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  • Paul Butterfield Blues Band Paul Butterfield Blues Band Quick View

    $34.99
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    Paul Butterfield Blues Band

    When you count out the original Blues men from the United States, the Paul Butterfield Blues Band is arguably the finest example of raw Blues essence. With white harmonica player Butterfield at the center, the racially integrated group started as one of the first authentic and genuine Blues combos. They were the real deal - and paved the way for the upcoming Blues music movement in a in time when hit charts were still separated by colour of skin.


    Their first and eponymous album from 1965 contains a mix of electric Chicago style Blues and Rock & Roll: raw, brazen and powerful, beautifully weaved together by Butterfields harmonica and scorching vocals. And more to their credit: the Paul Butterfield Blues Band single-handedly helped introduce more white listeners to the band's influences, such as Muddy Waters and B.B. King.

    1. Born In Chicago
    2. Shake Your Money-Maker
    3. Blues With A Feeling
    4. Thank You Mr. Poobah
    5. I Got My Mojo Working
    6. Mellow Down Easy
    7. Screamin'
    8. Our Love Is Drifting
    9. Mystery Train
    10. Last Night
    11. Look Over Yonders Wall
    Paul Butterfield
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Golden Butter: The Best Of The Paul Butterfield Blues Band Golden Butter: The Best Of The Paul Butterfield Blues Band Quick View

    $39.99
    Buy Now
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    Golden Butter: The Best Of The Paul Butterfield Blues Band


    The First Time Audiophile Vinyl 40th Anniversary Presentation Of Their Legendary Elektra Recordings


    Mastered Impeccably From The Original Elektra Records Tapes by Joe Reagoso at Friday Music Studios & At Capitol Records With Ron McMaster


    Features The Original Gatefold Cover Album Art & Essay by Tony Glover


    Along with fellow superstars Jefferson Airplane, Steve Miller Band and The Grateful Dead, The Paul Butterfield Blues Band was one of the first powerhouse rock acts of the sixties. With their phenomenal brand of Chicago blues music unlike any band before or after them, they helped to usher in the progressive underground rock movement.


    With its core line-up of Paul Butterfield (harmonica/lead vocalist), Mike Bloomfield (guitar), Elvin Bishop (guitar), Sam Lay(drums), Mark Nataflin (keyboards) and Jerome Arnold (bass), this amazing band truly delivered many legendary blues and rock recordings during their successful reign at Elektra Records.


    Blues masterpieces of the era still resonate today as Paul Butterfield and Co. foretold with their classic signature tunes like Born In Chicago, Look Over Yonders Wall, Mellow Down Easy and the mammoth blues prog-rocker East West. With the superstar talents that made up this band over the years, it was not uncommon to hear radio stations play entire sides of their revolutionary albums during the dawn of FM and underground radio.


    Later albums would reveal even further extensions of the blues rock genre with classic renditions like Marvin Gaye's One More Heartache, Michael Nesmith's Mary Mary, plus more of their own prolific standards like Last Hope's Gone, Morning Blues and of course their Woodstock 1969 anthem Love March.


    Elektra awarded The Paul Butterfield Blues Band and their huge fan base with a very extensive and amazing "Greatest Hits" package called Golden Butter back in 1972. Right from the start you get a healthy serving from their first monster release The Paul Butterfield Blues along with more solid tunes from other fine albums like East West, The Resurrection of Pigboy Crabshaw, In My Own Dream, Live and Keep On Movin'.


    Out of print on vinyl for many years, it is with great pride and honor to announce the first time 180 Gram Audiophile Vinyl release of The Paul Butterfield Blues Band classic Golden Butter - The Best Of The Paul Butterfield Blues Band on Friday Music.


    As a first installment in the Paul Butterfield/Friday Music 180 Gram Audiophile Vinyl Series, this amazing album features 18 of their most important songs from their legendary albums from1965 through 1973. From the early blues rock sounds of Shake Your Money-Maker and the lengthy live epic Driftin' and Driftin' to later day album radio favorites like Blind Leading the Blind, One More Mile and the pivotal Willie Dixon favorite Spoonful, this album truly shows the relevance and importance of this sorely missed iconic band.


    Mastered impeccably from the original Elektra Records tapes by Joe Reagoso at Friday Music Studios and at Capitol Records with Ron McMaster, this super limited edition album also boasts the original gatefold cover album art and wonderful essay by Tony Glover, not seen in years!


    The two HQ vinyl LP's are also protected by polylined sleeves as well as a polybag to help keep the album cover and albums in great condition for your blues collection.


    The Paul Butterfield Band Golden Butter First Time 180 Gram Audiophile Vinyl Sounding blusier than ever Nothin' But Some Of The Finest Blues Ever From Chicago exclusively from your friends at Friday Music! In My Own Dream

    LP 1
    1. Born In Chicago
    2. Shake Your Money-Maker
    3. Mellow Down Easy
    4. Our Love Is Drifting
    5. Mystery Train
    6. Look Over Yonders Wall
    7. East-West
    8. Walkin' Blues
    9. Get Out of My Life, Woman
    10. Mary, Mary


    LP 2
    1. Spoonful
    2. One More Mile
    3. One More Heartache
    4. Last Hope's Gone
    5. In My Own Dream
    6. Love March
    7. Driftin' and Driftin'
    8. Blind Leading the Blind

    The Paul Butterfield Blues Band
    $39.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Buy Now
  • The Live Adventures Of Mike Bloomfield and Al Kooper The Live Adventures Of Mike Bloomfield and Al Kooper Quick View

    $36.99
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    The Live Adventures Of Mike Bloomfield and Al Kooper

    In the wake of the success of their seminal 1968 Super Session release, blues-steeped guitar hero Mike Bloomfield (Butterfield Blues Band and Electric Flag) and multi-talented keyboardist/singer Al Kooper (Blues Project and Blood, Sweat & Tears) teamed up again for a historic series of joint performances as San Francisco's legendary Fillmore West, which are documented on The Live Adventures of Mike Bloomfield and Al Kooper.


    The resulting live album, culled from three nights' worth of shows and released in 1969, is a powerful testament to the formidable musical chemistry of these two rock legends, whose collaboration began when they played on Bob Dylan's classic Highway 61 Revisited. The Fillmore performances bring out the best in both musicians, who stretch out on assortment of tunes, including the Kooper/Bloomfield original Her Holy Modal Highness, Paul Simon's The 59th Street Bridge Song (Feelin' Groovy), The Band's The Weight, Booker T. and the MGs' Green Onions and Albert King's Don't Throw Your Love on Me So Strong, which features a rare Bloomfield vocal. The album also features guest appearances by Elvin Bishop and Carlos Santana.


    Unavailable in its original format for decades, The Live Adventures of Mike Bloomfield and Al Kooper has been meticulously restored to its original double-LP form for this vinyl reissue, using Sundazed's exacting technical and aesthetic standards. The album is pressed on high-quality, high-definition vinyl, and duplicates the album's original gatefold cover art, including legendary artist Norman Rockwell's iconic cover painting of Bloomfield and Kooper.

    1. Opening Speech
    2. The 59th Street Bridge Song (Feelin' Groovy)
    3. I Wonder Who
    4. Her Holy Modal Highness
    5. The Weight
    6. Mary Ann
    7. Together 'Til the End of Time
    8. That's All Right
    9. Green Onions
    10. Sonny Boy Williamson
    11. No More Lonely Nights
    12. Dear Mr. Fantasy
    13. Don't Throw Your Love on Me So Strong
    14. Finale-Refugee
    Mike Bloomfield & Al Kooper
    $36.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • The Resurrection Of Pigboy Crabshaw The Resurrection Of Pigboy Crabshaw Quick View

    $24.99
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    x

    The Resurrection Of Pigboy Crabshaw

    The Butterfield Blues Band sparked a firestorm of blues activity by young white kids all around the world. 1967's The Resurrection Of Pigboy Crabshaw, Butterfield's third album, saw Elvin Bishop (A.K.A. Pigboy Crabshaw) replace Mike Bloomfield on sizzling lead guitar and ride point for a combo now boasting a wailing horn section led by multi-saxist David Sanborn.
    1. One More Heartache
    2. Driftin' And Driftin'

    3. Pity The Fool
    4. Born Under A Bad Sign
    5. Run Out Of Time
    6. Double Trouble
    7. Drivin' Wheel
    8. Droppin' Out

    9. Tollin' Bells
    The Butterfield Blues Band
    $24.99
    Vinyl LP - Sealed Buy Now
  • East-West (Awaiting Repress) East-West (Awaiting Repress) Quick View

    $24.99
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    East-West (Awaiting Repress)

    1966's East-West, the second album from the Butterfield Blues Band -and their last with lead guitarist Mike Bloomfield-found the group branching out from the electric blues and adding elements of modern jazz and the music of India, most notably on the landmark title track, which paved the way for much of the musical experimentation of the late '60s.

    1. Walkin' Blues
    2. Get Out Of My Life, Woman
    3. I Got A Mind To Give Up Living All These Blues
    4. Work Song
    5. Mary, Mary
    6. Two Trains Running

    7. Never Say No
    8. East-West
    The Butterfield Blues Band
    $24.99
    Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • In My Own Dream (Awaiting Repress) In My Own Dream (Awaiting Repress) Quick View

    $24.99
    Buy Now
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    In My Own Dream (Awaiting Repress)

    With organist Al Kooper added, 1968's In My Own Dream was the swan-song for the original Butterfield Blues Band (lead guitarist Elvin Bishop would leave soon afterwards) and completed its transformation from pure blues to an eye-popping hybrid form of R&B.
    1. Last Hope's Gone
    2. Mine To Love
    3. Get Yourself Together
    4. Just To Be With You
    5. Morning Blues
    6. Drunk Again
    7. In My Own Dream
    The Butterfield Blues Band
    $24.99
    Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • Keep On Moving (Awaiting Repress) Keep On Moving (Awaiting Repress) Quick View

    $24.99
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    Keep On Moving (Awaiting Repress)

    One of the last truly fine outings by the band that started the avalanche of electric blues outfits is now available as a high-definition, exact-replica LP!

    The Butterfield Blues Band had reloaded by the time 1969's Keep on Moving was released on Elektra Records. Paul Butterfield startled the world with the addition of guitarist Buzzy Feiten, a man whose take-no-prisoners style turned out to be a muscular combination of the sound of his two predecessors, Mike Bloomfield and Elvin Bishop. Led by Butterfield wailing on lead vocals and his patented Southside of Chicago harmonica licks, the band sounded as powerful as ever with a new horn section that included David Sanborn on alto sax, Gene Dinwiddie on tenor and Keith Johnson on trumpet. It wouldn't last forever, but Paul Butterfield proved with Keep on Moving he had plenty of Hi-Octane gas left in the tank, and Keep on Moving fired on all cylinders.
    1. Love March
    2. No Amount of Loving
    3. Morning Sunrise
    4. Losing Hand
    5. Walking by Myself

    6. Except You
    7. Love Disease
    8. Where Did My Baby Go

    9. All in a Day
    10. So Far, So Good
    11. Buddy's Advice
    12. Keep on Moving
    The Butterfield Blues Band
    $24.99
    Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • Live In New York 1970 Live In New York 1970 Quick View

    $34.99
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    Live In New York 1970

    This double LP, recorded in December 1970 was recorded and broadcast from A&R Studios in New York City in front of a live audience. The lineup is mostly the same as the one that recorded the Elektra label live album the previous March at the Troubadour in Los Angeles with Paul Butterfield on vocals and harmonica, David Sanborn on alto sax, Gene Dinwiddie on soprano sax, Trevor Lawrence on baritone sax, Steve Madaio on trumpet, Ralph Wash on guitar, Rod Hicks on bass guitar, and Dennis Whitted on drums.


    While there is little doubt that the Butterfield Blues Band took a hit when Mike Bloomfield left, the group compensated by shifting musical direction, adding a horn section. Every new album represented a progression in the blues idiom, synthesizing and rearranging elements of blues, soul, rock, and jazz into something new and exciting.

    LP 1
    1. Born Under A Bad Sign
    2. Play On
    3. Driftin' Blues
    4. Everythings Gonna Be Alright


    LP 2
    1. The Boxer
    2. Stuck In the Countryside
    3. Love March
    4. Back Together Again
    5. So Far, So Good

    Paul Butterfield
    $34.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • What's Shakin' What's Shakin' Quick View

    $24.99
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    What's Shakin'

    In the musically explosive '60s, Elektra Records, like most of their contemporaries, was diligently searching for the next big thing. Toward this pursuit, they often recorded demo sessions of promising artists, signing some and leaving others to find different label homes. In 1966, the label collected some of the best of these demos and compiled them for the Whats Shakin album. It contains the first four tracks recorded by the just-formed Lovin Spoonful, who wound up creating a series of hit albums and singles for Kama Sutra. Notably, the album also contains two songs by Eric Clapton and the Powerhouse, recorded immediately prior to the formation of Cream. Rounding out the compilations are contributions from Al Kooper and Elektra labelmates Tom Rush and the Paul Butterfield Blues Band.


    News of the albums release spread quickly, making it a big hit on the nascent underground music scene. Sundazed is proud to make these ultra-rare tracks available again for todays music enthusiasts. Sourced from the original analog master tapes, pressed on high-definition vinyl and packaged with original liner notes and photo inserts, this album belongs in the collections of discerning music fans everywhere.

    1.LOVIN' SPOONFUL: Good Time Music
    2. LOVIN' SPOONFUL: Almost Grown
    3. PAUL BUTTERFIELD BLUES BAND: Spoonful
    4. PAUL BUTTERFIELD BLUES BAND: Off The Wall
    5. AL KOOPER: Can't Keep From Crying Sometimes
    6. ERIC CLAPTON & THE POWERHOUSE: I Want To Know
    7. ERIC CLAPTON & THE POWERHOUSE: Crossroads
    8. PAUL BUTTERFIELD BLUES BAND: Lovin' Cup
    9. PAUL BUTTERFIELD BLUES BAND: Good Morning Little Schoolgirl
    10. ERIC CLAPTON & THE POWERHOUSE: Steppin' Out
    11. TOM RUSH: I'm In Love Again
    12. LOVIN' SPOONFUL: Don't Bank On It Baby
    13. LOVIN' SPOONFUL: Searchin'
    14. PAUL BUTTERFIELD BLUES BAND: One More Mile
    Various Artists
    $24.99
    Vinyl LP - Sealed Buy Now
  • Stand Back (Pure Pleasure) Stand Back (Pure Pleasure) Quick View

    $34.99
    Buy Now
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    Stand Back (Pure Pleasure)

    Vanguard may have spelled his name wrong (he prefers Charlie or Charles), but the word was out as soon as this solo debut was released: Here was a harpist every bit as authentic, as emotional, in some ways as adventuresome, as Paul Butterfield. Similarly leading a Chicago band with a veteran Black rhythm section (Fred Below on drums, Bob Anderson on bass) and rock-influenced soloists (keyboardist Barry Goldberg, guitarist Harvey Mandel), Musselwhite played with a depth that belied his age - only 22 when this was cut! His gruff vocals were considerably more affected than they would become later (clearer, more relaxed), but his renditions of Help Me, Early in the Morning, and his own Strange Land stand the test of time. He let his harmonica speak even more authoritatively on instrumentals like 39th and Indiana (essentially It Hurts Me Too sans lyrics) and Cha Cha the Blues, and his version of jazz arranger Duke Pearson's gospel-tinged Cristo Redentor has become his signature song - associated with Musselwhite probably more so than with trumpeter Donald Byrd, who originally recorded the song for Blue Note. Goldberg is in fine form (particularly on organ), but Mandel's snakey, stuttering style really stands out - notably on Help Me, his quirky original 4 P.M., and Chicken Shack, where he truly makes you think your record is skipping




    Musicians:



    • Charley Musselwhite (harmonica, vocal)

    • Harvey Mandel (guitar)

    • Barry Goldberg (piano, organ)

    • Bob Anderson (bass)

    • Fred Below Jr. (drums)




    Production: Samuel Charters




    About Pure Pleasure



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



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



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



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



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



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



    1. Baby Will You Please Help Me
    2. No More Lonely Nights
    3. Cha Cha The Blues
    4. Christo Redemptor
    5. Help Me
    6. Chicken Shack
    7. Strange Land
    8. 39th And Indiana
    9. My Baby
    10. Early In The Morning
    11. 4 P. M.
    12. Sad Day
    Charley Musselwhite's Southside Blues Band
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • I'm Cutting Out I'm Cutting Out Quick View

    $28.99
    Buy Now
    x

    I'm Cutting Out

    The Lost Recordings, 1964-1965! Hear the birth of a new sound in blues, as Mike Bloomfield unleashes his signature electric guitar licks in the studio for the very first time in these seminal pre-Butterfield Blues Band tracks, recorded for Columbia Records in Chicago and New York. I'm Cutting Out is sourced directly from the original analog master tapes and includes previously unheard tracks, an introduction by Al Kooper, and a 1966 interview with Mike Bloomfield by Jim Delehant!
    1. I Got My Mojo Working

    2. I Feel So Good
    3. Goin' Down Slow
    4. I've Got You In The Palm Of My Hand
    5. The First Year I Was Married
    6. I'm Cutting Out
    7. Lonesome Blues
    8. I Got My Mojo Working (alternate version)
    9. Last Night
    10. I Feel So Good (alternate take)
    Mike Bloomfield
    $28.99
    Vinyl LP - Sealed Buy Now
  • Sin & Soul (Speakers Corner) Sin & Soul (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Sin & Soul (Speakers Corner)

    When Oscar Brown died at the age of 78 in 2005, one journalist at least, from The New York Times, was unsure as to how to describe the artist to whom America had just bid a final farewell. To write in his obituary that he was a jazz singer seemed too platitudinous, because Brown didn't just sing his songs, he performed them. But it would have been just as wrong to honour him as a jazz songwriter, despite his collaborations with Miles Davis and Max Roach, because he was more closely associated with gospel, folk and blues.
    His vocal qualities lie in a recitative-like, dry declamation, sharp as a knife, as is clearly heard in Work Song. The pain brought on by life's adversities can be cried out internally even if you appear to remain unaffected outwardly (But I Was Cool). A portion of sarcasm is necessary when the singsong of a slave trader constantly calls for higher bids (Bid 'Em In), and when a babbling child can pester its daddy with both banal and existential questions (Dat Dere).



    The generously manned band does not often play all together as in the springy Signifyin' Monkey. Here we have just a few chords on the piano (Watermelon Man), there a gently plucked guitar (Brown Baby), or a quiet pulsating rhythm (Afro Blue) - very often not much more was needed for a sin and soul performance by Oscar Brown, who, by the way, and so typically American, regarded himself as an Entertainer.



    Musicians:



    • Oscar Brown Jr. (vocal)

    • Phil Bodner (saxophone)

    • Billy Butterfield (trumpet)

    • Floyd Morris (piano)

    • Don Arnone (guitar)

    • George Duvivier (bass)

    • Osie Johnson (drums)




    Recording: June - October 1960




    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. Work Song
    2. But I Was Cool
    3. Bid 'em High
    4. Signifyin' Monkey
    5. Watermelon Man
    6. Somebody By Me A Drink
    7. Rags and Old Iron
    8. Dat Dere
    9. Brown Baby
    10. Humdrum Blues
    11. Sleepy
    12. Afro Blue
    Oscar Brown Jr.
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Runt (On Sale) Runt (On Sale) On Sale Quick View

    $29.99 $20.99 Save $9.00 (30%)

    Buy Now
    x

    Runt (On Sale)

    TODD RUNDGREN'S DEBUT MASTERWORK!!!!


    First Time Audiophile Vinyl & Gatefold Cover Presentation


    Mastered impeccably by Joe Reagoso and Kevin Gray from the original Bearsville Records tapes


    As founding member of the premiere late sixties power pop rockers Nazz, multi-instrumentalist, vocalist, songwriter
    and producer Todd Rundgren was barely in his 20's when he began his long solo journey with success as one of the music
    industry's most prolific and celebrated rock artists.
    His first solo album Runt showed a dazzling array of songs, displaying not only his rock and roll side but ventures into
    jazz, R&B, eastern and blues. With help from his friends Hunt and Tony Sales, the power trio nailed one of the finest albums
    of the classic rock era and also catapulted Todd Rundren's marquee as a singer/songwriter with his smash hit single We
    Gotta Get You A Woman.


    Ever the rock journeyman, Todd Rundgren had already produced, mixed or played on albums by legendary recording
    artists like The Band and Paul Butterfield. Always called on to bring his musical genius for others, his initial hit recordings
    that make up the Runt album show how versatile and important the artist is. Check out his burning guitar riffs on album
    opener Broke Down And Busted or the gritty country blues feel of Once Burned, plus the New York funk/jazz of I'm In The
    Clique, three fan favorites that truly have stood the test of time.
    Known to write a hit ballad more than a few times in his career, Todd goes on record early here with one of his finest
    tracks ever with his brilliant Believe In Me. Followed closely by his masterpiece We Gotta Get You A Woman, even more pop
    sounds continue with his classic medley Baby Let's Swing/The Last Thing You Said/Don't Tie My Hands, and the haunting
    Beach Boys/Gregorian Chant feel of There Are No Words.


    This amazing album hasn't been on vinyl for several decades that is until now Friday Music is honored to announce
    for the first time ever on 180 Gram Audiophile Vinyl, the classic Todd Rundgren debut masterwork Runt. As a first installment
    in our career spanning Todd Rundgren Friday Music180 Gram Audiophile Series, this limited edition album will also be presented for a short time in a first time gatefold cover which will feature the original inner sleeve artwork, not seen in decades.
    Mastered from the authorized original Bearsville Records tapes by Joe Reagoso (Todd Rundgren, Cheap Trick, Hall
    & Oates) at Friday Music Studios with Kevin Gray, the Runt album will be one of the most anticipated audiophile albums
    released this year.


    Todd Rundgren Runt A history making rock album from a rock legend, an audiophile dream release first time
    180 Gram Vinyl and Gatefold Cover is now an audiophile vinyl dream come true .From your friends at Friday Music
    Stay tuned for more Todd Rundgren and Utopia original Bearsville Records and Warner Bros. Records audiophile recordings
    from Friday Music.

    1. Broke Down And Busted
    2. Believe In Me
    3. We Gotta Get You A Woman
    4. Who's That Man?
    5. Once Burned
    6. Devil's Bite
    7. I'm In The Clique
    8. There Are No Words
    9. Baby Let's Swing/The Last Thing You Said/Don't Tie My Hands
    10. Birthday Carol
    Todd Rundgren
    $29.99 $20.99 Save $9.00 (30%)
    180 Gram Audiophile Virgin Vinyl LP Buy Now
  • Sin & Soul (Speakers Corner) (Bend In Cover) Sin & Soul (Speakers Corner) (Bend In Cover) Quick View

    $27.99
    x

    Sin & Soul (Speakers Corner) (Bend In Cover)

    When Oscar Brown died at the age of 78 in 2005, one journalist at least, from The New York Times, was unsure as to how to describe the artist to whom America had just bid a final farewell. To write in his obituary that he was a jazz singer seemed too platitudinous, because Brown didn't just sing his songs, he performed them. But it would have been just as wrong to honour him as a jazz songwriter, despite his collaborations with Miles Davis and Max Roach, because he was more closely associated with gospel, folk and blues.
    His vocal qualities lie in a recitative-like, dry declamation, sharp as a knife, as is clearly heard in Work Song. The pain brought on by life's adversities can be cried out internally even if you appear to remain unaffected outwardly (But I Was Cool). A portion of sarcasm is necessary when the singsong of a slave trader constantly calls for higher bids (Bid 'Em In), and when a babbling child can pester its daddy with both banal and existential questions (Dat Dere).



    The generously manned band does not often play all together as in the springy Signifyin' Monkey. Here we have just a few chords on the piano (Watermelon Man), there a gently plucked guitar (Brown Baby), or a quiet pulsating rhythm (Afro Blue) - very often not much more was needed for a sin and soul performance by Oscar Brown, who, by the way, and so typically American, regarded himself as an Entertainer.



    Musicians:



    • Oscar Brown Jr. (vocal)

    • Phil Bodner (saxophone)

    • Billy Butterfield (trumpet)

    • Floyd Morris (piano)

    • Don Arnone (guitar)

    • George Duvivier (bass)

    • Osie Johnson (drums)




    Recording: June - October 1960




    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. Work Song
    2. But I Was Cool
    3. Bid 'em High
    4. Signifyin' Monkey
    5. Watermelon Man
    6. Somebody By Me A Drink
    7. Rags and Old Iron
    8. Dat Dere
    9. Brown Baby
    10. Humdrum Blues
    11. Sleepy
    12. Afro Blue
    Oscar Brown Jr.
    $27.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Temporarily out of stock
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