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Defying Gravity (Awaiting Repress)Mr Big's new album, DEFYING GRAVITY deftly showcases that patented MR. BIG blend of crunch and melody, from the freight-train ride of opening cut Open Your Eyes to the harmony-laden wonderment of Damn I'm in Love Again to the grateful/wistful nostalgia of 1992 (recalling the days when the band was flying high atop the singles charts with their international #1 smash To Be With You) to the barn burning slide-blues closer, Be Kind. Overall, DEFYING GRAVITY is prime evidence that the only thing MR. BIG remains tethered to is their ongoing pursuit of achieving creative excellence.
Original members Eric Martin (lead vocals), Paul Gilbert (guitars), Billy Sheehan (bass) and Pat Torpey (drums) reunited with producer Kevin Elson (who was behind the boards for the band's 1989 self-titled debut, 1991's LEAN INTO IT and 1993's BUMP AHEAD) for an intensive six-day recording session in Los Angeles. While Torpey was unable to perform some of the songs on DEFYING GRAVITY due to a recent diagnosis of Parkinson's disease, Matt Starr has been filling in for him on a majority of the album. Starr also been touring with the band for the past couple of years, with Torpey able to play a couple of songs at each stop.
It was great to get back in the studio with our original producer, Kevin Elson, says guitarist Paul Gilbert. Kevin recorded all of our original classic albums from the '80s and '90s, and we immediately felt that magic chemistry with him on DEFYING GRAVITY. We basically played live in the studio. Over the years, we've all had a chance to experiment with every recording technique possible, but it's still always the best just to play together as a band. Most of my guitar solos were tracked live with the band. I've worked hard on my improvisation in the last few years, and it really paid off on this record both melodically, and on the face-melting stuff.
DEFYING GRAVITY is the follow-up to 2014's THE STORIES WE COULD TELL (Frontiers Music Srl), which Ultimate-Guitar.com described as An exceptional offering of accelerated hard rock from one of the more dominant 'supergroups' of the late 1980s, MR. BIG return with a vengeance on THE STORIES WE COULD TELL.1. Open Your Eyes
2. Defying Gravity
3. Everybody Needs a Little Trouble
4. Damn I'm In Love Again
5. Mean to Me
6. Nothing Bad (About Feeling Good)
7. Forever and Back
8. She's All Coming Back to Me Now
10. Nothing At All
11. Be Kind$20.99Vinyl LP - Sealed AWAITING REPRESS Buy Now
Rockin' Legends Pay Tribute To Jack WhiteThe musical ancestors of Jack White and his retro rockabilly blues style come together on this incredible tribute to the
man who made rock n' roll dangerous again - now on vinyl!
Featuring performances by artists Mr. White has liberally
borrowed from - true legends of rockabilly, early rock, and
classic punk including the queen herself Wanda Jackson, Big
Jay McNeely, Sonny Burgess, Gary U.S. Bonds, Knox (The
Vibrators), Walture Lure (The Heartbreakers), Bobby Vee and
more!1. In The Cold, Cold Night - Wanda Jackson feat. Shooter Jennings
2. I'm Shakin' - Big Jay McNeely & Nik Turner
3. Salute Your Solution - Gary U.S. Bonds
4. Steady As She Goes - Sonny Burgess & The Legendary Pacers
5. Trash Tongue Talker - Joe Clay & Cranston Clements
6. Another Way To Die - Robert Gordon & Chris Spedding
7. Seven Nation Army - Knox, Walter Lure & W.S. "Fluke" Holland
8. Fly Farm Blues - Johnny Powers
9. We're Going To Be Friends - Bobby Vee
10. Blunderbuss - Rosie Flores
11. Fell In Love With A Girl - The Dirt Daubers
12. You Don't Know What Love Is (You Just Do As You're Told) - Rejected Youth Nation feat. Cyril Neville
13. Top Yourself - The Denver Broncos UK
14. Icky Thump - Los Straightjackets$22.99Vinyl LP - Sealed Buy Now
Mr. Shing-a-LingThis album is from 1967 same year as Lou recorded the classic Alligator Bogaloo and this album stands the comparison with the Bogaloo album. The only change here is that George Benson was replaced by a young Jimmy Ponder. Ponder is still ,sadly enough, quite unknown to the big audience..his playing here is extremely pleasing and he lifts the sometimes to often played The shadow of your smile to another level with a beautiful solo. Idris Muhammad is recorded slightly more upfront than on the other albums which gives this recording some extra pulse and groove.Blue Mitchell on trumpet has that laid back bounce that give his solos that lift.1. Ode to Billie Joe
2. The Humpback
3. The Shadow of Your Smile
5. The Kid$11.99Vinyl LP Reissue - Sealed Buy Now
4everevolutionRoots Manuva's brand new studio album, '4everevolution,' via Big Dada/Banana Klan, is just a few seconds under an hour long, consists of seventeen tracks and covers every style from wonky reggae through pop-funk, street spitting, straight up hip hop, sung ballads and epic death-disco. We think it's his very best work since Run Come Save Me. We're wondering (whisper it) whether it might be his best album... (sshh) ever.
The album mainly revolves around Roots' own production and voice, with contributions from Banana Klan stalwarts including Ricky Ranking, DJ MK and Daddy Kope. In addition, on three tracks Mr Manuva introduces talented young singer Rokhsan. Other guests include Skin and Cass Lewis from Skunk Anansie, Elan Tamara and Spikey T. Production, meanwhile, comes from as far afield as Australia, Rodney Smith's travels allowing him to meet beatmakers and producers all over the world.
Overall, though, the vision remains that of one man. Roots Manuva has honed his craft across four previous studio albums, picking up a MOBO, plus Brit and Mercury nominations along the way. This record, though, represents some of his freshest, most urgent work. Whether castigating politicians or himself, joking about girls or men in love with their computers, ruminating on the void at the heart of urban music or bigging himself up, crooning an apology or growling about loins, Roots Manuva remains one of the foremost lyricists and musicians of his generation.
The first taste from this epic is already out and about in the form of Watch Me Dance. A dirty little funk ditty with its origins in Ricky Ranking's earliest live performances with the Manuva band, Rodney demoed the track 18 months or so ago and then gave the parts to Toddla T to see what he could do with them. They both agreed that the results sounded more like a Toddla T track than a Roots Manuva track, so that version gave Toddla's new album its name, but Rodney's own version is also out and about. To get the world at large in the mood for the record to follow, we're offering the chance to download Roots Manuva's version of Watch Me Dance for free. The download link is here: bigdada.com/rootsmanuva.
Is Watch Me Dance typical of the album that follows? No, it isn't. This record is so varied that we couldn't really pick a track to represent it. Just treat is as representing one facet of the many facets of a great recording artist...1. First Growth
2. Here We Go Again
3. Skid Valley
4. Who Goes There?
5. Watch Me Dance
7. Wha' Mek?
8. Takes Time To
9. Beyond This World
10. Go Champ
11. Get The Get
12. Crow Bars
13. In The Throes Of It
15. Much Too Plush
16. The Path
17. Banana Skank$20.99Vinyl LP - 2 LPs Sealed Buy Now
Grime 2.0Not "nu grime", "post-grime", "grimestep", "funky grime" or "retro grime." Just grime. Somehow, where other sounds died or dissolved, this grassroots electronic music movement has grown organically for over ten years now. In an era when information acceleration was supposed to grind any new idea up in the hype machine before it had time to find its feet, grime resisted all appropriation, retaining the qualities that made it exciting, fresh and subversive in the first place.
It wasn't easy by any means, and it's survived a lot in that time. It has seen its own MCs become superstars, frequently eclipsing the genre that raised them, then watched as its suburban first cousin dubstep snuck out from the shadows to world domination. It's been through beefs, bans and brawls; been held back by internal and external politics; struggled for recognition while flimsier, flightier sounds have been hyped to oblivion.
Through all that, though, throbbed the warped beats, hollow-sounding bass and preset synth sounds of the scene's uniquely inventive producers, in many ways the keepers of the true flame, while its vocalists searched for as many ways to sell out as they could find. Sometimes as sparse, freaky and out-there as anything else in the electronic continuum, sometimes so far up in your face that you feel like you're going to be spitting teeth. Sucking up influences from garage, techno, jungle, dirty south hip hop, funky house, trance, and anything else that stumbles into its path, but bending it all into its own contorted shapes, grime production remains a brilliantly uncompromising and bloody-minded strand in British underground music - and further abroad too. Journalist and talent scout Joe Muggs, who compiled the CD with Big Dada's Will Ashon, has been working with a number of grime producers on their own digital labels, and began to realize there was a vast untapped reservoir of talent.
So here we are with grime still alive and very much kicking. And here is the most comprehensive survey of grime production the scene has ever had - thirty five exclusive tracks from across the world and across the spectrum of grime, demonstrating it to be some of the most powerful and brilliant electronic music in the world today. We've got new tracks from the originators (the godfather Wiley, Manchester's dubstep/grime originator MRK1, the elusive Youngstar whose 'Pulse X' was the first ever released grime record). We've got the new stars of the scene (Royal T, Preditah, Faze Miyake), and the up-and-comers snapping at their heels (Midlanders Swifta Beater and TC4, Brighton's Moony, Southeast Londoner Mr. Mitch). We've got tracks from Japan (Prettybwoy), Australia (Juzlo), the Netherlands (Gumnaam), Ireland (Major Grave), the US (Starkey and Matt Shadetek) and Canada (Tre Mission). We've got bangers and bubblers, haunting melodies and psychotic grooves, dead-eyed threat and cantankerous joy - and all the way through we've got evidence that this is a scene whose creativity can't be held back and shows no signs of stopping.1. Oh My Gosh - Footsie
2. Dollar Bill - Tre Mission
3. Rum and Coke - Teeza
4. Dem Times - Visionist
5. 5000 - Faze Miyake
6. Cartwheel - TRC
7. Logan's Mind - Chaos & Order
8. Vinyls VIP - Preditah
9. Loop 29 - Youngstar
10. Codeine and Dragon Stout - Chimpo
11. Bend - DECiBEL
12. 927 - Shy One
13. L-O-K - Inkke
14. Shotta Krew - J Beatz
15. Battery Charge - Matt Shadetek
16. Nail Thrower - Juzlo
17. Like A G - Major Grave
18. Trojan - Darq E Freaker
19. Winner - Moony
20. Frosty Lake - Mr SnoWman
21. Viking - Mr Mitch
22. Logic Pro - Wiley
23. Smash It Up Hard - MRK1
24. Kissin U - Prettybwoy
25. Numb VIP - Swifta Beater
26. Mongrel - SNK
27. Space Cowboy VIP - Royal-T
28. Machine Molester - Stenchman
29. Arcane - Sinden
30. Spray - Slackk
31. Moonlight - Spooky
32. Tunnel - Starkey
33. Lazer Riddem - TC4
34. Desi Bullet - Gumnaam
35. Emergency - Threnody$28.99Vinyl LP - 4 LPs Sealed Buy Now
Sleepwalker (Pre-Order)Pressed On 180 Gram Black & White Swirl Vinyl
Mastered Impeccably By Joe Reagoso At Friday Music & Capitol Studios, Hollywood, CA With Ron McMaster
Manufactured At R.T.I.
First Time Gatefold & Poster Presentation
Includes 12 x 12 Poster
In 1977, the superstar Kinks embarked on an incredible musical journey which surely was developing into the most successful era of their four-decade career. Thanks in part to their first Arista Records smash album Sleepwalker, Ray Davies, Dave Davies, Mick Avory and John Dalton expanded their early 70's sound into a unique brand of album oriented rock and storytelling like no other legacy band at the time.
With nine solid new rockers like the autobiographical Life On The Road and smash singles like Juke Box Music and the stellar title track Sleepwalker, the entire LP seemed like a greatest hits album at the time due to the way rock radio was so receptive to this tremendous new masterwork from The Kinks.
Filled with even more favorites like Mr. Big Man, Sleepless Night and Life Goes On, the Rock Hall Of Famers' The Kinks truly delivered one of the most important albums of the classic rock era with the brilliant Sleepwalker.
Therefore it is with much pleasure to continue our lengthy reissue program with another fine installment in The Kinks/ Friday Music 180 Gram Audiophile Vinyl Series with their 1977 groundbreaking hit LP Sleepwalker. And what a better way to celebrate your holidays this year with this exclusive Friday Music release on limited edition Black & White Swirl Vinyl.
Mastered impeccably by Joe Reagoso at Friday Music Studios and Capitol Mastering in Hollywood, CA, the amazing release is also manufactured at R.T.I.
To further enhance your Kinks musical enjoyment, we are also presenting this stellar album in a first time gatefold cover, as well as including a 12 x 12 front cover LP poster insert.
So, please join Friday Music in welcoming back The Kinks and their legendary Sleepwalker LP.1. Life On The Road
2. Mr. Big Man
5. Juke Box Music
6. Sleepless Night
7. Stormy Sky
8. Full Moon
9. Life Goes On$32.99180 Gram Audiophile Virgin Vinyl LP PRE-ORDER Buy Now
Special NightThere are a few terms that get thrown around loosely, two of which are legend and retro-soul. One of these fits Lee Fields hand and glove, one of these doesn't fit at all. Very few people in music have both earned the status of legendary and continue to solidify it. 50 years in the game and only getting better, gaining more fans, and evolving his sound on each album, Lee is, in fact, a Living Legend. This brings us to the misuse of the term retro-soul when talking about Mr. Fields. You don't have to look far to find a younger generation emulating the essence and styles of an era they've only experienced through music and movies. It seems unfair to tag Lee with a term that implies imitation when he is part of the generation that actually defined the genre. Plain and simple, this is not that. Special Night is a master class in soul music past and present.
"I feel that every human being's purpose is to do what their inner voice says to do," says Lee Fields. "And my inner voice, my driving force, wants me to put out music and keeping making better records."
Produced by Leon Michels and Thomas Brenneck, and brilliantly performed by the Expressions, Special Night was written, recorded, mixed, and mastered entirely to tape in three weeks at the legendary Diamond Mine Studios in Queens, NY. A sense of urgency, equal parts fun and inspiration, and a decent amount of beer and Jack Daniels were the driving forces during the sessions that produced Lee Fields & The Expressions latest offering.
Special Night is also the first record in the Expressions catalogue in which every song was written jointly by Lee Fields and The Expressions. "When I record, I make every song like I actually mean it. I mean every word I say. On Special Night I'm talking to my lady - literally, expressing the way I feel." says Lee Fields. "You can tell if a song is real or not, and every moment I'm recording, those moments are real, this is a record about what people do in real life". For one example, he cites the song "Work to Do," which tells the story of "a guy going to counseling, drinking too much, apologizing to the old lady and trying to keep family together, doing the manly thing." On "Make This World", Lee makes a nod back to his early funk roots with a cautionary tale about the health of the planet. The world was designed to last indefinitely," says Fields. "We're the only living species on Earth who can alter that process. I'm hoping that song has a chain reaction, helps somebody put into action whatever contribution they can to change what the world is going through." As always, sticking to the formula but pushing the boundaries "Never Be Another You" from the first note doesn't sound like something you would hear on a Lee record, that is until he starts singing anyhow. A low-tempo ballad with a head nodding drum track, sparse piano lines, and all the space Lee needs to lay down what is sure to be one of the flyest love songs of 2017.
Whether tackling a tune about love lost, found, or broader topics like the state of humanity, Lee has a very unique and honest perspective that is on display with each unforgettable performance. Also, The Expressions have never been sharper, they, along with Lee, have created a collection of music on Special Night which holds court with pretty much any soul music that came before it1. Special Night
2. I'm Coming Home
3. Work To Do
4. Never Be Another You
5. Lover Man
6. Make The World
7. Let Him In
8. How I Like It
9. Where Is The Love?
10. Precious Love$24.99Vinyl LP - Sealed Buy Now
Basses LoadedIt's 2016 and the Melvins have an album called Basses Loaded coming out that features six different bass players. That's right SIX different bass players. NEW Melvins bass players for this go around are Steve McDonald from the legendary Los Angeles glam punk band Redd Kross and their old friend Krist Novoselic from Nirvana! Making return appearances are former and probably future bass players Jeff Pinkus (Butthole Surfers), Trevor Dunn (Mr. Bungle/Fantomas), Jared Warren (Big Business) and Dale Crover.
Six bass players? Is this a joke? What IS the deal with these ceaseless idiots? Can't they just settle in and be happy with ONE line up?
I suppose it figures considering how many goddam bass players they've had up until this point.
Nonetheless Basses Loaded actually works!
According to King Buzzo, "More is more! As hard as it might be to believe, all of these bass players contribute something of their own to Basses Loaded which gives the whole album a good kick right in it's big fat ass."
Recording with Krist Novoselic is something that should have happened a long time ago but rumor has it that he's been busy doing things like playing bass with Paul McCartney and getting his ass inducted into the Rock and Roll Hall of Fame. It's hard to believe he even bothered with this! Ha!
Butthole Surfer and Honky member Jeff Pinkus played on the Melvins' album Hold it In and has done shit load of touring with the boys in the last few years.
Trevor Dunn recorded the Freak Puke album with these guys as well as played bass on the Melvins' record setting US tour where they played all 50 states plus DC in 51 days. This was also released as a tour DVD last year entitled Across the USA in 51 Days, the Movie!
Jared Warren is a Melvins' veteran having recorded the Senile Animal, Nude with Boots and The Bride Screamed Murder albums as well as the Bulls and the Bees EP. Dale Crover is usually the Melvins drummer but slid over to bass when they brought back original drummer Mike Dillard for the Tres Cabrones album (this line-up was called Melvins 1983).
Steve McDonald has been in Redd Kross since he was 11 and he's a founding member of Los Angeles hardcore band OFF! plus he's got REALLY good stories about the "rock scene" in Los Angeles! The Melvins have a shit load of touring planned with Steven this year so this whole thing is a really big deal.1. The Decay of Lying (Steve McDonald)
2. Choco Plumbing (Jared Warren)
3. Beer Hippie (Dale Crover)
4. I Want To Tell You (Steve McDonald)
5. Captain Come Down (Jeff Pinkus)
6. Hideous Women (Steve McDonald)
7. Shaving Cream (Dale Crover)
8. Planet Distructo (Trevor Dunn)
9. War Pussy (Steve McDonald)
10. Maybe I Am Amused (Krist Novoselic)
11. Phyllis Dillard (Dale Crover)
12. Take Me Out to the Ballgame (Dale Crover)$16.99Vinyl LP - Sealed Buy Now
Leon RussellPressed On 180-Gram Translucent Blue Vinyl
Leon Russell was born in Lawton, Oklahoma in 1941. He studied classical piano as a boy and took up trumpet in his teens. Not too many years later, he was on the road as a sideman to Jerry Lee Lewis and Ronnie Hawkins and ended-up on the west coast.
Leon remained in Los Angeles and quickly became one of the city's more prominent studio musicians also often working as an arranger, conductor and producer. Russell was one of Phil Spector's, "Wall of Sound" session people, he also played on The Byrds', "Mr. Tambourine Man," and arranged and co-wrote most of the big hits of pop star, Gary Lewis including She's Just My Style" and "Everybody Loves a Clown."
Leon Russell gained a higher public profile when the 1969 Delaney and Bonnie Bramlett album, "Accept No Substitute" became a major hit. Leon had arranged the album and played piano and guitar in his now distinctive style that became such a part of the sound of the group called Delaney & Bonnie and Friends.
Russell really skyrocketed when he got involved with Joe Cocker who was already a star. Cocker's producer, Denny Cordell hired Leon to arrange and co-produce the new Cocker album which included more hits for Joe including Leon's song, "Delta Lady." When Cocker set out to tour the US he logically recruited Leon to serve as bandleader and arranger for the now legendary 1970 "Mad Dogs and Englishmen" tour. That renowned cross-country tour has been preserved as a feature film and live album.
Following the critical success of the tour, Russell's reputation was strong enough that he and Cordell formed their own record company - Shelter - and launched the label with this very Leon Russell, "Leon Russell" album. The album features the first ever recording of "A Song For You" which has become one of Russell's best-known songs with versions released over the years by more than 40 different artists including the Carpenters, Ray Charles, Peggy Lee, Willie Nelson, Helen Reddy, Whitney Houston, Elkie Brooks, Amy Winehouse, Donny Hathaway and Christina Aguilera.
The rest, as they say, is history for Russell was inducted into the Rock & Roll Hall of Fame on March 14, 2011 followed a few months later with induction into the Songwriters Hall of Fame.1. A Song For You
2. Dixie Lullaby
3. I Put A Spell On You
4. Shoot Out On The Plantation
6. Delta Lady
7. Prince Of Peace
8. Give Peace A Chance
9. Hurtsome Body
10. Pisces Apple Lady
11. Roll Away The Stone$29.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
The Killing JarBlack Moth are four super talented individuals, Harriet Bevan - vocals, Jim Swainston - guitar, Dave Vachon - bass, and Dom McCready, battering the crap out of his drums. Formed 2 years ago out of the ashes of Leeds garage rockers The Bacchae, the band were seduced by the brutal and hypnotic lure of the riff, to emerge translucent skinned and bleary eyed from their cocoon as the ferocious kick-ass heavy rock outfit that is Black Moth (see attached scan). Taking a powerful chunk of influence from proto-punk acts such as Iggy and the Stooges, Motorhead and early Alice Cooper as well as a sliver of 90s grunge and stoner rock and a big dose of doom, Black Moth draw out the darker elements and combine them with the heaving riffs of heavy metal giants, Pentagram and Black Sabbath, with hooks so sharp you could hang a corpse on them. They also look to more current acts such as the Melvins, Sleep and Electric Wizard for inspiration, though singer, Harriet Bevan, still maintains a vocal style that evokes the haunting psychedelia of Grace Slick and psych-Satanist, Jinx Dawson from Coven: the woman responsible for the sign of the horns in rock'n'roll. Enter Mr Jim Sclavunos, the multi talented Grinderman and Bad Seed, not to mention the superbaaad connoisseur of the mixing console, fresh from producing the storming second Jim Jones Revue album. One of their shows was all it took. "Black Moth reminds me of my misspent youth" he said. And judging by the all out assault that he's crafted with the Moth, he must have been a very bad boy indeed. The Killing Jar is their debut from New Heavy Sounds and it rocks like a bastard.1. The Articulate Dead
2. Blackbirds Fall
3. Banished But Blameless
4. Spit Out Your Teeth
5. The Plague Of Our Age
6. Chicken Shit
7. Blind Faith
8. Plastic Blaze
9. Land Of The Sky
10. Honey Lung$24.99Vinyl LP - Sealed Buy Now
Esquerita!Includes 4 Bonus Tracks!
With a six-inch pompadour, brocaded shirts, rhinestone shades, and a rhythmic, belligerent style of piano playing, Esquerita was the original Little Richard, years before Mr. Penniman tutti-frutti'd his way to stardom. Working around the Dallas-New Orleans circuit in the early '50s, Esquerita's shot at the big time came when Capitol Records decided they needed their own version of Little Richard, after signing their answer to Elvis, Gene Vincent. The resulting recordings, though smartly produced, stand as some of the most untamed and unabashed sides ever issued by a major label. Long revered by rock & roll fans the world over, they make Little Richard's Specialty sides look highly disciplined by comparison. Though Esquerita continued to record in a tamer style through the '60s, his Capitol sides stand as a monument to the potential of rock & roll's lunatic power and the off-kilter genius of Esquerita.
-All Music Guide1. Hey, Miss Lucy
2. Why Did It Take You So Long
3. She Left Me Crying
4. Crazy, Crazy Feeling
5. Get Back Baby
6. Hole In My Heart
7. Oh Baby*
8. Rockin' The Joint*
9. I'm Battie Over Hattie
10. Baby, You Can Depend On Me
11. Believe Me When I Say Rock And Roll Is Here To Stay
12. I Need You
13. Maybe Baby
14. Gettin' Plenty Lovin
15. This Thing Called Love*
16. You Can't Pull Me Down*$27.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Deadworld Reborn (Picture Disc)Limited to 1,000 Hand Numbered Pieces
Limited Edition Picture Disc
Mr. Dibbs has become one of the most respected and innovative turntablist/dj style producers in the
game. Last year Mr. Dibbs died for approximately 53 seconds, one short month after the quiet release of
Held up in the hospital for a few weeks, Dibbs was an inadvertent resident of an impromptu hip hop
retirement home. Battling leukemia on the floor above him was his longtime friend Marcus "Skandal da
Ruckus Man" Mitchell. An epic MC and producer, of equally epic bodily proportions, Skandal's heart
was big, but his production skills and lyrical largesse were even bigger.
Mr. Dibbs was found... in the strong lifeline we've all come to know and love as Skandal. Skandal lost
his life in October last year, but even thru his passing he made Dibbs feel important enough to be reborn.
'Deadword Reborn' was digitally released last november with all procceds going to Skandal's daughter.
Now for the first time ever 'Deadworld Reborn' is available in physical form as a 12" picture disc vinyl.
Limited to 1,000 hand numbered pieces and featuring a long list of artists and producers including
Brother Ali, The Black Keys, Grayskul, Murs, JEL, Skandal Da Ruckus Man himself, along with
"What I could not see at the time was being reborn into the world of the living through someone else's
full-circle leaving." -DibbsA Side:
1. Dead Side
3. World Side
4. Good Knight
5. Where Pigs Fly$21.99Picture Disc Vinyl LP - Sealed Buy Now
L.A. Woman: The Workshop SessionsL.A. Woman: The Workshop Sessions features eight never-before-heard versions of songs from the Doors' 1971 album and a never-before-heard song, She Smells So Nice, which captures the band joyfully barreling through a full-throttle original before segueing into the blues standard Rock Me. As the song closes, Jim Morrison can be heard chanting, Mr. Mojo Risin, an anagram of his name that was made famous during the bridge of L.A. Woman. The track was recently discovered by producer Bruce Botnick while reviewing the L.A. Woman session tapes.
Alternate takes of The Changeling, Love Her Madly, Cars Hiss By My Window, L.A. Woman, The Wasp (Texas Radio and the Big Beat), Been Down So Long and Riders On The Storm offer a fresh view on this landmark release, which was the group's last album and sixth straight Top 10.
The studio chatter between songs is a revelation, transporting listeners to The Doors' West Hollywood rehearsal space where they recorded the album with Botnick. One segment in particular captures a fascinating moment of inspiration when Morrison suggests they add the now iconic thunderstorm sound effects to the beginning of Riders On The Storm.
This 180g 2LP edition of LA Woman: The Workshop Sessions is presented on three sides of vinyl, with the fourth side featuring a laser etching of the original Electric Woman art included with the album's original 1971 release.LP1
1. The Changeling (Alternate Version)
2. Love Her Madly (Alternate Version)
3. Cars Hiss By My Window (Alternate Version)
4. L.A. Woman (Alternate Version)
5. The Wasp (Texas Radio and the Big Beat) (Alternate Version)
6. Been Down So Long (Alternate Version)
7. Riders On the Storm (Alternate Version)
1. She Smells So Nice/Rock Me$34.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
TriplicateTriplicate, is the new three-disc studio album from Bob Dylan. The collection features 30 brand-new recordings of classic American tunes and marking the first triple-length set of the artist's illustrious career. With each disc individually titled and presented in a thematically-arranged 10-song sequence, Triplicate showcases Dylan's unique and much-lauded talents as a vocalist, arranger and bandleader on 30 compositions by some of music's most lauded and influential songwriters. The Jack Frost-produced album is the 38th studio set from Bob Dylan and marks the first new music from the artist since Fallen Angels, which was released in early 2016.
For Triplicate, Dylan assembled his touring band in Hollywood's Capitol studios to record hand-chosen songs from an array of American songwriters such as Charles Strouse and Lee Adams (Once Upon A Time), Harold Arlen and Ted Koehler (Stormy Weather), Harold Hupfield (As Time Goes By) and Cy Coleman and Carolyn Leigh (The Best Is Yet To Come). The titles of the individual discs are 'Til The Sun Goes Down, Devil Dolls and Comin' Home Late. According to Bob Dylan, I am finding these great songs to be a tremendous source of inspiration that has led me to one of my most satisfying periods in the studio. I've hit upon new ways to uncover and interpret these songs that are right in line with the best recordings of my own songs, and my band and I really seemed to hit our stride on every level with Triplicate.
Dylan's two previous album of classic American songs, 2016's Fallen Angels and 2015's Shadows in the Night, were both worldwide hits and garnered Grammy Award nominations in the category of Best Traditional Pop Vocal Album. Both albums received worldwide critical acclaim, with Randy Lewis writing of Fallen Angels in The Los Angeles Times, [Dylan] immediately liberates songs from the big band/big orchestra world from which they emerged, and in which they are most frequently revisited . [He] reaches to the blues at the core of many of these songs. Thus, they elicit the ache of romantic yearning and loss that often gets subsumed by swelling orchestral forces, background choirs or by singers who are more focused on crafting elegant vocals than finding emotional resonance. The Telegraph's Neil McCormick awarded Shadows in the Night five out of five stars and described the work as spooky, bittersweet, mesmerizingly moving [with] the best singing from Dylan in 25 years. Jon Pareles wrote of that album in the New York Times, Mr. Dylan presents yet another changed voice a subdued, sustained tone .Shadows in the Night maintains its singular mood: lovesick, haunted, suspended between an inconsolable present and all the regrets of the past.
Bob Dylan has sold more than 125 million records around the world.LP 1: 'Til The Sun Goes Down
1. I Guess I'll Have to Change My Plans
2. September Of My Years
3. I Could Have Told You
4. Once Upon A Time
5. Stormy Weather
6. This Nearly Was Mine
7. That Old Feeling
8. It Gets Lonely Early
9. My One and Only Love
10. Trade Winds
LP 2: Devil Dolls
2. As Time Goes By
4. How Deep Is The Ocean
5. P. S. I Love You
6. The Best Is Yet To Come
7. But Beautiful
8. Here's That Rainy Day
9. Where Is The One
10. There's A Flaw In My Flue
LP 3: Comin' Home Late
1. Day In, Day Out
2. I Couldn't Sleep A Wink Last Night
3. Sentimental Journey
4. Somewhere Along The Way
5. When The World Was Young
6. These Foolish Things
7. You Go To My Head
9. It's Funny To Everyone But Me
10. Why Was I Born$49.99180 Gram Audiophile Virgin Vinyl LP - 3 LPs Sealed Buy Now
I Got The T-Bone Walker BluesMastered from the Original Master Tapes by Bernie Grundman
Pressed at RTI!
Roy Gaines is the greatest living blues guitarist that you probably don't know anything about. Not only is Mr. Gaines a sizzling blues guitarist, he also possesses one of the most magnificent blues voices around. The real tragedy is that until very recently this supremely talented musician was almost forgotten by blues fans in the U.S.
Born in Houston in 1937, Roy started playing the guitar as a teenager and soon developed a reputation as an instrumental prodigy. By fourteen, he was actually being invited on stage to play with the legendary T-Bone Walker during the latter's live gigs in Houston and became known as T-Bone Jr. By his early 20s, Roy was playing and recording with Roy Milton's band in LA but returned to Houston to join the Duke / Peacock blues label as a full time session guitarist on such seminal blues recordings as Bobby Bland's It's My Life Baby and Junior Parker's Driving Me Mad. He was also the featured guitarist on a whole bunch of singles recorded by Big Mama Thorton for the same label.
After going on the road with Joe Turner, Roy joined forces with the blues great, Chuck Willis. Roy stayed with Willis until the latter passed away in the late 50's. He then moved to NYC and recorded with Jimmy Rushing, as well as doing a jazz album with Coleman Hawkins on Prestige. Roy returned to LA and during the 60s became one of the city's leading session guitarists, playing with the Crusaders, Earl Grant, Ray Charles, Aretha Franklin, Stevie Wonder as well as continuing his pure blues work with the likes of Bobby Bland, Albert King and Lightning Hopkins for the Jewel label.
The focus of this album is on the music and spirit of the late and very great T-Bone Walker, Roy's earliest mentor and inspiration as a guitar player. T-Bone's body of work includes such timeless blues standards as Stormy Monday, Dreamgirl, West Side Baby, T-Bone Blues and I'm in An Awful Mood and many others. This album focuses on the classic tunes and styles from the period of the 40s and 50s.
The LP includes an acoustic version of Stormy Monday and House of Gold as a bonus 45rpm supercut. Produced by Joe Harley and recorded at Ocean Way Studios in Sherman Oaks, CA. by engineer Mike Ross. All mastering was done from the original master tapes by Bernie Grundman. All LPs are plated and pressed by RTI, CA.1. Stormy Monday
2. T-Bone Shuffle
4. I Got A Break Baby
5. That Old Feeling Is Gone
6. I'm In An Awful Mood
7. T-Bone Blues
8. Honky Tonk Blues
9. Westside Baby$34.99180 Gram Audiophile Virgin Vinyl LP 45RPM - 2 LPs Sealed Buy Now
CzarfaceIn music, timing is everything.
When soon-to-be-renowned Boston hip-hop duo 7L & Esoteric collaborated with the Wu-Tang Clan's Inspectah Deck on the title track to 7LES's debut EP Speaking Real Words in 1999, the timing was perfect. The upstart duo was building a serious buzz on the East Coast and beyond, while Deck was still winning praise for his gold-selling solo disc Uncontrolled Substance. As flashy pop-oriented rap was pumped
on commercial radio stations, their natural chemistry and simpatico skills shone as a beacon to real hip-hop fans, a base of listeners who were soon
asking about their next musical summit.
14 years later, the hunger for sharp lyrics and head-snapping beats hasn't dissipated. In the face of the ever-worsening status quo of watered-down
and vapid radio rap songs, the call for something real has only gotten stronger, and once again the time is right for a call to action - for someone or something to come in and send wack rappers running for the hills in fear. Enter CZARFACE, the upcoming, uncompromising full-length album from Inspectah Deck and 7L & Esoteric.
Not surprising, respect for real hip-hop runs deep, and CZARFACE brings an army with it - consider the star-studded guest list which
includes Roc Marciano, Action Bronson, Vinnie Paz (Jedi Mind Tricks,) Oh No (Gangrene,) Mr. MFN eXquire and Deck's fellow Wu-Tang Clansmen Ghostface Killah and Cappadonna.
Aside from one track blessed by the almighty DJ Premier, production on CZARFACE belongs exclusively to DJ 7L, who provides the musical backbone which holds the album together. His ability to craft a hip-hop sound that's current and exciting with a classic feel left Deck impressed: "This is one of the first albums I've heard in a while that gives you so many different feels. You hear the '80s hip-hop style, '80s R&B and rock combined with what's going on now. That's creating something new, in
A collaboration this big is bound to catch some attention, as it has from MISHKA NYC artist Lamour Supreme, who penned the eye-popping Jack "King" Kirby inspired cover art for CZARFACE.LP1
1. Czarface Intro
2. Air 'Em Out
3. Cement 3's Featuring Roc Marciano
4. Czar Refaeli Featuring Oh No Of Gangrene
5. Rock Beast
6. Savagely Attack Featuring Ghostface Killah
7. Marvel Team-Up
1. It's Raw Featuring Action Bronson
2. Let It Off
3. Word War 4
4. Dead Zone
5. Poisonous Thoughts Featuring Mr. MFN Exquire
6. Shoguns Featuring Cappadonna & Vinnie Paz
7. Hazmat Rap$21.99Vinyl LP - 2 LPs Sealed Buy Now
Grand Stan (Pure Pleasure)
Mr. Levey worked with Peggy Lee, Ella Fitzgerald, Bobby Darin and many other singers, and with the big bands of Benny Goodman, Woody Herman and Stan Kenton. He was also a ubiquitous presence in Los Angeles recording studios for many years. But he earned his place in jazz history primarily through his work with Charlie Parker and Dizzy Gillespie, the leading lights of bebop.
A self-taught drummer who played left-handed even though he was naturally right-handed, Mr. Levey was still a teenager when he began attracting attention for the ease with which he handled the breakneck tempos and tricky accents of the modern style. Working with Gillespie and Parker, he also attracted attention for being one of two white musicians (the pianist Al Haig was the other) in an otherwise all-black group, by no means a common sight in the 1940's.
Stan Levey was born in Philadelphia on April 5, 1926. The son of a prizefight promoter, he took up boxing about the same time he took up drums, and for a few years pursued both careers. But boxing, at which he was never exceptional, soon lost out to drumming, at which he was.
His work with Gillespie and Parker in 1945, when bebop was new and controversial, won him the admiration of his peers but not much of a living. Greater success came a few years later when he began working with big bands.
In 1954, after two years with Kenton, he settled in Los Angeles, where he spent five years with the Lighthouse All-Stars, the group in residence at a popular local nightclub. He was also in great demand for studio work, recording with many of the best-known musicians in jazz and playing on hit records like Peggy Lee's Fever. In addition, his drumming was heard on the soundtracks of hundreds of movies and television shows, including five Disney documentaries for which he wrote the music.
- Conte Candoli (trumpet)
- Frank Rosolino (trombone)
- Richie Kamuca (tenor saxophone)
- Sonny Clark (piano)
- Leroy Vinnegar (bass)
- Stan Levey (drums)
Recording: August 1955 in New York City
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. Yesterdays
2. Angel Cake
3. Why Do I Love You
4. Grand Stan
5. Hit That Thing
6. Blues At Sunrise
7. A Gal In Calico
8. Tiny's Tune$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Manley Steelhead RC Phono Stage
Have a question about this product? Please email our audio advisor or call 1-877-929-8729 with any questions or concerns regarding your equipment purchase.
Handcrafted in the USA
We debuted to the world a killer frikkin' cool phono stage at CES 2001. It was called, aquatic naming theme continuing, The Steelhead®, as it is an upstream device and has a very clever MC variable load auto tranny that we designed and our very own Manley Magnetics department executed (which makes the MC stage so very clever). Iron=transformer=steel makes sense to me...
It has two Moving Coil inputs with selectable impedance load 25, 50, 100, 200 and 400 Ohms via Mr. Clever Steelhead transformer/autoformer. It also has variable and selectable Moving Magnet input impedances too 25, 50, 100, 200 Ohms and 47 kOhms. Very nifty is the selectable-dial-able-in-able-from-the-faceplate-able capacitive loading for all three of the MM & MC inputs 0 to 1100 picofarads in 10 picofarad steps. Very cool! Equalize baby! TEN picofard steps! Wow! Now you can really dial this in for perfect cartridge matching with ZERO penalty. None of this switching detracts from the sound quality or adds any extra anything to the signal path. Rest assured.
It's got six tubes. 2 x 6922 plus 4 x 7044 or 5687. It's got a big honkin' volume control. It can drive an amplifier directly if you want, if you don't do digital. Hey and if you happen to have three turntables set up, we give you 2 x MC and 1 x MM selectable inputs! It's got variable and fixed volume outputs. And All-tube really low Z tube buffered outputs. Like inherently 20 Ohms plus the little 47 Ohm OK drive those high capacitance audiophile cables why doncha resistor, so it's real output impedance is only 67 Ohms. No wanky cathode follower (oh bor-ing) output here like the other guys. We got your real low impedance all-tube outputs right here! It will drive anything and everything. Long cables, no problem.
It's got selectable gain 50, 55, 60, 65dB on a switch that even auto-mutes as you change it so no nasty bangs. Gain switch markings are referred to from the input of the 1st active electronics at 1 kHz to the fixed output @ 10k load, regardless of whether source is MM or XFMR stepped-up MC. It is not really practical to include MC step-up gain on the front panel markings due to the variable SOURCE impedances of the MC cartridges and the variable LOADING that the input XFMR will have on any given cartridge. All of this total MC gain variability should be confined to about 3 to 12 dB of range though. XFMR step-up gain plateaus as the load Z on a given MC cartridge is optimised...producing no VOLTAGE gain but in fact a bit more POWER gain... All this means you should set a load Z which sounds best with your particular MC cartridge and adjust gain to suit your system's operating level. Whatever you like. You will not blow anything up.
(Bottom line: there is plenty of gain... enough to do justice to your fave lo-output MC cartridges).
It's got a mute switch. It's got a just turn it down while I cue up so I don't throw my woofer cones across the room but I still want the same volume I was listening at before I flipped the side DIM switch. And what goes with DIM better than SUM which would be the MONO button... It has a killer hyper-regulated outboard power supply that plugs in on the huge-est connector you ever saw. And you can just hit the standby button to keep everybody off while you take a small holiday to Tahiti. A backlit MANLEY STEELHEAD illuminated badge reflects back to vinyl-days-of-yore while the millions of BLUE LEDs remind you that this is modern tube engineering design, baby!
The VARIABLE Outputs are controlled by the precision film dual NOBLE® volume control. They are SMOOTH action these days as the fashion went against the detented ones.
This is a tweak-o-holic tube-lover's dream...$8,400.00Manley Steelhead Phono Stage Buy Now
NDR 60 Years Jazz Edition No. 1 - Dizzy GillespieOriginal Remastered
The story behind the bent trumpet
It is just a few days since the accident that gave the career of the trumpeter Dizzy Gillespie a new boost and made the main figure of this captivating Jazz history appear that bit crazier, that bit more "Dizzier". At the end of the year 1953, according to the legend, Lorraine Gillespie, Dizzy's wife, was celebrating her birthday in Manhattan; there were a lot of musicians, dancers and actors present and, after performing for the birthday girl, Dizzy's trumpet was left lying unattended on the stage while the trumpeter was outside in front of the club giving an interview. The two dancing comedians "Stump & Stumpy" (Jimmy Cross and Eddie Hartman) were capering around the stage and one of them fell on the instrument and damaged it so that the bell was bent upwards at an angle of 45 degrees. Dizzy, the story continues, tried to play the mutilated instrument and noticed just how near to his ear his own sound suddenly was, nearer at least than with a normal trumpet. He had the damaged instrument repaired, but ordered a new trumpet from a manufacturer with exactly the same kink as the accident had caused.
If all of that is true, the first jazz recording in the archive of today's NDR was played either with the repaired trumpet or with a substitute instrument -Mister Gillespie, who came on the 9th of March 1953 with his quintet for a studio recording to Hamburg's studio 10(which at the time was merged with the Cologne broadcaster under the name of "Nordwestdeutscher Rundfunk" - NWDR), is not only wearing - even though there is no audience - a decorative Tyrolean hat like the popular singing comedian and EX-GI Billy Mo; the ornately decorated trumpet he plays has no kink, it is absolutely straight (as verified in the photos by Susanne Schapowalow). The "old" Dizzy, so to speak, becomes a prominent guest on this remarkable day in Hamburg, and the "new" Dizzy has just ordered his future trade mark from the trumpet manufacturer. "60 Years Jazz in the NDR" could hardly have kicked off more auspiciously.
In 1953 John Birks Gillespie is 36 years old and a world star in Jazz. Born in 1917 in the small town of Cheraw/South Carolina, the youngest of nine children, he is known in the scene as "Dizzy" because, alongside the inventors of bebop Charlie Parker and Bud Powell, he likes to play the mad intellectual with goatee beard, Basque beret and round sunglasses. He cultivates the role of provocateur, in 1964 he even stands for election as president of the USA. However, the history of bebop has already been written when he comes to Hamburg in the spring of 1953; now the time has come for Dizzy, the spirited oddball, to reinvent himself - until in 1968 with a grandiose big band at the Berlin Jazz Festival and from then on, again and again, he sets important milestones in a great career, including NDR concerts of course. He never switches styles and sounds as drastically as, for example, Miles Davis - Dizzy was always Dizzy - but ever new musical formations led up to the "United Nations Orchestra" with whom he guested in the last years before his death on 6 January 1993 all over the world including on northern German festival stages. As often as possible, the recording vans of NDR were always there.
In March 1953, Gillespie is accompanied by the baritone saxophonist Bill Graham, a musician who in the years beforehand had been part of the "Dee Gee Days", the "Savoy Sessions" (the album of this title became a classic of modern Jazz). Graham contributed not only magnificent solos in the sessions such as now in Hamburg; he also wrote "Oh-sho-be-do-be" a light-hearted ditty about the whispered conversations of young lovers which became a genuine classic in Gillespie's repertoire. At the piano in the Hamburg studio sits Wade Legge, barely thirty years old at the time, and one of the greatest but highly underestimated and unfortunately almost forgotten talents of the time. Legge's partner of many years, Lou Hackney, plays bass, and Al Jones is on percussion.
Among other places, this European tour also brought the band to Paris; they recorded five tracks on a stop at the Hamburg studio. Gershwin's "They Can't Take That Away From Me" and "Alone Together" by Arthur Schwartz and Howard Dietz are followed by two of those compositions laced with Latino rhythms that Dizzy had developed with the percussionist Chano Pozo and the arranger Gil Fuller: "Manteca" and "Tin-Tin-Deo". The short but extremely sweet program ends with "I Can't Get Started", a masterpiece for posterity written by Vernon Duke and Ira Gershwin.
The power of imagination is really not sufficient to conceive of the interaction of Gillespie's quintet with the other band in this studio session - or how on this 9th of March what was probably the most important modern quintet in the German-speaking world performed alongside Dizzy. Hans Koller had formed the band around himself. Koller was born in 1921 in Vienna. After time spent as an American prisoner of war, in 1946 he returned to his home city to found a Jazz club, and the saxophone sound he made his own influenced at least a generation. The trombonist Albert Mangelsdorff was not even 25 years old in March 1953, and it is not so long since he swapped the guitar for the trombone as a professional musician. Jutta Hipp is the pianist. Born in Leipzig in 1935, she was regarded as the greatest piano talent of her time; her career took off vertically, but ended abruptly and tragically shortly after she moved to the USA. She never played piano again and she never returned to Germany. She died in 2003 in New York, almost completely forgotten. Shorty Roeder on bass and the percussionist Karl Sanner are the top rhythmists of their age - and this band of twenty-somethings (Koller is the oldest at 32, and with a certain amount of bravado he christened them the "New Jazz Stars") is showing quite clearly that Jazz in Europe wants to and will take other paths than Dizzy in the motherland of the genre.
Koller selected some quite standard fare; "The Way You Look Tonight" is followed by "Indian Summer", "You Go to My Head" is followed by "All the Things You Are". Old friends, all very familiar - but the interpretation that the quintet gives these tracks is cooler than anything considered cool or fashionable up to then in the USA. What would have been going through Mr. Gillespie's keen mind when he heard just how uncompromisingly these young Krauts and Koller were advancing the renewal of music which had begun to develop further and beyond the Dizzy standard at home in the USA ?
Anyone in the NWDR studio in Hamburg on the 9th of March 1953 who could read minds would probably have witnessed an international dialogue, which has ever since repeatedly influenced the Jazz world. "60 years Jazz in the NDR" - and what an event stands at the very beginning!Side A - Dizzy Gillespie Quartet
1. They Can't Take That Away From Me
2. Alone Together
4. Tin Tin Deo
5. I Can't Get Started
Side B - Hans Koller New Jazz Stars
6. The Way You Look Tonight
7. Indian Summer
8. You Go To My Head
9. All The Things You Are$32.99Vinyl LP - Sealed Buy Now
REDD-SUN-5817xThe Pleasure Seekers
What A Way To DieThe archetype for the '60s-era girl group was etched indelibly into stone, like a commandment: three pretty girls with matching outfits and bouffant hairdos would sing, with musical backing supplied by a bunch of guys standing in the shadows. The Quatro sisters shattered that archetype forever with the Pleasure Seekers, an all-girl teenage rock & roll group who played all the instruments themselves and were fully capable of wiping the stage with any male band that crossed their path.
The Quatro girls had been brought up in a musically-minded family, nurtured with classical piano and vocal lessons. As Patti recalls, "By 1964, I had been taking guitar lessons, hanging with musicians in the local music scene. We had seen a Beatles concert, and I was quite dazed and focused at the event, watching the audience cry and scream out of control. It was my epiphany moment, and I was determined to start an all-girl band."
Shortly thereafter, the first lineup of the Pleasure Seekers fell into place with Patti Quatro (lead guitar), Marylou Ball (rhythm guitar), Suzi Quatro (bass), Diane Baker (keyboards), Nan Ball (drums) and vocal duties shared by all. Around the fall of 1965 the girls dared local teen club manager Dave Leone to give them a slot at his popular Hideout Club, claiming they were better than most of the other live bands there. "You're on," responded Leone, "in two weeks. Three songs!"
The Pleasure Seekers were soon a popular feature at the club, honing their skills alongside the likes of the Rationals, the Amboy Dukes and Bob Seger & the Last Heard. "In the beginning, there was a lot of skepticism," remembers Patti, "especially the first night. The boys crowded the stage, the girlfriends pulled them away with laughter, as if 'Girls playing?! Yeah, right!' It was always satisfying to see them be silenced quickly when we began playing. We grew used to seeing slack jaws open in surprise." Next they were asked by Leone to record and release a single on his Hideout label.
That March 1966 release is now regarded as the greatest "girl garage" single of the era: "Never Thought You'd Leave Me" b/w "What a Way to Die." "Dave brought lyrics, and we put the songs together quickly," remembers Patti. "We felt very legit in making this record at a small local studio. Nan was the sexy voice on 'Never Thought You'd Leave Me,' and there was lots of laughter as Marylou added the screams on 'What a Way to Die.'" Suzi Quatro remembers the recording as "very important and memorable."
The Pleasure Seekers were soon in demand in the region, playing teen clubs, parties, colleges and local TV shows. After a series of lineup changes, the band brought in older Quatro sister Arlene (keyboards) and Darline Arnone (drums), the first female drummer sponsored by Slingerland Drums. A short time later, Pami Benford joined-up on guitar and bass (that lineup lasting through most of 1968). "It was a very versatile group," remembers Patti, "with Pami and Suzi sharing bass, and Pami and I sharing lead and rhythm guitars."
"The gender bias was my hot button," recalls Arlene, "along with confidence in our musical abilities. With women musicians dismissed as a novelty, I delighted in watching the audience go from skepticism/ridicule, to shock/cheers." For Suzi, though, this period was where she learned her craft: "I considered myself a musician, and didn't really think about gender too much." Two tracks recorded in 1967, but unissued at the time, "Elevator Express" and "Gotta Get Away," highlight the band's growing musical maturity since their Hideout debut. "Detroit was the best learning ground in the world for musicians," recalls Suzi, "with an amazing energy and creativity that is in every successful artist that has come out of the city." "We were actually one of the earliest Detroit bands traveling the country," adds Patti. "Everyone wanted this unusual all girl band who rocked an entire Motown revue (changing instruments and singers throughout) and an entire Sgt. Pepper/Magical Mystery Tour revue, as well as covering English bands, acid rock and everything in between."
Signing up with Associated Booking Corporation, the group began making the transition from local to national act. Producer Dick Corby caught the Pleasure Seekers at Trude Heller's in New York's Greenwich Village and signed them to a Mercury Records deal in early 1968. To keep rein on their finances in NYC, Patti recalls, "We booked Arthur's nightclub for a month, staying at the infamous rock Gorham Hotel, recording by day-playing by night." Also in residence were the Who, the Blues Magoos and an assortment of other bands. "Hitting NYC as young teens, it was exciting, scary, fun-all emotions churning," she continues. "We felt we had hit the big time, going from the tiny local Hideout session to the huge Mercury professional studio facility, complete with session people adding strings and other elements."
A single pairing "Good Kind of Hurt" and "Light of Love" was released in April 1968, while a third song, "Locked in Your Love," remained in the can. The group then headed out to the Northwest for a lengthy tour. "The Northwest tour was awesome," remembers Patti. "We were billed with Canned Heat, Boyce & Hart and Merilee Rush, and were held over six weeks to tour with Eric Burdon and the Animals. The Mercury single was out, momentum was surging." Both sides of the single were getting airplay, but ultimately it failed to gain any traction. "Really neither song reflected our own sound," admits Patti. "We rearranged 'Light of Love' for live performance, feeling disconnected to the record, yet realizing we had to play ball with the executives to keep us rolling."
Ultimately Mercury's vision for the Pleasure Seekers clashed rather sharply with the band's vision. "The suits wanted tits and ass," recalls Darline, "wowing Vegas crowds, playing tinkly tunes in lavish costumes." "In that male-dominated music era, we were strictly a novelty, and a high-risk endeavor," adds Patti. "The record executives felt women musicians would fall in love or get pregnant so were not worth investing the time and money. We had to kick down many doors. We were serious musicians, and in it for the right reasons. In the end, we were not happy with a forced direction that Mercury Records had in mind, and ended up leaving the label to rock our music in our own fashion."
After a memorable 1968 Far East tour, playing for wounded returning American soldiers from Vietnam, the Pleasure Seekers (with new drummer Nancy Rogers) returned to a Detroit that was now, in Patti's words, "exploding with heavier sounds. That sparked us to change direction with new ideas we had been exploring. Arlene left the band and we brought in our youngest sister Nancy (vocals). With Suzi's Joplinesque vocals combined with Nancy's wailing 'female Robert Plant' style, we enjoyed a harder edged, 'double-punch' effect."
The last four songs on the album, "White Pig Blues," "Brain Confusion," "Where Have You Gone?" and the atmospheric psychedelic mover "Mr. Power," all date from this 1968-69 period when the Pleasure Seekers were playing the Grande Ballroom alongside the MC5, Alice Cooper, the Stooges, the Amboy Dukes and SRC. With this change in musical direction and the departure of Arlene and Pami, the band forged on as Cradle. Suzi Quatro departed for England in 1971, launching a successful solo career. Patti and Nancy continued with Cradle until 1973 when Patti joined another pioneering female rock group, Fanny.
The Pleasure Seekers reunited recently in April 2012 (minus Suzi) for a well-received show in their hometown, where they were inducted into Detroit's Hall of Fame. "I think all of us Quatro girls are extremely proud of our pioneering days" reflects Patti. "In a renaissance-era of music, we kicked down doors for women to rock heavy. There were key times in our lives of making decisions that may have turned us towards larger fame, but less happiness-depending on your philosophy of such things. The Pleasure Seekers could have been a Las Vegas show act bringing in buckets of money or on Motown, turned very formulaic girlie-soul. But we stayed true to our goals, and I don't think any of us have any regrets of staying our course and playing the music that moved us. It's all been a thrilling ride with great memories."
- Mike & Anja Stax (Ugly Things magazine)1. Intro By DJ The Lord
2. Gotta Get Away
3. Never Thought You'd Leave Me
4. Light Of Love
5. Good Kind Of Hurt
6. What A Way To Die
7. Elevator Express
8. Locked In Your Love
9. White Pig Blues
10. Brain Confusion
11. Where Have You Gone
12. Mr. Power$24.99Vinyl LP - Sealed Buy Now
Cancer For CureIndependent rap icon El-P is set to release his long awaited new solo album Cancer For Cure, at his new home Fat Possum. The new album marks his first full length rap album since 2007's critically acclaimed I'll Sleep When You're Dead, though El-P's rap trajectory has been on a steady ascent following a prolific year that saw high profile appearances on Das Racist's mixtape and debut album, a hugely buzzed Adult Swim single "Drones Over Bklyn," a verse (which made Stereogum's top 10 guest verses of the year) on one of the year's biggest online hits, Mr. Muthafuckin' Exquire's "Huzzah," among several other honors.
The record is arriving hot on the heels of the new Killer Mike album R.A.P. Music, which El-P produced in full and is already making huge noise with its first single "Big Beast (featuring Bun B, T.I. and Trouble)," which was awarded Pitchfork's rare 'Best New Track' designation.Cancer For Cure takes another huge leap forward from the production work of his 2010 instrumental album Weareallgoingtoburninhellmeggamixxx with a bombastic collision of synths, bottomless bass tones, live instrumentation, ear-worming melody, and tightly coiled drum patterns, setting the standard for hip hop production higher than ever.
The obvious diversion from the previous album is the presence of El-P's ever-developing vocal style, continuing to raise the bar on his already highly verbose flow that swiftly and muscularly navigates a rapidfire explosion of syllabic conundrums and quick-witted elocutions full of heart, purpose, style and grit. Rounded out by feature appearances by a host of high profile guests including Killer Mike, Danny Brown, Mr. Muthafuckin' Exquire, Paul Banks (Interpol), and more, this will easily be one of the year's most talked about albums.1. Request Denied
2. The Full Retard
3. Works Every Time (with Paul Banks of Interpol)
4. Drones Over Bklyn
5. Oh Hail No (with Mr. Motherfucking Exquire & Danny Brown)
6. Tougher Colder (with Killer Mike and Despot)
7. True Story
8. The Jig Is Up
9. Sign Here
10. For My Upstairs
11. Stay Down (with Nick Diamonds of Islands)
12. $ Vic/FTL (Me And You)$18.99Vinyl LP - Sealed Buy Now