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  • Live 1969 Live 1969 Quick View

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    Live 1969

    This 1969 live recording from Mount Carmel High School in Houston represents the final stage appearance by the original lineup of Texas garage combo Fever Tree. With two strong studio LPs for UNI Records behind them, the group began to fragment from internal struggles. Consequently, the label asked for one more album. The group complied and the results are contained in this previously unreleased concert recording, presented here in 180 gram vinyl.


    Sharpening their chops on the Gulf Coast circuit, followed by a high-profile opening night gig at Hollywoods legendary Kaleidoscope, Fever Tree developed a keen sense of musical drama and dynamics. This versatility is in sharp display on the concerts rendition of their underground radio hit San Francisco Girls (Return of the Native). For the rest, Live 1969 focuses on groovers, a perfect set-up for the gliding fuzztones of lead guitarist Michael Knust, the sonic organ of Rob Landes, the thick rhythms provided by E.E. Bud Wolfe III on bass and John Tuttle on drums ,and the dynamic, driving lead vocals of Dennis Keller.


    Dont Come Crying to Me Girl, a song originally found on the bands second album, levitates the band beyond any earthly confines. Elsewhere, the set moves between a soaring cover of Donovans Hey Gyp, their own power pop Grand Candy Young Sweet and a whirlng psych take on Wilson Picketts Ninety-Nine and One Half (Wont Do). Playing as if their lives depended on it, Live 1969 captures a band at the height of its powers, forever preserved on this final audio testament.

    1. Grand Candy Young Sweet

    2. Ninety-Nine and One Half (Wont Do)
    3. Dont Come Crying to Me Girl
    4. Hey Gyp
    5. San Francisco Girls (Return of the Native)
    Fever Tree
    $24.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Fever Tree Fever Tree Quick View

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    Fever Tree

    Fever Tree's lone hit single, the haunting 1968 tribal anthem San Francisco Girls (Return of the Native), perfectly captured the spirit of the psychedelic era. Although their signature hit led many to assume that they were a Bay Area band, Fever Tree actually hailed from Houston, Texas. San Francisco Girls quickly emerged as a staple of American underground Fm radio, and won the band an international audience after becoming an airplay favorite of influential British DJ John Peel.


    San Francisco Girls is also the centerpiece of Fever Tree's self-titled first LP, one of the period's most distinctive debut efforts. As the album demonstrates, the quintet was adept at incorporating jazz and classical influences, ambitious song structures and resourceful production touches. Such memorable numbers as The Sun Also Rises and Come with Me (Rainsong benefit from Dennis Keller's hypnotic vocals, Michael Knust's dynamic guitar work and Rob Landes' inventive keyboard textures. Also included is a memorable medley of the Beatles' Day Tripper and We Can Work It Out, and a unique interpretation of the Neil Young/Buffalo Springfield nugget Nowadays Clancy Can't Even Sing. Fever Tree's expansive musical settings also feature key contributions from a pair of noted arrangers: David Angel, renowned for his work of Love's Forever Changes and Gene Page, whose resume includes work with the likes of Phil Spector and Marvin Gaye.


    Fever Tree would release three more well-received albums, before disbanding at the dawn of the 1970s. Recent years have seen a resurgence of interest in the band's vintage work, and this one-of-a-kind debut album remains a deeply compelling sonic artifact.


    The vinyl edition of this vintage gem is mastered from the original analog tapes, features complete original cover art and is pressed on high quality, high-definition vinyl, the better to recapture the original magic of this timeless album.

    1. Imitation Situation 1 (Toccata and Fugue)
    2. Where Do You Go?
    3. San Francisco Girls (Return of the Native)
    4. Ninety-Nine and One Half
    5. Man Who Paints the Pictures
    6. Filigree & Shadow
    7. The Sun Also Rises
    8. Day Tripper-We Can Work It Out
    9. Nowadays Clancy Can't Even Sing
    10. Unlock My Door
    11. Come with Me (Rainsong)
    Fever Tree
    $24.99
    Vinyl LP Reissue - Sealed Buy Now
  • Warp & Weft Warp & Weft Quick View

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    Warp & Weft

    From one of the country's most inimitable songwriters - Portland, Oregon's Laura Veirs - comes her ninth full-length album. Beautiful, lush and at times deeply dark, Warp and Weft captures the intensity of motherhood, love and violence. Primarily electric-guitar driven, it is a fever dream of an album and could well be Veirs' best work to date. It builds on the uniform praise and commercial success of 2010's July Flame, which Utne Reader dubbed "idiosyncratic and captivating" and received glowing reviews from The New York Times, Pitchfork, NPR and others.


    The recording of Warp and Weft (a weaving term) was a community effort. Produced in Portland in March 2013 by Veirs' longtime collaborator Tucker Martine, the album features Jim James, kd lang, Neko Case, Brian Blade and members of The Decemberists and many more.


    Veirs sings not only of mid-winter suns, white blossoming cherry trees and melting ice, but also suicide, gun violence and war. She weaves threads of old folk songs including "Motherless Children" as well as stories of folk-art hero Howard Finster and jazz harpist Alice Coltrane. "I think of this record as a tapestry where disparate elements come together and are stronger and more lovely as a result," says Veirs. Veirs was eight months pregnant with her second child during the recording; she says her experience as a mother brought about some of the more beautiful and painful songs. "I'm haunted by the idea that something terrible could happen to my kids but that fear pushes me to embrace the moment. This record is an exploration of extremes - deep, dark suffering and intense, compassionate love."


    Laura makes such complicated melodies sound easy," says Neko Case. "The first listen is so comforting and warm, then after two or three listens, the time when you wanna start singing along, you are struck by the thoughtful work that went into making the sounds; the twists and turns she makes like a light gazelle. It's masterful; as a listener, it makes me feel loved. As a musician it makes me feel challenged and engaged. It's a complete protein!

    1. Sun Song
    2. America
    3. Finster Saw the Angels
    4. Dorothy of the Island
    5. Shape Shifter
    6. Ghosts of Louisville
    7. Say Darlin' Say
    8. That Alice
    9. Ikaria
    10. Sadako Folding Cranes
    11. Ten Bridges
    12. White Cherry
    Laura Veirs
    $19.99
    Vinyl LP - Sealed Buy Now
  • Tookah Tookah Quick View

    $18.99
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    Tookah

    Tookah is Emiliana Torrini's fourth album and it follows 2008's critically acclaimed Me And Armini. It sees Emiliana back in the studio with her long-time producer/collaborator Dan Carey.


    'Tookah' was written at different stages over a 3 year period, the oldest song being "When Fever Breaks" which was written having come off a tough two year tour which took it's toll in many ways.


    "The only way to deal with things is to go into the studio and do music, it is like brain scrambling. You come out of the session clearer as you get to step out of yourself take a look and deal with it."


    Other songs like 'Autumn Sun' were written in Iceland.


    "We had done that before, gone on a week's writing trip to Iceland, wrote five songs in that week which all made it onto ´Me and Armini´. We were kind of expecting the same to happen. It didn´t. We only wrote 'Autumn Sun'. It was extremely frustrating. Lyrics were hard to write for this album and I spent day and night trying to finish it - with Dan standing over me in military mode. The only time in my life I did not like him much."


    On the airplane we realized Dan had left his computer at the airport - it had the only copy of the song. He ran out to find it and just made it back just before the doors closed. We had a terrifying landing that almost ended badly. We grabbed each other and the only thing we said was "Nooo the song! It will be lost forever!"


    This record was my sound journey. I had not long had my baby and was getting my head around this huge love I had for him and then being absolutely devastated that I might have dragged him out of a world where he was wild and free, riding horses, swimming in rivers and eating over open fires, to this world where the bad is too much to handle. I had a new identity to figure out and the record was the tiger in the rowing boat. It was going nowhere. I did not like the music we were doing because we had done it before. We knew how to craft that. I needed a challenge, proof that something in me had shifted and it had to be musically as well. I was driving myself too hard.


    Dan told me I was not ready to make a record, that I should forget about it for a while, just hang out.


    So, we started hanging out, in the studio. In my head the difference was we were not making a record. I discovered the Oberheim on Youtube and that changed everything. That and the Swarmatron Dan had bought. We knew we would plaster it all over the record before we knew what the record was.


    I pulled some friends together I was writing with Simon Byrt, ("Blood Red", "Elísabet"), Ian kellett (´Elísabet) and Matt Robertson who are real synth nerds and we started playing around and having fun. We went to Dan´s and jammed and started doing some synth symphonies.


    After you have a baby there comes a time where you need to go out with your girlfriends and dance. I went to the studio with Dan and did a dance track "Speed of Dark." We danced. It had to be on the record it was a part of the journey. From that the sound of the record was born, it was a challenge bringing it all together.


    The sound was worked very visually. There are almost two stories to each song there is the lyrical visual and then there is a whole different visual that comes with the instrumental and that is how the sound was often directed. "Home" is a very good example of how the sound was built from a visual. When we were writing it, it was clear it had to have a very certain feeling. ´I wanted it to have the visual of you standing in snow blinding white, watching your breath in the cold, not feeling the cold. You look to your left and a lake stretches out frozen and huge. You walk over it to the other side into a forest, you lose direction. Completely lost and helpless. Fireworks start lighting up the sky and you feel a wave of relief. You walk towards them. In the king blue sky they start changing into jelly fish in neon flashing colours, leading the way to home.´ We did not stop until we saw that when playing it.


    'Tookah' is a made up word. It came when I was improvising and I connected with that word or name in a very deep blissful way. It is the core of you. The 'you' you were when you were born, before life decorated you like a Christmas tree with all the baggage. It is what connects us with everyone and everything.


    It is what the sufis spin for, what we are looking for all our lives. It is the sudden thankfulness you feel when doing nothing in particular, where everything is gently perfect for a moment. God has many names. I call mine 'Tookah'.


    - Emiliana Torrini

    1. Tookah
    2. Caterpillar
    3. Autumn Sun
    4. Home
    5. Elisabet
    6. Animal Games
    7. Speed of Dark
    8. Blood Red
    9. When Fever Breaks
    Emiliana Torrini
    $18.99
    Vinyl LP - Sealed Buy Now
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