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Here'S Little Richard'
Here's Little RichardLittle Richard had been making records for four years before he rolled into Cosimo Matassa's J&M Studio in New Orleans and cut the epochal Tutti Frutti in the fall of 1955, but everything else he'd done -- and much of what others had recorded -- faded into insignificance when Richard wailed A wop bop a loo mop a lomp bomp bomp and kicked off one of the first great wailers in rock history. In retrospect, Little Richard's style doesn't seem so strikingly innovative as captured in 1956's Here's Little Richard -- his boogie-woogie piano stylings weren't all that different from what Fats Domino had been laying down since 1949, and his band pumped out the New Orleans backbeat that would define the Crescent City's R&B for the next two decades, albeit with precision and plenty of groove. But what set Richard apart was his willingness to ramp up the tempos and turn the outrage meter up to ten; Tutti Frutti, Rip It Up, and Jenny Jenny still sound outrageous a half-century after they were waxed, and it's difficult but intriguing to imagine how people must have reacted to Little Richard at a time when African-American performers were expected to be polite, and the notion of a gay man venturing out of the closet simply didn't exist (Richard's songs were thoroughly heterosexual on the surface, but the nudge and wink of Tutti Frutti and Baby is faint but visible, and his bop threads, mile-high process, and eye makeup clearly categorized him as someone different). These 12 tunes may not represent the alpha and omega of Little Richard's best music, but every song is a classic and unlike many of his peers, time has refused to render this first album quaint -- Richard's grainy scream remains one of the great sounds in rock & roll history, and the thunder of his piano and the frantic wail of the band is still the glorious call of a Friday night with pay in the pocket and trouble in mind. Brilliant stuff.
- Mark Deming (All Music Guide)1. Tutti Fruitti
2. True Fine Mama
3. Can't Believe You Wanna Leave
4. Ready Teddy
6. Slippin' and Slidin'
7. Long Tall Sally
8. Miss Ann
9. Oh Why
10. Rip It Up
11. Jenny Jenny
12. She's Got It$21.99Vinyl LP -Sealed Buy Now
Here I Go AgainReleased in America in 1964 by Imperial Records, Here I Go Again was the Hollies U.S. debut, and is rated by many fans as superior to its British counterpart, Stay with the Hollies. Here I Go Again offers an accurate representation of the Hollies early repertoire, comprised largely of distinctive covers of American R&B and rock n roll classics. In addition to the ultra-catchy title tune and their hit covers of Maurice Williams Stay and Doris Troys Just One Look, the album finds the Hollies applying their trademark style to such iconic numbers as Chuck Berrys Memphis, Little Richards Lucille and Arthur Alexanders You Better Move On.
Of all the English bands who achieved international success during the first wave of the British Invasion, none combined youthful rock n roll energy with musical sophistication more compellingly than the Hollies. The Manchester quintet effortlessly combined the effervescent, Everly Brothers-inspired vocal harmonies of Allan Clarke, Graham Nash and Tony Hicks with a muscular rhythm section driven by the brilliant drummer Bobby Elliott, creating one of their eras most beloved and enduring musical catalogs.
As was standard practice with British acts at the time, the Hollies early albums reached American shores in very different form than the versions that were released overseas, with alternate track listings and different cover art than their U.K. and European counterparts. Although these unique variants are the form in which millions of American fans first experienced these historic albums, they have been out of print for decades, and have long been obtainable only at inflated collectors prices.1. Here I Go Again
5. You Better Move On
6. Talkin' 'Bout You
7. Just One Look
8. Keep Off That Friend of Mine
9. Rockin' Robin
10. Do You Love Me?
11. What Kind of Girl Are You?
12. It's Only Make Believe$24.99180 Gram Audiophile Virgin Vinyl Mono LP - Sealed Buy Now
Mono Box: The Complete Specialty And Vee-Jay Albums
5x 140 Gram Limited Edition Mono Box Set
Inclues 16-Page Booklet With Liner Notes
This deluxe, 5-LP slipcase box set includes the entire output of studio albums recorded by Little Richard for the
Specialty and Vee-Jay labels, each in their original, mono mixes: Here's Little Richard (1957), Little Richard (1958),
The Fabulous Little Richard (1959), Little Richard Is Back (1964) and His Greatest Hits (1965). Each LP is housed in
a sleeve jacket. Includes a 16-page booklet featuring new liner notes by journalist Bill Dahl, plus a treasure trove of
photos.LP 1 - Here's Little Richard
1. Tutti Frutti
2. True, Fine Mama
3. Can't Believe You Wanna Leave
4. Ready teddy
6. Slippin' and Slidin'
7. Long Tall Sally
8. Miss Ann
9. Oh Why?
10. Rip It Up
11. Jenny Jenny
12. She's Got It
14. All Night Long
LP 2 - Little Richard
1. Keep A Knockin'
2. By the Light of The Silvery Moon
3. Send Me Some Lovin'
4. Boo Hoo Hoo Hoo
6. All Around the World
7. Good Golly, Miss Molly
8. Baby Face
10. Ooh! My Soul
11. The Girl Can't Help It
LP 3 - The Fabulous Little Richard
1. Shake A Hand
2. Chicken Little Baby
3. All Night Long
4. The Most I Can Offer
5. Lonesome and Blue
7. She Knows Hot to Rock
8. Kansas City
9. Directly From My Heart
10. Maybe I'm Right
11. Early One Morning
12. I'm Just A Lonely Guy
13. Whole Lotta Shakin' Goin' On
LP 4 - Little Richard Is Back
1. A Whole Lotta Shakin' Goin' On
2. Going Home Tomorrow
3. Money Honey
4. Only You
5. Hound Dog
6. Goodnight Irene
7. Lawdy Miss Claudie
8. Groovy Little Suzy
9. Short Fat Fanny
10. Cherry Red
11. Memories Are Made of This
12. Blueberry Hill
LP 5 - His Greatest Hits
1. Tutti Frutti
2. Good Golly Miss Molly
3. Long Tall Sally (The Thing)
4. Slippin' And Slidin' (Peepin' And Hidin')
5. Rip It Up
6. Ready Teddy
7. The Girl Can't Help It
9. Keep A Knockin'
10. Medley: Kansas City / Hey-Hey-Hey-Hey
11. Jenny, Jenny
12. Miss Ann
13. Ooh! My Soul
14. True, Fine Mama
15. Baby Face
16. Send Me Some Lovin'$99.99Vinyl LP Box Set Mono - 5 LPs Sealed Buy Now
At The Five Spot, Vol. 1Part of the ultimate audiophile Prestige stereo reissues from Analogue Productions - 25 of the most collectible, rarest, most audiophile-sounding Rudy Van Gelder recordings ever made. All cut at 33 1/3.
All mastered from the original analog master tapes by mastering maestro Kevin Gray. 200-gram LPs pressed at Quality Record Pressings, plated by Gary Salstrom
Deep groove label pressings, tip-on jackets on thick cardboard stock
One night during a one-time, two-week engagement at the Five Spot produced enough music of lasting merit for three albums. When Rudy Van Gelder took his portable equipment down to the fabled Cooper Square jazz club on July 16, 1961, he captured the interaction of an extraordinary quintet.
Eric Dolphy, Booker Little, Mal Waldron, Richard Davis and Ed Blackwell had formed a cooperative group and, if LIttle had not died in October 1961, there is no doubt that it would have been a potent force in the music of the 1960s and beyond. Dolphy himself died in June 1964, after establishing himself as one of the important contemporary reedmen. Here his alto saxophone and bass clarinet and Little's trumpet explore three originals: The Prophet by Dolphy, Bee Vamp by Little, and Fire Waltz by Waldron. It's time caught in a bottle - music for the ages.1. Fire Waltz
2. Bee Vamp
3. The Prophet
4. Bee Vamp (alternate take)$34.99200 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Love And Circumstance2010's Love And Circumstance is the fourth solo full-length from singer/songwriter/musician Carrie Rodriguez. The 12-song collection was produced by Lee Townsend (Bill Frisell) and recorded with Hans Holzen (guitar), Kyle Kegerreis (bass) and Eric Platz (drums). Other artists appearing here also include none other than Bill Frisell (guitar), Greg Leisz (pedal steel/slide guitars), Aoife ODonovan (background vocals) and Buddy Miller (background vocals).
Carrie wraps herself around songs from influences and peers such as John Hiatt/Nick Lowe/Ry Cooder/Jim Keltner (aka Little Village), Buddy Miller & Julie Miller, David Rodriguez, Gillian Welch & David Rawlings, Richard Thompson, Townes Van Zandt, M. Ward, Merle Haggard & Bonnie Owens, Hank Williams, Lucinda Williams, and more. She even pays homage to her family heritage with the soulful Spanish ballad La Puñalada Trapera, popularized in the 1950s by her great-aunt, famed Mexican bolero balladeer Eva Garza.1. Big Love (John Hiatt, Nick Lowe, Ry Cooder, Jim Keltner)
2. Wide River 2. to Cross (Buddy & Julie Miller)
3. When I Heard Gypsy Davy Sing (David Rodriguez)
4. Eyes on the Prize (M. Ward)
5. Steal Your Love (Lucinda Williams)
6. Waltzing's for Dreamers (Richard Thompson)
7. I'm Not For Love (Sandrine)
8. I Made A Lover's Prayer (Gillian Welch & Dave Rawlings)
9. I Started Loving You Again (Bonnie Owens & Merle Haggard)
10. Rex's Blues (Townes Van Zandt)
11. I'm So Lonesome I Could Cry (Hank Williams)
12. La Punalada Trapera (Sosa Tomas Mendez)$42.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Chicago Jazz Festival 1990Classic late period festival show from Miles' final tour.
Miles Davis is backed by Kenny Garrett on alto saxophone and flute, Kei Agaki on synths, Richard Patterson on bass, Ricky Wellman on drums, Erin Davis (Mile's youngest son, incorrectly announced as John Bigham) on electronic percussion, and John "Foley" McCreary, Jr. on "lead bass" - a custom Blue Marble instrument tuned almost an octave higher than a standard model to fill the role of a lead guitarist.
The choice of material was equally as curious and exciting, consisting of one cut apiece from 1983's Star People and 1989's Amandla, a few numbers previously un-released on studio recordings, and a trio of covers - Scritti Politti's 'Perfect Way,' Cyndi Lauper's 'Time After Time' and Michael Jackson's 'Human Nature.'
Despite rumors of failing health during this period, Miles' playing is just as sharp and energetic as ever it was, and his band expertly blend together a complex mixture of jazz, funk and fusion.
Broadcast live on local radio for those unable to attend, this release captures the group's full set providing a snapshot of a jazz great giving one of the finest performances of his late career. Sadly, there were scant opportunities left for such as little more than a year after performing the show, now available here for the first time, Miles Davis passed away at the age of 65.LP 1
1. Perfect Way
2. Star People
1. The Senate / Me And You
2. Human Nature
3. Time After Time
5. Announcements$37.99Vinyl LP - 2 LPs Sealed Buy Now
Library Catalog Music Series Volume 7: Music For Paradise ArmorInstruments of Science & Technology's Richard Swift (born Ricardo Sigilfredo Olivarez Swift-Ochoa, 1977) lives in the NW region of the U.S. He's made lots of different music. He normally sings, but not here. Music for Paradise Armor was made on varying mediums, a Tascam 4-track, an Otari 50/50 8-track, a 16-track machine by Studer and computer by Macintosh. There are, what Swift calls, modern clickity-clacks, zzzoops s s s and the occasional bleep bleep blaaaaap here. These sounds aim to reflect tech-centric life in the West.
When a broken finger hampered his ability to fret a guitar properly, Richard Swift returned to project B., an electronic endeavor titled Instruments of Science & Technology. Swift's second release under this moniker is a part of Asthmatic Kitty's Library Catalog Music series, and like the other volumes (which include contributions by Roberto Carlos Lange and James McAlister) it is comprised of meditative background instrumentals. Following format, Volume 7: Music for a Paradise Armor is a throwback to the spaced-out electronica and analog synthesizer sounds of the `70s. It's an unintrusive type of soundtrack that never demands attention, but washes by in a quick rush. Recorded using entirely analog equipment and tape machines (with some Mac Book assistance) the songs are filled with thumping ping-pong beats and synthesized textures that bear a resemblance to the deceptively complex soundscapes of Tangerine Dream and Kraftwerk, or the Moog-style blips of circuit wizards Bruce Haack and Hot Butter. Comparatively, this outing is a little more ambient and sparse than the Music from the Films of R/Swift was, with an otherworldly German flavor. It's also other-timely; evoking a time when video games were played with paddles, presumably in a room with shag carpeting. ~ Jason Lymangrover1.((( Magic )))
4.The New Postukk
9.Studio J - Irvine, CA
11.Station Number Set
14.Even More Field Notes
15.((( Lungs )))$14.99Vinyl LP - Sealed Buy Now
Moon TidesIt's a rare and beautiful thing when a band emerges fully formed, but it makes perfect sense in the case of guitarist Daniel Hindman and keyboardist Sarah Versprille's Pure Bathing Culture. Having backed folk rock revisionist Andy Cabic in Vetiver, the New Yorkers partnered up and moved West in 2011, settling in Portland, Oregon. Building off their past experiences as musical collaborators, in a short time the duo have created a sound that is undeniably their own: soaring synths, chiming keyboards, and shimmering electric guitars move in lockstep with bouncing drum machines. Sarah's crystalline voice floats on top of it all with divine purpose. It's a sound that looks back momentarily for inspiration -- Talk Talk, Prefab Sprout, Cocteau Twins -- but then fixes its gaze firmly on the present.
Further developing the sound of their acclaimed four song, self-titled 2012 EP, at the start of 2013 they set out to record Moon Tides, their first full length album. Again, they chose to work with producer Richard Swift at his National Freedom studio in rural Cottage Grove, Oregon. Throughout 2012 Swift had called on the duo to help him with other studio projects (Versprille sings on Foxygen's latest LP and Hindman adds his sprawling guitar work to Damien Jurado's excellent Marqopa) which only helped to cement the threesome's musical partnership. For Moon Tides they continued where the previous EP left off, bolstered by Swift's belief in the duo's artistic vision and their unique sound, "From very early on, Richard was the person telling us that what we were hearing and wanting to do musically (which at times could feel a little strange or embarrassing to us) was ok and valid and that we should pursue it."
Like the earlier sessions for the EP, they worked quickly in the studio and improvised parts around the basic song structures that they'd carefully composed up in Portland. Dan explains, "Pretty much all tracks (vocals and instruments) are all first or very early takes. Richard is kind of a stickler about this and I actually don't go in with a clean, pristine idea of what I'm going to play on guitar or any other instrument for that matter, so there's actually a lot of improvisation as far as performances in the studio go." The results, like the earlier EP, are astounding: the arrangements feel fresh and imaginative, the melodies are unforgettable and the finished songs, most importantly, feel intensely human and deeply spiritual.
It's this compassion and warmth in Pure Bathing Culture that set them apart. The music is uplifting. It invites self-reflection. It never feels alienating. This, confirms the band, is no accident: "Concepts of spirituality, self actualization, mysticism, new age symbolism and pretty much anything that has to do with humans making sense of why we're all here are all deep, deep muses for us." To that point, even the album title Moon Tides alludes to self-discovery: "We are deeply inspired by the relationship between the moon and the tides. Particularly in the sense that the tides and the ocean are comprised of water and the element water is often associated with human emotion." While these heady themes can be difficult to explore in a pop song, Pure Bathing Culture makes it feel effortless. "Pendulum" is a perfect mid-tempo album opener that pulses and shines. Other standout tracks from the album -- "Dream The Dare", "Twins", "Scotty" and "Golden Girl" -- are slices of reverb-drenched, soulful, danceable electro-pop, that musically and lyrically tap into an introspective worship of the natural and psychic mysteries that surround us. Pure Bathing Culture's debut album Moon Tides is optimistic modern music for souls who seek to explore the infinite.1. Pendulum
2. Dream The Dare
3. Ever Greener
5. Only Lonely Lovers
7. Seven to One
8. Golden Girl
9. Temples Of The Moon$15.99Vinyl LP - Sealed Buy Now
Second WinterIn 1969, with several albums already under his belt in a short time like The Progressive Blues Experiment, Johnny Winter headed down south to Nashville and recorded what many believe to be one of his finest albums to date, Second Winter. The album features the original line up of Johnny Winter (vocals/guitars) Edgar Winter (keys and saxophone), Tommy Shannon (bass) and Uncle John Turner (drums). This power quartet laid down some of the finest rock and roll and blues performances ever caught in a studio setting, as well as forever etching the name superstar to Johnny Winters career.
Always an avid audiophile and record collector himself, during the original recording sessions, Johnny believed that all the tracks would sound better if spread out over an extra side, instead of the traditional two sided LP, therefore creating the infamous and probably first three sided rock album in history! He summed it up perfectly We also really liked everything wed done and didnt want to leave any of the songs out. We couldnt honesty give you more, and we didnt want to give you less, so here is exactly what we did in Nashville, no more and no less.
Its no secret that Friday Music has been championing this acclaimed world class artist for years now with his own authorized and top blues charting Live Bootleg Series projects, as well as classic vinyl re-releases from the Columbia and Capitol Records vaults. It is now with great pleasure they announe the continuing Johnny Winter 180 Gram Audiophile Vinyl Series with his phenomenal earth shaking Second Winter album. Mastered from the original Columbia Records tapes by Joe Reagoso and Kevin Gray at RTI, this incredible limited edition album comes full circle now in its first time audiophile vinyl domain release.
All his greatest hits are here like Johnny B. Goode, Miss Ann, Fast Life Rider and of course his classic interpretation of Bob Dylans scorching Highway 61 Revisited. A visionary always with each and every one of his releases, Johnny Winter put his all into this album which showed an appreciation to his rock and roll heroes like Chuck Berry and Little Richard, his contemporaries like Bob Dylan, while also being a cultural icon in the psychedelic era solely with his Texan slide and unparalleled blues playing, an unforgettable rock voice, and a fan base that just keeps growing every day.
Fellow legend and brother Edgar Winter and the rest of the band truly excel throughout this entire album as well, on tunes sweltering blues workouts like Memory Pain, I Hate Everybody and the incredible jam Hustled Down In Texas.
Friday Music has also included the long out of print original gatefold album cover designed by Tony Lane, as well as the fine photography of Richard Avedon.LP1
1. Memory Pain
2. I'm Not Sure
3. The Good Love
4. Slippin And Slidin'
5. Miss Ann
6. Johnny B. Goode
7. Highway 61 Revisited
1. I Love Everybody
2. Hustled Down In Texas
3. I Hate Everybody
4. Fast Life Rider$39.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Buy Now
Bigfoot (Awaiting Repress)Cayucas: Pronounced "ky-yook-us", is the monikered homage to a sleepy little seaside town in San Luis Obispo County,California. That town, Cayucos, has hardly changed in the last 50 years, a far cry from the gentrified tourist traps parading showily down the nearby coastline. In the early 1960s,the surfing craze hit. There was one bar around which local kids congregated back then,the site of helpless crushes and fights and games of pool, a place whose jukebox soundtracked innumerable teenage years as breezy summers rolled into mild winters and back around again.The bar has since disappeared, but as Zach Yudin, the man behind the name, will tell you, the place still holds on tight to its propensity for dreamy, lazy, bonfire-lit nights worth getting moony-eyed about.
Cayucas' debut album bears little resemblance to the sound of modern California that's been so omnipresent over the past few years. Instead, Bigfoot posesses flirty rhythmic sensibilities both snappy and sparkling, a rosy, near-tropical warmth, and a loose and conversational feel that position you right in the line of Yudin's wry gaze.
Having moved to Japan for a yearto teach,he became inspired by the country'slove of electronic music. He started writing Daft Punk-style material while he was out there, and experimenting with the vinyl sampling that would form a crucial component of Cayucas' early sound-old rock albums by bands like the Beach Boys,theTornadoes, and the Animals. Although he has since set aside the synthesizer, this braiding together of proto-pop group classicsfed directly into the album.
Bigfoot was recorded up in the chilly Pacific Northwest-in Oregon, with Secretly's Richard Swift in charge of production. It's the result of Swift and Yudin's symbiotic working relationship, and positivity one of its brightest qualities, even when recalling missed opportunities-there's no space for downcast vibes here. "High School Lover" is perhaps Bigfoot most quintessential song; centered around a chiming rhythm ripe for shimmying, and a tale that sums up Yudin'staste for his own personal nostalgia.
After working at a local independent jazz label for a couple of years, he's now making music full-time, rehearsing with his new band for Cayucas' first live shows, running along theVenice Beach boardwalk, and hitting a certain bar each night to play pool, hang out, and listen to the Beach Boys. Some places don't change.1. Cayucos
2. High School Lover
3. Will The Thrill
4. A Summer Thing
5. East Coast Girl
6. Deep Sea
7. Ayawa 'kya
8. Bigfoot$17.99Vinyl LP - Sealed AWAITING REPRESS Buy Now
IbeyiIbeyi (pronounced ee-bey-ee) means "twins" in the language of the Yoruban culture
of Lisa-Kainde and Naomi Diaz. The album of the same name, produced by
XL Recordings boss Richard Russell, is the story of two sisters: their relationship,
their origins, their shared history and their musical chemistry.
The twins' roots are reflected in the polyglot nature of the lyrics - in English,
French and Yoruban - and music which combines ritual chants with synths and
samplers, jazz vocals with the spellbinding mystery of Björk and Fever Ray, the
traditional with the modern. This uniquely cosmopolitan sound is the perfect
vehicle for their intimately personal stories. According to them, "This album is
about love and family and people who are gone."
Lisa-Kainde and Naomi (the eldest by two minutes) were born in Paris, where
they still live, but spent their first two years in Cuba. Their father was Miguel
"Anga" Diaz, the member of the Buena Vista Social Club, who was acclaimed as
the greatest conga player.
Record producer and XL Recordings boss Richard Russell first encountered
Ibeyi when he saw them performing "Mama Says" on a 2013 YouTube video. He
soon invited them to meet him - a serious offer from someone who in recent
years has produced albums by Gil Scott-Heron I'm New Here and Bobby Womack
The Bravest Man In The Universe (co-produced with Damon Albarn), as well
Albarn's own acclaimed 2014 solo album Everyday Robots.
The album is a subtle melange of diverse influences: not just Lisa-Kainde's soul
and jazz leanings and Naomi's up-to-the-minute beatmaking but the bloodlines
of France, Cuba and Africa, including the use of Yoruban chants they first heard in
the Santeria ceremonies. The tense, dramatic "Oya," the lead track on their debut
EP, addresses the deity (or "Orisha") of change and destruction while "River"
honours Oshun, the Orisha of love, rivers and fertility. Yoruban culture travelled
from Nigeria and Benin to Cuba and Brazil with the slave ships centuries ago but
is little-known in Europe.1. Eleggua (Intro)
5. Think Of You
6. Behind The Curtain
7. Stranger / Lover
8. Mama Says
12. Ibeyi (Outro)$22.99Vinyl LP - Sealed Buy Now
A Crow Left Of The Murder...Double gatefold sets presented on 180-gram audiophile vinyl.
At the beginning of their career, Incubus was rightly lumped in with the legions of post-Korn alt metal/rap-rock bands swarming America in the latter days of the 20th century. But by their third album, 1999's Make Yourself, they had separated from the pack, as indicated by the presence of producer Scott Litt, best-known for his work with R.E.M. It signaled that the band was serious, and they began expanding their rap-metal template on that album and its follow-up, 2001's Morning View, completing their transition from juvenelia to maturity with 2003's Crow Left of the Murder. Switching from Litt to producer Brendan O'Brien, a man who has been with Pearl Jam longer than any of their drummers, Incubus has opted for a clean, crisp yet heavy sound which allows them to aggressively switch from crunching metallic riffs to jazzy prog interludes. It's an expansive musical vision charged with some righteous anger; although vocalist Brandon Boyd doesn't write explicit protests, there sure are enough allusions to social turbulence to make this the first politically aware alt metal album in many a year. This maturation is even more evident in the music, how the band actually swings on Zee Deveel, or how guitarist Michael Einzinger's jazz-influenced solos seem both carefully constructed and casually tossed off, or how Boyd's voice shifts from song to song (or during a song, as on the opening Megalomaniac, which sounds like a bizarre blend of Mr. Mister's Richard Page and John Lydon). All this maturation does mean that Incubus may shed some older fans, since the naked ambitions on this record are far removed from the earnest, angst-ridden earlier records, but so be it -- A Crow Left of the Murder... is far more interesting than any of their other records, or their peers'. At times, they may stretch themselves a little too far here, but the ambition is admirable and the achievements are tangible -- a real breakthrough for the band.
2. A Crow Left of the Murder
4. Talk Show on Mute
5. Beware! Criminal
6. Sick Sad Little World
8. Southern Girl
10. Zee Deveel
11. Made for TV Movie
12. Smile Lines
13. Here in My Room
14. Leech$34.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
Etta James (Pure Pleasure)Etta James, one of the most fabulous and respected figures in the history of R&B music. Here are some of Miss Peaches' legendary pre-Chess recordings including the first session, cut on Thanksgiving Eve 1954, when she was just 16, which yielded "Roll With Me, Henry".
"Jean Mitchell and her sister Abbysinia came from New Orleans and were Creole-looking people," wrote our subject in her autobiography. " Jean was my age; Abbye was eight or nine years older. Jean and I started singing together. Soon Abbye joined in and, just like that, we became the Creolettes. We were project girls imitating the young rhythm and blues of the time. Mainly, though, we were intrigued with vocal harmony. We developed a tight three-way blend, imitating groups like the Spaniels, the Swallows, the Chords and the Spiders. One afternoon the Creolettes were singing at a record hop when who should show up but Hank Ballard and his superfine Midnighters. We were thrilled. When they heard us sing, they said something encouraging and, man, that's all we needed to hear. When they sang Work With Me, Annie, the place went wild. Next day the song was still on my mind. Answer songs were big back then, and then it occurred to me - why not answer Hank's hit? I liked doing spunky shit. So I wrote Roll With Me, Henry, a pushy little jiveass reply."
That blockbuster initiation was produced by the fabled Johnny Otis, the hipster also responsible for renaming Ms H and her gal pals Etta James and the Peaches: "The Peaches were pissed because I was getting the glory, but I was even more pissed than the Peaches because Georgia Gibbs came out with her Suzy Creamcheese version. I was happy to have any success, but I was enraged to see Her Nibbs singing the song on the Ed Sullivan Show while I was singing it in some funky dive in Watts." Providing the voice of "Henry" on Etta's original was Richard Berry, who went on to sing on and write many other songs for her, some of which, like Good Rockin' Daddy, also feature back-ups by those fabulous chicks, the Dreamers.
Not only has Etta James made some wonderful records in her illustrious career , she has also authored the brilliant autobiography Rage To Survive, from which all of the above quotations are borrowed.
- Etta James (vocal) & band
Recorded 1954 - 56, Los Angeles
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. Good Rockin' Daddy
2. Hey Henry
3. Strange Things
4. That's All
5. I'm A Fool
6. Dance With Me Henry
7. Do Something Crazy
9. My One And Only
10. I Hope Your Satisfied$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
West Coast Seattle Boy: The Jimi Hendrix Anthology (Awaiting Repress)LPs Cut from the Original Masters at Sterling Sound by Iconic Engineer George Marino
58-Track Behemoth Includes 45 Previously Unreleased Hendrix Studio and Live Recordings
Hendrix's Journey Traced in Music: From Little-Known R&B Sideman to Rock Superstar
Ultimate Hendrix Set is the Jewel of Legacy's Catalog Restoration Project
The wave of newly re-mastered, all-analog Jimi Hendrix titles culminates in the long awaited release of West Coast Seattle Boy: The Jimi Hendrix Anthology. This definitive career-spanning 8-LP Box Set tracks Hendrixs remarkable journey from R&B sideman to international guitar hero. The deluxe set is filled with previously unreleased Jimi Hendrix Experience recordings plus demos, alternate takes, and more. This newly assembled Jimi Hendrix anthology also includes a new Hendrix documentary DVD, directed by the Grammy award-winning Bob Smeaton (Beatles Anthology, Festival Express, and Beatles: The Studio Recordings). The LPs have been cut from the original masters at Sterling Sound in Manhattan by iconic engineer George Marino.
This long-awaited career-spanning box set tracks Hendrix's remarkable journey from little known R&B sideman to international stardom through an unprecedented assemblage of previously unavailable recordings. West Coast Seattle Boy - The Jimi Hendrix Anthology is not a collection of existing Hendrix albums but instead 45 unreleased Hendrix live and studio recordings including demos and alternate versions of songs from Are You Experienced, Axis: Bold As Love, and Electric Ladyland.
West Coast Seattle Boy includes Hendrixs never before heard version of Bob Dylans 'Tears Of Rage, solo acoustic recordings of Electric Ladyland favorites like Long Hot Summer Night and 1983 (A Merman I Shall Turn To Be) as well as never before heard live performances from Berkeley and the legendary Band Of Gypsys Fillmore East concert on New Year's Eve 1969 combined together with such new Hendrix songs as Hear My Freedom, Hound Dog Blues, Lonely Avenue and more.
A centerpiece achievement in Legacy Recordings' monumental Jimi Hendrix catalog project, West Coast Seattle Boy - The Jimi Hendrix Anthology is the first Hendrix collection to bring fans access to a comprehensive treasure trove of fresh material -- including demos, alternate takes, live concert jewels and more -- from all phases of the artist's recording career (1964 -1970). It offers the most complete collection of Jimi's pre-Experience R&B performances (including his singles with the Isley Brothers, Little Richard, Don Covay, King Curtis and more) to ever be officially anthologized, while bringing together the most comprehensive and revelatory set of fully realized songs, never before heard live performances, alternate studio takes, acoustic and electric demos, and other rarities drawn from every chapter of Hendrix's remarkable life and career.
The newly curated and assembled West Coast Seattle Boy - The Jimi Hendrix Anthology also includes Jimi Hendrix Voodoo Child, a new 90-minute documentary directed by the multiple Grammy-award winning Bob Smeaton (Beatles Anthology, Festival Express, Beatles: The Studio Recordings, Band of Gypsys). An autobiographical journey told in the legendary musician's own words as read by Parliament-Funkadelic's Bootsy Collins, the film incorporates interviews with Hendrix, coupled with the artist's letters, writings and recordings to provide new insight into one of the most enduring icons of popular culture.
The documentary features some of Jimi's greatest performances as well as rare and never before seen footage and photos including--for the first time ever--examples from the Hendrix family archive of the late guitarists personal drawings, postcards home to his father, song drafts, sketches, and lyrics.
Who better to tell the incredible story of a man's life than the man himself? Jimi was amazing and only his music, with tones and textures that he conjured, can capture the colorful and expansive essence of his time here on earth. I am enthralled with this all-encompassing new anthology which not only illuminates his years on both sides of the Atlantic and beautifully reveals his versatility as a performer, from his R&B origins to his explosion on the pop culture scene, but highlights who he was for those who knew and loved him, says Janie Hendrix, President and CEO of Experience Hendrix and co-producer of West Coast Seattle Boy - The Jimi Hendrix Anthology.
An essential and historic addition to the Jimi Hendrix catalog, West Coast Seattle Boy - The Jimi Hendrix Anthology brings together, for the first time, many of Hendrix's earliest commercial recordings, providing a rare glimpse of the rising rock guitar hero through a series of stellar sideman performances on a set of highly collectible pre-Experience R&B singles.Included on the first 2LPs of West Coast Seattle Boy:
1. Isley Brothers - Testify (1964
2. Don Covay & the Goodtimers - Mercy, Mercy (1964 - #1 Cashbox R&B - #35 Billboard Hot 100)
3. Don Covay & the Goodtimers - Can't Stay Away (1964)
4. Rosa Lee Brooks - My Diary (1965 - written by Arthur Lee)
5. Rosa Lee Brooks - Utee (1965)
6. Little Richard - I Don't Know What You Got But It's Got Me (1965)
7. Little Richard - Dancing All Around The World (1965)
8. Frank Howard & The Commanders - I'm So Glad (1966 - written by Billy Cox)
9. Isley Brothers - Move Over And Let Me Dance (1965)
10. Isley Brothers - Have You Ever Been Disappointed (1965)
11. Ray Sharpe - Help Me (Get The Feeling) (Part I) (1966)
12. The Icemen - (My Girl) She's A Fox (1966)
13. Jimmy Norman - That Little Old Groovemaker (1966)
14. Billy Lamont - Sweet Thang (1968)
15. King Curtis - Instant Groove (1969)
The third and fourth LPs of West Coast Seattle Boy - The Jimi Hendrix Anthology focus on 1967-68 and Hendrix's breakout sessions with the Jimi Hendrix Experience:
16. Fire (1967) - Previously Unreleased Alternate Recording
17. Are You Experienced (1967) - Previously Unreleased Recording
18. May This Be Love (1967) - Previously Unreleased Alternate Recording
19. Can You See Me (1967) - Previously Unreleased Alternate Recording
20. Love Or Confusion (1967) - Previously Unreleased Alternate Recording
21. Little One (1967) - Previously Unreleased Recording (featuring Dave Mason on sitar)
22. Mr. Bad Luck (1967) - Previously Unreleased Alternate Recording
23. Cat Talking To Me (1967) - Previously Unreleased Alternate Recording
24. Castles Made Of Sand (1967) - Previously Unreleased Recording
25. Tears Of Rage (1968) - Previously Unreleased Recording
26. Hear My Train A Comin' (1968) - Previously Unreleased Recording
27. 1983 (A Merman I Shall Turn To Be) (1968) - Previously Unreleased Recording
28. Long Hot Summer Night (1968) - Previously Unreleased Recording
29. My Friend (1968) - Previously Unreleased Recording
30. Angel (1968) - Previously Unreleased Recording
31. Calling All The Devil's Children (1968) - Previously Unreleased Recording
32. New Rising Sun (1968) - Previously Unreleased Alternate Recording
The fifth and sixth LPs of West Coast Seattle Boy - The Jimi Hendrix Anthology revisit 1968-1969, both a peak and pivotal period for Hendrix in which the artist was exploring bold new directions on stage and in the studio:
33. Hear My Freedom (1968) - Previously Unreleased Recording
34. Room Full Of Mirrors (1969) - Previously Unreleased Recording
35. Shame, Shame, Shame (1969) - Previously Unreleased Recording
36. Messenger (1968) - Previously Unreleased Recording
37. Hound Dog Blues (1969) - Previously Unreleased Recording
38. Untitled Basic Track (1968) - Previously Unreleased Recording
39. Star Spangled Banner (1969) - Previously Unreleased Original Mix
40. Purple Haze (1969) - Previously Unreleased Original Mix
41. Young/Hendrix (1969) - Previously Unreleased Alternate Recording
42. Mastermind (1969) - Previously Unreleased Recording
43. Message To Love (1969) - Previously Unreleased Alternate Recording
44. Fire (1969) - Previously Unreleased Recording
45. Foxey Lady (1969) - Previously Unreleased Recording
Opening with Hendrix's incendiary New Year's Eve performance of Stone Free at New York's Fillmore East on December 31, 1969 and closing with a previously unheard recording from Hendrix alone in his Greenwich Village apartment in 1970, the seventh and eighth LPs of West Coast Seattle Boy - The Jimi Hendrix Anthology provides a fascinating portrait of an artist at his fiery best, working on the future:
46. Stone Free (1969) - Previously Unreleased Recording
47. Burning Desire (1970) - Previously Unreleased Recording
48. Lonely Avenue (1969) - Previously Unreleased Recording
49. Everlasting First (1970) - Previously Unreleased Alternate Recording (featuring Arthur Lee)
50. Freedom (1970) - Previously Unreleased Recording
51. Peter Gunn/Catastrophe (1970) - Previously Unreleased Alternate Recording
52. In From The Storm (1970) - Previously Unreleased Alternate Recording
53. All God's Children (1970) - Previously Unreleased Recording
54. Red House (1970) - Previously Unreleased Recording
55. Play That Riff [Thank You] (1970) - Previously Unreleased Recording
56. Bolero (1970) - Previously Unreleased Alternate Recording
57. Hey Baby (New Rising Sun) - Previously Unreleased Alternate Recording
58. Suddenly November Morning (1970) - Previously Unreleased Recording$99.99Vinyl LP - Limited Edition 8 LP Box Set Sealed AWAITING REPRESS Buy Now
$34.99 $31.49 Save $3.50 (10%)
King Of America (On Sale)King of America on Numbered Limited Edition 180 Gram LP from Mobile Fidelity
Costello Teams With Musical Legends and Standout Producer T-Bone Burnett on Exemplary 1986 Album
Mastered from the Original Master Tapes: Mobile Fidelity LP Maximizes the Get-In, Get-Out, Live-In-the-Studio Immediacy and De-Congested Mix
Includes Introspective Songwriting Gems Such as "Indoor Fireworks," "Poisoned Rose," "Brilliant Mistake," and "Little Palaces"
Juggling Themes of Desire and Exile, Costello Strips Arrangements Down to Folk, Country and Pub-Rock Roots
Elvis Costello spent the year prior to recording King of America embarking on a solo tour, usually accompanied by producer/singer-songwriter T-Bone Burnett. The pair's decision to collaborate on Costello's 1986 album came naturally, and the music sounds it-emotional, effortless, literate, seemingly uncomplicated. Credit, however, not only goes to the best batch of Costello originals since 1982's Imperial Bedroom, but to the literally awesome and awe-inspiring cast of musicians Burnett invited to participate.
Mastered from the original master tapes and pressed at RTI, Mobile Fidelity's 180 gram LP of this masterpiece broadens the live-in-the-studio intimacy and opens up the midrange, highs, and lows of Burnett's fabulously de-congested mix. Made with few overdubs or effects, King of America relishes organic approaches and faithful tones-as well as a vast spaciousness and balance not always evident on Costello's efforts with the attractions. Finally, Mobile Fidelity transports the listener to the semicircle of players that surrounded Costello in the studio, and highlights the benefits of the center-of-the-production miking technique employed on the singer's voice and guitar playing.
Given the brilliance of the performances, every music fan will want to be brought as near as possible to the purity of these sessions. A Hall of Fame-caliber list of instrumentalists accompany Costello, with Elvis Presley's T.C.B. mates Ron Tutt (drums), James Burton (guitar), and Jerry Scheff (bass) forming one band and drummer Earl Palmer (Little Richard), bassist Ray Brown (Oscar Peterson, Duke Ellington), pianist Tom Canning, and organist Mitchell Froom ready in waiting as another. Several of these musicians formed yet another band, joined by drummer Jim Keltner of Bob Dylan, George Harrison, and John Lennon fame. Oh-and the Attractions make a guest appearance on one track.
King of America-the title reflective of the threads of intentional, thought-provoking contradiction throughout-would be exemplary if just for the troupe. Yet it's the combination of chemistry, ability, sonics, and tunes that propel this watertight platter to iconic status. Unconcerned with writing a radio hit or adhering to a single musical theme, Costello wrote a majority of the material on acoustic guitar and on piano, tapping his pub-rock and folk roots in turning out songs that remain some of the catchiest, introspective, and deep of his career. Cuts such as "Indoor Fireworks," "Poisoned Rose," "Brilliant Mistake," and "Suit of Lights" epitomize Costello's inimitable manner of viewing adulthood, romance, and geographical transition through a transparent lens that blocks neither truth nor consequence.
As for the music? It swings (vide, Scheff's bass line on "Lovable"), swishes (Keltner's brushes on "I'll Wear It Proudly"), jumps (Brown's string bass on "Eisenhower Blues"), swoons ("Poisoned Rose"), and shuffles ("Jack of All Parades"). There's truly not a bum track here, and now, experienced in such high fidelity, the genius of every contributor can be easily heard and felt. Akin to Mobile Fidelity's other Costello reissues, this is not to be missed.
This title is not eligible for further discount.1. Brilliant Mistake
3. Our Little Angel
4. Don't Let Me Be Misunderstood
5. Glitter Gulch
6. Indoor Fireworks
7. Little Palaces
8. I'll Wear It Proudly
9. American Without Tears
10. Eisenhower Blues
11. Poisoned Rose
12. The Big Light
13. Jack of All Parades
14. Suit of Lights
15. Sleep of The Just$34.99 $31.49 Save $3.50 (10%)180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now