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  • Southern Avenue Southern Avenue Quick View

    $21.99
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    Southern Avenue

    Southern Avenue is a Memphis street that runs from the easternmost part of the city limits all the way to Soulsville, the original home of Stax Records. Southern Avenue is also the name of a fiery young Memphis quintet that embodies its home city's soul, blues and gospel traditions, while adding a youthful spirit and dynamic energy all their own. "If Memphis is a genre, this is it!" proclaims American Blues Scene and Rock 103FM calls Southern Avenue "The most talked about band in Memphis."


    Their self-titled debut album is a breath of fresh air with its own unique blend of gospel- tinged R&B vocals, roots/blues-based guitar work and soul-inspired songwriting. And Southern Avenue's upcoming release on the fabled Stax label is a testament to the young combo's talent and vision.


    Southern Avenue features five young but seasoned musicians who came from diverse musical and personal backgrounds to create music that spans their wide-ranging musical interests, while showcasing the powerful chemistry that the group has honed through stage and studio experience.


    Southern Avenue encompasses Memphis-born, church-bred sisters Tierinii and Tikyra Jackson, respectively a soulful, charismatic singer and a subtle powerful drummer; guitarist Ori Naftaly, an Israeli-born blues disciple who first came to America as an acclaimed solo artist; versatile jazz-inspired bassist Daniel McKee; and the band's newest addition, keyboardist Jeremy Powell, an early alumnus of Stax's legendary music academy.


    The band members' diverse skills come together organically on Southern Avenue, scheduled for release on February 24, 2017 via Stax Records, a division of Concord Music Group. Produced by Kevin Houston (North Mississippi Allstars, Lucero, Patty Griffin), the 10-song album features guest appearances from Luther Dickinson of the North Mississippi Allstars and trumpeter Marc Franklin of the Bo-Keys. But it's Southern Avenue's own potent musical chemistry that drives such sublimely soulful originals as Don't Give Up, What Did I Do, It's Gonna Be Alright, Love Me Right and Wildflower. The band also pays tribute to its roots with an incandescent reading of Ann Peebles' Memphis soul classic Slipped, Tripped and Fell in Love.


    The seeds for Southern Avenue's birth were planted when Ori Naftaly, who'd grown up in Israel with a deep-rooted passion for American blues and funk, came to Memphis in 2013 to compete in the prestigious International Blues Challenge. That experience led to Naftaly moving permanently to Memphis and successfully touring the United States with his own band. Although his talents were embraced by American audiences, Naftaly felt constrained in his own band, feeling the need to include a more expansive, collaborative musical vision. That opportunity arrived when he met Memphis native Tierinii Jackson, who'd gotten her start singing in church, before performing in a series of cover bands and theatrical projects.


    According to Ori, When I saw Tierinii perform, I thought, 'This is why I came to America.' I met her and we clicked. At our first rehearsal, she told me that her sister was a drummer, and she thought it would be great to have her in the band. We had such a good vibe, and suddenly I didn't care so much about my solo thing.


    I initially clicked with Ori really well, but it was his project, Tierinii remembers. Then he came to me and said 'I want this band to be a collaboration, I want this to be our vision and our music.' So we started writing together, and that's when I realized that we were really the same musically.


    We started over, Naftaly continues. We threw out most of the songs I'd been playing in my solo band, and Tierinii and I wrote a whole new set, and we became Southern Avenue. The more we played together, the closer we got, and the more we became a family. We started getting a different kind of crowd, and from there things escalated quickly.


    Ori said, 'My band is done, this is y'all's band,' Tierinii recalls. We all quit our other gigs and started focusing on this, working and writing and living together in a way that you don't experience when you're playing somebody else's music. Now we're playing songs that we wrote ourselves and we're playing them from our hearts. That is when I realized that we had something special. Despite not having a record deal, Southern Avenue quickly found success touring in America and Europe. They won additional attention playing some prestigious festivals and competing in the International Blues Challenge, in which they represented Memphis. Less than a year after the band's formation, they were signed to the resurgent Stax label.


    I feel like being on Stax is a responsibility, says Tierinii. I grew up in Memphis, seeing the name Stax everywhere. It was a constant presence, and now it's up to us to live up that. I feel like this band can be a platform to do a lot of positive things for the city of Memphis. I want to change the world, but Memphis is home. Tierinii views Southern Avenue as a perfect soundtrack to our first year together. We wrote these songs in our first nine months of being a band. We'd all done so many things and come from so many different places, but the music represents all of us. It's been a real crash course, she continues. We've haven't been a band for very long, but what we have feels very special, and it's made us a strong unit. I think that we represent something that people need to see right now.


    This band has already made our dreams come true, Ori concludes. I've waited all my life to be in a band like this, and it's amazing to me that I get to play with these people every night. Our goal is to keep doing this for a long time and leave our mark. We're trying to build a legacy.

    1. Don't Give Up
    2. What Did I Do
    3. It's Gonna Be Alright
    4. Slipped, Tripped And Fell In Love
    5. Love Me Right
    6. 80 Miles From Memphis
    7. Wildflower
    8. No Time To Lose
    9. Rumble
    10. Peace Will Come
    Southern Avenue
    $21.99
    Vinyl LP - Sealed Buy Now
  • Prayer For Peace Prayer For Peace Quick View

    $24.99
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    Prayer For Peace

    Prayer for Peace is North Mississippi Allstars 8th studio album and self-produced by the Dickinson Brothers. It was recorded across the country at 6 different studios: including the famous Royal Studios in Memphis with Boo Mitchell & their legendary father Jim Dickinson's Zebra Ranch in Hernando, MS. Special guests on the album include bassist Oteil Burbridge (Allman Brothers Band, Dead & Company), Graeme Lesh (Midnight North, The Terrapin Family Band), vocalist Sharisse Norman, bassist Dominic Davis (Jack White), and singer/fife player ShardÉ Thomas, daughter of Mississippi blues giant Otha Turner. North Mississippi Allstars is a 3-time Grammy-nominated band for Best Contemporary Blues Album.
    1. Prayer for Peace
    2. Need to be Free
    3. Miss Maybelle
    4. Run Red Rooster
    5. Stealin
    6. Deep Ellum
    7. Bird Without a Feather
    8. You Got to Move
    9. 61 Highway
    10. Long Haired Doney
    11. Bid You Goodnight
    North Mississippi Allstars
    $24.99
    Vinyl LP - Sealed Buy Now
  • Keys To The Kingdom Keys To The Kingdom Quick View

    $17.99
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    Keys To The Kingdom

    Keys To The Kingdom is a celebratory declaration of life in the face of death. Luther and Cody Dickinson lost their father Jim Dickinson only months before Luther became one. At the heart of the record is the journey that traverses thru the mirrored gates of life and death. This is the band's first studio album in 3 years. Gatefold sleeve.

    1. This AWay

    2. Jumpercable Blues
    3. The Meeting
    4. How I Wish My Train Would Come
    5. Hear The Hills
    6. Stuck Inside Of Mobile With The Memphis Blues Again
    7. Let It Roll
    8. Aint No Grave
    9. Ol Cannonball
    10. New Orleans Walkin Dead
    11. Aint None OMine
    12. Jellyrollin All Over Heaven

    North Mississippi Allstars
    $17.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Upstairs At United, Vol. 4  (North Mississippi Allstars) (Awaiting Repress) Upstairs At United, Vol. 4 (North Mississippi Allstars) (Awaiting Repress) Quick View

    $15.99
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    Upstairs At United, Vol. 4 (North Mississippi Allstars) (Awaiting Repress)

    On June 7th, 2012, North Mississippi Allstars, this day consisting of Luther Dickinson (vocals, guitar), Cody Dickinson (drums), Pierre Wells, (bass, vocals), and Sharisse Norman, Shontelle Norman and Stefanie Bolton on backing vocals, recorded Volume 4 of the Upstairs at United series.


    The North Mississippi Allstars, recorded 5 nuggets of gospel blues goodness including Let It Roll, I'm a Soldier In The Army of The Lord, What You Gonna Do, Up Over Yonder, and Keep Your Lamp Trimmed & Burning. Each song has overpowering heart and raw soul.


    Each song in this session was recorded in a single take direct to ¼ inch tape then cut at 45 RPM for the ultimate listening experience.

    1. Let It Roll
    2. I'm A Soldier In The Arny Of The Lord
    3. What You Gonna Do
    4. Up Over Yonder
    5. Keep Your Lamp Trimmed & Burning
    North Mississippi Allstars
    $15.99
    12 Vinyl LP 45RPM - Sealed AWAITING REPRESS Buy Now
  • World Boogie Is Coming World Boogie Is Coming Quick View

    $22.99
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    World Boogie Is Coming

    North Mississippi Allstars have announced the release of their record, World Boogie Is Coming. They produced it themselves at their own Zebra Ranch Studios in Hernando, MS, aside from a day in the studio with Robert Plant (and his harmonica) at Memphis' legendary Royal Studios. The Dickinson Brothers did it with the help of long-time friends Duwayne and Garry Burnside, Kenny Brown, Alvin Youngblood, Sharde Thomas (Otha Turner's granddaughter), Chris Chew, Steve Selvidge, Lightnin Malcolm, Plant and others. World Boogie Is Coming is the record that perfectly ties it all together, fusing all the elements that have made the Allstars special while pushing the band's sound further into the future than ever before.


    Luther Dickinson says, "It all started when Seasick Steve told me: 'You are the one, you are the link, you have to keep it primitive and take it to the people.'" He continues, "I feel like I owe it the elders who taught me the traditional music in which I operate to let the music evolve and allow outside modern influences into the tradition to keep it alive and healthy. I realized that I had not been holding up my end of the deal. Since I am virtually devoid of modern influences, I turned to my brother Cody, who is my opposite in taste and style and loves modern music and production. Allowing Cody to produce the tracking sessions allowed me to sing and play wild and with abandon. Our contrasting styles are the heart of NMA."


    Cody has discovered a love of filmmaking and knows that in this day and age you need multi media. He set out to use our landscape of modern day Mississippi and roadwork experiences to share with the audience a vision, a dreamscape of our world. We wanted the World Boogie Is Coming package to have as much visual content as possible, with the record itself being sonically cinematic, a montage of medleys similar to our live shows - the recording fell together beautifully with that intent. We set ambient microphones up around the whole studio - footsteps, rain, wind, talking, bugs and birds all played their part. Archival tapes of Otha and R.L. fell right into the pocket as soon as we transferred them, laughing, joking and jamming with their kids -transcending time and space, life and death."


    "'World boogie is coming' was my father's favorite valediction," says Cody. "Naming this record after his closing phrase seemed like a great way to honor him and his memory. World boogie is coming is also a rallying cry. And the cry is this: It's time to boogie!"


    This record represents two years of our collective lives," he continues. "Luther, myself and our crew touring the world and doing what we do best: Bringing our music straight to the people. World Boogie Is Coming documents that journey and narrative. The story tells itself. We set out to make a definitive and decisive record. It turned into the experience of a lifetime; our magnum opus. It is cinematic by design and infectious by nature, so sit back, relax and enjoy. Let's get large and have a good time."


    - Glide Magazine

    1. Cuttin' Shorty
    2. Rollin 'n Tumblin
    3. Boogie
    4. Get the Snakes Out of the Woods
    5. Snake Drive
    6. That Dog After That Rabbit
    7. Meet Me In The City
    8. Turn Up Satan
    9. Shimmy
    10. My Babe
    11. Granny Does Your Dog Bite
    12. World Boogie
    13. Goin' to Brownsville
    14. JR
    15. I'm Leaving
    16. Jumper on the Line
    North Mississippi Allstars
    $22.99
    Vinyl LP - Sealed Buy Now
  • Runaway's Diary Runaway's Diary Quick View

    $18.99
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    Runaway's Diary


    Gold Translucent Vinyl


    In the nine years since she released her debut album, Amy LaVere's music has been called many things: dark and sexy, witty, feisty, breezy, mysterious. And she is all of that on 'Runaway's Diary'.


    If 2011's 'Stranger Me' was Spin Magazine's Break Up Album Of The Year', then it's 2014 follow-up solidifies LaVere's position as masterful storyteller.


    Produced by Luther Dickinson (North Mississippi Allstars) and recorded at Music+Arts Studio in Memphis, the new concept album sets to music the details of Amy's journey as she ran away from home at the age of 15.

    1. Rabbit
    2. Last Rock N Roll Boy To Dance
    3. Big Sister
    4. Self Made Orphan
    5. Where I Lead Me
    6. Snowflake
    7. How?
    8. Don't Go Yet John
    9. Lousy Pretender
    10. Dark Moon
    11. I'll Be Home Soon
    12. Reprise
    Amy Lavere
    $18.99
    Colored Vinyl LP - Sealed Buy Now
  • Dead Man's Town: A Tribute To Springsteen's Born In The U.S.A. Dead Man's Town: A Tribute To Springsteen's Born In The U.S.A. Quick View

    $19.99
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    Dead Man's Town: A Tribute To Springsteen's Born In The U.S.A.

    2014 marks the 30th anniversary of Bruce Springsteen's 'Born In The U.S.A.'
    Although it would become his biggest selling album with seven top 10 singles
    on the Billboard Hot 100, Luther Dickinson of North Mississippi Allstars
    says "any of those songs could be played with acoustic guitar alone and
    still be great." Taking this idea as its premise, 'Dead Man's Town: A Tribute to
    Born in the U.S.A' strips the album's twelve indelible originals to the core, with
    contributions from Jason Isbell & Amanda Shires, Low, Nicole Atkins, Justin
    Townes Earle, Blitzen Trapper, Joe Pug, Trampled by Turtles, and more. Rolling Stone premiered Jason Isbell and Amanda Shires' Dave Cobb-produced
    cover of "Born In The U.S.A," saying these artists are "reimagining 'Born in
    the U.S.A.'... with a reduced approach more influenced by that of the acoustic
    'Nebraska.


    Isbell says of his cover, ""Born In The U.S.A." is one of my favorites
    because so many people have seemingly misunderstood the lyrical content
    and the song's overall tone. When you listen to the demo, the dark, minor key
    arrangement makes it clear that this is not strictly a song of celebration.
    We wanted to stay true to that version." Amanda Shires adds, "I love that
    the song paints a picture of struggle in the face of the American dream, and
    the irony in the chorus is delivered with such force that it nearly
    transcends irony altogether."

    1. Born In The U.S.A. - Jason Isbell & Amanda Shires
    2. Cover Me - The Apache Relay
    3. Darlington Country - Quaker City Nighthawks
    4. Working On The Highway - Blitzen Trapper
    5. Downbound Train - Joe Pug
    6. I'm On Fire - Low
    7. No Surrender - Holly Williams
    8. Bobby Jean - Ryan Culwell
    9. I'm Goin' Down - Trampled By Turtles
    10. Glory Days - Justin Townes Earle
    11. Dancing In The Dark - Nicole Atkins
    12. My Hometown - North Mississippi Allstars
    Various Artists
    $19.99
    Vinyl LP Buy Now
  • Soul Food Soul Food Quick View

    $25.99
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    Soul Food

    First album in 14 years from the acclaimed jam-blues-rock supergroup featuring Robert Randolph, John Medeski, and the North Mississippi Allstars. Also features guest vocalists Ruthie Foster and Amy Helm.
    1. You Brought The Sunshine
    2. When I See The Blood
    3. Swamp Road
    4. Early In The Moanin' Time
    5. New Word Order
    6. Chocolate Cowboy
    7. The Highest
    8. Soul Food I & II
    9. Play all Day
    10. Come By Here
    11. The Twins
    12. Glory Glory
    The Word
    $25.99
    Vinyl LP - Sealed Buy Now
  • Hambone's Meditations Hambone's Meditations Quick View

    $21.99
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    Hambone's Meditations

    Luther Dickinson is most well known as the head of the North Mississippi all-stars and the lead guitarist for The Black Crowes. He has become known as one of the best guitar players around, whose slide guitar style has been likened to the great Mississippi Fred McDowell. As a young person in Northern Mississippi, Luther was schooled his father, Jim Dickinson, and by the legendary Otha Turner and R.L. Boyce as to the finer aspects of blues guitar playing. Handbone's Meditations is his debut solo outing. The record is a soft, fragile and beautiful offering that provides a stage for Dickinson's soulful, masterful melodic blues stylings.
    1. Death Comes On Wings of Crepe
    2. Blind Lemon and the Hook Man
    3. Breckenridge Blues
    4. Arkabutla
    5. Tallahatchee (Birds of the Moon)
    6. Old Gospel Medley I
    7. Old Gospel Medley II
    Luther Dickinson
    $21.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Traveling Through The Jungle: Fife and Drum Bands From The Deep South Traveling Through The Jungle: Fife and Drum Bands From The Deep South Quick View

    $21.99
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    Traveling Through The Jungle: Fife and Drum Bands From The Deep South

    This ultra-rare Testament release is one of the first and finest presentations of the hill country fife and drum sound, one of the oldest musical practices of the Union. On this record, legendary musicologist David Evans presents the greatest musicians of North Mississippi, recorded in the 40s, 50s and 60s, by the likes of Alan Lomax. Artists include: Otha Turner, Napoleon Strickland, R.L. Boyce, and Sid Hemphill among others.
    1. Old Hen Cackled, Laid A Double Egg EPHRAM CARTER
    2. Unknown Piece NEGRO FIFE AND DRUM BANDS
    3. Shout, Lula With The Red Dress On NEGRO FIFE AND DRUM BANDS
    4. Buck Dance JW JONES
    5. I Love Jesus, Yes I Do NEGRO FIFE AND DRUM BANDS
    6. Wake Up, Sal, Day Done Come, Let Me Chew Your Rosin Some JW JONES
    7. Old Lady Dinah Sitting By The Fire - NEGRO FIFE AND DRUM BANDS
    8. Jesse James SID HEMPHILL BAND
    9. Come On Boys, Lets Go To The Ball Alec Askew
    10. The Death March - NEGRO FIFE AND DRUM BANDS
    11. Emmaline, Take Your Time - SIDNEY HEMPHILL
    12. The Sidewalks Of New York - NEGRO FIFE AND DRUM BANDS
    13. John Henry - NEGRO FIFE AND DRUM BANDS
    14. No Name Piece - NEGRO FIFE AND DRUM BANDS
    15. Sal, You Churn The Butter - NEGRO FIFE AND DRUM BANDS
    16. Look Out Of The Way - NEGRO FIFE AND DRUM BANDS
    17. My Babe NAPOLEON STRICKLAND
    18. Travelling Through The Jungle - NAPOLEON STRICKLAND
    19. Sitting On The Top Of The World COMPTON JONES
    20. Late At Midnight, Just A Little fore Day OTHA TURNER
    21. Granny, Will Your Dog Bite? - NEGRO FIFE AND DRUM BANDS
    22. Number Five COMPTON JONES
    23. When The Saints Go Marchin In - NAPOLEON STRICKLAND
    24. Sitting On The Top Of The World (Alternate Take) OTHA TURNER
    25. Fife And Drum Piece - NEGRO FIFE AND DRUM BANDS
    26. Im So Worried - NEGRO FIFE AND DRUM BANDS
    27. Baseball Bat NAPOLEON STRICKLAND 28. Rollin And Tumblin NAPOLEON STRICKLAND
    Various Artists
    $21.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Rock 'n Roll Blues Rock 'n Roll Blues Quick View

    $18.99
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    Rock 'n Roll Blues

    Luther Dickinson enters a new phase of his storied musical
    career with his rollicking and raw new solo album, Rock 'n
    Roll Blues. From the propulsive beat and unbridled sound of
    opener Vandalize, to the insanely catchy Bar Band, it's clear this
    is a unique chapter in the acclaimed Southern musician's
    songbook. More informed by a youth spent listening to punk rock
    than the blues and boogie rock of his revered band North Mississippi
    Allstars, the record consists mostly of acoustic guitar, stand up
    bass and drums and although not punk in sound, it is in spirit and
    the DIY ethos. In essence, an autobiography set to music, the
    10-track LP traces Luther's journey from excitable teen to
    tour-van vet and offers a side of himself seldom seen before.


    The son of the late great producer and musician Jim Dickinson,
    Luther made his recording debut at age 14 and has recorded
    with a who's who of musicians including The Replacements,
    Beck, Jon Spencer, John Hiatt, Levon Helm, Mavis Staples,
    Ry Cooder and Patty Grifffin. He is the lead guitarist and vocalist
    for the North Mississippi Allstars and widely known as both a
    talented musician and producer with four Grammy® nominations
    to prove it - three in the contemporary blues category and one in
    traditional folk.

    1. Vandalize
    2. Blood 'n Guts
    3. Yard Man
    4. Goin' Country
    5. Mojo, Mojo
    6. Rock 'n Roll Blues
    7. Bar Band
    8. Stone's Throw
    9. Some Ol' Day
    10. Karmic Debt
    Luther Dickinson
    $18.99
    Vinyl LP - Sealed Buy Now
  • Ranie Burnette's Hill Country Blues Ranie Burnette's Hill Country Blues Quick View

    $16.99
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    Ranie Burnette's Hill Country Blues

    Ranie Burnette was born on July 4th, 1913 in Pleasant Grove, MS, located in Panola County. While he was known to have played local dances and juke joints in the hill country of North Mississippi during the 1940's and 50's, competing with the likes of Fred McDowell, no known recordings of Ranie were made until the 70's and early 80's while he was living in Senatobia.


    During that time he recorded two sides for a regional 45 single and was later recorded by Leo Bruin, both in Senatobia and during a trip Ranie made to the Netherlands. Some of those recordings appear on the Swingmaster CD Going Down South, along with tracks by harmonica player Johnny Woods and R.L. Burnside, whom Ranie mentored and often played with.


    Burnette's music, like the aforementioned artists, is strongly rooted in the rhythmic tradition of the fife and drum bands from the region, which you'll hear on this 11-song collection, also recorded by Leo Bruin. Ranie Burnette died in Memphis, TN, on January 23, 2000 and is buried in the cemetery at Ebeneezer Missionary Baptist Church in Como, MS.

    1. Coal Black Mattie
    2. Lonesome Moon Blues
    3. Gone Dead on You
    4. Two and Two Blues
    5. One String Baby
    6. Miss Mabelle
    7. Hungry Spell
    8. Dough Roller Blues
    9. Turn On Down
    10. Shake Em' On Down
    11. Yonder Goes My Baby
    Ranie Burnette
    $16.99
    Vinyl LP - Sealed Buy Now
  • The Simple Truth The Simple Truth Quick View

    $22.99
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    The Simple Truth

    Jeff Austin has been playing professionally for nearly 20 years, most of them as the vocalist/mandolinist of the game-changing bluegrass jam act Yonder Mountain String Band. Austin has long harbored urges to stretch out musically-and even cast a few pop hooks of his own. He finally makes the leap on The Simple Truth, his solo debut (releasing Feb. 10th, 2015) and maiden voyage with Yep Roc Records. Accompanying him is an eager troupe of trustworthy fellow travelers chartered as the Jeff Austin Band: Danny Barnes (of Bad Livers fame) on banjo, guitars and vocals; Ross Martin on guitars; and Eric Thorin on basses and vocals, with North Mississippi Allstar Cody Dickinson on drums, percussion and electric washboard. The result is an album that truly reflects Austin's goal of crafting a sonic document unconstrained by the limitations jamgrass, newgrass or whatever other names it wears.The Simple Truth captures the energy and excitement of that party, as well as the quiet moments of contemplation that happen after guests leave. If one must give it a label, Americana will do, but he prefers to call it, simply, "American music, written from my experience as a 40-year-old guy in America."
    1. What The Night Brings
    2. Simple Truth
    3. Scrapbook Pages
    4. Fiddling Around
    5. 15 Steps
    6. Over And Over
    7. Gatling
    8. Run Down
    9. Shake Me Up
    10. Falling Stars
    Jeff Austin
    $22.99
    180 Gram Audiophile Virgin Vinyl LP + CD - Sealed Buy Now
  • Dark Night Of The Soul Dark Night Of The Soul Quick View

    $16.99
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    Dark Night Of The Soul

    This musical DNA has been in Jimbo Mathus since birth. His father and relatives
    were all skilled musicians who filled the house with old folk, country and blues
    tunes. By the age of eight, Mathus was joining them on mandolin and by his
    teenage years had learned guitar and piano. High school led to playing in punk
    and new wave bands, the most notable being Johnny Vomit and the Dry Heaves
    and The End, with future Oblivian Jack Yarber. Post high school, Mathus studied
    Philosophy at Mississippi State University before leaving to travel around
    America. In doing so he worked various jobs, including an influential stint as
    a barge tankerman on the mighty Mississippi River. Settling in Chapel Hill,
    N.C., he drummed in the cult rock band Metal Flake Mother prior to starting
    the Squirrel Nut Zippers. This ahead-of-its-time retro roots band scored a hit
    with "Hot" and performed at President Clinton's second Inauguration and the
    1996 Summer Olympics. Following the Zippers' split, Mathus worked with such
    noted artists such as Buddy Guy and Elvis Costello, and collaborated with North
    Mississippi Allstars guitarist Luther Dickinson and Alvin Youngblood Hart in the
    South Memphis String Band. He also recorded his own albums (including one
    dedicated to his childhood nanny Rosetta Patton, the daughter of Delta blues
    icon Charley Patton).


    On most of 'Dark Night's' tracks, Mathus' acoustic guitar is surrounded by
    the electric guitar played by his longtime sideman Matt Pierce and pal Eric
    "Roscoe" Ambel. (Ambel produced 'White Buffalo' but on 'Dark Night' he focuses
    exclusively on his righteous guitar playing.) The album's raw, rock sound arose
    from the fact that most of the tracks were recorded live in the studio with
    Mathus' band, the Tri-State Coalition, which he found "very liberating way of
    doing it." Mathus feels very in synch with his bandmates (keyboardist Eric
    Carlton, drummer Ryan Rogers, guitarist Pierce and guest bassist and Drive By
    Trucker Matt Patton) since they have played together now for several years.
    "The intensity you're hearing on this album," he proclaims, "is the spirit of a
    band that is put ting it's shit on the line ."

    1. Dark Night Of The Soul
    2. White Angel
    3. Rock & Roll Trash
    4. Shine Like A Diamond
    5. Writing Spider
    6. Tallahatchie
    7. Burn The Ships
    8. Fire In The Canebrake
    9. Hawkeye Jordan
    10. Casey Caught The Cannonball
    11. Medicine
    12. Butcher Bird
    Jimbo Mathus & The Tri-State Coalition
    $16.99
    Vinyl LP - Sealed Buy Now
  • Good God! Born Again Funk (Awaiting Repress) Good God! Born Again Funk (Awaiting Repress) Quick View

    $22.99
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    Good God! Born Again Funk (Awaiting Repress)

    The Numero Groupes 2006 release Good God! A Gospel Funk Hymnal examined what seemed to be a conundrum: gospel singers performing pious gospel songs, and devoutly, but doing so amid hot, sweaty, earthy sounds drunk on the same moonshine downed by any blues singer thumbing his way up north from the Mississippi delta. If the central premise was to grapple with a ôfunkyö trend in gospel, forgive us for staring perhaps a bit too intently at the collision of sacred and profane we thought we saw on those LPs and 45s. This music was always sacred, and decidedly so.


    Four years later, Numero returns with not quite a New Testament, rather a re-examination of a weighty tome. Born Again Funk lends new ears to a joyful strain of American
    composers and performers unafraid of expressing their devotion with both inspiration and invention. They were faithful to a spirit, not to an ordained sound.


    Featuring: Pastor T.L. Barrett & the Youth For Christ Choir, Ada Richards, Gospel Comforters, Golden Echoes, Lucy ôSister Soulö Rodgers, Gospel Soul Revivals, Brother Samuel Cheatham, Victory Travelers, Jordan Travelers, Inspirational Gospel Singers, Sacred Four, Andrew Wartts & the Gospel Storytellers, Holy Disciples of Chicago, Ill.,Sensational Five Singing Sons, Little Chris & the Righteous Singers , Sensational Five, Chicago Travelers, James Austin & the St. Luke COGIC Youth Choir.

    1. Like A Ship (T.L. Barrett)
    2. I'm Drunk & I'm Real High (Ada Richards)
    3. Yes God Is Real (Gospel Echoes)
    4. Packing A Grip (Golden Echoes)
    5. Pray A Little Longer (Lucy Richards)
    6. If Jesus Came (The Gospel Soul Revivals)
    7. Troubles Of The World (Brother Samuel Cheatam)
    8. I Know I've Been Changed (Victory Travelers)
    9. God Will Answer (Jordan Travelers)
    10. Same Thing It Took (Inspirational Gospel Singers)
    11. Somebody's Watching You (The Sacred Four)
    12. Peter & John (Andrew Watts & The Gospel Sto)
    13. I Know Him (Holy Disciples)
    14. Share You Love With The Master (Sensational Five Singing Sons)
    15. I Thank You Lord (Little Chris & The Righteous 5)
    16. Coming On Strong Staying Along (Sensational Five Singers)
    17. Been Trying (Chicago Travelers)
    18. I'll Take Jesus For Mine (James Austin)
    Various Artists
    $22.99
    Vinyl LP - 2 LPs Sealed AWAITING REPRESS Buy Now
  • Riverman's Daughter Riverman's Daughter Quick View

    $17.99
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    Riverman's Daughter

    The Grahams, the creative union of lifelong romantic partners Alyssa and Doug Graham, combine soulful bluegrass with hints of earthy Americana, adding colors from traditional folk and country blues, into an infectious blend of storytelling that results in songs of love, loss, yearning, and the view from rural American roads less traveled.


    While the duo first met in grade school -- a trait shared by previous musical trail-blazers, from Lennon/McCartney to Jagger/Richards - the Grahams' journey together began when they were teenagers in the shadow of New York City. There, Alyssa, the impassioned troubadour, and Doug, the guitarist extraordinaire, shared a mutual love for the music of the Woodstock era and the adventures of the great outdoors. Over the ensuing years many a campfire lit acoustic jam would include the best of roots renegades like Neil Young, The Band, Gram Parsons, Janis and Emmylou along with more than a few Jerry Garcia and Johnny Cash nuggets. Later, spending much of their time in the secluded Adirondack Mountains at the Graham family fold, Alyssa and Doug learned the time-honored craft of songwriting. Here, their ongoing interests in traditional country, mountain bluegrass and folk legends such as The Carter Family and Mississippi John Hurt would blossom. Hoping to share their stories on a wider stage, the couple eventually settled in New York City, where they performed, collaborated and recorded a variety of acclaimed material before adopting The Grahams moniker.


    While the duo had written music together before, in the summer of 2012 new writing sessions yielded a different approach. Something magical was happening between Alyssa and Doug. A catalyst was born in the new song Riverman's Daughter, a tale of love, loss, and hardship on the river that showcases Alyssa's bountiful voice. Backed by her own rhythm guitar, along with the strong current of Doug's cascading accompaniment on the six string, and traditional vocal harmonies, the track came in a lightning bolt of inspiration. A vision and calling to write more songs of its kind took hold.


    Alyssa and Doug had an idea: What if they put their city lives on hold and, armed with just guitars and backpacks, traveled the 2,500 miles of highways and byways of the Mississippi River from Minnesota to Louisiana. Light out for the territory, so to speak, like Huck and Jim. There, the duo could follow the Great River Road (GRR) that parallels the waterway, meet the people, and hear first-hand where European folk music, brought to these shores generations ago, took root alongside rhythms and chants from Africa, and how these polarizing sounds formed the backbone of our 20th Century American musical heritage. And so The Grahams did just that, and in the process created their debut album, Riverman's Daughter. Along the way The Grahams played gigs at the various gin and juke joints that dotted the GRR, and met a colorful cast of characters and genuine music makers with whom the duo shared and exchanged stories through the common bond of song.


    Eventually Alyssa and Doug ended up intentionally isolated on an old houseboat in rural Louisiana where the Mississippi spills into the Atchafalaya swamp. There, The Grahams prolifically stockpiled songs, enjoyed the simplicity of living off the grid, and for a spell, invited onboard friends and musicians including their longtime collaborator Bryan McCann, a wordsmith who aids with lyrical inspiration. Yet perhaps the biggest inspiration on Riverman's Daughter was Doug's own mother, Gigi, the matriarch of the Graham family clan, and a true fan of the duo who had been diagnosed with cancer earlier that year. As her condition worsened, the Grahams packed up their guitars and newly minted collection of songs to become Gigi's angel band, and played by her side until she passed away.


    As recording of the new album began, The Grahams found a true kindred spirit in Grammy-winning producer Malcolm Burn, who brought a magical touch and inspired ideas into the studio. It was Burn's idea to record both Alyssa and Doug's parts live to tape without the assistance of headphones or isolation -- in the way they were written. This process gives the album a natural aura that harkens back to an era when this practice was commonplace. Along the same lines, The Grahams chose to record the album in Nashville, the longtime epicenter of country music. While the album's foundation is simple and acoustic, The Grahams are backed on a few tracks by stellar accompaniment including the Grammy-nominated North Mississippi Allstars. Along with the title song the album is highlighted by the 70's country rock flavored Carrying The Torch, the spirited traditional vibe of The Piney River, and the riveting upbeat barn dance playfulness of Revival Time.


    Ultimately, the album is a winning culmination of The Grahams' long journey into the heart of America, the inspiration they derived from immersion into classic American music, and the natural and honest talent they have for bringing forth a modern musical idiom steeped in tradition.

    1. Revival Time
    2. Riverman's Daughter
    3. Carrying the Torch
    4. You Made Me Love You
    5. Cathedral Pines
    6. If You're in New York
    7. The Piney River
    8. A Good Man
    9. Marnie Hawkins
    10. Heaven Forbid
    11. Lonesome Child
    12. Jericho
    13. Goodbye Babe (B.C.)
    14. Lay Down Delilah
    The Grahams
    $17.99
    Vinyl LP - Sealed Buy Now
  • Broken People Broken People Quick View

    $18.99
    Buy Now
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    Broken People

    American music is a mile-wide river that beckons black and white, urban and rural, dreamer and doer alike to launch their vessels. All the streams of style and genre flow into it; its tributaries are blues and jazz, mountain and folk, rock, soul and R&B.


    The release of the debut album by Muddy Magnolias, Broken People, marks the launch of a great new vessel onto that waterway. The album showcases a confluence of style and sound as colorful as it is unlikely, steeped in that river of influence, yet bracingly fresh.


    With Broken People, Jessy Wilson and Kallie North take us on an 11-song journey with its origins in two widely divergent backgrounds that came together in a friendship and creative partnership with world-changing resonance.


    North was raised in southeast Texas and began singing with her family and studying piano at an early age. She grew to love rich vocal harmonies singing in church choirs and listening to artists like the Carpenters, Alison Krauss, James Taylor and the Eagles. By her early teens, she was singing lead parts in church and in musical theater productions at her high school. Her palette grew when a friend turned her on to the Grateful Dead, and after high school she spent every spare moment in the clubs of Austin, absorbing everything from alt-country and jam bands to New Orleans funk. She met her husband at a concert and moved with him to his native Mississippi. There, on their isolated farm, she had her awakening, starting a career as a photographer, capturing the spirited, deep history of the Mississippi Delta.


    "To me, the Delta is the most overlooked and mysterious place," she says. "It was the birthplace of America's music, and all the legends were influenced by everything that came out of it. I went on this personal exploration to learn about the Delta blues and the region's history. I picked up a camera and started taking pictures, blogging about what I was experiencing, and I tapped into all the creative energy lying dormant inside me." When her husband gave her a guitar, she began spending her days on the porch of their farm learning how to connect her first chords. From there, the songs began pouring out and she knew she had to find a way to get to Nashville and write songs professionally.


    Wilson, raised in Brooklyn, was in love with music from her earliest days. She was singing before she could talk, and was 5 when her mother recognized her passion for music. "I would cry because I couldn't hit the high notes in Whitney Houston and Mariah Carey songs," she says. Influenced by greats from Aretha and Smokey Robinson to Lauryn Hill, Mary J. Blige and The Notorious B.I.G., she began auditioning in the highly competitive New York entertainment scene and was working professionally in musical theater by the age of 10. Her mother took her to nightclubs where she experienced a variety of live performances. She attended New York's top performing arts schools, including La Guardia High School, the "Fame" school, where she discovered her love for gospel music and took part in the gospel chorus for four years. She worked at Cafe Wha? in Greenwich Village, making $500 a weekend while still in high school.


    She sang backup for Alicia Keys in her teens, then worked four years with John Legend, and through him with legends like will.i.am, Kanye West, Raphael Saadiq and Babyface. Legend mentored her in songwriting and recording before she began writing songs on her own for American Idol winner Fantasia Barrino and others. Inspired by her evolving love of songwriting, she too moved to Nashville, looking for a wider creative palette. There, while meeting with then-BMI executive Clay Bradley, her eye settled on a photograph of "a rundown juke joint piano" in his office.


    "I want to meet whoever took that photo," she said. The photographer was North-it had been taken during her creative awakening in Mississippi-and the subsequent meeting led quickly to collaboration and an epic friendship.


    "The first day we wrote together," says North, "there wasn't much thought that we were blending genres and worlds. That never came up. It was just natural. She had never written a country song and I was writing them every day. We sat down to write one but when we listened back it was a country R&B song. And we decided to become songwriting partners." Before long, they had their first cut as collaborators, and they were off and running.


    "The spirit of the Muddy Magnolias existed from the moment we met," says Wilson, "but we didn't know we were the Muddy Magnolias yet." North was toying with the idea of a solo career; Wilson had aspirations of making history as an African-American female songwriter in Nashville. Their new friendship was a game-changer.


    "We spent a whole year writing, trying to understand what our message was when we combined our stories," says Wilson. Then one day over afternoon wine at Burger Up, their favorite hangout in the 12 South section of Nashville, both admitted to be being at a crossroads. "The next thing you know," says North, "Jessy said, 'What if we made a record together?' It was like all of our dreams in one."


    "We went back to that same office on Music Row where I saw the photograph," says Wilson, "and sat down side by side in Clay's office and said, 'We've got something to tell you. We're going to make an album together.'" Bradley believed enough to sign on as their manager. They held three days of band auditions and found four best friends who had been playing together since college, primarily doing jazz. The fit was perfect, providing just the right sonic backdrop for their soulful approach and high-energy delivery.


    As they continued to write and perform, opening for the likes of The Zac Brown Band and Gary Clark, Jr., they put together a project that crosses genres effortlessly, showcasing two voices that soar together in a blending of cultures as electrifying as if Janis Joplin and Tina Turner, or Whitney Houston and Lee Ann Womack had joined forces.


    Broken People combines poetic imagery and vocal passion, with the musicianship and production of Motown or Muscle Shoals by way of the raw honesty of Sun Records. Of course it deals with love, longed for and unleashed, in songs like "I Need A Man," "Why Don't You Stay" and "Devil's Teeth," but the album soars as it reaches for bigger themes, dealing with the need for hope in "Take Me Home," for love on a societal scale in "Shine On" and "Brother What Happened," and hope for the future in "Got It Goin' On." With "Leave It To The Sky," the two, joined by John Legend on vocals and piano, make a powerful case for spiritual solutions, and few songs in the modern lexicon are as steeped in present-day reality as the gospel- and R&B-tinged title track.


    "Ultimately," says North, "this album is a result of an unlikely friendship and is a testament to what can happen when you diversify your relationships."


    "It's about getting out of your comfort zone and being rewarded with a great friendship," adds Wilson. "We've both felt the power of that."


    "Our path is so much better and our lives are so much richer because of it," says North, "and we want to bring people along on this journey."


    "We want to see what society would be like if we all reached out in ways we normally wouldn't," adds Wilson.


    And that is the magic and the message. The music of Muddy Magnolias, live and on record, comes from a place where the Mississippi meets the A-Train by way of Nashville. Whether yours is the back porch or the front stoop, Spanish moss or window box garden, dusty country lane or crowded subway car, rural honky-tonk or uptown club, this is music that beckons. Muddy Magnolias are collaboration without boundaries, musical healing in a landscape of the heart, and all of us who treasure creative energy, honest art and the possibilities of love and unity, are better for their arrival.

    1. Broken People
    2. Brother, What Happened?
    3. Got It Goin' On
    4. Why Don't You Stay
    5. Take Me Home
    6. Shine On!
    7. It Ain't Easy
    8. I Need A Man
    9. Devil's Teeth
    10. Train
    11. Leave It To The Sky (feat. John Legend)
    Muddy Magnolias
    $18.99
    Vinyl LP - Sealed Buy Now
  • Highway 61 Revisited (On Sale) Highway 61 Revisited (On Sale) On Sale Quick View

    $49.99 $44.99 Save $5.00 (10%)

    Buy Now
    x

    Highway 61 Revisited (On Sale)

    Highway 61 Revisited on Numbered Limited Edition 180 Gram 45RPM 2LP from Mobile Fidelity


    Dylan's First Entirely Rock-Backed Album Marks Sea Change in Sound and Potential of Popular Music


    Ranked #4 on Rolling Stone's 500 Greatest Albums of All Time List


    Album-Opening Like a Rolling Stone Challenging, Bold, Revolutionary-And Arguably the Best Rock Song Ever Recorded


    Widescreen Sonics: Brilliant Collision of Evocative Poetry, Swirling Roots-Based Soul, and Hard-Driving Blues Sounds Incredible on MoFi 45RPM Pressing


    1965 Set Also Includes Ballad of a Thin Man, Desolation Row, and Just Like Tom Thumb's Blues


    Its title references the road that spans North Minnesota to the Mississippi Delta, and the formative blues, country, and roots sounds connected to its existence. The highway also lays claim to towering musical myths and deaths, many tied to the blues lexicon and narrative. All figure prominently on the revolutionary beacon that is Highway 61 Revisited, the 1965 set that overturned rules, upended preexisting limits, and utterly changed everything in its path. Ranked the fourth-greatest album ever made by Rolling Stone, its reach, power, and content boggle the mind nearly five decades after its release.


    Mastered on Mobile Fidelity's world-renowned mastering system and pressed on 180 gram LP at RTI, this restored 45RPM analog version presents the life-altering music in reference-quality sound-so much so that the record's famous first lightning-strike note is now indeed the "snare shot that sound[s] like somebody'd kicked open the door to your mind," as once described by Bruce Springsteen.


    Teeming with organic energy, palpable voltage, and countless textures, the LP faithfully recreates the dimensions, vibes, and events associated with the six days Dylan and Co. spent at Columbia's Studio A. Everything from the soundstages to dynamics, instrumental separation to balances, resonates with enormous might and insightful perspective. Wider grooves mean more information reaches your ears.


    Recorded amidst a time of unfathomable turmoil and frustration that witnessed Dylan booed by fans, labeled a traitor, and call into question his work, Highway 61 Revisited roars and snarls, jabs and criticizes. Its bonfire of cynicism, fury, indignation, and absurdity forever transformed rock, what it could mean, and what it could do. Supported by a thundering, commanding band that included guitarist Mike Bloomfield and organist Al Kooper, Dylan hopscotches between tempos, moods, and melodies. The symmetry of the songs references a scattered hybrid of R&B, blues, folk, soul, gospel, vaudeville, and garage rock pieces that Dylan assembles in the shape of a brilliant, mind-teasing aural puzzle.


    Outside of "Like a Rolling Stone"-the six-minute-plus anthem that both challenged and chewed up all preconceived notions of an acceptable radio single by way of its length, ambition, and vitriol-every tune was captured shortly after Dylan's contentious performance at the Newport Folk Festival. The lingering impact of the hostility comes through in both the searing music and rich, literate, zinging poetry. Dylan's sneering tones, raucous arrangements, and unmistakable resentment toward both the establishment and counterculture that adopted him, and assume the form of songs such as "Ballad of a Thin Man," "Queen Jane Approximately," "Tombstone Blues," and the stupefying "Desolation Row."


    At its core, Highway 61 Revisited is about experience, reality, and the cruelties and truths that lie outside soporific safety nets and bourgeois ideals. These reasons-and the bold musicianship, ace performances, inimitable sonics, and vast lyrical expanses-are why the album means as much today as it did in the mid-1960s. Akin to Sgt. Pepper's Lonely Hearts Club Band and Dark Side of the Moon, this is an album that everyone needs to own and hear in the best-possible fidelity.


    This title is not eligible for further discount.

    1. Like a Rolling Stone
    2. Tombstone Blues
    3. It Takes a Lot to Laugh, It Takes a Train to Cry
    4. From a Buick 6
    5. Ballad of a Thin Man
    6. Queen Jane Approximately
    7. Highway 61 Revisited
    8. Just Like Tom Thumb's Blues
    9. Desolation Row
    Bob Dylan
    $49.99 $44.99 Save $5.00 (10%)
    180 Gram Audiophile Virgin Vinyl LP 45 RPM - 2 LPs Sealed Buy Now
  • Highway 61 Revisited (Mono) (Awaiting Repress) (On Sale) Highway 61 Revisited (Mono) (Awaiting Repress) (On Sale) On Sale Quick View

    $49.99 $44.99 Save $5.00 (10%)

    Buy Now
    x

    Highway 61 Revisited (Mono) (Awaiting Repress) (On Sale)

    Highway 61 Revisited on Numbered Limited Edition Mono 180 Gram 45RPM 2LP from Mobile Fidelity


    Dylan's First Entirely Rock-Backed Album Marks Sea Change in Sound and Potential of Popular Music


    Ranked #4 on Rolling Stone's 500 Greatest Albums of All Time List


    Album-Opening Like a Rolling Stone Challenging, Bold, Revolutionary-And Arguably the Best Rock Song Ever Recorded


    Brilliant Collision of Evocative Poetry, Swirling Roots-Based Soul, and Hard-Driving Blues Sounds Incredible in Mono on Mobile Fidelity Vinyl: 2LP Set Strictly Limited to 3,000 Copies


    1965 Set Also Includes Ballad of a Thin Man, Desolation Row, and Just Like Tom Thumb's Blues


    Its title references the road that spans North Minnesota to the Mississippi Delta, and the formative blues, country, and roots sounds connected to its existence. The highway also lays claim to towering musical myths and deaths, many tied to the blues lexicon and narrative. All figure prominently on the revolutionary beacon that is Highway 61 Revisited, the 1965 set that overturned rules, upended preexisting limits, and utterly changed everything in its path. Ranked the fourth-greatest album ever made by Rolling Stone, its reach, power, and content boggle the mind more than five decades after its release.


    Mastered on Mobile Fidelity's world-renowned mastering system, pressed at RTI, and strictly limited to 3,000 copies, this restored analog mono version presents the life-altering music in reference-quality sound - so much so that the record's famous first lightning-strike note is now indeed the snare shot that sound[s] like somebody'd kicked open the door to your mind, as once described by Bruce Springsteen.


    Teeming with organic energy, palpable voltage, and countless textures, Mobile Fidelity's mono 2LP set faithfully recreates the instrumentation, moods, and events associated with the six days Dylan and Co. spent at Columbia's Studio A. While many people experienced Highway 61 Revisited in stereo even at the time of its release, hearing it in mono reveals even more definition, focus, and liveliness. In particular, Dylan's voice is surrounded by more space and atmosphere, and its forefront position makes the lyrics that much more powerful. This is the way everyone would've been introduced to Like a Rolling Stone on AM radio. There's no substitute for such authenticity.


    Recorded amidst a time of unfathomable turmoil and frustration that witnessed Dylan booed by fans, labeled a traitor, and call into question his work, Highway 61 Revisited roars and snarls, jabs and criticizes. Its bonfire of cynicism, fury, indignation, and absurdity forever transformed rock, what it could mean, and what it could do. Supported by a thundering, commanding band that included guitarist Mike Bloomfield and organist Al Kooper, Dylan hopscotches between tempos, moods, and melodies. The symmetry of the songs references a scattered hybrid of R&B, blues, folk, soul, gospel, vaudeville, and garage rock pieces that Dylan assembles in the shape of a brilliant, mind-teasing aural puzzle.


    Outside of "Like a Rolling Stone"-the six-minute-plus anthem that both challenged and chewed up all preconceived notions of an acceptable radio single by way of its length, ambition, and vitriol-every tune was captured shortly after Dylan's contentious performance at the Newport Folk Festival. The lingering impact of the hostility comes through in both the searing music and rich, literate, zinging poetry. Dylan's sneering tones, raucous arrangements, and unmistakable resentment toward both the establishment and counterculture that adopted him, and assume the form of songs such as "Ballad of a Thin Man," "Queen Jane Approximately," "Tombstone Blues," and the stupefying "Desolation Row."


    At its core, Highway 61 Revisited is about experience, reality, and the cruelties and truths that lie outside soporific safety nets and bourgeois ideals. These reasons-and the bold musicianship, ace performances, inimitable sonics, and vast lyrical expanses-are why the album means as much today as it did in the mid-1960s. Akin to Sgt. Pepper's Lonely Hearts Club Band and Dark Side of the Moon, this is an album that everyone needs to own and hear in the best-possible fidelity.


    This title is not eligible for further discount.

    1. Like a Rolling Stone
    2. Tombstone Blues
    3. It Takes a Lot to Laugh, It Takes a Train to Cry
    4. From a Buick 6
    5. Ballad of a Thin Man
    6. Queen Jane Approximately
    7. Highway 61 Revisited
    8. Just Like Tom Thumb's Blues
    9. Desolation Row
    Bob Dylan
    $49.99 $44.99 Save $5.00 (10%)
    180 Gram Audiophile Virgin Vinyl LP Mono 45 RPM - 2 LPs Sealed AWAITING REPRESS Buy Now
  • Richland Woman Blues (Pure Pleasure) Richland Woman Blues (Pure Pleasure) Quick View

    $34.99
    Buy Now
    x

    Richland Woman Blues (Pure Pleasure)

    Best known for that ditty about camels, Maria Muldaur has since established herself as one of the finest folk/country/jazz/blues/gospel interpreters ever to have a Top Five single. After 26 years and 24 solo albums, Muldaur -- inspired by a trip to Memphis' Beale Street -- digs deep into her roots and pays tribute to the classic blues women of the '20s and '30s. Aided by the similarly inclined Bonnie Raitt, Taj Mahal, and Alvin 'Youngblood' Hart, Muldaur breezes through 14 tunes from icons Bessie Smith and Memphis Minnie, as well as obscurities from the Reverend Gary Davis, Mississippi John Hurt, and Blind Willie Johnson. Keeping the unplugged accompaniment stripped way down to a single guitar or piano and occasional bass, Muldaur has room to maneuver her evocative vocals that shift from gritty groans to a high-pitched edgy trill. Far from a dry history lesson, these songs are performed with the strength and tenacity of the women who originally sang them. Whether spinning saucy, double entendre lyrics in Me And My Chauffeur Blues (»the way you ride so easy, I can't turn you down«) or longing for her Southern home after moving north during the Depression in Bessie Smith's Far Away Blues, the singer remains invigorated and inspired throughout. By returning to her late-'60s Jim Kweskin Jug Band coffeehouse days, Maria Muldaur has discovered her middle-aged oasis with Richland Woman Blues. And there's not a camel in sight.



    Musicians:



    • Maria Muldaur (vocal)

    • Alvin Youngblood Hart (guitar, vocal)

    • Bonnie Raitt, John Sebastian (guitar)

    • David Wilkie (mandocello)

    • Dave Mathews (piano)

    • Roly Salley (bass)

    • Angela Strehli, Tracy Nelson (vocal)




    Recording: 2001 by John Jacob

    Production: John Jacob & Maria Muldaur



    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. The One To Sing The Blues
    2. I'm So Bad (Baby I Don't Care)
    3. No Voices In The Sky
    4. Going To Brazil
    5. Nightmare/Dreamtime
    6. Love Me Forever
    7. Angel City
    8. Make My Day
    9. R.A.M.O.N.E.S.
    10. Shut You Down
    11. 1916
    Maria Muldaur
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • The Whole Love The Whole Love Quick View

    $27.99
    Buy Now
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    The Whole Love

    Wilco The Whole Love on 180g 2LP + CD


    Double Audiophile 180g Gatefold Vinyl Pressed by Pallas in Germany w/ CD Housed in a Cardboard Sleeve


    The Band's Debut Release on their Newly Launched dBpm Records


    For Wilco, the release of The Whole Love represents more than just the eighth studio album from this innovative Chicago rock band. It signifies yet another new chapter in the bands constantly evolving, enduring and storied career. Just as their departure from Warner Bros. for the release of Yankee Hotel Foxtrot created a thrilling story, now The Whole Love, on their newly launched dBpm Records, sets one of contemporary music's most creative and independent-minded bands on a wide open road.


    Recorded in their northside Chicago loft, the 12 new songs on The Whole Love capture the balance between the bands art sensibilities, their fondness for traditional American music and their love of classic guitar-driven pop rock. The Whole Love is a veritable sonic stew, showcasing Wilcos far-reaching musical prowess (multiple guitars, keyboards, synthesizers and percussion plus Mellotron, strings, loops and more) perfectly accompany Jeff Tweedys provocative and insightful lyrics. The album was produced by the band and engineered by Tom Schick (Ryan Adams, Rufus Wainwright).


    Coinciding with the albums release will be the first leg of Wilcos North American tour, including 2 nights in Toronto's Massey Hall, New York City's Central Park, Nashville's Ryman Auditorium and Atlanta plus shows in Boston, DC, Raleigh, St. Louis and a bunch of other cool stuff east of the Mississippi. Nick Lowe, whose song I Love My Label was ceremoniously covered by the band for the b-side of their I Might 7 single, supports on all dates.

    1. Art Of Almost
    2. I Might
    3. Sunloathe
    4. Dawned On Me
    5. Black Moon
    6. Born Alone
    7. Open Mind
    8. Capitol City
    9. Standing O
    10. Rising Red Lung
    11. Whole Love
    12. One Sunday Morning (Song For Jane Smiley's Boyfriend)
    Wilco
    $27.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Jake Xerxes Fussell Jake Xerxes Fussell Quick View

    $21.99
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    x

    Jake Xerxes Fussell

    The Southern half of the Georgia-Alabama border follows the Chattahoochee River, which cleaves Columbus, Georgia from its decidedly less reputable neighbor, Phenix City, Alabama. Georgia's second city is the hometown of "Mother of the Blues" Ma Rainey and novelist Carson McCullers, but it was local hillbilly duo Darby and Tarlton's 1927 hit "Columbus Stockade Blues" that first immortalized Columbus in popular culture. Back in their day, if you ended up in lockup in Columbus, chances are you did your dirtiest deeds across the river. Historically rife with vice of every conceivable variety-gambling, prostitution, moonshining, and endemic corruption and violence perpetrated by both gangs and police-the notoriously anarchic Phenix City was once known as "The Wickedest City in America."


    A similar frontier liminality and skewed sense of place characterize the music of Durham, North Carolina singer and guitarist Jake Xerxes Fussell, whose self-titled debut record, produced by and featuring William Tyler, transmutes ten arcane folk and blues tunes into vibey cosmic laments and crooked riverine rambles. Jake Xerxes (yes, that's his real middle name, after Georgia potter D.X. Gordy) grew up in Columbus, son of Fred C. Fussell, a folklorist, curator, and photographer who hails from America's Wickedest City. Fred's fieldwork took him, often with young Jake in tow, across the Southeast documenting traditional vernacular culture, which included recording blues and old-time musicians with fellow folklorists and recordists George Mitchell and Art Rosenbaum (which led Jake to music, and to some of the songs herein) and collaborating with American Indian artists (which led Jake eventually to his graduate research on Choctaw fiddlers.)


    As a teenager Jake began playing and studying with elder musicians in the Chattahoochee Valley, apprenticing with Piedmont blues legend Precious Bryant ("Georgia Buck"), with whom he toured and recorded, and riding wild with Alabama bluesman, black rodeo rider, rye whiskey distiller, and master dowser George Daniel ("Rabbit on a Log"). He joined a Phenix City country band who were students of Jimmie Tarlton of Darby and Tarlton; he accompanied Etta Baker in North Carolina; he moved to Berkeley, where he hung with genius documentary filmmaker Les Blank and learned from Haight folkies like Will Scarlett (Jefferson Airplane, Hot Tuna, Brownie McGhee) and cult fingerstyle guitarist Steve Mann ("Push Boat"); he appeared on A Prairie Home Companion. He did a whole lot of listening, gradually honing his prodigious guitar skills, singing, and repertoire. In 2005 he moved to Oxford, Mississippi, where he enrolled in the Southern Studies department at Ole Miss, recorded and toured with Rev. John Wilkins, and, last year, met up with acclaimed artist William Tyler to begin recording his first solo album.


    Collaborating with Tyler and engineer Mark Nevers in Nashville was a conscious decision to depart cloistered trad scenes and sonics for broader, more oblique horizons. Tyler, a guitar virtuoso known for his own compositions that untether and reframe traditional six-string forms and techniques, helmed the push boat in inimitable fashion, enlisting crack(ed) Nashville session vets Chris Scruggs (steel guitar, bass, fiddle: Bonnie "Prince" Billy, Marty Stuart), Brian Kotzur (drums: Silver Jews), and Hoot Hester (fiddle: Bill Monroe, Ray Charles) to crew.


    So it's no accident that Jake approaches the songs and styles represented here with both interpretive respect and unfussy irreverence, imbuing them with equal parts vaporish, percolating atmosphere and academic rigor, honoring the folksong headwaters by emphasizing their liquid mutability, alien strangeness, and sly humor above preconceived notions of static authenticity. Fussell recognizes that folk revivalist preciousness about spurious genre boundaries often feels absurdly at odds with the unruliness and restlessly inventive practices of tradition bearers-no revival or reenactment gear is necessary when the music lives and breathes and throws around hips and knees like these. Likewise, when you examine their lyrical content, ostensibly linear tales about rivers and work (labor of the hands, as in "Boat's up the River" and "Man at the Mill" and labor of the heart, as in "Star Girl" and "Pork and Beans") reveal themselves as fractured, riddled with narrative lacunae that open up the texts as squirrelly riddles or gentle metaphysical jokes.


    For Fussell, these odd disjunctures demonstrate the way that verses and choruses, the stories we tell, disintegrate and erode over time, worn smooth as river stones and transmogrified by their repeated telling, more lovely for their fissures and absences than for any imaginary original integrity. (Aptly, "Chattahoochee" may mean something like "writing on rocks" in Muscogee or Yuchi.) Each song rendered here contains its own twinned inversion-its own Columbus, its own Phenix City-and Jake navigates their shoals with intuitive grace and authority.

    1. All in Down and Out
    2. Let Me Lose
    3. Star Girl
    4. Raggy Levy"
    5. Rabbit on a Log
    6. Boat's up the River
    7. Man at the Mill
    8. Push Boat
    9. Georgia Buck
    10. Pork and Beans
    Jake Xerxes Fussell
    $21.99
    Vinyl LP - Sealed Buy Now
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