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Old And In The Way'
The Crackdown ConcertLimited Edition 140 Gram Vinyl
LIVE ALLMAN BROTHERS BROADCAST FROM MADISON SQUARE GARDENS, NEW YORK, 31ST OCTOBER 1986. The Allman Brothers had played only one other show in 1986 - prior to which they hadn't performed together since disbanding in 1982 - and had no further plans to tour or record, but were on good form. The group stuck to old material, reviving 'One Way Out, 'Statesboro Blues, 'Blue Skies' and 'Midnight Rider' - appropriate for a set that began at midnight.LP 1
1. Bill Graham's Introduction
2. Midnight Rider
3. Blue Sky
4. One Way Out
5. Statesboro Blues
3. Good Lovin'
4. Key To The Highway
$37.99Vinyl LP - 2 LPs Sealed Buy Now
ACSO-APO-0613xStevie Ray Vaughan
In The Beginning (200 Gram Vinyl)
Mastered From The Original Tapes By Ryan Smith At Sterling Sound
200-Gram Pressing By Quality Record Pressings
With his astonishingly accomplished guitar playing, Stevie Ray Vaughan ignited the blues revival of the '80s. Vaughan drew equally from bluesmen like Albert King, Otis Rush and Hubert Sumlin and rock 'n' roll players like Jimi Hendrix and Lonnie Mack, as well as the stray jazz guitarist like Kenny Burrell, developing a uniquely eclectic and fiery style that sounded like no other guitarist, regardless of genre.
Before the Montreaux Jazz Festival, before Bowie's Let's Dance album, before Texas Flood, before the Grammys, before the cocaine and alcohol abuse, before the redemption of sobriety, before the joyful In Step and Family Style ..... before August 27, 1990..... before the all-star tributes, before The Legendary Stevie Ray Vaughan......
There was an unknown, hardworking 24-year-old gunslinger named Little Stevie Vaughan, learning his craft the hard way in the trenches of the Austin Texas clubs, trying his darndest to get out of the shadow of his famous older brother Jimmie.
It wouldn't be long.
Anyone lucky enough to have been in the audience at this early live show, on April Fools Day in 1980, could have told you that. Young Stevie Vaughan (he had yet to become Stevie Ray) blasted the hometown crowd with a style that was already very well-formed. With Chris Layton on drums and bassist Jackie Newhouse (Tommy Shannon would join up a year later), his basic sound was already in place, albeit still in need of some polishing.
Taken from the surviving two-track master, Vaughan's guitar is raw and in your face every note of the way. His takes on Freddie King's In the Open and the lengthy Tin Pan Alley are the real highlights here.
As we did with our vaunted box set reissues, Texas Hurricane, again Analogue Productions is bringing you the finest-sounding Stevie Ray Vaughan collections ever preserved on 200-gram vinyl. Ryan Smith at Sterling Sound cut the lacquers for the LPs using the ultimate VMS 80 cutting lathe. Gary Salstrom handled the plating and the vinyl was pressed of course at Quality Record Pressings.
There's not a link in this chain that wasn't absolute first-rate. The absolute best that money can buy. We're passionate about the blues AND Stevie Ray and the passion shows up here in spades.
This title is not eligible for discount.1. In The Open
2. Slide Thing
3. They Call Me Guitar Hurricane
4. All Your Love (I Miss Loving)
5. Tin Pan Alley (aka Roughest Place in Town)
6. Love Struck Baby
7. Tell Me
8. Shake for Me
9. Live Another Day$34.99200 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
New Skin For The Old Ceremony
When Cohen became known as a musician in his late 30s people were surprised that his music seemed to come out fully formed.
Many were familiar with his work as an author and poet, but did not know that he had been a musician for most of his life.
For Cohen, making music was another way to bring his poetry to the people. The dark thrall of his songs portray an artist that is ever able to trace the hidden contours of love, lust, sex, religion, politics and history.
'New Skin For The Old Ceremony', his 4th studio album from 1974, is a distinct move towards richer arrangements and greater musicality, yet through simple song structures the attention is still drawn to the poetry of the lyrics.
This first vinyl re-issue since its original release includes 'Who By Fire', a duet with Janis Ian, and a song about Cohen's relationship with Janis Joplin, 'Chelsey Hotel #2'.1. Is This What You Wanted
2. Chelsea Hotel #2
3. Lover Lover Lover
4. Field Commander Cohen
5. Why Don't You Try
6. There Is a War
7. A Singer Must Die
8. I Tried to Leave You
9. Who by Fire
10. Take This Longing
11. Leaving Greensleeves$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
That's No Way To Get AlongSeminal American blues guitarist and vocalist Robert Wilkins (1896-1987) played on the
Memphis blues scene at the same time as Furry Lewis, Son House, Charley Patton and Memphis
Minnie, and was versatile in a range of styles, including ragtime, blues, minstrel and gospel.
These recordings cover his early years as a recording artist, from his debut recording session for
Victor in 1928, which yielded the famous Rolling Stone, plus three more tracks, followed by 8
more tracks recorded for Vocalion in 1929-30, which included the legendary That's No Way To
Get Along / aka Prodigal Son (famously covered by the Rolling Stones). The final 5 tracks were
recorded in Jackson, Miss. in 1935 and feature a second guitar player and a spoons player,
resulting in the production of another classic, Old Jim Canan's. In 1935 Wilkins left secular
music altogether, becoming an ordained minister and herbalist. He was, however, rediscovered in
the 1960s during the blues revival and played various festivals during this time, including
1. Rolling Stone, Pt. 1 (Memphis, Tenn., 7 Sept 1928)
2. Rolling Stone, Pt. 2 (Memphis, Tenn., 7 Sept 1928)
3. Jail House Blues (Memphis, Tenn., 8 Sept 1928)
4. I Do Blues (Memphis, Tenn., 8 Sept 1928)
5. Thats No Way to Get Along (Peabody Hotel, Memphis, Tenn., c. 23 Sept 1929)
6. Alabama Blues (Peabody Hotel, Memphis, Tenn., c.
23 Sept 1929)
7. Long Train Blues (Peabody Hotel, Memphis, Tenn., c. 23 Sept 1929)
8. Falling Down Blues
(Peabody Hotel, Memphis, Tenn., c. 23 Sept 1929)
1. Nashville Stonewall Blues (Memphis, Tenn., c. Feb. 1930)
2. Police Sergeant Blues (Memphis, Tenn., c.
3. Get Away Blues (Memphis, Tenn., c. Feb. 1930)
4. Ill Go With Her Blues (Memphis, Tenn., c. Feb.
5. Dirty Deal Blues (Jackson, Miss., 10 Oct 1935)
6. Black Rat Blues (Jackson, Miss., 10 Oct 1935)
7. New Stock Yard Blues (Jackson, Miss., 10 Oct 1935)
8. Old Jim Canans (Jackson, Miss., 12 Oct 1935)
9. Losin Out Blues (Jackson, Miss., 12 Oct 1935)$25.99Vinyl LP - Sealed Buy Now
Way Out WestMastered off the original 2-track tape recorded with a tube AKG-C12 microphone on a tube Ampex 350 machine. Features Ray Brown on bass and Shelly Manne on drums. Over his long and distinguished career, Sonny Rollins has made many dozens of albums. Among those recorded during the fifties, Prestige's Movin' Out and Colossus, Blue Note's A Night at the Village Vanguard, Riverside's The Sound of Sonny, and Way Out West on Contemporary qualify as all-time Rollins classics.
The session for Way Out West, Rollins' first ever in California, was called for 3 a.m. to accommodate everyone's busy schedules. Sonny, who could never be accused of overstatement, announced after four hours of recording: I'm hot now.
Mastered by Doug Sax.
Way Out West is a piano-less trio - another va-va-vivid Roy DuNann production - with Rollins spinning quirky geometric patterns through odd standards like 'I'm an Old Cow Hand.' - Fred Kaplan, The Absolute Sound, December 2005 (included in Kaplan's Best-Sounding Jazz LPs)
1. I'm An Old Cowhand
3. Come, Gone
4. Wagon Wheels
5. There Is No Greater Love
6. Way Out West
$21.99Vinyl LP Reissue - Sealed Buy Now
The Way We MoveThe Way We Move, the new album from acclaimed musician Langhorne Slim will see its release on Ramseur Records. The album follows-up his critically acclaimed 2009 release Be Set Free which Paste says, perfectly captures the lyrical simplicity of bygone times with straightforward lines. In celebration of the release, Langhorne Slim & The Law will continue to tour throughout 2012.
The 14-track album was produced by Kenny Siegal and Langhorne Slim & The Law at Old Soul Studios in Catskill, NY. Langhorne's band, The Law, consists of David Moore (piano/keyboards/banjos/electric guitar/vocals), Jeffrey Ratner (bass/background vocals) and Malachi DeLorenzo (drums/percussion/background vocals).
Of the new album, Langhorne comments, My goal for this record was to create something that we could stand by and be proud of for the rest of our lives. To make music that is real, raw and beautiful. Langhorne Slim began his musical career in Brooklyn in 2004. His previous releases include Electric Love Letter EP (2004), When The Sun's Gone Down (2005), Engine EP (2006), Langhorne Slim (2008) and his latest, Be Set Free (2009). White vinyl configuration with CD insert.
Leadbelly's gift for storytelling and Dylan's ability to captivate a crowd. - New Yorker1. The Way We Move
5. On the Attack
7. Great Divide
8. Just A Dream
9. Song For Sid
10. Found My Heart
11. Wild Soul
12. Two Crooked Hearts
13. Coffee Cups
14. Past Lives$15.99Colored Vinyl LP + CD - Sealed Buy Now
Old FearsThe new School Of Language album is called Old Fears and it's set for release on Memphis Industries on 7 April 2014. Old Fears. It's a pop record. A place of clipped falsetto, melancholic funk, iridescent electro, shimmering post-punk, futurist prog. A self-contained sphere of strange sensations. Beguiling textures. Lengthening shadows. At times it is both liminal and minimal, at others emotive and external. Ambiguous and ambient. Tantalising and tempered. Modern. Unique. And funny too. "I wrote a lot of notes and they seemed to distinctly split into things to do with love and things to do with fear," says David Brewis. "A lot of it has ended up with me looking back at when I was 19, 20 - my formative years. So though I wouldn't want to call it a concept album it's definitely themed." Old Fears. Here each song has been honed and polished into something pure, like a vast block of marble chiselled down into a perfectly tiny delicate egg of FabergÉ-esque perfection. Recorded throughout 2013 in Field Music's studio on the banks of the River Wear in Sunderland, synth flourishes sit alongside the staccato jarring guitars of 'A Smile Cracks' and the metronomic rhythms of 'Dress Up'. Like a Ballard novel or a George Shaw painting, 'Between The Suburbs' offers perhaps the most lyrical and poetic moment, where "Dogs chase patterns, play to attention / Bulbs glare on greasy roads...". The title track meanwhile is reminiscent of the haunting giallo film scores of Goblin or kosmische music at its most moving while 'Moment Of Doubt' displays shades of Brian Eno and Robert Wyatt. Other oblique influences come in the form of early Justin Timberlake and N*E*R*D albums, "a bunch of disco records", Canadian experimentalist Sandro Perri, Dr John, Fela Kuti and Shalamar. Old Fears. A haunted collection that occupies a strange, hazy hinterland of permanent gloaming. One where snatched melodies pass each one another like cars gliding by at night on their way back to the silent suburbs. These are polished pieces composed without contrivance. Old Fears. An album that is neither retrogressive or futurist, but simply anchored in the moment. Pure. By beautiful album closer 'You Kept Yourself' one is left with the sensation of seeing, smelling and tasting the world anew.1. Distance Between
2. A Smile Cracks
3. Suits Us Better
4. Between The Suburbs
5. Old Fears
6. Dress Up
7. Moment Of Doubt
8. Small Words
9. So Much Time
10. You Kept Yourself$17.99Vinyl LP - Sealed Buy Now
SONM-MAS-5711xThe Blind Boys Of Alabama
I'll Find A Way
Features Special Guests: Casey Dienel of White Hinterland, Justin Vernon of Bon Iver, Merrill Garbus of tUnE-yArDs, Patty Grifn, Sam Amidon, And Shara Worden of My Brightest Diamond
Produced by Justin Vernon (Bon Iver, Kathleen Edwards), I'll Find a Way is a unique collaboration between one of popular music's longest-running acts and one of its fastest-rising stars. Known primarily for his work in the indie and folk realms, the Bon Iver frontman proved a perfect fit to work with the Blind Boys, exhibiting a deep knowledge and
appreciation of gospel music. Vernon, and old friend and band mate Phil Cook (Megafaun, The Shouting Matches) corralled a lively backing band for the album and hand-picked a range of songs for the Blind Boys to sing. I'll Find a Way features some of the Blind Boys' most fervent vocals as well as contributions by a new generation of Blind Boys
fans - Sam Amidon, Shara Worden of My Brightest Diamond, Merrill Garbus of tUnE-yArDs, Casey Dienel of White Hinterland, Patty Grifn and Justin Vernon himself. The result is a rousing collection of gospel songs, new and old, that address life's most desperate hours but also savor the triumphs and reassurances of faith.
I'll Find a Way represents a strong new chapter for the Blind Boys of Alabama, whose career stretches back more than seventy years. Formed in the late 1930s at the Alabama Institute for the Negro Blind in Talladega, the group has harmonized throughout
the turbulent twentieth century and well into the twenty-rst: from Jim Crow through Civil Rights and into the Obama era. They have, however, enjoyed some of their biggest and most rousing successes in the last ten years, during which they've won ve Grammys, four Gospel Music Awards and multiple invitations to sing at the White House.
For I'll Find a Way, their ninth studio album of the twenty-rst century, the Blind Boys of Alabama - which includes Jimmy Carter, Eric "Ricky" McKinnie, Joey Williams, Tracy Pierce, Ben Moore and newest addition Paul Beasley - decamped to the wintry wild of rural Wisconsin to record at Vernon's April Base studio. Known primarily for his work in the indie and folk realms, the Bon Iver frontman proved a perfect t to work with the Blind Boys, exhibiting a deep knowledge and appreciation of gospel
"It's not just singing," explains the 82-year-old Carter. "We're bringing the message to the people, and that message is the good news of God. We sing from the heart, and what comes from the heart reaches the heart. If you have any feeling in you,
you will feel the Blind Boys."1. God Put A Rainbow In The Cloud
2. I'll Find A Way (to Carry It All) (Featuring Shara Worden Of My Brightest Diamond)
3. I Am Not Waiting Anymore (Featuring Sam Amidon)
4. I Shall Not Be Moved
5. Take Me To The Water
6. I've Been Searching (Featuring Merrill Garbus Of Tune-yards)
7. There Will Never Be Any Peace (until God Is Seated At The Conference Table) (Featuring Casey Dienel Of White Hinterland)
8. Take Your Burden To The Lord And Leave It There
9. Every Grain Of Sand (Featuring Justin Vernon Of Bon Iver)
10. My God Is Real
11. Jubilee (Featuring Patty Griffin)$19.99Vinyl LP - Sealed Buy Now
The Invisible WayThe Invisible Way is Low's tenth album in 20 years as a band. Low's Alan Sparhawk says of the album: "While driving though Chicago, on tour, we stopped finally to visit Wilco at their studio, The Loft. They had invited us to come check it out several times over the years, but this would finally be the day. It's a great place-a sea of instruments in a relaxed, open working environment. It's cool, but what really converted us was hearing the new Mavis Staples tracks they were working on: big, simple, raw, and intimate. How is this different from any other Low record? Mimi sings lead on five of the eleven songs (she usually only does one or two, despite being a fan favorite). Piano, lots of piano...and an acoustic guitar. Songs about intimacy, the drug war, the class war, plain old war war, archeology, and love."1. Plastic Cup
3. So Blue
4. Holy Ghost
6. Clarence White
7. Four Score
8. Just Make It Stop
10. On My Own
11. To Our Knees$17.99Vinyl LP - Sealed Buy Now
Down the Way
2-LP Gatefold Package Featuring 3 Additional Tracks
" a sweet and savory blend to warm the soul." - MOJO
"Brother Angus' acoustic guitar wraps sister Julia's whispery trill with an unhurried,
disarmingly simple melody that will propel you off the couch and into the sun."
- Marie Claire "Need To Download"
"If A Book Like This compounded the prospects of their future, consider Down The Way
the fulfilling realization of all expectations." - Filter
" the musical equivalent of a walk on the beach at twilight." - Nylon
"The pair melt in to one another to create a spectral and lush backdrop" - Clash Magazine (UK)
"Very possibly the worlds' favourite Australian indie-folk brother and sister duo"
- Evening Standard (London UK)
Australian brother/sister duo, Angus & Julia Stone's sophomore album Down The Way was released to critical
acclaim, charted at #1 in Australia, and features the stand-out track "Big Jet Plane."
Originally available on vinyl only in limited quantities in North America, the 2-LP Gatefold package featuring 3
additional tracks is being reissued timed with the duo's 2014 album release and October tour.
Down The Way highlights the endless talents of this brother and sister as musicians, songwriters and producers.
The self-produced album was recorded between England, New York and Australia--from an old sawmill on the
riverbanks of Fowey, Cornwall to a studio in Brooklyn, to a water tank in Coolangatta to the streets of London and
back to Queens. Down The Way is comprised of tracks that sail across the different realms of musical themes,
from folksy charm to epic orchestral grandeur, all the while emphasizing the pair's beautifully subtle harmoniesLP 1
1. Hold On
2. Black Crow
3. For You
4. Big Jet Plane
5. Santa Monica Dream
6. Yellow Brick Road
7. And The Boys
1. On The Road
2. Walk It Off
4. Draw Your Swords
5. I'm Not Yours
6. The Devil's Tears
7. Old Friend
8. Little Bird
9. Take You Away$26.99Vinyl LP - 2 LPs Sealed Buy Now
Time Is Over One Day OldBear In Heaven's new album is aptly titled Time is Over One Day Old. It's a record with a visceral
relationship to time and its processes.Where invulnerability and ambition can support you as you grow,
at some point they become dead weight, and being true to yourself means casting them off,starting anew.
This plays out as a powerful analogy for the band across the arc of it's career.
They've always made intriguing records, here especially. It's easy to see why musicians fall hard for this
band.They entice and envelop you. Any Bear In Heaven song will most likely greet you with a provocative
beat, textural synthesizers and unassuming but adeptly supportive bass and guitar, all exquisitely
arranged and glistening.Jon Philpot's high,smooth,strong voice is so tightly wound into the music that
it can be easy to overlook the lyrics, Bear In Heaven's capacious third dimension. Philpot is a center-seeking, contemplative writer who captures the fleeting thoughts that underscore our emotional lives,the
interactions with the world that are both difficult to express and anathema in daily conversation.
While all of this can be said of any Bear In Heaven album, each varies wildly in tone and approach. 2007's
Red Bloom of the Boom is ambitious and experimental. Beast Rest Forth Mouth(2009)was a pivotal record
that still feels important,seductive and intense.On their 2012 LP I Love You, It's Cool the structural and
musical ideas are challenging, and masterfully developed. For Time is Over One Day Old,we witness the
band once again turning their gaze inward and prioritizing their evocative abilities in line with or even
slightly ahead of technical skills. It feels very much in the tradition of BRFM in that way. It's beautiful; it's
Here Philpot and Adam Wills are more deeply collaborative than ever. This album is darker at times,
louder than their others; it feels personal and direct."If I Were To Lie"places Wills' bass groove front and
center,"Demon" is riveting and propulsive in spite of its dark pointed lyric, and"They Dream"dissolves
into three and a half minutes of deeply satisfying ambient synth work in its second half.Wills has always
been the bands anchor, providing rock solid,rhythmic bass lines and guitars that blur the boundaries of
Philpot's synth. Though in moments such as the final track, "You Don't Need The World," Wills cuts
through with an audacious, biting guitar hook. It's a great culmination of the album's sense of release.
This album isn't about being dark, it's about releasing darkness and frustration.
When bands age well, their vitality takes shape. They wear, but with intention. They trim excesses.
Throughout this album you'll hear a band at peace with themselves. They've learned to cut back on that
which is merely impressive and to concentrate on simply what is crucial.For Philpot this is about making
something lasting. "A lot of shedding, getting rid of layers and preconceptions breaking up with old
ways of thinking, old ways of being, starting to look at this thing in a new way and finding something
positive."The result is a record that will stay with you.1. Autumn
2. Time Between
3. If I Were To Lie
4. They Dream
5. The Sun and The Moon and The Stars
6. Memory Heart
8. Way Off
9. Dissolve The Walls
10. You Don't Need The World$18.99Vinyl LP - Sealed Buy Now
I Learned The Hard WaySharon Jones & the Dap-Kings are already well known as one of the most exciting acts in the nation for both their explosive live shows and their prolific output of gritty studio recordings. I Learned The Hardway is their fourth full-length release on Brooklyn's independent Daptone Records and it marks a bold step forward for a band who almost single handedly stewarded today's return of soul music to its more traditional sound.
Produced by Bosco Mann and recorded on an Ampex eight-track tape machine by Gabriel Roth in Daptone Records' House of Soul studios, the record drips with a warmth and spontaneity rarely found since the golden days of Muscle Shoals and Stax. Sharon's raw power, rhythmic swagger, moaning soulfulness and melodic command set her fi rmly alongside Tina Turner, James Brown, Mavis Staples, and Aretha as a fi xture in the canon of soul music. From the lush Philly-Soul fanfare that ushers in The Game Gets Old at the top of the record, to the stripped down Sam Cooke-style Mama Don't Like My Man at the tail, the Dap-Kings groove seamlessly through both the most crafted and simple arrangements with subtlety and discipline. I Learned the Hard Way is the Daptone Sound at its fi nest.1. The Game Gets Old
2. I Learned the Hard Way
3. Better Things
4. Give It Back
6. The Reason
7. Window Shopping
8. She Ain't a Child No More
9. I'll Still Be True
10. Without a Heart
11. If You Call
12. Mama Don't Like My Man$15.99Vinyl LP - Sealed Buy Now
Something Wicked This Way ComesAfter the success of The Dark Saga, many were curious to see what steps Iced Earth would take to further elevate their position within the metal scene. There were many expectations about the new album, and of course, Iced Earth did not disappoint. They turned out yet another acclaimed album containing something old, something new, and most definitely something wicked. With thirteen tracks, Something Wicked This Way Comes is a roller-coaster ride which showcases Iced Earth's talent in many different forms. Ranging from the crushingly dark and heavy Disciples of the Lie to the heartfelt and introspective Watching Over Me, Something Wicked is bound to please both longtime fans and new listeners. The highlight of the album is another album-ending trilogy, entitled Something Wicked. Taking some musical cues from the Stormrider era and merging them with the newest Iced Earth sound, Something Wicked weaves a mysterious tale of prophecy, conspiracy, and the history of mankind. This powerful composition is a prelude to a future Iced Earth album, but even on its own, it stands as a masterful piece of work. To any metal fans who feel a void in their collection, it will be filled the day that Something Wicked comes to you.LP 1
1. Burning Times
2. Melancholy (Holy Martyr)
3. Disciples of the Lie
4. Watching over Me
5. Stand Alone
7. My Own Savior
1. Reaping Stone
3. Blessed Are You
5. Birth of the Wicked
6. The Coming Curse$25.99Vinyl LP Reissue - 2 LPs Sealed Buy Now
Push Barman To Open Old Wounds
Back In Print For The First Time In Years
In many ways this collection, which compiles each of the band's out of print EPs from 1997-2001, is all the greatest hits you'll need by the Scottish combo. It's easy to take Belle and Sebastian for granted these days--they don't sound as good as they used to, and certainly it's difficult to imagine them ever becoming as culturally/musically relevant as they were once upon a precious, fey little time. But this collection brings the listener back to a time when it was crucially important to find their import EPs, when no one else in the world seemed to be making indie-pop that was so full of sincerity and irony at the same time, nor as gorgeously crammed with orchestral elements and naughty-smart lyrics. The State I Am In has never sounded better, while Lazy Line Painter Jane, which expanded their sound to include C&W-ish elements, is clearly one of the band's best tunes ever (and perhaps a more interesting direction than the vaguely soulful one they took later on). The almost-rolliciking, smartypants Le Pastie De La Bourgeoise is brutal and elegant. -Mike McGonigalLP 1
1. Dog On Wheels
2. The State I Am In
3. String Bean Jean
4. Belle And Sebsatian
5. Lazy Line Painter Jane
6. You Made Me Forget My Dreams
7. A Century Of Elvis
8. Photo Jenny
1. A Century Of Fakers
2. Le Pastie De La Bourgeoisie
4. Put The Book Back On The Shelf
5. This Is Just A Modern Rock Song
6. I Know Where The Summer Goes
7. The Gate
8. Slow Graffiti
1. Legal Man
2. Judy Is A Dick Slap
3. Winter Wooskie
4. Jonathan David
5. Take Your Carriage Clock And Shove It
6. The Loneliness Of A Middle Distance Runner
7. I'm Waking Up To Us
8. I Love My Car
9. Marx And Engels$29.99Vinyl LP - 3 LPs Buy Now
Second Full-length Release For Hardly Art
Recorded In Analog At Tiny Telephone In San Francisco
There are times when beauty and sadness are inextricably linked. Massachusetts-based Gem Club understands this fragile symmetry. The band-singer/pianist Christopher Barnes and his collaborators, cellist Kristen Drymala and vocalist Ieva Berberian-create music that is intimate, graceful, and filled with melancholy.
In 2009, Gem Club's primary songwriter Christopher Barnes began playing local solo shows. The enthusiastic reception led him to bring Drymala and Berberian into the fold, and the six-song Acid and Everything EP was self-released the following year. Breakers, their subsequent full-length, paired plaintive piano melodies with impressionistic lyrics. Made primarily in Barnes's bedroom, the album displayed how music, even at its most minimal and hushed, could be cathartic, even transcendent.
For the new In Roses, Gem Club have ventured beyond the isolation of the bedroom to record in San Francisco at John Vanderslice's analog studio Tiny Telephone. Barnes worked closely with arranger and conductor Minna Choi of The Magik*Magik Orchestra, who, Barnes says, "helped reshape the new songs in fresh and unimagined ways," The resulting album is more expansive, more majestic, than prior Gem Club releases. There are spacious, grand flourishes-the church-choir voices on "Idea for Strings"; the reverberating drumbeats that propel the melody of "Braid"-yet the music retains the intimacy of previous works.
Because In Roses is an album of haunting piano songs, it might seem felicitous to the listener that Christopher Barnes once lived in a disused Boston piano factory. Nights, from behind neighboring doors, he could hear strangers fighting, throwing loud parties, even shooting scenes for porn films. While life exploded around him, Barnes retreated, "trying to re-create these landscapes with music." But he is quick to note that In Roses takes a different approach to the landscapes of the world than before. "Whereas Breakers was more about the body and inward-gazing, the new album is about me looking out on relationships I've had or wish I've had." Many lyrics address "the crashing realization that lives are no longer happening the way we want." Other songs are elegies for those Barnes has idolized or loved, but has lost: "Soft Season" is inspired by the life and death of early-90s gay adult film actor Joey Stefano ("I'm a boy on my back," Barnes sings, "and I'm more of a man"); the harrowing closer "Polly" is a song he wrote about his relationship with his late aunt.
Beauty and Sadness is the title of a 1964 novel by the late Japanese writer Yasunari Kawabata, but the name could also serve to describe the music of Gem Club. During one scene of the book, Kawabata writes, "He heard a sound that only a magnificent old bell could produce, a sound that seemed to roar forth with all the latent power of a distant world." With In Roses, the beautiful and sad sounds of Gem Club come roaring forth with increasing power.
--Scott Heim1. [Nowhere]
2. First Weeks
5. Idea for Strings
6. Soft Season
8. Speech of Foxes
10. Marathon (In Roses)
11. Polly$16.99Vinyl LP - 2 LPs Sealed Buy Now
Boys In The TreesImpeccably Mastered By Joe Reagoso From The Original Elektra Records Tapes
First Time Audiophile Vinyl & Beautiful Gatefold Cover Presentation
Carly Simon is truly one of the greatest exponents of the singer/songwriter boom that rocked the seventies music scene when she debuted her first hit single That's The Way I've Always Heard It Should Be in 1970. Carly's stunning artistry and her smash hits continue to be some of the most played on radio stations worldwide, as witnessed in her classic 1977 platinum chart topping Boys In The Trees.
The 1978 smash LP features several of her biggest hit singles like her Everly Brothers tribute "Devoted To You" which features James Taylor, as well as one of the finest songs of the year "You Belong To Me" (co-written with Michael McDonald). Masterworks like "Boys In The Trees", "For Old Times Sake" and the powerful dance rock classic "Tranquillo (Melt My Heart)" surely made "Boys In The Trees" one of the most revered albums in Carly Simon's stellar career.
Friday Music is no stranger to the music of the legendary Carly Simon, that is why we are so very proud to announce another fine installment in the Carly Simon/Friday Music 180 Gram Audiophile Vinyl Series with her Grammy Award winning masterpiece "Boys In The Trees."
As a timely LP release which coincides with her recent top charting autobiography "Boys In The Trees: A Memoir", the original Elektra Records classic is now mastered impeccably by Joe Reagoso (Carly Simon, James Taylor, Hall & Oates). Also, for a very limited time, this first time audiophile release will be presented in its original gatefold cover, plus we'll be including the rare lyrics sleeve which hasn't been seen in years in the LP format. Carly Simon ."Boys In The Trees" .Impeccable first time audiophile vinyl + gatefold cover!
"Melt My Heart ."1. You Belong To Me
2. Boys In The Trees
3. Back Down To Earth
4. Devoted To You
5. De Bat (Fly In Me Face)
7. Tranquillo (Melt My Heart)
8. You're The One
9. In A Small Moment
10. One Man Woman
11. For Old Times Sake$32.99180 Gram Audiophile Virgin Vinyl LP Buy Now
Songs In A&EWho would have thought that Jason Pierce's Spiritualized would have had any life in them after the rather uninspiring Amazing Grace in 2003? In the intervening five years, Pierce nearly died from double pneumonia. Near death experiences by their very nature are life-changing events. The music on Songs in A&E were recorded in that aftermath, but most of the album was written two years before he got sick; with so much of it about near death and survival, it feels like life imitating art. From the first notes of Sweet Talk, it's obvious that a very different Spiritualized is up and about; an acoustic guitar, a sparse drum kit, the voice quartet, a few horns, and a minimal bassline fuel it. Pierce sweetly croons to a loved one in waltz time; his words are
simultaneously appeasing and accusatory. The gospel chorus isn't as overblown as it was on Amazing Grace or Let It Come Down. They are in a support role, offering Pierce's reedy voice a fullness and authority it wouldn't have otherwise. The arrangement is lilting but powerful. How strange, then, the sounds of a ventilator that usher in the next track Death Take Your Fiddle: I think I'll drink myself into a coma/And I'll take every way out I can find/But morphine, codeine, Whisky, they won't alter/The way I feel/Now death is not around...Death take your fiddle/And play a song for me. Minor-key acoustic
guitar and ghostly bass frame Pierce singing a mutant folk-blues that evokes Gary Davis' Death Don't Have No Mercy. The backing vocals float
wordlessly like death angels, hovering around the vocalist and giving the tune an otherworldly quality.
But this isn't a song about dying; it's a song about coming close and cheating it; it's eerie. The proof? The next two tracks: I Gotta Fire, and Soul on
Fire. The former is a taut, Gimme Shelter-esque rocker, the latter, a lush, uptempo love song. Sitting on Fire is a beautifully orchestrated love song:
it's an admission of weakness and codependency but celebrates both of them at the same time: Baby, I'm sitting on fire/but the flames put a hole in my
heart/when we're together we stand so tall/But a part of me falls to the floor/Sets me free /I do believe it'll burn up in me for the rest of my life. Strings,
vibes, marimbas, and drums crash in to the center of the mix carrying the protagonist into oblivion. Yeah, Yeah is a scorching rocker that feels like the
Bad Seeds meeting the old Spacemen 3. You Lie You Cheat, crashes in Velvets style with acoustic guitar and screeching feedback. The chorus sings
atop a flailing drum kit, distorted strings, and wailing electric guitar. The marimbas and strings that power Baby, I'm Just a Fool, sweetly underscore a
very dark pop song, complete with da-do-da-do-dat det-det-do's. It descends into beautifully textured chaos led by a loopy violin solo over seven
minutes. Songs in A&E is the most consistent recording Spiritualized has issued since 1997's Ladies and Gentlemen We Are Floating in Space. It
contains the best elements of the band's signature sound, and paradoxically hedonistic yet utterly spiritual lyric themes. That said, newly focused energy,
willfully restrained arrangements, and taut compositions give the set a sheer emotional power that no Spiritualized recording has ever displayed before,
making it, quite possibly, their finest outing yet.
- Thomas Jurek (All Music)LP1
1. Harmony 1 (Mellotron)
2. Sweet Talk
3. Death Take Your Fiddle
4. I Gotta Fire
5. Soul on Fire
6. Harmony 2 (Piano)
7. Sitting on Fire
8. Yeah Yeah
9. You Lie You Cheat
1. Harmony 3 (Voice)
2. Baby I'm Just a Fool
3. Don't Hold Me Close
4. Harmony 4 (The Old Man )
5. The Waves Crash In
6. Harmony 5 (Accordion)
7. Borrowed Your Gun
8. Harmony 6 (Glockenspiel)
9. Goodnight Goodnight$24.99Vinyl LP - 2 LPs Sealed Buy Now
$24.99 $18.74 Save $6.25 (25%)
Toys In The AtticRanked 228/500 On Rolling Stone Magazine's 500 Greatest Albums of All Time.
Remastered From The Original Source Tapes!
Contains the classics Sweet Emotion, Walk This Way, & Toys In The Attic
After nearly getting off the ground with Get Your Wings, Aerosmith finally perfected their mix of Stonesy raunch and Zeppelin-esque riffing with their third album, Toys in the Attic. The success of the album derives from a combination of an increased sense of songwriting skills and purpose. Not only does Joe Perry turn out indelible riffs like Walk This Way, Toys in the Attic, and Sweet Emotion, but Steven Tyler has fully embraced sleaziness as his artistic muse. Taking his cue from the old dirty blues Big Ten Inch Record, Tyler writes with a gleeful impishness about sex throughout Toys in the Attic, whether it's the teenage heavy petting of Walk This Way, the promiscuous Sweet Emotion, or the double-entendres of Uncle Salty and Adam's Apple. The rest of Aerosmith, led by Perry's dirty, exaggerated riffing, provide an appropriately greasy backing. Before Toys in the Attic, no other hard rock band sounded like this. Sure, Aerosmith cribbed heavily from the records of the Rolling Stones, New York Dolls, and Led Zeppelin, but they didn't have any of the menace of their influences, nor any of their mystique. Aerosmith was a gritty, street-wise hard rock band who played their blues as blooze and were in it for a good time; Toys in the Attic crystallizes that attitude.
-All Music Guide1. Toys in the Attic
2. Uncle Salty
3. Adam's Apple
4. Walk This Way
5. Big Ten Inch Record
6. Sweet Emotion
7. No More No More
8. Round and Round
9. You See Me Crying$24.99 $18.74 Save $6.25 (25%)180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Nights In Vienna180 Gram Audiophile Vinyl Cut from the Original Analogue EMI Master Tapes at Abbey Road Studios
Rudolf Kempe has the true and significant gift of the truly great conductor. He is able and willing to lavish the same care and affection on good light music as on that of the supreme masters. So enthused W. A. Chislett on the 48 years old Kempe, who, by the time this recording of operatic overtures and waltzes was made, had gained a reputation as an opera conductor, having directed the Dresden Opera, the Vienna State Opera, the Bavarian State Opera (succeeding Solti) and conducted at Bayreuth. He was a favourite at Covent Garden but declined the director's job. Kempe was a conductor of international repute, with long associations with the Royal Philharmonic, Zurich Tonhalle and Munich Philharmonic, as well as his last, short-lived appointment as chief conductor of the BBC Symphony Orchestra. Kempe died on 12 May 1976 aged 65.
Cut at Abbey Road Studios from the original stereo analogue master tapes with the Neumann VMS82 lathe fed an analogue pre-cut signal from a specially adapted Studer A80 tape deck with additional 'advance' playback head, making the cut a totally analogue process. Pressed on 180 gram vinyl to audiophile standards using the original EMI presses by The Vinyl Factory in Hayes, England. Featuring the original album artwork, this recording is not otherwise generally available in any format. It contains rarely heard or recorded pieces by Heuberger and Reznicek.
In the original December 1958 review of the mono release W. A. Chislett of the GRAMOPHONE concluded: ... This is superb in every way, warm, intimate, beautifully phrased and poised and very finely recorded. How good in particular it is to hear Lehar's charming waltz given a full dress performance complete with prelude and postlude. ..and on the stereo release the following August, Chislett added: ...they all sound richer and warmer in the two-channel version.
Recorded on 20-22 February 1958 at the Grosser Saal, Musikverein, Vienna. Produced by the legendary Victor Olof and engineered by Harold Davidson.
Hi-Q Records Supercuts 180g Vinyl
Cut from the Original Analogue EMI Master Tapes at Abbey Road Studios!
Superior Audiophile Pressing
Features Original Album Artwork
This recording is not otherwise generally available in any format
Rudolf Kempe, conductor
Vienna Philharmonic Orchestra
This title is not eligible for discount.1. Morning, Noon and Night in Vienna (Suppe)
2. Overture Der Opernball (Heuberger)
3. Overture Die Fledermaus (Johann Strauss II)
4. Gold und Silber - Waltz (Lehar)
5. Overture Donna Dianna (Reznicek)
6. Spharenklange Waltz (Josef Strauss)
7. Radetzky March (Johann Strauss I)$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Blues In OrbitRemastered By Bernie Grundman From The Original Analog Tapes
Gatefold Old-school Tip-On On Jacket By Stoughton Printing
Plated And Pressed At Quality Record Pressings
It's tempting for Blues in Orbit to be overlooked when Duke Ellington's best albums are discussed, but truly it's an undisputed gem. There are 14 tracks, none of them is longer than 4:50 and it is all good stuff. There are some familiar favorites such as In a Mellotone and C Jam Blues as well as less often heard gems like Blues in Blueprint and Sweet and Pungent. It is also in stereo, and the arrangements are superb.
The featured performers include Ellington stalwarts Johnnie Hodges, Ray Nance, Harry Carney and Jimmy Hamilton, as well as the less familiar Booty Wood and Matthew Gee. Johnnie, in particular is well showcased here, taking the lead not only in slow pieces like Brown Penny and Sentimental Lady, but also in the rousing, Smada.
The full Analogue Productions reissue treatment is at work on this smashing LP - famed mastering engineer Bernie Grundman handled the remastering from the original analog tapes. The lacquers were plated and pressed at Quality Record Pressings, maker of the world's finest-sounding LPs. Lastly we've stashed each super-silent 200-gram disc in a premium Stoughton Printing gatefold jacket.
All of the takes were recorded during after midnight sessions recorded over two nights starting on December 2, 1959 in New York at Columbia Record's studio on East 30th Street. Each night Duke's late dinner arrived at 2 a.m. - a sizzling steak, a pot of coffee with lemons in it, portions of American cheese, and grapefruits. After dinner, and a breather for the band, the sessions finished around dawn in a swinging fashion.
If you're just getting into jazz, this album is highly recommended as a great way to initiate your collection. The sound is incredible, with packaging to match. Another audiophile home run.
This title is not eligible for discount.1. Three J's Blues
3. Pie Eye's Blues
4. Sweet and Pungent
5. C Jam Blues
6. In A Mellow Tone
7. Blues In Blueprint
8. The Swinger's Get The Blues Too
9. The Swinger's Jump
10. Blues In Orbit
11. Villes Ville Is The Place, Man$34.99200 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Up In ArmsWe work hard, and we have a lot to say. Look around the planet - people are fed up with the corrupt ruling class. They destroy the planet and kill millions for profit, and the formula for our response is simple: Anger + applied knowledge = results. Don't just bitch. Change it.
- JOHN JOSEPH
At its purest, there is little that can match the visceral thrill and empowering spirit of hardcore. As frontman of New York City hardcore kings Cro-Mags, this is something John Joseph knows very well, and with Up In Arms, he and his Bloodclot compatriots deliver a furious collection that hits hard on every level. "In this band we're doing what each of us have always done: give it our all," he states plainly.
The results reflect the roots and passions of the individual members. Danzig/Murphy's Law guitarist Todd Youth was the first piece of the puzzle. "We've always talked about doing this record together, Todd had songs written and I had notebooks full of lyrics. In late September 2015, I went out to LA to do a triathlon and injured my calf muscle, so I couldn't race, and Todd said he could get some studio time. So, we went in and cut the demo. While there are things we may perceive as a negative in our lives, in fact the universe has a bigger plan, and that experience ultimately resulted in the record." Having been friends with Queens Of The Stone Age and Danzig powerhouse drummer Joey Castillo for three decades, the two musicians had long admired each other's work, and their collaboration has been a long time coming. Following Castillo's suggestion of bringing in Nick Oliveri (Queens Of The Stone Age/The Dwarves) to handle bass duties, the lineup was complete. The songs that comprise Up In Arms manifested after the quartet plugged in and let the music speak for them. "We didn't decide to try to play anything, these are the songs that happened when we started jamming, and I love this band because there are no egos involved. Our goal is to make the best music possible, period. I love it when those guys contribute with melodies, etc., and I've even helped with some of the arrangements. Because we all think alike, our lyrics deal with the issues of the day, and that makes for better songs."
Every track on Up In Arms lives up to the rallying cry of the album's title - the bursts of high energy hardcore act as the perfect accompaniment to Joseph setting his sights on injustice and the seemingly endless flaws of the contemporary world. The breakneck thrashing of "Slow Kill Genocide" is an anthem for everyone sickened by those responsible for "killing the planet and all its inhabitants through industry and war. They're fucking maniacs and must be stopped." The suitably titled "Manic" attacks with bared fangs, Joseph making it clear that you can only push someone so far before they will react with violence - a call to arms for the disenfranchised who want tomorrow's world to be better than today's. Tracked at NRG in Los Angeles, the raw, old-school production that leaps out from the speaker comes courtesy of producer Zeuss (Hatebreed, Revocation), and the record was mixed by Kyle McAulay at NRG. From the moment the opening title track explodes to life, it's clear that everyone involved is having a blast and playing from the heart, and that this is no frills / no bullshit music at its most passionate - every song evoking mental images of utter chaos in a heaving mosh pit.
For anyone approaching the album for the first time, Joseph has only this to say: "Turn the volume way the fuck up!" And with plans to tour everywhere, Bloodclot will be getting in a lot of faces in 2017 and beyond. "We are already writing material and the next album is in the works. But, for now, all we want is to hit the stage to support 'Up in Arms', and every single night leave every ounce of ourselves up there."
John Joseph (Cro-Mags) - Vocals
Todd Youth (ex-Murphy's Law, ex-Danzig) - Guitars
Nick Oliveri (ex-Queens of the Stone Age) - Bass
Joey Castillo (ex-Queens of the Stone Age, ex-Danzig) - Drums1. Father Of Lies
2. This Is Exile
4. To All That Are Dead
6. Somatically Incorrect
7. Death Becomes Him
9. Eternal Refuge
10. Of Legions
11. Messiahbolical$19.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
In The Silence (Awaiting Repress)'In The Silence' is the English language version of Ásgeir's breakthrough debut album 'Dyrd í dauðathogn', translated from Icelandic by John Grant.
Born and raised in the hamlet of Laugarbakki (population, 40) in the wilds of Iceland, Ásgeir comes from a large family of musicians. Last year, at just 20 years of age he became an overnight sensation in his domestic music scene with the September release of Dyrd í dauðathogn breaking all records to become Iceland's fastest and biggest selling debut album by a home grown artist, outselling Björk and Sigur Rós. Staggeringly, one in ten of the the Icelandic population now owns the album.
Produced by Gudmundur Kristinn Jonsson, in Iceland the unusual poetry of Dyrd í dauðathogn attracted almost as much attention as the music itself, in part because it was mostly written by Ásgeir's 72 year old father. Combining both electronic and organic elements, the songs themselves are all Ásgeir: light and airy, inset with his distinctively melancholic voice, their vibrancy elevates his appeal way beyond the folktronica tag.1. Higher
2. In The Silence
3. Summer Guest
4. King And Cross
5. Was There Nothing?
7. Going Home
8. Head In The Snow
9. In Harmony
10. On That Day$16.99Vinyl LP - Sealed AWAITING REPRESS Buy Now
Let Them Fall In LoveThe best-selling and most-awarded female gospel artist of all time, CeCe Winans has long since cemented her status as one of the most accomplished and celebrated women in modern music history. It'd be easy to look back and rest on such illustrious laurels, but Winans has always had her eyes fixed firmly on the future, so it should come as little surprise that she jumped at the opportunity when her son, Alvin Love III, proposed she record the generation-bridging new album 'Let Them Fall In Love.' Her first in nearly a decade, the record finds Winans returning to the studio with gusto, working for roughly three years to craft her most confident, adventurous collection yet.
Recording and performing as both a solo artist and as a duo with her brother BeBe, CeCe has influenced a generation of gospel and secular vocalists over the course of her astonishing career. Her mantel today holds a staggering 10 GRAMMY Awards, 20 Dove Awards, and 7 Stellar Awards. She's been inducted into the Gospel Music Hall of Fame, the Hollywood Walk of Fame, and the Nashville Music City Walk of Fame, in addition to being named a Trailblazer of Soul by BMI and garnering multiple NAACP Image Awards, Soul Train Awards, Essence Awards, and more. She's sold in excess of 5 million albums in the US, topping the Gospel charts repeatedly while crossing over with smashes like "Count On Me," her stunning duet with Whitney Houston from the multi-platinum 'Waiting To Exhale' soundtrack, which sold 2 million copies and cracked the Top 10 on the Pop, R&B, and Adult Contemporary charts. She touched millions more with inspirational performances everywhere from Oprah to The White House, and even showed off her acting chops on television series like '7th Heaven' and 'Doc.'
While collaborating with family is nothing new for Winans, the recording sessions for 'Let Them Fall In Love" found the Detroit native working for the very first time with her son in the producer's chair.
"Alvin shared with me a vision that he had of a record that was bold and a little different than anything I'd ever done before," remembers Winans. "When I heard the songs he'd been writing, I got so excited. He has great ears and great style and a unique way of writing and thinking things through. It made it extra special that two generations of family were able to come together on this record."
Bringing together generations is Winans' specialty, and she drew inspiration for the album from her extensive work with the young men and women who attend the church she and her husband founded in Nashville.
"It's really important to me to share where I've been and to encourage young people to understand that they can go even further," reflects Winans. "I wanted to make an album that ties us together, something that young people would be able to learn from and be inspired by."
Written primarily by Alvin and co-produced by Alvin along with Winans' long-time collaborator Tommy Sims (Garth Brooks, Michael McDonald, Bonnie Raitt), 'Let Them Fall In Love' was mixed by Dae Bennett (Tony Bennett, Amy Whinehouse, Olivia Newton John) and Jimmy Douglass (Pharrell Williams, Micheal Buble). The album, recorded both in Nashville and New York City, finds Winans more confident than ever before, merging eras and genres in a glorious blend of past and present that simultaneously recalls the heyday of Motown and still sounds undeniably modern. Big band horns meet strings from the Nashville String Machine as Winans' soaring voice hits new heights, fueled in part by the encouragement and motivation of her son.
"Alvin was hard on me in the studio," remembers Winans. "He'd really work me during the songs, and I knew that was a good thing because it meant he was pressing me to get the best performances possible. Now I listen back and I know he was right. It was so important to get the right interpretation of each song."
Winans is able to inhabit each song on the record so fully in part because she's lived their stories. She describes album opener "He's Never Failed Me Yet" as "my personal testimony," "Run To Him" as her frequent act of refuge, and "Marvelous" as a musical embodiment of the black church. On "Hey Devil!," she's joined by fellow gospel powerhouses The Clark Sisters for a playful rebuke of temptation, while "Peace From God" is a prayer for light in an increasingly dark world, and "Lowly" is a lesson about pride and humility aimed at the young men who might need it most. Winans' eclectic ability shines through on the pedal steel country waltz of "Why Me," a song she discovered when she was invited to perform it live with its writer, Kris Kristofferson.
"I ended up getting sick and I couldn't perform it with him at the show, but my son heard it and knew it would be perfect for the album," explains Winans. "It's so different for me in this whole new field of country music, but it spoke to my heart and I felt like it was written just for me."
On the album's other cover, "Dancing in The Spirit," Winans is joined by Hezekiah Walker and his choir for a jubilant celebration, while "Never Have To Be Alone" finds her taking a far more somber approach, singing to the young members of her congregation. It's the album's closer and title track, though, that seems to light Winans up more than any other.
"That was the first song for this album and I knew right away that I wanted the record to be named 'Let Them Fall In Love,'" she explains. "I told my son that it had to be the heartbeat of the album. There's a lot of different styles and a lot of strong messages on there, but all of them are to bring us to this point. It's why I came back and recorded another album, to express my heart and my desire that people young and old can listen and fall in love with the higher power, fall in love with love, and fall in love with faith and joy and peace."1. He's Never Failed Me Yet
2. Run To Him
3. Hey Devil! (feat. The Clark Sisters)
4. Peace From God
5. Why Me
7. Never Have To Be Alone
8. Dancing In The Spirit (feat. Hezekiah Walker's Love Fellowship Choir)
10. Let Them Fall In Love$19.99Vinyl LP - Sealed Buy Now
Echo In The Valley (Pre-Order)With one eye on using the banjo to showcase America's rich heritage and the other pulling the noble instrument from its most familiar arena into new and unique realms, Bela Fleck and Abigail Washburn's second album Echo in the Valley is simultaneously familiar and wildly innovative.
"Some of the most interesting things in the world come together in strange and unique ways and show our diversity," reflects Bela, a fifteen-time Grammy award winner who is often considered the world's premier banjo player. "The banjo is just one of those things. It's a great example of how the world can combine things and create surprising hybrids," a reference to the ancestral African roots of the banjo combining with Scotch-Irish music in Appalachia.
Echo in the Valley is the follow up to Bela and Abigail's acclaimed, self-titled debut that earned the 2016 Grammy for Best Folk Album. This time around, the mission was to take their double banjo combination of three finger and clawhammer styles "to the next level and find things to do together that we had not done before," says Bela. "We're expressing different emotions through past techniques and going to deeper places." The results are fascinating, especially considering their strict rules for recording: all sounds must be created by the two of them, the only instruments used are banjos (they have seven between them, ranging from a ukulele to an upright bass banjo), and they must be able to perform every recorded song live.
Fleck and Washburn met at a square dance and began playing music together a dozen years ago, beginning with the Sparrow Quartet. They married shortly thereafter and became parents to a cute little tot. They've been touring the globe as a duo for years, almost nonstop but for each other's performances with various other musical iterations: Bela with the likes of Bela Fleck and the Flecktones, Chick Corea and Chris Thile, among many others, and Abigail with Wu Fei (a master of the ancient 21-string Chinese zither), The Wu-Force and Uncle Earl.
With the exception of a few restyled traditional tunes, all tracks on Echo in the Valley are originals, and are largely co-written - a different creative approach from their first album, where songs were mostly his or hers.
"This time, we really wanted to truly write together," Bela adds. "We spent a lot of our time on the lyrics, deciding what we want the songs to communicate, both literally and under the surface."
Echo in the Valley reflects relevant issues while simultaneously connecting us to our past through wild re-imaginings of traditional pieces. New original tunes range from "Over the Divide," a song inspired by Hans Breuer, who worked to ferry Syrian refugees to safety, to "Blooming Rose," inspired by Native American voices and lamenting a continual distancing from nature, and "Don't Let It Bring You is an emphatic mantra for hard times.
With I don't wanna cry, cry, cry, oh, "Let it Go" is ultimately about release from the pain of transition, surrendering to growth. The song acknowledges that we must let our children grow up; the concession that youthful innocence will one day give way to adult cares and worries.
Clarence Ashley's "My Home's Across the Blue Ridge Mountains" has been turned into a rural blues, and Bela's well-known piece "Big Country" is framed by the traditional Appalachian tunes "Sally in the Garden" and "Molly Put the Kettle On," a medley Bela and Abigail performed hundreds of times on stage before recording. "'Big Country' is one of the most beauty melodies I have ever heard played on the banjo," says Abigail, who takes the lead on this version.
"Come All You Coal Miners" is the point-of-view of coal-miner advocate Sarah Ogan Gunning, whose passages remain poignant and powerful today. "This song came from a very emotional, mother-driven, daughter-driven, wife-driven place, and there are not many songs throughout history from that perspective, so I am incredibly moved by her," says Washburn.
As the story goes, Bela was struck by the sound of Mr. Earl Scruggs' banjo when hearing the Beverly Hillbillies theme song. He got hold of a banjo, took his musical namesakes (Bela for Bartok, Anton for Weburn, Leos for Yanecek) to heart, and has since continuously broken new musical ground with his instrument. Fleck has the distinction of being nominated in more categories than any other instrumentalist in Grammy history, and has brought his banjo through scorching hot newgrass, traditional bluegrass, otherworldly funk, modern jazz, African originals, transatlantic Celtic, and classical realms, with two self-composed banjo concertos to his name (The Impostor and Juno Concerto), with a third one in the works.
Abigail was similarly jolted into life as a banjoist, but for her it was hearing Doc Watson.
"I was proud to discover that I came from a country where you can hear that ancient sound - from Africa, from Scotland, from Ireland - all mixed up in this beautiful new sound, with those ancient tones in it," Abigail reflects. "The ancient sounds of our culture remind us who we are, and in them, we see a constellation of who we are becoming."
Washburn has imbued this philosophy in all aspects of her work, from the string band Uncle Earl to her acclaimed solo albums, Song of the Traveling Daughter and City of Refuge, and her semi-autobiographical theatrical work, Post-American Girl, as well as in her musical ambassadorship with China, a country with which she has a long, profound history. Abigail is deftly following in the footsteps of the founding mothers of folk, and has become a prominent voice of old-time in our time while bringing to light those ancient sounds of American and Far East cultures in new and exciting ways.
Bela and Abigail's creative process on Echo in the Valley is sonically made manifest in the record's major themes of harmony, empathy and surrender. As Abigail explains, the intense, intimate collaboration that Fleck and Washburn put forward on this project required "a spirit of staying strong, but also a willingness to release into the other's ideas to create something new," possibly something bigger and more beautiful than one could do on one's own.1. Over The Divide
2. Take Me To Harlan
3. Let It Go
4. Don't Let It Bring You Down
5. Sally In The Garden / Big Country / Molly Put The Kettle On
6. My Home's Across The Blue Ridge Mountains
7. Hello Friend
8. If I Could Talk To A Younger Me
9. On This Winding Road
10. Come All You Coal Miners
11. Bloomin' Rose$24.99180 Gram Audiophile Virgin Vinyl LP - Sealed PRE-ORDER Buy Now