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  • North by Northwest Soundtrack North by Northwest Soundtrack Quick View

    $40.99
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    North by Northwest Soundtrack

    This timeless 1959 Alfred Hitchcock thriller set a new benchmark for the format across the following decades as the precursor to James Bond and the wide-screen world of larger than life action adventure. Starring Cary Grant, it's the story of a man in peril being pursued across America from New York to Mount Rushmore.


    Bernard Herrmann's score for the film is overwhelmingly an orchestral tour-de-force and this release presents the fullest of stereo mixes of the original recordings under the baton of the composer himself. It allows the listener to appreciate the incredible line-up of MGM contracted musicians whose flair across the entire range of orchestral instruments delivers one of the most breath-taking soundtracks ever recorded. Herrmann described it as, "a kaleidoscopic orchestral fandango designed to kick-off the exciting rout which follows. Premiered in Chicago on July 1st 1959, this release puts you dead centre in the best seats in the house to recapture the debut of that musical moment from 57 years ago.

    LP 1

    1. Overture - Main Title - Bernard Herrmann

    2. The Streets - Bernard Herrmann

    3. Kidnapped - Bernard Herrmann

    4. The Door / Cheers - Bernard Herrmann

    5. The Wild Ride / Car Crash - Bernard Herrmann

    6. The Return / Two Dollars - Bernard Herrmann

    7. The Elevator - Bernard Herrmann

    8. The U.N. / Information Desk - Bernard Herrmann

    9. The Knife - Bernard Herrmann

    10. Interlude - Bernard Herrmann

    11. Detectives / Conversation Piece / Duo - Bernard Herrmann

    12. The Station / The Phone Booth / Farewell - Bernard Herrmann

    13. The Crash / Hotel Lobby - Bernard Herrmann

    14. The Reunion / Goodbye / The Question - Bernard Herrmann

    15. The Pad & Pencil / The Auction / The Police - Bernard Herrmann

    16. The Airport - Bernard Herrmann

    17. The Cafeteria / The Shooting - Bernard Herrmann


    LP 2

    1. The Forest - Bernard Herrmann

    2. Fight / The Ledge - Bernard Herrmann

    3. The House - Bernard Herrmann

    4. The Balcony / The Match Box - Bernard Herrmann

    5. The Message / The T.V. / The Airplane - Bernard Herrmann

    6. The Gates / The Stone Faces / The Ridge / On the Rocks / The Cliff Finale - Bernard Herrmann

    7. It's a Most Unusual Day (Source) [Bonus Track] - Harold Adamson and Jimmy McHugh

    8. Rosalie (Source) [Bonus Track] - Cole Porter

    9. In the Still of the Night (Source) [Bonus Track] - Cole Porter

    10. Fashion Show (Source) [Bonus Track] - Andre Previn

    11. The Crash (Alternate Take) [Bonus Track] - Bernard Herrmann

    Bernard Herrmann
    $40.99
    180 Gram Audiophile Virgin Vinyl - 2 LPs Sealed Buy Now
  • James Bond: Live and Let Die Soundtrack James Bond: Live and Let Die Soundtrack Quick View

    $24.99
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    James Bond: Live and Let Die Soundtrack

    1973 Soundtrack Includes Paul McCartney & Wings Performing Live And Let Die!


    Live and Let Die is the soundtrack to the eighth James Bond film of the same name. It was scored by George Martin. The title song was written by Paul and Linda McCartney and performed by Paul McCartney & Wings.


    It was the first Bond film score not to involve John Barry.


    Producers Saltzman and Albert Broccoli approached Paul McCartney to write the theme song and McCartney in turn asked Martin to record it for him. Impressed with the orchestration for the finished track, Saltzman and Broccoli considered Martin for the film's score.


    Martin worked closely with director Guy Hamilton who described what the music should convey in each scene as it unfolds. Only very minor changes to the finished score were asked for. Martin felt that this was as much for Hamilton's accurate briefing.


    The orchestra was conducted by Martin and recorded at AIR studios. The soundtrack was also released in quadrophonic.


    Live and Let Die was the first time that a rock music arrangement was used to open a Bond film. It was also the first time that McCartney and Martin had worked together since Abbey Road in 1969. McCartney had been considered as title song composer for the previous Bond film, Diamonds Are Forever.
    The Live and Let Die single was a major success in the U.S. and U.K. and continues to be a highlight of McCartney's live shows.

    1. Live and Let Die
    2. Just A Closer Walk With Thee
    3. Bond Meets Solitaire
    4. Whisper Who Dares
    5. Snakes Alive
    6. Baron Samedi's Dance of Death
    7. San Monique
    8. Fillet of Soul
    9. Bond Drops In
    10. If He Finds It, Kill Him
    11. Trespassers Will Be Eaten
    12. Solitaire Gets Her cards
    13. Sacrifice
    14. James Bond Theme
    15. Gunbarrel / Snakebit
    16. Bond To New York
    17. San Monique (alternate)
    18. Bond and Rosie
    19. The Lovers
    20. New Orleans
    21. Boat Chase
    22. Underground Liar
    George Martin
    $24.99
    Vinyl LP - Sealed Buy Now
  • James Bond: Goldfinger Soundtrack James Bond: Goldfinger Soundtrack Quick View

    $24.99
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    James Bond: Goldfinger Soundtrack

    Music Composed by John Barry and Vocals by Shirley Bassey!


    This is the first of three James Bond films with a theme song sung by Shirley Bassey, whose forceful, dramatic style became a series trademark (she would go on to sing Diamonds Are Forever and Moonraker). Goldfinger was composed by John Barry, with lyrics by Anthony Newley and Leslie Bricusse, and is widely acknowledged as a classic of its genre. Famously, co-producer Harry Saltzman hated the song and only agreed to use it when persuaded by Albert Broccoli.


    Originally, Newley recorded a version of the theme song, but it was later re-recorded with Bassey's voice for the film and soundtrack album. In 1992, Newley's version was released for the 30th Anniversary of James Bond on film, in the compilation collectors edition The Best of Bond...James Bond.


    The score was composed by Barry, making this his second, credited Bond score. The score makes regular use of instrumental arrangements of the title theme, as well as the Bond theme from Dr. No used in the gun barrel sequence . The score makes heavy use of brass. The distinctive music for Goldfinger's henchman, Oddjob, makes use of repeated strokes on a metallic anvil. Metallic chimes are also heard in many scenes associated with Oddjob or gold, notably that in which the dead golden girl is discovered. The very effective use of music and various sound effects in the film won it an Academy Award for Best Sound Editing. The album reached No. 1 on the Billboard 200, and spent 70 total weeks on the chart.

    1. Main Title - Into Miami - Goldfinger
    2. Alpine Drive - Auric's Factory
    3. Oddjob's Pressing Engagement
    4. Bond Back In Action Again
    5. Teasing the Korean
    6. Gassing the Gangsters
    7. Goldfinger (instrumental)
    8. Dawn Raid on Fort Knox
    9. The Arrival of the Bomb and Count Down
    John Barry
    $24.99
    Vinyl LP - Sealed Buy Now
  • Disco Volante Disco Volante Quick View

    $34.99
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    Disco Volante

    Disco Volante is the second studio album by American experimental Rock band Mr. Bungle. Released in 1995, it is considered by many to be the most experimental of all their albums, picking up inspiration from a wide variety of musical styles including Death Metal, Techno, '50s space age Pop, musique concrète and Italian avant-garde.


    Faith No More's vocalist Mike Patton also uses a great number of vocal effects boxes and samples throughout the album.


    The album's title refers to the name of the yacht of the same name featured in the James Bond film Thunderball. Disco Volante has been well received by critics, being called a 'totally original and new musical style, and an album that sounds like nothing that currently exists'. The track "Desert Search For Techno Allah" is described as 'a middle eastern Techno number that has to be heard to be believed.' This is a band whose sole purpose is to break all the pre-existing rules of music and doesn't think twice about taking chances.

    1. Everyone I Went To High School With Is Dead
    2. Chemical Marriage
    3. Carry Stress In The Jaw
    4. Desert Search For Techno Allah
    5. Violenza Domestica
    6. After School Special
    7. Phlegmatics
    8. Ma Meeshka Mow Skwoz
    9. The Bends
    10. Backstrokin'
    11. Merry Go Bye Bye
    Mr. Bungle
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Spectre Soundtrack Spectre Soundtrack Quick View

    $34.99
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    Spectre Soundtrack

    For the 24th movie in the James Bond oeuvre, "Spectre," Oscar-winning director Sam Mendes has again enlisted 6-time Grammy winner Thomas Newman ('Skyfall,' 'American Beauty') to write a breathtaking original score. This soundtrack has the added bonus of an instrumental version of the new Bond theme song, "Writing's On The Wall." The "Spectre" theme song sung by fellow multiple Grammy-winner Sam Smith, is the first time a male solo has sung the theme song since "Thunderball."
    LP 1
    1. Los Muertos Vivos Estan
    2. Vauxhall Bridge
    3. The Eternal City
    4. Donna Lucia
    5. A Place Without Mercy
    6. Backfire
    7. Crows Klinik
    8. The Pale King
    9. Madeleine
    10. Kite In A Hurricane
    11. Snow Plane
    12. L' Americain
    13. Secret Room


    LP 2
    1. Hinx
    2. Writing's On The Wall (Instrumental)
    3. Silver Wraith
    4. A Reunion
    5. Day Of The Dead
    6. Tempus Fugit
    7. Safe House
    8. Blindfold
    9. Careless
    10. Detonation
    11. Westminster Bridge
    12. Out Of Bullets
    13. Spectre

    Thomas Newman
    $34.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • James Bond: You Only Live Twice Soundtrack James Bond: You Only Live Twice Soundtrack Quick View

    $24.99
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    James Bond: You Only Live Twice Soundtrack

    The James Bond soundtrack to You Only Live Twice once again reunites John Barry with the franchise. He brings
    in Nancy Sinatra on the title track.
    1. You Only Live Twice (Title Song) - Nancy Sinatra
    2. Capsule In Space
    3. Fight At Kobe Dock - Helga
    4. Tanaka's World
    5. A Drop In The Ocean
    6. The Death Of Aki
    7. Mountains And Sunsets
    8. The Wedding
    9. James Bond - Astronaut?
    10. Countdown For Blofeld
    11. Bond Averts World War Three
    12. You Only Live Twice (End Title) - Nancy Sinatra
    13. James Bond In Japan
    14. Aki, Tiger And Osato
    15. Little Nellie
    16. Soviet Capsule
    17. Spectre And Village
    18. James Bond - Ninja
    19. Twice Is The Only Way To Live
    John Barry
    $24.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • On Her Majesty's Secret Service On Her Majesty's Secret Service Quick View

    $24.99
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    On Her Majesty's Secret Service

    Featuring score by John Barry, On Her Majesty's Secret Service is the soundtrack to the sixth James Bond film. 2015 is a big year for Bond, James Bond with the late Fall release of Spectre, the latest installment of this mega successful film franchise and brand.
    1. We Have All the Time In the World (Louis Armstrong)
    2. This Never Happened To the Other Feller
    3. Try
    4. Ski Chase
    5. Do You Know How Christmas Trees Are Grown? (Nina van Pallandt)
    6. On Her Majesty's Secret Service (Main Title)
    7. Journey To Blofeld's Hideaway
    8. We Have All the Time In the World (instrumental)
    9. Over and Out
    10. Battle at Piz Gloria
    11. We Have All the Time In the World / James Bond Theme
    John Barry
    $24.99
    Vinyl LP - Sealed Buy Now
  • Thunderball Thunderball Quick View

    $24.99
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    Thunderball

    50th Anniversary Of The Thunderball Soundtrack


    2015 is a big year for Bond, James Bond with the late Fall release of Spectre, the latest installment of this mega successful film franchise and brand. Features score by John Barry and the title song is performed by the legendary Tom Jones.

    1. Thunderball (Main Title)
    2. Chateau Flight
    3. The Spa
    4. Switching the Body
    5. The Bomb
    6. Cafe Martinique
    7. Thunderball (Instrumental)
    8. Death of Fiona
    9. Bond Below Disco Volante
    10. Search for the Vulcan
    11. 007
    12. Mr. Kiss Kiss Bang Bang
    John Barry
    $24.99
    Vinyl LP - Sealed Buy Now
  • The Spy Who Loved Me The Spy Who Loved Me Quick View

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    The Spy Who Loved Me

    The Spy Who Loved Me Soundtrack to the James Bond film of the same name features the smash hit "Nobody
    Does It Better" by Carly Simon as well as score by Marvin Hamlisch.
    1. Nobody Does It Better [From The Spy Who Loved Me]
    2. Bond 77
    3. Ride To Atlantis
    4. Mojave Club
    5. Nobody Does It Better
    6. Anya
    7. The Tanker
    8. The Pyramids
    9. Eastern Lights
    10. Conclusion
    11. End Titles (Nobody Does It Better)
    Marvin Hamlisch
    $24.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Stringbeat Stringbeat Quick View

    $32.99
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    Stringbeat

    While John Barry's name is most widely associated with the James Bond films (to which he wrote most of the soundtracks) he is also well known for his work on other award-winning films like Midnight Cowboy, Dances With Wolves, Out Of Africa, and the 1960 cult flick Beat Girl, starring Gillian Hills and singer Adam Faith (in his film debut). While Barry focused much of his attention on his soundtracks (winning five Oscars over the course of his career), he also released a few LPs as well, including 1961's Stringbeat. Here Barry serves up a cool slice of instrumental lounge music (think James Bond's bachelor pad), featuring tunes by the top songwriters of his day, as well as his own compositions.
    1. It Doesn't Matter Anymore
    2. Sweet Talk
    3. Moody River
    4. There's Life in the Old Boy Yet
    5. A Handful of Songs
    6. Like Waltz
    7. Rodeo
    8. Donna's Theme
    9. Starfire
    10. Baubles, Bangles and Beads
    11. Zapata
    12. Rum-DeE-Dum-DeE-DaH
    13. Spanish Harlem
    14. Man from Madrid
    15. The Challenge (Barry)
    John Barry
    $32.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • The Beat Of My Heart (Speakers Corner) The Beat Of My Heart (Speakers Corner) Quick View

    $34.99
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    The Beat Of My Heart (Speakers Corner)

    The crooner Tony Bennett fulfilled a lifetime dream with this percussion jazz formation: At last he could go into the studio with the greatest drummers and top-notch jazz musicians and just swing to his heart's content.


    Chico Hamilton, Jo Jones, Art Blakey, Candido and Sabu were responsible for the beat while Kai Winding, Herbie Mann, Nat Adderley and Al Cohn took care of the background among other things, and such great musicians as Milt Hinton and Eddie Safranski and John Pisano tied the whole thing together.


    The 12 numbers, recorded in four sessions, were arranged by pianist Ralph Sharon in a laid-back and diversified manner and allowed Tony Bennett plenty of room to swing along serenely. Should one recommend a particular title? If the answer is yes, then the 'pure' numbers with Chico Hamilton. And the rest? Yes, the good old jazz evergreens - which, however, sound quite new here. Really one could practically recommend all of them!


    To be sure: this is no LP for narrow-minded jazz purists, and certainly not for lovers of the soothing crooner - but why not one for both camps?

    Musicians:



    • Tony Bennett (vocal)

    • Ralph Sharon (piano, arranger, conductor)

    • Kai Winding (trombone)

    • Al Cohn (tenor saxophone)

    • Nat Adderley (trumpet)

    • Herbie Mann (flute)

    • John Pisano (guitar)

    • James Bond, Eddie Safranski (bass)

    • Eddie Costa (vibraphone)

    • Jo Jones, Chico Hamilton, Art Blakey (drums)

    • Sabu (drums, percussion)




    Recording: October 1957 at CBS 30th Street Studio, New York in mono

    Production: Mitch Miller



    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. Let's Begin

    2. Lullaby Of Broadway

    3. Let There Be Love

    4. Love For Sale
    5. Army Air Corps Song
    6. Crazy Rhythm
    7. The Beat Of My Heart

    8. So Beats My Heart For You

    9. Blues In The Night
    10. Lazy Afternoon

    11. Let's Face The Music And Dance

    12. Just One Of Those Things
    Tony Bennett
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Writing's On The Wall Writing's On The Wall Quick View

    $8.99
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    Writing's On The Wall

    7 45 RPM Single


    Sam Smith's Writing's On The Wall, is the theme song to Spectre, the 24th James Bond film. This song was the first James Bond theme song recorded by a British male solo artist since 1965 and also the first from the iconic franchise to hit No. 1 on the U.K.'s Official Top 100 Singles Chart.

    1. Writing's On The Wall
    2. Writing's On The Wall (Instrumental)
    Sam Smith
    $8.99
    7 Vinyl LP 45 RPM - Sealed Buy Now
  • James Bond: Dr. No Soundtrack James Bond: Dr. No Soundtrack Quick View

    $24.99
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    James Bond: Dr. No Soundtrack

    The Dr. No Soundtrack to Ian Fleming's 007 James Bond film of the same name was originally issued in 1963, although the film was released in June 1962.


    Dr. No is the original soundtrack for the first James Bond film of the same name.
    Composer Monty Norman was selected by producer Albert R. Broccoli after Broccoli backed a musical of Norman's Belle or The Ballad of Dr. Crippen written by Wolf Mankowitz, a frequent collaborator with Norman and an original screenwriter for Dr. No. Norman accompanied the producers and film crew to Jamaica.


    The original James Bond Theme was written by Norman. John Barry, who would later go on to compose the music for eleven Bond films, arranged the theme, but was uncredited - except for the credit of his orchestra playing the final piece. It has occasionally been suggested that Barry, not Norman, composed the theme. This argument has been the subject of two court cases, the most recent in 2001.Some portions of the theme are, however, based on music Norman composed for a stage musical several years previously.


    The soundtrack album of Dr. No was not originally issued to coincide with the film's initial release in October 1962. However, in addition to his fee for orchestrating the James Bond Theme, Barry was allowed to perform a different orchestration of the theme on Columbia Records. This became a top ten hit in the U.K. The soundtrack album came out after the U.S. release of Dr. No in June 1963 with American single recordings of The James Bond Theme by Al Caiola and Leroy Holmes on United Artists Records and Si Zentner on Liberty Records. In addition to Barry's orchestration of the James Bond Theme several of the album's tracks were performed by Byron Lee and the Dragonaires who appear in the film performing Jump Up. The song Under the Mango Tree was performed by an uncredited Diana Coupland, Norman's wife at the time, backed by Ernest Ranglin on guitar. Ranglin also played on several other tracks. Other musicians to record for the soundtrack included Carlos Malcolm. None of the Eric Rogers-orchestrated tracks appear on the soundtrack album.

    1. James Bond Theme
    2. Kingston Calypso
    3. Jamaican Rock
    4. Jump Up
    5. Audio Bongo
    6. Under the Mango Tree
    7. Twisting With james
    8. Jamaica Jazz
    9. Under the Mango Tree
    10. Jump Up
    11. Dr. No's Fantasy
    12. Kingston Calypso
    13. The Island Speaks
    14. Underneath the Mango Tree
    15. The Boy's Chase
    16. Dr. No's Theme
    17. The James Bond Theme
    18. Love At Last
    John Barry
    $24.99
    Vinyl LP - Sealed Buy Now
  • Diamonds Are Forever Diamonds Are Forever Quick View

    $24.99
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    Diamonds Are Forever

    2015 is a big year for Bond, James Bond with the late Fall release of Spectre, the latest installment of this mega successful film franchise and brand. The seventh Bond soundtrack, Diamonds Are Forever features score by John Barry and the title song is performed by the legendary Dame Shirley Bassey.
    1. Diamonds Are Forever
    2. Bond Meets Bambi And Thumper
    3. Moon Buggy Ride
    4. Circus, Circus
    5. Death At The Whyte House
    6. Diamonds Are Forever
    7. Diamonds Are Forever
    8. Bond Smells A Rat
    9. Tiffany Case
    10. 007 And Counting
    11. Q's Trick
    12. To Hell With Blofeld
    John Barry
    $24.99
    Vinyl LP - Sealed Buy Now
  • American Life American Life Quick View

    $32.99
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    American Life

    Import


    Written and produced with Mirwais Ahmadzai with whom she also collaborated on her multi-platinum 2000 album Music, Madonna's resonant and revealing 2003 release American Life is the ninth overall studio album from the enduring music icon. Peaking at #1 on the U.S. Billboard Charts and topping the charts in nine other countries, American Life is a loose-based concept album built around recurring themes of the American Dream and materialism. In addition to the singles American Life, Hollywood, and Love Profusion, the album also features the smash hit Die Another Day, the theme song from the James Bond film of the same name which received two Grammy nominations for 'Best Short Form Music Video' and 'Best Dance Recording.'

    1. American Life
    2. Hollywood
    3. I'm So Stupid
    4. Love Profusion
    5. Nobody Knows Me
    6. Nothing Fails
    7. Intervention
    8. X-Static
    9. Mother and Father
    10. Die Another Day
    11. Easy Ride
    Madonna
    $32.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Silk & Soul Silk & Soul Quick View

    $34.99
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    Silk & Soul

    Recorded in New York in 1967, Silk & Soul is Nina Simone's second album for RCA.
    And despite arrangements that don't always best suit her voice, this album does contain classics 'I Wish I Knew How It Would Feel to Be Free', which would become a Civil Rights anthem, 'It Be's That Way Sometimes', written by her brother Sam Waymon, and 'The Turning Point', a song that seems to be about a child making a new friend, but turns out to question the origins of racism.


    Ms Simone also takes on Dusty Springfield by covering 'The Look Of Love', which was originally featured in the 1966 James Bond spoof Casino Royale and is greatly inspired by Mozart in the fugue-like 'Consummation'.

    It Be's That Way Sometime
    The Look of Love
    Go to Hell
    Love o' Love
    Cherish
    I Wish I Knew How It Would Feel To Be Free
    Turn Me On
    Turning Point
    Some Say
    Consummation
    Nina Simone
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • American Life American Life Quick View

    $31.99
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    American Life

    Written and produced with Mirwais Ahmadzai with whom she also collaborated on her multi-platinum 2000 album Music, Madonna's resonant and revealing 2003 release American Life is the ninth overall studio album from the enduring music icon. Peaking at #1 on the U.S. Billboard Charts and topping the charts in nine other countries, American Life is a loose-based concept album built around recurring themes of the American Dream and materialism. In addition to the singles American Life, Hollywood, and Love Profusion, the album also features the smash hit Die Another Day, the theme song from the James Bond film of the same name which received two Grammy nominations for 'Best Short Form Music Video' and 'Best Dance Recording.'
    LP 1
    1. American Life
    2. Hollywood
    3. I'm So Stupid
    4. Love Profusion
    5. Nobody Knows Me
    6. Nothing Fails


    LP 2
    1. Intervention
    2. X-Static
    3. Mother and Father
    4. Die Another Day
    5. Easy Ride

    Madonna
    $31.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Small Town Small Town Quick View

    $35.99
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    Small Town

    Small Town presents guitarist Bill Frisell and bassist Thomas Morgan in a program of duets, the poetic chemistry of their playing captured live at New York's hallowed Village Vanguard. Frisell made his debut as a leader for ECM in 1983 with the similarly intimate In Line. The guitarist's rich history with the label also includes multiple recordings by his iconic cooperative trio with Paul Motian and Joe Lovano, culminating in Time and Time Again in 2007. Small Town begins with a tribute to Motian in the form of a searching, 11-minute interpretation of the late drummer's composition "It Should've Happened a Long Time Ago," the duo's counterpoint yielding a hushed power. Morgan has appeared on several ECM albums of late, as bassist of choice for Tomasz Stanko, Jakob Bro, David Virelles, Giovanni Guidi and Masabumi Kikuchi. Small Town sees Frisell and Morgan pay homage to jazz elder Lee Konitz with his "Subconscious Lee," and there are several country/blues-accented Frisell originals, including the hauntingly melodic title track. The duo caps the set with an inimitable treatment of John Barry's famous James Bond theme "Goldfinger."
    1. It Should Have Happened A Long Time Ago
    2. Subconcious Lee
    3. Andrew Cyrille
    4. Wildwood Flower
    5. Small Town
    6. What A Party
    7. Poet - Pearl
    8. Goldfinger
    Bill Frisell & Thomas Morgan
    $35.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Screaming For Vengeance (On Sale) Screaming For Vengeance (On Sale) On Sale Quick View

    $24.99 $22.49 Save $2.50 (10%)

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    Screaming For Vengeance (On Sale)

    Screaming for Vengeance on Numbered Limited Edition LP from Mobile Fidelity Silver Label


    Double-Platinum 1982 Blockbuster Remains Judas Priest's Most Commercially Successful LP


    Includes Electric Eye, Screaming for Vengeance, You've Got Another Thing Comin'


    Dual Magnesium-Burn Guitars, Leather-Tough Percussion, Molten-Hot Melodies Help Form Triangular Equilibrium of Speed, Accessibility, and Attitude


    Mastered on Mobile Fidelity's World-Renowned Mastering System and Pressed at RTI


    You've got another thing comin'! Distinguished by dual magnesium-burn guitars, leather-tough percussion, molten-hot melodies, and the unmistakable piercing falsetto of operatic vocalist, Screaming for Vengeance became the soundtrack to millions of music lovers' lives in the early 1980s as Judas Priest continued to lay waste to its contemporaries' softer, cheesier hard-rock styles. An effort on which precision-based speed, mainstream accessibility, and resilient attitude meet in triangular equilibrium, the 1982 set remains the British metal legends' top-selling record.


    Mastered on Mobile Fidelity's world-renowned mastering system and pressed at RTI, this Silver Series numbered limited edition LP shows off the grand intersection of daring adventure and commercial purpose achieved via ironclad production values and entrenched grooves. The latter particularly benefit from this analog pressing, as the group never overlooks the importance of rhythm and pace even when stoking tempos to engine-combusting levels. Leagues ahead of the sonics gracing its peers' albums from the time, the sense of balance, separation, and realism is on par with that of big-budget rock creations.


    Staked by the breakout "You've Got Another Thing Comin'," which burns white-hot with foot-pounding riffs, prize-fighting percussion, and singer Rob Halford's gun-for-hire blare, Screaming for Vengeance clutches hold of the jugular and doesn't let go. A return to the band's gritty, purist roots, the record revisits the themes of darkness, menace, and the unknown firmly established on the pioneering Stained Class and Killing Machine. Along with those albums, and British Steel, Screaming for Vengeance is the template for the catchy albeit uncompromisingly heavy crossover success Metallica, Megadeth, and Anthrax enjoyed years later.


    With the one-two opening tandem of the instrumental "The Hellion" and stomping "Electric Eye," overseen by Halford as if he's embodying the persona of a wicked James Bond villain, Priest sounds utterly futuristic and terrifying, the instruments seemingly on a swivel and the sawed-off tones flooding the guitar solos with intimidation. A classic head-out-to-the highway anthem ("Riding on the Wind"), a racing proto-thrash banger ("Screaming for Vengeance"), and a scorching exorcism ("Devil's Child") function as the metal-hued bolts that hold the foundations of this Top 20-charting benchmark in place.


    Perhaps more so here than on any other record, Priest spit-shines hooks and collusive six-string harmonic leads to perfection, giving listeners ying-yang doses of pain and pleasure, sweet and bitter. Songs at once invite sing-a-longs and fist-pumping responses. Screaming for Vengeance marked the last time Priest would sound this heavy in the 80s. No wonder it was voted the 12th best metal album of all time in Martin Popoff's definitive book of the same name.


    This title is not eligible for further discount.

    1. The Hellion
    2. Electric Eye
    3. Riding on the Wind
    4. Bloodstone
    5. (Take These) Chains
    6. Pain and Pleasure
    7. Screaming for Vengeance
    8. You've Got Another Thing Comin'
    9. Fever
    10. Devil's Child
    Judas Priest
    $24.99 $22.49 Save $2.50 (10%)
    Vinyl LP - Sealed Buy Now
  • Starry Starry Night (Pure Pleasure) Starry Starry Night (Pure Pleasure) Quick View

    $34.99
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    Starry Starry Night (Pure Pleasure)

    Paul Clarvis is one of the UK's most respected and talented percussionists and has played with everyone from Mick Jagger and Nina Simone to Herbie Hancock and Andy Sheppard. As one of the most requested session musicians, he has played on numerous film soundtracks including Star Wars, Thunderbirds, The Constant Gardener, The Passion, Troy, King Arthur, Kingdom Of Heaven, The Bourne Ultimatum, Lord Of The Rings, Batman, Spy Games, Captain Corellis Mandolin, Shakespeare in Love, James Bond, Billy Elliot, Notting Hill, and many others. He co-leads his own band Orquestra Mahatma which specialises in improvisations on folk tunes from all over the world, and also leads an improvising trio For All the Saints with Stan Sultzmann and Tony Hymas. Starry Starry Night finds him teamed up with pianist Liam Noble, best known for his quirky, individual compositions and improvisations. Liam has also worked with Stan Sultzmann, as well as many other artists including Ingrid Laubrock, Anita Wardell, Harry Beckett, Christine Tobin, Chris Bisco and with cult minimalist composer Moondog, where he and Paul Clarvis first met.



    Musicians:



    • Paul Clarvis (drums)

    • Liam Noble (piano)



    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. Mood Indigo
    2. Shadow Of Your Smile
    3. Dear Someone
    4. Maple Leaf Rag
    5. Vincent
    6. Poor Butterfly
    7. Whispering
    8. So Long, Frank Lloyd Wright
    9. Embraceable You
    10. Do You Know What It Means To Miss New Orleans
    11. Paris
    Paul Clarvis And Liam Noble
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • The Journey Man The Journey Man Quick View

    $35.99
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    The Journey Man

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


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


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


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


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


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


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


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


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


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


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


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


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


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


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


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


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


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


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


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


    - Tim Barr, 2017

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


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


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

    Goldie
    $35.99
    Vinyl LP - 3 LPs Sealed Buy Now
  • Live At Carnegie Hall (Awaiting Repress) (On Sale) Live At Carnegie Hall (Awaiting Repress) (On Sale) On Sale Quick View

    $49.99 $44.99 Save $5.00 (10%)

    Buy Now
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    Live At Carnegie Hall (Awaiting Repress) (On Sale)

    Stupendous 1973 Concert Set Ranks Alongside James Brown's Live At The Apollo And B.B. King's Live At The Regal


    Easygoing Portrait Of Down-home Soul Singer Coming Into His Own And Establishing An Indelible Bond Between Performer And Audience


    Mastered From The Original Master Tapes: Mobile Fidelity Takes You Inside The Famed Venue And Lets You Be A Part Of The Event


    On par with the most treasured concert albums of the 60s and 70s, Bill Withers' transformative Live at Carnegie Hall< is a forgotten classic--an easygoing portrait of a down-home soul artist coming into his own in front of an audience eager to share every moment of his brilliance. Soothing with subtlety, charming with calmness, and healing with a vocal timbre as relaxing as his grooves, Withers uses the stage to expand the range of favorites and engage in dialog with the crowd. Distinguished with sonics that restore the performances' balance and improve the soundstaging, this reissue takes you inside the venue.


    Mastered from the original master tapes and pressed on 180g 2LP at RTI, Mobile Fidelity's 180g 2LP set of this extraordinary 1973 record provides a transparent view of Withers' relaxing timbre and the subtle grooves underlining his arrangements. Characteristics ranging from the tension of the guitars, funky bends of the bass, whisper-soft coo of the formal strings, airiness of the backing harmonies, and sharpness of the snare drum emerge with utmost clarity and lifelike presence.


    Moreover, aspects that really make this concert document unique--the energetic crowd, Withers and his band's willingness to extend arrangements, and the undeniable communicative bond between the performer and his fans--are brought into fuller relief. While most live albums give you the sense of what transpired, Mobile Fidelity's reissue allows it to seem that what you're hearing and sensing is happening right now, in the moment. You are as much a participant as listener. For this reason and more, Live at Carnegie Hall ranks with James Brown's Live at the Apollo and B.B. King's Live at the Regal. No small claims, but the proof is in the grooves.


    The antithesis of the sweaty R&B shouter that prowls the edge of stages, Withers deals in mellowness and vulnerability, qualities that come to fore. The songs here span soul, blues, and folk and often times, contain elements of all three styles. Live at Carnegie Hall also deals with serious subject matter with unflinching honesty and simple directness. Companionship, poverty, war, maturity, family, and love all crop up within Withers' tunes, yet the messages are never overly cumbersome or preachy. Credit goes to his easygoing style and relatable lyrics, not to mention a tight-as-a-vice band that on this night is simply on.


    One more time? Withers asks in response to a request for another stanza during Use Me, and like the snap of fingers, his musicians are right back on cue, the crowd clapping along on every beat. This classic, as well as the instantly familiar Ain't No Sunshine, poignant Grandma's Hands, and all-time favorite Lean On Me are delivered with utmost soulfulness, passion, and electricity. Few, if any, live albums demonstrate such a bond between the crowd and artist as Live at Carnegie Hall. You'll definitely want to be there. Mobile Fidelity makes it happen.


    This title is not eligible for further discount.

    1. Use Me
    2. Friend of Mine
    3. Ain't No Sunshine
    4. Grandma's Hands
    5. World Keeps Going Around
    6. Let Me In Your Life
    7. Better Off Dead
    8. For My Friend
    9. I Can't Write Left Handed
    10. Lean on Me
    11. Lonely Town, Lonely Street
    12. Hope She'll Be Happier
    13. Let Us Love
    14. Harlem/Cold Baloney
    Bill Withers
    $49.99 $44.99 Save $5.00 (10%)
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed AWAITING REPRESS Buy Now
  • Can't Get Enough Can't Get Enough Quick View

    $24.99
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    Can't Get Enough

    Two time Rock and Roll Hall of Famer Stephen Stills and five-time Grammy nominated guitarist, songwriter and singer Kenny Wayne Shepherd may be separated by a musical generation, but they are bonded by a mutual love of the blues. When they joined forces with famed Chicago rock/blues keyboardist Barry Goldberg and formed The Rides, their extraordinary collective histories proved to be unparalleled - blazing a 21st Century trail for the historical American art form.


    Launching an exciting new chapter in each of their storied careers, the trio's new band is further powered by the explosive rhythm section of bassist Kevin McCormick and Shepherd's longtime drummer Chris Layton (also a veteran of the legendary Stevie Ray Vaughan and Double Trouble).


    Their 429 Records debut, Can't Get Enough features the new single Don't Want Lies and showcases a hard hitting mix of Stills-Goldberg-Shepherd penned blues/rock originals as well as some classic blues tunes. Also included are brilliant interpretations of Muddy Waters, Honey Bee, Elmore James & Talk To Me Baby and blistering twists on Stills' favorite Neil Young anthem & Rockin' In The Free World as well as the Iggy Pop & The Stooges early 70s
    classic Search and Destroy.

    1. Roadhouse
    2. That's a Pretty Good Love
    3. Don't Want Lies
    4. Search and Destroy (Iggy and the Stooges cover)
    5. Can't Get Enough of Loving You
    6. Honey Bee
    7. Rockin' the Free World (Neil Young Cover)
    8. Talk to Me Baby
    9. Only Teardrops Fall
    10. Word Game
    The Rides
    $24.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Savages Savages Quick View

    $24.99
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    Savages

    Max Cavalera is the walking embodiment of creative energy, of all of the diverse layers of urgency that are possible from that select few whose artistic output defines genres. Mystic shaman, protest singer, revolutionary hero, everyday metalhead, furious consumer of heavy music of all shades, husband, father, leader, songwriter Cavalera reigns as the adoptive tribal chief of a generation of fans, stretching from the roughest slums of South America to the coldest confines of Russia. Anywhere that people are disenfranchised, the songs of SOULFLY serve as their anthems.


    Armed with Cavalera's four-stringed guitars, unmistakable growl and instantly recognizable riffage, the muddy tones and constant rhythmic bounce of SOULFLY has retained its gritty edge while pushing the boundaries of what's possible in metal. »Savages« represents a career-defining moment, solidifying the lineup with longtime lead guitarist Marc Rizzo (who has been in SOULFLY almost as long as Max was in SEPULTURA), bassist Tony Campos (Static X, Ministry, Prong) and Max's 21 year-old Zyon, who splits his time between drumming in LODY KONG and now SOULFLY.


    "All of the things that make SOULFLY killer are combined in Savages," Max declares.


    »Savages« melds the most brutal, the heaviest and overall the most vibrant components that made up each record in SOULFLY's diverse catalog. By Max's own account, »Savages« is possessed of the tribal groove of the first two SOULFLY albums, particularly in songs like 'Bloodshed', 'Ayatollah of Rock 'N' Rolla' and 'Master of Savagery'. But there's also the thrash metal that was found on DARK AGES and OMEN; whereas the CAVALERA CONSPIRACY records contain short, punky bursts, the new SOULFLY record gets into the epic length territory of early METALLICA. The death metal vibe of SOULFLY's »Enslaved« emerges in songs like 'Fallen' and 'Cannibal Holocaust'.


    "I really like the name »Savages«. I like single words that sound powerful, like 'Primitive', 'Roots', 'Arise'," Max explains. "It's about the human condition right now. We have the Internet and we're working on missions to Mars, but we are still decapitating each other and blowing up marathons. We're still savages. Even with technology and how far we've come in the world, our spirit is still that of a savage."


    A trailblazing pioneer and musician with millions of albums sold who nevertheless retains boundless street cred due to his grimy, raw and undeniable authenticity; Max Cavalera is one of the most prolific artists the realm of heavy music has ever known. There's CAVALERA CONSPIRACY, which reunited Max with his brother and former bandmate, Igor Cavalera. There was the brutal attack of NAILBOMB, Max's collaboration with Alex Newport from FUDGE TUNNEL, which included members of DEAD KENNEDYS, FRONT LINE ASSEMBLY, BIOHAZARD and NEUROSIS on-stage. There's his forthcoming band with members of THE DILLINGER ESCAPE PLAN, MASTODON and THE MARS VOLTA. Of course, there's Max's unassailable work as SEPULTURA's founder, leading the Brazilian band from their badass lo-fi beginnings, through their era of sophisticated thrash classics, up through the cultural landmark that is 'Roots'.


    SOULFLY began almost instantaneously after his departure from the band he founded. The eponymously titled debut »Soulfly« sold over 500,000 copies in the United States alone, further expanding upon the tribal foundation of 'Roots' with percussive instrumentation, forays into esoteric sounds and multiple guest performers. Across the seven albums and never-ending tours that followed, Max worked with a who's-who of the heavy music scene as band mates, guest musicians and touring members, including guys from SLIPKNOT, SLAYER, MEGADETH, DEFTONES, RADIOHEAD, STONE SOUR, CYPRESS HILL, MACHINE HEAD, DEVILDRIVER, FEAR FACTORY, MORBID ANGEL, THROWDOWN, S.O.D., SKINDRED, BORKNAGAR, WILL HAVEN and CATTLE DECAPITATION, among others.


    In addition to Max's own self-production, a number of important producers have lent their skills to SOULFLY, including »Roots« producer Ross Robinson (KORN, AT THE DRIVE-IN), Toby Wright (Ozzy Osbourne, SLAYER), Andy Sneap (MEGADETH, KILLSWITCH ENGAGE), ex-SOULFLY guitarist Logan Mader (FIVE FINGER DEATH PUNCH, GORJIA) and Zeuss (HATEBREED, SUICIDE SILENCE) and Terry Date (PANTERA, DEFTONES).


    Cavalera asked Date, who had mixed for SOULFLY in the past, to produce the new album. Once studio time with the legendary producer was on the calendar, Max kicked into high gear with the material. Max and Zyon worked on the songs that would comprise »Savages« at home. "Zyon came up to me and said, 'Give me a shot. I'll play on the record for you. I won't let you down," explains the elder Cavalera. "I went into a room with him to jam and it felt great. So I said, 'Fuck yeah, let's do it!"


    Generally on a SOULFLY album, the drummers would learn the songs in the studio, based on demo recordings from Max. This time, Max had the luxury of working out the songs at home with Zyon. "We jammed every single day for a month. He knew 90% of the material already when we got into the studio. It reminded me of recording the old Sepultura stuff, like Arise and Chaos A.D., Igor knew exactly what he was going to do before we went into the studio. This was very similar."


    Cavalera says he must've written at least 1,000 riffs specifically for »Savages«. "The killer riff is what hooks the whole song together," he says. "For me the writing process is about finding the most killer riffs possible. It's a battle; sometimes I struggle with the guitar for hours. You have to throw it down on the floor and take a break. Come back a few hours later. 'Let's try this again, motherfucker!' Grab it again and go to battle, go to war with the guitar until you get the right riffs."


    Max points to BLACK SABBATH's 'Symptom of the Universe' as one of the penultimate riffs of all time, citing SABBATH's Tony Iommi and METALLICA frontman James Hetfield as among the riff-masters he most admires. "I think of riff making as an art-form. I take it really seriously. I think it deserves more attention. It has such value."


    Speaking of riffs, Rizzo came into the band a decade ago and his love of thrash metal, death metal and collaborative spirit has energized Max ever since. "When Marc entered Soulfly, it was a drastic change. He's the guitar player I've been looking for my whole life. Andreas [Kisser] and I really clicked when we worked together. I never had that again after that. We had other guys that were cool, but it was never 100% there. When Marc came in, I found it! We've developed a great bond since." Rizzo particularly shines on the opening track on Savages, 'Bloodshed.' "There's stuff all over the song - clean guitars, feedback - he just makes the song better."


    Campos has a lengthy resume in the world of metal and Max says they bonded over their shared Latino heritage, among other things. "I had this idea about this guy Vargas, a Venezuelan cannibal, they call him 'El Comegente.' He's the Hannibal Lecter of the Andes. We both read about it. Tony sings some of it in Spanish and I sing in Portuguese. He's a great bass player too, fucking amazing. Killer bass tones, distortion, all balls-out metal. He keeps this shit real heavy, great tone. It's great recording with guys who know what they're doing. I don't have to ask if they know."


    Max acknowledges the inherent risk in putting a 21 year-old behind the kit for such an important record, but it was a risk he absolutely wanted to take. "To have my son drumming on the album, that's killer. I like risks. I like to start shit up and see what happens. Even if I fail, at least I knew I tried. Rather than knowing I didn't try at all. To me, that's the bigger failure. It took a little bit of courage to put my son on it. I came to the studio and told Terry there was a young drummer who doesn't play to a click. Terry knew what to do and Zyon did great. The drums sound amazing."


    Like all things Max Cavalera, does SOULFLY's »Savages is a family affair. Not only does it mark Zyon's recorded debut with the band, but one of Max's other kids throws down some vocals in the opening track, 'Bloodshed'. "My son Igor has a killer punk rock voice that reminds me of the old CORROSION OF CONFORMITY days," Max says. "The chorus has this old punk style riff, almost like a MISFITS type riff. His voice is killer."


    Like every SOULFLY album, »Savages« contains an impressive guest list comprised of veterans and up-and-comers. CLUTCH's Neil Fallon turns up on 'Ayatollah of Rock 'N' Rolla', the title of which was inspired by Mel Gibson's classic Mad Max 2: The Road Warrior movie. Jamie Hanks from I DECLARE WAR brought his high and low deathcore vocals to 'Fallen', a death metal oriented song Max says is in the vein of CANNIBAL CORPSE.


    Mitch Harris from NAPALM DEATH contributed vocals to 'K.C.S.' Harris has been around the Cavaleras long enough that there are videos of him changing Zyon's diapers when SOULFLY's new drummer was just one month old. "Mitch came to the studio just to hang out during a day off from tour," Max explains. "I'm like, 'You ready to sing some shit on this record?' I put him on the spot. He's like, 'Right now?' I said, 'Fuck yeah, let's do it!' There was one point where we were recording together where he did a scream and I saw his eyeball popping out of his face like a cartoon. I was like, 'Dude that was the most metal thing I've seen in a long time.'"


    Even as Max continues to consume new music from band like NINE INCH NAILS, MAN MUST DIE, TRIGGER THE BLOODSHED and I DECLARE WAR, even as he revisits seminal material from METALLICA, SLAYER, C.O.C. and the like, and indulges his penchant for world music, and gets his hands in his other projects and collaborations, it all adds up to a singular, distinct, straightforward and riff-heavy machine known as SOULFLY.

    LP 1
    1. Bloodshed

    2. Cannibal Holocaust
    3. Fallen

    4. Ayatollah Of Rock 'N' Rolla

    5. Master Of Savagery

    6. Spiral


    LP 2
    1. This Is Violence

    2. K.C.S.

    3. El Comegente

    4. Soulfliktion

    5. Fuck Reality (Bonus Track)

    6. Soulfly IX (Bonus Track)

    Soulfly
    $24.99
    Vinyl LP - 2 LPs Sealed Buy Now
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