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  • Easy Rider Original Soundtrack Easy Rider Original Soundtrack Quick View

    $29.99
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    Easy Rider Original Soundtrack

    Clear Vinyl


    Original Motion Picture Soundtrack reissued on clear vinyl. Includes classic tracks from Steppenwolf, Jimi Hendrix, The Byrds and more.

    1. Steppenwolf - The Pusher
    2. Steppenwolf - Born To Be Wild
    3. Smith - The Weight
    4. The Byrds - Wasn't Born To Follow
    5. The Holy Modal Rounders - If You Want To Be A Bird
    6. The Fraternity Of Man - Don't Bogart Me
    7. The Jimi Hendrix Experience - If Six Was Nine
    8. The Electric Prunes - Kyrie Eleison
    9. Roger McGuinn - It's Alright Ma (I'm Only Bleeding)
    10. Roger McGuinn - Ballad Of Easy Rider
    Various Artists
    $29.99
    Colored Vinyl LP - Sealed Buy Now
  • The Moray Eels Eat The Holy Modal Rounders The Moray Eels Eat The Holy Modal Rounders Quick View

    $24.99
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    The Moray Eels Eat The Holy Modal Rounders

    Led by maverick folksters Peter Stampfel and Steve Weber, the Holy Modal Rounders were an eye-opening blend of Greenwich Village strum, Kentucky bluegrass and Appalachian drone-topped off with enough mind-altering chemicals to derail the Wabash Cannonball. The Rounders' 1968 masterpiece, The Moray Eels Eat The Holy Modal Rounders, spotlights The Bird Song, an infectious ditty used in the Easy Rider soundtrack, the squealing majesty of Werewolf and drug-addled ramblings like My Mind Capsized and The STP Song (it wasn't about that slippery engine oil). Sam Shepard, the Rounders drummer (and soon-to-be-acclaimed playwright), even muffs the words to the pledge of allegiance, transporting you to the era as surely as a truncheon to the head at the 1968 Democratic National Convention. Here's an exact High-Definition Vinyl repro of the hideously rare original LP - maybe the only folk album you'll ever own that will have your mom screaming, Turn that *&!!@#!! thing down!!
    1. Bird Song
    2. One Will Do For Now
    3. Take-off Artist Song
    4. Werewolf
    5. Interlude
    6. Dame Fortune
    7. Mobile Line
    8. The Duji Song
    9. My Mind Capsized
    10. The STP Song
    11. Interlude 2
    12. Half A Mind
    13. The Pledge
    Holy Modal Rounders
    $24.99
    Vinyl LP - Sealed Buy Now
  • Alice's Restaurant (Pure Pleasure) Alice's Restaurant (Pure Pleasure) Quick View

    $34.99
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    Alice's Restaurant (Pure Pleasure)

    Although he'd been a fixture on the East Coast folk circuit for several years, Arlo Guthrie did not release his debut album until mid-1967. A majority of the attention directed at Alice's Restaurant focuses on the epic 18-plus-minute title track, which sprawled over the entire A-side of the long-player. However, it is the other half-dozen Guthrie compositions that provide an insight into his uniformly outstanding, yet astoundingly overlooked, early sides on Warner Bros. Although arguably not 100 percent factual, Alice's Restaurant Massacree -- which was recorded in front of a live audience -- is rooted in a series of real incidents.


    This decidedly anti-establishment saga of garbage dumps closed on Thanksgiving, good ol' Officer Obie, as well as Guthrie's experiences with the draft succeeds not only because of the unusual and outlandish situations that the hero finds himself in; it is also his underdog point of view and sardonic delivery that maximize the effect in the retelling. In terms of artistic merit, the studio side is an equally endowed effort containing six decidedly more traditional folk-rock compositions. Among the standouts are the haunting Chilling Of The Evening, which is given an arrangement perhaps more aptly suited to a Jimmy Webb/Glen Campbell collaboration.


    There is a somewhat dated charm in Ring-Around-a-Rosy Rag, a sly, uptempo, and hippie-friendly bit of jug band nostalgia. I'm Going Home is an underrated minor-chord masterpiece that is not only reminiscent of Roger McGuinn's Ballad of Easy Rider, but also spotlights a more sensitive and intricate nature to Guthrie's craftsmanship. Also worth mentioning is the first installment of The Motorcycle Song -- which was updated and discussed further on the live self-titled follow-up release Arlo (1968) -- notable for the extended discourse on the 'significance of the pickle'.

    Musicians:



    • Arlo Guthrie (vocal, guitar)




    Recording: 1967

    Production: Fred Hellerman & Al Brown



    About Pure Pleasure



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



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



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



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



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



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


    1. Alice's Restaurant Masacree
    2. Chilling Of the Evening
    3. Ring-Around-A-Rosy Rag
    4. Now and Then
    5. I'm Going Home
    6. The Motorcycle Song
    7. Highway In the Wind
    Arlo Guthrie
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Sanctuary III Sanctuary III Quick View

    $28.99
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    Sanctuary III

    The Byrds - Sanctuary III 180 Gram Vinyl LP Laden with outtakes, alternate versions and rarites from the Ballad of Easy Rider and Untitled sessions, the third volume of our Sanctuary series spotlights Clarence White's fretboard genius. Vinyl debut for all tracks; annotation by Roger McGuinn and John York!
    1. Ballad Of Easy Rider (alt. mix)
    2. Oil In My Lamp (alt. version)
    3. Mae Jean Goes To Hollywood Fido (alt. mix)*
    4. Lover Of The Bayou (studio)
    5. White's Lightning Pt. 1
    6. All The Things (alt. version)
    7. Kathleen's Song (alt. version)
    8. Way Behind The Sun Build It Up (inst.)
    9. It's All Over Now, Baby Blue (alt. mix)*
    10. White's Lightning Pt. 2


    *Previously unissued tracks

    The Byrds
    $28.99
    Vinyl LP - Sealed Buy Now
  • Ballad Of Easy Rider Ballad Of Easy Rider Quick View

    $29.99
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    Ballad Of Easy Rider

    Mastered by Joe Reagoso at Friday Music Studios with Kevin Gray & Pressed at RTI!




    After a huge number of hit singles, top charting albums, concert tours and international television appearances, The Byrds developed into a very influential band along the lines of The Beatles, The Beach Boys and The Rolling Stones. Spearheaded by their founder Roger McGuinn, The Byrds continued to be a major recording entity and delivered over a dozen of the finest classic rock albums in their decade together of making legendary music.



    With the close of the turbulent '60s dawning, The Byrds reunited once again with their original producer Terry Melcher (Mr. Tambourine Man/Turn, Turn, Turn) and delivered the classic Ballad Of Easy Rider. With a whole new audience developing from their college concert tours and the beginning of the powerful FM radio coverage, this masterwork hit the top thirty album charts and brought the band continued acclaim.



    The LP consisted of some of their most memorable songs like the aforementioned hippie anthem Ballad of Easy Rider, which also received tons of exposure thanks to being featured as the title song to the Jack Nicholson/Peter Fonda motion picture Easy Rider. The album also treated the listener to some Byrds favorites like Jesus Is Just Alright, Oil In My Lamp, Fido and a revisit to the Bob Dylan catalog with their hit interpretation of It's All Over Now, Baby Blue.



    Featuring the legendary twelve string guitar and lead vocals of Roger McGuinn, the sorely missed lead guitar and vocals of the late great Clarence White, the powerful drum and vocals of Gene Parsons, and the solid bass and vocals of John York, The Byrds' Ballad Of Easy Rider was an all around hit with underground radio, college campuses and traditional radio and retail audiences. This album is consistently recognized as one of the finest efforts in their deep catalog of hit recordings.



    In an effort to continually offer consummate music lovers with the greatest rock recordings of all time, Friday Music proudly presents for the first time ever on 180g audiophile vinyl, the anniversary edition of The Byrds classic Ballad Of Easy Rider. Impeccably mastered from the original Columbia Records tapes by Joe Reagoso (The Byrds, Elvis Presley, Deep Purple) at Friday Music Studios with Kevin Gray, Ballad Of Easy Rider also continues the second release in the extensive The Byrds/Friday Music 180 Gram Audiophile Vinyl Series.



    In addition to the brilliant rock and roll classics contained on this stunning release, to celebrate this limited edition album, Friday is also including a first time gatefold cover which features the original artwork from the 1969 release as well as some very rare photos from The Byrds archives at Columbia Records. Also included is a poly lined sleeve to protect your vinyl and a poly bag to keep your album cover in mint condition.

    1. Ballad Of Easy Rider
    2. Fido
    3. Oil In My Lamp
    4. Tulsa County
    5. Jack Tarr The Sailor
    6. Jesus Is Just Alright
    7. It's All Over Now, Baby Blue
    8. There Must Be Someone (I Can Turn To)
    9. Gunga Din
    10. Deportee (Plane Wreck At Los Gatos)
    11. Armstrong, Aldrin And Collins
    The Byrds
    $29.99
    180 Gram Audiophile Virgin Vinyl LP Buy Now
  • The Boston Tea Party: New England Broadcast 1969 The Boston Tea Party: New England Broadcast 1969 Quick View

    $37.99
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    The Boston Tea Party: New England Broadcast 1969

    Live At The Boston Tea Party - Boston, MA - On February 22nd, 1969

    Limited To 500 Copies

    Shortly before the release of Dr. Byrds & Mr. Hyde (1969), The Byrds performed at the Boston Tea Party, a music venue in the heart of Boston renowned for performances by The Grateful Dead, The Velvet Underground, and The Byrds themselves. The performance, now available on this deluxe LP release, is from an FM broadcast recorded at the club on February 22nd, 1969. Available here for the first time on vinyl, the set includes a brace of cuts from the new album alongside 4 from its follow-up, The Ballad Of Easy Rider. Elsewhere we find strong covers of The Band's 'Long Black Veil' and 'This Wheel's On Fire,' Bob Dylan's 'Lay Lady Lay,' and a great selection of oldies - although not the obvious choices.

    LP 1
    1. You Ain't Going Nowhere
    2. He Was A Friend Of Mine
    3. Old Blue
    4. Long Black Veil
    5. Goin' Back
    6. Get Out Of My Life Woman
    7. The Ballad Of Easy Rider
    8. Jesus Is Just Alright


    LP 2
    1. Tulsa County
    2. Mr. Spaceman
    3. Sing Me Back Home
    4. This Wheel's On Fire
    5. Lay Lady Lay
    6. Time Between
    7. Take A City Bride
    8. It's All Over Now, Baby Blue
    9. Come Back Baby

    The Byrds
    $37.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Axis: Bold As Love (Mono) Axis: Bold As Love (Mono) Quick View

    $24.99
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    Axis: Bold As Love (Mono)

    Ranked 82/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.


    Drawn from the Original Monoaural Mixes Created by Chas Chandler, Jimi Hendrix, and Eddie Kramer in 1967.


    All Analog Mastering by Bernie Grundman


    Orginial Artwork and Sequencing


    Highly Sought After Mixes Previously Unavailable for Decades


    200 Gram pressing by Quality Record Manufacturing


    Faithful to the Original Edition Released in 1967 - US and International Edition Features Different Songs and Sequencing


    The sensational sophomore release of The Jimi Hendrix Experience highlights Hendrix's own evolving musical experimentalism and acknowledges his early musical inuences of soul and R&B. Remastered from the original two-track mixdown master tapes, Axis: Bold As Love's 13-songs show the evolving trio as they neared the height of their career. Features
    the seminal classics "Spanish Castle Magic," "Little Wing," "Castles Made Of Sand," and the classic Easy Rider anthem, "If 6 Was 9."


    The original monophonic mixes have been transferred from the original master tapes using Grundman's all
    analog mono mastering process.


    1. EXP
    2. Up From The Skies
    3. Spanish Castle Magic
    4. Wait Until Tomorrow
    5. Ain't No Telling
    6. Little Wing
    7. If 6 Was 9
    8. You Got Me Floatin'
    9. Castles Made Of Sand
    10. She's So Fine
    11. One Rainy Wish
    12. Little Miss Lover
    13. Bold As Love
    Jimi Hendrix
    $24.99
    200 Gram Audiophile Virgin Vinyl LP Mono - Sealed Buy Now
  • The Notorious Byrd Brothers (MONO) The Notorious Byrd Brothers (MONO) Quick View

    $28.99
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    The Notorious Byrd Brothers (MONO)

    Ranked 171/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.


    The Byrds pull no punches kicking off their fifth album, 1968's The Notorious Byrd Brothers, with Artificial Energy, a devastating haymaker aimed at the go-fast generation. In the blink of an eye, they're into the most beautiful baroque folk-rock ever created, the Carole King/Gerry Goffin-penned Goin' Back. It was the song that caused David Crosby to leave the band (witness the empty horse stall on the cover photo) an odd reaction, considering most of Notorious was layered with a phased and eerie deep-space vibe that seemed to come from another galaxy. Space Odyssey is the perfect post-film mint for Stanley Kubrick's intergalactic thriller 2001: A Space Odyssey. The heartbreak of Draft Morning says plenty about being eligible for conscription during the Vietnam War, while Wasn't Born To Follow was a perfect fit for silver screen epic Easy Rider, whose main characters were based directly on McGuinn and Crosby.


    Insanely rare and unavailable for over 40 years, we're proud to present the first ever reissue of this monumental recording in its original, highly-sought-after mono incarnation, cut directly from the original Columbia Recordings analog mono masters, with perfect artwork restoration and meticulously faithful mastering.

    1. Artificial Energy

    2. Goin' Back
    3. Natural Harmony
    4. Draft Morning
    5. Wasn't Born To Follow
    6. Get To You
    7. Change Is Now
    8. Old John Robertson
    9. Tribal Gathering
    10. Dolphin's Smile
    11. Space Odyssey
    The Byrds
    $28.99
    Vinyl Mono LP - Sealed Buy Now
  • Gold: Their Great Hits (Pre-Order) Gold: Their Great Hits (Pre-Order) Quick View

    $34.99
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    Gold: Their Great Hits (Pre-Order)


    Single 33 1/3 RPM LP Includes Poster Insert


    Gatefold Jacket


    Mastering By Kevin Gray At Cohearent Audio


    Mastered From The Original Analog Tapes


    200-Gram Plating And Pressing By Quality Record Pressings


    Get your motor runnin' baby - Steppenwolf's Gold: Their Great Hits took its title literally. The towering rock album success rang in at No. 24 on the Billboard Pop Albums chart and became certified gold for record sales in excess of 500,000 units by the Record Industry Association of America (RIAA) in April 1971.


    AllMusic praised the production and engineering of most of the tracks and called it a nearly perfect introduction to the band. Acoustic Sounds and Analogue Productions want to introduce you to the most sonically perfect version of this historic album you've ever heard on vinyl. Our 200-gram 33 1/3 RPM reissue was remastered from the original analog tapes by Kevin Gray at Cohearent Sound and plated and pressed by Gary Salstrom and his crew at Quality Record Pressings, makers of the world's finest-sounding LPs.


    The Canadian-American rock band, named for Hermann Hesse's mystical novel, rocketed to worldwide fame after their third single Born to Be Wild dropped in 1968. The song and Steppenwolf's version of Hoyt Axton's The Pusher figured prominently in the 1969 counterculture cult film Easy Rider, and both show up on Gold's track list. Two other singles on this stunning album compilation also cracked the Top 10 on the charts: Magic Carpet Ride and Rock Me.


    Magic Carpet Ride was released in 1968 on the album The Second. It was written by band members John Kay and Rushton Moreve, peaked at No. 3 in the U.S. and stayed on the charts for 16 weeks, longer than any other Steppenwolf song.


    You also get the Don Covay soul cover Sookie, Sookie, which got airplay on some soul stations nationwide, as well as rock 'n' roll radio. Gold also includes Hey Lawdy Mama the hit studio single from Steppenwolf Live.


    Steppenwolf enjoyed worldwide success from 1968 to 1972, when clashing personalities ultimately broke up the core group after a farewell concert in Los Angeles on Valentine's Day, 1972. Today, John Kay remains as the only original Steppenwolf member.

    1. Born to Be Wild
    2. It's Never Too Late
    3. Rock Me
    4. Hey Lawdy Mama
    5. Move Over
    6. Who Needs Ya
    7. Magic Carpet Ride
    8. The Pusher
    9. Sookie, Sookie
    10. Jupiter's Child
    11. Screaming Night Hog
    Steppenwolf
    $34.99
    200 Gram Audiophile Virgin Vinyl LP - Sealed PRE-ORDER Buy Now
  • Now That Everything's Been Said Now That Everything's Been Said Quick View

    $22.99
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    Now That Everything's Been Said

    We all know the Carole King who wrote some of the biggest hits of the '60s, from "Will You Love Me Tomorrow" to "Pleasant Valley Sunday," via "The Locomotion" and "(You Make Me Feel Like) A Natural Woman." We also know the singer-songwriter behind Tapestry, the album that launched King as a solo singer in her own right. But in between-and not nearly as well known-is King's band, The City, and their album, Now That Everything's Been Said.


    By the mid-'60s, King's marriage to Gerry Goffin, with whom she'd written many of those wonderful hits, had hit the rocks. A divorce loomed, and King all but retired to raise their two daughters. She headed west to Laurel Canyon in '67, taking the children with her, and made the previously unlikely move of joining a progressive folk-rock band. King formed The City with future husband Charles Larkey on bass and Danny Kortchmar on guitar and vocals. With King on piano and vocals, they created a folk rock sound that pre-empted the singer-songwriter boom of the '70s.


    Produced by Lou Adler and featuring Jimmy Gordon on drums, The City's sound is deep and soulful, imperfect but passionate. And the songs, with King writing or co-writing all but one, are as exceptional as you'd expect and as widely covered as her factory work. "Now That Everything's Been Said" was a hit for American Spring, "A Man Without A Dream" was tackled by The Monkees, and "Hi-De-Ho (That Old Sweet Roll)" was a hit for Blood, Sweat & Tears. Central to the album's appeal is King's own stirring reading of her track "Wasn't Born To Follow," covered masterfully by The Byrds for the Easy Rider soundtrack.


    King had been used to a life on the sidelines, and her stage fright left the trio unable to tour the LP which adversely affected their fortunes. That, plus some behind-the-scenes distribution problems, meant the album was quickly deleted, and it remained so for the next thirty years-partly at King's request. Even so, its failure was a surprise to those concerned. "I was 26 when Now That Everything's Been Said was released in 1968," King says of the album. "[We] expected it to zoom to the top of the charts within, at most, a few weeks. Individually and together, we optimistically imagined the album's success as if it had already happened. Danny and Charlie kept telling each other, 'It's a great album. The City is gonna be Number 1 with a bullet!'


    Listening now, you can feel the threads that lead to Tapestry and to the hugely successful performing career that followed. It's not so much an oddity in King's work as the missing link between her two lives. Reissued here in deluxe vinyl, this is, at long last, a chance to own this lost album.

    1. Snow Queen
    2. I Wasn't Born To Follow
    3. Now That Everything's Been Said
    4. Paradise Alley
    5. Man Without A Dream
    6. Victim Of Circumstance
    7. Why Are You Leaving
    8. Lady
    9. My Sweet Home
    10. I Don't Believe It
    11. That Old Sweet Roll (Hi-De-Ho)
    12. All The Time
    The City
    $22.99
    Vinyl LP - Sealed Buy Now
  • Joan Baez (Pure Pleasure) Joan Baez (Pure Pleasure) Quick View

    $34.99
    Buy Now
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    Joan Baez (Pure Pleasure)

    At the time of its release, Joan Baez's debut album was something of a revelation. The folk music revival was beginning to gather steam, stoked on the popular side by artists such as the Kingston Trio and the Easy Riders, as well as up-and-coming ensembles such as the Highwaymen, and on the more intense and serious side by the Weavers. The female singers on the scene were mostly old-time, veteran activist types like Ronnie Gilbert and Malvina Reynolds, who was in her sixties. And then along comes this album, by a 19-year-old who looked more like the kind of co-ed every mother dreamt her son would come home with, displaying a voice from heaven, a soprano so pure and beguiling that the mere act of listening to her - forget what she was singing - was a pleasure. Baez's first album, made up primarily of traditional songs (including a startling version of House of the Rising Sun), was beguiling enough to woo even conservative-leaning listeners. Accompanied by the Weavers' Fred Hellerman and a pair of session singers, Baez gives a fine account of the most reserved and least confrontational aspects of the folk revival, presenting a brace of traditional songs (most notably East Virginia and Mary Hamilton) with an urgency and sincerity that makes the listener feel as though they were being sung for the first time, and opening with a song that was to become her signature piece for many years, Silver Dagger. The recording was notable at the time for its purity of sound, and Baez's voice soars with an awesome purity of Fare Thee Well, House of the Rising Sun, and All My Trials, and the guitar accompaniment on Wildwood Flower, among other tracks, comes through with richness and clarity.




    Musicians:



    • Joan Baez (vocal, guitar)

    • Fred Hellerman (guitar)




    Production: Maynard Solomon



    About Pure Pleasure



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



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



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



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



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



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



    Silver Dagger
    East Virginia

    Fare Thee Well
    House Of The Rising Sun

    All My Trials
    Wildwood Flower
    Donna Donna
    John Riley
    Rake And Rambling Boy

    Little Moses
    Mary Hamilton
    Henry Martin
    El Preso Numero Nueve
    Joan Baez
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Demons And Wizards Demons And Wizards Quick View

    $22.99
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    Demons And Wizards

    Reissue of the classic 4th album from Uriah Heep. Originally released in 1972, the album reached #23 on the US Album Charts and is certified GOLD by the RIAA. Includes the classic singles "The Wizard" & "Easy Livin


    Magic spells, time-traveling futurists, sword-bearing horse riders, mountain-residing sorcerers, possessed journeyman, ominous warnings: Demons and Wizards lives up to its name as a collection of fantasy-based narratives rooted in dreamy, gothic-minded arrangements.


    Universally recognized as the finest effort of Uriah Heep's four-decade-plus career, the 1972 LP perseveres as a prog-rock landmark that influenced countless of bands ranging from Metallica to Styx to Blind Guardian. The first album on which founding members Mick Box, Ken Hensley, and David Byron are joined by staple drummer Lee Kerslake, the Top 30-charting Demons and Wizards captivates and charms by way of taut songwriting and instrumental execution.


    Rather than function as the primary attraction, and be susceptible to mockery, make-believe lyrical themes augment a formidable assembly of folk-derived melodies, sharp medleys, and powerful hooks. Acoustic guitars weave webs of finite textures through which crackling, church-like organ passages and space-conscious bass lines maneuver, allowing songs to come across with an ethereal and powerful feel.


    Glowing with old-fashioned tube-amp warmth, concise fare like "The Wizard," "Traveler In Time," and the hit "Easy Livin'" touches upon punchy garage-rock basics while epics such as "Circle of Hands" and closing "Paradise/The Spell"-a multi-part sonic excursion whose choral grace and spiritual glide evoke distant lands, misty cloud forests, and peaceful eternities-cling to a complex sensitivity underscored by deft piano notes. It's no wonder Uriah Heep would spend its lifespan trying to again capture such balance.

    1. Wizard
    2. Traveller In Time
    3. Easy Livin'
    4. Poet's Justice
    5. Circle Of Hands
    6. Rainbow Demon
    7. All My Life
    8. Paradise/The Spell
    Uriah Heep
    $22.99
    Vinyl LP Reissue - Sealed Buy Now
  • The Journey Man The Journey Man Quick View

    $35.99
    Buy Now
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    The Journey Man

    "In my music," says Goldie, "is everything I've learned, everyone I've met, everything I've experienced." And it's been an incredible trip. The maverick innovator - who rewrote the future of the jungle scene with landmark releases that still sound like they were kidnapped from tomorrow - has a unique story to tell. From children's homes in the West Midlands through stints in New York and Miami as one of the UK's most celebrated exponents of graffiti art to rubbing shoulders with an exceptional list of musical collaborators including David Bowie, Noel Gallagher and KRS-One, Goldie has defiantly, definitively, done it his own way. "I'm an alchemist," he likes to insist. "I practice the dark arts of messing with the form of something solid."


    Though marriage and his passion for bikram yoga have, he says, proved a calming influence, these days he's just as full of inspired, out-there ideas as he was back in 1993 when he did his first cover interview for the rave magazine Generator. "My music is about fallout," he said then, "about the damage that has been done to the system." Today, in the office of one of his London-based contacts, the ideas are still sparking. "Drum'n'bass has done to electronic music what graffiti has done to the art world," he muses, before launching into a rapid-fire synthesis of art history, dancefloor evolution and his own hyperactive brand of self-actualization, which loosely translates as: "Why do something ordinary when you can do something extraordinary?"


    It sums up the reason why, in 1994, music critic Simon Reynolds famously observed: "Goldie revolutionized jungle not once but three times. First, there was Terminator (pioneering the use of time stretching), then Angel (fusing Diane Charlemagne's live vocal with David Byrne/Brian Eno samples to prove that hardcore could be more conventionally musical), now there's Timeless, a 22-minute hardcore symphony." Each of these were moments that shaped the musical fabric of the decade and beyond, presaging Goldie's transition from the underground rave scene into the world of bona fide A- list superstars.


    But it didn't start out like that. The boy who would become Goldie was born Clifford Price on 19 September 1965, just as The Rolling Stones hit the top of the charts with Satisfaction. His dad Clement, originally from Jamaica, had been plying his trade as a foundryman in Leeds. His mum Margaret, who had been born in Glasgow, was a popular singer in the pubs and clubs of the West Midlands. Barely more than a toddler, Goldie was just three when she placed him into foster care (though she kept his younger brother Melvin). He still remembers, he says, the day the social workers came to take him away.


    Over the next 15 years, he bounced between a series of foster homes and local government institutions around the Walsall area. His eclectic musical taste was forged, he reckons, in those same local authority homes listening to the sonic tangle of other teenagers' record collections. "In one room," he says, "a kid would be playing Steel Pulse while through the wall someone else had a Japan record on and another guy would be spinning Human League." On rare visits to see his dad, he'd lie sprawled over the living room couch, listening to Jazz FM, marveling at the lavishly-tooled '80s productions of Miles Davis, Pat Metheny, David Sanborn and Michael Franks, adding further layers to his complex musicography.


    Already developing the irresistible urge to excel that has marked his inimitable musical career, Goldie's first love was roller-hockey. He earned a place as goalkeeper in England's national squad before the lure of music overtook the lure of sport. After discovering electro and hip hop, he grew his hair - the "goldilocks" that won him his nickname - and joined a breakdance crew called the B-Boys in nearby Wolverhampton. He also discovered graffiti. "They called me 'the spray can king of the Midlands'," he says proudly. His talent was undeniable, bringing him to the attention not only of Britain's Arts Council but to Dick Fontaine, producer of a Channel 4 TV documentary on graffiti. Fontaine's 1987 film Bombin' captured a visit to the UK by New York artist Brim Fuentes. Brim met Goldie and his B-Boys crew in Wolverhampton's Heathtown before heading a dozen miles away to Birmingham's Handsworth, where the producer filmed the aftermath of rioting that had left four dead, 35 injured and dozens of stores burned out. Several months later, Fontaine reversed the process and took Goldie to New York, introducing him to hip-hop pioneer Afrika Bambaataa. For Goldie, on his first trip abroad, never mind his first trip over the Atlantic, the Big Apple was love at first sight. Back in Britain, he begged, borrowed and saved until he had enough to fund a return trip to the Bronx.


    "I started painting the trains and getting involved on the streets," he says, remembering his total immersion in what was still, at that point, an emerging culture. Art and music as symbiotic technologies. Rubbing shoulders with the Big Apple's best graffiti artists, his own distinctive style was accelerated and enriched. A move to Miami followed. He worked in the flea markets, he says, "painting trucks for drug dealers" and developing a sideline in gold jewelry that included the distinctive grills that became a trademark on his return to the UK. The magical properties of shaping, working and bending precious metals to his will - as close to alchemy as the modern world gets - became an analogue for the way he prefers to operate in the studio, chasing quicksilver dreams, mercury-fast rivulets of imagination into impossibly lush, breakbeat concertos. Back in Britain, Goldie found himself seduced by the sweetheart of the rave. Though it took him eight attempts to get entry into the club, at London's Rage in 1991 he marveled at the alternate sonic worlds being forged by Fabio and Grooverider behind the decks. "It really flipped me out," he remembers. Soon he found himself in the orbit of Dego McFarlane and Mark Clair. Their label Reinforced was in the vanguard of breakbeat, issuing astonishing records that stripped out boundaries and limits while setting the tone for the scene's sense of adventure. At first, he helped out doing artwork and a bit of A&R. But soon he was in Reinforced's Internal Affairs studio watching intently as Mark and Dego recorded tracks like Cookin' Up Ya Brain and Journey From The Light. "I was watching what they could do," says Goldie, "trying to gauge the possibilities of the technology." Soon he was getting involved. "I remember one session we did that lasted over three days," he says, "just experimenting, pushing the technology to its limits. We'd come up with mad ideas and then try to create them. We were sampling from ourselves and then resampling, twisting sounds around and pushing them into all sorts of places."


    What followed was a series of inspired break-driven releases such as Killa Muffin, Dark Rider and Menace. Then Terminator, with its writhing drum loop, dropped and suddenly Goldie's name was on everyone's lips. He followed up with the equally revolutionary Angel, tilting the axis towards the lush, trippy textures that made 1995's debut album Timeless the drum'n'bass scene's first platinum album. Incredibly, given what was happening elsewhere in the scene at the time, the recording of the album's epic title track began as far back as 1993, when most other producers were still focused on the original sonic tropes of hardcore rave.


    Timeless was a masterpiece - of production, of songwriting, of sonic perfection and breakbeat futurism. Even today, it still sounds as astonishingly new and inspired as it did back on those early pre-release cassettes circulated by London Records in the early months of 1995 when Goldie was still living on the 18th floor of a North London tower block.


    By then, Goldie had already set up his own record label - Metalheadz - with his friends the DJ duo Kemistry and Storm. Along with studio collaborator, Rob Playford's Moving Shadow and LTJ Bukem's Looking Good imprint, Metalheadz helped to define drum'n'bass as a distinct musical format with singles by J Majik, Asylum and Goldie himself. Still bursting with energy, he then launched a legendary club night, Metalheadz Sunday Sessions, at London's Blue Note. The scene's best producers - among them revolutionary artists like Photek, Source Direct, Peshay and Dillinja - would compete to have their latest recordings debuted at the club and the scene's faithful came from far and wide to hear the best tunes before anyone else. "Those nights at the Blue Note were magical," he recalls. "It was an underground phenomenon that became an institution." David Bowie, who was making the drum'n'bass-influenced album Earthling at the time, fell in love with the place. "I remember popping out to take a break from all the madness inside the club," says Goldie. "He was outside having a cigarette, a bit of a breather. We chatted for a bit, looked at each other, grinned and then plunged back into it all. It was just that kind of place."


    Goldie is one of only a handful of artists ever to co-write with Bowie - on the track Truth from the drum'n'bass pioneer's second album Saturnz Return. Released in 1998, the album also saw his vision become more expansive (the opening track, Mother, clocked in at just over an hour). The album's collaborative approach included guest spots from rap legend KRS-One, Sex Pistols manager and all-around provocateur Malcolm McLaren, super-producer Trevor Horn and Oasis main man Noel Gallagher (on the single Temper Temper).


    Fuelled by the limitless creativity that has been the hallmark of his career to date, Goldie next turned to acting. He reunited with Bowie in Andrew Goth's 1999 thriller Everybody Loves Sunshine then took the part of Bullion in the 1999 James Bond movie The World Is Not Enough. Other box office smashes - including Guy Ritchie's crime heist caper Snatch - followed before he joined the cast of BBC1 soap opera EastEnders, playing the gangster Angel Hudson.


    A series of blockbuster TV appearances - on shows such as Maestro (where he learned to conduct an orchestra), Classic Goldie (which saw him perform his own orchestral composition at the Royal Albert Hall in the summer of 2009) and Goldie's Band: By Royal Appointment.


    The orchestral training proved useful. In 2014, he translated his original vision for Timeless into the stunning Timeless (Sine Tempore). Performed live with the Heritage Orchestra at the Wilderness Festival to suitably rapturous acclaim, the performance was repeated the following year as part of the Meltdown Festival at London's Royal Festival Hall. In between, he found time to unveil Fragments Of Gold, a piece inspired by medieval chants that he performed live in Glasgow Cathedral.


    Drum'n'bass, of course, has remained a consistent passion, both through his Metalheadz label and his releases under the Rufige Kru moniker (2007's Malice In Wonderland and 2009's Memoirs Of An Afterlife). "Technologically," he says, "breakbeat has managed to surpass all other forms of music to date. There isn't a recording engineer alive who can tell me there's any other form of music that is more complex than the music we make." Goldie has also recently announced he will be releasing a brand new double album 'The Journey Man' this year. The album comprises two parts, 16 brand new tracks in total, all written and produced by Goldie. It also features a host of collaborators handpicked by Goldie to help realize his vision for the album.


    "I often look at music not so much as a producer but like a director. You're drawing together engineers, performers and arrangers to create something special, something magical. It's like alchemy. The notes, the music, the lyrics, they're all in my head and each element has to be communicated and brought to life to create the finished track. I'm always inspired by great movie directors - people like Stanley Kubrick and PT Anderson - and, if you think about it, it's quite a similar approach. They start off with a vision and then they use that vision to deploy the actors and the cameramen and the editors in order to create the finished film."


    Collaborators on 'The Journey Man' album include vocalist and songwriter Natalie Duncan, who was discovered when chosen in the three-part BBC series 'Goldie's Band By Royal Appointment' and later provided the vocals for Goldie's 2012 single 'Freedom'. Other featured vocalists on the album include Terri Walker, Tyler Lee Daly, Natalie Williams, JosÉ James, Naomi Pryor as well as Goldie's wife, Mika Wassenaar Price.


    'The Journey Man' will be released through Cooking Vinyl and Goldie's own record label, Metalheadz.


    Goldie's love affair with painting has remained consistent too and he continues to exhibit visual work that's just as dazzling as his sonic output. Beginning with Night Writers, the 1986 exhibition at Wolverhampton's art gallery that introduced Goldie and his Supreme Graffiti Team to the British Arts Council, his shows have defined a unique aesthetic that's all his own. And through them all, from 1987's Rockin' The City in Birmingham (where he exhibited alongside Massive Attack's Robert Del Naja) and the 1988 Crucial Creators exhibition in Walsall to more recent gallery events like 2007's Love Over Gold and 2012's Athleticizm collection (including portraits of London Olympics stars such as Victoria Pendleton, Tom Daley and Jessica Ennis), runs a consistent thread of energy, experimentalism and boundary-pushing. His 2013 collection, Lost Tribes, an innovative series of pieces fusing Goldie's style with the artistic expression of the ancient peoples of Africa, Asia and America was, he says, "my most important breakthrough".


    And for the kid who lay awake, gazing at the stars, through the window of a children's home, growing up has brought some surprises. In 2012, he was selected as one of the BBC's New Elizabethans, 60 people - ranging from David Hockney to Roald Dahl, David Bowie and Tim Berners-Lee - who have helped shape British culture during the reign of Elizabeth II. Four years later, he was awarded the MBE in the Queen's New Year Honours. It's acceptance, of course, on a grand scale. But at heart, he's still the gatecrasher, amped-up on ideas, buzzing on nothing but love, hope and the certainty that, while his way might not be the easy way, it's very definitely the path of a true artist.


    - Tim Barr, 2017

    LP 1
    1. Horizons (feat. Terri Walker & Swindle)
    2. Prism
    3. Mountains
    4. Castaway
    5. The Mirrored River


    LP 2
    1. I Adore You (w/ Ulterior Motive)
    2. I Think of You
    3. Truth (feat. Jose James)
    4. Redemption


    LP 3
    1. Tu Viens Avec Moi?
    2. The Ballad Celeste
    3. This Is Not A Love Song
    4. The River Mirrored (feat. Terri Walker)
    5. Triangle
    6. Tomorrow's Not Today
    7. Run Run Run

    Goldie
    $35.99
    Vinyl LP - 3 LPs Sealed Buy Now
  • Demons And Wizards Demons And Wizards Quick View

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    Demons And Wizards


    Limited Edition Green Colored LP from Wax Cathedral


    Hit 1972 Album Remains Best Effort of British Band's Four-Decade-Plus Career


    Imaginative Cover Art, Fantasy-Based Narratives, Dreamy Music Combine to Form Gothic-Accented Prog Classic


    Fantastic Vinyl Pressing Rivals the Original


    Magic spells, time-traveling futurists, sword-bearing horse riders, mountain-residing sorcerers, possessed journeyman, ominous warnings: Demons and Wizards lives up to its name as a collection of fantasy-based narratives rooted in dreamy, gothic-minded arrangements. Universally recognized as the finest effort of Uriah Heep's four-decade-plus career, the 1972 LP perseveres as a prog-rock landmark that influenced countless of bands ranging from Metallica to Styx to Blind Guardian.


    The first album on which founding members Mick Box, Ken Hensley, and David Byron are joined by staple drummer Lee Kerslake, the Top 30-charting Demons and Wizards captivates and charms by way of taut songwriting and instrumental execution. Rather than function as the primary attraction, and be susceptible to mockery, make-believe lyrical themes augment a formidable assembly of folk-derived melodies, sharp medleys, and powerful hooks. Acoustic guitars weave webs of finite textures through which crackling, church-like organ passages and space-conscious bass lines maneuver, allowing songs to come across with an ethereal and powerful feel.


    Glowing with old-fashioned tube-amp warmth, concise fare like "The Wizard," "Traveler In Time," and the hit "Easy Livin'" touches upon punchy garage-rock basics while epics such as "Circle of Hands" and closing "Paradise/The Spell"-a multi-part sonic excursion whose choral grace and spiritual glide evoke distant lands, misty cloud forests, and peaceful eternities-cling to a complex sensitivity underscored by deft piano notes. It's no wonder Uriah Heep would spend its lifespan trying to again capture such balance.


    Featuring dead-quiet surfaces, this Wax Cathedral LP is pressed at RTI, America's best record plant.

    1. The Wizard
    2. Traveler In Time
    3. Easy Livin'
    4. Poet's Justice
    5. Circle of Hands
    6. Rainbow Demon
    7. All My Life
    8. Paradise/The Spell
    Uriah Heep
    $21.99
    Colored Vinyl LP - Sealed Buy Now
  • Black Snake Moan (Out of Stock) Black Snake Moan (Out of Stock) Quick View

    $28.99
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    Black Snake Moan (Out of Stock)


    180 Gram Blue Vinyl Albums From Original Blues Artists


    Remastered with printed inner bags and sleevenotes


    Sixteen historic recordings from the 1920's and the 1930's by the first country blues superstar. Includes Hot Dog, Easy Rider Blues and Black Snake Moan

    1. Hot Dogs
    2. Teddy Bear Blues
    3. Bad Luck Blues
    4. Broke and Hungry
    5. Black Snake Moan
    6. Sunshine Special
    7. Matchbox Blues
    8. He Arose from the Dead
    9. Rising High Water Blues
    10. Easy Rider Blues
    11. Rabbit Foot Blues
    12. Lonesome House Blues
    13. Jack O'Diamond Blues
    14. Stocking Feet Blues
    15. Right of Way Blues
    16. See That My Grave Is Kept Clean
    Blind Lemon Jefferson
    $28.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Temporarily out of stock
  • Steppenwolf (Out Of Stock) Steppenwolf (Out Of Stock) Quick View

    $34.99
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    Steppenwolf (Out Of Stock)

    Mastered by Kevin Gray at Cohearent Audio


    Tip-on jacket printed on metallic foil stock to match the original


    Classic 1968 debut album features Born To Be Wild and The Pusher


    Steppenwolf have become synonymous with their huge Harley ridin'-hit, Born to be Wild, although in reality, their success was far broader, with sales totaling more than 25 million units worldwide. Now their eponymous debut album originally released in 1968 is back and stunning audiophiles - courtesy of Analogue Productions and Quality Record Pressings!


    The original album cover was something amazingly spectacular, done with a silver foil, now painstakingly recreated for this 200-gram QRP pressing. And the LP itself? Our state-of-the-art pressing plant's LPs draw consistent critical raves for their sonic reproduction and incredible super-silent backgrounds. Of course the best LPs start with the best mastering, and there's none better than the maestro on this record, engineer Kevin Gray!


    Their history is littered with a succession of band members, substance abuse issues and several break-ups and reformations, but Steppenwolf endures.


    Steppenwolf started life in Canada in the early '60s as The Sparrows, but did not find fame until they had changed their name and released their rockin' album debut in 1968. When two tracks, Born to be Wild and The Pusher, were used in the film Easy Rider, the success of the album was assured. It marked the first of five consecutive gold certified albums but after the release of For Ladies Only in 1971, the band split.


    They were back together by 1974 and started to release albums again, beginning with 1974's Slow Flux; but their heyday was past, and this album was to contain their last Top 40 hit, Straight Shootin' Woman. They tried to split after 1975's Hour of the Wolf but contractual commitments to the record label made them stick it out for 1976's Skullduggery. Another split followed, and yet another reformation followed that. The band's last album of new material was Summerdaze released in 1997.

    1. Sookie Sookie
    2. Everybody's Next One
    3. Berry Rides Again
    4. Hootchie Kootchie Man
    5. Born To Be Wild
    6. Your Wall's Too High
    7. Desperation
    8. The Pusher
    9. A Girl I Knew
    10. Take What You Need
    11. The Ostrich
    Steppenwolf
    $34.99
    200 Gram Audiophile Virgin Vinyl LP - Sealed Temporarily out of stock
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