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James Brown Live'
Live At The ApolloRanked 24/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.
Live At The Apollo left no doubt in anyone's mind that James Brown was a live, dynamic performer without peers and that his talent could come across just as strongly on tape as in person. It was a watershed album, both for the 'hardest working man in show business' and for the burgeoning soul music movement. Reissued here on Vinyl LP by Universal Records.1. I'll Go Crazy
2. Try Me
4. I Don't Mind
5. Lost Someone
6. Medley: Please Please Please, You've Got The Power, I Found Someone, Why Do You Do Me, I Want You So Bad, I Love You, Yes I Do, Why Does Everything Happen To Me, Bewildered
7. Please Don't Go
8. Night Train$24.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Get On Up - The James Brown Story - Soundtrack"The Godfather of Soul." "The Hardest Working Man in Show Business." "Mr. Dynamite." "Soul Brother Number One." For more than 50 years, these and
other honorifics have described American music icon James Brown.
GET ON UP: The James Brown Story - Original Motion Picture Soundtrack features studio and standout live versions of many of Brown's top soul/funk
hits-from his first, 1956's "Please Please Please" to "Out Of Sight," "I Got You (I Feel Good)," "Try Me," "Papa's Got A Brand New Bag," "It's A Man's
Man's Man's World," and "Get Up (I Feel Like Being A) Sex Machine." Also included are two previously unreleased concert recordings heard in the new
film that is in theaters nationwide on August 1. These live, spine-tingling performances of "Please Please Please" and "It's A Man's Man's Man's World"
were recorded at the historic Fort Homer W. Hesterly Armory in Tampa, Florida on April 23, 1966.
In 1986, James Brown was inducted into the Rock and Roll Hall of Fame as a charter member. A multiple GRAMMY® Award winner, Brown was honored
with the Recording Academy's Lifetime Achievement Award in 1992, and in 2003 he received the prestigious Kennedy Center Honors. Brown died on
Christmas Day 2006 at the age of 73.1. Get Up (I Feel Like Being A) Sex Machine
2. The Payback. Pt. 1
3. Out Of Sight
4. I Got You (I Feel Good)
6. Please Please Please (Live)
7. Night Train (Live)
8. Papa's Got A Brand New Bag, Pt. 1
9. It's A Man's Man's Man's World (Live)
10. Cold Sweat, Pt. 1
11. Mother Popcorn, Pt. 1
12. I Got The Feelin' (Live)
13. I Can't Stand Myself (When You Touch Me) (Live)
14. Say It Loud-I'm Black And I'm Proud, Pt. 1
15. Get Up (I Feel Like Being A) Sex Machine (Live)
16. Super Bad (Live)
17. Soul Power (Live)
18. Try Me (Live)
19. Please Please Please
20. Get Up Offa That Thing$34.99Vinyl LP - 2 LPs Sealed Buy Now
Live At The Apollo Volume II (Half-Speed Master)Abbey Road Half-Speed Master
Pressed On 180 Gram Vinyl And Housed In A Six-Panel Gatefold Sleeve
Live At The Apollo, Volume II by James Brown and The Famous Flames was originally released in August 1968. A follow-up to the original 1963 album, Live at The Apollo, it too was recorded in at the Apollo Theater in Harlem, New York City.
The original album and the 1987 CD release were both edited versions of the show while the 2xCD Deluxe Edition released in 2001 featured a more expanded live set including a 19-minute version of "It's a Man's Man's Man's World.".
About These Abbey Road Half-Speed Masters:
These releases will offer a superior vinyl experience with Half-Speed Mastering from Abbey Road. They have been exclusively re-mastered at Half Speed to bring you a new level of depth and clarity.
This limited edition range, all pressed on 180-gram vinyl, come in deluxe packaging. The initial releases are all iconic deluxe edition titles from great Universal artists - Amy Winehouse, The Who, James Brown, Marvin Gaye and Mike Oldfield.
The albums were cut from high-resolution digital transfers from the best-known analogue tapes by Abbey Road mastering engineer Miles Showell, one of the foremost practitioners of this artisan process in the world today. Only minimal sympathetic equalization was applied to the transfers to keep everything as pure as possible. Also, as these are vinyl-only releases, Miles did not apply any digital limiting. This is added to almost all digital releases to make them appear to be loud and is responsible for the so-called "loudness war" and in almost every case is anything but natural and pure sounding.LP 1
1. Introduction to the James Brown Show (MC Frankie Crocker)
2. Think (Duet with Marva Whitney)
3. I Wanna Be Around
4. James Brown (Thanks)
5. That's Life
6. Kansas City
7. Sweet Soul Music (Bobby Byrd)
8. It's A Man's Man's World
1. Caravan (The James Brown Band feat. the J.B. Dancers)
2. Introduction to 'Star Time' (MC Frankie Crocker and Sad Sam)
3. Money Won't Change You/Out of Sight
4. Bring It Up
5. Try Me
6. Let Yourself Go
7. There Was A Time
8. I Feel All Right
1. Cold Sweat
2. Prisoner of Love
3. My Girl (instrumental interlude)
4. Maybe The Last Time
5. I Got You (I Feel Good)
6. Please, Please, Please
7. Bring It Up (Finale)$49.99180 Gram Audiophile Virgin Vinyl LP - 3 LPs Sealed Buy Now
Live At The Harlem Square ClubRanked 443/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.
Live at the Harlem Square Club is a classic live album by soul singer Sam Cooke, backed by
King Curtis, Clifton White and Cornell Dupree to name a few. Although recorded in 1963, the LP
first saw the light in 1985. Live at the Harlem Square Club easily stands the test of time next
to albums such as James Browns Live at the Apollo or Jackie Wilsons Live at the Copa.
This 180 grams audiophile edition contains the most recent remastered audio version (2005)
for the first time on vinyl ever!Side A
1 Soul Twist/Introduction
2 Feel It (Don't Fight It)
3 Chain Gang
5 It's All Right/For Sentimental Reasons
6 Twistin' The Night Away
1 Somebody Have Mercy
2 Bring It On Home To Me
3 Nothing Can Change This Love
4 Having A Party$39.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Live At Shea StadiumRecorded at New Yorks Shea Stadium in 1982, Live at Shea Stadium captures The Clash at the peak of its powers and on devastating form. Bristling with energy and attitude, Live at Shea Stadium is destined to feature alongside James Brown at the Apollo, The Who at Leeds and Johnny Cash at Folsom Prison as one of the greatest live recordings of all time!
The Clash, opening for The Who on their farewell U.S. tour played two nights at the legendary Shea Stadium (12th & 13th Oct 1982). They had recently released the Combat Rock album, and the singles Rock The Casbah and Should I Stay Or Should I Go were enjoying mass audiences via MTV and radio airplay. Despite being the support act, the New York Post reported there were as many Clash fans on those nights as Who fans.
Recorded by Glyn Johns, the album features the second nights performance in its entirety and shows the band at a fascinating and pivotal point in their career. They had risen from punk agitators to arena superstars and would break up less than a year later. One of the few remaining unreleased Clash treasures, the recordings have long been sought after by fans and were unearthed by the late Joe Strummer while packing for a move. This is a legendary Clash concert. More than an album, its an event.1. Kosmo Vinyl Introduction
2. London Calling
3. Police On My Back
4. Guns Of Brixton
5. Tommy Gun
6. The Magnificent Seven
7. Armagideon Time
8. The Magnificent Seven (return)
9. Rock The Casbah
10. Train In Vain
11. Career Opportunities
12. Spanish Bombs
14. English Civil War
15. Should I Stay Or Should I Go
16. I Fought The Law$19.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
$49.99 $44.99 Save $5.00 (10%)
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$49.99 $44.99 Save $5.00 (10%)180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed AWAITING REPRESS Buy Now
Live At Third Man Records 10-26-2012The dog Hisself joined us at Third Man for a rare Stateside live appearance on October 26th, 2012. Nobody, but nobody, rocks a Diddley Bow like Seasick Steve, and we captured the every nuance in this direct-to-acetate recording. No edits. No overdubs. Just Seasick Steve in all his glory that fateful night in October.
Three very special live records - The Shins, The Kills, and Seasick Steve - all recorded in the Third Man Blue Room last October, and the first three releases recorded live using their one-of-a-kind direct-to-acetate recording process. Without overdubs or editing, these three records were mixed in real time on a Rupert Neve 5008 console by Grammy Award winning engineer Vance Powell, and instantly cut to vinyl by master cutter George Ingram using a 1953 Scully Lathe that previously churned out masters for Cincinnati's legendary King Records (the story goes that James Brown's It's A Man's World was cut on this lathe among many more great sides...)1. My Donny
4. Don't Know Why She Love Me But She Do
5. You Gotta Move
6. Last Po'Man
7. Dog House Boogie$14.99Vinyl LP (Direct-to-Acetate) - Sealed Buy Now
Live At Third Man Records 10-6-2012What can we say about The Shins that hasn't already been said in miles of press? They're one of the best bands out there today and we are still honored thinking back to the night James Mercer and his band here to play live and record a live LP for us. This show holds a particularly special place in our hearts, as it was the inaugural groove-carving voyage of our 1953 Scully Lathe that previously churned out masters for Cincinnati's legendary King Records. The 8 tracks on this live recording mark our first ever cut live direct-to-acetate, and we couldn't be more pleased with the way they turned out.
Three very special live records - The Shins, The Kills, and Seasick Steve - all recorded in the Third Man Blue Room last October, and the first three releases recorded live using their one-of-a-kind direct-to-acetate recording process. Without overdubs or editing, these three records were mixed in real time on a Rupert Neve 5008 console by Grammy Award winning engineer Vance Powell, and instantly cut to vinyl by master cutter George Ingram using a 1953 Scully Lathe that previously churned out masters for Cincinnati's legendary King Records (the story goes that James Brown's It's A Man's World was cut on this lathe among many more great sides...)1. Australia
2. Simple Song
3. Bait and Switch
4. Phantom Limb
5. So Says I
6. The Rifle's Spiral
7. Marisa / No Way down
8. Port of Morrow$14.99Vinyl LP (Direct-to-Acetate) - Sealed Buy Now
Live At Third Man Records 10-10-2012This record captures a show we had been wanting to see at Third Man since day Numero Uno. Jamie Hince and Alison Mosshart are two of the most talented and creative people we know and we couldn't be more pleased that they rocked our stage and committed it to wax so we can finally have a release on the label by the one and only KILLS. These 8 songs were recorded direct-to-acetate on October 10, 2012.
Three very special live records - The Shins, The Kills, and Seasick Steve - all recorded in the Third Man Blue Room last October, and the first three releases recorded live using their one-of-a-kind direct-to-acetate recording process. Without overdubs or editing, these three records were mixed in real time on a Rupert Neve 5008 console by Grammy Award winning engineer Vance Powell, and instantly cut to vinyl by master cutter George Ingram using a 1953 Scully Lathe that previously churned out masters for Cincinnati's legendary King Records (the story goes that James Brown's It's A Man's World was cut on this lathe among many more great sides...)1. Heart is a Beating Drum
2. Future Starts Slow
3. Kissy Kissy
5. Baby Says
6. Tape Song
7. Pots and Pans
8. Last Goodbye$14.99Vinyl LP (Direct-to-Acetate) - Sealed Buy Now
Live - Meadowbrook, Rochester, Michigan - 12th September 1971 (Awaiting Repress)
First Time On Vinyl
Limited To 1000 copies
Tidal Waves Music proudly presents: FUNKADELIC Live - Meadowbrook, Rochester, Michigan - 12th September 1971
Contained here is a unique snapshot of Funkadelic's live performance at the height of their powers. Recorded live at Meadowbrook, Rochester, Michigan on the 12th of September 1971, this is the only official in-concert recording from their early career.
The crystal clear recordings here (taken from the soundboard master tapes) provide you with an overdose of free-floating psychedelic black rock and spaced-out jams that can only be described as 'Jimi Hendrix, James Brown & Sun Ra making a love-child live on stage'.
This release also includes extensive & exhaustive liner notes from the Grammy-award winning professor of ethnomusicology 'Rob Bowman' who goes over each track in detail and also wrote down quotes from Bernie Worrell & Billy Bass.
Featuring an all-star line up that includes George Clinton, Fuzzy Haskins, Calvin Simon, Grady Thomas, Ray Davis, Tyrone Lampkin, Eddie Hazel, Billy Bass Nelson, Bernie Worrell & former Isaac Hayes sideman Harold Beane.1. Alice in My Fantasies
2. Maggot Brain
3. I Call My Baby Pussycat (Fast Version)
4. I Call My Baby Pussycat
5. Good Old Music
6. I Got a Thing, You Got a Thing, Everybody's Got a Thing
7. All Your Goodies Are Gone (The Loser's Seat)
8. I'll Bet You
9. You and Your Folks, Me and My Folks
10. Free Your Mind and Your Ass Will Follow (Instrumental)$34.99Vinyl LP - 2 LPs Sealed AWAITING REPRESS Buy Now
Rocky IV SoundtrackThe 1985 blockbuster Rocky IV found Sylvester Stallone's heavyweight champion boxer in the fight of his life against the fearsome Ivan Drago. The soundtrack, newly remastered for vinyl offers energizing anthems by Survivor (Burning Heart, Eye of the Tiger), James Brown (Living in America) and John Cafferty (Hearts On Fire).1. Burning Heart (Survivor)
2. Hearts On Fire (John Cafferty)
3. Double Or Nothing (Kenny Loggins)
4. Eye of the Tiger (Survivor)
5. War/Fanfare From Rocky (Vince DiCola)
6. Living in America (James Brown)
7. No Easy Way Out (Robert Tepper)
8. One Way Street (Go West)
9. The Sweetest Victory (Touch)
10. Training Montage (Vince DiCola)$19.99Vinyl LP - Sealed Buy Now
$49.99 $44.99 Save $5.00 (10%)
Waiting For Columbus (On Sale)When you think about great live albums, several immediately come to mind. The Whos Live at Leeds. James Browns Live at the Apollo. The Allman Brothers Bands Live at Fillmore East. Kiss Alive! Nirvanas Unplugged. And, while it is sometimes unjustifiably forgotten, Little Feats Waiting for Columbus. The last essential album the rootsy California band made, it stands as the groups peak accomplishmenta staggering confluence of energetic performances, skilled improvisations, and thematic expansion.
Joined onstage by the Tower of Power horn section, Little Feat accentuates and remakes familiar arrangements, using the stage as a laboratory for unbridled creativity, New Orleans-spiced fun, and spontaneous interaction. Bursting with enthusiasm and excitement, Waiting for Columbus is truly a live album for the agesand one of a certain distinctive era.
The abundance of great music, the culture of drugs, and the politics of Richard Nixon, which had everyone polarized and created more of a sense of community, all contributed to this incredible feeling that somehow we were on a collective journey. Waiting for Columbus is one of the last parts of that journey, and among the last vestiges of that scene. Little Feat keyboardist Bill Payne, as told to Bud Scoppa
Amazingly, the set came together under less-than-ideal conditions. In the months leading up to the seven 1977 Washington D.C. and London concerts that were taped for the record, leader Lowell George had removed himself from the bands affairs. The chemistry was fractured, but the shows functioned as a molding agent. And did Little Feat ever respond. With every member of the sextet playing like their life depended on it, and a guest appearance by ex-Rolling Stone Mick Taylor, this is a must-have set.
This title is not eligible for further discount.Side One
1. Join The Band (Traditional) 1:50
2. Fat Man in the Bathtub (George) 4:50
3. All That You Dream (Barrère, Payne) 4:25
4. Oh Atlanta (Payne) 4:09
5. Old Folks' Boogie (Barrère, G. Barrère) 4:22
6. Time Loves a Hero (Barrère, Gradney, Payne) 4:20
7. Day or Night (Payne, F. Tate) 5:23
8. Mercenary Territory (George, E. George, Hayward) 4:27
9. Spanish Moon (George) 4:49
10. Dixie Chicken (George, Kibbee) 9:00
11. Tripe Face Boogie (Hayward, Payne) 7:02
12. Rocket in My Pocket (George) 3:42
13. Willin' (George) 4:42
14. Don't Bogart That Joint (E. Ingber, L. Wagner) 0:57
15. A Apolitical Blues (George) 3:41
16. Sailin' Shoes (George) 6:18
17. Feats Don't Fail Me Now (Barrère, George, Kibbee) 5:17$49.99 $44.99 Save $5.00 (10%)180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
$21.99 $17.37 Save $4.62 (21%)
The Lost Tapes (Discontinued) (On Sale)For almost 45 years a complete album by Vic Pitts & The Cheaters has been forgotten, waiting until now to be released. In the late 1960s, Vic Pitts & The Cheaters were one of Milwaukee's top R&B bands. They had their own TV show (for 3 years), played some of the city's biggest clubs, and backed up big name acts. Between 1969 and 1970 they recorded over a dozen songs with producer Andre Williams at Chess' Ter-Mar Studios in Chicago. The results show why they were such a popular live act; some tracks reveal their roots as James Brown
fanatics, others relate the happening sounds of Sly & The Family
Stone and Chicago's first record.
Highlights include an early instrumental version of their sought after Loose Boodie, a funky cover of Herbie Mann's Comin' Home Baby, and a soulful rearrangement of Neil Young's Down By The River, among many others. But, as misfortune would have it, the album never saw the light of day. Culled from interviews with Vic Pitts and several members of the band we have put together a LP gatefold filed with photos and liner notes.1. Loose Boodie (unreleased version)
2. Thank You
3. The Trip
4. Down By The River
5. You Made Me Love You
6. Comin' Home Baby
7. A Change is Gonna Come
8. The Girl I Love
9. Got To Find The Love In You$21.99 $17.37 Save $4.62 (21%)Vinyl LP - Sealed Buy Now
Strauss: Till Eulenspiegel/Death And TransfigurationMastered By Willem Makee From The Original Analog Tape
200-Gram LP Plated And Pressed At Quality Record Pressings
Fritz Reiner conducts the Vienna Philharmonic Orchestra. This Strauss recording uniting RCA star Fritz Reiner with the Vienna Philharmonic (one of Decca's star orchestras), was released in 1959, marking the first fruit of an agreement that in return for loaning RCA some of their artists, Decca was permitted to distribute RCA recordings throughout the U.K. and Europe. In addition, Decca agreed to record under license some of their own artists, in sessions paid for and sponsored by RCA, for release on the Red Seal label. High Fidelity, at the time of the original release, called it as fine an example as we have of Reiner's preeminent place among the living disciples of Richard Strauss.
Recorded by Decca engineer James Brown in Vienna's Sofiensall, the sound is as tubby as a Bavarian burgher. The playing is, as advertised, first-rate.
Producer: John Culshaw
Engineer: James Brown1. Till Eulenspiegel's Merry Pranks, Op. 28 (Till Eulenspiegels Lustige Streiche)
2. Death And Transfiguration, Op. 24 (Tod Und Verklarung)$34.99200 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Concert of the Century - A Tribute to Charlie Parker
First Time Available On Wide Release Vinyl
Pristinely Restored 1980 Live Recording
6 Of The Greatest Jazz Legends In Their Prime
180 Gram Audiophile 2LP Vinyl With Gatefold
On a cold November evening in 1980, 3000 jazz fans filled the Salle Wilfrid Pelletier Hall of Place des Arts
in Montreal, Quebec to attend what promised to be, a swinging evening featuring six of the biggest names
in bebop. Billed The Concert of the Century - A Tribute to Charlie Parker, and under the direction of
Dizzy Gillespie - one of the best jazz trumpeters of all time - the event featured legendary performers:
Hank Jones - piano, Ray Brown - bass, Milt Jackson - vibes, Philly Joe Jones - drums and James Moody
on tenor sax and flute. Local club owner Roue Doudou Boicel, who produced the concert, had the foresight
to record the concert in its entirety. A limited quantity bootleg LP of the concert soon appeared and then
disappeared from the marketplace, those tapes lay dormant for over 30 years.
This historic recording opens with rapturous applause that sets the tone with Dizzy's own "Blues 'N' Boogie.
"Also featured are several classic standards - some more well known then others - including "Darben The
Redd Foxx," "Time On My Hands," "Get Happy," "The Shadow Of Your Smile" and "Stardust." All the players are
at the top of their game and having a blast, as evidenced by the banter and repartee between songs.
Concert of the Century, pristinely restored and remastered, features two tracks that weren't on the original
pressing from the early '80s - Ralph Rainger's "If I Should Lose You" and an incredible eight minute bass
solo by Ray Brown.LP 1
1. Blue 'n' Boogie
2. If I Should Lose You
3. Darben the Redd Foxx
4. Time On My Hands
1. Get Happy
2. The Shadow of Your Smile
3. Bass Solo/Manhã de Carnaval/Work Song (featuring Ray Brown)
4. Stardust$26.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
Psychedelic LollipopThe Blues Magoos launched their recording career with a major smash, hitting the Top Five with the brash garage-punk anthem (We Ain't Got) Nothin' Yet. That tune is just one of the multiple pleasures of Psychedelic Lollipop, notable as one of the first albums (along with the 13th Floor Elevators' debut) to use the word psychedelic in its title. The band balances swaggering proto-punk attitude, a Beatlesque pop sensibility and adventurous acid-pop experimentalism on such tunes as Gotta Get Away, One by One and Love Seems Doomed. And the Magoos' high-energy workouts on James Brown's I'll Go Crazy and John Loudermilk's Tobacco Road rank with the greatest versions of those much-covered garage-band standards.
This 60s garage-psych nugget is now available from Sundazed on High Definition Vinyl, sourced from the original Mercury-label stereo masters, with the colorful original cover art meticulously reproduced.
In their '60s heyday, the Blues Magoos were one of the first garage-punk bands to achieve mainstream success, and one of the first to embrace psychedelia. Early in their existence, the Bronx-bred quintet's high-energy live sets made them a popular attraction on the Greenwich Village club scene. Once they began making records, they quickly emerged as one of one of the earliest and most inventive exponents of the psychedelic sound. The band's 1966 debut album Psychedelic Lollipop and its 1967 followup Electric Comic Book, are two of that period's most beloved and enduring albums.1. (We Aint Got) Nothin Yet
2. Love Seems Doomed
3. Tobacco Road
4. Queen of My Nights
5. Ill Go Crazy
6. Gotta Get Away
7. Sometimes I Think About
8. One by One
9. Worried Life Blues
10. Shes Coming Home$24.99Vinyl LP - Sealed Buy Now
Eccentric Soul: The Forte LabelIn 1969, after three years as Soul Sister #1 to James Brown's touring entourage, Marva Whitney came home to Kansas City, putting Ellis Taylor's Forte label back at full fighting strength. She'd calmed aching crowds the day after MLK's death, and she'd lived the life, despite its rigors-to pour out her pain and exuberance on Forte sides including "I've Lived The Life" and "Daddy Don't Know About Sugar Bear," which made national rounds in 1972.
By then, Forte had already done more than deliver Marvelous Marva to market. Taylor worked overtime at KPRS to bring the world The Rayons, who'd stroll their girl group harmonies past Chicago's RCA studios on "Baby Be Good." In '68, The Four Darlings sauntered in with smoky-voiced soul operatics on the demanding "Give Me Love." Progressing in the middle '70s, Everyday People got "Super Black" on Forte's pine-green label. Still powering forward some 13 years on, Forte redawned with the 1980s, essaying disco funk with Sharon Revoal's "Reaching for Our Star."
Numero 047 Eccentric Soul: The Forte Label charts Kansas City yeoman's work, the Carpets and the Derbys, dapper clothiers mysteriously murdered, and marriages made and broken. In 28 LP tracks, plus a trove of promo headshots and every-hued label scans
detailing all iterations of Forte's logo in print, this 16th Eccentric Soul sojourn hands over vivid floor shakers and lost dance craze records alike-though what moves "The Hen" required remains anyone's guess.LP1
1. Gene Williams - Don't Let Your Love Fade Away
2. Lee Harris - I'm Gonna Get Your Thing
3. Tear Drops - I'm Gonna Get You
4. Louis Chachere - The Hen Part 1
5. The Fantasticks - Cry Night And Day
6. Marva W Taylor - I've Lived The Life
7. Fabulous Rhythm Makers - Mini Mini Afro Twist
8.Tony Ashley & the Delicates - I'll Never Be Satisfied
9. The Rayons - You Confuse Me Baby
10. The Four Darlings - Baby Your Love Is Amazing
11. Lee Harris - Lookin' Good
12. Marva Whitney - Daddy Don't Know About Sugar Bear
13: Gene Williams - Whatever You Do (Do It Good)
14. Everyday People - Is It Really That Bad
1. The Rayons - Baby Be Good
2. Tony Ashley & the Delicates - All Along I've Loved You
3. Lee Harris - I've Got To Have Somebody's Love
4. Everyday People - Super Black
5. James Whitney - With Fun In My Life
6. Sharon Revoal - Reaching For Our Star
7. Marva W Taylor - Nothing I'd Rather Be (Than Your Weakness)
8. Four Darlings - Give Me Love
9. Unknown Artist - Dearest Lover
10. Fantasticks - Live And Let Live
11. Fabulous Rhythm Makers - Ya Gotta Be Doing It
12. Lee Harris - Skate Boogaloo and Karate Too
13. Tear Drops - Don't Fade Away
14. Marva Whitney & Ellis "Gripey" Taylor - We Need More (But Somebody Gotta Sacrifice)$21.99Vinyl LP - 2 LPs Sealed Buy Now
Dap-Dippin'Remastered From The Original Tapes
Includes Previously Unreleased Duet With Lee Fields
It's hard to believe that Sharon Jones' debut LP is a product of the year 2002, for several reasons. Given the excellent singles she recorded for Desco beginning in the late '90s, it seems like she would have gotten the opportunity for a full-length sooner; plus, her brand of raw, heavy, hard-driving funk is such a throwback to the '70s, and she pulls it off so well, that you wonder how she could have escaped that decade without at least a few rare, classic 45s (in the vein of labelmate Lee Fields). It's not hard to believe she once made her living as a prison guard, based on the tough-as-nails, no-nonsense performances she belts out on Dap Dippin' With Sharon Jones & the Dap-Kings, the first full-length release on Desco's descendant, Dap-Tone. Backed by the Dap-Tone house band (a conglomeration of studio pros with connections reaching back to the Desco orbit), Jones delivers a storming set of tunes that would have sounded perfectly at home on the James Brown's Original Funky Divas compilation. The style and quality are pretty consistent all the way through, but it's hard not to single out the nearly unrecognizable cover of Janet Jackson's What Have You Done for Me Lately, which is transformed into a churning blast of funk full of biting guitars (and nary a synth or drum machine in sight). Other highlights include the chunky leadoff track, Got a Thing on My Mind, the would-be dance-craze The Dap Dip, the slow-burning Make It Good to Me, and the trials-and-tribulations tale Ain't It Hard. Plus, label head Gabriel Roth throws in his usual authentic trappings -- the fake live introduction running down Jones' hits, the intentionally dated copy on the back cover -- that make the whole package even more fun. All in all, a terrific debut.1. Got A Thing On My Mind
2. What Have You Done For Me Lately?
3. The Dap-Dip
4. Give Me A Chance
5. Cut The Line
6. Will You Be True *
7. Got To Be The Way It Is
8. Make It Good To Me
9. Ain't It Hard
10. Pick It Up, Lay It In The Cut
11. Casella Walk
*Previously Unreleased$15.99Vinyl LP - Sealed Buy Now
This World Is Not EnoughSince 2010, Elias Bender Rønnenfelt (Iceage, Vår) has used the Marching
Church moniker to a variety of musical ends, both live and recorded. However,
the project as it exists on This World Is Not Enough wasn't born until November
2013. With a live performance looming and no real idea what the set would be,
Rønnenfelt found a new vision for the band while daydreaming at a gig at the
venue where Marching Church was set to perform. "What I pictured was me in a
comfortable armchair, adorned in a golden robe, leading a band while a girl kept
pouring me champagne when I required it," Rønnenfelt explained. "This raised
the question, 'What sort of music would go along with this picture?'"
Rønnenfelt discovered the answer to that question with a lineup rounded out by
Kristian Emdal and Anton Rothstein of Lower, Cæcilie Trier (Choir of Young
Believers), Bo H. Hansen (Hand of Dust, Sexdrome) and Frederikke Hoffmeier
(Puce Mary). Under Rønnenfelt's leadership, the group composed some music,
rehearsed twice, and played their show. It was decided that night that this incarnation
of Marching Church would make a record.
This World Is Not Enough was influenced at first by obscure works like David
Maranha's experimental drone-rock saga Antarctica, and eventually by soul
bandleaders like James Brown and Sam Cooke. "The whole month of writing
and rehearsing and the one week we had in the studio was truly an explosion
of ideas," Rønnenfelt said. "Improvisation, something I have never worked with
before, was crucial in the making of this album, considering the loose nature
of the writing on some of these songs. The album works because of the band's
incredible ability of breathing life into these, at times, very simple ideas and
The eight tracks that made the final cut are, in Rønnenfelt's words, "songs of
nocturnal longing, preposterous self-obsession and cockeyed etiquette," and they
are an exemplary statement of the songwriter's extraordinary growth since the
birth of Iceage.1. Living in Doubt
2. King of Song
3. Hungry for Love
4. Your Father's Eyes
5. Calling Out a Name
6. Every Child (Portrait of Wellman Braud)
7. Up a Hill
8. Dark End of the Street$19.99Vinyl LP - Sealed Buy Now
Luther's Blues: A Tribute To Luther AllisonWalter and Luther Allison were fellow Road Warriors.
Ever since Luther's untimely passing in 1997, Walter has wanted to do a tribute album to the memory of Luther. It is, however more than a tribute to Luther's playing and his song-writing; it is a tribute to a way of life that Luther exemplified, and a way of life that Walter knows so well:
To play and sing with everything you have in your body and soul to an audience, with the hope of reaching them, and somehow giving them an unforgettable experience of a live show.
This CD/Vinyl features a beautiful booklet with Walter's emotional story of the last time he saw Luther. Also many photos, and exclusive liner notes written by Luther's son, Bernard Allison, Luther's long-time love and partner Carolyn Rocky Brown, and Luther's song-writing partner and 25 year band member, James Solberg.1. I'm Back
2. Cherry Red Wine
3. Move from the Hood
4. Bad Love
5. Big City
7. Just As I Am
8. Low Down and Dirty
9. Pain in the Streets
10. All the King's Horses
12. Luther Speaks
13. When Luther Played the Blues$18.99Vinyl LP - 2 LPs Sealed Buy Now
We're All Gonna DieDawes' highly anticipated new album We're All Gonna Die will be released via the band's own HUB Records.
Of the album, Taylor Goldsmith (guitar, vocals) explains, "Pretty much every song on this record explores a difficult situation and tries to find a way to find the good in it, or at least remind yourself that it's not always that big of a deal. After all, as scary as it is, we are all gonna die."
The album was produced by Grammy nominated producer Blake Mills (Alabama Shakes) and includes backing vocals from Brittany Howard of Alabama Shakes, Jim James of My Morning Jacket, Holly Laessig and Jess Wolfe of Lucius, Mandy Moore and Will Oldham.
Dawes has toured extensively playing headline shows worldwide and major festival appearances including Bonnaroo, Austin City Limits, Lollapalooza and Newport Folk Festival. Recently, they have toured with My Morning Jacket, Bob Dylan, Mumford and Sons, Conor Oberst, and Jackson Browne.
In the fall of 2014, Goldsmith contributed to Lost On The River: The New Basement Tapes, an album project which found collaborators Elvis Costello, Rhiannon Giddens (Carolina Chocolate Drops), Taylor Goldsmith (Dawes), Jim James (My Morning Jacket), Marcus Mumford (Mumford & Sons) and producer T Bone Burnett writing and creating music for a treasure trove of recently discovered lyrics handwritten by Bob Dylan in 1967 during the period that generated the recording of the legendary Basement Tapes.
Fellow collaborator Jim James proclaims about We're All Gonna Die, "The record sounds so fresh-yet fills me with a strange nostalgia for things that haven't happened yet...I hear it at the beach and blasting out of car windows on future summer nights...easily having become a natural part of people's lives."1. One Of Us
2. We're All Gonna Die
3. Roll With The Punches
4. Picture Of A Man
5. Less Than Five Miles Away
6. Roll Tide
7. When The Tequila Runs Out
8. For No Good Reason
10. As If By Design$18.99Vinyl LP - Sealed Buy Now
I Learned The Hard WaySharon Jones & the Dap-Kings are already well known as one of the most exciting acts in the nation for both their explosive live shows and their prolific output of gritty studio recordings. I Learned The Hardway is their fourth full-length release on Brooklyn's independent Daptone Records and it marks a bold step forward for a band who almost single handedly stewarded today's return of soul music to its more traditional sound.
Produced by Bosco Mann and recorded on an Ampex eight-track tape machine by Gabriel Roth in Daptone Records' House of Soul studios, the record drips with a warmth and spontaneity rarely found since the golden days of Muscle Shoals and Stax. Sharon's raw power, rhythmic swagger, moaning soulfulness and melodic command set her fi rmly alongside Tina Turner, James Brown, Mavis Staples, and Aretha as a fi xture in the canon of soul music. From the lush Philly-Soul fanfare that ushers in The Game Gets Old at the top of the record, to the stripped down Sam Cooke-style Mama Don't Like My Man at the tail, the Dap-Kings groove seamlessly through both the most crafted and simple arrangements with subtlety and discipline. I Learned the Hard Way is the Daptone Sound at its fi nest.1. The Game Gets Old
2. I Learned the Hard Way
3. Better Things
4. Give It Back
6. The Reason
7. Window Shopping
8. She Ain't a Child No More
9. I'll Still Be True
10. Without a Heart
11. If You Call
12. Mama Don't Like My Man$15.99Vinyl LP - Sealed 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
Brahms - Hungarian Dances (Speakers Corner)
Fritz Reiner dedicated himself to the interpretation of works by modern composers such as Richard Wagner, Richard Strauss and BÉla Bartók, and it suited him well to tackle works such as Brahms's Hungarian Dances and Dvorák's Slavonic Dances. These lively compositions require a conductor whose interaction with the orchestra is vivacious and animated. Reiner always demanded utmost concentration and perfection from his ensemble. Under his baton, the Vienna Philharmonic Orchestra plays with enthusiasm and without restaint; no trace of a sterile concert atmosphere is found in this recording.
Reiner's penchant for effects is not irritating, but rather adds highlights which support his highly musical interpretation, indeed one even forgets this trait when listening to the brilliant music.
From a tonal point of view, the sound is beautifully balanced and reaches the highest standards despite its recording date of 1960 - or maybe just for that reason? The recording is characterized by its brilliance, warmth and vivacity with the result that listening becomes a true musical pleasure.
- Vienna Philharmonic Orchestra
- Fritz Reiner (conductor)
Recording: June 1960 at Sofiensaal, Vienna by James Brown
Production: Erik Smith
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.$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now