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Foggy Mountain Jamboree180 Gram Audiophile Mono Vinyl Gatefold Package
Mastered by Kevin Gray at Cohearent Audio!
Pressed at RTI!
One of the most important and influential records in the history of American Roots Music. Includes appearances by numerous Foggy Mountain Boys including Chet Atkins & Josh Buck Graves.
Widely regarded as one of bluegrass' most influential recordings, Foggy Mountain Jamboree introduced audiences -- more specifically radio listeners -- to the crystal-clear vocals and peerless musicianship of former Bill Monroe Bluegrass Boys Lester Flatt and Earl Scruggs. Amassed between 1951 and 1955, the 12 tracks that made the cut served as a veritable blueprint for a genre that had been growing in popularity since the late '40s. While numerous Foggy Mountain Boys appear throughout -- Chet Atkins, Josh Buck Graves -- Flatt's fluid tenor and rhythm guitar work anchored the sessions, Scruggs' machine-gun banjo work provided the steam, and fiddler Chubby Wise, along with mandolin player Curly Seckler, carried the whole thing home without a care in the world. Flint River Special, Earl's Breakdown, and Foggy Mountain Special became part of American culture, celebrating both its trailblazing work ethic and spirituality with equal amounts of grace and hellfire. Foggy Mountain Jamboree is essential listening for anyone with even the most remote interest in bluegrass. - allmusic.com
180 Gram Vinyl
Exhibit Records Audiophile Series
Mastered by Kevin Gray at Cohearent Audio!
Pressed at RTI!
Earl Sruggs, banjo
Lester Flatt, guitar1. Flint Hill Special
2. Some Old Day
3. Earl's Breakdown
4. Jimmie Brown, The Newsboy
5. Foggy Mountain Special
6. It Won't Be Long
7. Shuckin' The Corn
8. Blue Ridge Cabin Home
9. Randy Lynn Rag
10. Your Love Is Like A Flower
11. Foggy Mountain Chimes
12. Reunion In Heaven$19.99180 Gram Audiophile Virgin Vinyl LP Mono - Sealed Buy Now
Rattle & RoarWith their 2nd album Rattle & Roar, the Earls of Leicester deliver a fresh batch of Lester Flatt and Earl Scruggs
songs, with their Grammy-winning blend of virtuosity & perspective. The band is: Jerry Douglas (14-time Grammywinner),
producer & Dobroist; Shawn Camp (Garth Brooks), lead vocals & guitar; Jeff White (Vince Gill), high
harmony & mandolin; Charlie Cushman (Jimmy Martin), banjo & guitars; Johnny Warren (son of Paul Warren),
fiddle; & Barry Bales (Alison Krauss) on vocals and bass.1. The Train That Carried My Girl From Town
2. Why Did You Wander?
3. All I Want Is You
4. Steel Guitar Blues Intro
5. Steel Guitar Blues
6. You Can Feel It In Your Soul
7. A Faded Red Ribbon
8. Just Ain't
9. Mother Prays Loud In Her Sleep
10. I'm Working On A Road (To Glory Land)
11. Will You Be Lonesome Too?
12. Flint Hill Special
13. What's Good For You (Should Be Alright For Me)
14. The Girl I Love Don't Pay Me No Mind
15. Branded Wherever I Go
16. Buck Creek Gal
17. Pray For The Boys$21.99Vinyl LP - Sealed Buy Now
FortuneBy now, Black Prairie has clearly outgrown its roots as a casual side project, solidifying into a primary, creative focus for its members-a band with its own internal momentum, genuine character and style. Still, it's only become harder to describe what that style is. "I gave up a long time ago," guitarist Jon
Neufeld says. When asked what kind of music Black Prairie plays, Neufeld usually just says "soft rock," and walks away.
Black Prairie's fourth full-length record Fortune is an unexpected departure-which is, strangely, exactly what everyone's come to expect from the band. This group of seasoned musicians from Portland, Oregon-each steeped in traditional American acoustic music-has become hellbent on taking one
imaginative leap after another. "We're a much more fearless writing team now," says bassist Nate Query. The band that started as an informal collective has now materialized into its
own, fully living thing. Getting together to write Fortune last fall after a busy year of touring and tackling smaller, unconventional songwriting projects, the band felt like they had a well-bred, spirited animal hitched up and waiting for them-a horse flaring its nostrils, ready to run-and they wanted to keep
driving it through as many different landscapes as they could.
"It was the most collaborative and magical thing," Chris Funk says. Individual members brought in little strands of ideas, and the band collectively spooled them in like a loom and spun them into songs. Again and again, they found one person's chorus and someone else's verse slapping together like
attractive magnets, or lines for a lyric flying out of all six mouths. In a way, Fortune is also Black Prairie's most conventional record-thirteen, polished vocal tunes with (mostly) conventional pop song structures. On the other hand, there's a glaring eccentricity to Fortune that hits you right away: here is a band of accomplished acoustic musicians playing what are essentially rock songs, and sometimes with a pretty hard edge-it's a record, band members say, that's trying to channel not the spirit of Earl Scruggs or Jerry Douglas, but Led Zeppelin.1. The 84
2. Kiss Of Fate
3. Let It Out
4. Let Me Know Your Heart
7. If I Knew You Then
8. Songs To Be Sung
9. Cold Day
10. Animal Inside
11. The White Tundra
12. Be Good
13. Count To Ten$21.99Vinyl LP - Sealed Buy Now
Echo In The Valley (Pre-Order)With one eye on using the banjo to showcase America's rich heritage and the other pulling the noble instrument from its most familiar arena into new and unique realms, Bela Fleck and Abigail Washburn's second album Echo in the Valley is simultaneously familiar and wildly innovative.
"Some of the most interesting things in the world come together in strange and unique ways and show our diversity," reflects Bela, a fifteen-time Grammy award winner who is often considered the world's premier banjo player. "The banjo is just one of those things. It's a great example of how the world can combine things and create surprising hybrids," a reference to the ancestral African roots of the banjo combining with Scotch-Irish music in Appalachia.
Echo in the Valley is the follow up to Bela and Abigail's acclaimed, self-titled debut that earned the 2016 Grammy for Best Folk Album. This time around, the mission was to take their double banjo combination of three finger and clawhammer styles "to the next level and find things to do together that we had not done before," says Bela. "We're expressing different emotions through past techniques and going to deeper places." The results are fascinating, especially considering their strict rules for recording: all sounds must be created by the two of them, the only instruments used are banjos (they have seven between them, ranging from a ukulele to an upright bass banjo), and they must be able to perform every recorded song live.
Fleck and Washburn met at a square dance and began playing music together a dozen years ago, beginning with the Sparrow Quartet. They married shortly thereafter and became parents to a cute little tot. They've been touring the globe as a duo for years, almost nonstop but for each other's performances with various other musical iterations: Bela with the likes of Bela Fleck and the Flecktones, Chick Corea and Chris Thile, among many others, and Abigail with Wu Fei (a master of the ancient 21-string Chinese zither), The Wu-Force and Uncle Earl.
With the exception of a few restyled traditional tunes, all tracks on Echo in the Valley are originals, and are largely co-written - a different creative approach from their first album, where songs were mostly his or hers.
"This time, we really wanted to truly write together," Bela adds. "We spent a lot of our time on the lyrics, deciding what we want the songs to communicate, both literally and under the surface."
Echo in the Valley reflects relevant issues while simultaneously connecting us to our past through wild re-imaginings of traditional pieces. New original tunes range from "Over the Divide," a song inspired by Hans Breuer, who worked to ferry Syrian refugees to safety, to "Blooming Rose," inspired by Native American voices and lamenting a continual distancing from nature, and "Don't Let It Bring You is an emphatic mantra for hard times.
With I don't wanna cry, cry, cry, oh, "Let it Go" is ultimately about release from the pain of transition, surrendering to growth. The song acknowledges that we must let our children grow up; the concession that youthful innocence will one day give way to adult cares and worries.
Clarence Ashley's "My Home's Across the Blue Ridge Mountains" has been turned into a rural blues, and Bela's well-known piece "Big Country" is framed by the traditional Appalachian tunes "Sally in the Garden" and "Molly Put the Kettle On," a medley Bela and Abigail performed hundreds of times on stage before recording. "'Big Country' is one of the most beauty melodies I have ever heard played on the banjo," says Abigail, who takes the lead on this version.
"Come All You Coal Miners" is the point-of-view of coal-miner advocate Sarah Ogan Gunning, whose passages remain poignant and powerful today. "This song came from a very emotional, mother-driven, daughter-driven, wife-driven place, and there are not many songs throughout history from that perspective, so I am incredibly moved by her," says Washburn.
As the story goes, Bela was struck by the sound of Mr. Earl Scruggs' banjo when hearing the Beverly Hillbillies theme song. He got hold of a banjo, took his musical namesakes (Bela for Bartok, Anton for Weburn, Leos for Yanecek) to heart, and has since continuously broken new musical ground with his instrument. Fleck has the distinction of being nominated in more categories than any other instrumentalist in Grammy history, and has brought his banjo through scorching hot newgrass, traditional bluegrass, otherworldly funk, modern jazz, African originals, transatlantic Celtic, and classical realms, with two self-composed banjo concertos to his name (The Impostor and Juno Concerto), with a third one in the works.
Abigail was similarly jolted into life as a banjoist, but for her it was hearing Doc Watson.
"I was proud to discover that I came from a country where you can hear that ancient sound - from Africa, from Scotland, from Ireland - all mixed up in this beautiful new sound, with those ancient tones in it," Abigail reflects. "The ancient sounds of our culture remind us who we are, and in them, we see a constellation of who we are becoming."
Washburn has imbued this philosophy in all aspects of her work, from the string band Uncle Earl to her acclaimed solo albums, Song of the Traveling Daughter and City of Refuge, and her semi-autobiographical theatrical work, Post-American Girl, as well as in her musical ambassadorship with China, a country with which she has a long, profound history. Abigail is deftly following in the footsteps of the founding mothers of folk, and has become a prominent voice of old-time in our time while bringing to light those ancient sounds of American and Far East cultures in new and exciting ways.
Bela and Abigail's creative process on Echo in the Valley is sonically made manifest in the record's major themes of harmony, empathy and surrender. As Abigail explains, the intense, intimate collaboration that Fleck and Washburn put forward on this project required "a spirit of staying strong, but also a willingness to release into the other's ideas to create something new," possibly something bigger and more beautiful than one could do on one's own.1. Over The Divide
2. Take Me To Harlan
3. Let It Go
4. Don't Let It Bring You Down
5. Sally In The Garden / Big Country / Molly Put The Kettle On
6. My Home's Across The Blue Ridge Mountains
7. Hello Friend
8. If I Could Talk To A Younger Me
9. On This Winding Road
10. Come All You Coal Miners
11. Bloomin' Rose$24.99180 Gram Audiophile Virgin Vinyl LP - Sealed PRE-ORDER Buy Now
Flyin' ShoesWidely considered one of the greatest songwriters of his generation, Townes Van Zandt has been hailed by such artists as Steve Earle, Emmylou Harris, Lyle Lovett and Willie Nelson among others. Fat Possum proudly reissues four titles from his early career: Townes Van Zandt, Our Mother the Mountain, Delta Momma Blues and Flyin' Shoes which comprise an essential introduction to his best songs. Recorded between 1969 and 1978, Van Zandt's most prolific and most critically acclaimed decade, these four titles are the heart of any serious consideration of Van Zandt's musical career. Featuring some of the most iconic cover art in album history designed by Milton Glaser, each is a classic in every sense of the word. These four titles are the first in a series of Townes Van Zandt reissues that Fat Posssum is undertaking in conjuction with the Van Zandt estate.
The final Townes Van Zandt studio record before a nine-year-long mid-'70s recording drought, Flyin' Shoes has the advantage of Van Zandt's usual stellar songs, a famed producer (Chips Moman) and a boatload of first-class sidemen, including Jimmy Day, Randy Scrugg, and Spooner Oldham. The production is reasonably spare, allowing the quality of the songwriting and Van Zandt's creaky voice to shine through. Stand out tracks include Snake Song, No Place to Fall, When She Don't Need Me and a rare cover of Bo Diddley's Who Do You Love.1. Loretta
2. No Place to Fall
3. Flyin' Shoes
4. Who Do You Love
5. When She Don't Need Me
6. Dollar Bill Blues
7. Rex's Blues
8. Pueblo Waltz
9. Brother Flower
10. Snake Song$17.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now