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Carole King Tapestry'
Pearls: The Songs Of Goffin & King180-Gram Audiophile Vinyl
Featuring New Interpretations Of Classic Goffin/King Songs The Locomotion, Snow Queen, Hi De Ho, Wasn't Born To Follow And More
Carole King is the most successful female songwriter of the 20th century, having written or co-written 118 pop hits on the Billboard Hot 100 between 1955 and 1999. She also wrote 61 hits that charted in the UK, making her the most successful female songwriter on the UK singles charts between 1952 and 2005.
Carole King has won four Grammy Awards and was inducted into the Songwriters Hall of Fame and the Rock and Roll Hall of Fame for her songwriting. She is the recipient of the 2013 Library of Congress Gershwin Prize for Popular Song, the first woman to be honored this way.
The album Pearls by Carole King is a collection of brilliant pop music and widely recognized as her best work since Tapestry. The album features 10 songs originally written by Carole King with her ex-husband Gerry Goffin. The album contains new versions of Locomotion, Hey Girl, Snow Queen, Oh No Not My Baby, Hi De Ho, Wasn't Born to Follow, Goin' Back and more.
One Fine Day was a Top 40 hit in charts around the globe.
So many other artists have recorded these songs. The album Pearls is a testament to how good of a songwriter Carole King truly is.1. Dancin' With Tears In My Eyes
3. One Fine Day
4. Hey Girl
5. Snow Queen
7. Oh No Not My Baby
8. Hi De Ho
9. Wasn't Born To Follow
10. Goin' Back$34.99180 Gram Audiophile Vinyl LP - Sealed Buy Now
$34.99 $31.49 Save $3.50 (10%)
Tapestry (On Sale)Feel the Earth Move: Mobile Fidelity Gives Listeners the End-All-Be-All Definitive Analog Version of the Long-Time Audiophile Classic
Analog Reissue True to Producer's Original Intent of Putting Carole King in the Room With You: Experience and Feel Every Organic Nuance, Suggestive Delivery, Intimate Note
Blockbuster Album Defined Singer-Songwriter Movement, Swept Grammy Awards, Spawned Four Hit Singles, Sold More Than 25 Million Copies Worldwide
Ranked #36 on Rolling Stone's List of the 500 Greatest Albums of All Time
Carole King's Tapestry is one of the rare albums that immediately plays in your head the moment its title, cover art, or songs are mentioned. Having achieved status of near-mythical proportions, it is the singer-songwriter record you'd bring to the proverbial desert island if you were limited to one choice. Renowned for its lifelike production, Tapestry now sounds clearer, richer, and more emotional courtesy of Mobile Fidelity's 180g LP. Audiophiles, this is the version that brings Carole King right before your eyes and into your room. This is the edition you need. It's the edition you deserve.
Faithful to original album producer Lou Adler's vision of making King (and not just any pianist player) appear seated and playing in front of listeners, this numbered limited-edition 180g LP delivers utmost transparency, balance, warmth, intimacy, and perhaps most importantly, feeling. Aware of how many times this iconic work has been re-released, Mobile Fidelity engineers settled for nothing less than the absolute finest sonic presentation possible when mastering Tapestry from the original master tapes.
The results mirror what went down in the A&M Studios. Lean, simple, direct, and so nakedly real the sonics evoke what might be heard on a professional demo tape, this collectable LP gives what Rolling Stone deems the 36th Greatest Album of All Time the due it deserves. King's personal singing, her graceful pianism, the integral rhythmic foundation provided by the likes of drummer Russ Kunkel and guitarist Danny Kortchmar, and the symmetrical contributions of guest instrumentalists ranging from saxophonist Curtis Amy to guitarist James Taylor resonate with three-dimensional imaging and cozy realism. Every note, every basic movement, accurately rendered with exquisite detail and full-bodied tonality.
Indeed, one reason-apart from the flawless songwriting, earnest deliveries, and eloquent performances-Tapestry endures is because of the naturalness of the production and songs. King's unadulterated articulations on love, conviction, friendship, place, sadness, and companionship ring true because there's no doubting their meaning, intent, or sincerity. Tapestry makes you feel, and compels you to get closer to the music, and the musicians performing. It is an album of organic nuances, suggestive intents, and engaging melodies.
This title is not eligible for further discount.1. I Feel the Earth Move
2. So Far Away
3. Its Too Late
4. Home Again
6. Way Over Yonder
7. You've Got a Friend
8. Where You Lead
9. Will You Love Me Tomorrow?
10. Smackwater Jack
12. (You Make Me Feel Like) A Natural Woman$34.99 $31.49 Save $3.50 (10%)180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Now That Everything's Been SaidWe all know the Carole King who wrote some of the biggest hits of the '60s, from "Will You Love Me Tomorrow" to "Pleasant Valley Sunday," via "The Locomotion" and "(You Make Me Feel Like) A Natural Woman." We also know the singer-songwriter behind Tapestry, the album that launched King as a solo singer in her own right. But in between-and not nearly as well known-is King's band, The City, and their album, Now That Everything's Been Said.
By the mid-'60s, King's marriage to Gerry Goffin, with whom she'd written many of those wonderful hits, had hit the rocks. A divorce loomed, and King all but retired to raise their two daughters. She headed west to Laurel Canyon in '67, taking the children with her, and made the previously unlikely move of joining a progressive folk-rock band. King formed The City with future husband Charles Larkey on bass and Danny Kortchmar on guitar and vocals. With King on piano and vocals, they created a folk rock sound that pre-empted the singer-songwriter boom of the '70s.
Produced by Lou Adler and featuring Jimmy Gordon on drums, The City's sound is deep and soulful, imperfect but passionate. And the songs, with King writing or co-writing all but one, are as exceptional as you'd expect and as widely covered as her factory work. "Now That Everything's Been Said" was a hit for American Spring, "A Man Without A Dream" was tackled by The Monkees, and "Hi-De-Ho (That Old Sweet Roll)" was a hit for Blood, Sweat & Tears. Central to the album's appeal is King's own stirring reading of her track "Wasn't Born To Follow," covered masterfully by The Byrds for the Easy Rider soundtrack.
King had been used to a life on the sidelines, and her stage fright left the trio unable to tour the LP which adversely affected their fortunes. That, plus some behind-the-scenes distribution problems, meant the album was quickly deleted, and it remained so for the next thirty years-partly at King's request. Even so, its failure was a surprise to those concerned. "I was 26 when Now That Everything's Been Said was released in 1968," King says of the album. "[We] expected it to zoom to the top of the charts within, at most, a few weeks. Individually and together, we optimistically imagined the album's success as if it had already happened. Danny and Charlie kept telling each other, 'It's a great album. The City is gonna be Number 1 with a bullet!'
Listening now, you can feel the threads that lead to Tapestry and to the hugely successful performing career that followed. It's not so much an oddity in King's work as the missing link between her two lives. Reissued here in deluxe vinyl, this is, at long last, a chance to own this lost album.1. Snow Queen
2. I Wasn't Born To Follow
3. Now That Everything's Been Said
4. Paradise Alley
5. Man Without A Dream
6. Victim Of Circumstance
7. Why Are You Leaving
9. My Sweet Home
10. I Don't Believe It
11. That Old Sweet Roll (Hi-De-Ho)
12. All The Time$22.99Vinyl LP - Sealed Buy Now
$49.99 $44.99 Save $5.00 (10%)
The Carnegie Hall Concert (On Sale)From-the-Vault Live Release Captures Iconic Singer-Songwriter at Height of Her Breakout Period
Half-Speed Mastered from the Original Tapes: Intimate Sonics Make It Seem Like King is Sitting Five Feet Away
Stripped-Down Songs Teem With Warmth, Nuance, Emotion; James Taylor Also Appears
Every so often, a from-the-vault release captures our hearts, minds, and attention in such a way that its impossible not to tell all family, friends, and neighbors about its existence. Originally issued to commemorate the 25th anniversary of Tapestry, Carole Kings The Carnegie Hall Concert: June 18, 1971 is such a record, a fortunate document of an absolutely magical period in the singer-songwriters legendary career and a revealing look at the then-stagefright artist turning in a commanding performance just as she was becoming a superstar.
Half-speed mastered from the original tapes, Mobile Fidelitys numbered limited-edition 180g LP of this compelling concert album brims with liveliness, depth, dimension, detail, and transparency. The nuances of Kings spare performances and warm vocals emanate as if shes sitting five feet away. Stripped down even further than they are on the studio albums, songs breathe with palpable earnestness and emotion, the subtle differences from their more polished studio brethren allowing listeners an insight into Kings creative genius.
At the time of its recording, King still suffered from shyness and who could blame her? She had been accustomed to penning lyrics for other artists and sitting behind a desk in the Brill Building. Only recently did King strike out on her own and enter the public realm. This set encapsulates this contrast in thrilling fashion. Disarmingly genuine and daringly honest, The Carnegie Hall Concert: June 18, 1971 benefits from the inclusion of Kings nervous between-song banter that exposes who she is as a person and performer. Most importantly, despite her anxiety, she turns out stirring renditions of tunes from 1970s Writer, Tapestry, and even a few from Music.
Her control is demonstrated on the records six opening cuts, which feature King alone at her piano. For the remainder of the program, shes accompanied by guitarist Danny Kortchman, bassist Charles Larkey, and a string quartet, which enter and exit according to arrangement. As such, the concert is profoundly intimate and personal, an unplugged session that predated the use of the term by nearly two decades. Longtime collaborator James Taylor joins her for a memorable medley of some of her biggest hitsWill You Love Me Tomorrow/Some Kind of Wonderful/Up on the Roofthe chemistry evident of why the duos 2010 tour was one of the most in-demand outings in years.
Mobile Fidelitys remastered sound ties everything together and is what makes this release extra special. By going to the original source, the audiophile label considerably opens up the sonic perspectives, revealing the spacious acoustics of the famed venue that act in concert with Kings music. In particular, the songs from Writer benefit from the no-nonsense production. You can literally picture Kings piano beside her, and her voice sincere, tender, melodic is rich, full-bodied, and penetrating. Listeners can even hear it crack on occasion, the results a consequence of her nerves. Unpolished and non-synthetic, the performance is better for it.
No, they don't make albums like this anymore. The Carnegie Hall Concert: June 18, 1971 as real as it gets. And so is the sound. Get your collectible copy now!
This title is not eligible for further discount.1.I Feel the Earth Move
3.After All This Time
4.Child of Mine
5.Carry Your Load
6.No Easy Way Down
7.Song of Long Ago
10.So Far Away
11.It's Too Late
13.Way over Yonder
15.You've Got a Friend [Performed with James Taylor]
16.Will You Still Love Me Tomorrow?/Some Kind of Wonderful/Up on the Roof [medley; performed with James Taylor]
17.(You Make Me Feel Like) A Natural Woman$49.99 $44.99 Save $5.00 (10%)180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
$34.99 $31.49 Save $3.50 (10%)
Music (On Sale)Released on the heels of her breakthrough, Tapestry, Carole Kings Music is every bit the equal of its more famous predecessor, a Number One smash that features impeccable songwriting, infallible melodies, and extraordinary piano playing. In short, everything thats made King an institution. After of years of being overshadowed, this 1971 singer-songwriter classic has finally been given the audiophile treatment its long deserved.
Half-speed mastered from the original master tapes, Mobile Fidelitys numbered limited-edition 180g LP of Kings second solo masterpiece is rife with intimacy, transparency, soulfulness, and you-are-there sound. Never before remastered, Music seems like a brand-new album, Kings familiar voice, intelligent arrangements, and ravishing support band presented on a deep, three-dimensional soundstage. Your appreciation for and understanding of Kings inspirational lyrics and ravishing performances will increase tenfold. Mobile Fidelitys 180g LP brings you that much closer.
Accompanied by percussionist Bobbye Hall, drummer Russ Kinkel, guitarist/vocalist James Taylor, and a cavalcade of professional wind musicians, King delves further into R&B and jazz-derived pop, coming up aces every time. Warm, intelligent, and cohesive, songs echo with simplicity and honesty. And as is typical of much of Kings work, several of tunes here were later covered by other artists, including Its Going To Take Some Time (the Carpenters). Yet the originals trump the later renditions, and the rendition of the standard Some Kind of Wonderful stands as the best ever recorded.
With Taylor lending more of a hand on Music than he does on Tapestry, King expands her confident reach on the piano and peppers the songs with graceful touches of saxophone, flute, pedal-steel guitar, and woodwinds. Ballads sway (Surely), gospel brightness lifts spirits (Brighter), and backup vocals float heavenly pop (Song of Long Ago). Yet the best aspect is Kings voice, infused with fondness, concern, joy, and a quiet power that parallels the delicacy and deliberate nature that define Music.
Mobile Fidelitys audiophile edition is free of the limiting artifacts that have helped keep this record in the dark for the better part of the past few decades. Previously diminished, acoustic guitars, subtle brass elements, and soft percussion contribute to the enjoyment of the songs, and Kings voice pleasant, assuring, emotion comes through with incredible clarity and inflection. The brilliance of the legendary Lou Adlers original production is restored to its full glory.
If its at all possible and it is this treasure now sounds even more heartwarming than it did upon original release. The companion to Tapestry, Music is an aural and sonic delight.
This title is not eligible for further discount.1.Brother, Brother
2.It's Going to Take Some Time
4.Some Kind of Wonderful
6.Carry Your Load
8.Song of Long Ago
10.Growing Away from Me
11.Too Much Rain
12.Back to California$34.99 $31.49 Save $3.50 (10%)180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Until Death Comes (Awaiting Repress)Sweden's Hyvonen is a talented piano-based songwriter in the vein of Laura Nyro with a passionate bite and a voice like an icicle that cuts deep. This debut features a raw home-recording feel not dissimilar to The Stones' Beggar's Banquet, Joni Mitchell's Blue, or Carole King's Tapestry.1. I Drive My Friend
4. You Never Got Me Right
5. Once I Was a Serene Teenaged Child
6. Today, Tuesday
7. Come Another Night
8. N.Y.$14.99Vinyl LP - Sealed AWAITING REPRESS Buy Now
FencesNew Album Produced By John Vanderslice (Spoon, The Mountain Goats, Samantha Crain)
Mastered By Bernie Grundman (Michael Jackson's Thriller, Dr. Dre's The Chronic, Carole King's Tapestry)
180-Gram Vinyl Pressed By Quality Record Pressing
Vinyl Lacquers Were Cut Directly From Analog Tape
Fences is something new for our band Bombadil. It is more than just an album; it is a new path, a reset after several challenging years. The path began in January 2015, when a longtime member of Bombadil unexpectedly left our band. Daniel Michalak and I sat down to discuss our next steps. It was a time for soul searching. A duo of a bassist and drummer did not feel like a band. Moving forward seemed daunting, but we both felt like there was more to say with the band. We wanted to make music. So we began simply by making some. Writing and recording the Still Bombadil EP was fun. A fast and dirty exploration of a creative idea, no room for fiddling, deadline looming. Our last album, Hold On, had not been like that. It had been an ordeal.
Daniel suggested composing songs using guitar instrumentals our old bandmate Bryan Rahija had written, and of limiting ourselves to a small palette for the next album: guitar, piano, upright bass, harmony vocals. The goal was to make a folk record, something easy to understand, something beautiful. He shared a demo for "Binoculars" and I loved it. It was simple, elegant. We added it to the live set almost immediately. Daniel continued writing, focusing on guitar, harmony, and emotion. The songs inconveniently had no drums (what was I going to play?!). He instead wrote parts for me to sing and we began collaborating on composing tunes with a similar approach. "Fence" was written together at a friends house in Crozet, Virginia to kill time on tour. An old song of mine, "Long Life," was revived and extended. Percussion parts started to show up. Daniel's commitment to songwriting continued to inspire, a new demo was in my inbox almost weekly. Daniel enlisted the help of an old friend and data scientist, Nasir Bhanpuri, to analyze the success of our old catalog of songs and make suggestions to guide our writing and arranging. It was an experiment that pushed us to take the songs further than we might have in the past. In part, we were throwing ideas at the wall to see what would stick, but we were also searching for something new, actively trying to push ourselves to new creative heights.
We kept the Bombadil ship moving by accepting all shows, searching for more opportunities to play. We found wonderful people to tour in our band. There were good shows. There were bad ones, too. I learned to be a lead singer on the fly and on stage (with the help of an encouraging septuagenarian opera singer). And we kept writing, practicing, and recording. In July 2015, Stacy Harden sent me an email inquiring if we needed a musician. In his audition, he played through songs like he had been in the band all along. He even knew the harmonies. He had grown up a fan of the band, singing along in the car. In October, Stacy and I drove our equipment across the country for a West Coast tour in a four-day sprint and listened to every song the Beatles recorded. His easy-going spirit was infectious, his presence made the band more fun and more inspiring. We had found our man. "What's So Great About You" was the first collaboration between this new trio, and we started to discover what a new version of our band sounded like.
In January 2016, the three of us left North Carolina for Littleton, Massachusetts to spend several weeks at a friend's farmhouse. We recorded all day long, cooked together, spent our breaks around a roaring wood stove carefully tended to by Daniel. The resulting demo recordings gave us a roadmap to follow. Our label, Ramseur Records, suggested a producer, a departure after self-recording our last three records. John Vanderslice was given the demos and was enthusiastic about the material. He insisted that we listen closely to Paul Simon's first record. He told us the songs needed a sense of danger, that our demos felt like we were being too careful, and that the songs needed more percussion. John is opinionated, talented, and inspirational. And most of all, making the record with him over 12 days in September 2016 at Tiny Telephone in San Francisco was easy. And fun. And fast. We used only analog equipment, recording to tape through high-end vintage equipment. Bryan came to play his guitar parts (which by this point Stacy had learned for live performances of the material). The recordings were all first takes, new ideas were quickly embraced, mistakes were left alone as intention, very little artificial reverb was used but John's concrete echo chamber was used extensively. We hoped to catch lightning in a bottle and I think that we did.
To me, Fences represents the journey of the last two years. It is the discovery of a group voice, the willingness to explore collaboration between old friends, and an openness to let new voices into the fold. It is something I am proud to have been a part of and am excited to share with the world. To me, it is an example of the power and positivity of collaboration, of a group of human beings working diligently on a shared vision. If nothing else, I can say that we tried as hard as we possibly could. I can't wait to do it again.
Thank you for listening,
James Phillips/Bombadil1. What's So Great About You
2. Not Those Kind of People
4. Math and Love
7. Good News Sadie
8. I Could Make You So Happy
9. Long Life
10. Is This Danger
11. No Snow in the Valley$20.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now