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Capital PunishmentBig Pun remains on the best rappers ever list to this day.
Reasons for this weigh largely on his debut
Capital Punishment. His commanding voice and rapid fire
delivery make it clear there will never be another Big Pun. Pun
was New York. His confidence on the mic made him stand out
among his contemporaries. Similarly, the production -- by a
cast of many - remains ever so New York loyal. The close
cousins I'm Not a Player and Still Not a Player," may have
been the hits off this album but it is packed with so many more
that show Pun's true abilities.
"Beware" and "Dream Shatterer" are great examples of Big
Pun at his best, dark cinematic production with just enough
room to let him breathe fire. On "Twinz (Deep Cover)" Big Pun
is trading bars with his mentor Fat Joe over a remake of Dr.
Dre's classic beat. Here Pun delivers one of his most quoted
verses that contains among others "Dead in the middle of
Little Italy little did we know that we riddled some middlemen
who didn't do diddly". There are numerous guest
appearances, the best of which include afore mentioned Fat
Joe (on several tracks), the Roots' Black Thought on the MC
showcase Super Lyrical, Prodigy and Inspectah Deck on
Tres Leches (Triboro Trilogy), and an extra-insane Busta
Rhymes on Parental Discretion.LP1
3. Super Lyrical
4. Taster's Choice (Skit)
5. Still Not A Player (feat. Joe)
7. The Dream Shatterer
8. Punish Me (feat. Miss Jones)
9. Pakinamac Pt. 1 (Skit)
10. You Ain't A Killer
11. Pakinamac Pt. 2 (Skit)
12. Carribbean Connection (feat. Wyclef)
1. Capital Punishment
2. Uncensored (Skit) (feat. Funkmaster Flex)
3. I'm Not A Player
4. Twinz (Deep Cover) (feat. Fat Joe)
5. The Rain & The Sun (Interlude) (feat. Dead Prez & Prospect)
7. You Came Up (feat. Noreaga)
8. Tres Leches (Triboro Trilogy) (feat. Prodigy & Inspectah Deck)
9. Charlie Rock Shout (Skit)
10. Fast Money
11. Parental Discretion (feat. Busta Rhymes)$25.99Vinyl LP - 2 LPs Sealed Buy Now
Represent (Awaiting Repress)1. Word to Da Wise
2. Livin' Fat
3. My Man Ski
4. Bad Bad Man
5. Watch the Sound
6. Flow Joe
7. Fat Gangsta
8. Shorty Gotta Fat Ass
9. Shit Is Real
10. You Must Be Out of Your Fuckin' Mind
11. I Got This in a Smash
12. Another Wild Nigger From the Bronx
13. Get on Up
14. I'm a Hit That$9.99Vinyl LP - Sealed AWAITING REPRESS Buy Now
4:21... The Day After4:21 ...The Day After is the fourth studio album by American rapper and Wu-Tang Clan member Method Man. The album features guest appearances from Fat Joe, Styles P, Redman, and various Wu-Tang Clan members. Production is handled by RZA, Havoc, KwamÉ, Erick Sermon and Scott Storch, amongst others. U-God appears in the song The Glide but isn't credited. Continuing with it's Respect The Classics campaign UMe will be reissuing this title back on standard weight black vinyl.LP 1
1. Is It Me
3. Somebody Done Fucked Up
4. Fall Out
5. Dirty Mef
7. Let's Ride
8. The Glide
1. Got To Have It
4. Konichawa Bi*ches
6. Walk On
7. Presidential MC
8. 4 Ever$24.99Vinyl LP - 2 LPs Sealed Buy Now
Don CartagenaDon Cartagena is the third studio album by American rapper Fat Joe. The album was originally released on September 1, 1998, by Terror Squad, Mystic, Big Beat and Atlantic Records. Don Cartagena debuted at #7 on the Billboard 200 and was certified Gold by the RIAA.LP 1
1. Courtroom (Intro)
2. The Crack Attack
4. Find Out
5. Don Cartagena
6. My World
7. John Blaze
8. Walk On By
1. Dat Gangsta Sh*t
2. Bet Ya Man Can't (Triz)
3. Misery Needs Company
4. The Hidden Hand
5. My Prerogative
6. Good Times
7. Terror Squadians$29.99Vinyl LP - 2 LPs Sealed Buy Now
$16.99 $13.42 Save $3.57 (21%)
Minor Love (On Sale)After Adam Green's work with The Moldy Peaches was done, he recorded 6 solo albums, including his latest, Minor Love. Recorded with long time producer/friend Noah Georgeson in a luxurious pool house in Los Angeles, Minor Love found Green enlisting the talents of Rodrigo from Little Joy, his brother Joel, and Joe Steinbeck and Greg from Megapuss. The album showcases a tender side of the often arrogant and emotionally unavailable bully/singer, Green.1. Breaking Locks
2. Give Them A Token
3. Buddy Bradley
5. Bathing Birds
6. What Makes Him Act So Bad
7. Stadium Soul
8. Cigarette Burns Forever
9. Boss Inside
10. Castles and Tassels
11. Oh Shucks
12. Don't Call Me Uncle
14. You Blacken My Stay$16.99 $13.42 Save $3.57 (21%)Vinyl LP - Sealed Buy Now
I Can't Stand The RainThis wonderful album, originally released in 1974 on the Memphis-based Hi Records label, deserved a wider audience than it ended up getting at the time. It played to Ann Peebles' greatest strength, her poised and sultry voice, and surrounded by the sparse, easy funkiness of the trademark Hi rhythm section and producer Willie Michell's perfect use of horns and strings, she sings like a resilient but scorned angel on this impressive set of songs about the darker side of love.
Her best song is here, the eccentric but brilliant I Can't Stand the Rain, along with a marvelous version of Joe Simon's (You Keep Me) Hangin' On, and perfect readings of a pair of Earle Randle songs in If We Can't Trust Each Other and I'm Gonna Tear Your Playhouse Down. Peebles sings her heart out, and with those bright-sounding Hi grooves behind her, it all comes together to make a classic album of dark, bouncy and beautiful Southern soul.1. I Can't Stand The Rain
2. Do I Need You
3. Until You Come Into My Life
4. (You Keep Me) Hangin' On
5. Run, Run, Run
6. If We Can't Trust Each Other
7. A Love Vibration
8. You Got To Feed The Fire
9. I'm Gonna Tear Your Playhouse Down
10. One Way Street$17.99Vinyl LP - Sealed Buy Now
Honky Tonk HeroesAccording to legend, it was at Willie Nelson's Fourth of July picnic when Waylon Jennings drunkenly promised a nobody named Billy Joe Shaver that he'd record a whole album of his songs. Apparently it wasn't until Shaver threatened physical violence on Jennings (in front of a Nashville studio full of people) that he finally made good on his promise, although Jennings had only recently been granted full artistic control by RCA. The result was a stunning achievement: 1973's Honky Tonk Heroes was the defining record of the anti-Nashville Outlaw movement--the term came after the album--and a cornerstone in country music history. Featuring bare-bones production and plainspoken, hard-nosed lyrics that celebrated personal freedoms and simple pleasures, the record was a far cry from the demure Nashville Sound. In each other, Jennings and Shaver had found a kindred spirit, and together they rewrote the country rulebook. - Marc Greilsamer1. Honky Tonk Heroes
2. Old Five and Dimers Like Me
3. Willy the Wandering Gypsy in Me
4. Low Down Freedom
6. You Asked Me To
7. Ride Me Down Easy
8. Ain't No God in Mexico
9. Black Rose
10. We Had It All$17.99Vinyl LP - Sealed Buy Now
The Age of FractureThe long-awaited new album from CYMBALS is named after a book by Princeton academic, Daniel T. Rodgers, which addresses the fragmentation of ideas towards the end of the last century and how collective meanings have become uncertain. Singer and guitarist Jack Cleverly writes: It hit me that I often feel paralysed by the feeling that everything is 'too complicated', and that many people I know feel that paralysis. I realised that this way of thinking can be traced through these songs. Produced by Dreamtrak (Swim Deep, Chad Valley, Hot Chip) in his Hackney studio and written collectively over the last 12-months, the group have taken their time to carefully piece the album together, song-by-song, in sequence. The album was completed following a final mix from Daniel Rejmer (Foals, Everything Everything) and the result is testament to the band s attention to detail: a cleaner, brighter sound than their brattier early recordings, edging towards the European sophistication of the end-of-the-century French house Jack grew up around. Singles 'Like An Animal', 'The End' and 'The Natural World' are characterized by an upbeat disco cool and all push the 7-minute mark, whereas Winter 98 , This City , and Call Me are brooding, stark synth-led numbers reminiscent of early-New Order, with some lyrics sung in Jack s native French. The literary inspiration runs further through the album. The track The 5% , more obviously making reference to the themes of the album's namesake, declares Time can be erased, you re stupid if you try and stay in place, over a pulsing bassline and swirling electronics. Like an Animal is inspired by the intellectual and moral confusion of the main character in Thomas Mann's The Magic Mountain. The album has even garnered literary responses of its own by British poet and novelist Joe Dunthorne, author of Submarine. I told Joe about the book and the way the album was kind of a reaction to it, and he threw my rationalisation of it back at me through a short story inspired by the album. says Cleverly. It helped reveal the emotional territory of the songs. He showed me how I had been dividing things up artificially - desires and priorities, getting older and not being able to stop writing music... Through the writing of this album, CYMBALS have inevitably matured. We've never been in it just for a laugh, says Cleverly; but things got confused when we said we wanted to keep it fun we just didn't want to end up bitter, having chased a hollow dream. But this album is less about us; it's more outward looking, more aware of the world at large. Despite the weighty literary influences, the band are keen to separate themselves from the over-earnestness that can sometimes accompany such associations. I hate the whole 'serious earnest-singer-songwriter-thing, says Jack. With this album I really wanted to get away from that and make music that makes people want to dance and feel joy. Neil's kick drum is the most important thing we have to say as a band. Is this all fun? Yes, of course, but at the same time, not just that. Produced by Dreamtrak & mixed by Daniel Rejmer.1. Winter '98
2. The Natural World
3. You Are
4. Empty Space
5. The 5%
6. The Fracture of Age
7. Like An Animal
9. This City
10. The End
11. Call Me$18.99Vinyl LP - Sealed Buy Now
Anything Could HappenWhen The Replacements ended their 33-show reunion tour in June 2015, founding bassist Tommy Stinson walked away with his head held high. Armed with a pocketful of new songs and a clean slate, he holed up in his home studio in Hudson, NY and played solo tour dates with a group of A+ players/friends backing him, including Luther Dickinson, Frank Ferrer, Cat Popper, Steve Selvidge, and Joe "The Kid" Sirois. They had more fun than humans should be allowed to have, and over the next year and a half they pieced together a brand new record. A BAND record.
Never one to hog the spotlight, the only logical thing to do at this point was to reanimate 'Bash & Pop', the band he started immediately following The Replacements first split in 1991. Fat Possum Records quickly signed the band and will be releasing its unknowingly-long-awaited sophomore album, Anything Could Happen.1. Not This Time
2. On the Rocks
3. Anything Could Happen
4. Breathing Room
5. Anybody Else
6. Can't Be Bothered
7. Bad News
8. Never Wanted to Know
9. Anytime Soon
10. Unfuck You
11. Jesus Loves You
12. Shortcut$18.99Vinyl LP - Sealed Buy Now
REDI-THE-7093xFat Freddys Drop
Live At The MatterhornThe album that captured the essence of Fat Freddy's Drop jam origins, 'Live at Matterhorn' is being released on heavyweight vinyl for the first time. Originally released on CD, the new limited edition 2LP 180gm vinyl features four tracks 'Runnin', 'Rain', 'No Parking' and 'Bounce' that span a total of 70 minutes with the songs taking up a side each.The recording was made in March 2001 when Freddys was honing its sound and chops in the Wellington underground music scene. The stage was literally the back garden of Wellington's den of inequity The Matterhorn. The audience consisted of a random collection of 30 people most of whom from memory were hospitality workers having a drink after work.Freddys had started as a few musician mates playing along to instrumental B-side records dropped by DJ MU and by 2001 had grown to a solid six piece who liked nothing better than to jam. It's Fulla Flash aka Warren Maxwell on saxophone, the fore runner to Chopper Reeds, and trombonist Hopepa aka Joe Lindsay is yet to join but Freddys distinctive hi-tek soul qualities shine through led by the velvet vocals of singer Joe Dukie aka Dallas Tamaira.'Live At Matterhorn' went on to sell Platinum in New Zealand and while it pre-dates the bands record breaking 'Based On A True Story' studio album it is a touchstone for those wanting to experience Freddys early jams, the source for where Freddys story began.LP 1
1. No Parking
2. Bounce$25.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
...Honor Is All We KnowRancid's new record Honor Is All We Know is much like their other records in
the sense that it is filled with the stories and characters that populate the
band's lives, and reflects the cultural and political climate in which it was
written and recorded. It has classic Rancid songcraft: two minute songs packed
with melody, personally empathetic and politically denunciatory. But Honor
Is All We Know is also unique in that it is filled with the growing insight of
a band who has been doing this for a while now: it feels natural and organic,
written without an agenda or a bone to pick, rather the culmination of lives
lived largely with a keen interest in the world and a sense of brotherhood.
In the late 1980's Tim Armstrong and Matt Freeman of Rancid were founders of
arguably the most influential band from the Bay Area Operation Ivy. Operation
Ivy has been cited by everyone from Green Day's Billie Joe Armstrong to Fat
Mike of NOFX as the group that most affected the sound of their own bands.
Rancid has lead in extensive career since those days back in the East Bay including selling nearly 3 million albums with one Platinum album and one Gold
Record under their belts (And Out Come the Wolves, Let's Go). In the midst of
anniversaries for both albums, Rancid will be playing some high-profile festival shows in 2015, and the moment has never been better for old and new fans to
remind themselves of the cultural force and punk rock power of Rancid.1. Back Where I Belong
2. Raise Your Fist
3. Collision Course
4. Evil s My Friend
5. Honor Is All We Know
6. A Power Inside
7. In The Streets
8. Face Up
9. Already Dead
12. Now We re Through With You
13. Everybody s Suffering
14. Grave Digger$19.99Vinyl LP + CD - Sealed Buy Now
Step BackBlues legend Johnny Winter will release a new studio album, Step Back, via Megaforce Records. The album, the followup to 2011's Roots, will find Winter exploring a more aggressive vintage-blues style.
The album also will feature a host of special guests, including Eric Clapton, Ben Harper, Billy Gibbons, Joe Perry, Dr. John, Leslie West, Brian Setzer and Joe Bonnamassa.
"If there's good people, other good musicians, people enjoy it. I just love it, Winter says. [Step Back] is just to bring it to the people of today who haven't listened to the old music. It's better than anything they hear today.
Produced by Winter's guitarist, Paul Nelson, Step Back opens with "Unchain My Heart," which features Winter and his band joined by the Blues Brothers horns. ZZ Top's Billy Gibbons is featured on "Where Can You Be."
"I never had the opportunity to jam with him [in the Sixties and Seventies]," Gibbons says. "I was content to remain in awe and admiration."
"If it weren't for Johnny Winter, I would have never picked up the guitar," adds Aerosmith's Joe Perry, who joins Winter on Lightnin' Hopkins' "Mojo Hand."
Other highlights include Winter's guitar and vocal trade-offs with Harper on Willie Dixon's "Can't Hold Out (Talk to Me Baby)," Winter and Clapton's rendition of Bobby Bland's "Don't Want No Woman" and Winter and Dr. John honoring Fats Domino with "Blue Monday."
"When you hear that sound come out of that Firebird guitar, you know it can be the one and only Johnny Winter," says Setzer, who is featured on Clarence "Gatemouth" Brown's "Okie Dokie Stomp."
- Jackson Maxwell (Guitar World)1. Unchain My Heart - Johnny Winter
2. Can't Hold Out (Talk To Me Baby) - Johnny Winter with Ben Harper
3. Don't Want No Woman - Johnny Winter with Eric Clapton
4. Killing Floor - Johnny Winter with Paul Nelson
5. Who Do You Love - Johnny Winter
6. Okie Dokie Stomp - Johnny Winter with Brian Setzer
7. Where Can You Be - Johnny Winter with Billy Gibbons
8. Sweet Sixteen - Johnny Winter with Joe Bonamassa
9. Death Letter -Johnny Winter
10. My Babe - Johnny Winter with Jason Ricci
11. Long Tall Sally - Johnny Winter with Leslie West
12. Mojo Hand - Johnny Winter with Joe Perry
13. Blue Monday - Johnny Winter with Dr. John$17.99Vinyl LP - Sealed Buy Now
At BudokanRanked 430/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.
In 1979, Cheap Trick bolted to rock superstardom with their mega worldwide platinum release Cheap Trick At Budokan. This classic album set the stage for what would become one of the finest hard rock recordings of all time. Featuring smashes like I Want You To Want Me, Surrender and Fats Dominos Aint That A Shame, this LP was a fixture at radio for the next decade and beyond. With the great line-up of Rick Nielsen, Robin Zander, Bun E. Carlos and Tom Petersson, Cheap Trick At Budokan will forever be a milestone in their career and in the live rock recording medium in the classic rock era.
Friday Music proudly announces the Cheap Trick 180 gram Audiophile Series with this stunning new audiophile recording. Mastered from the original Epic Records tapes by Friday Musics Joe Reagoso and Kevin Gray at AcousTech and pressed at RTI for Friday Music, this limited edition audiophile recording will be one of the most anticipated releases of the year.1. Hello There
2. Come On, Come On
4. Big Eyes
5. Need Your Love
6. AinÊ¼t That A Shame
7. I Want You To Want Me
10. Clock Strikes Ten$31.99180 Gram Audiophile Virgin Vinyl LP Buy Now
American TunesNonesuch releases American Tunes, a new studio album by legendary New Orleans musician Allen Toussaint. Toussaint had just completed the album when he passed away in November of last year during a European tour. Recording took place at two sets of sessions with producer Joe Henry: solo piano at Toussaint's New Orleans home studio in 2013, and with the rhythm section of Jay Bellerose and David Piltch-joined by guests Bill Frisell, Charles Lloyd, Greg Leisz, Rhiannon Giddens, and Van Dyke Parks-in Los Angeles in October 2015. The album comprises solo performances of Professor Longhair tunes and band arrangements of songs by Toussaint, Duke Ellington, Fats Waller, Paul Simon, and others.
Allen Toussaint's work as composer, producer, arranger, and performer, especially in the 1960s and '70s, helped shape the sound of R&B, soul, and funk as we know it today. He collaborated memorably with artists ranging from Lee Dorsey and Ernie K. Doe to the Pointer Sisters and Labelle, from the Meters and Dr. John to the Band and Paul McCartney. The New York Times recently said, In Mr. Toussaint's long career as songwriter, arranger and producer he has honed a piano style that's supportive and allusive; a little trill or tremolo sums up all the splashy joys of New Orleans patriarchs like Professor Longhair and James Booker, and a syncopated chord under right-hand octaves summons gospel. Mr. Toussaint has the two-fisted, rippling vocabulary of the city's piano legacy, but he uses it in dapper ways.
Toussaint's children, Alison Toussaint-LeBeaux and Clarence Reginald Toussaint, who have long served as their father's managers, said of the American Tunes album, Our father approached this project with great care and understanding of the songs selected and paid true homage to Professor Longhair, his musical hero. He wanted to bring as much of the Toussaint touch as he could to these wonderful classics.
Nonesuch previously released The Bright Mississippi in 2009. Also produced by Henry, the record includes songs by jazz greats such as Sidney Bechet, Jelly Roll Morton, Django Reinhardt, Thelonious Monk, Duke Ellington, and Billy Strayhorn. The album received tremendous critical praise, with the Boston Globe saying it couldn't sound more like New Orleans. (Toussaint) revisits jazz classics and takes them for a stroll through Preservation Hall, imbuing his own funky brand of pop-song charisma. The results are coolly sophisticated, an unfussy, mostly instrumental set of slink-and-slide joints shot through with a harmonic imagination that turns even a traditional hymn into an after-hours swing Toussaint's musical soul guides all, making the classics sound like his own.
That project indirectly grew from Toussaint's contributions to Our New Orleans, the benefit album that Nonesuch released in fall 2005 to aid hurricane victims in the wake of the Katrina disaster. That collection opens with a version of Yes We Can Can, the Toussaint song the Pointer Sisters made famous, newly recorded with producer Joe Henry, and it included a solo piano piece, Tipitina and Me, co-written by Toussaint in tribute to Professor Longhair.
Joe Henry had first worked with Toussaint when he invited the pianist to join the sessions for I Believe to My Soul, a studio convocation of mature R&B stars. Henry subsequently acted as producer on Toussaint's post-Katrina collaboration with Elvis Costello, The River in Reverse. He describes the most recent sessions: I have been working with Allen Toussaint-under his spell and subject to his influence-for a full decade now. He was a quiet radical, musically-speaking, and a prince of great humility.LP 1
1. Delores' Boyfriend
2. Viper's Drag
3. Confessin' (That I Love You)
4. Mardi Gras In New Orleans
5. Lotus Blossom
6. Waltz For Debby
7. Big Chief
8. Rocks In My Bed
9. Danza, Op. 33
10. Hey Little Girl
2. Come Sunday
3. Southern Nights
4. American Tune
5. Her Mind Is Gone
6. Moon River
7. Bald Head$26.99Vinyl LP - 2 LPs Sealed Buy Now
The Genius After Hours (Speakers Corner)No ifs and buts! Ray Charles belongs in every jazz collection. Friends of pure jazz tend to forget this in the light of his numerous hits in categories such as gentle ballads, and even country and western songs, and rhythm'n'blues during the more than 60 years of Charles' extremely successful (also financially speaking) career.
The producer Neshui Ertegun gathered together a star-studded cast for this Atlantic Records studio recording. There was David Newman on the tenor sax, Joe Harris on the drums, and even Oscar Pettiford on the bass. Not forgetting Ray Charles himself who was an excellent jazz pianist.
The studio was saturated with the blues! A relaxed mood prevailed, just as one might imagine it. The musicians came to the studio after a concert, they were completely drained, worn out, exhausted: they had the blues and then they played the blues.
Even a standard work such as Gershwin's The Man I Love was turned into an elegy. Only Ain't Misbehavin', which reminds one more of Earl Hines than Fats Waller, and Charlesville - a fast blues number - were treated to a change of tempo.
The Genius After Hours is a self-portrait that exhibits the less well-known talents of this exceptional artist during the second half of the last century. It makes great listening for all lovers of jazz, soul, blues, rhythm'n'blues, country and western, pop, funk You name it, Charles has got it!
- Ray Charles (piano)
- Dave 'Fathead' Newman (alto saxophone, tenor saxophone)
- Emmott Dennis (bassoon)
- Joseph Bridgewater, John Hunt (trumpet)
- Roosevelt Sheffield, Oscar Pettiford (bass)
- Joe Harris, William Peebles (drums)
Recording: April 1956 and September 1957 in New York City in mono
Production: Nesuhi Ertegun & Jerry Wexler
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. The Genius After Hours
2. Ain't Misbehavin'
3. Dawn Ray
4. Joy Ride
5. Hornful Soul
6. The Man I Love
8. Music, Music, Music$34.99180 Gram Audiophile Virgin Vinyl LP Mono - Sealed Buy Now
- Ray Charles (piano)
Porcupine MeatNaming one's album after a song titled "Porcupine Meat" may seem a little unusual - unless, of course, you're Bobby Rush, who earned his first gold record in 1971 with a hit entitled "Chicken Heads." He elaborates on his recent composition: "If a lady won't treat me right, but she doesn't want anyone else to have me, that is hard to digest." Hence the lyric, "too fat to eat, too lean to throw away."
Porcupine Meat is Rush's debut release for Rounder Records, and one of the best recordings of his astonishing 60-plus year career. The album is due out September 16, 2016.
Rush estimates that he has cut over 300 songs since he first began making music. He has been honored with three Grammy nominations, as well as ten Blues Music Awards and 41 nominations. He was inducted into the Blues Hall of Fame in 2006.
Make no mistake: Rush is not your typical octogenarian. At age 82, he exudes the energy of a 20-year-old, on the road for more than 200 dates a year. His hectic tour schedule has earned him the affectionate title King of the Chitlin' Circuit. Rush has traveled the globe including Japan and Beirut. In 2007, he earned the distinction of being the first blues artist to play at the Great Wall of China. His renowned stage act features his famed shake dancers, who personify his funky blues and the ribald humor that he has cultivated during the course of his storied career.
Born Emmet Ellis, Jr. in Homer, Louisiana, he adopted the stage name Bobby Rush out of respect for his father, a pastor. According to Rush, his parents never talked about the blues being the devil's music. "My daddy never told me to sing the blues, but he also didn't tell me to not sing the blues. I took that as a green light."
Rush built his first guitar when he was a youngster. "I didn't know where to buy one, even if I had the money. I was a country boy," he says. After seeing a picture of a guitar in a magazine, he decided to make one by attaching the top wire of a broom to a wall and fretting it with a bottle. He also got some harmonica lessons from his father He eventually acquired a real guitar, and started playing in juke joints as a teenager, when his family briefly relocated to Little Rock, Arkansas. The fake moustache Rush wore made club owners believe he was old enough to gain entry into their establishments. While he was living in Little Rock, Rush's band, which featured Elmore James, had a residency at a nightspot called Jackrabbit.
During the mid-1950s, Rush relocated to Chicago to pursue his musical career and make a better life for himself. It was there that he started to work with Earl Hooker, Luther Allison, and Freddie King, and sat in with many of his musical heroes, such as Howlin' Wolf, Muddy Waters, Jimmy Reed, Willie Dixon, and Little Walter. Rush eventually began leading his own band in the 1960s. He also started to craft his own distinct style of funky blues, and recorded a succession of singles for a various small labels. It wasn't until the early 1970s that Rush finally scored a hit with "Chicken Heads." More recordings followed, including an album for Kenny Gamble and Leon Huff's Philadelphia International Label.
Rush relocated one final time, to Jackson, Miss. in the early 1980s. He was tired of the cold up north, and he realized that setting up his base of operations directly in the center of the South would make it easier to perform in nearby cities on weekends. More indie label recordings followed. Songs like "Sue, A Man Can Give (But He Sure Can't Take It)," "What's Good For The Goose Is Good For The Gander Too," and" I Ain't Studdin' You" became regional jukebox favorites in juke joints throughout the region, and many of those songs are still fan favorites that are an integral part of his live repertoire.
Since 2003, Rush has self-released the majority of his work (including the critically acclaimed Folk Funk album) on his Deep Rush label, but recently, he came to the realization that having a bigger record company behind him would be beneficial. "I outgrew myself," he says. "I need someone to help in doing the things I can't do. When you are wearing all the hats, you can't be everywhere at once."
Enter esteemed producer and two-time Grammy winner Scott Billington, Rounder Records' longtime VP of A&R. Billington first met Rush at a Recording Academy meeting 25 years ago, and they became fast friends. He has wanted to work with Rush ever since. "He is the most vital bluesman of his generation," says Billington. He continues, "There are many people who still don't know Bobby Rush, even though he is a hero in the parallel universe of the Chitlin' Circuit - fans stop him on the street in Memphis and Helena and Little Rock."
Porcupine Meat will not only please Rush's older fans, but is likely to win over many new ones. Billington reflects, "We wanted to come up with something fresh, while staying 100% true to Bobby."
The album was recorded in New Orleans, and Rush was pleased and proud to be given the opportunity to make an album in his home state for the very first time. His impassioned vocals and in-the-pocket harmonica playing are among the best performances of his career. Unlike most of his recent releases, these sessions only feature real instruments and no synthesizers. All of the rhythm tracks were cut live in the studio, often edited down from jams that on several occasions ran close to ten minutes.
For the project, Billington assembled some of the best Louisiana musicians, including Shane Theriot, David Torkanowsky, Jeffrey "Jellybean" Alexander, Kirk Joseph, Cornell Williams, and others. Rush brought along his old friend and longtime collaborator, guitarist Vasti Jackson, who worked with Bobby and Scott on getting the songs ready for the studio. Guitar greats Dave Alvin, Keb' Mo', and Joe Bonamassa all make guest appearances on the album.
Rush has always been a prolific and clever songwriter. The songs he penned for Porcupine Meat such as "Dress Too Short," "I Don't Want Nobody Hanging Around," "Me, Myself And I," "Nighttime Gardener," "It's Your Move," and the title selection, all equal or rival his best material. "Funk O' De Funk" delivers exactly what the title suggests and what Rush has always done the best, which is putting the funk into the blues. While "Got Me Accused" is inspired by events from Rush's own life, the lyrics tell an all-too-familiar tale about the rampant racial injustice that afflicts our society. Producer Billington and his wife Johnette Downing (the well known New Orleans songwriter and children's musician) co-wrote a couple of fine selections, "Catfish Stew" and "Snake In The Grass."
Bobby Rush is the greatest bluesman currently performing. Porcupine Meat is a testament to his brilliance, which presents him at his very best, and doesn't try to be anything that he is not. "I just try to record good music and stories," he humbly states. With this recording, he has more than accomplished his goal, and has produced one of the finest contemporary blues albums in recent times.1. I Don't Want Nobody Hanging Around
2. Porcupine Meat
3. Got Me Accused
4. Snake in the Grass
5. Funk O' De Funk
6. Me, Myself and I (feat. Joe Bonamassa)
7. Catfish Stew
8. It's Your Move (feat. Dave Alvin)
9. Nighttime Gardener (feat. Keb Mo)
10. I Think Your Dress Is Too Short
11. Standing on Shaky Ground
12. I'm Tired (Tangle Eye Mix)$25.99Vinyl LP - 2 LPs Sealed Buy Now
Loving You (Awaiting Repress)Elvis Aaron Presley was born during the great depression into a poor family in Mississippi. They moved to Memphis during the early '50s, and as a struggling young truck driver, he cut some demos at Sun Studios as a gift for his beloved mother Gladys. These initial songs, of which he had only paid a few dollars to record, would become the catalyst that would kick-start the beginnings of a soon to be worldwide superstar unlike the world has ever known.
Elvis had the unmatchable skill of combining his vocals to resemble both R&B and country. This with the persona and choreography of a Hollywood movie star on stage, the young Elvis Presley was soon touring, and over the year achieved a number of regional hit singles, electrifying audiences into frenzies wherever he performed.
The folks at RCA Victor knew that this young fellow named Elvis was destined for superstardom. They quickly bought out his contract and signed the legend to a long term deal, and his first RCA single Heartbreak Hotel forever etched "The King Of Rock And Roll" trademark to his name.
In 1957 after two chart topping albums and a bevy of #1 singles, more incredible fame followed as the Loving You movie starring Elvis Presley became a box office smash. The soundtrack album also was a blockbuster as it topped the charts for over two months, making this his third smash #1 album. Loving You truly proved once again that his career was unlike any other in music history.
Filled with more hits than a jukebox, the Loving You album takes off with two smashes in a row, the classic rocker Mean Woman Blues and the chart topping single (Let Me Be Your) Teddy Bear. More soundtrack treasures follow with the beautiful ballad Loving You and the rockin' Party, which truly made the album a treasure trove of hits that seem like a Greatest Hits collection. The album also features a nice helping of solid interpretations of Elvis' own favorites like the Fats Domino classic Blueberry Hill and the timeless Cole Porter hit True Love. In total, the album showcases twelve important Elvis Presley recordings which have truly gone on to become international classics.
In honor of the man, the music, the legend, the King Of Rock And Roll, Friday Music is very proud and honored to announce the first time 180 Gram Audiophile Vinyl release of the RCA Victor classic Loving You by Elvis Presley. As a second installment in their exciting Elvis Presley 180 Gram Audiophile Vinyl Series, they are very pleased to present this masterwork in all its high fidelity glory. Mastered impeccably from the original monophonic RCA Victor Records tapes by Joe Reagoso at Friday Music Studios with Kevin Gray and manufactured at R.T.I., this edition of Loving You will be a much anticipated audiophile dream release for Elvis fans everywhere!
For this exclusive presentation, Friday is also including the first time ever gatefold artwork which includes the groundbreaking original LP cover elements as well as more rare visuals from this historic Elvis Presley movie and platinum plus soundtrack. Also enclosed is a poly bag to protect your album cover and poly lined inner sleeve to help keep your Elvis vinyl in mint shape. An audiophile vinyl dream come true!1. Mean Woman Blues
2. (Let Me Be Your) Teddy Bear
3. Loving You
4. Got A Lot O' Livin' To Do!
5. Lonesome Cowboy
6. Hot Dog
8. Blueberry Hill
9. True Love
10. Don't Leave Me Now
11. Have I Told You Lately That
12. I Love You
13. I Need You So$29.99180 Gram Audiophile Virgin Vinyl LP AWAITING REPRESS Buy Now
Rise & Fall Of Paramount Records, Volume 2 (1928 - 1932) (Awaiting Repress)
Six LPs, 800 Digital Tracks, Two Definitive Large-Format Books. All Housed In A Polished Aluminum Case Evoking The Era's High Art Deco Stylings And America's Own Machine Age Modernism.
800 Newly-remastered Digital Tracks, Representing 175 Artists
90+ Fully-restored Original 1920s-30s Paramount Ads From Chicago Defender
6 X 180g LPs Pressed On Alabaster-white Label-less Vinyl, Each Side With Its Own Hand-Etched Numeral And Holographic Image
250 Pg. Large-Format Clothbound Hardcover Book Featuring Original Paramount Art And The Label's Curious Tale
400 Pg. Encyclopedia-Style Softcover Field Guide Containing Artist Bios & Portraits And Full Paramount Discography
Polished Aluminum And Stainless Steel Cabinet, Evoking 1930s High Art Deco Stylings And America's Own Machine Age Modernism
First-Of-Its-Kind Music And Image Player App Containing All Tracks And Ads, Housed On Sculpted Metal USB Drive
Last November, Jack White's Third Man and John Fahey's Revenant issued The Rise & Fall of Paramount Records, Volume One (1917-27), the first installment of the curious tale of America's most important record label. It was called spectacular (New York Times), unprecedented (Rolling Stone), breathtaking (Boing Boing), a cabinet of wonder, indeed (Pitchfork), and the most perfectly realized attempt to combine music and documentation (Fretboard Journal) and damnedest musical objet d'art (Nashville Scene) folks had ever seen.
Third Man-Revenant now presents the final volume in the Paramount story - The Rise & Fall of Paramount Records, Volume Two (1928-32).
As Volume Two begins, Paramount is entitled to a breather - in the previous 5 years it's been home to giants like King Oliver, Jelly Roll Morton, Louis Armstrong, Blind Lemon Jefferson, Alberta Hunter, Blind Blake, Ethel Waters, Ma Rainey, Papa Charlie Jackson, Eubie Blake, Fletcher Henderson, Big Bill Broonzy, Roosevelt Sykes, James P. Johnson, Jaybird Coleman, Clarence Williams, and Fats Waller.
But just as it seems the label might be losing steam, it begins a second act that threatens to dwarf its first. In its final 5 year push from 1928-32, Paramount embarks on a furious run for the ages, birthing the entire genre of Mississippi Delta blues and issuing some of the most coveted recordings in the history of wax - a staggering playlist including Skip James, Charley Patton, Son House, Tommy Johnson, Blind Roosevelt Graves, Willie Brown, King Solomon Hill, Tampa Red, Georgia Tom Dorsey, Little Brother Montgomery, Lottie Kimbrough, Rube Lacy, Meade Lux Lewis, Buddy Boy Hawkins, Ramblin' Thomas, Jaydee Short, George Bullet Williams, Cow Cow Davenport, Clifford Gibson, Ishman Bracey, Charlie Spand, Jabo Williams, Louise Johnson, Blind Joe Taggart, Geeshie Wiley & Elvie Thomas, and The Mississippi Sheiks.
Paramount simply killed. But more than that, it changed how this country thought of itself. It was the first and most comprehensive chronicler of what America really sounded like in the 1920s and '30s - on its street corners, at its fish fries and country suppers, in its nightclubs and dance halls and showtents. In the process, Paramount - not some preservationist-minded enterprise like the Library of Congress - inadvertently created the most significant repository of this young nation's greatest art form.6 LPs feature tracks from the collection.
USB Drive contains 800 digital tracks by 175 artists across the Paramount family of labels.$469.99180 Gram Audiophile Virgin Vinyl LP + 2 Books - 6 LPs Sealed AWAITING REPRESS Buy Now
Bright Moments (Pure Pleasure)
Rahsaan Roland Kirk's live club gigs were usually engaging, freewheeling affairs, full of good humor and a fantastically wide range of music. The double album Bright Moments is a near-definitive document of the Kirk live experience, and his greatest album of the '70s. The extroverted Kirk was in his element in front of an audience, always chatting, explaining his concepts, and recounting bits of jazz history. Even if some of his long, jive-talking intros can sound a little dated today, it's clear in the outcome of the music that Kirk fed voraciously off the energy of the room.
Most of the tracks are long (seven minutes or more), demonstrating Kirk's wealth of soloing ideas in a variety of styles (and, naturally, on a variety of instruments). Pedal Up is a jaw-dropping demonstration of Kirk's never-duplicated three-horns-at-once technique, including plenty of unaccompanied passages that simply sound impossible. There's more quintessential Kirk weirdness on Fly Town Nose Blues, which heavily features an instrument called the nose flute, and the title track has a healthy dose of Kirk singing through his (traditional) flute.
His repertoire is typically eclectic: Ellington's Prelude to a Kiss; a groovy Bacharach pop tune in You'll Never Get To Heaven; a lovely version of Fats Waller's Jitterbug Waltz; and a stomping, exultant New Orleans-style original, Dem Red Beans and Rice. Perhaps the best, however, is an impassioned rendition of the ballad standard If I Loved You, where Kirk's viscerally raw, honking tone hints in a roundabout way at the avant-garde without ever losing its melodic foundation. Bright Moments empties all the major items out of Kirk's bag of tricks, providing a neat microcosm of his talents and displaying a consummate and knowledgeable showman. In short, it's nothing less than a 'tour de force'.
- Rahsaan Roland Kirk (tenor saxophone, flute)
- Ron Burton (piano)
- Henry Pearson (bass)
- Todd Barkan (synthesizer)
- Joe Habao (percussion)
- Robert Shy (drums)
Recording: 1973 live at Keystone Korner, San Francisco, by Biff Davies, Ed Barton & Jack Crymes
Production: Joel Dorn
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.
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.
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.LP 1
2. Pedal Up
3. You'll Never Get To Heaven
4. Clackety Clack
5. Prelude To A Kiss
6. Talk (Electric Nose)
7. Fly Town Nose Blues
1. Talk (Bright Moments)
2. Bright Moments Song
3. Dem Red Beans And Rice
4. If I Loved You
5. Talk (Fats Waller)
6. Jitterbug Waltz
7. Second Line Jump$49.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now