs - Sweet Lorraine, It's Only A Paper Moon and (Get Your Kicks On) Route 66 - are songs that appear on After Midnight, however these versions are stereo re-recordings of the original arrangements from the 1940s.1. Straighten Up And Fly Right
2. Sweet Lorraine
3. It's Only A Paper Moon
4. (Get Your Kicks On) Route 66
5. (I Love You) For Sentimental Reasons
6. The Christmas Song (Merry Christmas To You)
7. Nature Boy
8. Lush Life
9. Calypso Blues
10. Mona Lisa
11. Orange Colored Sky
12. Too Young
14. Somewhere Along The Way
15. Walkin' My Baby Back Home
17. Blue Gardenia
18. I Am In Love
19. Answer Me, My Love
21. Darling, Je Vous Aime Beaucoup
22. The Sand And The Sea
23. If I May
24. A Blossom Fell
25. To The Ends Of The Earth
26. Night Lights
29. Send For Me
30. St. Louis Blues
31. Looking Back
32. Non Dimenticar (Don't Forget)
34. Oh, Mary, Don't You Weep
35. Ay, Cosita Linda
36. Wild Is Love (spoken intro and song)
37. Ramblin' Rose
38. Those Lazy-Hazy-Crazy Days Of Summer$149.99200 Gram Audiophile Virgin Vinyl 45 RPM Box Set - 5 LPs Sealed Buy Now
$34.99 $31.49 Save $3.50 (10%)
Blood On The Tracks (On Sale)Ranked 16/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.
Dylans Masterpiece Break-Up Album: Sentimental Redemption Arises Amidst Sorrow, Turmoil, Sadness, and Pain
Presence, Immediacy, Naturalness, Realism in Spades: Mobile Fidelity Reissue Makes Blood on the Tracks Among Most Lifelike-Sounding Albums You'll Ever Hear
Songs Flow Like Rivers, Acoustic and Electric Elements Merge Like Bezels on a Diamond
Includes Tangled Up In Blue, Simple Twist of Fate, Idiot Wind, Buckets of Rain
The Freewheelin Bob Dylan, Another Side of Bob Dylan, Bringing It All Back Home, Blonde on Blonde, and The Basement Tapes Also Available from Mobile Fidelity
Bob Dylan was at several crossroads in the mid-1970s. Artistically, he was largely written off as being past his prime. Emotionally, he was suffering through a painful divorce from his then-wife Sara Lowndes. Creatively, he appeared at a stalemate, his previous decades unprecedented run of transformational brilliance finished. Then came Blood on the Tracks.
A start-to-finish cycle that documents a lovers pursuit of, entanglement with, and loss of a woman, the bracingly intimate 1975 effort remains one of the most encompassing break-up albums ever made and ranks as the most personal statement of the Bards career. To hear it is to experience the agony, frustration, trauma, highs, lows, confusion, sadness, and, ultimately, requisite redemption associated with intimate relationships gone astray. Dylan maintains its a work of fiction, but its evident close-vested autobiographical premise is what helps make it universal: Its the icon singing through tears, going out of his mind, battling hallowing emptiness, firing shots across the bow, and accepting culpability. It is, in short, a consummate expression of loves darker sides and the consequences of what happens when dreams unravel.
As part of its Bob Dylan catalog restoration series, Mobile Fidelity is thoroughly humbled to have the privilege of mastering the iconic LP from the original master tapes and pressing it on dead-quiet LPs at RTI. The end result is the very finest, most transparent analog edition of Blood on the Tracks ever producedand the first-ever proper analog reissue. Fantastically presenting both the solo acoustic and band-supported songs with the utmost clarity, dynamics, presence, immediacy, spaciousness, imaging, and balance, this version shines a high-powered light on the fluid vocal phrasing, timbral shifts, functional rhythms, and inward-looking strumming that contribute to every song here serving as a wound-exposing confessional.
For all the melancholic pain, unresolved questions, shattered memories, wasted times, unrequited dialogs, and weary regret within, Blood on the Tracks remains as daring as it is reflective. Rather than follow for a monotone caustic vibe, Dylans songs burrow into the subconscious for the manners in which they are even-keeled, mellow, and occasionally, even peaceful. Dignity, honor, poignancy, and fairnessall traits uncommon in any situation in which partners dissolve histories, change hearts, and attribute blameinstill the record with equilibrium on par with the consistency of the flowing melodies.
Throughout, tunes come on and proceed as if they could continue forever, Dylan spinning poetic verses and conversations amidst finely tied knots of acoustic notes, chords, and fills, the deceivingly simple architecture conjuring the intertwined refractions of a bezeled jewel, various angles, colors, and textures conjoining into a gorgeously inseparable whole. Backed by Tony Browns flexible albeit subtle bass, Buddy Cages country-streaked pedal-steel guitar, and Paul Griffins soul-baring organan instrument used to shadow, tuckpoint, and illuminate here as effectively as any time in rock historyDylan pours soulful emotion, open his veins, and bleeds.
Ranked 16 on Rolling Stones list of the 500 Greatest Albums of All Time, and replete with existential thought, piercing directness, raw singing, and majestic arrangements,
Given the sonic and artistic merit of this album, we anticipate huge demand.
This title is not eligible for further discount.1. Tangled Up in Blue
2. Simple Twist of Fate
3. Youre A Big Girl Now
4. Idiot Wind
5. Youre Gonna Make Me Lonesome When You Go
6. Meet Me in the Morning
7. Lily, Rosemary and the Jack of Hearts
8. If You See Her, Say Hello
9. Shelter From the Storm
10. Buckets of Rain$34.99 $31.49 Save $3.50 (10%)180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
$49.99 $44.99 Save $5.00 (10%)
Eat A Peach (On Sale)Allman Brothers Band Eat a Peach on Numbered Limited Edition 180 Gram 2LP from Mobile Fidelity
1972 Double LP Split Between Live and Studio Fare
Last Appearance of Fallen Member Duane Allman on an Official Release
Sonic Spectacular: Mastered from the Original Master Tapes, Mobile Fidelity Edition Captures Grit of Live Tracks and Organic Soul of Studio Cuts
Includes Standout 33-Minute-Plus Epic "Mountain Jam"
Features Complete, Accurate Reproduction of Gatefold Artwork
Tributes to fallen icons don't come any more poignant or illustrative than Eat a Peach. Released in early 1972, slightly more than three months after guitarist Duane Allman died in a motorcycle accident, the double album honors the musician via sides he recorded in the studio as well as several live performances that didn't fit on the mammoth At Fillmore East. The Allman Brothers Band, determined to press on, also contributes a trio of songs completed after their soulmate's passing. Its execution is near perfect, its concept timeless.
Mastered from the original master tapes and pressed on dead-quiet vinyl RTI, Mobile Fidelity's 180 gram 2LP of Eat a Peach joins the unparalleled reissue imprint's other Allman titles in presenting the superlative ensemble's work in the most lifelike, uncompromising fidelity possible. Not only is the punch of the concert fare transmitted with full-range dynamics and realistic spaciousness, but the studio cuts-in particular, the acoustically framed "Melissa" and "Little Martha"-come through with astounding clarity and body, replete with textural richness that affords listeners images of fingers on frets and sticks hitting drum skins.
In all probability, the Allman Brothers Band would've leapt to the fore of music's commercial and critical elite had it not been for Duane's fateful motorcycle accident that altered history and the trajectory of the group's course. A statement of purpose and homage, Eat a Peach extends the guitarist's legacy in the form of three heart-racing live tunes recorded at Fillmore East, none more important than the nearly 34-minute harmonic showcase "Mountain Jam." Begun at the end of "Whipping Post" during the final show of the group's four-gig stand, the tour de force improvisation finds the band at the peak of its telepathic aural and communicative capacities.
Not that the three studio originals with Duane are by any means forgettable. "Blue Sky" epitomizes the gorgeously elegant colors with which the late virtuoso could paint while the heart-stopping sentimental feel of "Little Martha" finds just he and Dickey Betts engaged in spiritual communion. To this extent, the band continues a mellower vibe on the hit "Melissa," a country-rock ballad that taps into a melancholy feel largely courtesy of Gregg Allman's weary vulnerability and Betts' lyrical, slap-back-echoing guitar lines.
Yet nothing here eclipses the direct meaning and steadfast intent of the record-opening "Ain't Wastin' Time No More," a defiant showing of unity and understated anthem with which the band seemed to embrace as a motto. No one knew, however, that fate would again subvert the group's plans even if it could never take away the magic held within Eat a Peach, sonic and lyrical sorcery that extends to the legendary gatefold-artwork mural.
This title is not eligible for further discount.1. Ain't Wastin' Time No More
2. Les Brers in A Minor
4. Mountain Jam
5. One Way Out
6. Trouble No More
7. Stand Back
8. Blue Sky
9. Little Martha$49.99 $44.99 Save $5.00 (10%)180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
spinPressed On Turquoise Blue Vinyl
Recorded with producer and longtime collaborator Will Yip at Studio 4 in Conshohocken, PA, spin is the inaugural release from Black Cement Records, a new imprint under Atlantic Records.
spin sees Walsh and Collins trading off lead vocals which glow with sincerity on this collection of incredibly understated indie-pop classics.Tracks such as Guardian, June, and Escape Plan shine on spin, which follows TIGERS JAW's 2014 critically adored LP, Charmer. ...The sound of a band bravely moving forward, declared Pitchfork while Stereogum applauded Walsh and Collins', ...soul-baring lyrical honesty, adding, TIGERS JAW are a revelation... Profoundly personal and vibrantly textured, spin exhibits Walsh and Collins' remarkable ability to capture the sentiments and complexities of a moment through melody and introspection.1. Follows
4. Escape Plan
5. Blurry Vision
8. Brass Ring
9. Oh Time
10. Same Stone
11. Make It Up.
12. Window$19.99Colored Vinyl LP - Sealed Buy Now
Shape Shift With MeFour years is a measurement of time that America has used for centuries to indicate change. Presidential terms last four years; high school diplomas and college degrees typically take four years apiece, too. It's not an arbitrary thing, either: It typically takes that much time from the declaration of something changing for it to actually change.
Meet Laura Jane Grace. Four years ago, the Against Me! frontwoman came out as transgender; 18 months later, she released the band's sixth album, the fiery Transgender Dysphoria Blues, one which she began working on before her transition and helped document the struggles she was facing. It was an intensely personal record that took on a life of its own, connecting with thousands of new listeners drawn to Grace's honesty and complexity while still pleasing Against Me!'s dedicated fanbase.
Now, four years after Grace's public reintroduction, Against Me! is ready to release their new album, Shape Shift With Me, on Total Treble. While much has changed in the lives of Grace and her bandmates-guitarist James Bowman, bassist Inge Johansson and drummer Atom Willard-in that time period, it's clear that those intervening years have done wonders for creativity.
"Everything with Shape Shift With Me has been really about keeping momentum going," she says. "In between every tour we did for Transgender Dysphoria Blues, I would have a couple songs I had written and we would demo them. At the end of two years of touring, we had an album ready to record. Usually, you come off of touring for a record and you're back at square one. But this was so fully formed it felt like there was no choice but to go ahead and record the songs."
Shape Shift With Me has the distinction of the first album Grace has written truly from the heart, with no metaphorical cloaks cast over the lyrics. It's an album about love, that deceptively complex emotion we all struggle with yet has somehow eluded most of Grace's songwriting for the past 20 years.
"Tons of people have written about love. But while love is clichÉ, it's infinitely relevant. For me, having always been in a punk band that was expected to be political, I never felt like I had that option to write about feelings in that way. That's what I ended up being drawn to this time. It's writing in a way I thought I could never write before, and not giving a shit about expectations."
As such, Shape Shift With Me is a loose concept album about traveling the world and falling in and out of love, with Grace serving as the narrator. But even though she was opening herself up to new songwriting topics, she knew what her mission was from the start.
"Is there a record that is about relationships from a trans perspective?" she asks rhetorically. "There needs to be more records about trans rights and everything like that, but feeling like I already did that, I wanted to move on to write commentary on living from a trans perspective. I wanted to write the transgender response to the Rolling Stones' Exile On Main St., Liz Phair's Exile In Guyville and the Streets' A Grand Don't Come For Free. All those records are relationship records. There's been an infinite amount of records talking about what love means from a cisgender perspective. I wanted to present the trans perspective on sex, love and heartbreak."
With Grace's new motivation came a new outlook on the band, as well. Previous albums found the songwriting process to be a largely solitary experience, but she embraced the spirit of collaboration for Shape Shift With Me-so much so that when Cody Votolato of the Blood Brothers sent her some demos of songs he was working on for another project, she became inspired and ended up co-writing "Boyfriend" and "Norse Truth," two of the album's most memorable tracks, with him.
"It was just about opening up to whatever comes my way karmically," Grace says. "Whatever everyone in the band is willing to offer, I just wanted to be open to it. I didn't want it to be like what it was in the past where it may have felt closed. I want it to be different."
In a career already full of classic punk records, Shape Shift With Me feels like the definitive Against Me! album-it's poppy and catchy ("Rebecca," "Suicide Bomber"), aggressive and in-your-face ("ProVision L-3," "Dead Rats"), sentimental and longing ("Crash," "All This And More"). Moreover, it's the culmination of four years of existence as Laura Jane Grace-there's no going back now, so she might as well embrace it.
"While I've always wanted the moon and the stars, I have a certain amount of humbleness," she admits. "I just want to play shows and make records and write songs. That's what I've always wanted to do. Of course I always want the biggest and best things for those shows and records and songs, but when it comes down to it, I just love doing it. I have no other ambitions or career goals.
"David Bowie put out 27 full-lengths. Prince put out 39 full-lengths," Grace remarks. "That is so inspiring to me-working, creating art, creating records and let everyone else sort it out. That's what I've always wanted to do and that's what I will keep on doing."1. ProVision L-3
5. Delicate, Petite & Other Things I'll Never Be
7. Haunting, Haunted, Haunts
8. Dead Rats
10. Norse Truth
11. Suicide Bomber
12. All This And More$24.99Vinyl LP - Sealed Buy Now
The Air Conditioned NightmareThe Air Conditioned Nightmare is the new album by
Doldrums. The title was spawned by Henry Miller upon his
return to the US after ten years as an expatriate. Keen to
rediscover the country he left behind, Miller found it a
stifling place of big business, pollution, credit, misinformation
and prejudice. "Nowhere else in the world," wrote in his
1945 collection of essays "is the divorce between man and
nature so complete". The Air Conditioned Nightmare.
Seventy years on and the book lends itself to the title of the
anticipated second album by Doldrums, the band led by 25
year old musician Airick Woodhead. On the follow-up to his
2013 debut Lesser Evil (which yielded tours with Unknown
Mortal Orchestra, Crystal Castles, Grimes and Purity Ring,
and remixes for Peaking Lights, Grimes and Portishead), the
DJ, producer and performer makes a sizeable leap from
being darling of the Montreal warehouse creative explosion
that gave the world the likes of Grimes, Majical Cloudz, Blue
Hawaii to being a stand-alone artist and composer on the
cusp of something quite special.
Doldrums apply a punk rock ethos to electronic music,
creating songs using samplers and DJ gear in place of
guitars. Bold, anxious, dream-like, uplifting, glacial,
hypnotic, constricting, expansive, alien - this is an album
that is ever-changing. "Conflict is at the heart of this
album," explains Airick. "There's a lot of paranoid sentiment
and dystopian imagery in there. The threat of a mundane
reality ties it together, as does an obsession with plasticity.
Songs come from specific feelings or images. Anxiety is my
The Air Conditioned Nightmare is an album of texture and
taste, an extra-sensory overload. Weaving through the mix
are Woodhead's androgynous, tweaked vocals singing lyrics
like voices down broken phone-lines. This is music born of
the 21st century. The Air Conditioned Nightmare is an album
that is punk rock in its DIY beginnings and militant commitment
to originality. Ten snatched seconds is enough to pull
you in. Ultimately,The Air Conditioned Nightmare stands
alone. Doldrums have created something special. You need
to hear it.1. HOTFOOT
2. Blow Away
3. Funeral for Lightning
4. We Awake
5. Video Hostage
8. My Friend Simjen
9. Industry City
10. Closer 2 U$16.99Vinyl LP - Sealed Buy Now
All Of The UnknownColored Vinyl
At first glance, The Drowning Men appear as an exercise in contradictions. With an abundance of tattoos, facial hair, and a sentiment that skews strongly toward the blue-collar dockworkers of their hometown of Oceanside, California, it seems easy to discern exactly what sort of music this band plays. And yet, upon first listen it immediately becomes clear that their appearances have indeed been deceiving as they yield to a gorgeous, roots and folk-flavored indie rock sound bursting with enchanting melodies and deeply poetic lyrics.
With the release of their second full length, All Of The Unknown, via Flogging Molly's label, Borstal Beat Records, The Drowning Men are poised to bring the entire indie scene up for breath of air.
Formed in 2006 by long-time friends Nathan 'Nato' Bardeen (vocals/keyboards/guitar/mandolin), James Smith (guitar/vocals) and Rory Dolan (drums), the three quickly recruited Todd Eisenkerch (bass/vocals) and Gabriel Messer (keyboards/vocals) to round out the line-up. The right fit for us just happened. There was no math to it, explains Nato. James elaborates, Nato called me up one day in 2005 and said `do you want to play some music?', and we've never stopped. I feel like the music clicked from that first day, it's just evolved.
The band self-released their first EP, Kill The Matador, in 2007. In 2009, the band went into the studio with Pall Jenkins (The Black Heart Procession, Ugly Casanova) to record their first LP, The Beheading of the Songbird, which was self-released that year and then officially re-released by their current label, Borstal Beat Records in 2011 in preparation for the release of this, their second full-length, All Of The Unknown. Gatefold red colored vinyl!1. Lost In A Lullaby
2. The Waltz
3. Bored in a Belly
5. A Fool's Campaign
6. I Am The Beggar Man
7. Life In The Willow Tree
8. A Long, Long Walk
9. Fix Me Love
10. Questioning (A Big Ole Sham)
11. A Better Place$15.99Colored Vinyl LP - Sealed Buy Now
Ben Webster And Sweets EdisonMastered by Bernie Grundman from the Original Analog Master Tapes! Only 2500 Numbered Limited Edition Copies Worldwide!
The two jazz giants Ben Webster and Harry Sweets Edison had long wanted to record an album together, and in 1962, they did. Although associated with two different orchestras (Edison was with Basie and Webster was with Ellington), these two swing kings found that they had a lot in common.
This album features both horn men on three medium tempo blues, Better Go, Kitty, and Did You Call Her Today. Other than this, Webster gets two tenor features, contributing absolutely luscious solos on both How Long Has This Been Going On, and My Romance. After listening to these songs, there can be no doubt that Webster is one of the best balladeers jazz has ever produced. Edison gets his moment in the sun too. On the album closer, Sweets plays a wonderful, even fairly modern sounding, rendition of Embraceable You using a Harmon mute. The ballads, enhanced by the wonderful harmonic sense of pianist Hank Jones, are the highlight of this release, and show both Webster and Sweets' unbeatable melodic sense.
Ben Webster was considered to be on of the three most important 'swing tenors' along with Coleman Hawkins and Lester Young. Known by some as The Brute, he had a tough, raspy and brutal tone on stompes but could deliver warmth and sentiment on softer ballads. Trumpeter Harry Sweets Edison spent his early childhood in Kentucky where he was introduced to music by his uncle. After moving back to his hometown of Columbus, Ohio at the age of 12, he began playing the trumpet with local bands, eventually landing a spot with the Count Basie Orchestra.
Tenor-saxophonist Ben Webster and trumpeter Harry Sweets Edison, both veterans of the swing era (although associated with different orchestras), had long wanted to record a full album together. The results, a swinging quintet set with pianist Hank Jones, bassist George Duvivier and drummer Clarence Johnston, are quite rewarding. There are two ballad features for the tenor (How Long Has This Been Going on and a beautiful version of My Romance) and one for Edison (Embraceable You) along with three medium-tempo collaborations. Nothing unexpected occurs but the melodic music is quite enjoyable. - Scott Yanow, Allmusic.com
At a time when some are steering jazz up a rather shallow third stream and others are busy digging up its roots, Webster and Edison are only motivated by the sheer love of playing.
This title is not eligible for discount.1. Better Go
2. How Long Has This Been Going On
4. My Romance
5. Did You Call Her Today
6. Embraceable You$54.99180 Gram Audiophile Virgin Vinyl LP 45RPM - 2 LPs Sealed Buy Now
$24.99 $22.49 Save $2.50 (10%)
The Rose (On Sale)1979 Soundtrack Contains Multiple Smash Hits: When a Man Loves a Woman, Stay With Me Among Them
Midler Steps Into Persona of Janis Joplin on Record Steeped in Rock n Roll, Pounding R&B, and Memphis Blues
Contagious Sound That Spotlights Midlers Potent Voice: LP Mastered on Mobile Fidelitys World-Renowned Mastering System and Pressed at RTI
Bette Midlers first leading role in a musical remains her best. As the soundtrack for that film, The Rose spotlights The Divine Miss Ms outstanding performance as a character in the persona of Janis Joplin. Midler received an Oscar nomination for Best Actress, and while the record contains no visuals, it punctuates the raw emotion and show-stopping persuasion that the singer brings to upbeat, rollicking fare composed in tribute to the late Joplin. Her reading of When A Man Loves a Woman remains definitive and unique for being sung from a females perspective.
Mastered on Mobile Fidelitys world-renowned mastering system and pressed at RTI, this Silver Label LP allows listeners to hone in on Midlers voice like never before. Kernels of previously unheard tonalities, richer hues of her bluesy timbre, and better-defined contours of her phrasing come to foreas do the contributions of guitarist Steve Hunter and drummer Whitey Glan, both members of Lou Reeds Rock n Roll Animal tour. No, The Rose isnt your conventional adult-contemporary pop offering from Midler. Its much more.
Always a natural-born theatrical star, Midler demonstrates these abilities to wondrous effect throughout, pouring herself into the painful sentiments of Stay With Me and raising hell on raucous numbers such as Sold My Soul to Rock N Roll and Keep On Rockin. Muscle Shoals sounds and Memphis-birthed shuffles keep Midler balanced and engaged. Producer Paul Rothchild, who helmed Joplins final salvo, matches the headliners zest by keeping tight-fisted control over the material selection and sonics. Never does Midler seem as if shes merely paying tribute or playing a part; she makes listeners feel every note.
Its apt, then, that shes afforded carte blanche on the title track, a gorgeous and career-defining moment of immense proportions and the only song here not performed in the persona of Joplin. Theres no better way to wrap up an album of nearly shamanic power, and an effort that, along with The Divine Miss M, remains Midlers peak.
This title is not eligible for further discount.1. Whose Side Are You On
2. Midnight In Memphis
3. Concert Monologue
4. When a Man Loves a Woman
5. Sold My Soul to Rock N Roll
6. Keep on Rockin
7. Love Me With a Feeling
9. Homecoming Monologue
10. Stay With Me
11. Let Me Call You Sweetheart
12. The Rose$24.99 $22.49 Save $2.50 (10%)Vinyl LP - Sealed Buy Now