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  • Very Truly Yours Very Truly Yours Quick View

    $19.99
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    Very Truly Yours

    Released in 1955, Very Truly Yours was the first album that Jimmy Scott recorded for the Savoy label. After spending the better part of a decade singing in ensembles, first with Lionel Hampton and then with New Orleans bandleader Paul Gayten, Scott was poised to make a name for himself as a solo artist. These dozen songs, executed with a small jazz combo supporting him (including Charles Mingus on bass), find Scott in beautiful voice, confidently investing himself in well-chosen covers as well as some of his own great originals. From the opening number (Imagination), it's clear that you're hearing a rare and expressive voice. Here he sounds every bit as romantic and inventive as he continued to be decades later.
    1. Imagination
    2. How Can I Go On

    3. Time On My Hands

    4. When Did You Leave Heaven

    5. Guilty

    6. Everybody Needs Somebody

    7. Why Don't You Open Your Heart

    8. Don't Cry Baby

    9. Street Of Dreams

    10. Someone To Watch Over Me

    11. The Show Goes On

    12. Very Truly Yours
    Jimmy Scott
    $19.99
    Vinyl LP - Sealed Buy Now
  • I Go Back Home I Go Back Home Quick View

    $39.99
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    I Go Back Home

    When Jimmy Scott died in 2014, dozens of musicians, hundreds of journalists and thousands of fans mourned the passing of a jazz legend. Not only had a link back to the era of Billie Holiday, Charlie Parker and Lionel Hampton been lost, but so had the chance to bring the fame and respect denied to him throughout his long and rich life.


    Now, as if sent from some righteous deity, comes I Go Back Home, an album full of life recorded by Jimmy Scott years before his death. Created by German producer Ralf Kemper, Jimmy Scott and with mixes produced by Phil Ramone, no expense was spared in giving Scott the lushest musical backdrops possible, creating an album that, like Scott's inimitable vocal style, comes late but but right on time.


    I Go Back Home manages to replicate that using the finest arrangers writing for the most experienced players, mixed by the most intuitive engineers in the the best studios available. Scott revisited his favourite songs, into which he invested his lived experience, letting the listener feel the story known by far too few.


    The creation of I Go Back Home was the subject of an acclaimed documentary of the same name. It depicts producer Ralf Kemper's drive to work with Jimmy and provide him with the best album he can. The film captures the challenges and sacrifices that lead up to the recording sessions, a document that makes I Go Back Home an even richer record.


    Hounding Jimmy Scott through the most of his recording career was an oppressive recording contract that prevented him from releasing albums. It wasn't until 1992 that Jimmy, aged 63, recorded the first album over which he had creative control, All The Way. Nominated for a Grammy and finally bringing him to the attention of an audience that wasn't entirely comprised of jazz fans and a few lucky passers-by, Scott began touring and regularly releasing albums. It's not until I Go Back Home that Scott was given the budget that allowed him unfettered control over song selection, personnel and orchestration.


    As the album progresses, each song sees another musician or singer join Scott for a fresh interpretation of a beloved song. Long-time collaborators such as Kenny Barron and Joe Pesci, or new, such as actress and singer Reneè Olstead, trumpeter Till Brönner and harmonica player Gregoire Maret. All give Scott the room he needs to slide between phrases, telling his story and living out the world of each song.


    As Jimmy explained: "The lyric is so important to me. I feel if you're singing a song or telling the story in a song it should mean something. That's why I protect what I have in it, because that's where I believe it should go. It should mean something. It should make sense."


    Dave Nathan wrote on AllMusic that Scott's phrasing moves "beyond mere poignancy and close to reverence". This is truer than ever on I Go Back Home. Scott shifts from speak-singing in album-opener (Sometimes I Feel Like a) Motherless Child to lively bossa nova take on I Remember You to full-throated commitment on If I Ever Lost You.


    Expertly interplaying with top tier collaborators I Go Back Home is ultimately a record of collaboration and companionship, and the sound of a singer going out on top. Scott commemorates his highest points, and spars with fresh new talent in a way that suggests that he would have had great albums in him yet. And while we can mourn the decades he didn't record, the tragedies and injustices that never defeated him, I Go Back Home succeeds in capturing the essence of a life that was ultimately triumphant.

    LP 1
    1. Motherless Child FEATURING JOEY DE FRANCESCO
    2. The Nearness of You DUET WITH JOE PESCI
    3. Love Letters
    4. Easy Living DUET WITH OSCAR CASTRO NEVES
    5. Someone To Watch Over Me FEATURING RENEE OLSTEAD
    6. How Deep Is The Ocean FEATURING KENNY BARRON


    LP 2
    1. If I Ever Lost You FEATURING TILL BRÖNNER
    2. For Once In My Life DUET WITH DEE DEE BRIDEWATER
    3. I Remember You FEATURING MONICA MANCINI & ARTURO SANDOVAL
    4. Everybody Is Somebody's Fool FEATURING JAMES MOODY
    5. Folks Who Live On The Hill FEATURING JOE PESCI
    6. Poor Butterfly FEATURING GREGOIRE MARET

    Jimmy Scott
    $39.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Twin Peaks: Fire Walk With Me Soundtrack Twin Peaks: Fire Walk With Me Soundtrack Quick View

    $45.99
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    Twin Peaks: Fire Walk With Me Soundtrack

    Director Approved Artwork


    Composer Approved Audio


    Sleeve Notes By Film Critic Mark Kermode (Approved By David Lynch And Angelo Badalamenti)


    Vinyl Re-Master By Tal Miller At Warner Archives


    Laquers Cut By David Cheppa At Plush Vinyl


    2 X 180-Gram Cherry Pie Vinyl


    425gsm Gatefold Sleeve Housed Inside A Bespoke Black Die Cut Outer Jacket With Black Spot Varnish Finish, Complete With Obi Strip


    Fire Walk With Me is an altogether more brooding affair than the Twin Peaks series soundtrack. Badalamenti won a grammy for the title track of this LP and it's not hard to see why- it's dangerous, and bursting with smokey jazz thanks to Jimmy Scott. We went back to the master tapes in the Warner Archives and had this recut to fit across two LPs as the score clocks in at 51 minutes. It sounds incredible and punchy, but super nuanced too.


    From the brooding opening bars of the main Fire Walk With Me Theme, Angelo Badalamenti's gorgeous, eerie score introduces us to a cinematic experience which significantly begins with the smashing of a television screen. Just as the Main Title from Blue Velvet echoed the Hitchcockian hues of Bernard Herrmann, so here we have just the slightest touch of Taxi Driver, as Jim Hynes' plaintive, keening trumpet soars above a landscape of melancholy keyboards, drawing us into a world which is at once alien and familiar.

    LP 1
    1. Theme From Twin Peaks - Fire Walk With Me
    2. The Pine Float
    3. Sycamore Trees
    4. Don't Do Anything (I Wouldn't Do)
    5. A Real Indication


    LP 2
    1. Questions In A World Of Blue
    2. The Pink Room
    3. The Black Dog Runs At Night
    4. Best Friends
    5. Moving Through Time
    6. Montage From Twin Peaks - Girl Talk / Birds In Hell / Laura Palmer's Theme / Falling
    7. The Voice Of Love

    Angelo Badalamenti
    $45.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Evenin' Blues Evenin' Blues Quick View

    $34.99
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    Evenin' Blues

    Part of the ultimate audiophile Prestige stereo reissues from Analogue Productions - 25 of the most collectible, rarest, most audiophile-sounding Rudy Van Gelder recordings ever made. All cut at 33 1/3.


    All mastered from the original analog master tapes by mastering maestro Kevin Gray. 200-gram LPs pressed at Acoustic Sounds' state-of-the-art pressing plant, Quality Record Pressings, plated by Gary Salstrom


    Deep groove label pressings, tip-on jackets on thick cardboard stock


    This relaxed, rather informal August 15, 1963, session is one of Jimmy Witherspoon's rarest and was the only time that the great Arkansas shouter recorded with T-Bone Walker, the Texas-born father of electric blues guitar. In an unusual appearance as a sideman, Walker contributed his trademark brittle-toned solos, obbligatos, and "from the five" intros to a set of tunes that included such standards as "Money's Gettin' Cheaper" (a 'Spoon favorite since he borrowed it from Charles Brown in the late Forties), "How Long Blues," "Good Rockin' Tonight," "Kansas City," and "Don't Let Go." And adding further Texas seasoning was San Antonio saxophonist Clifford Scott, best known for his distinctive solos on "Honky Tonk" and other Bill Doggett hits, who not only played tenor (as the original credits indicate), but blew searing alto on "Grab Me a Freight" and flute on 'Spoon's reading of the haunting title track, a blues ballad previously associated with both Jimmy Rushing and Walker. With Clifford Scott, Bert Kendrix, T-Bone Walker, Clarence Jones and Wayne Robertson.

    1. Money's Gettin' Cheaper
    2. Grab Me a Freight
    3. Don't Let Go
    4. I've Been Treated Wrong
    5. Evenin'
    6. Cane River
    7. How Long Blues
    8. Good Rockin' Tonight
    9. Kansas City
    10. Drinking Beer
    Jimmy Witherspoon
    $34.99
    200 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • The Hamilton Mixtape The Hamilton Mixtape Quick View

    $29.99
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    The Hamilton Mixtape

    Atlantic Records has announced the highly-anticipated release of The Hamilton Mixtape, an unprecedented musical companion to the landmark Broadway musical by Tony, GRAMMY® and Emmy Award-winner Lin-Manuel Miranda.


    Executive produced by The Roots' Ahmir "Questlove" Thompson and Tarik "Black Thought" Trotter, The Hamilton Mixtape sees songs from the Pulitzer Prize-winning musical covered and remixed by a remarkable cast of contemporary artists. Superstars contributing to the one of its kind collection include Sia, Usher, Kelly Clarkson, The Roots, Alicia Keys, Nas, Wiz Khalifa, Chance The Rapper, John Legend, Regina Spektor, Ashanti, Ja Rule, Miguel, Queen Latifah, Common, Ben Folds, Andra Day, Jill Scott, Jimmy Fallon & more. The Hamilton Mixtape also includes three previously unreleased HAMILTON demos.

    LP 1
    1. No John Trumbull (Intro) - By The Roots
    2. My Shot (feat. Busta Rhymes, Joell Ortiz & Nate Ruess) [Rise Up Remix] - By The Roots
    3. Wrote My Way Out - By Nas, Dave East, Lin-Manuel Miranda & Aloe Blacc
    4. Wait For It - By Usher
    5. An Open Letter (feat. Shockwave) [Interlude] - By Watsky
    6. Satisfied (feat. Miguel & Queen Latifah) - By Sia
    7. Dear Theodosia (feat. Ben Folds) - By Regina Spektor
    8. Valley Forge (Demo) - By Lin-Manuel Miranda
    9. It's Quiet Uptown - By Kelly Clarkson
    10. That Would Be Enough - By Alicia Keys
    11. Immigrants (We Get The Job Done) - By K'naan, Snow Tha Product, Riz MC, Residente


    LP 2
    1. You'll Be Back - By Jimmy Fallon & The Roots
    2. Helpless (feat. Ja Rule) - By Ashanti
    3. Take A Break (Interlude) - By !llmind
    4. Say Yes To This - By Jill Scott
    5. Congratulations - By Dessa
    6. Burn - By Andra Day
    7. Stay Alive (Interlude) - By J.PERIOD & Stro Elliot
    8. Cabinet Battle 3 (Demo) - By Lin-Manuel Miranda
    9. Washingtons By Your Side - By Wiz Khalifa
    10. History Has Its Eyes On You - By John Legend
    11. Who Tells Your Story (feat. Common & Ingrid Michaelson) - By The Roots
    12. Dear Theodosia (Reprise) - By Chance The Rapper & Francis and The Lights

    Various Artists
    $29.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Island Intervals Island Intervals Quick View

    $15.99
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    Island Intervals

    That Joel Thibodeau's slender, winsome voice is at once so comforting
    and so unsettling might be the greatest of his many strengths. Reed-thin
    but sturdy, youthful but somehow ageless, its deep benevolence is also
    slightly eerie, and the way he gently walks the line between intense
    feeling and contemplative remove lets him sing from a timeless place
    where he evokes the beauty of vanished people and places, sweetness
    too profound for words, loss too great for tears.


    Like Nico's, Jimmy Scott's, or Phil Elverum's, Joel's is a voice that
    demands its own sonic and lyrical world, and with Island Intervals, his
    third record as Death Vessel (and second for Sub Pop), we're treated to
    the sound of him finding a rich and strange new home among new friends
    in Iceland who probably saw him as a long-lost relative. Joel's an inveterate
    and intuitive wanderer; when I met him years ago, he'd just spent a few
    months traveling the United States on Greyhound buses, sometimes
    sleeping rough, and making a record from found moments.


    Island Intervals springs from a more recent journey. For his first album
    since 2008's acclaimed Nothing Is Precious Enough for Us, Joel traveled
    to Reykjavík on an invitation from Sigur Rós singer Jónsi and producer
    Alex Somers, where they spent three months together conjuring an album
    that's both a song cycle and a window into a mysterious and singular
    landscape. Island Intervals wraps Joel's voice and furtive guitar in sounds
    that evoke not so much a band playing as elemental forces of earth and
    water; Pete Donnelly (The Figgs, NRBQ), Samuli Kosminen (Múm) and
    Thorvaldur Doddi Thorvaldsson assist Somers in creating a rich and
    multi-layered world that sounds, at times, like a well-tuned forest sighing
    and bending in a gale, or the deep cracks and booms of a glacier calving
    its way to the sea. Jónsi also joins Joel on vocals for the track "Ilsa
    Drown."


    Island Intervals lives in the spaces between running away and letting
    go, and finds its author embracing a life whose most solid, real moments
    loom and vanish, like a range of mountains that emerges from a bank
    of low clouds, and just as suddenly slips away.


    -Jonathan Meiburg (Shearwater), Nov. 2013

    1. Ejecta
    2. Velvet Antlers
    3. Triangulated Heart
    4. Mercury Dime
    5. Ilsa Drown
    6. Island Vapors
    7. We Agreed
    8. Loom
    Death Vessel
    $15.99
    Vinyl LP - Sealed Buy Now
  • Son Of A Preacher Man (Pure Pleasure) Son Of A Preacher Man (Pure Pleasure) Quick View

    $34.99
    Buy Now
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    Son Of A Preacher Man (Pure Pleasure)

    Nancy Wilson, one of the most stylish and sultry singers in jazz. Here we have an exciting mix of influences from the music of Nat King Cole, the romanticism of Billy Eckstine, the emotional delivery of Dinah Washington and the genius of Little Jimmy Scott.



    Nancy Wilson signed with Capitol Records in 1959, and recorded 37 albums over a period of 20 years, a period in which many of her album sales were second only to the Beatles, surpassing even Sinatra, Peggy Lee, the Beach Boys and Nat King Cole.



    This exhilarating album features the legendary bassist Chuck Rainey on this previously hard to find gem of an album. Produced by David Cavanaugh and with musical arrangements from Jimmy Jones, Phil Wright and Joe Parnello. Of Jimmy Jones, Nancy Wilson says one of the greatest arrangers there ever was. Very sparse, nothing overdone.



    Musicians:



    • Nancy Wilson (vocal)

    • Jimmy Jones (piano, arranger, conductor)

    • Phil Wright, Joe Parnello (arranger, conductor)

    • Chuck Rainey (bass)




    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. Son of a Preacher Man
    2. By the Time I Get to Phoenix
    3. Mr. Walker It's All Over
    4. I Made You This Way
    5. Almost Persuaded
    6. Got It Together
    7. Make the World Go Away
    8. Husbands and Wives
    9. Little Green Apples
    10. Trouble in Mind
    Nancy Wilson
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • But Beautiful (Pure Pleasure) But Beautiful (Pure Pleasure) Quick View

    $34.99
    Buy Now
    x

    But Beautiful (Pure Pleasure)

    A highly successful and respected jazz and soul singer, Nancy Wilson bridges the gap between the classic pop vocal era of Peggy Lee, Frank Sinatra and Ella Fitzgerald and the belting R&B divas of today. Though Nancy Wilson has always cited the emotionally naked, androgynous vocal style of Jimmy Scott as her primary influence, her voice carries definite echoes of Dinah Washington and Sarah Vaughan. Yet Wilson also has always had a strong feeling for post-Sam Cooke soul and the tartness of her delivery carries more than an echo of the sometimes-icy Lena Horne. Young and heart-stoppingly beautiful, Wilson was discovered singing in a N.Y.C. jazz club in the late 1950s by Cannonball Adderley, who told his management at Capitol Records that they needed to scoop her up before another label did. Wilson was immediately signed and started recording for Capitol, the premier vocal label of the 1950s and '60s.




    Musicians:



    • Nancy Wilson (vocal)

    • Hank Jones (piano)

    • Gino Bertachini (guitar)

    • Ron Carter (bass)

    • Grady Tate (drums)




    Recording: November 1969 in New York City

    Production: David Cavanaughdeutsch




    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. Happiness Is A Thing Called Joe
    2. Oh! Look At Me Now
    3. Glad To Be Unhappy
    4. Do It Again
    5. But Beautiful
    6. Easy Living
    7. Prelude To A Kiss
    8. I Thought About You
    9. For Heaven's Sake
    10. Supper Time
    11. I'll Walk Alone
    12. Darn That Dream
    13. In A Sentimental
    Nancy Wilson
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Sarah Vaughan In Hi Fi (Pure Pleasure) Sarah Vaughan In Hi Fi (Pure Pleasure) Quick View

    $49.99
    Buy Now
    x

    Sarah Vaughan In Hi Fi (Pure Pleasure)

    Most of Sarah Vaughan's Columbia recordings were on the commercial side, but not the memorable selections on this wonderful vinyl reissue. She recorded eight selections in 1950 with an octet that included trumpeter Miles Davis, trombonist Benny Green, the remarkably cool clarinetist Tony Scott and tenorman Budd Johnson. This double LP adds alternate takes to seven of the numbers, none on the original single LP release. This version of Ain't Misbehavin' is a true classic (with memorable eight-bar solos by each of the four horns); Mean To Me and Nice Work If You Can Get It are gems, and the other performances are not far behind. In addition, Vaughan sings two versions of The Nearness Of You in 1949; there is also a previously unknown recording of It's All In The Mind, and three orchestra numbers from 1951 and 1953 wrap up the outstanding reissue. Sassy has rarely sounded better.




    Musicians:



    • Sarah Vaughan (vocal)

    • Stan Webb (bassoon)

    • Budd Johnson (tenor saxophone)

    • Miles Davis (trumpet)

    • Benny Green (trombone)

    • Tony Scott (clarinet)

    • Jimmy Jones (piano)

    • Freddie Green (guitar)

    • J.C. Heard (drums)




    Recording: December 1949, May 1950 and December 1952



    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. East Of The Sun (And West Of The Moon)
    2. Nice Work If You Can Get It
    3. Pinky
    4. The Nearness Of You
    5. Come Rain Or Come Shine
    6. Mean To Me
    7. It Might As Well Be Spring
    8. Cant Get Out Of this Mood
    9. Spring Will Be A Little Late This Year
    10. Ooh, What Cha Doin To Me

    11. Goodnight My Love
    12. Aint Misbehavin
    13. Its All In The Mind
    14. The Nearness Of You (alternate take)
    15. Aint Misbehavin (alternate take)
    16. Goodnight My Love (alternate take)
    17. Cant Get Out Of this Mood (alternate take)
    18. It Might As Well Be Spring (alternate take)
    19. Mean To Me (alternate take)
    20. Come Rain Or Come Shine (alternate take)
    21. East Of The Sun (And West Of The Moon) (alternate take)
    Sarah Vaughan
    $49.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • A Broadway Bit A Broadway Bit Quick View

    $27.99
    Buy Now
    x

    A Broadway Bit

    Art Pepper (Alto Sax)

    Bill Perkins (Tenor Sax)

    Jimmy Giuffre (Baritone Sax & Clarinet)

    Frank Beach (Trumpet)

    Stu Williamson (Trumpet & Valve Trombone)

    Vince DeRosa (French Horn)

    George Roberts (Trombone)

    Bob Enevoldsen (Valve Trombone & Tenor Sax)

    Victor Feldman (Vibraphone & Percussion)

    Marty Paich (Piano, Conductor & Arranger)

    Scott LaFaro (Bass)

    Mel Lewis (Drums)
    Side A:


    1. It's All Right With Me
    2. I've Grown Accustomed To Her Face
    3. I've Never Been In Love Before
    4. I Love Paris
    5. No More


    Side B:


    1. Too Close For Comfort
    2. Younger Than Springtime / The Surrey With The Fringe On Top
    3. If I Were A Bell
    4. Lazy Afternoon
    5. Just In Time
    6. It Don't Mean A Thing

    Marty Paich
    $27.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • The Ultimate The Ultimate Quick View

    $19.99
    Buy Now
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    The Ultimate

    This is one of Joe Farrell's finest recordings. Switching between tenor, soprano and flute, Farrell had to be good because he was joined in the pianoless trio by bassist Jimmy Garrison and drummer Elvin Jones. The group performs two standards, three Garrison originals and one by Farrell; it is a tossup as to who takes honors. Farrell is in consistently creative form but Garrison's occasional solos and Jones's polyrhythmic accompaniment are also noteworthy.

    - Scott Yanow (All Music)
    1. In the Truth
    2. What Is This?
    3. Ascendant
    4. Yesterdays
    5. Sometimes Joie
    6. We'll Be Together Again
    Elvin Jones
    $19.99
    Vinyl LP - Sealed Buy Now
  • The Band Perry The Band Perry Quick View

    $19.99
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    The Band Perry

    Daddy rocked us to sleep with the Rolling Stones; Mama woke us up with Loretta Lynn. So we get it honest. - Kimberly Perry


    Inheriting a cross-pollinated love of country and rock & roll from their parents, The Band Perry - siblings Kimberly, Reid, and Neil Perry - say that they bleed the bright red blood of American music. The three have always felt the drive to perform and create music, sweating out the summers in Mobile, Alabama playing in any dusty roadhouse or church that would have them. Kimberly strapped on her first Gibson - and fronted her first high school band - at age 15, employing Reid, then 10, and Neil, only 8, as her roadies. Changing guitar strings and polishing cymbals for their big sister lost its charm after awhile, so the brothers formed their own band, opening for Kimberly's band.


    My bass and I've been attached at the hip since I was 10 years old, says Reid. While most of my friends were playing little league, I was sitting in my room learning Rolling Stones' and Beatles' bass lines. It's really all I've ever known. Even as the three worked in different bands, the siblings would spend nights at home playing together: I remember sitting out on our front porch singing old Hank Williams and Bobbie Gentry songs in three-part harmony, hoping to channel the spirits of old country through musical sÉance while fighting off the southern Alabama mosquitoes, says Kimberly. We always knew we'd take the stage together - all we were waiting on was the right moment. That moment came in July of 2005, when - after years of writing together - the siblings decided to join forces as one band. The Band Perry was then invited by the Coca-Cola Bottling Company to open all of the dates on their New Faces Of Country Tour that year.


    In the summer of 2008, after spending a few years on the road honing their sound, TBP met longtime Garth Brooks manager Bob Doyle. Partnering with Bob and Josh Pegram, The Band Perry spent the fall and winter of 2008 writing in Nashville and collecting songs for their first country recording session.


    The three of us bring different strengths into the writing room, Neil points out. Kimberly carries in a bag of melodies and lyrics, Reid always has some really great musical ideas in his back pocket, and I bring in a sense of humor and some thread that ties it all together.


    The new recordings caught the ears of Scott Borchetta and Jimmy Harnen, the CEO and President of Republic Nashville, signing to the new label in the summer of 2009.


    When talking about The Band Perry, each member of the trio stresses how much family figures into the mix: Reid, Neil and I share genes and a musical pedigree, Kimberly explains. We read the same classics and cook from the same recipes. With all of our likenesses though, I believe it's our distinctions that stir up the magic when we create. When the three of us sit down to write songs together, we pull from all of our individual perspectives and happenstances to create the most interesting song concoctions.


    There's a tightness between the three of us that goes way beyond even best friends, Neil adds. Family vocal harmonies can't be fabricated. And, besides - the three of us know that through the thick and thin of life and the music business, we're watching after each other.


    Blood runs thick. The music business can be hard, but the three of us are committed not only to our lives in music, but to living them together, Reid says. I think the security of knowing that about each other allows us to be uninhibited when we create. It's a democracy. It's a safe haven.


    We've walked a long way to find your ears, Kimberly Perry finishes with a grin. So play us long and play us loud. The Band Perry is here, and we just have so darn much to say.

    1. You Lie
    2. Hip To My Heart
    3. If I Die Young
    4. All Your Life
    5. Miss You Being Gone
    6. Double Heart
    7. Postcard From Paris
    8. Walk Me Down The Middle
    9. Independence
    10. Quittin' You
    11. Lasso
    The Band Perry
    $19.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • The Paris Concert The Paris Concert Quick View

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    The Paris Concert

    This excellent album by the classic John Coltrane Quartet (with pianist McCoy Tyner, bassist Jimmy Garrison, and drummer Elvin Jones) is highlighted by a 26-minute version of Mr. P.C. Also included on the album are The Inch Worm and the ballad Every Time We Say Goodbye. Although the sound and passion of the group on this date will not surprise veteran listeners, it is always interesting to hear new variations of songs already definitively recorded in the studios. The Paris Concert is recommended to all true Coltrane fanatics.


    - Scott Yanow (All Music Guide)

    1. Mr. P.C.
    2. The Inch Worm
    3. Ev'rytime We Say Goodbye
    John Coltrane
    $21.99
    Vinyl LP - Sealed Buy Now
  • Conquistador! Conquistador! Quick View

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    Conquistador!


    Part Of The Blue Note 75 Anniversary Vinyl Reissue Campaign


    For the second of Cecil Taylor's two Blue Note albums (following Unit Structures), the innovative pianist utilized a sextet comprised of trumpeter Bill Dixon, altoist Jimmy Lyons, both Henry Grimes and Alan Silva on basses and drummer Andrew Cyrille. During the two lengthy pieces, Lyons' passionate solos contrast with Dixon's quieter ruminations while the music in general is unremittingly intense. Both of the Taylor Blue Notes are quite historic and near-classics but, despite this important documentation, Cecil Taylor (other than a pair of Paris concerts) would not appear on records again until 1973.

    - Scott Yanow (All Music)

    1. Conquistador
    2. With (Exit)
    Cecil Taylor
    $19.99
    Vinyl LP Reissue - Sealed Buy Now
  • Nonet Nonet Quick View

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    Nonet

    The Lee Konitz Nonet never really prospered, but they recorded several excellent albums. With such top players as flÜgelhornist John Eckert, trombonist Jimmy Knepper, and baritonist Ronnie Cuber in the group, and colorful arrangements provided by Sy Johnson, this band's repertoire was as wide as one would expect from a Konitz band. Whether it be the Louis Armstrong-associated Struttin' with Some Barbeque, a Lester Young-inspired Sometimes I'm Happy, Charlie Parker's Chi-Chi, Giant Steps, or some newer originals, the results are frequently superb.

    - Scott Yanow (All Music)
    1. Fanfare
    2. Chi-Chi
    3. If You Could See Me Now
    4. Sometimes I'm Happy
    5. Giant Steps
    6. April/April Too
    7. Who You
    8. Stryker's Dues

    9. Fourth Dimension
    10. Struttin' with Some Barbecue
    11. Hymn Too
    Lee Konitz
    $14.99
    Vinyl LP -Sealed Buy Now
  • Kelly Blue Kelly Blue Quick View

    $21.99
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    Kelly Blue

    Recorded for Riverside, this set mostly features the influential pianist Wynton Kelly in a trio with his fellow rhythm-section mates from the Miles Davis bands, bassist Paul Chambers and drummer Jimmy Cobb. Kelly Blue and Keep It Moving add cornetist Nat Adderley, flutist Bobby Jaspar and the tenor of Benny Golson to the band for some variety.


    Kelly was renowned as an accompanist, but as he shows on a set including three of his originals and four familiar standards (including Softly, As in a Morning Sunrise and Willow Weep for Me), he was also a strong bop-based soloist too. A fine example of his talents.


    - Scott Yanow (All Music Guide)

    1. Kelly Blue

    2. Softly, As in a Morning Sunrise

    3. Green Dolphin Street

    4. Willow Weep for Me

    5. Keep It Moving

    6. Old Clothes
    Wynton Kelly
    $21.99
    Vinyl LP - Sealed Buy Now
  • Modes and Blues: 8th February 1964 Modes and Blues: 8th February 1964 Quick View

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    Modes and Blues: 8th February 1964


    Live At Ronnie Scott's


    This is a previously unreleased mono recording of Modes and Blues from the Tubby Hayes Quintet's weekly Ronnie Scott's residency on 8th February 1964. Regarded as one of the masterworks of British modern jazz, Modes and Blues shows the Quintet at the very height of its powers, channelling the new musical flavours and inspiration that Tubby Hayes had absorbed from the cutting edge of jazz and the new directions of John Coltrane.


    Recorded with Hayes' approval by Les Tomkins on his Ferrograph tape recorder, this is one of the most engrossing of all his stretch-out epics. Hayes digs in deep with marathon and breathtaking soloing, trumpeter Jimmy Deuchar delivers his characteristically lyrical improvisation, and there's dynamic interplay and drive from the great Terry Shannon, Freddy Logan and Allan Ganley rhythm section.


    The Quintet had barely a few months left to run at the time of this performance, splitting in August 1964, fearing its music had atrophied into self-parody. Modes and Blues is among its many triumphs, a performance that shows how high the band had set the aspirational bar for British modernism, and, as such, is as much a cultural document as a musical souvenir.

    1. Modes and Blues (Part One)
    2. Modes and Blues (Part Two)
    Tubby Hayes Quartet
    $25.99
    180 Gram Audiophile Virgin Vinyl LP Mono - Sealed Buy Now
  • Signs & Signifiers Signs & Signifiers Quick View

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    Signs & Signifiers

    Named as an artist you should know in 2011 by NPR, singer/songwriter JD McPherson makes his Rounder Records debut with the release of Signs & Signifiers which All Music calls a rockin', bluesy, forward-thinking album that subtly breaks the conventions of most vintage rock projects. McPherson is an artist with an unaffected take on vital American music and a voice that channels the spirit of Little Richard and James Brown.


    The seductively kickass 12-song set finds this renaissance man/hepcat seamlessly meshing the old and the new, the primal and the sophisticated, on a work that will satisfy traditional American rock 'n' roll and R&B purists while also exhibiting McPherson's rarified gift for mixing and matching disparate stylistic shapes and textures. Recorded on analog equipment through vintage microphones and a 1960s Berlant 1/4 inch tape machine, Signs & Signifiers marks the arrival of an authentic, gutsy American artist.


    Featuring JD McPherson (lead and backing vocals, guitar), Jimmy Sutton (bass), and Alex Hall (drums, piano, organ), the album also hosts an array of guest musicians, including Scott Ligon on piano (NRBQ's Terry Adams Rock & Roll Quartet); Jonathan Doyle (Nick Curran & the Lowlifes, White Ghost Shivers); Chicago's Josh Bell (The Del Moroccos) on tenor and baritone saxophones; Susan Voelz (Alejandro Escovedo, Poi Dog Pondering) on violin; Allison Chesley (Helen Money) on cello; and Joel Paterson (The Modern Sounds) lends choice guitar work to the Joey Simone classic Your Love (All That I'm Missing).

    1. North Side Gal
    2. Country Boy
    3. Fire Bug
    4. Signs & Signifiers
    5. Wolf Teeth
    6. Scratching Circles
    7. A Gentle Awakening
    8. Dimes for Nickles
    9. B.G.M.O.S.R.N.R.
    10. I Can't Complain
    11. Your Love (All That I'm Missing)
    12. Scandalous
    J.D. McPherson
    $24.99
    Vinyl LP - Sealed Buy Now
  • Glen Campbell: I'll Be Me Soundtrack Glen Campbell: I'll Be Me Soundtrack Quick View

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    Glen Campbell: I'll Be Me Soundtrack

    Honored in 2012 with the GRAMMY Lifetime Achievement Award, Country Music Hall of Fame member Glen Campbell has recorded his last song.
    I'm Not Gonna Miss You was written by Campbell and Julian Raymond specifically for a new documentary titled GLEN CAMPBELL: I LL BE ME. Produced by Raymond, the song was recorded in the Los Angeles-based Sunset Sound Factory and East West Recording Studios.


    With a mere handful of piano chords, then a swell of harmonies, I m Not Gonna Miss You opens into the poignant, yet clear-eyed revelation of the things Alzheimer s steals. Almost lumbering through the melody, Campbell s weathered tenor confesses the painful truths of what is lost, the cost and the reality that it will all be lost to him, the man who can t remember. Pedal steel weeps, strings bathe the melody that rises against drums and an electric guitar that mirrors the unbreakable passage of life and time.


    GLEN CAMPBELL: I LL BE ME is an epic human drama that intimately showcases the man and his music throughout Campbell s struggle with Alzheimer s. Chronicling the story of love, laughter, resilience and power of song, this film shows how against all odds, America s greatest country star would not give up. Directed and produced by James Keach (producer of Walk The Line) and produced by Trevor Albert (Groundhog Day).


    Big Machine Records will proudly release a soundtrack for the film that also features The Band Perry, who previously paid tribute to Campbell during the 2012 GRAMMY Awards. The project also features Campbell s daughter Ashley who performs an original song.


    We are so honored to not only release Glen Campbell s final recording, but to be associated with such a profound film that will help raise awareness of those suffering from Alzheimer s and spotlight the important role of those who care for them, remarked Big Machine Label Group President & CEO Scott Borchetta who serves as the project s Executive Producer with Keach.


    Additionally, several of today s biggest musical stars appear in the film to pay tribute to the legend including Bruce Springsteen, Bill Clinton, The Edge (from U2), Paul McCartney, Jay Leno, Vince Gill, Jimmy Webb, Taylor Swift, Blake Shelton, Sheryl Crow, Keith Urban, Brad Paisley, Steve Martin, Chad Smith, and The Band Perry.

    1. I'm Not Gonna Miss You - Glen Campbell and The Wrecking Crew
    2. Gentle on My Mind (Documentary Version) - The Band Perry
    3. Remembering - Ashley Campbell
    4. All I Need Is You - Glen Campbell
    5. The Long Walk Home - Glen Campbell
    6. Wichita Lineman (Live from Ryman Auditorium) - Glen Campbell
    7. A Better Place (Live from Ryman Auditorium) - Glen Campbell
    8. Gentle on My Mind (Single Version) - The Band Perry
    9. Home Again - Ashley Campbell
    10. I'm Not Gonna Miss You (Single Version) - Glen Campbell
    Glen Campbell & The Band Perry
    $19.99
    Vinyl LP - Sealed Buy Now
  • Coming Of Age Coming Of Age Quick View

    $21.99
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    Coming Of Age

    Call it a generous fluency, an affable virtuosity. Call it a true band spirit. The best bands have all had something that can't be forced: A refined mastery of music and a willingness to converse through music. That's what you hear, above all, on bassist Ben Williams' sophomore recording, Coming of Age: The sound of a musician who's cultivated an authentic rapport with some of the best young players in New York City.


    We have these group texts that we send to each other all the time," Williams says of his band, Sound Effect. "We're just as entertaining to each other off stage as on. If there were ever a reality show about jazz, we'd be good candidates for it!"


    Coming of Age for the 30-year-old Williams means playing a lively role among his peers and a vital part in the music world at large. After winning the prestigious Monk Institute Competition in 2009, Williams got busy turning his youthful promise into real achievement. "My career as a bandleader and composer started from the moment I won," he says. "I had this opportunity to say something-and an obligation, too." In 2011 Williams delivered a debut album, State Of Art, to great critical acclaim and toured widely as a bandleader with Sound Effect. He became a sought after and beloved sideman, playing so many sets at one year's Winter Jazzfest that he rarely left the stage. Most impressively, he assumed a highly-coveted place in guitarist Pat Metheny's Unity Band. "Ben has a fearless and open-minded approach to what music can be," Metheny has said. "A wonderful combination of skills."


    For all his strides in bandleading and performing, on the track Coming of Age Williams shows his greatest growth as a composer. "Composing seems like a nebulous thing," he says. "But the ability to translate a feeling into actual music, takes a lot of doing it, a lot of practice. Which chord is going to invoke this feeling? What's the best key for this idea?" And Williams has some big ideas and feelings to convey, necessitating heavy skill in musical translation and storytelling. On "Toy Soldiers," for example, a martial rhythm and chantlike riff send a message about the sacrifices of war. He wrote the uplifting "Strength And Beauty" on the day of the 2012 Newtown school shooting.


    "The tragic news hit me hard, and this tune came to me as a way of feeling my way through the tragedy. The title was inspired later, when I saw how [jazz saxophonist] Jimmy Greene and his family responded to losing their daughter at Newtown. Their pain is something most of us can't even imagine, but the way Jimmy held it together and became a beacon of light and true strength was an inspiration to everyone."


    Williams takes a page from the Miles Davis school of bandleading by encouraging his band members to compose in the studio, too. For the R&B tribute anthem "Voice of Freedom (for Mandela)," Williams enlisted the smooth soulfulness of singer-songwriter Goapele-and then headed in to record the song with a characteristically open mind. In the studio, saxophonist Marcus Strickland contributed an on-the-spot horn arrangement with the sunny harmony of a South African choir.


    As much as Williams writes in response to politics and current events, his compositions are a respectful celebration of the musical past, too. The driving samba rhythms of "Forecast" are an homage to the jazz fusion group Weather Report, with the tune's melody inspired by Wayne Shorter's "Over Shadow Hill Way." Williams's fluid fretless grooves on "Half Steppin'" recall Jaco Pastorius's "Teen Town."


    Williams sees covers of pop tunes as a bestowal to the jazz canon. "I always like to contribute new repertoire to the jazz songbook," says Williams. "For me it's very important to shout out all the young, new songs coming out." His gift on this album is a moving instrumental version of Lianne La Havas' breakup ballad "Lost & Found." Guest trumpeter Christian Scott communicates the contained heartache of La Havas's song lyrics, with a lightly arranged string quartet adding the right amount of solace.


    Coming of Age concludes with the sweeping title tune, a showcase for Williams's broad stylistic range. "I wanted 'Coming of Age' to feel big," he says. "I was thinking of it in movements, as a kind of mini-symphony." In the final section of "Coming of Age," Williams picks up a bow for the only time on the record, filtering the sound to other worldly but soulful effect. "The vibe I was going for at the end was Prince," Williams says. "I wanted it to feel sonically transformed, tripped out." It's an auspicious end to an accomplished sophomore recording, with Williams' bowed strings sauntering off into the stars to explore for the next album.


    Whatever comes next for Ben Williams, it's sure to be as engaging as it is virtuosic. As an artist who's come of age, Williams' raw talent has evolved into musical grace, conviction, and power. He's a musician in meaningful dialogue with his band Sound Effect, with current events, with musical styles past and present, and finally, with his listeners.


    "My favorite thing is when someone comes up to me who's heard my music and they're singing one of my tunes," Williams enthuses. "Humming a melody! That's the best feeling in the world, when one of my tunes has stuck in someone's head."

    1. Black Villain Music
    2. Voice of Freedom (for Mandela) featuring Goapele
    3. Toy Soldiers
    4. Lost & Found
    5. Half Steppin'
    6. Smells Like Teen Spirit
    7. Toy Soldiers (Reprise)
    8. Coming of Age
    Ben Williams
    $21.99
    Vinyl LP - Sealed Buy Now
  • Porcupine Meat Porcupine Meat Quick View

    $25.99
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    Porcupine Meat

    Naming one's album after a song titled "Porcupine Meat" may seem a little unusual - unless, of course, you're Bobby Rush, who earned his first gold record in 1971 with a hit entitled "Chicken Heads." He elaborates on his recent composition: "If a lady won't treat me right, but she doesn't want anyone else to have me, that is hard to digest." Hence the lyric, "too fat to eat, too lean to throw away."


    Porcupine Meat is Rush's debut release for Rounder Records, and one of the best recordings of his astonishing 60-plus year career. The album is due out September 16, 2016.
    Rush estimates that he has cut over 300 songs since he first began making music. He has been honored with three Grammy nominations, as well as ten Blues Music Awards and 41 nominations. He was inducted into the Blues Hall of Fame in 2006.


    Make no mistake: Rush is not your typical octogenarian. At age 82, he exudes the energy of a 20-year-old, on the road for more than 200 dates a year. His hectic tour schedule has earned him the affectionate title King of the Chitlin' Circuit. Rush has traveled the globe including Japan and Beirut. In 2007, he earned the distinction of being the first blues artist to play at the Great Wall of China. His renowned stage act features his famed shake dancers, who personify his funky blues and the ribald humor that he has cultivated during the course of his storied career.


    Born Emmet Ellis, Jr. in Homer, Louisiana, he adopted the stage name Bobby Rush out of respect for his father, a pastor. According to Rush, his parents never talked about the blues being the devil's music. "My daddy never told me to sing the blues, but he also didn't tell me to not sing the blues. I took that as a green light."


    Rush built his first guitar when he was a youngster. "I didn't know where to buy one, even if I had the money. I was a country boy," he says. After seeing a picture of a guitar in a magazine, he decided to make one by attaching the top wire of a broom to a wall and fretting it with a bottle. He also got some harmonica lessons from his father He eventually acquired a real guitar, and started playing in juke joints as a teenager, when his family briefly relocated to Little Rock, Arkansas. The fake moustache Rush wore made club owners believe he was old enough to gain entry into their establishments. While he was living in Little Rock, Rush's band, which featured Elmore James, had a residency at a nightspot called Jackrabbit.


    During the mid-1950s, Rush relocated to Chicago to pursue his musical career and make a better life for himself. It was there that he started to work with Earl Hooker, Luther Allison, and Freddie King, and sat in with many of his musical heroes, such as Howlin' Wolf, Muddy Waters, Jimmy Reed, Willie Dixon, and Little Walter. Rush eventually began leading his own band in the 1960s. He also started to craft his own distinct style of funky blues, and recorded a succession of singles for a various small labels. It wasn't until the early 1970s that Rush finally scored a hit with "Chicken Heads." More recordings followed, including an album for Kenny Gamble and Leon Huff's Philadelphia International Label.
    Rush relocated one final time, to Jackson, Miss. in the early 1980s. He was tired of the cold up north, and he realized that setting up his base of operations directly in the center of the South would make it easier to perform in nearby cities on weekends. More indie label recordings followed. Songs like "Sue, A Man Can Give (But He Sure Can't Take It)," "What's Good For The Goose Is Good For The Gander Too," and" I Ain't Studdin' You" became regional jukebox favorites in juke joints throughout the region, and many of those songs are still fan favorites that are an integral part of his live repertoire.


    Since 2003, Rush has self-released the majority of his work (including the critically acclaimed Folk Funk album) on his Deep Rush label, but recently, he came to the realization that having a bigger record company behind him would be beneficial. "I outgrew myself," he says. "I need someone to help in doing the things I can't do. When you are wearing all the hats, you can't be everywhere at once."


    Enter esteemed producer and two-time Grammy winner Scott Billington, Rounder Records' longtime VP of A&R. Billington first met Rush at a Recording Academy meeting 25 years ago, and they became fast friends. He has wanted to work with Rush ever since. "He is the most vital bluesman of his generation," says Billington. He continues, "There are many people who still don't know Bobby Rush, even though he is a hero in the parallel universe of the Chitlin' Circuit - fans stop him on the street in Memphis and Helena and Little Rock."


    Porcupine Meat will not only please Rush's older fans, but is likely to win over many new ones. Billington reflects, "We wanted to come up with something fresh, while staying 100% true to Bobby."


    The album was recorded in New Orleans, and Rush was pleased and proud to be given the opportunity to make an album in his home state for the very first time. His impassioned vocals and in-the-pocket harmonica playing are among the best performances of his career. Unlike most of his recent releases, these sessions only feature real instruments and no synthesizers. All of the rhythm tracks were cut live in the studio, often edited down from jams that on several occasions ran close to ten minutes.


    For the project, Billington assembled some of the best Louisiana musicians, including Shane Theriot, David Torkanowsky, Jeffrey "Jellybean" Alexander, Kirk Joseph, Cornell Williams, and others. Rush brought along his old friend and longtime collaborator, guitarist Vasti Jackson, who worked with Bobby and Scott on getting the songs ready for the studio. Guitar greats Dave Alvin, Keb' Mo', and Joe Bonamassa all make guest appearances on the album.


    Rush has always been a prolific and clever songwriter. The songs he penned for Porcupine Meat such as "Dress Too Short," "I Don't Want Nobody Hanging Around," "Me, Myself And I," "Nighttime Gardener," "It's Your Move," and the title selection, all equal or rival his best material. "Funk O' De Funk" delivers exactly what the title suggests and what Rush has always done the best, which is putting the funk into the blues. While "Got Me Accused" is inspired by events from Rush's own life, the lyrics tell an all-too-familiar tale about the rampant racial injustice that afflicts our society. Producer Billington and his wife Johnette Downing (the well known New Orleans songwriter and children's musician) co-wrote a couple of fine selections, "Catfish Stew" and "Snake In The Grass."


    Bobby Rush is the greatest bluesman currently performing. Porcupine Meat is a testament to his brilliance, which presents him at his very best, and doesn't try to be anything that he is not. "I just try to record good music and stories," he humbly states. With this recording, he has more than accomplished his goal, and has produced one of the finest contemporary blues albums in recent times.

    1. I Don't Want Nobody Hanging Around
    2. Porcupine Meat
    3. Got Me Accused
    4. Snake in the Grass
    5. Funk O' De Funk
    6. Me, Myself and I (feat. Joe Bonamassa)
    7. Catfish Stew
    8. It's Your Move (feat. Dave Alvin)
    9. Nighttime Gardener (feat. Keb Mo)
    10. I Think Your Dress Is Too Short
    11. Standing on Shaky Ground
    12. I'm Tired (Tangle Eye Mix)
    Bobby Rush
    $25.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Don't Look Back (Out of Stock) Don't Look Back (Out of Stock) Quick View

    $29.99
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    Don't Look Back (Out of Stock)

    Royal Southern Brotherhoods third studio album, with two new members, Tyrone Vaughan. "Being the son" of Jimmie Vaughan and the nephew of the iconic SRV & Bart Walker, joins original members Cyril Neville, Yonrico Scott & Charlie Wooton.
    I Wanna Be Free
    Reach My Goal
    Don't Look Back
    Hit Me Once
    The Big Greasy
    Hard Blues
    Better Half
    Penzi
    It's Time For Love
    Bayou Baby
    Poor Boy
    They Don't Make 'Em Like You No More
    Come Hell Or High Water
    Anchor Me
    Royal Southern Brotherhood
    $29.99
    Vinyl LP - Sealed Temporarily out of stock
  • By All Means Necessary (Out Of Stock) By All Means Necessary (Out Of Stock) Quick View

    $20.99
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    By All Means Necessary (Out Of Stock)

    In its history Hip Hop has had a handful of stand-out years. And for many true fans there is
    little debate that 1988 was the true "Golden Era". Countless classic albums came out that
    year and Boogie Down Productions' By Any Means Necessary ranks high atop that list.


    Following the fatal shooting of the groups DJ/Producer Scott La Rock in 1987, KRS One was
    determined to continue BDP despite the tragedy. Taking the group in a slightly different
    direction, adopting the moniker "Teacher" and taking on social issues, KRS crafted an album
    that to this day still sounds fresh and exciting. From the moment the album starts with the
    infectious saxophone sample on "My Philosophy" or the Reggae influenced
    "Stop the Violence" to the straight up braggadocios "I'm Still #1", By Any Means Necessary
    proves why it's one of the most important and classic albums ever recorded. Other stand out
    tracks include "Illegal Business" which is a look at how the drug trade corrupts the police
    and government, while "Jimmy" warns us to the pit falls of a "big butt and a smile."


    Just based on the album's cover alone, an ode to the famous Ebony Magazine Malcolm X
    photograph, By Any Means Necessary was able to make one the biggest statements in Hip
    Hop history that is just as important today as it was in '88 or as KRS says "Fresh for 88
    you suck-azzzz"

    1. My Philosophy
    2. Ya Slippin'
    3. Stop The Violence
    4. Illegal Business
    5. Nervous
    6. I'm Still #1
    7. Part Time Suckers
    8. Jimmy
    9. T'Cha T'Cha
    10. Necessary
    Boogie Down Productions
    $20.99
    Vinyl LP - Sealed Temporarily out of stock
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