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Portrait Of A Legend'
Portrait Of A Legend 1951-1964From Sam Cooke's teenage debut as a full fledged member of the legendary Soul Stirrers in 1951 through his career as a rhythm and blues phenomenon
thanks to the recordings for which he is acknowledged as the progenitor of soul music. His hit songs, most of which he wrote, went on to become pop
standards, enduring to this day. Sam Cooke's amazing body of work is encapsulated in Sam Cooke: Portrait of A Legend 1951-1964, the ultimate Sam
Cooke greatest hits package.LP 1
1. Touch The Hem Of His Garment
3. You Send Me
4. Only Sixteen
5. (I Love You) For Sentimental Reasons
6. Just For You
7. Win Your Love For Me
8. Everybody Loves To Cha Cha Cha
9. I'll Come Running Back To You
10. Nothing Can Change This Love
11. Sugar Dumpling
12. (Ain't That) Good News
13. Meet Me At Mary's Place
14. Twistin' The Night Away
16. Tennessee Waltz
1. I'll Come Running Back To You
2. Nothing Can Change This Love
3. Sugar Dumpling
4. (Ain't That) Good News
5. Meet Me At Mary's Place
6. Twistin' The Night Away
8. Tennessee Waltz
9. Another Saturday Night
10. Good Times
11. Having A Party
12. That's Where It's At
13. A Change Is Gonna Come
14. Jesus Gave Me Water
15. Soul (Hidden Track)$29.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
Unseen CashJohnny Cash Unseen Cash on One-Sided 180g Import LP w/ B-Side Engraving + Book
Think You've Seen It All by Johnny Cash? Think You've Heard It All by Johnny Cash? Think Again!
An innovative artist like Johnny Cash deserves an innovative package. Here, striking unpublished images from early in Cash's career are packaged with a one-sided LP of Cash on-stage in 1957 and 1959. The flipside of this limited edition LP features a portrait of the music legend engraved into the LP's audiophile-grade 180g vinyl.
Presented in a 16-page hardcover book, Unseen Cash from William Speer's Studio is a true collector's item complete with extraordinary photos and 12-tracks of rarely heard audio! Released to coincide with the 80th anniversary of Johnny Cash's birth!
In 1955, at the dawn of his long career, Sun Records president Sam Phillips sent Johnny Cash to a nearby photographer, William Speer. Cash was fortunate because Speer was an innovative craftsman, influenced by vintage Hollywood photographers who used light in a dramatic new way. Speer shot photo sessions with Cash, between 1955 and 1958. A couple of the images were published in the 1950s, but the rest were stored away until now!1. Stay All Night, Stay A Little Longer
2. There You Go
3. Give My Love To Rose
4. White Silver Sands
5. Home Of The Blues
6. Stay All Night, Stay A Little Longer
8. I Got Stripes
9. Pickin' Time
10. Ten Years
11. Swing Low Sweet Chariot
12. Outro$37.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
San Francisco DuesNot much is talked about of Rock N' Roll legend Chuck Berry's work during the 1970s. (Unless you
count his novelty hit "My Ding-A-Ling.) Though he would remain a prevalent live fixture for much of the
decade, his studio work slowed to a crawl. It was during this time that Berry returned to Chess
Records from his previous association with Mercury, to release the overlooked San Francisco Dues
in 1971. The album remained obscure and largely unnoticed, but remains a fascinating glimpse into
Berry's musical mind, and is now looked upon by critics as a forgotten great.
The album showcases a different side of Chuck Berry. His signature blend of pioneering rock n' roll
music would give way to a more somber and contemporary (For the 1970s) sound. Berry's more
serious side is on display on yearning tracks like Oh Louisiana, and fragile numbers like My Dream
(Poem) which features Berry on piano. The album paints a solemn, never-before-seen portrait of
Berry, and still finds room for traditionally rocking tracks like Viva Rock & Roll and the title track
San Francisco Dues.
Though San Francisco Dues has received newfound retrospective acclaim from critics, it has never
been reissued on compact disc. Now in 2013, Get On Down is glad to change that, reissuing the
oft-forgotten Chuck Berry gem on vinyl, painstakingly re-mastered and re-created with the same level
of care and detail that have come to define the Boston label's reissues. A bygone classic from one of
rock n' roll's great trailblazers.1. Oh Louisiana
2. Let's Do Our Thing Together
3. Your Lick
5. Bound To Lose
6. Bordeaux In My Pirough
7. San Francisco Dues
8. Viva Rock and Roll
9. My Dream (Poem)
10. Lonely School Days$19.99Vinyl LP - Sealed Buy Now
Appetite For Destruction 180Ranked 61/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.
One of the most prolific debut albums of all time, Guns N' Roses Appetite For Destruction is a revelatory portrait of the gritty underground of Los Angeles from one of the most notorious bands of all time and it still sounds as raw and dangerous as ever. The blistering guitar interplay of Slash and Izzy Stradlin provides the ultimate backdrop for Axl Rose's signature rasp. From Paradise City to Sweet Child O' Mine and Welcome To The Jungle, the record brims with a brutal integrity that without question will always stand as the predominate document of the bands' legend. Reissued here on 180g Vinyl LP!1. Welcome to the Jungle
2. It's So Easy
4. Out Ta Get Me
5. Mr. Brownstone
6. Paradise City
7. My Michelle
8. Think About You
9. Sweet Child O' Mine
10. You're Crazy
11. Anything Goes
12. Rocket Queen$24.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Another LifeJames Maddock affirms his status as a fixture in downtown Manhattan's folk and Americana scene with his album 'Another Life.' As NPR says of the British transplant, "his timeless songwriting style, which seems to draw from great songwriters of every era, conveys quiet confidence and lovely intimacy."
Nodding to '70s rock with shimmering acoustic guitars, an understated rhythm section and flourishes of fiddle, mandolin, piano and dobro, 'Another Life' bridges the mainstream appeal of songwriters like Jesse Harris and Norah Jones and the quirkier sensibility of Loudon Wainwright. With funding entirely from fan contributions through PledgeMusic, Maddock worked with producer Matt Pierson, multi-instrumentalist Larry Campbell (who's played with Bob Dylan and Levon Helm) and bassist Tony Scherr (who plays with Norah Jones).
The 13 songs on 'Another Life' paint a portrait of a man reaching the midpoint of his life, a natural progression from themes in Maddock's earlier releases. He's looking back on roads not taken, and isn't always sure he chose the right one. On the title track, Maddock wants an extra 50 years to try "acting, white-water rafting," "some illegal substances," even having a kid or three. "I've Been There Too," built around an indelible guitar riff, shows Maddock's knack for instrumental hooks as well as lyrical ones. "Don't Go Lonely," in a well-timed moment of levity, hints at reggae with dub bass, bubbling organ and the chorus's entreaty to "go get high, go get found, go crazy on this town / don't go lonely."
After fronting the Columbia Records band Wood, whose debut 'Songs From Stamford Hill' was featured prominently on TV shows such as "Dawson's Creek," Maddock moved from England to New York City in 2003. His 2009 album 'Sunrise On Avenue C' won a New York Music Award for Best Americana Album, while follow-up 'Wake Up And Dream' ranked among the top albums of 2011 in WFUV's (NYC) Listener Poll. He's performed with Bruce Springsteen, Willie Nile, Aaron Comess (Spin Doctors) and David Immergluck (Counting Crows), sang on an album with Susan McKeown, and is a resident artist at Rockwood Music Hall. According to radio legend Vin Scelsa, Maddock's heartbreakingly beautiful and exquisitely crafted music touches the soul.1. Another Life
2. Arizona Girl
3. Timing's Everything
4. Ive Been There Too
5. That's Heavy
6. What I Miss
7. Easy To Give
8. Don't Go Lonely
9. What Have I Done?
10. Strategies For Life
11. Better On My Own
12. If I Had A Son
13. Making Memories$16.99Vinyl LP - Sealed Buy Now
Freedom Tower - No Wave Dance Party 2015New York City is a big place. A loud place. Some of that noise is music. And some of the music is noise.
Sucking it all in and turning it loose with prejudice, the Jon Spencer Blues Explosion takes a ferocious bite out of the Big Apple with their new long-player, Freedom Tower - No Wave Dance Party 2015, the first record of the new era that demands to be stopped and frisked!
Like the best sides that percolated up from the Bronx, the Lower East Side, and Greenwich Village across the 1970s and '80s - Freedom Tower is more than a high-octane dance party record, it is a document of New York City, a chronicle of grit and terror and love!
It's all here: The Hustler and The Trust Fund Baby, the Mosh Pit Casualty, the Celebrity Chef, the Crooked Cop, the Struggling Artist, the Sucker MC, the forgotten Sex Workers and Last-Chance Cinderellas. Within these grooves are cold-water tenements, blue-chip galleries, dingy Avenue B studios, and the last real warrior poet whose dark magick brings garage rock ghosts back from the grave!
Freedom Tower is a radical portrait of New York City set to the savage funkacide of the Blues Explosion, locked and loaded with the most deadly, predatory guitar riffs that primitive magnetic tape can handle . From start to finish, Freedom Tower is overmodulated, cooked with dirt, and finished in acid rain! Freedom Tower is packed with the kind of beats and rhymes that will make even the most reserved Walter Mitty jump back and say "damn!"
For nearly a quarter-century the Blues Explosion have been sweating, freezing, eating, drinking, fucking, fighting, winning, and losing in New York City, perpetrating some of the most timeless moments of musical mayhem in the history of Manhattan and beyond. As ever, Jon Spencer tells the tales, Judah Bauer plays the blues, and Russell Simins smashes things to bits... And as always Blues Explosion stomp on the faux underground oasis peddled by bourgeois hipsters and marketing jocks to deliver the real deal - rock'n'roll that is unapologetically nasty and strong.
Rehearsed and polished in a string of secret gigs and unannounced opening slots in theaters, hotel bars, and dives (often under assumed names), and then recorded at the legendary Daptone House Of Soul in Bushwick and mixed with hip-hop cult legend Alap Momin at the cutting edge of Harlem, Freedom Tower is the most provocative statement of urban pathos and panache ever recorded.
Play this record at all-night rent parties, picnics, discotheques, and protests!
There are eight million stories in the Naked City - but there is only one Blues Explosion!
Freedom Tower - dig it now, while you still can!1. Funeral
2. Wax Dummy
3. Do The Get Down
4. Betty vs. the NYPD
5. White Jesus
6. Born Bad
7. Down and Out
8. Crossroad Hop
9. The Ballad Of Joe Buck
10. Dial Up Doll
11. Bellevue Baby
12. Tales of Old New York: The Rock Box
13. Cooking for Television$19.99Vinyl LP - Sealed Buy Now
The Lost Notebooks of Hank WilliamsAn Album of Previously Unrecorded Hank Williams Lyrics Set to Music & Performed for the First Time by Bob Dylan, Jack White, Norah Jones, Alan Jackson & Other Top Artists
Stemming from unused lyrics left behind by the legendary singer after his death in 1953 and spearheaded by Bob Dylan, The Lost Notebooks Of Hank Williams has a wide spectrum of current artists putting the music to Williams lyrics with fantastic results. The release is brought to you by Third Man Records, along with Egyptian Records, Bob Dylan's label imprint, in partnership with the Country Music Hall of Fame and Museum's CMF Records and Columbia Records.
The second title ever to be released on Egyptian (the first was 1997's The Songs of Jimmie Rodgers: A Tribute Album), The Lost Notebooks of Hank Williams is a long-awaited collection of previously unrecorded Hank Williams lyrics newly set to music and performed for the first time as completed songs by a roster of artists with a musical and spiritual kinship to the archetypal American country music singer/songwriter.
The release of The Lost Notebooks of Hank Williams provides an audio companion to the Country Music Hall of Fame and Museum's Family Tradition: The Williams Family Legacy, a 5,000-square-foot exhibition presenting an intimate, behind-the-scenes portrait of a great American musical dynasty. Family Tradition, which opened in March of 2008, is the largest and most popular temporary exhibition in the institution's history. The exhibit, which includes Hank Williams' notebooks and other memorabilia, will close on December 31, 2011.
Created from writings left behind by country music's lovesick blues boy, The Lost Notebooks of Hank Williams premieres the first-ever performances of 12 previously unheard Hank Williams lyric compositions newly set to music by 13 artists whose own sensibilities have been profoundly shaped by Williams.
The Lost Notebooks of Hank Williams project began with the idea of finding a well-known artist, one who felt Hank's inspiration and influence, to record an album's worth of the unheard songs. After veteran music industry manager/A&R executive Mary Martin approached Bob Dylan, a natural first choice for the endeavor, the project evolved into a multi-artist tribute providing a variety of sympathetic approaches to this rich mysterious material.
From heartbreak to honky-tonking, from Jesus to gin mills, Hank Williams wrote about life's deepest truths and sang with an ethereal authority on such unforgettable songs as ''Your Cheatin' Heart,'' ''I Saw the Light,'' ''I'm So Lonesome I Could Cry,'' ''Cold, Cold Heart'' and many more.
When Hank Williams died, at the age of 29, in the back of his Cadillac sometime early morning on New Year's Day 1953, he left behind a scuffed, embroidered brown leather briefcase, which he used to carry bound notebooks, among other items, darkening their pages with lyrics and song ideas. Some were fully finished, some just started.
The odyssey of Hank Williams' notebooks is recounted in the album's liner notes, penned by Michael McCall from the Country Music Hall of Fame and Museum, who observes, The history of Hank's notebooks is as complex as the legend himself. Yet, in the end, what matters most are the songs, and these new works rise from the ether with ghostly relevance. As with his many standards, these new recordings tap straight into the soul of man. This is songwriting at its most artful and most powerful.1. You've Been Lonesome, Too - Alan Jackson
2. The Love That Faded - Bob Dylan
3. How Many Times Have You Broken My Heart? - Norah Jones
4. You Know That I Know - Jack White
5. I'm So Happy I Found You - Lucinda Williams
6. I Hope You Shed a Million Tears - Vince Gill and Rodney Crowell
7. You're Through Fooling Me - Patty Loveless
8. You'll Never Again Be Mine - Levon Helm
9. Blue Is My Heart - Holly Williams
10. Oh, Mama, Come Home - Jakob Dylan
11. Angel Mine - Sheryl Crow
12. The Sermon on the Mount - Merle Haggard$18.99180 Gram Audiophile Virgin Vinyl LP + CD - Sealed Buy Now
$34.99 $31.49 Save $3.50 (10%)
Boomer's Story (On Sale)Ry Cooder Is A Master Sonic Archeologist And Cultural Historian On Boomer's Story: Guitarist Pays Tribute To The Past And Updates Music For Future On Rustic Record Steeped In Folk, Blues, And Soul
Mastered From The Original Master Tapes, Pressed At RTI, And Strictly Limited To 3000 Numbered Copies: Mobile Fidelity 180g LP Of Boomer's Story Sounds Fantastic With Vibrant Textures
Ry Cooder's development as a peerless musician capable of grasping virtually any style began with his time spent with Taj Mahal and Captain Beefheart, but for all intents and purposes reaches epic proportions on Boomer's Story. With two ambitious albeit uneven studio albums behind him, the California native plunged into roles that still define him today - that of sonic archaeologist and cultural historian, shaping his 1972 Reprise effort with enlightened selections carved into the bedrock of America's folk, blues, and soul landscapes. Inspired, virtuosic, and poignant, Boomer's Story endures as a ravishing portrait of inspired translation and inventive craftsmanship that after years of neglect finally boasts sonics deserving of the performances.
Mastered from the original master tapes, pressed at RTI, and strictly limited to 3000 numbered copies, Mobile Fidelity's 180g LP of Cooder's breakout teems with natural tones, front-to-back imaging, and vintage tube warmth. Boomer's Story benefits from vibrant textures and organic openness, two prized traits that come to fore with breathtaking realism on this analog reissue. Details ranging from the audible resonance of the drum skins, drifting reverb on the guitar, and the inner cavity of the piano take up residence on deep-black soundstages. Individual notes appear and recede with lifelike decay. Cooder and company sound as if they're in the room, playing in real time with one another. This record has never been more dynamic or involving.
Having initiated his self-taught learning of customs established by the likes of Josh White, Woody Guthrie, Charlie Johnson, and Robert Johnson as early as age four, and grown up a son of parents obsessed with Folkways Records, Cooder never suffers from the retro rehash fakery plaguing countless contemporary revivalists. A true original, the guitarist simultaneously pays tribute to the past and updates it for the future. Boomer's Story brims with traditional tunes (the title track, Good Morning Mr. Railroad Man), classic blues (Ax Sweet Mama, Cherry Ball Blues), and World War II standards (Comin' in on a Wing and a Prayer).
A spellbinding blend of personality, respect, and innovation grace every song. Evoking the timeless rusticism and weird, old America vibe of Bob Dylan and the Band's Basement Tapes, Boomer's Story unfolds with a relaxed ease and back-porch chemistry underlined by the musicians' unpretentious demeanors and potent abilities. Drummer Jim Keltner, percussionist Milt Holland, and bassist Jim Dickinson (also a producer) are among the cast fleshing out Cooder's visions. The headliner also welcomes country-blues legend Sleepy John Estes to sing on his own President Kennedy and leans on pianist Randy Newman to help him transform the normally bellicose Rally 'Round the Flag into a patient, mournful protest.
Cooder attains equally meaningful, emotional results on a definitive wordless interpretation of the staple soul ballad The Dark End of the Street, expressing unfathomable depths of regret and longing via slide-guitar work that draws a line back to Blind Willie McTell's immortal spiritual Dark Was the Night - a song Cooder called the most transcendent piece in all American music. Indeed, the degree of interplay attained by twinkling keys, rambling beats, brass accents, and dazzling guitar lines - also finger-picked and strummed - on Boomer's Story breathes with a rare air increasingly endangered in an era of on-demand immediacy and auto-tuned imitation. This, as it's said, is the real deal.
This title is not eligible for further discount.1. Boomer's Story
2. Cherry Ball Blues
3. Crow Black Chicken
4. Ax Sweet Mama
5. Maria Elena
6. The Dark End of the Street
7. Rally 'Round the Flag
8. Comin' in on a Wing and a Prayer
9. President Kennedy
10. Good Morning Mr. Railroad Man$34.99 $31.49 Save $3.50 (10%)180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
$49.99 $44.99 Save $5.00 (10%)
Bob Dylan (Mono) (Pre-Order) (On Sale)Bob Dylan On Numbered Limited Edition 180 Gram Mono 45RPM 2LP From Mobile Fidelity
Understated 1962 Debut Launched Immeasurably Influential Career
Album Stands as Clearest Connection to Dylan's Purist Folk Roots
Ghosts of Woody Guthrie and Blues Legends Appear Throughout Recording of Originals and Covers
Mastered From The Original Master Tapes And Strictly Limited To 3,000 Copies
Mobile Fidelity Mono 45RPM 2LP Features Unparalleled Directness And Sound Dylan, Producers Originally Intended
Made when mono was still king, Bob Dylan's self-titled 1962 debut is as understated of an entrance as any significant musician as ever made. Already well-versed in American roots music, Dylan simultaneously pays homage to tradition and extends it by putting his own stamp on classic material that metaphorically functions as the soil of our contemporary songs and styles. Free of ego, and performed with masterful conviction, Bob Dylan ranks with the debut efforts of similar artistic giants Elvis Presley and the Rolling Stones.
Mastered from the original master tapes, pressed at RTI, and strictly limited to 3,000 copies, Mobile Fidelity's restored 180g mono 45RPM 2LP analog version brings the contents of this seminal release as closest as they've ever come to master tape-quality in the original mono configuration. Transparent to the source, the simple sounds of Dylan's voice, acoustic guitar, and harmonica take on lifelike perspective and directness-the husk and bark to which Robert Shelton referred in his now-legendary New York Times review of a Dylan appearance at Gerde's Folk City. MoFi has made possible an inexpensive time-traveling trip back to the Greenwich Village coffeehouses and folk clubs in which Dylan cut his teeth, albeit in much better fidelity and without any annoying background chatter. Wider grooves mean more information reaches your ears.
As the preferred mix at the time of the recording, the mono version presents Dylan as he and his producers originally intended. Since the separation of the stereo versions isn't as sharp, the mono edition places Dylan's vocals in the heart of the musical action and as one with the accompaniment. It paints listeners an incredibly accurate portrait of the attention-getting, concrete mass of sound that features no artificial panning and straight-ahead immersion into the music. This is how almost everyone first heard this timeless album-making the mono mix all the more historically valuable and truthful.
Much has been made of the commercial indifference that greeted the album upon its low-key release. Yet focusing on sales figures and the reaction of a public not yet hip to Dylan's name or music is to miss the forest for the trees. Distinguished from the era's other folk efforts by way of the determination, brazenness, and lived-through-this worldliness Dylan approaches the material and sings the songs, Dylan lays the groundwork for the path he'd soon trailblaze and everyone else would follow.
By nodding to Woody Guthrie at the same time he completely re-imagines a sobering tune such as Blind Lemon Jefferson's See That My Grave Is Kept Clean, Dylan straddles the past and future. He also displays, with challenging authority and savant-like expertise, the ability to handle weighty topics such as death, sorrow, and lamentation with the vaudeville flair, bluesy mannerisms, and poignant command of an artist three times his age.
As Dylan scholar and pop-culture critic Greil Marcus observed in 2010, Everybody knew Joan Baez and the Kingston Trio; if you knew Bob Dylan, you knew something other people didn't, something that soon enough everybody had to know. Within a year, an album could put an adjective in front of the singer's name as if it were already common coin. It all starts here.
This title is not eligible for further discount.1. You're No Good
2. Talkin' New York
3. In My Time of Dyin'
4. Man of Constant Sorrow
5. Fixin' to Die
6. Pretty Peggy-O
7. Highway 51
8. Gospel Plow
9. Baby, Let Me Follow You Down
10. House of the Risin' Sun
11. Freight Train Blues
12. Song to Woody
13. See That My Grave Is Kept Clean$49.99 $44.99 Save $5.00 (10%)180 Gram Audiophile Virgin Vinyl LP Mono 45 RPM - 2 LPs Sealed PRE-ORDER Buy Now
FRKWYS Vol. 11 - Contos De LisboaFor the the eleventh volume of FRKWYS, an unrestricted series pairing contemporary
artists with their influential predecessors, gifted guitar squire Steve Gunn meets roving,
radiating legend Mike Cooper in Lisbon, Portugal.
Sharing their vision over lengthy living room guitar sessions and evenings of cold wine
in Fado taverns, Gunn and Cooper created Cantos de Lisboa, an album with variable
vernacular shades and musical forms from Portugal's antiquity.
Cantos means "corner" in Portuguese, as well as "chant" or "song" (this latter meaning
evolved from the Latin antecedent referring to stanzas of verse in poetry). For two artists
whose roots lie in the country blues and its subverted offshoots, the proverbial "corner"
is actually home, the undisturbed spot where music can flourish.
A tranquil interlude for these two travellers to create off-guard improvisations in their
shared style of deconstructed guitar music, Cantos de Lisboa is a curious detail in the
periphery of their snapshot of Portugal.
In his fifty-year-plus career, Cooper's global ventures have transported his music to
exotic locales parallel to Lisbon. 2004's Rayon Hula musically translated the patterned
flora of aloha shirts (Cooper's signature garment) as looped samples of famed Hawaiian
vibraphone player Arthur Lyman for an avant vivified form of exotica.
Rayon Hula signaled Cooper's vital re-emergence as a dexterous alchemist of slide
guitar. Cooper's discography is colored with similar instances of casually conceptual,
improvisatory guitar music, including his 1970 masterpiece Trout Steel (an album Gunn
recalls in Cantos de Lisboa's liner notes as shaping his own ambitions and music).
For his part, Gunn's path to Portugal was compelled by his kinship to Cooper and
his ilk's experimentation with guitar-picked country blues and 70s British folk. Gunn's
extracurricular immersion in free jazz and psychedelia, no doubt influenced by his
Philadelphia upbringing and surroundings, ensures his playing never grits or grids and
always soars to ecstatic heights.
These musical emblems were gracefully memorialized on Gunn's celebrated Time
Off (Paradise of Bachelors, 2013) and across a substantial catalog of solo, duo and
ensemble work that resembles that of a veteran player more than a young guitar
On Cantos de Lisboa, Gunn and Cooper take emotive cues from Fado, the regional
music of Portugal, which is in close plaintive spirit to the blues. A melancholy seeps into
the music, while steering a wide berth from any bummer notes or pastiche. Cooper's
sparse effects toolkit and stately, gliding cadences are nimbly employed, while Gunn's
ashen voice and steady strum lend an intensely organic feel to the album's improvisatory
The latter half of Cantos de Lisboa echoes the "saudade" theme as referenced in
the blissful opening track, Cooper's howl spiriting the Portuguese word that translates
roughly into "loss" or "longing." Saudade is said to be the core feature of Fado music. In
Cantos de Lisboa, Saudade becomes a spirit inhabiting the album's corners, but never
disrupting the musicians' collaborative evocations.
In the hands of these two limitless guitarists, Cantos de Lisboa convenes in an abstract,
almost field recorded take on lap-steel and American Primitive guitar styles. For the
brief idyll, Gunn and Cooper's collaboration is remarkably rich, marking their passage
through Portugal not just as a time to revel in an ancient city, but a time for focused
collaboration and creative consonance.1. Saudade Do Santos-o-Velho
2. Pena Panorama
3. Song For Charlie
4. Pony Blues
5. The Enchanted Moura
6. Lampedusa 2013
7. Saramago$23.99Vinyl LP - 2 LPs Sealed Buy Now
AtomicAtomic, the new album by Scottish experimental rock
legends Mogwai, is composed of reworked versions of
the music recorded for the soundtrack to director Mark
Cousins' acclaimed documentary Atomic: Living In
Dread and Promise, which first aired on BBC Four last
Constructed entirely of archive film, Atomic is an
impressionistic kaleidoscope of the horrors of our nuclear
times - protest marches, Cold War sabre-rattling,
Chernobyl and Fukishima - but also the sublime beauty
of the atomic world, and how x-rays and MRI scans have
improved human lives. Mogwai's soundtrack
encapsulates the nightmare of the nuclear age, but its
dreamlike qualities too. It is the latest in the band's series
of impressive soundtracks and scores, following
acclaimed albums Les Revenants (The Returned) and
Zidane: A 21st Century Portrait.
Mogwai's Stuart Braithwaite says: The Atomic
soundtrack is one of the most intense and fulfilling
projects we've taken on as a band. Ever since we went to
Hiroshima to play and visited the peace park this has
been a subject very close to us. The end results, both the
film score and the record are pieces I'm extremely proud
3. Bitterness Centrifuge
1. Weak Force
2. Little Boy
3. Are You A Dancer?
5. Fat Man$24.99Vinyl LP - 2 LPs Sealed Buy Now
The Journey Man"In my music," says Goldie, "is everything I've learned, everyone I've met, everything I've experienced." And it's been an incredible trip. The maverick innovator - who rewrote the future of the jungle scene with landmark releases that still sound like they were kidnapped from tomorrow - has a unique story to tell. From children's homes in the West Midlands through stints in New York and Miami as one of the UK's most celebrated exponents of graffiti art to rubbing shoulders with an exceptional list of musical collaborators including David Bowie, Noel Gallagher and KRS-One, Goldie has defiantly, definitively, done it his own way. "I'm an alchemist," he likes to insist. "I practice the dark arts of messing with the form of something solid."
Though marriage and his passion for bikram yoga have, he says, proved a calming influence, these days he's just as full of inspired, out-there ideas as he was back in 1993 when he did his first cover interview for the rave magazine Generator. "My music is about fallout," he said then, "about the damage that has been done to the system." Today, in the office of one of his London-based contacts, the ideas are still sparking. "Drum'n'bass has done to electronic music what graffiti has done to the art world," he muses, before launching into a rapid-fire synthesis of art history, dancefloor evolution and his own hyperactive brand of self-actualization, which loosely translates as: "Why do something ordinary when you can do something extraordinary?"
It sums up the reason why, in 1994, music critic Simon Reynolds famously observed: "Goldie revolutionized jungle not once but three times. First, there was Terminator (pioneering the use of time stretching), then Angel (fusing Diane Charlemagne's live vocal with David Byrne/Brian Eno samples to prove that hardcore could be more conventionally musical), now there's Timeless, a 22-minute hardcore symphony." Each of these were moments that shaped the musical fabric of the decade and beyond, presaging Goldie's transition from the underground rave scene into the world of bona fide A- list superstars.
But it didn't start out like that. The boy who would become Goldie was born Clifford Price on 19 September 1965, just as The Rolling Stones hit the top of the charts with Satisfaction. His dad Clement, originally from Jamaica, had been plying his trade as a foundryman in Leeds. His mum Margaret, who had been born in Glasgow, was a popular singer in the pubs and clubs of the West Midlands. Barely more than a toddler, Goldie was just three when she placed him into foster care (though she kept his younger brother Melvin). He still remembers, he says, the day the social workers came to take him away.
Over the next 15 years, he bounced between a series of foster homes and local government institutions around the Walsall area. His eclectic musical taste was forged, he reckons, in those same local authority homes listening to the sonic tangle of other teenagers' record collections. "In one room," he says, "a kid would be playing Steel Pulse while through the wall someone else had a Japan record on and another guy would be spinning Human League." On rare visits to see his dad, he'd lie sprawled over the living room couch, listening to Jazz FM, marveling at the lavishly-tooled '80s productions of Miles Davis, Pat Metheny, David Sanborn and Michael Franks, adding further layers to his complex musicography.
Already developing the irresistible urge to excel that has marked his inimitable musical career, Goldie's first love was roller-hockey. He earned a place as goalkeeper in England's national squad before the lure of music overtook the lure of sport. After discovering electro and hip hop, he grew his hair - the "goldilocks" that won him his nickname - and joined a breakdance crew called the B-Boys in nearby Wolverhampton. He also discovered graffiti. "They called me 'the spray can king of the Midlands'," he says proudly. His talent was undeniable, bringing him to the attention not only of Britain's Arts Council but to Dick Fontaine, producer of a Channel 4 TV documentary on graffiti. Fontaine's 1987 film Bombin' captured a visit to the UK by New York artist Brim Fuentes. Brim met Goldie and his B-Boys crew in Wolverhampton's Heathtown before heading a dozen miles away to Birmingham's Handsworth, where the producer filmed the aftermath of rioting that had left four dead, 35 injured and dozens of stores burned out. Several months later, Fontaine reversed the process and took Goldie to New York, introducing him to hip-hop pioneer Afrika Bambaataa. For Goldie, on his first trip abroad, never mind his first trip over the Atlantic, the Big Apple was love at first sight. Back in Britain, he begged, borrowed and saved until he had enough to fund a return trip to the Bronx.
"I started painting the trains and getting involved on the streets," he says, remembering his total immersion in what was still, at that point, an emerging culture. Art and music as symbiotic technologies. Rubbing shoulders with the Big Apple's best graffiti artists, his own distinctive style was accelerated and enriched. A move to Miami followed. He worked in the flea markets, he says, "painting trucks for drug dealers" and developing a sideline in gold jewelry that included the distinctive grills that became a trademark on his return to the UK. The magical properties of shaping, working and bending precious metals to his will - as close to alchemy as the modern world gets - became an analogue for the way he prefers to operate in the studio, chasing quicksilver dreams, mercury-fast rivulets of imagination into impossibly lush, breakbeat concertos. Back in Britain, Goldie found himself seduced by the sweetheart of the rave. Though it took him eight attempts to get entry into the club, at London's Rage in 1991 he marveled at the alternate sonic worlds being forged by Fabio and Grooverider behind the decks. "It really flipped me out," he remembers. Soon he found himself in the orbit of Dego McFarlane and Mark Clair. Their label Reinforced was in the vanguard of breakbeat, issuing astonishing records that stripped out boundaries and limits while setting the tone for the scene's sense of adventure. At first, he helped out doing artwork and a bit of A&R. But soon he was in Reinforced's Internal Affairs studio watching intently as Mark and Dego recorded tracks like Cookin' Up Ya Brain and Journey From The Light. "I was watching what they could do," says Goldie, "trying to gauge the possibilities of the technology." Soon he was getting involved. "I remember one session we did that lasted over three days," he says, "just experimenting, pushing the technology to its limits. We'd come up with mad ideas and then try to create them. We were sampling from ourselves and then resampling, twisting sounds around and pushing them into all sorts of places."
What followed was a series of inspired break-driven releases such as Killa Muffin, Dark Rider and Menace. Then Terminator, with its writhing drum loop, dropped and suddenly Goldie's name was on everyone's lips. He followed up with the equally revolutionary Angel, tilting the axis towards the lush, trippy textures that made 1995's debut album Timeless the drum'n'bass scene's first platinum album. Incredibly, given what was happening elsewhere in the scene at the time, the recording of the album's epic title track began as far back as 1993, when most other producers were still focused on the original sonic tropes of hardcore rave.
Timeless was a masterpiece - of production, of songwriting, of sonic perfection and breakbeat futurism. Even today, it still sounds as astonishingly new and inspired as it did back on those early pre-release cassettes circulated by London Records in the early months of 1995 when Goldie was still living on the 18th floor of a North London tower block.
By then, Goldie had already set up his own record label - Metalheadz - with his friends the DJ duo Kemistry and Storm. Along with studio collaborator, Rob Playford's Moving Shadow and LTJ Bukem's Looking Good imprint, Metalheadz helped to define drum'n'bass as a distinct musical format with singles by J Majik, Asylum and Goldie himself. Still bursting with energy, he then launched a legendary club night, Metalheadz Sunday Sessions, at London's Blue Note. The scene's best producers - among them revolutionary artists like Photek, Source Direct, Peshay and Dillinja - would compete to have their latest recordings debuted at the club and the scene's faithful came from far and wide to hear the best tunes before anyone else. "Those nights at the Blue Note were magical," he recalls. "It was an underground phenomenon that became an institution." David Bowie, who was making the drum'n'bass-influenced album Earthling at the time, fell in love with the place. "I remember popping out to take a break from all the madness inside the club," says Goldie. "He was outside having a cigarette, a bit of a breather. We chatted for a bit, looked at each other, grinned and then plunged back into it all. It was just that kind of place."
Goldie is one of only a handful of artists ever to co-write with Bowie - on the track Truth from the drum'n'bass pioneer's second album Saturnz Return. Released in 1998, the album also saw his vision become more expansive (the opening track, Mother, clocked in at just over an hour). The album's collaborative approach included guest spots from rap legend KRS-One, Sex Pistols manager and all-around provocateur Malcolm McLaren, super-producer Trevor Horn and Oasis main man Noel Gallagher (on the single Temper Temper).
Fuelled by the limitless creativity that has been the hallmark of his career to date, Goldie next turned to acting. He reunited with Bowie in Andrew Goth's 1999 thriller Everybody Loves Sunshine then took the part of Bullion in the 1999 James Bond movie The World Is Not Enough. Other box office smashes - including Guy Ritchie's crime heist caper Snatch - followed before he joined the cast of BBC1 soap opera EastEnders, playing the gangster Angel Hudson.
A series of blockbuster TV appearances - on shows such as Maestro (where he learned to conduct an orchestra), Classic Goldie (which saw him perform his own orchestral composition at the Royal Albert Hall in the summer of 2009) and Goldie's Band: By Royal Appointment.
The orchestral training proved useful. In 2014, he translated his original vision for Timeless into the stunning Timeless (Sine Tempore). Performed live with the Heritage Orchestra at the Wilderness Festival to suitably rapturous acclaim, the performance was repeated the following year as part of the Meltdown Festival at London's Royal Festival Hall. In between, he found time to unveil Fragments Of Gold, a piece inspired by medieval chants that he performed live in Glasgow Cathedral.
Drum'n'bass, of course, has remained a consistent passion, both through his Metalheadz label and his releases under the Rufige Kru moniker (2007's Malice In Wonderland and 2009's Memoirs Of An Afterlife). "Technologically," he says, "breakbeat has managed to surpass all other forms of music to date. There isn't a recording engineer alive who can tell me there's any other form of music that is more complex than the music we make." Goldie has also recently announced he will be releasing a brand new double album 'The Journey Man' this year. The album comprises two parts, 16 brand new tracks in total, all written and produced by Goldie. It also features a host of collaborators handpicked by Goldie to help realize his vision for the album.
"I often look at music not so much as a producer but like a director. You're drawing together engineers, performers and arrangers to create something special, something magical. It's like alchemy. The notes, the music, the lyrics, they're all in my head and each element has to be communicated and brought to life to create the finished track. I'm always inspired by great movie directors - people like Stanley Kubrick and PT Anderson - and, if you think about it, it's quite a similar approach. They start off with a vision and then they use that vision to deploy the actors and the cameramen and the editors in order to create the finished film."
Collaborators on 'The Journey Man' album include vocalist and songwriter Natalie Duncan, who was discovered when chosen in the three-part BBC series 'Goldie's Band By Royal Appointment' and later provided the vocals for Goldie's 2012 single 'Freedom'. Other featured vocalists on the album include Terri Walker, Tyler Lee Daly, Natalie Williams, JosÉ James, Naomi Pryor as well as Goldie's wife, Mika Wassenaar Price.
'The Journey Man' will be released through Cooking Vinyl and Goldie's own record label, Metalheadz.
Goldie's love affair with painting has remained consistent too and he continues to exhibit visual work that's just as dazzling as his sonic output. Beginning with Night Writers, the 1986 exhibition at Wolverhampton's art gallery that introduced Goldie and his Supreme Graffiti Team to the British Arts Council, his shows have defined a unique aesthetic that's all his own. And through them all, from 1987's Rockin' The City in Birmingham (where he exhibited alongside Massive Attack's Robert Del Naja) and the 1988 Crucial Creators exhibition in Walsall to more recent gallery events like 2007's Love Over Gold and 2012's Athleticizm collection (including portraits of London Olympics stars such as Victoria Pendleton, Tom Daley and Jessica Ennis), runs a consistent thread of energy, experimentalism and boundary-pushing. His 2013 collection, Lost Tribes, an innovative series of pieces fusing Goldie's style with the artistic expression of the ancient peoples of Africa, Asia and America was, he says, "my most important breakthrough".
And for the kid who lay awake, gazing at the stars, through the window of a children's home, growing up has brought some surprises. In 2012, he was selected as one of the BBC's New Elizabethans, 60 people - ranging from David Hockney to Roald Dahl, David Bowie and Tim Berners-Lee - who have helped shape British culture during the reign of Elizabeth II. Four years later, he was awarded the MBE in the Queen's New Year Honours. It's acceptance, of course, on a grand scale. But at heart, he's still the gatecrasher, amped-up on ideas, buzzing on nothing but love, hope and the certainty that, while his way might not be the easy way, it's very definitely the path of a true artist.
- Tim Barr, 2017LP 1
1. Horizons (feat. Terri Walker & Swindle)
5. The Mirrored River
1. I Adore You (w/ Ulterior Motive)
2. I Think of You
3. Truth (feat. Jose James)
1. Tu Viens Avec Moi?
2. The Ballad Celeste
3. This Is Not A Love Song
4. The River Mirrored (feat. Terri Walker)
6. Tomorrow's Not Today
7. Run Run Run$35.99Vinyl LP - 3 LPs Sealed Buy Now
50After five decades of recording and touring, veteran British songwriter and guitar sage Michael Chapman has finally made what he calls his "American record," and the aptly titled 50 now stands as his late career masterwork, a moving legacy statement by a legend. Backed by a collaborative group of friends and acolytes-Steve Gunn (who also produced), Nathan Bowles (Pelt), James Elkington (Jeff Tweedy), Jason Meagher (No-Neck Blues Band), Jimi SeiTang (Rhyton), and fellow UK songwriting luminary Bridget St John-Chapman tears into both bold renderings of new songs and radical reinterpretations of material from his revered catalog, the crack band adeptly scaling the same rarefied sonic heights of classic Harvest albums like Fully Qualified Survivor, guided by a true survivor's instinct, wit, and wisdom. The result is a sublime chiaroscuro self-portrait, more shadow than light, as an invigorated Chapman wrestles with weighty themes of travel, memory, mortality, and redemption, his world-weary whispers assuming the incandescent power of prophecy. Deluxe package includes tip-on jacket, printed inner sleeve, and lyrics.1. A Spanish Incident (Ramon and Durango)
2. Sometimes You Just Drive
3. The Mallard
4. Memphis in Winter
5. The Prospector
6. Falling from Grace
7. Money Trouble
8. That Time of Night$23.99Vinyl LP - Sealed Buy Now
Sugar Mountain: Live At Canterbury House (Out Of Stock)Pressed at Pallas in Germany.
A more intimate live portrayal of solo Neil Young doesn't exist. Recorded on a TEAC 2-track tape recorder at Canterbury House on November 9-10, 1968, Sugar Mountain: Live At Canterbury House 1968 is, for all intents and purposes, the start of the iconic singer-songwriter's solo career. It's a unique document not in just Young's catalog, but in all of music.
Armed with just an acoustic guitar and his voice, Young charms an intimate crowd on his own terms with renditions of many now-classic songs that hadn't yet even been released. Fortunately, for everyone, the performances are captured in you-are-there sound. Experienced on this exquisite analog pressing, sonics don't get any more realistic. Acoustic properties and liveliness abound. The wood-bodied tones of the guitar, inflections of Young's speech, and warble of his timbre come to life as if you have been transported back to those two cool, fall November days in Michigan.
In addition to songs such as Birds, Winterlong, and The Last Trip to Tulsa, an extremely rare portrait of Young emerges. Evidently nervous about the gigs (he just broke apart from Buffalo Springfield), the 22-year-old Canadian is actually talkative and giddy, two characteristics that soon left his onstage repertoire. We hear stories of his job in a bookstore to his thoughts on songwriting amidst an unvarnished, up-close presentation that, by some fortunate stroke of karma, was documented for everyone to hear.
Trust us: Young's records are long-time favorites among audiophiles for their music and sound qualities. Sugar Mountain: Live At Canterbury House 1968 rivals the very best of the legend's performances and will make you and your stereo glow with happiness.
Do not miss this pressing. It is seriously THAT good!LP1
1. Emcee Intro
2. On The Way Home
3. Songwriting Rap
4. Mr. Soul
5. Recording Rap
6. Expecting to Fly
7. The Last Trip to Tulsa
8. Bookstore Rap
9. The Loner
10. I Used To... Rap
12. Winterlong (Excerpt) & Out of My Mind Intro
13. Out of My Mind
1. If I Could Have Her Tonight
2. Classical Gas Rap
3. Sugar Mountain - Intro.
4. Sugar Mountain
5. I've Been Waiting For You
6. Songs Rap
7. Nowadays Clancy Can't Even Sing
8. Tuning Rap & The Old Laughing Lady - Intro.
9. The Old Laughing Lady
10. Broken Arrow$49.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Temporarily out of stock