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  • Individual Thought Patterns (Pre-Order) Individual Thought Patterns (Pre-Order) Quick View

    $19.99
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    Individual Thought Patterns (Pre-Order)

    Individual Thought Patterns is the fifth studio album by American death metal band Death, originally released on June 22, 1993 by Relativity Records.
    1. Overactive Imagination
    2. In Human Form
    3. Jealousy
    4. Trapped In A Corner
    5. Nothing Is Everything
    6. Mentally Blind
    7. Individual Thought Patterns
    8. Destiny
    9. Out Of Touch
    10. The Philosopher
    Death
    $19.99
    Vinyl LP - Sealed PRE-ORDER Buy Now
  • Ego Death Ego Death Quick View

    $23.99
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    Ego Death

    Ego Death is the third studio album by American hip hop soul band, The Internet. The album was recorded primarily in Syd tha Kyd's basement in a three week period.


    The band says Ego Death is about being vulnerable and honest. It's about us growing up as a band and as individuals, and the challenges we're facing and learning from. It's about us acknowledging our egos and the egos around us, and using them the best way we know how. Ego Death features guest appearances from the likes of Janelle Monae, Tyler, the Creator, and Vic Mensa.

    LP1
    1. Get Away
    2. Gabby
    3. Under Control
    4. Go With It
    5. Just Sayin/I Tried
    6. For Wood
    7. Girl


    LP2
    1. Special Affair
    2. Something's Missing
    3. Partners in Crome Part Three
    4. Penthouse Cloud
    5. Palace/Curse
    6. Famous
    7. Missing You

    The Internet
    $23.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Death To False Metal Death To False Metal Quick View

    $28.99
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    Death To False Metal

    First Time On Vinyl


    Mastered For Vinyl And Lacquers Created By Kevin Gray


    Pressed On 180 Gram Black Audiophile Vinyl At RTI


    Gatefold Jacket With A Matte Finish


    11 X 22 Matte Insert


    Limited And Hand Numbered


    Death To False Metal is not a traditional collection of studio leftovers or songs from the vault, but a wholly original follow-up to Weezer's just-released Hurley. The album was created using the basic tracks of 10 previously unreleased recordings-nine never-before-heard songs plus one cover-to assemble a brand new and truly modern-sounding record. The result is an evolution for the band, a giant step forward with a nod to the past.


    ''These were great songs, great recordings, but for some reason they didn't make the final cut for previous records,'' Weezer frontman Rivers Cuomo stated. ''Some just weren't right for the albums we were recording at the time-just a bit ahead of their time or too 'rock.' Now, the time is right to introduce them. Together, they are the album that should logically follow Hurley.''


    Featuring tracks the band originally began recording from the late '90s to late '00s, Death To False Metal was a labor of love for Cuomo and his co-producer Shawn Everett, as well as the entire band. Each track was individually evaluated by the production team of Cuomo and Everett to figure out how to make each of the songs reach their full potential, and ultimately fit harmoniously on the album. After that process, they then brought in each band member in to complete the parts needed. Some of the ten songs received a major overhaul, while others got the equivalent of a sonic tune-up.


    ''Turning Up The Radio'' is the result of Cuomo's 2008 collaborative YouTube project, ''Let's Write A Sawng,'' for which he invited fans to submit ideas. As they went through the steps of composing a tune, eventually, 15 people became involved. This track is one of only two songs not solely penned by Weezer for Death To False Metal.


    ''Blowin' My Stack,'' ''Losing My Mind'' (which features some of the most raw and personal emotions in a Weezer song), ''I'm A Robot,'' and a rock cover of the massive R&B hit ''Un-Break My Heart'' were all first recorded prior to the release of 2005's Make Believe. ''I Don't Want Your Loving'' was originally laid down as a demo for 2002's Maladroit. The abrasive punk-metal ''Everyone'' hails from post-1998 Pinkerton period, as does the pop song ''Trampoline.'' The piano-based ''Odd Couple'' and new-wave-style ''Auto-Pilot'' were laid down prior to 2008's Weezer (aka ''The Red Album'').


    The title Death To False Metal comes from a phrase that Cuomo and his younger brother used when they were kids. Musical integrity was a matter of life or death then, and now the new album is a reminder of how important music is for both Weezer and their many fans. At a time when many of their contemporaries seem to have forgotten how to rock, Weezer is ready to teach them. Cuomo and fellow axe-slinger Brian Bell crafted nine epic guitar solos-one for nearly every song on Death To False Metal-and with the band's signature hooks in full effect, Weezer's school of rock is back in session.

    1. Turning Up The Radio
    2. I Don't Want Your Loving
    3. Blowin' My Stack
    4. Losing My Mind
    5. Everyone
    6. I'm A Robot
    7. Trampoline
    8. Odd Couple
    9. Auto-Pilot
    10. Un-Break My Heart
    11. Mykel & Carli
    Weezer
    $28.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • And Hell Will Follow Me (Awaiting Repress) And Hell Will Follow Me (Awaiting Repress) Quick View

    $22.99
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    And Hell Will Follow Me (Awaiting Repress)

    Includes CD


    A Pale Horse Named Death is the brainchild of Brooklyn, NY native Sal Abruscato, and sounds like Alice in Chains mysteriously sneaking up behind Type O Negative with a butcher knife while being filmed for a future episode of Law & Order. Sals partner in crime on And Hell Will Follow Me is Matt Brown, sound engineer extraordinaire and guitarist of fellow NY band Seventh Void.


    The chemistry between me and Matt is unique and flawless, very rare in todays music. We are the murdering evil version of Lennon and McCartney. says Abruscato. Brown adds, Sal asked me if I would help to take these songs to the next level. I took on this project for my friend, to find some closure in rough times. The music is just an extension of our friendship and our passion for creativity.


    The album artwork was done by Sam Shearon aka Mr. Sam, who has previously done work for Rob Zombie, Fear Factory and Cradle of Filth to name a few, and features a 20 page booklet with artwork for each individual song. Additionally, the Double LP version will feature a never before heard bonus track called Pick Up Truck.


    To top that all off, Life of Agonys Keith Caputo lent background vocals to four tracks and Lou Reeds saxophonist Ulrich Krieger guests on Die Alone. Bobby Hambel from Biohazard, who also plays with the band live, played the guitar leads on three tunes.

    1. And Hell Will Follow Me

    2. As Black As My Heart
    3. To Die In Your Arms
    4. Heroin Train
    5. Devil in The Closet
    6. Cracks in the Walls
    7. Bad Dream
    8. Bath In My Blood (Schizophrenia In Me)
    9. Pill Head
    10. Meet The Wolf
    11. Serial Killer
    12. Pickup Truck (Bonus Track)
    13. When Crows Descend Upon You
    14. Die Alone
    A Pale Horse Named Death
    $22.99
    Vinyl LP - 2LPs Sealed AWAITING REPRESS Buy Now
  • Woke Up Alone Woke Up Alone Quick View

    $17.99
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    Woke Up Alone

    Swiss-American psychiatrist and author Elisabeth KÜbler-Ross first hypothesized the five stages of grief in her 1969 book, On Death and Dying. When faced with death or its corporeal equivalent, an individual often moves through turbulent emotional stages of denial, anger, bargaining, depression and acceptance. Nearly a half-century after the theory's introduction, Saskatonian super-producer Factor has assembled an all-star cast of Fake Four family and friends to explore the phenomenon through the tale of a man losing his wife and attempting to raise her from the dead.


    Woke Up Alone, a necromancing play told in five scenes, begins with our grieving protagonist, played by Kirby Dominant of Paranoid Castle, struggling to grasp the grim meathook reality of a dead wife. Four lush and mournful instrumental interludes woven throughout and bookending Woke Up Alone capture the emotions of the widower as he speaks with his wife's ghost, a false prophet, a doctor, a psychiatrist, a medicine man, his own conscience and the devil.


    Following the success of Factor's compilations Chandelier and Lawson Graham, the beatsmith embarked on a concept record in the vein of A Prince Among Thieves and wound up with the melodic, complex symphony of Woke Up Alone, mixed by Factor himself at his home studio and featuring roles played by Ceschi, Open Mike Eagle, Onry Ozzborn, Myka 9 and Astronautalis. Factor's relatable allegory, scored by swirling synths, samples and live instrumentation, extends well beyond necromancy, as multitudes upon multitudes have gazed haphazardly in the rear view mirror and tried to resuscitate that which is irreparably gone.

    1. Woke Up Alone
    2. The Empire Has Fallen (feat. Kirby Dominant)
    3. After the Service
    4. Raise the Dead (feat. Ceschi)
    5. Alive Tomorrow (feat. Nomad)
    6. Stone Cold (feat. Open Mike Eagle)
    7. Long Hallways
    8. In Sickness & In Health (feat. Onry Ozzborn)
    9. Don't Give Up (feat. Jeans Boots & Kirby Dominant)
    10. Denied (feat. Myka 9)
    11. Devil's Call (feat. Evil Ebeneezer)
    12. Carry Over (feat. Jeans Boots)
    13. Let It Go (feat. Astronautalis)
    14. Give Up (feat. Gregory Pepper & Kirby Dominant)
    15. The Grave (Burial)
    Factor
    $17.99
    Vinyl LP - Sealed Buy Now
  • All Harm Ends Here All Harm Ends Here Quick View

    $14.99
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    All Harm Ends Here

    The Early Day Miners Good Time Band is back with another platter of Midwest post-goth. Having already introduced their new rhythm section (Matt Griffin on drums and Jonathan Richardson on bass) to the world over the course of their last two tours, with All Harm Ends Here Early Day Miners have combined the lushness of their second album Let Us Garlands Bring with the conciseness of their last full-length Jefferson At Rest. Moreso than on any of their previous efforts, EDM take both musical and tonal cues from the principal architects of the 80's sad-as-hell dark underground - Echo & the Bunnymen, the Church, early-the Cure, and most notably the Bauhaus/Tones On Tail/Love And Rockets axis. While contemporaries like Bedhead and Interpol have mined primarily the darkest aspects of these long shadows, there lies in Early Day Miners' method an innate sense of hope that transcends even their darkest themes (decay, suicide, desertion). Perhaps this is most evident in the guitar interplay of long-time collaborators Dan Burton (Ativin) and Joseph Brumley. Arpeggios abound, the works of Roger McGuinn and The Edge come to mind in that there is a sense of hopefulness and sublimation which drives the songs to a better place. While the album is filled with death and ghosts of all sorts, its unifying theme is the individual's ability to escape the death and ghosts. Even the making of the album (which was done just outside of the band's hometown of Bloomington, Indiana, on the outskirts of Hoosier National Forest) was plagued by ghosts and phantoms. Recorded at the Old Mt. Gilead Church - recently revamped into a recording studio and still immediately surrounded on three sides by a dozen acres of 150-year old cemetery - principal tracking for All Harm Ends Here was halted for days at a time on multiple occasions when inexplicable flutter infected the reels of tape, almost requiring EDM to relocate its principal tracking altogether. Mixing and overdubbing was done at Burton's own Grotto Home Studio in an effort to evade those ghosts in the machine which possessed Old Mt. Gilead. While the Early Day Miners don't make flashy music, their layered music rewards the repeat listener. If you listen closely enough, in fact, you can hear ghosts in the distance.
    Errance
    Townes
    The Union Trade
    Comfort/Guilt
    All Harm
    Precious Blood
    We Know in Part
    The Way We Live Now
    The Purest Red
    Early Day Miners
    $14.99
    Vinyl LP - Sealed Buy Now
  • Sound Tracks Sound Tracks Quick View

    $179.99
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    Sound Tracks


    Limited Special Edition Box Set


    Includes Rare, Never-Before-Heard Tracks


    New Booklet Contains Track-By-Track Insight by Jimmy Page & Collection Of Original Artwork Across 36 Pages


    Housed Within A Soft-Touch Matte Black Presentation Box


    Introducing Sound Tracks by Jimmy Page: a special edition box set bringing together JP's extraordinary compositions for the films Lucifer Rising and Death Wish II along with additional archive material for the first time.


    The quadruple vinyl box set features new discs Lucifer Rising: The Second Coming and Death Wish II: Expansion which includes rare, never-before-heard tracks.


    Speaking about the release, Jimmy explains; "The archive material and work included here serve as an illustration of the ongoing process at the time of these two projects."


    Recorded at Jimmy's home studio in Plumpton and The Sol studio in Cookham in the late seventies and early eighties, Sound Tracks features an all-new booklet containing a written track-by-track insight by Jimmy Page for the archive material amidst a stunning collection of original artwork across 36 pages. The booklet and quadruple vinyls in four individual black sleeves are housed within a soft-touch matte black presentation box.

    LP 1: LUCIFER RISING
    1. Lucifer Rising - Main Title
    2. Incubus
    3. Damask
    4. Unharmonics
    5. Damask - Ambient
    6. Lucifer Rising - Percussive Return


    LP 2: LUCIFER RISING - THE SECOND COMING
    1. Lucifer Rising Early Mix
    2. Sonic Textures 1 - Earth
    3. Sonic Textures 2 - Air
    4. Sonic Textures 3 - Fire
    5. Sonic Textures 4 - Water
    6. Sonic Textures 5 - Ether


    LP 3: DEATH WISH II
    1. Who's To Blame
    2. The Chase
    3. City Sirens
    4. Jam Sandwich
    5. Carole's Theme
    6. The Release
    7. Hotel Rats and Photostats
    8. A Shadow In The City
    9. Jill's Theme
    10. Prelude
    11. Hypnotizing Ways
    12. Main Title


    LP 4: DEATH WISH II - EXPANSION
    1. Jill's Orchestral Theme
    2. Alternate Jill's Theme
    3. 9M1
    4. City Sirens
    5. Baby I Miss You So
    6. Hey Mama / Swinging Sax
    7. Carole's Theme - Strings
    8. Prelude
    9. Country Sandwich
    10. A Minor Sketch

    Jimmy Page
    $179.99
    Vinyl LP Box Set - 4 LPs Sealed Buy Now
  • 4 Trk Mind (Discontinued) (On Sale) 4 Trk Mind (Discontinued) (On Sale) On Sale Quick View

    $16.99 $11.89 Save $5.10 (30%)

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    4 Trk Mind (Discontinued) (On Sale)

    In this man are the traces of becoming. the display of veins strung into a multi-colored silhouette of a man born out of the electric dawn of the late seventies. Birthed from a songwriter father who struggled to unveil to his son the distortion world of drugs, song, and love, he discovered early that we are all in exile from one another. The boy grew up fascinated with the world of horror films, new wave pop, rap music, and graffiti. His spray paint fingers grazed dusty record sleeves, transformed a cheep home stereo into a mixer, and connected a young man with the current that changed his head. After years of journeying through sweat drenched undergrounds, and strobe light shadows, a man emerged. One who finds consolation in the fractal universe, one who has discovered love in a Technicolor death valley, and one who realized that those of the Diaspora of love can find community through song, he radiates wax for us. A man who is wired to the electric field of his past where he has loves and lost, and discovered the intervals of an off beat, kinetic world, he offers his songs as flesh, this music is an artifact of a man who shares his quantum of experience, who wants you to plug into his design, bridge the gap of our individual exiles, and discover the art of becoming electric through analog tape hiss.
    1. It's Me
    2. The Man
    3. You and I
    4. Klepto
    5. Love, Luv, Love
    6. Younger Days
    7. Crazy in the Head
    8. Knight Rider
    9. If You Know LIke I Know
    10. 4ever (Friend Zone Prt. 1)
    11. Momma Song
    12. When Nothings Left ft. Blu
    13. 2039
    14. Who Are You?
    15. I Like You As You Are
    16. Wanna Be
    Exile
    $16.99 $11.89 Save $5.10 (30%)
    Vinyl LP - 2 LPs Sealed Buy Now
  • 93 Til Infinity 93 Til Infinity Quick View

    $24.99
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    93 Til Infinity

    One of hip-hop's great lost masterpieces, 93 'Til Infinity is the best single album to come out of Oakland's Hieroglyphics camp, and ranks as a seminal early classic of the West Coast underground. The Souls of Mischief weren't even out of their teens when they completely redefined the art of lyrical technique for the West Coast, along with fellow standard-bearers Freestyle Fellowship, the Pharcyde, and Hiero founder Del tha Funkee Homosapien. The Souls come off as four brash young MCs who are too smart for their own good, yet they're so full of youthful exuberance that it's impossible to dislike them for it. They're also excellent storytellers, punctuating their tales with a wry wit and clever asides; still, they're able to take on the grittier subjects of violence and death with a worldliness beyond their years.


    The production -- all by various core Hieroglyphics members -- is just as good as the raps, driven by complex beats, unpredictable basslines, and samples drawn from spacy fusion records and East Coast jazz-rap crews. Main Source and Gang Starr both provide track foundations here, and it's possible to hear the intricately constructed loops of the former and the lean attack of the latter (circa Step in the Arena) in the record's overall style. A better comparison, though, would be to the effortless flow and telepathic trade-offs of A Tribe Called Quest. In fact, 93 'Til Infinity seems to actively aspire to the fluidity of the best Tribe albums; tracks often segue directly into one another without pause -- and the transitions are seamless. Although the title cut is an underappreciated classic, 93 'Til Infinity makes its greatest impression through its stunning consistency, not individual highlights. Put it all together, and you've got one of the most slept-on records of the '90s.


    - Steve Huey (All Music Guide)

    1. Let 'Em Know

    2. Live and Let Live

    3. That's When Ya Lost

    4. A Name I Call Myself

    5. Disseshowedo

    6. What A Way To Go Out


    1. 93 'Til Infinity

    2. Limitations feat. Casual

    3. Anything Can Happen

    4. Make Your Mind Up

    5. Batting Practice

    6. Tell Me Who Profits

    7. Outro
    Souls Of Mischief
    $24.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Lady In Gold (Pink Vinyl) Lady In Gold (Pink Vinyl) Quick View

    $24.99
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    Lady In Gold (Pink Vinyl)

    Limited Edition Of 500 Copies Pressed On Pink Colored Vinyl


    Very few modern bands are lucky enough to have such a unique, individual and inimitable style as well as blessed with such an incredible voice at the forefront, so it's very rare that a group representing traditional blues-rock can come along with all these characteristics and whip up such excitement in 2016.


    BLUES PILLS contain all these elements to create extraordinary music that sounds original and new but respects those long-held rules of blues and rock and roll tradition. Although, it's the individual characteristics of the band that makes this music electrifying; the steady bass of Zack Anderson, thumping rhythm of AndrÉ Kvarnström, technical and yet improvisational guitar of Dorian Sorriaux and the sensational soaring vocals of frontwoman Elin Larsson that set this band apart.


    The psychedelic sounds of the band may hail back to the prosperity of the 1960's and 1970's and it's true their distinctive sound may include a few ingredients of the past; a pinch of late 60's Americana, a sprinkling of blues, a heavy serving of rock 'n' roll, a big squeeze of soul but it's all shaken up into a brand-new cocktail of sound, and served into this heavenly new blend we call BLUES PILLS.


    That's why it seems to be a sign of destiny that the stars aligned for this exceptional group to be born in 2011, only one year later the striking, soulful and organic sound of first single 'Black Smoke' was fascinating countless listeners - followed up by the EP "Bliss". When in 2014 the self-titled album was released, the whole genre was turned upside down and BLUES PILLS were charting across Europe and continually selling out larger venues. Now the fans are calling on BLUES PILLS to present their second album "Lady In Gold".


    "'Lady Gold' is a character symbolizing death", explains singer Elin Larsson of the intriguing album title. "We wanted to get away from the typical stereotype of the Grim Reaper."


    The mystical and dark references of the album title are echoed throughout a lot of the album - there's the ode to the female "Keeper Of The Soul" on spiritual sounding title track 'Lady In Gold' and talks of failed salvation from a deceitful messiah in the soul anthem 'Little Boy Preacher'. There's emotive blues ballads in 'I've Felt A Change' and 'Burned Out' and empowering post-heartbreak tales in 'Won't Go Back' and 'Rejection'.


    Similarly to the self-titled debut "Lady In Gold" was produced in Sweden by producer Don Alsterberg and it captures everything that's made them one of the most talked about rock bands of the past few years.

    1. Lady In Gold

    2. Little Boy Preacher
    3. Burned Out
    4. I Felt A Change
    5. Gone So Long
    6. Bad Talkers
    7. You Gotta Try
    8. Won't Go Back
    9. Rejection
    10. Elements And Things
    Blues Pills
    $24.99
    Colored Vinyl LP - 2 LPs Sealed Buy Now
  • Lady In Gold (Bone Vinyl) Lady In Gold (Bone Vinyl) Quick View

    $24.99
    Buy Now
    x

    Lady In Gold (Bone Vinyl)

    Limited Edition Of 500 Copies Pressed On Bone Colored Vinyl


    Very few modern bands are lucky enough to have such a unique, individual and inimitable style as well as blessed with such an incredible voice at the forefront, so it's very rare that a group representing traditional blues-rock can come along with all these characteristics and whip up such excitement in 2016.


    BLUES PILLS contain all these elements to create extraordinary music that sounds original and new but respects those long-held rules of blues and rock and roll tradition. Although, it's the individual characteristics of the band that makes this music electrifying; the steady bass of Zack Anderson, thumping rhythm of AndrÉ Kvarnström, technical and yet improvisational guitar of Dorian Sorriaux and the sensational soaring vocals of frontwoman Elin Larsson that set this band apart.


    The psychedelic sounds of the band may hail back to the prosperity of the 1960's and 1970's and it's true their distinctive sound may include a few ingredients of the past; a pinch of late 60's Americana, a sprinkling of blues, a heavy serving of rock 'n' roll, a big squeeze of soul but it's all shaken up into a brand-new cocktail of sound, and served into this heavenly new blend we call BLUES PILLS.


    That's why it seems to be a sign of destiny that the stars aligned for this exceptional group to be born in 2011, only one year later the striking, soulful and organic sound of first single 'Black Smoke' was fascinating countless listeners - followed up by the EP "Bliss". When in 2014 the self-titled album was released, the whole genre was turned upside down and BLUES PILLS were charting across Europe and continually selling out larger venues. Now the fans are calling on BLUES PILLS to present their second album "Lady In Gold".


    "'Lady Gold' is a character symbolizing death", explains singer Elin Larsson of the intriguing album title. "We wanted to get away from the typical stereotype of the Grim Reaper."


    The mystical and dark references of the album title are echoed throughout a lot of the album - there's the ode to the female "Keeper Of The Soul" on spiritual sounding title track 'Lady In Gold' and talks of failed salvation from a deceitful messiah in the soul anthem 'Little Boy Preacher'. There's emotive blues ballads in 'I've Felt A Change' and 'Burned Out' and empowering post-heartbreak tales in 'Won't Go Back' and 'Rejection'.


    Similarly to the self-titled debut "Lady In Gold" was produced in Sweden by producer Don Alsterberg and it captures everything that's made them one of the most talked about rock bands of the past few years.

    1. Lady In Gold

    2. Little Boy Preacher
    3. Burned Out
    4. I Felt A Change
    5. Gone So Long
    6. Bad Talkers
    7. You Gotta Try
    8. Won't Go Back
    9. Rejection
    10. Elements And Things
    Blues Pills
    $24.99
    Colored Vinyl LP - 2 LPs Sealed Buy Now
  • Cool Struttin' (Awaiting Repress) Cool Struttin' (Awaiting Repress) Quick View

    $39.99
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    Cool Struttin' (Awaiting Repress)

    Cut at 33 1/3 RPM by Kevin Gray at Cohearent Audio from the Original Rudy Van Gelder Blue Note Master Tapes


    Pressed 180 Gram Virgin Vinyl LPs by RTI


    Top Quality Gatefold Packaging with Laminated Covers & High Quality Session Photos!


    Considered one of the great young pianists of the mid-to-late 1950s, Sonny Clark was practically the house pianist at Blue Note during 1957-62 before his tragically early death in 1963 when he was just 31. He began his career playing and recording with Teddy Charles and Wardell Gray in the early 1950s. Inspired by Bud Powell, he made a particularly strong impression during his period with clarinetist Buddy DeFranco's group. He also worked with Dinah Washington, Serge Chaloff and Sonny Criss in addition to leading his own trio. But he is most famous for his work for Blue Note In addition to leading seven albums for the label, Clark was on many sessions as a sidemen, uplifting every date with his adventurous and swinging playing. His playing was full of joyful discoveries, constant swing, and an optimistic creativity that was indescribable and quite infectious. Cool Struttin,' the pianist's most famous and rewarding album, features Sonny Clark in a quintet with altoist Jackie McLean, trumpeter Art Farmer, bassist Paul Chambers and drummer Philly Joe Jones. On this 1958 gem, Clark is featured on four lengthy performances, including Miles Davis "Sippin' At Bells" and the exotic "Deep Night." The music is filled with magical moments where the five musicians seem to think and create like one. The greatest jazz performances include moments like those heard on "Cool Struttin'" where the music has a life of its own beyond the individual players. The more one plays this superb album, the more it is obvious that this is one of the truly essential Blue Note recordings.


    Features:

    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 180 gram Virgin Vinyl LPs by RTI

    Ultra-Durable, Extra Thick Album Jackets

    Gatefold Album with Session Photos in stunning High Resolution

    Stereo


    Musicians:

    Sonny Clark, piano

    Art Farmer, trumpet

    Jackie McLean, alto sax

    Paul Chambers, bass

    Philly Joe Jones, drums


    This title is not eligible for discount.

    1. Cool Struttin'
    2. Blue Minor
    3. Sippin' At Bells
    4. Deep Night
    Sonny Clark
    $39.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • Are We There Are We There Quick View

    $19.99
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    Are We There

    For all the attention that was paid to her 2012 break-through Tramp, Sharon Van Etten is an
    artist with a hunger to turn another corner and to delve deeper,writing from a place of honesty
    and vulnerability to create a bond with the listener that few contemporary musicians can match.
    Compelled by a restless spirit, Van Etten is continuously challenging herself. Now, the result is
    Are We There, a self-produced album of exceptional intimacy,sublime generosity, and immense
    breadth.


    Most musicians are quite happy to leave the production end of things to someone else. It's
    enough to live your music without taking on the role of producer as well. Yet Van Etten knew it
    was time to make a record entirely on her terms. The saying goes "fortune favors the bold" and
    yet this boldness had to be tempered. For this,Van Etten found a kindred spirit in veteran music
    producer Stewart Lerman. Originally working together on Boardwalk Empire,they gently moved
    into new roles,rallying around the idea of making a record together in Lerman's studio in New
    Jersey. Lerman's studio expertise gave Van Etten the freedom to make Are We There the way she
    imagined.Van Etten also enlisted the individual talents of her band, consisting of Heather Woods
    Broderick, Doug Keith and Zeke Hutchins, and brought in friends Dave Hartley and Adam
    Granduciel from The War on Drugs, Jonathan Meiberg (Shearwater),Jana Hunter(Lower Dens),
    Peter Broderick, Mackenzie Scott(Torres), Stuart Bogie, Jacob C. Morris and Mickey Freeze.


    It is clear from the opening chords in the first song, Afraid of Nothing, that we are witnessing a
    new awareness, a sign of Van Etten in full stride, writing,producing and performing from a place
    that seems almost mythical, were it not so touchable and real. Always direct, and never shying
    away even from the most personally painful narratives, Van Etten's songwriting continues to
    evolve. Many of the songs deal with seemingly impossible decisions, anticipation, and then
    resolution. She sings of the nature of desire, memory, of being lost, emptiness, of promises and
    loyalty, fear and change, of healing and the true self, violence and sanctuary,waiting, of silence.
    The artist who speaks in such a voice is urging us to do something,to take hold and to go deeper.
    Living in this way,the questions of life remain alive, as close and steady as breathing. Many of the
    ballads of old are as dark as pitch, and people for whom the issues of life and death were as vivid
    as flame wrote them.You could turn off the electricity,remove all the instruments and Sharon's
    voice and words would remain.They connect her to the mystic stratum which flows just beneath
    the everyday, which is rarely acknowledged as the forces of distraction sweep our attention away.

    1. Afraid of Nothing
    2. Taking Chances
    3. Your Love is Killing Me
    4. Our Love
    5. Tarifa
    6. I Love You But I'm Lost
    7. You Know Me Well
    8. Break Me
    9. Nothing Will Change
    10. I Know
    11. Every Time the Sun Comes Up
    Sharon Van Etten
    $19.99
    Vinyl LP - Sealed Buy Now
  • Mozart: Concerto For Piano And Orchestra No. 19 & 27 (Speakers Corner) Mozart: Concerto For Piano And Orchestra No. 19 & 27 (Speakers Corner) Quick View

    $34.99
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    Mozart: Concerto For Piano And Orchestra No. 19 & 27 (Speakers Corner)

    In spite of the varying degrees of popularity of Mozart's numerous piano concertos, no one would seriously consider ranking them by quality. It would certainly prove an impossible task, for each and every one of these intense yet often playful compositions could be considered the most perfect of its genre. In view of this, one should concentrate on each work's highly individual character and this can hardly be more contrasting than in the present two pieces. Thanks to the joyous, energetic disposition of No. 19 in F major, K. 259, it appears to be filled with the exuberant spirit of Mozart's Viennese period - a time when he amazed audiences with his dexterity at the keyboard. As a contrast, the mood of the late No. 27 in B flat major, K. 595, which was performed in a small circle, is introvert and mellow. The old adage that Mozart's final concerto was a gesture of farewell and filled with a premonition of death is certainly not substantiated by Haskil and Fricsay's performance. Through the subtle and flowing clarity of her piano part under the tense and elastic opposition of the orchestra, the soloist banishes the question of the end of time into the background and so pays hommage to the relaxed and self-assured mastery of the Salzburg composer.





    Musicians:



    • Clara Haskil (piano)

    • Bayerisches Staatsorchester

    • Ferenc Fricsay (conductor)




    Recording: September 1955 at Jesus-Christus-Kirche, Berlin, by Harald Baudis and May 1957 at Herkules Saal, Munich by Werner Wolf

    Production: Wolfgang Lohse / Otto Gerdes




    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. Concerto for Piano and Orchestra No. 19 F major, K. 459
    2. Concerto for Piano and Orchestra No. 27 B flat major, K. 595
    Wolfgang Amadeus Mozart
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • I'm Just Like You: Sly's Stone Flower 1969-70 I'm Just Like You: Sly's Stone Flower 1969-70 Quick View

    $26.99
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    I'm Just Like You: Sly's Stone Flower 1969-70

    Compilation And Notes By Alec Palao


    An Exclusive New Interview With Sly Stone Himself


    In-depth Liner Notes With First-hand Reminiscences Of The Stone Flower Era From Many Of The Participants


    Features All Five Stone Flower Produced Singles Plus Ten Previously Unissued Cuts From The Label Archives


    All Tracks Newly Remastered From The Original Tapes


    In 1970, The Family Stone were at the peak of their popularity, but the maestro Sly Stone had already moved his head to a completely different space. The first evidence of Sly's musical about-turn was revealed by the small catalog of his new label, Stone Flower: a pioneering, peculiar, minimal electro-funk sound that unfolded over just four seven-inch singles. Stone Flower's releases were credited to their individual artists, but each had Sly's design and musicianship stamped into the grooves-and the words "Written by Sylvester Stewart/Produced and arranged by Sly Stone" on the sticker.


    Set up by Stone's manager David Kapralik with distribution by Atlantic Records, Stone Flower was, predictably, a family affair: the first release was by Little Sister, fronted by Stone's little sister Vaetta Stewart. It was short lived too-the imprint folded in 1971-but its influence was longer lasting. The sound Stone formulated while working on Stone Flower's output would shape the next phase in his own career as a recording artist: it was here he began experimenting with the brand new Maestro Rhythm King drum machine. In conjunction with languid, effected organ and guitar sounds and a distinctly lo-fi soundscape, Sly's productions for Stone Flower would inform the basis of his masterwork There's A Riot Goin' On.


    The first 45 came in February 1970: Little Sister's dancefloor-ready "You're The One" hit Number 22 in the charts-the label's highest showing. The follow-up, "Stanga, also by Little Sister, made the wah pedal the star. The third release came from 6IX, a six-piece multi-racial rock group whose sole release, a super-slow version of The Family Stone's "Dynamite, featured only the lead singer and harmonica player from the group. Joe Hicks was the final Stone Flower stablemate; his pulsing, electronic Life And Death In G&A" is one of the bleakest moments Sly Stone ever created on disc (Hicks' prior single for Scepter, "Home Sweet Home," the first released Stone Flower production, is also included).


    This long overdue compilation of Sly's Stone Flower era gathers each side of the five 45s plus ten previously unissued cuts from the label archives, all newly remastered from the original tapes. In these grooves you'll find the missing link between the rocky, soulful Sly Stone of Stand! and the dark, drum machine-punctuated, overdubbed sound of There's A Riot Going On. I'm Just Like You: Sly's Stone Flower 1969-70 opens up the mysteries of an obscure but monumental phase in Stone's career.

    1. You're The One (Parts 1 & 2) - Little Sister
    2. Just Like A Baby - Sly
    3. Home Sweet Home (Part 2) - Joe Hicks
    4. I'm Just Like You
    5. Somebody's Watching You (full band version) - Little Sister
    6. Life & Death In G & A (Parts 1 & 2) - Joe Hicks
    7. Trying To Make You Feel Good
    8. Stanga - Little Sister
    9. Dynamite
    10. You're The One (early version) - Little Sister
    11. Africa - Sly
    12. I'm Goin' Home (Part 1) - Joe Hicks
    13. Somebody's Watching You - Little Sister
    14. You Can, We Can
    15. Spirit - Sly
    16. I'm Just Like You (full band version)
    17. Scared - Sly
    18. Dynamite (alternate version)
    Sly & The Family Stone
    $26.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Nightbringers (Pre-Order) Nightbringers (Pre-Order) Quick View

    $25.99
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    Nightbringers (Pre-Order)

    Any band that has earned an army of devout followers through dropping seven killer full-lengths - and touring their collective ass off for sixteen years - could perhaps be forgiven for thinking they could take it easy as they wade into their eighth release. But that's just not The Black Dahlia Murder's style, and Nightbringers is testament to that. Having released their most accomplished, aggressive, and emotionally diverse music to date in the form of 2015's Abysmal, the Michigan quintet have once more pushed themselves to new heights, and the 34 minutes of searing melodic death metal that comprises Nightbringers is riveting listening. "I always feel a responsibility to the people who support this band when we start making a new record," asserts vocalist Trevor Strnad. "The pressure that comes from people being excited to hear what you come up with next can be intimidating, but it's so exciting that those people love you so much for just doing what you do. It makes you want to honor what you've done in the past, but also excite them with where you go next, and that definitely drove us on Nightbringers. When we started writing I honestly didn't know we had this album in us, and I feel really proud of it. It's a great moment for us."


    Rather than meticulously plan things out or stick rigidly to any kind of template, when it comes to writing The Black Dahlia Murder prefer to let things happen organically. In the hands of guitarist Brian Eschbach - who co-founded the band with Strnad in 2001 - and new recruit Brandon Ellis (Cannabis Corpse/ex-Arsis) Nightbringers is rich with dynamic riffs that are at once fresh and classic TBDM, resulting in a collection that shifts through many moods and effortlessly incorporates various elements of extreme metal. With guitarist Ryan Knight having amicably stepped down in 2016, the addition of twenty-four-year-old Ellis to the band's ranks has helped usher in an exciting new era. "He's very professional for his age, I think he's skilled far beyond his years, and his live energy is exceptional. When Max (Lavelle, bass) joined the band he challenged a lot of us on stage to raise our personal bar, and Brandon's pushed that even further," states Strnad. "Brandon coming into the band and writing a bunch of songs was an awesome surprise too. He really took the reins, and this record is also the most involved that Alan (Cassidy drums) has been too. The way that we were doing the demos and bouncing things back and forth he had a lot of room to do what he wanted to do, and I think it's definitely a more colorful album for that. I also think as we get older the emotional content goes up. I think we better realize how to grip the listener. Personally, I try to write lyrics that are going to match each part, and kind of ramp up those feelings that we're putting across." Strnad's statements are vividly borne out by every moment of Nightbringers. For fans attending 2017's Summer Slaughter tour, the first taste of of the record came with the inclusion of the title track in their set, which has an undeniable immediacy to it, rich with hooks and boasting a "circusy, evil and playful" air. By contrast, "Catacomb Hecatomb" is suffused with tragedy, the mournful tone of its slower passages deeply affecting. This too is dramatically different to "As Good As Dead", which has some swagger to it that Strnad likens to Megadeth, or "Matriarch", described by Eschbach as a "wild, neoclassical romp" and stands as one of the most cutthroat and all out aggressive tracks in the quintet's arsenal. Upon first hearing the latter, Strnad was intent on matching its visceral intensity. "I felt inspired to write very violent lyrics to it. It's told from the perspective of a woman who is trying to have a child and not having any luck, and she goes kind of crazy and stalks this other woman who is due to have a child. She finds her moment to take it from her, cutting it right out of her stomach." While Strnad explores a variety of themes and ideas with his lyrics, they are united by the album's title, which embraces a tenet that has been central to The Black Dahlia Murder's output since the very beginning. "A lot of archaic ideas that are still upheld - such as marriage and monogamy - came from Christianity, whether people want to acknowledge it or not, and to me, death metal has always been bucking that. It's 'being-the-villain music', because we're the enemy of Christianity, the enemy of all that is good and traditional. Death metal is for free thinkers, it's for showing people the path to inner strength and operating on your own will, instead of being told what to do and living in fear, and songs like the title track and "Kings Of The Nightworld" are about leading a legion of awakened minds into battle." Following this theme also motivated Strnad to forge into ever-darker territory, even when this meant tearing things up and starting over. "I felt I needed to rise to the occasion to make as much of the blood and guts and heinousness as possible, and there was actually a couple of points where I rewrote some songs. I just didn't feel like they were dark enough, or violent enough, so I was really trying to ramp up the monstrous aspects of things, and definitely trying in different ways to take down tradition."


    Rather than decamp to a single studio, the members split off when it came time to start laying down the songs - all well versed in how to get the best out of their individual performances. With former bassist Ryan Williams once again assisting, the drums were tracked at The Pipe Yard in Plymouth, Michigan and rhythm guitars in the band's practice space in Warren, Michigan [was bass tracked there too?]. Ellis then recorded his many blistering solos in his home studio, while Strnad headed to Full Force Studios on Long Island, with Joe Cincotta (Suffocation, Internal Bleeding) overseeing his sessions. For the unique and haunting cover art they turned to Kristian Wåhlin, aka Necrolord, who has designed seminal artwork for the likes of At The Gates, Bathory, Emperor and also TBDM's 2007 release, Nocturnal. "I think he's the most prominent artist when it comes to classic releases in the melodic death metal genre, and kind of bringing things full circle with it being the ten-year anniversary of Nocturnal felt right. By now people probably wouldn't have expected us to go back to him, so it's kind of a surprise, but at the same time it's a very classic cover too." With the band celebrating the 10-year anniversary of the aforementioned album by playing it in its entirety on Summer Slaughter, it has given them a moment to reflect not only on the road that has led them to here but also that which lies ahead. "When I think back to when we started the band I feel very proud of everything we've done, and I also see a lot of improvement over the years," says Strnad. "In the early songs I can hear us as kids, and then segueing into our adulthood as musicians and writers, but sixteen years in I still feel young as a band. I feel like we have a shit ton left to do, and I think we're sitting pretty with the best lineup we've ever had. I also think Nightbringers could be our finest hour yet. I feel very strongly that it will affect people, I want to get all of these songs in people's ears, and I want them to check out everything we've got on this record. There's so much variety and so many great ideas, and I think that this could take us to another place."

    1. Widowmaker
    2. Of God and Serpent, of Spectre and Snake
    3. Matriarch
    4. Nightbringers
    5. Jars
    6. Kings of the Nightworld
    7. Catacomb Hecatomb
    8. As Good as Dead
    9. The Lonely Deceased
    The Black Dahlia Murder
    $25.99
    Vinyl LP - Sealed PRE-ORDER Buy Now
  • Coma Ecliptic Coma Ecliptic Quick View

    $33.99
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    Coma Ecliptic

    Grandiose, dynamic, heavy, melodic, technically challenging: these are all words that fall equally short when trying to describe Between the Buried and Me's sonic offerings. When tasked with explaining the band's previous effort, The Parallax II: Future Sequence, Decibel Magazine claimed that the album offers more substance than most bands put forth in entire careers and Metal Hammer simply stated that it was utterly captivating. Where does a burgeoning progressive act go from there? The answer is found in their seventh full-length album, Coma Ecliptic. Spanning just over an hour, the album stands as a significant step in the evolution for the group as a whole, as well as the individual musicians: vocalist / keyboardist Tommy Rogers, guitarists Paul Waggoner and Dustie Waring, bassist Dan Briggs, and drummer Blake Richardson.


    Tommy Rogers posits: Coma Ecliptic is a new life for BTBAM. Throughout the process we worked harder than we ever have and really pushed the BTBAM sound to a new identity. In a world of repetition, I'm very proud to be a part of something that is extremely rewarding, as well as frightening. When you don't push yourself you will never know what the outcome is. The outcome is Coma Ecliptic.


    What is Coma Ecliptic? It can be interpreted as a modern rock opera, and another ambitious concept album from a band that has completely mastered that format. Dan Briggs comments: Spending the last year immersed in a world of Quadrophenia, Operation Mindcrime, The Wall- as well as Sondheim and Lloyd Webber musicals, Stravinsky and Mussorgsky symphonic suites; writing an over the top, dramatic and forward thinking rock opera was the most natural thing to do. The story follows the wanderings of an unidentified man, stuck in a coma, as he journeys through his past lives. Each song is its own episode in a modern day, sort of The Twilight Zone-esque fashion. The unidentified man enters each world and is offered a choice: stay, or move on to the next in search of something better, something more perfect. The man does find his ideal life, but then is offered the ultimate choice of life or death. He chooses life and wakes up to his own actual reality. It's at that moment he realizes that he had been in a coma - everything that happened had been dreams and false memories. After awakening, we find the man outside finally experiencing reality, and he sees what he has been missing: the world is beautiful, the air is fresh, and the people appear to be happy, and then he falls over dead. The take away from this is to make the best of your life. People are constantly searching for something better without taking the time to appreciate the things they have. What we need may already be here, and is hopefully real. We may all be in a coma in another life.


    Musically, Coma Ecliptic boasts a series of emotive peaks and valleys that drive the narrative along with the lyrics. Tracks such as Memory Palace, while sounding wholly unique, clearly have a distinct BTBAM flavor to which fans have grown so attached. The Coma Machine brings to mind prog in the most classic sense; think YES and King Crimson passages with the added layer of modern metal heaviness. Dim Ignition highlights Rogers' continuing development as a keyboardist, but don't fret, there's still plenty of speed, technically challenging guitar, bass, and drum runs, and quirkiness throughout. What makes these parts work is the interplay of the heavy and technical with the simpler, almost cinematic, soft passages; that is the power of Coma Ecliptic. The listening experience is a journey, and when Life in Velvet brings the album to a sudden, triumphant end, fans will surely be reaching for the replay button. But what does the band think? Rogers adds: If you asked me what this record sounds like, I would tell you BTBAM. With every listen I still find new exciting moments that each member has put into these songs. After all these years we still push each other to try new things and push our individual skills to the next level. It is an absolute thrill to write with such an inspiring group of people. Briggs continues: Writing with a focus on storytelling and just crushing melodic themes set the tone early on before we were even in the rehearsal room together. Put your velvet capes on and get ready for a journey!

    1. Node
    2. The Coma Machine
    3. Dim Ignition
    4. Famine Wolf
    5. King Redeem / Queen Serene
    6. Turn on the Darkness
    7. The Ectopic Stroll
    8. Rapid Calm
    9. Memory Palace
    10. Option Oblivion
    11. Life in Velvet
    Between The Buried And Me
    $33.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Full Cold Moon Full Cold Moon Quick View

    $15.99
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    Full Cold Moon

    Cold Cave is the creative rebirth of acclaimed musician and writer Wesley Eisold. Cutting his teeth in underground bands American Nightmare (Give Up The Ghost) and Some Girls, Eisold's body of work has truly effected a generation of listeners. Through constant cross-pollination Eisold has gained mass appeal, influencing underground and popular culture with his ever evolving artistic vision.


    With an already prolific number of releases, Cold Cave has become a name synonymous with the contemporary resurgence of Darkwave and Synth Pop sub-genres. Propelling Cold Cave to perform at world class museums The Getty and the Guggenheim, as well as performances with legends Sonic Youth, The Jesus and Mary Chain, Nine Inch Nails, among others.


    Deathwish are proud to announce "Full Cold Moon" from Cold Cave, now for the first time on 12"LP vinyl format (a CD collection was released on Eisold's Heartworm imprint in 2014).


    "Full Cold Moon" is a compilation of EP recordings originally individually released in 2013, now presented as one collection; "A Little Death to Laugh", "Oceans With No End", "God Made the World", "Black Boots", and "Nausea, the Earth and Me". Notably this is also the first vinyl appearance of the song "Dandelion" as well as the entire "Nausea, the Earth and Me" EP (previously only available on limited CD and Digital formats). This is Cold Cave at it's most artistically skeletal, similar to the celebrated "Cremations" and "Love Comes Close" releases. Twelve minimal compositions driven by Eisold's synth derived hooks, alluring vocals, and compelling character.

    1. A Little Death To Laugh
    2. Young Prisoner Dreams of Romance
    3. Tristan CorbiÉre
    4. Oceans With No End
    5. People Are Poison
    6. God Made the World
    7. Dandelion
    8. Black Boots
    9. Meaningful Life
    10. Nausea, the Earth and Me
    11. Don't Blow Up the Moon
    12. Beaten 1979
    Cold Cave
    $15.99
    Vinyl LP - Sealed Buy Now
  • Binary Binary Quick View

    $24.99
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    Binary

    "My last record was very inward-looking," says Ani DiFranco. "I was pregnant and then raising a screaming infant. But now that kid is about to turn four, so I got out of the weeds of personal space and started looking outward again, being more engaged, more big 'P' Political. As an artist, I like to be out in the world, and what initially compelled me was to try to push society to a better place. So when I'm not in heartbreak or motherhood mode, that's where you'll naturally find me."

    With her twentieth studio album, Binary, the iconic singer/songwriter/activist/poet/DIY trendsetter returns to territory that brought her to the world's attention more than twenty-five years ago. One of the first artists to create her own label in 1990, she has been recognized among the feminist pantheon for her entrepreneurship, social activism, and outspoken political lyrics. At a time of global chaos and confusion, DiFranco is kicking ass and taking names, with a set of songs offering a wide range of perspective and musical scope.

    She describes a moment during the writing of "Play God," an unblinking pro-choice battle cry, as a particular breakthrough. (A live version of the song was included in the anti-Trump "30 Days, 30 Songs" campaign alongside tracks from Death Cab for Cutie, Aimee Mann, Franz Ferdinand, and more.)

    "When I wrote the line 'You don't get to play god, man/I do,' I paused and thought, 'Can I say that?,' " she says. "It's not the first time I've thought that, but it's been a while. And in that moment, I thought, 'I'm back, mothafuckas!'"

    "When you make a record about family and relationships, people assume you're mommy now and you've lost your edge, and it's going to be all buttercups from here on. So that line had the feeling of 'Take that! My kid is sleeping right now and I want to talk about some shit!"

    On Binary, DiFranco tackles the challenge and necessity of teaching non-violence with "Pacifist's Lament" and the need for empathy in "Terrifying Sight." Remarkably, though, these songs-recorded, in her usual fashion, in a couple of short full-sprint sessions spread across several years-were all written prior to the 2016 elections and attendant political turmoil.

    "I'm not surprised," says DiFranco. "Over twenty-five years, I've found that my songwriting is often full of premonition. It shows me, in a deep and spooky way, how we know things on levels below consciousness. I write songs and then they happen, and later I realize what they're about. I'm just happy to have some good tools in my toolbox to address what's happening now-the feminist diatribes are turned up nice and high on this record!"

    She notes that Binary's title track is key to her intention on this project. "I always title a record from the song that seems to be at its core," she says. "An underlying theme in the songs, and in the feminism I want to engage society with, is the idea that autonomy is a fallacy-nothing exists except in relationship to something else. We are, in some senses individuals with individual liberties and unique powers, but that's only a surface story."

    Though this concept is closely tied up in our present-day obsession with technology ("Sitting alone at home, staring at a screen, you can't really know anything, because knowing is engaging," she says), DiFranco also reveals a growing connection to nature and the physical world.

    "Every year on Goddess' Green Earth, I understand my relationship to it more," she says. "My early songs were all human drama. I don't think I noticed the bigger picture at all-I was transfixed by power dynamics between people. Now I see that it's largely the providence of women to really embody nature, so I do think I'm getting back to basics, and it's a shift for me."

    The backbone of Binary's sound is DiFranco's long-time rhythm section of bassist Todd Sickafoose and drummer Terence Higgins, but on much of the album, the trio is augmented with some all-star guests. "I knew I wanted to involve some of my brilliant friends this time out," she says. "We made some calls and got a party going. That was the idea, to reach out and have some other spirits enter."

    Virtuoso violinist Jenny Scheinman and keyboard wizard Ivan Neville both join in for more than half of the record; "they are so captivating and they elevate my shit whenever they come near it," says DiFranco. Other contributors include the legendary Maceo Parker, Bon Iver's Justin Vernon, and Gail Ann Dorsey, longtime bassist for David Bowie. New Orleans resident DiFranco takes special pride in the Crescent City funk spearheaded by natives Higgins and Neville on a number of the tunes. "Their souls are of this place," she says. "The feel they bring is something they got in utero."

    For the better part of 2016, DiFranco beat the drum for voter turnout on her "Vote Dammit!" tour, focusing on registering and inspiring people to vote. In the days following the election, fans turned to her for guidance with renewed earnestness, anxious to hear music and wisdom from the longtime activist. Ani encouraged fans to take political action and did the same herself, participating in the Women's March on Washington and performing at the official Women's March after party benefitting Planned Parenthood with The National and Sleater-Kinney.

    Binary, of course, is being released into a world in which music distribution and consumption have transformed rapidly and dramatically. For DiFranco, a true pioneer in the music industry with her Righteous Babe label, it's a time to reconsider the possibilities and ambitions of her business.

    "While I was precedent-setting at one time with Righteous Babe and my indie crusade, I feel like, in the time it took me to nurse another baby into being, I've fallen behind," she says. "The universe and technology have continued to evolve, and the idea of harnessing technology and crowd-sourcing everything-money, knowledge, revolution-is a very powerful concept that I'm ready to get more involved with. Righteous Babe is starting to grow now into something that will hopefully become avant-garde once again- more of a collective, more dynamic."

    "I'm trying to figure it out daily," says Ani DiFranco. "Just like always."

    1. Binary
    2. Pacifist's Lament
    3. Zizzing
    4. Play God
    5. Alrighty
    6. Telepathic
    7. Even More
    8. Spider
    9. Sasquatch
    10. Terrifying Sight
    11. Deferred Gratification
    Ani DiFranco
    $24.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Muddy Waters Sings Big Bill (Speakers Corner) Muddy Waters Sings Big Bill (Speakers Corner) Quick View

    $34.99
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    Muddy Waters Sings Big Bill (Speakers Corner)

    In 1960, when Muddy Waters recorded this album as a tribute to Big Bill Broonzy two years after his death, he could be sure of Broonzy's approval. »Oh yeah, Muddy is a real singer of the Blues«, Big Bill, that Mississippi foundation stone, was heard to say early on in Muddy Waters' career, although the sound of the man 15 years his junior could be likened to new shoots coming out of the gnarled root named the Blues.



    Full of confidence after a "Best Of" compilation released on the Chess label in 1959 and his legendary appearance at the Newport Folk Festival, Muddy set down his own Broonzy songs. It goes almost without saying that such successful numbers as "I Feel So Good" and "Tell Me Baby" are overflowing with a 'Chicago feeling' which gets right under your skin. Pulsating with the metallic heartbeat of the electric guitar and the gyrating licks which James Cotton conjures out of his harmonica, the cover title amalgamates the individual styles of two top-notch Blues musicians to produce a highly emotional mixture. And let's not forget the band formed around keyboarder Otis Spann, their fellow musician of many years' standing. Just listen carefully to this small but excellent ensemble and you will certainly forget the banal term 'rhythm group'!





    Musicians:



    • Muddy Waters (vocal)

    • James Cotton (harmonica)

    • Pat Hare (guitar)

    • Otis Spann (piano)

    • Andrew Stephenson (bass)

    • Francey Clay, Willie Smith (drums)




    Recording: July and August 1959 in Chicago




    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. Tell Me Baby
    2. Southbound Train
    3. When I Get to Thinking
    4. Just a dream (On My Mind)
    5. Double Trouble
    6. I Feel So Good
    7. I Done Got Wise
    8. Mopper's Blues
    9. Lonesome Road Blues
    10. Hey, Hey
    Muddy Waters
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Condolences (Gray w/Black Splatter) Condolences (Gray w/Black Splatter) Quick View

    $29.99
    Buy Now
    x

    Condolences (Gray w/Black Splatter)

    Pressed On Gray Vinyl With Black Splatter


    A grimly glamorous ghoul who first slithered from the cobwebbed shadows of Charlotte, North Carolina, in the early 90s, WEDNESDAY 13 has firmly established himself as the world's premier purveyor of balls-out horror punk insanity. With a vivid and vile imagination that has endeared him to countless fans of riff-driven macabre over the last two decades, he has been one of rock's most prolific protagonists, spreading his credo of grave-robbing rock 'n' roll and Hallowe'en debauchery around the globe and unleashing a seemingly endless stream of blood-spattered albums and EPs.


    "All my favorite stuff, like KISS and ALICE COOPER and TWISTED SISTER, those guys set the bar pretty high," he states. "I always wanted to do something in the worlds of those bands. That's the blueprint. It had to be as outrageous and crazy as that and I wanted to be on someone's wall one day and have their parents say 'Oh my god, what is that?' The formula's still there from when I started doing it as a kid and started wanting to be in a band. It's just GI Joe and Dracula!"


    After several years of sharpening his creative teeth, WEDNESDAY 13 emerged from the fetid crypt of obscurity with his band FRANKENSTEIN DRAG QUEENS FROM PLANET 13, those masters of snotty schlock rock that released an astonishing five studio albums and six EPs between 1996 and 2002. Always the leader of the revolting pack, WEDNESDAY 13 then became a bona fide international rock star as frontman for the MURDERDOLLS, his collaboration with SLIPKNOT's Joey Jordison. The band took the world by storm, with Europe and the UK, in particular, succumbing to the feral charms of 2002 debut album, »Beyond The Valley Of The Murderdolls«; a raucous eruption of big tunes and bad attitude that noisily redefined the horror punk genre. After MURDERDOLLS went on an extended hiatus in 2004, WEDNESDAY 13 embarked on a widely lauded solo career that again provided him with an outlet for his relentless outpouring of fiendish musical and lyrical ideas. Albums like »Transylvania 90210« (released by Roadrunner in 2005), »Fang Bang« and »Skeletons« all cemented our pallid hero's reputation as the bastard son of ALICE COOPER and THE MISFITS, while his outlaw country project, BOURBON CROW and one-off glam metal vehicle, GUNFIRE 76 proved that he had sufficient versatility to survive outside the graveyard and abattoir.


    MURDERDOLLS reconvened in 2010 for the vicious »Women And Children Last« album and another successful world tour before disappearing once more into the freezing midnight fog, leaving WEDNESDAY to revive his solo career with a few thousand volts of wicked electricity yet more highly praised albums and tours including 2014's scintillating acoustic opus »Undead Unplugged« and the following year's thunderous »Monsters Of The Universe: Come Out & Plague«. However, absolutely nothing that WEDNESDAY has created in the past has even touched upon the horrifying potency and allure of his brand new studio album, »Condolences«.


    Frustrated with the arduous process of releasing his own music, our favorite black-hearted freak has thrown himself and his music into a whirling maelstrom of reinvention. The result is not just the heaviest and most authentically disturbing record of the great man's career but also a huge creative leap forward, neatly encapsulated by the new album's simple and direct title.


    "It's more of a serious WEDNESDAY 13 record, I guess," he says. "The campiness has gone and it's taken a darker vibe. It's definitely not in the camp, sleazy world anymore. The band is visually stronger and that's taken things to a new level. Normally my album titles are parodies of something, like »Women And Children Last«, that's a VAN HALEN album title gone wrong! (laughs) So I wanted to make sure that this record came across as a brand new version of WEDNESDAY 13."


    In musical terms, »Condolences« showcases WEDNESDAY's growing obsession with the world of heavy metal and its endless possibilities for exploring tales of horror and violence. Produced by renowned studio guru Zeuss, new songs like anthemic first single 'What The Night Brings' and the pile-driving 'Blood Sick' still exhibit a dash of B-movie weirdness and are full of WEDNESDAY's trademark twisted lyrics, but where previous albums were rooted in the worlds of punk rock and glam metal, »Condolences« is a full-on modern metal record with gigantic balls and the attitude to match. From the glowering menace of 'Good Riddance' to the grandiose hellishness of the album's 7-minute title track, it's living, breathing, murdering proof that the WEDNESDAY 13 of 2017 means business. And business is mean.


    "The punk rock vibe has left the building and it's become a full-on metal vibe," WEDNESDAY agrees. "I've been the horror-punk guy for years, but this is horror metal. It's just evolution. Over the last ten years, I've become a metalhead for the most part. That second MURDERDOLLS record just amped the whole thing up, and the guys in the band have influenced me with so much other stuff. It's not just me with my SEX PISTOLS, ALICE COOPER and RAMONES records anymore! (laughs) Now I've got my band incorporating everything from death metal to rock'n'roll. It's all across the boards. There are no rules. We can do whatever we want, whatever fits."


    Manifestly the strongest, heaviest and most individual album of his lengthy career, »Condolences« promises to push WEDNESDAY 13 into heavy music's upper echelons once again. With determined plans to tour relentlessly in support of the new record, the future is looking dark, dangerous, exhilarating and wildly, unapologetically theatrical.


    "It's non-stop touring once the record comes out," WEDNESDAY concludes. "We just did our first video for 'What The Night Brings' and the visuals are really cool. I've incorporated a lot of stuff I've been doing live, like this devil character I've been transforming into at shows, and that got worked in. We're taking the music, the imagery and the entire stage show up a level. It's gonna be a full-on theatrical stage production, so I'll be busy as fuck on stage! I've been doing this shit for so many years, I started thinking 'How can I make this fun again?' (laughs)"

    1. Last Rites
    2. What The Night Brings
    3. Cadaverous
    4. Blood Sick
    5. Good Riddance
    6. You Breathe, I Kill
    7. Omen Amen
    8. Cruel To You
    9. Eulogy XIII
    10. Prey For Me
    11. Lonesome Road To Hell
    12. Condolences
    13. Death Infinity
    Wednesday 13
    $29.99
    Colored Vinyl LP - Sealed Buy Now
  • Condolences (Black & Red Vinyl) Condolences (Black & Red Vinyl) Quick View

    $29.99
    Buy Now
    x

    Condolences (Black & Red Vinyl)

    Pressed On Black & Red Colored Vinyl


    A grimly glamorous ghoul who first slithered from the cobwebbed shadows of Charlotte, North Carolina, in the early 90s, WEDNESDAY 13 has firmly established himself as the world's premier purveyor of balls-out horror punk insanity. With a vivid and vile imagination that has endeared him to countless fans of riff-driven macabre over the last two decades, he has been one of rock's most prolific protagonists, spreading his credo of grave-robbing rock 'n' roll and Hallowe'en debauchery around the globe and unleashing a seemingly endless stream of blood-spattered albums and EPs.


    "All my favorite stuff, like KISS and ALICE COOPER and TWISTED SISTER, those guys set the bar pretty high," he states. "I always wanted to do something in the worlds of those bands. That's the blueprint. It had to be as outrageous and crazy as that and I wanted to be on someone's wall one day and have their parents say 'Oh my god, what is that?' The formula's still there from when I started doing it as a kid and started wanting to be in a band. It's just GI Joe and Dracula!"


    After several years of sharpening his creative teeth, WEDNESDAY 13 emerged from the fetid crypt of obscurity with his band FRANKENSTEIN DRAG QUEENS FROM PLANET 13, those masters of snotty schlock rock that released an astonishing five studio albums and six EPs between 1996 and 2002. Always the leader of the revolting pack, WEDNESDAY 13 then became a bona fide international rock star as frontman for the MURDERDOLLS, his collaboration with SLIPKNOT's Joey Jordison. The band took the world by storm, with Europe and the UK, in particular, succumbing to the feral charms of 2002 debut album, »Beyond The Valley Of The Murderdolls«; a raucous eruption of big tunes and bad attitude that noisily redefined the horror punk genre. After MURDERDOLLS went on an extended hiatus in 2004, WEDNESDAY 13 embarked on a widely lauded solo career that again provided him with an outlet for his relentless outpouring of fiendish musical and lyrical ideas. Albums like »Transylvania 90210« (released by Roadrunner in 2005), »Fang Bang« and »Skeletons« all cemented our pallid hero's reputation as the bastard son of ALICE COOPER and THE MISFITS, while his outlaw country project, BOURBON CROW and one-off glam metal vehicle, GUNFIRE 76 proved that he had sufficient versatility to survive outside the graveyard and abattoir.


    MURDERDOLLS reconvened in 2010 for the vicious »Women And Children Last« album and another successful world tour before disappearing once more into the freezing midnight fog, leaving WEDNESDAY to revive his solo career with a few thousand volts of wicked electricity yet more highly praised albums and tours including 2014's scintillating acoustic opus »Undead Unplugged« and the following year's thunderous »Monsters Of The Universe: Come Out & Plague«. However, absolutely nothing that WEDNESDAY has created in the past has even touched upon the horrifying potency and allure of his brand new studio album, »Condolences«.


    Frustrated with the arduous process of releasing his own music, our favorite black-hearted freak has thrown himself and his music into a whirling maelstrom of reinvention. The result is not just the heaviest and most authentically disturbing record of the great man's career but also a huge creative leap forward, neatly encapsulated by the new album's simple and direct title.


    "It's more of a serious WEDNESDAY 13 record, I guess," he says. "The campiness has gone and it's taken a darker vibe. It's definitely not in the camp, sleazy world anymore. The band is visually stronger and that's taken things to a new level. Normally my album titles are parodies of something, like »Women And Children Last«, that's a VAN HALEN album title gone wrong! (laughs) So I wanted to make sure that this record came across as a brand new version of WEDNESDAY 13."


    In musical terms, »Condolences« showcases WEDNESDAY's growing obsession with the world of heavy metal and its endless possibilities for exploring tales of horror and violence. Produced by renowned studio guru Zeuss, new songs like anthemic first single 'What The Night Brings' and the pile-driving 'Blood Sick' still exhibit a dash of B-movie weirdness and are full of WEDNESDAY's trademark twisted lyrics, but where previous albums were rooted in the worlds of punk rock and glam metal, »Condolences« is a full-on modern metal record with gigantic balls and the attitude to match. From the glowering menace of 'Good Riddance' to the grandiose hellishness of the album's 7-minute title track, it's living, breathing, murdering proof that the WEDNESDAY 13 of 2017 means business. And business is mean.


    "The punk rock vibe has left the building and it's become a full-on metal vibe," WEDNESDAY agrees. "I've been the horror-punk guy for years, but this is horror metal. It's just evolution. Over the last ten years, I've become a metalhead for the most part. That second MURDERDOLLS record just amped the whole thing up, and the guys in the band have influenced me with so much other stuff. It's not just me with my SEX PISTOLS, ALICE COOPER and RAMONES records anymore! (laughs) Now I've got my band incorporating everything from death metal to rock'n'roll. It's all across the boards. There are no rules. We can do whatever we want, whatever fits."


    Manifestly the strongest, heaviest and most individual album of his lengthy career, »Condolences« promises to push WEDNESDAY 13 into heavy music's upper echelons once again. With determined plans to tour relentlessly in support of the new record, the future is looking dark, dangerous, exhilarating and wildly, unapologetically theatrical.


    "It's non-stop touring once the record comes out," WEDNESDAY concludes. "We just did our first video for 'What The Night Brings' and the visuals are really cool. I've incorporated a lot of stuff I've been doing live, like this devil character I've been transforming into at shows, and that got worked in. We're taking the music, the imagery and the entire stage show up a level. It's gonna be a full-on theatrical stage production, so I'll be busy as fuck on stage! I've been doing this shit for so many years, I started thinking 'How can I make this fun again?' (laughs)"

    1. Last Rites
    2. What The Night Brings
    3. Cadaverous
    4. Blood Sick
    5. Good Riddance
    6. You Breathe, I Kill
    7. Omen Amen
    8. Cruel To You
    9. Eulogy XIII
    10. Prey For Me
    11. Lonesome Road To Hell
    12. Condolences
    13. Death Infinity
    Wednesday 13
    $29.99
    Colored Vinyl LP - Sealed Buy Now
  • Carpenters - Collected (Pre-Order) Carpenters - Collected (Pre-Order) Quick View

    $42.99
    Buy Now
    x

    Carpenters - Collected (Pre-Order)

    Limited First Pressing Of 2000 Individually Numbered Copies On White Vinyl, Black Vinyl Thereafter


    180 Gram Audiophile Vinyl


    Gatefold Sleeve


    High-Quality PVC Protective Sleeve


    4-Page Booklet With Liner Notes And Photos


    Selection Of Easy Listening Songs, Includes Ticket To Ride, Rainy Days And Mondays, Please Mr. Postman, Yesterday Once More, And Solo Songs: Karen's Still Crazy After All These Years & Richard's Karen's Theme


    The Collected album by the Carpenters brings a beautiful collection from the immense popular soft-pop duo. From their humble beginnings in the late '60s until today, siblings Karen and Richard Carpenter are one of the most successful duos in musical history. With Karen's absolutely perfect vocal delivery and Richard's creative arrangements, they are unstoppable.


    This 2LP set inside a gatefold sleeve brings together their hits, album tracks and more. It delivers the best selection of easy listening songs in a nutshell. Glorious pop nuggets by the Carpenters will melt the heart and uplift the soul, including Close to You, Ticket to Ride, We've Only Just Begun, Superstar, Rainy Days And Mondays, Bless the Beasts And the Children, Hurting Each Other and many more.


    An Easter egg is the track Karen's Theme by Richard Carpenter, who dedicated this song to Karen after her tragical death in 1983.


    Producing a distinctively soft musical style, they became one of the best-selling music artists of all time. During their 14-year career, the Carpenters recorded 11 albums, 31 singles, five television specials, and a short-lived television series.


    The Carpenters had three No. 1 singles and five No. 2 singles on the Billboard Hot 100 and fifteen No. 1 hits on the Adult Contemporary chart. In addition, they had twelve top 10 singles. To date, the Carpenters' album and single sales total more than 100 million units.

    LP 1
    1. Ticket To Ride

    2. (They Long To Be) Close To You
    3. We've Only Just Begun

    4. For All We Know

    5. Rainy Days And Mondays

    6. Superstar

    7. Bless The Beasts And Children

    8. Hurting Each Other

    9. It's Going To Take Some Time

    10. Goodbye To Love

    11. Top Of The World

    12. I Won't Last A Day Without You

    13. Sing

    14. This Masquerade


    LP 2
    1. Yesterday Once More

    2. Jambalaya (On The Bayou)

    3. Please Mr. Postman

    4. Desperado

    5. Only Yesterday

    6. Solitaire

    7. There's A Kind Of Hush (All Over The World)

    8. I Need To Be In Love

    9. Calling Occupants Of Interplanetary Craft (The Recognized Anthem Of World Contact Day)
    10. Sweet Sweet Smile

    11. Touch Me When We're Dancing

    12. Karen Carpenter - Still Crazy After All These Years

    13. Richard Carpenter - Karen's Theme

    Carpenters
    $42.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed PRE-ORDER Buy Now
  • Lover, Beloved: Songs From An Evening With Carson McCullers Lover, Beloved: Songs From An Evening With Carson McCullers Quick View

    $18.99
    Buy Now
    x

    Lover, Beloved: Songs From An Evening With Carson McCullers

    When Suzanne Vega first discovered the novelist and short story writer Carson McCullers as a teenager, she thought, "If I ever want to play a character at any point in the future, I could play this woman." That time has arrived. On Lover, Beloved: Songs From An Evening With Carson McCullers, Vega inhabits McCullers' extraordinary character and renders the life of a woman who, revolted by the politics and racism of her upbringing in the American South, arrived in New York in her early twenties and became one of the literary lights of the 20th century. In such esteemed books as The Heart Is a Lonely Hunter (1940), Reflections in a Golden Eye (1941) and The Ballad of the Sad CafÉ (1951), McCullers used the South as a lens through which to view the painful, nearly always unrequited, search for love in a world that often punishes individual self-expression and rewards repression and emotional compromise. McCullers battled those limits in her life as well as her work - a personal heroism that makes her, in Vega's view, a figure of great contemporary significance. She was an instinctive rebel whose message of personal freedom resonates profoundly in our own insurgent age, nearly fifty years after her death at the age of fifty in 1967.


    "I feel that McCullers' ideas and thoughts are very modern," Vega says, "and she incarnates them in a way that other authors don't. She tried to live them and paid a price for it. She would refer to herself in a kind of transgender way - she would say things like, 'I was born a man' -- and she probably was bisexual even if she didn't always act on it. She was one of the first females to write about civil rights and the struggles of blacks in the South. Also, she suffered several strokes and was disabled for pretty much the second half of her life. To use today's parlance, her life and work embodied human rights on just about every level - race, gender, trans, queer, disabled, youth."


    The ten songs on Lover, Beloved are part of a two-act play in which Vega and another actress perform the role of McCullers at two historical moments that bookend her career: the first, set in 1941, when The Heart Is A Lonely Hunter propelled her to literary fame, and the second shortly before her death, as she movingly reflects on her life and work. There are also plans to perform it as a one-woman show. Vega wrote the script, and co-wrote eight songs with Duncan Sheik, the singer-songwriter whose keen theatrical sense helped create the Broadway hit show Spring Awakening and the current groundbreaking musical, American Psycho. (Two additional songs, "Carson's Blues" and "The Ballad of Miss Amelia," were co-written by Vega and pianist/composer Michael Jefry Stevens.) In songs like "New York Is My Destination," "We of Me" and "Lover, Beloved," you can hear the signature cool detachment of Vega's singing and revel in the characteristically incisive observation of her lyrics, many of which deftly draw on McCullers' own writing.


    But the songs' elastic melody lines, loping rhythms, idiosyncratic instrumentation (including clarinet, harmonium, banjo, ukulele, trombone and accordion), and surprising arrangements (by guitarist extraordinaire Gerry Leonard, who also produced the album) are like nothing we've heard from Vega before. "It was great working with Duncan Sheik," Vega says. "All you have to do is give him the barest bones of an idea and then he delivers this fabulous piece of music." For "Annemarie," an aching ballad about an androgynous adventurer with whom both McCullers and her husband fell disastrously in love, Sheik delivered a lovely, simple melody that, Vega says, "practically made me cry. I couldn't believe how beautiful it was. I wanted something with all that yearning, and I love what he came up with." For "New York Is My Destination," which describes the youthful McCullers' vision of her future as a celebrated novelist, Vega says she wanted "something classic, something that sounded like Rodgers and Hammerstein, something glamorous," and, once again, Sheik delivered a melody that perfectly complemented the heady excitement of Vega's lyrics.


    Overall, Lover, Beloved finds a sound that exists outside of time. It's traditional enough to suit the iconic quality of its subject; clever enough to capture her originality and daring; and contemporary enough to help establish McCullers as an avatar for this century as well as the preceding one. Most of the instrumentation is acoustic, but, in particular, Gerry Leonard's evocative, atmospheric electric guitar playing lifts the music into another, more imaginative realm. That McCullers herself was an accomplished, classically trained pianist - and that the lyricism of her writing reflects that innate musicality - only further enhances the shivery dynamic between words and music on the album.


    In order to realize the theatrical quality of this project, Vega, with Sheik's encouragement and assistance, also handled her vocals in a different way. "Duncan really pushed me out of my comfort zone," Vega says. "I was shocked at how high he wanted me to sing. But he was like, 'No, no - you can hit that.'" Sheik's goal was to achieve a kind of sonic drama in Vega's vocals, "as much drama as he could squeeze out of me," she says. "It works for the character. McCullers is kind of childlike, and you can believe her singing in that naïve, simple way. I'm pushed beyond my limits in both the low notes and the high notes, and also the emotion. I definitely feel as if I was being pushed beyond what I usually do."


    Unquestionably, rendering a character like McCullers in words and in sound represented a serious creative challenge. All the songs on the album attempt to capture the innermost feelings of a writer who was highly ambitious, immensely complicated and fiercely dedicated to her conception of herself and her work. She was simultaneously shy, introverted and wildly provocative, as "Carson's Blues," the album's opening song, announces: "A childish liar/A devilish bitch/I can be innocent and charming/And suddenly switch." "Harper Lee," a song Vega describes as "upbeat and bitchy," chronicles McCullers' sense of her place in the literary pantheon - a spot, in her view, well above the wildly successful author of To Kill a Mockingbird. ("I'd like to kill more than just that mockingbird," she sings.) "Instant of the Hour After" and "We of Me" all explore the loving and loathing, the sexual adventurism and missed emotional connections, that swirled inextricably in McCullers' marriage to a bisexual man who shared her literary ambitions but was never able to realize them. On the title track, Vega limns the dizzying dance of unsatisfied desire at the heart of McCullers' work: "The lover pursues,/The beloved one flees Each one alone/In the land of the heart."


    "12 Mortal Men" indicts the provincialism and brutal racism of Columbus, Georgia, where McCullers grew up. "The Ballad of Miss Emilia" essentially recounts the plot of McCullers' novella, The Ballad of the Sad CafÉ, a saga, like so much of her writing, of failed joinings, loneliness, and proud, if isolated, survival. By the time the album concludes with "Carson's Last Supper," McCullers has abandoned the ideal of erotic desire in favor of a more universal love that could embrace all the various characters in her books and the many people in her life - as well as, perhaps most importantly, the ravaging contradictions within herself that both drove her art and caused so much hardship in her life.


    With Lover, Beloved: Songs From An Evening With Carson McCullers, Suzanne Vega achieves a new peak in her already distinguished career. With these songs and the play they inhabit, she hopes that "a new generation of people will discover Carson McCullers, that they will realize how cool she is and how compellingly her work can speak to them. I want to put her on the stage again so that her spirit lives. Really, no one is excluded from the vision she defined. I'm so excited by the possibilities." In these beautifully transporting songs, many of those rich possibilities have already been realized. - Anthony DeCurtis

    1. Carson's Blues
    2. New York Is My Destination
    3. Instant of the Hour After
    4. We of Me
    5. Annemarie
    6. 12 Mortal Men
    7. Harper Lee
    8. Lover, Beloved
    9. The Ballad of Miss Amelia
    10. Carson's Last Supper
    Suzanne Vega
    $18.99
    Vinyl LP - Sealed Buy Now
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