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  • For True For True Quick View

    $19.99
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    For True

    Since the release of their Grammy-nominated 2010 debut album, Backatown, Trombone Shorty & Orleans Avenue have grown creatively while winning hordes of new fans performing nonstop on five continents. Their new Verve Forecast album, For True, offers substantive proof of their explosive growth, further refining the signature sound Troy Trombone Shorty Andrews has dubbed Supafunkrock.


    The band: Mike Ballard on bass, Pete Murano on guitar, Joey Peebles on drums, Dwayne Williams on percussion, Dan Oestreicher on baritone sax and Tim McFatter on tenor sax, stirs together old-school New Orleans jazz, funk and soul, laced with hard-rock power chords and hip-hop beats, and they've added some tangy new ingredients on For True as they keep pushing the envelope, exploring new musical territory.


    Andrews wrote or co-wrote all 14 tracks on the new album, including collaborating with the legendary Lamont Dozier on Encore, while this time playing as much trumpet as trombone, as well as organ, drums, piano, keys, synth bass and percussion. Indeed, he played every part on the swaying, Latin-tinged Unc. He's also come into his own as a singer, honoring the hallowed legacy of the great soul men of the 1960s and '70s. Like its predecessor, the new album turns on a rare combination of virtuosity and high-energy, party-down intensity.


    Among the special guests are longtime NOLA cohorts like Ivan and Cyril Neville (who bring their trademark sound to Nervis); Galactic's Ben Ellman, reprising his producer's role on Backatown (percussion on opener Buckjump, harmonica on Big 12) and Stanton Moore (drumming on Lagniappe Part 1 and Part 2); bounce rapper 5th Ward Weebie and the Rebirth Brass Band (who team up on Buckjump) and Troy's longtime friend Charles Smith (who adds percussion to the same track).


    The album also bears the fruit of more recent relationships Lenny Kravitz (who plays bass on Roses), has the longest-standing bond with Andrews, discovering the then-teenage prodigy in 2005 and taking him on tour with his band. Kid Rock (whose vocal is featured on Mrs. Orleans) came out to see Trombone Shorty & Orleans Avenue at an outdoor show early this year in NOLA, and a month later Troy joined the star onstage at Jazz Fest.


    Andrews played with Warren Haynes (whose eruptive solo further heats up Encore) at his annual benefit and again at the guitarist's Mahalia Jackson Theatre all-star event during this year's Jazz Fest. Ledisi (who sings on Then There Was You), met Troy at the 2010 Grammys, later came out to see him in New Orleans and was later featured in a segment for the landmark Red Hot + New Orleans at the Brooklyn Academy of Music, for which Andrews served as musical director. His relationship with Jeff Beck (check out his blistering solo on Do to Me) has also blossomed since the guitar legend came to Troy's late-night post-Jazz Fest show at Tipitina's in 2010.

    1. Buckjump
    2. Encore
    3. For True

    4. Do To Me
    5. Lagniappe (Part 1)
    6. The Craziest Thing
    7. Dumaine St.
    8. Mrs. Orleans
    9. Nervis
    10. Roses
    11. Big 12
    12. Unc
    13. Then There Was You
    14. Lagniappe (Part 2)
    Trombone Shorty
    $19.99
    Vinyl LP - Sealed Buy Now
  • Here Comes The Judge Here Comes The Judge Quick View

    $14.99
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    Here Comes The Judge

    Shorty Long is probably one of the least well known artists signed to Motown records. More akin to Rufus Thomas in temperament and sense of humor, he was something of an anomaly to the label with his upbeat yet comedic songs like the title track, Here Comes The Judge. The Sound of Young America" is evident enough though on songs like Night Fo Last and Don't Mess With My Weekend with that distinctive Motown drum sound and beat. Ain't No Justice is a nice soul instrumental with just the right amount of vocals by Shorty to propel the tune alone. The second side is decidedly more mellow. - Soulstrut
    1. Here Come The Judge
    2. Night Fo' Last (Instrumental)
    3. Function At The Junction
    4. Don't Mess With My Weekend
    5. Ain't No Justice
    6. Devil With The Blue Dress
    7. Night Fo' Last
    8. Stranded In The Jungle
    9. Here Comes Fat Albert
    10. Sing What You Wanna
    11. Another Hurt Like This
    12. People Sure Act Funny
    Shorty Long
    $14.99
    Vinyl LP Reissue - Sealed Buy Now
  • Parking Lot Symphony Parking Lot Symphony Quick View

    $18.99
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    Parking Lot Symphony

    Trombone Shorty has announced the release of Parking Lot Symphony, his Blue Note Records debut. The album is a 12-track tour de force produced by Chris Seefried (Fitz and the Tantrums, Andra Day) featuring 10 new original songs along with covers of Allen Toussaint (Here Come The Girls) and The Meters (It Ain't No Use). True to its title, the album contains multitudes of sound-from brass band blare and deep-groove funk to bluesy beauty and hip-hop/pop swagger - and plenty of emotion all anchored, of course, by stellar playing and the idea that, even in the toughest of times, as he says, Music brings unity.
    1. Laveau Dirge No. 1
    2. It Ain't No Use
    3. Parking Lot Symphony
    4. Dirty Water
    5. Here Come The Girls
    6. Tripped Out Slim
    7. Familiar
    8. No Good Time
    9. Where It At?
    10. Fanfare
    11. Like A Dog
    12. Laveau Dirge Finale
    Trombone Shorty
    $18.99
    Vinyl LP - Sealed Buy Now
  • Indigos Indigos Quick View

    $34.99
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    Indigos

    Indigos is a seminal Jazz album by big band superstar Duke Ellington, originally released in 1958. Ellington chose a set of easy listening ballads to be performed by his ace Big Band, putting less emphasis on the uptempo and danceable Swing the group was revered for.


    Behind Ellington on piano, you'll hear a marvelous band including Paul Gonsalves on tenor sax, Shorty Baker on trumpet, Ray Nance on violin, Johnny Hodges on alto sax and Harry Carney on baritone sax, all being put in the solo spotlight on every song of this record.


    This stereo reissue features the mono version of The Sky Fell Down, thus featuring the original 1958 track listing, exactly as it was intended more than half a century ago. A timeless classic!

    1. Solitude
    2. Where Or When
    3. Mood Indigo
    4. Autumn Leaves
    5. The Sky Fell Down
    6. Prelude To A Kiss
    7. Willow Weep For Me
    8. Tenderly
    9. Dancing In The Dark
    Duke Ellington
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Ya-Ka-May Ya-Ka-May Quick View

    $19.99
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    Ya-Ka-May

    In the wake of Hurricane Katrina, various groups offered their musical tributes to the city, but few if any captured the diverse snapshot that is New Orleans. Most tended to view the place as something of a musical museum, while ignoring the town's vibrant and innovative new music: the energetic, highly eroticized, and occasionally gender-bending style of hip hop called bounce. Now Galactic have made what may be the definitive New Orleans tribute with Ya-Ka-May, by recognizing this fundamental truth; that all of the town's seemingly disparate styles like jazz, brass bands and funk as well as the newer bounce/hip hop are intrinsically linked. There is a particular inclusiveness about the place which connects both its people and their music, linking seemingly discordant genres from bounce to jazz, brass bands to rock, gospel to funk. There is also, even in the face of diversity, a sense of infectious fun and joy in these grooves, just as there is on the streets of a city that always knows how to let its hair down.


    The album features established legends such as the Rebirth Brass Band, Irma Thomas, Big Chief Bo Dollis, Allen Toussaint and Walter ôWolfmanö Washington with younger artists like Trombone Shorty and Corey Henry, John Boutt?, Josh Cohen and Scully, and Glen David Andrews, as well as groundbreaking new bounce artists like Cheeky Blakk, Big Freedia, Katey Red, and Sissy Nobby.

    1. Friends of Science
    2. Boe Money (featuring The Rebirth Brass Band
    3. Double It (featuring Big Freedia)
    4. Heart of Steel (featuring Irma Thomas)
    5. Wild Man (featuring Big Chief Bo Dollis)
    6. Bacchus (featuring Allen Toussaint)
    7. Katey vs. Nobby (featuring Katey Red and Sissy Nobby)
    8. Cineramascope (featuring Trombone Shorty and Corey Henry)
    9. Dark Water (featuring John Boutte)
    10. Do It Again (featuring Cheeky Blakk)
    11. Liquor Pang (featuring Josh Cohen and Ryan Scully from the Morning 40 Federation)
    12. Krewe d'etat
    13. You Don't know (featuring Glen David Andrews and The Rebirth Brass Band)
    14. Speaks His Mind (featuring Walter Wolfman Washington)
    15. Do It Again (again) (featuring Cheeky Blakk)
    Galactic
    $19.99
    Vinyl LP - Sealed Buy Now
  • Blues In Orbit Blues In Orbit Quick View

    $54.99
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    Blues In Orbit

    Numbered Deluxe Laminated Gatefold Jackets!


    Only 2500 Numbered Limited Edition Copies Worldwide!


    Duke Ellington is joined by the likes of Clark Terry, Johnny Hodges and more for this recording from multiple sessions spreading from February 1958 to December 1959.


    ...(Blues In Orbit is) an album worth tracking down, if only to hear the band run through a lighter side of its sound -- indeed, it captures the essence of a late-night recording date that was as much a loose jam as a formal studio date, balancing the spontaneity of the former and the technical polish of the latter. - Bruce Eder, Allmusic.com


    Features:

    • Numbered Deluxe Laminated Double Gatefold Jackets

    • Only 2500 Numbered Limited Edition Copies Worldwide!

    • Audiophile 180 gram, 45rpm Vinyl

    • Double LP

    • Pressed at RTI

    • Mastered by Bernie Grundman from the Original Analog Master Tapes!


    Musicians:

    Duke Ellington, piano

    Billy Strayhorn, piano (2,7)

    Ray Nance, trumpet

    Cat Anderson, trumpet

    Shorty Baker, trumpet

    Clark Terry, trumpet

    Britt Woodman, trombone

    Matthew Gee, trombone

    Quentin Jackson, trombone

    John Sanders, valve trombone

    Johnny Hodges, alto saxophone

    Russell Procope, alto saxophone, clarinet

    Harry Carney, baritone saxophone

    Jimmy Woode, bass

    Jimmy Johnson, drums

    Sam Woodyard, drums


    This title is not eligible for discount.

    1. Three J's Blues
    2. Smada
    3. Pie Eye's Blues
    4. Sweet and Pungent
    5. C Jam Blues
    6. In a Mellow Tone
    7. Blues In Blueprint
    8. The Swingers Get the Blues, Too
    9. The Swinger's Jump
    10. Blues In Orbit
    11. Villes Ville Is the Place, Man
    Duke Ellington
    $54.99
    180 Gram Audiophile Virgin Vinyl LP 45RPM - 2 LPs Sealed Buy Now
  • Jazz Party In Stereo Jazz Party In Stereo Quick View

    $54.99
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    Jazz Party In Stereo

    Mastered by Bernie Grundman from the Original Analog Master Tapes!


    Numbered Deluxe Laminated Gatefold Jackets! Only 2500 Numbered Limited Edition Copies Worldwide!


    Originally released on Columbia Records in 1959, Jazz Party In Stereo contains a formidable gallery of jazz stars including Dizzy Gillespie, Jimmy Rushing, Johnny Hodges, Clark Terry, Paul Gonsalves, and more!


    The sometimes tender, sometimes shouting blues style of Jimmy Rushing provides nice contrast in one of the most varied and satisfying Ellington recordings ever.


    Features:

    Numbered Deluxe Laminated Double Gatefold Jackets

    Only 2500 Numbered Limited Edition Copies Worldwide!

    Audiophile 180 gram, 45rpm Vinyl

    Double LP

    Pressed at RTI


    Musicians:

    Dizzy Gillespie, trumpet

    Ray Nance, trumpet

    Clark Terry, trumpet

    Cat Anderson, trumpet

    Shorty Baker, trumpet

    Andres Ford, trumpet

    Johnny Hodges, saxophone

    Paul Gonzalves, saxophone

    Harry Carney, saxophone

    Jimmy Hamilton, saxophone

    Russell Procope, saxophone

    Britt Woodman, trombone

    Quentin Jackson, trombone

    John Sanders, trombone

    Duke Ellington, piano

    Jimmy Jones, piano

    Jimmy Woode, bass

    Sam Woodyard, drums

    Jimmy Rushing, vocalist

    Morris Goldenberg, percussionist

    George Gaber, percussionist

    Elden C. Bailey, percussionist

    Chauncey Morehouse, percussionist

    Harry Breuer, percussionist

    Robert M. Rosengarden, percussionist

    Walter E. Rosenberger, percussionist

    Bradley Spinney, percussionist

    Milton Schlesinger, percussionist


    This title is not eligible for discount.

    1. Malletoba Spank
    2. Toot Suite:
    Red Garter - Red Shoes - Red Carpet (Part 1)
    Red Carpet (Part 2)
    Red Carpet (Part 3)
    3. Satin Doll
    4. U.M.M.G. (Upper Manhattan Medical Group)
    5. All Of Me
    6. Tymperturbably Blue
    7. Fillie Trillie
    8. Hello Little Girl
    Duke Ellington
    $54.99
    180 Gram Audiophile Virgin Vinyl LP 45 RPM - 2 LPs Sealed Buy Now
  • Johnny Hodges With Billy Strayhorn Johnny Hodges With Billy Strayhorn Quick View

    $49.99
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    Johnny Hodges With Billy Strayhorn

    Mastered by George Marino at Sterling Sound


    ...these are all truly classic Verve titles that you simply don't want to miss...most importantly, the sound of these reissues is nothing short of astounding. Particularly the early Billie and Ella mono records are incredible treasures of sonic beauty. I'd definitely ask Santa for the whole set, or, if you want to cherry pick, the most classic titles. Whatever you decide, you owe yourself at least a half dozen! Winner of a 2012 Positive Feedback Online Writers' Choice Award - Danny Kaey, Positive Feedback Online, November/December 2011


    Recorded during the last decade of his long tenure with the Duke Ellington Orchestra, this album finds the great alto saxophonist Johnny Hodges' musical gifts not only intact but stronger than ever. Featuring the Ellington band - with Jimmy Jones on piano and Billy Strayhorn as bandleader and arranger - it is a fascinating program of Ellington remakes, including tome of the orchestra's most familiar numbers, all of which have been given subtle new orchestrations by Strayhorn and melodious new interpretations by Hodges.


    Recorded in 1961.


    Johnny Hodges, alto saxophone

    Billy Strayhorn, arranger, conductor, performer

    Cat Anderson, trumpet

    Shorty Baker, trumpet

    Aaron Bell, bass

    Bill Berry, trumpet

    Lawrence Brown, trombone

    Harry Carney, bass clarinet, baritone saxophone, bass saxophone

    Chuck Conors, bass trombone

    Paul Gonsalves, tenor saxophone

    Jimmy Hamilton, clarinet, tenor saxophone

    Quentin Jackson, trombone

    Jimmy Jones, piano

    Howard McGhee, trumpet

    Ed Mullens, trumpet

    Russell Procope, clarinet, alto saxophone

    Sam Woodyard, drums

    1. Don't Get Around Much Anymore
    2. I've Got It Bad and That Ain't Good
    3. Gal From Joe's
    4. Your Love Has Faded
    5. I'm Just a Lucky So and So
    6. Jeep's Blues
    7. Day Dream
    8. Juice a Plenty
    9. Azure
    10. Tailor Made
    11. Stardust
    Johnny Hodges
    $49.99
    200 Gram Audiophile Virgin Vinyl LP 45RPM - Sealed Buy Now
  • Gasoline Alley Gasoline Alley Quick View

    $24.99
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    Gasoline Alley

    Gasoline Alley follows the same formula of Rod Stewart's first album, intercutting contemporary covers with slightly older rock & roll and folk classics and originals written in the same vein. The difference is in execution. Stewart sounds more confident, claiming Elton John's Country Comfort, the Small Faces' My Way of Giving, and the Rolling Stones' version of It's All Over Now with a ragged, laddish charm. Like its predecessor, nearly all of Gasoline Alley is played on acoustic instruments -- Stewart treats rock & roll songs like folk songs, reinterpreting them in individual, unpredictable ways. For instance, It's All Over Now becomes a shambling, loose-limbed ramble instead of a tight R&B/blues groove, and Cut Across Shorty is based around a howling, Mideastern violin instead of a rockabilly riff. Of course, being a rocker at heart, Stewart doesn't let these songs become limp acoustic numbers -- these rock harder than any fuzz-guitar workout. The drums crash and bang, the acoustic guitars are pounded with a vengeance -- it's a wild, careening sound that is positively joyous with its abandon. And on the slow songs, Stewart is nuanced and affecting -- his interpretation of Bob Dylan's Only a Hobo is one of the finest Dylan covers, while the original title track is a vivid, loving tribute to his adolescence. And that spirit is carried throughout Gasoline Alley. It's an album that celebrates tradition while moving it into the present and never once does it disown the past.

    - Stephen Thomas Erlewine (All Music)
    1. Gasoline Alley
    2. It's All Over Now
    3. Only a Hobo
    4. My Way of Giving
    5. Country Comfort
    6. Cut Across Shorty
    7. Lady Day
    8. Jo's Lament
    9. You're My Girl (I Don't Want to Discuss It)
    Rod Stewart
    $24.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Instant Replay Instant Replay Quick View

    $29.99
    Buy Now
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    Instant Replay

    The Monkees have been one of the world's most enduring rock and pop acts of all time. Since their beginnings in 1966, their television show, multiplatinum albums, hit singles and concert tours truly made The Monkees one of the most colossal stories in the music business. In 1969, Davy Jones, Michael Nesmith and Micky Dolenz went back to the studio as a trio this time and recorded the classic Instant Replay album. Noted for their hit single Tear Drop City, this masterwork also found The Monkees reuniting with the production team of Tommy Boyce and Bobby Hart for several of the tracks as well as previous team Monkees writers like Carole King and Neil Sedaka, and highly touted producers like Bones Howe (The Association/Tom Waits) and Shorty Rogers and resulted in some of the finest collaborations ever with this superstar act. Instant Replay also offered the first look at Michael Nesmith's experimental and groundbreaking recording sessions in Nashville as well as solid compositions from all three Monkees.


    Opening up with the pop rocker Through The Looking Glass, Micky Dolenz is on top of his game vocally with a brilliant background of horns, Bobby Hart on piano and guitar work by legends Keith Allison (Paul Revere & The Raiders) and Gerry McGee (The Ventures/John Mayall). A major fan favorite, this classic was performed at many of the reunion concerts over the years. The late great Davy Jones belts out another Boyce and Hart classic with the haunting ballad Don't Listen To Linda. The tune truly resonated with the fans back then and continues to be one of the more appreciated classics in his long list of time tested Monkees favorites. Carole King and Gerry Goffin's I Won't Be The Same Without Her features a strong vocal performance by Michael Nesmith and the stunning guitar work of both Monkees' Peter Tork and Glen Campbell. A real summer time feeling song, this track would be a nice bridge to Micky Dolenz's orchestral masterpiece Just A Game.


    It is no secret that Nesmith was a fan of country music, but also lauded as one of the first pioneers of the country rock genre, not only with his contributions to the earlier Monkees' recordings as far back as Papa Gene's Blues, even for other noted artists like Linda Ronstadt for whom he penned her first smash single Different Drum. For the Instant Replay album, Nesmith ventured to Nashville's RCA Studios and cut Don't Wait For Me, the first released tune from his now famous Nashville sessions. With the fusion of country studio players and the voice and guitar of Michael Nesmith, The Monkees again were on the forefront of this new genre and would continue with this groundbreaking sound ever more so into future classics like The Monkees Present.


    As the '60s would come to a close, Davy Jones would also contribute his major impact on the generation with his truly hip and psychedelic masterpiece You And I. Noted for its hard rock opening to side two, the track also features the stunning lead guitar textures of Neil Young who recently departed with The Buffalo Springfield. More favorites like Nesmith's While I Cry is one of the artist's finest compositions of the era. With Mike's beautiful acoustic guitar work and help from friends like Harry Nilsson, this ballad would truly become one of the more enduring songs from this 1969 classic Monkees album.


    Neil Sedaka and Carol Bayer Sager contribute one of the classiest Monkees ballads ever with The Girl I Left Behind Me. Once again, the late great Davy Jones provides a superstar vocal second to none, with a soulful orchestra fill and band setting featuring the production and skillful piano work of Neil Sedaka, while Micky Dolenz would close out the album with his classic Shorty Blackwell. The whimsical tale of Micky's cat and a nod to his friends The Beatles' A Day In The Life, Shorty Blackwell would take almost a year to record and feature a bevy of the original wrecking crew of Hollywood musicians like drummer Jim Gordon (Eric Clapton/Traffic), Tommy Tedesco on guitar and even his sister Coco Dolenz on vocals. This track along with the other eleven tunes make this one of the more enduring and loved albums in the superior catalog of Monkees classics.


    Friday Music is once again very honored to announce the continuation of The Monkees Friday Music 180 Gram Audiophile Series with the re-release of their 1969 masterwork Instant Replay. Mastered by Joe Reagoso (The Monkees/Elvis Presley/Brian Wilson) from the original Colgems Records tapes at Friday Music Studios, this first time audiophile vinyl release is also for a very short time being offered in limited edition red vinyl as well as a first time gatefold cover presentation.

    1. Through The Looking Glass
    2. Don't Listen To Linda
    3. I Won't Be The Same Without Her
    4. Just A Game
    5. Me Without You
    6. Don't Wait For Me
    7. You And I
    8. While I Cry
    9. Tear Drop City
    10. The Girl I Left Behind Me
    11. A Man Without A Dream
    12. Shorty Blackwell
    The Monkees
    $29.99
    180 Gram Audiophile Virgin Vinyl LP Buy Now
  • Ode To Billie Joe (Pure Pleasure) (Awaiting Repress) Ode To Billie Joe (Pure Pleasure) (Awaiting Repress) Quick View

    $34.99
    Buy Now
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    Ode To Billie Joe (Pure Pleasure) (Awaiting Repress)

    Gentry's first 1967 album is a masterpiece, it's a simple as that. An album of hauntingly beautiful songs penned by Bobbie herself bar one track. The album is an uncluttered, straight down the line collection of smoky voiced gems, mostly with the simplest guitar accompaniment, but with a quirky, almost psychedelic twist on each track. The album is in a very similar vein and feel to Rodiguez's stunning Cold Fact which came out three years later, and side by side you would imagine the later album may have been inspired by Bobbie's seminal Ode To Billy Joe. This album can also easily compare with Dusty's In Memphis for it's sheer intimacy and soulful feel and is certainly in the same league musically.



    After this first album, Bobbie moved into a more MOR groove, which in a way makes this such a stand out and important album. Very, very highly recommended especially as it has now been re-mastered at Abbey Road Studios by Sean Magee.



    Musicians:



    • Bobbie Gentry (vocal, guitar)

    • Jimmie Haskel, Shorty Rogers (arranger)




    Recording: 1967

    Production: Kelly Gordon



    About Pure Pleasure



    At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Pure Pleasure all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.



    During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s - or employed existent tools from the 80s and 90s for manufacturing.



    A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.



    We should like to emphasize that Pure Pleasure Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle.



    We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.



    To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects and that the lacquer discs are newly cut.



    1. Mississippi Delta
    2. I Saw an Angel Die
    3. Chickasaw County Child
    4. Sunday Best
    5. Niki Hoeky
    6. Papa, Woncha Let Me Go to Town With You?
    7. Bugs
    8. Hurry, Tuesday Child
    9. Lazy Willie
    10. Ode To Billie Joe
    Bobbie Centry
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • Chet Baker & Strings (Pure Pleasure) Chet Baker & Strings (Pure Pleasure) Quick View

    $34.99
    Buy Now
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    Chet Baker & Strings (Pure Pleasure)

    This release offers a unique glimpse of a young Chet Baker in a quintet setting, complemented by a nine-piece string section. Utilizing the uniquely modern arrangements of Johnny Mandel, Marty Paich, Jack Montrose, and Shorty Rogers, this interaction of 'West Coast cool' with primordial elevator music escapes many - if not indeed all - of the potential sonic pitfalls such a marriage might suggest. In the truest sense of the word augmentation, the string arrangements provide the desired opulence sans the heavy-handed or syrupy residual effects. Perhaps most inspiring about this outing is the success with which Baker and crew are able to thrive in this environment, providing subtle insight into the quintet's ability to simultaneously adapt and explore. Love Walked In incorporates a trademark volley of interaction between Baker and Sims. Love contains what is arguably the most successful implementation of the string section, as well as some stellar soloing by Freeman. In fact, his contributions to this particular recording rank among his finest with Baker and company. The same enthusiasm can likewise be applied to A Little Duet for Zoot and Chet. Not only are Sims and Baker in top flight, but the string arrangement swings irresistibly as well. The easygoing and otherwise winding strings support the cool bop like a kite in a March breeze - light, airy, and conspicuous only in altitude.



    Tracks A 7 & 8 and B 7 are bonus tracks not on original release.



    Musicians:



    • Chet Baker (trumpet)

    • Zoot Sims (tenor saxophone)

    • Jack Montrose (tenor saxophone)

    • Bud Shank (alto saxophone)

    • Russ Freeman (piano)

    • Joe Mondragon (bass)

    • Shelly Manne (drums)



    Recording: December 1953

    Production: Richard Bock




    About Pure Pleasure



    At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Pure Pleasure all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.



    During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s - or employed existent tools from the 80s and 90s for manufacturing.



    A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.



    We should like to emphasize that Pure Pleasure Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle.



    We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.



    To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects and that the lacquer discs are newly cut.



    1. You Don't Know What Love Is

    2. I'm Thru With Love
    3. Love Walked In
    4. You Better Go Now
    5. I Married An Angel
    6. Love
    7. I Love You
    8. What A Difference A Day Made
    9. Why Shouldn't I?
    10. A Little Duet For Zoot And Chet
    11. The Wind
    12. Trickleydidlier
    Chet Baker
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Everybody's In Show-Biz Everybody's In Show-Biz Quick View

    $29.99
    Buy Now
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    Everybody's In Show-Biz


    4-Panel Gatefold


    150 Gram Vinyl


    Two Inserts: Original Lyric Sheet Plus Second Insert With Bonus Track Info


    Contains The Original 2-LP Plus A Third LP With 9 Previously Unreleased Live And Studio Tracks


    First released in August 1972, Everybody's In Show-Biz was The Kinks' tenth studio album, arriving within a year of the acclaimed Muswell Hillbillies (the group's debut album for RCA Records). The original double-LP Everybody's In Show-Biz contained a complete studio album (which premiered the all-time Kinks classic Celluloid Heroes among other tracks) and a live disc chronicling The Kinks' Carnegie Hall appearance in March 1972.


    The 2016 Legacy Edition of Everybody's In Show-Biz includes the original album, produced by Raymond Douglas Davies, in its entirety alongside a full disc's worth of previously unissued studio sessions outtakes (recorded for the album in 1972 at Morgan Studios, Willesden, London) and live material (recorded March 2-3, 1972 during The Kinks' triumphant Carnegie Hall concert run).


    The new edition of Everybody's In Show-Biz includes in-depth liner notes penned especially for this release by noted rock scholar David Fricke.


    A concept album of sorts, Everybody's In Show-Biz drew its themes and inspirations from the trials, tribulations and triumphs of life as a touring musician. (The raucous Carnegie Hall recordings on the album come from one of the first North American concerts performed by The Kinks after the lift of a four-year ban imposed on the group by the American Federation of Musicians in 1965.) The songs on Everybody's In Show-Biz were initially intended to serve as the soundtrack to The Colossal Shirt, a never-realized feature film about The Kinks on the road.


    Life keeps using me, keeps on abusing me, mentally and physically, Davies sings on the album's Maximum Consumption. I gotta stay fit, stay alive, need fuel inside, eat food to survive . Stylistically, Everybody's in Show-Biz finds Davies further exploring his interest in Americana-inspired musical arrangements as heard on Muswell Hillbillies.


    Everybody's In Show-Biz showcases the second great classic Kinks line-up: frontman Ray Davies, guitarist Dave Davies, bassist John Dalton, keyboardist John Gosling and drummer Mick Avory, joined by brass and woodwind players Mike Cotton, John Beecham and Alan Holmes (all of whom played on Muswell Hillbillies).


    The Carnegie Hall recordings include a variety of Kinks originals in addition to unconventional covers including Mr. Wonderful (from the Sammy Davis Jr.-led musical of the same name), the 1920s popular standard Baby Face (made famous by Al Jolson) and The Banana Boat Song (a calypso-folk perennial popularized by Harry Belafonte).


    The new Legacy Edition of Everybody's In Show-Biz includes never-before-heard live versions of Sunny Afternoon, Get Back in Line, Complicated Life and the rarely-played Long Tall Shorty as well as alternate versions of Supersonic Rocket Ship, Unreal Reality and the debut release of History, which foreshadowed The Kinks' next concept album, 1973's Preservation Act 1.

    LP 1
    1. Here Comes yet Another Day
    2. Maximum Consumption
    3. Unreal Reality
    4. Hot Potatoes
    5. Sitting In My Hotel
    6. Motorway
    7. You Don't Know My Name
    8. Supersonic Rocket Ship
    9. Look A Little On the Sunny Side
    10. Celluloid Heroes


    LP 2
    1. Top of the Pops (Live)
    2. Brainwashed(Live)
    3. Mr. Wonderful(Live)
    4. Acute Schizophrenia Paranoia Blues(Live)
    5. Holiday(Live)
    6. Muswell Hillbilly(Live)
    7. Alcohol(Live)
    8. Banana Boat Song(Live)
    9. Skin and Bone(Live)
    10. Baby Face(Live)
    11. Lola(Live)


    LP 3
    1. 'Til the End of the Day (Live)
    2. You're Looking Fine (Live)
    3. Get Back In Line (Live)
    4. Have A Cuppa Tea (Live)
    5. Sunny Afternoon (Live)
    6. Complicated Life (Live)
    7. Long Tall Shorty (Live)
    8. History
    9. Supersonic Rocket Ship (Alternate mix)

    The Kinks
    $29.99
    Vinyl LP - 3 LPs Sealed Buy Now
  • Masterpieces (Pure Pleasure) Masterpieces (Pure Pleasure) Quick View

    $34.99
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    Masterpieces (Pure Pleasure)

    When Ellington went into the studio in 1950 to record the longer tracks on this LP, his orchestra was a bridge between its late-1940's configuration (the 5-man trumpet section) and its mid-1950's personnel. The sax section had settled into the form it would have for most of the ensuing two decades (old-timers Hodges and Carney and newcomers Procope, Hamilton and Gonsalves); the trombone section had long-timer Lawrence Brown as well as Tyree Glenn and newcomer Quentin Jackson; and the drummer was still Sonny Greer, who had anchored the rhythm section since the beginning.


    The arrangements and orchestrations all bear the hallmarks of Ellington's collaboration with Billy Strayhorn in the late 1940's: they are lush, symphonic, impressionistic, and densely (and adventurously) harmonic. Mood Indigo, in particular, is a 15-minute tone-poem with shifting colors and key relationships as Ellington and Strayhorn bring the melody through a wide variety of guises, from Glenn's wah-wah trombone solo to Shorty Baker's lyrical waltz to orchestral and piano passages which do homage to the influence which Ravel and Stravinsky had on both of them.


    The Tattooed Bride is the only new piece from the original Masterpieces by Ellington LP, and it is a beauty. The others of the original tracks -- Sophistocated Lady and Solitude -- are not laid out as inventively in their harmonics or structure. Of the group, Solitude is perhaps the weakest, but this is a relative term. Ellington would go on to pen many more extended, symphonic works, but none would have quite the multicolored, impressionistic tone-pallate that these do. And Strayhorn's presence would not be as pronounced in those future works as it is here: the orchestration and harmonies in particular bear his mark. These are masterpieces indeed: great works of art by two of our greatest composers/orchestrators, and played by one of the greatest orchestras in Afro-American music. - Andrew R. Weiss

    Musicians:



    • Duke Ellington, Billy Strayhorn (piano)
    • Cat Anderson, Clark Terry, Ray Nance (trumpet)
    • Quentin Jackson (trombone)
    • Johnny Hodges (reeds)
    • Mercer Ellington (french horn)
    • Russell Procope (clarinet, reeds)
    • Wendell Marshall (bass)
    • Louie Bellson (drums)




    About Pure Pleasure



    At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Pure Pleasure all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.



    During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s - or employed existent tools from the 80s and 90s for manufacturing.



    A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.



    We should like to emphasize that Pure Pleasure Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle.



    We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.



    To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects and that the lacquer discs are newly cut.



    1. Mood Indigo
    2. Sophisticated Lady
    3. The Tattooed Bride
    4. Solitude
    Duke Ellington
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • NDR 60 Years Jazz Edition No. 1 - Dizzy Gillespie NDR 60 Years Jazz Edition No. 1 - Dizzy Gillespie Quick View

    $32.99
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    NDR 60 Years Jazz Edition No. 1 - Dizzy Gillespie

    Original Remastered


    Mono


    The story behind the bent trumpet


    It is just a few days since the accident that gave the career of the trumpeter Dizzy Gillespie a new boost and made the main figure of this captivating Jazz history appear that bit crazier, that bit more "Dizzier". At the end of the year 1953, according to the legend, Lorraine Gillespie, Dizzy's wife, was celebrating her birthday in Manhattan; there were a lot of musicians, dancers and actors present and, after performing for the birthday girl, Dizzy's trumpet was left lying unattended on the stage while the trumpeter was outside in front of the club giving an interview. The two dancing comedians "Stump & Stumpy" (Jimmy Cross and Eddie Hartman) were capering around the stage and one of them fell on the instrument and damaged it so that the bell was bent upwards at an angle of 45 degrees. Dizzy, the story continues, tried to play the mutilated instrument and noticed just how near to his ear his own sound suddenly was, nearer at least than with a normal trumpet. He had the damaged instrument repaired, but ordered a new trumpet from a manufacturer with exactly the same kink as the accident had caused.


    If all of that is true, the first jazz recording in the archive of today's NDR was played either with the repaired trumpet or with a substitute instrument -Mister Gillespie, who came on the 9th of March 1953 with his quintet for a studio recording to Hamburg's studio 10(which at the time was merged with the Cologne broadcaster under the name of "Nordwestdeutscher Rundfunk" - NWDR), is not only wearing - even though there is no audience - a decorative Tyrolean hat like the popular singing comedian and EX-GI Billy Mo; the ornately decorated trumpet he plays has no kink, it is absolutely straight (as verified in the photos by Susanne Schapowalow). The "old" Dizzy, so to speak, becomes a prominent guest on this remarkable day in Hamburg, and the "new" Dizzy has just ordered his future trade mark from the trumpet manufacturer. "60 Years Jazz in the NDR" could hardly have kicked off more auspiciously.


    In 1953 John Birks Gillespie is 36 years old and a world star in Jazz. Born in 1917 in the small town of Cheraw/South Carolina, the youngest of nine children, he is known in the scene as "Dizzy" because, alongside the inventors of bebop Charlie Parker and Bud Powell, he likes to play the mad intellectual with goatee beard, Basque beret and round sunglasses. He cultivates the role of provocateur, in 1964 he even stands for election as president of the USA. However, the history of bebop has already been written when he comes to Hamburg in the spring of 1953; now the time has come for Dizzy, the spirited oddball, to reinvent himself - until in 1968 with a grandiose big band at the Berlin Jazz Festival and from then on, again and again, he sets important milestones in a great career, including NDR concerts of course. He never switches styles and sounds as drastically as, for example, Miles Davis - Dizzy was always Dizzy - but ever new musical formations led up to the "United Nations Orchestra" with whom he guested in the last years before his death on 6 January 1993 all over the world including on northern German festival stages. As often as possible, the recording vans of NDR were always there.


    In March 1953, Gillespie is accompanied by the baritone saxophonist Bill Graham, a musician who in the years beforehand had been part of the "Dee Gee Days", the "Savoy Sessions" (the album of this title became a classic of modern Jazz). Graham contributed not only magnificent solos in the sessions such as now in Hamburg; he also wrote "Oh-sho-be-do-be" a light-hearted ditty about the whispered conversations of young lovers which became a genuine classic in Gillespie's repertoire. At the piano in the Hamburg studio sits Wade Legge, barely thirty years old at the time, and one of the greatest but highly underestimated and unfortunately almost forgotten talents of the time. Legge's partner of many years, Lou Hackney, plays bass, and Al Jones is on percussion.


    Among other places, this European tour also brought the band to Paris; they recorded five tracks on a stop at the Hamburg studio. Gershwin's "They Can't Take That Away From Me" and "Alone Together" by Arthur Schwartz and Howard Dietz are followed by two of those compositions laced with Latino rhythms that Dizzy had developed with the percussionist Chano Pozo and the arranger Gil Fuller: "Manteca" and "Tin-Tin-Deo". The short but extremely sweet program ends with "I Can't Get Started", a masterpiece for posterity written by Vernon Duke and Ira Gershwin.


    The power of imagination is really not sufficient to conceive of the interaction of Gillespie's quintet with the other band in this studio session - or how on this 9th of March what was probably the most important modern quintet in the German-speaking world performed alongside Dizzy. Hans Koller had formed the band around himself. Koller was born in 1921 in Vienna. After time spent as an American prisoner of war, in 1946 he returned to his home city to found a Jazz club, and the saxophone sound he made his own influenced at least a generation. The trombonist Albert Mangelsdorff was not even 25 years old in March 1953, and it is not so long since he swapped the guitar for the trombone as a professional musician. Jutta Hipp is the pianist. Born in Leipzig in 1935, she was regarded as the greatest piano talent of her time; her career took off vertically, but ended abruptly and tragically shortly after she moved to the USA. She never played piano again and she never returned to Germany. She died in 2003 in New York, almost completely forgotten. Shorty Roeder on bass and the percussionist Karl Sanner are the top rhythmists of their age - and this band of twenty-somethings (Koller is the oldest at 32, and with a certain amount of bravado he christened them the "New Jazz Stars") is showing quite clearly that Jazz in Europe wants to and will take other paths than Dizzy in the motherland of the genre.


    Koller selected some quite standard fare; "The Way You Look Tonight" is followed by "Indian Summer", "You Go to My Head" is followed by "All the Things You Are". Old friends, all very familiar - but the interpretation that the quintet gives these tracks is cooler than anything considered cool or fashionable up to then in the USA. What would have been going through Mr. Gillespie's keen mind when he heard just how uncompromisingly these young Krauts and Koller were advancing the renewal of music which had begun to develop further and beyond the Dizzy standard at home in the USA ?


    Anyone in the NWDR studio in Hamburg on the 9th of March 1953 who could read minds would probably have witnessed an international dialogue, which has ever since repeatedly influenced the Jazz world. "60 years Jazz in the NDR" - and what an event stands at the very beginning!

    Side A - Dizzy Gillespie Quartet
    1. They Can't Take That Away From Me
    2. Alone Together
    3. Manteca
    4. Tin Tin Deo
    5. I Can't Get Started


    Side B - Hans Koller New Jazz Stars
    6. The Way You Look Tonight
    7. Indian Summer
    8. You Go To My Head
    9. All The Things You Are

    Dizzy Gillespie
    $32.99
    Vinyl LP - Sealed Buy Now
  • With You In Mind With You In Mind Quick View

    $21.99
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    With You In Mind

    With You In Mind: The Songs Of Allen Toussaint, a new release from Galactic-drummer Stanton Moore with David Torkanowsky (keyboards) and James Singleton (bass) features an all-star cast: Cyril Neville, Jolynda Kiki Chapman, Nicholas Payton, Donald Harrison, Trombone Shorty, Maceo Parker, and Wendell Pierce. The musicians on With You in Mind: The Songs of Allen Toussaint are present-generation masters of the unique musical style of the world-historic city of New Orleans. These singers and players felt the mission of the album, and delivered inspired, focused performances. Producers Torkanowsky and Moore sculpted it all into a great album that grows with every subsequent listen.
    1. Here Come the Girls (Feat. Cyril Neville & Trombone Shorty)
    2. Life (Feat. Cyril Neville, Nicholas Payton & Skerik)
    3. Java (Feat. Nicholas Payton, Donald Harrison Jr. & Trombone Shorty)
    4. All These Things (Feat. Jolynda Kiki Chapman)
    5. Night People (Feat. Maceo Parker)
    6. The Beat (Feat. Cyril Neville)
    7. Riverboat (Feat. Nicholas Payton & Donald Harrison Jr.)
    8. Everything I Do Gone Be Funky (Feat. Maceo Parker)
    9. With You in My Mind
    10. Southern Nights (Feat. Nicholas Payton & Wendell Pierce)
    Stanton Moore
    $21.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Uncaged Uncaged Quick View

    $22.99
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    Uncaged

    Zac Brown Band is set to release new album Uncaged, and the band's lead singer Zac Brown says in a statement the project is the culmination of the powerful chemistry that's developed by living, traveling and working as a band.


    We're always trying to push the barrier of our musicianship, and I'm proud to say that there is a little bit of something for everyone, he says of Uncaged. The 11-song album features a slew of special guests including Amos Lee and Trombone Shorty, as well as songs written or co-written by other artists including Jason Mraz and Nic Cowan and Sonia Leigh. The album was recorded at various studios in Atlanta, Nashville, Asheville, N.C., and Key West, Fla. The band's two previous albums, The Foundation and You Get What You Give, have gone platinum and produced nine consecutive No. 1 songs.


    This is the first record we've made from start to finish in one thought, said multi-instrumentalist Clay Cook. The previous albums have been a collection of songs ... this is an album.

    1. Jump Right In
    2. Uncaged
    3. Goodbye In Her Eyes
    4. The Wind
    5. Island Song
    6. Sweet Annie
    7. Natural Disaster
    8. Overnight (feat. Trombone Shorty)
    9. Lance's Song
    10. Day That I Die (feat. Amos Lee)
    11. Last But Not Least
    Zac Brown Band
    $22.99
    Vinyl LP - Sealed Buy Now
  • Black Black Quick View

    $19.99
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    Black

    Dierks Bentley has announced the details for his upcoming eighth studio album, Black. The follow-up to his acclaimed Riser is slated to drop in 2016.


    The new album reunites the core creative team from Riser, including producer Ross Copperman and executive producer Arturo Buenahora, Jr. Riser set a new high-water mark for Bentley, earning him Grammy, CMA and ACM nominations and putting him in the headlining slot in arenas across the country. Black sees Bentley continuing to push himself creatively, expanding his sonic palette to include influences that "flourish on the edge of arena rock," according to a press release.


    Black is a very personal album, taking its title from Bentley's wife Cassidy's maiden name, but it's intended to tell a universal story of "breakups, hookups, mess-ups and everything in between, shining a light on the things that happen after the sun goes down."


    "It's a relationship album that covers the ups and downs of the journey and ends with some self-realization and evolvement," Bentley states. "The song 'Black' helps set all of that in motion at the top of the album by guiding you into the darkness and the shadows of the night. The same guy who sings 'Somewhere On a Beach' winds up growing and having enough perspective to sing something introspective like 'Different for Girls.' By the last song, he's taking a look back on love and life."


    Black features more input from the female perspective than any previous Bentley album, including appearances from Maren Morris, Elle King, Natalie Hemby, Hillary Lindsey and Jessi Alexander.


    "Having a female perspective on this record really made the album more than just music," Bentley says. "It makes it a conversation between a guy and a girl. Sometimes it's harmonious and sometimes it's two people clashing, but it's always there."


    The album also features a guest shot from Trombone Shorty. Black is set for release on Capitol Records Nashville.


    -Sterling Whitaker (tasteofcountry.com)


    1. Black
    2. Pick Up
    3. I'll Be The Moon
    4. What The Hell Did I Say
    5. Somewhere On A Beach
    6. Freedom
    7. Why Do I Feel
    8. Roses And A Time Machine
    9. All The Way To Me
    10. Different For Girls
    11. Mardi Gras
    12. Light It Up
    13. Can't Be Replaced
    Dierks Bentley
    $19.99
    Vinyl LP - Sealed Buy Now
  • Gasoline Alley (On Sale) Gasoline Alley (On Sale) On Sale Quick View

    $24.99 $22.49 Save $2.50 (10%)

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    Gasoline Alley (On Sale)

    Numbered Limited Edition LP


    Rod the Mods 1970 Landmark Set Tone for All Folk-Rock Albums That Followed


    Evocative, Low-Key, and Rustic: Gasoline Alley Finds Stewart At His Peak


    Mastered on Mobile Fidelitys World-Renowned Mastering System and Pressed at RTI: LP Has Never Sounded More Organic, Warm, or Transparent


    Backed By Fellow Faces Ron Wood, Ronnie Lane, Ian MacLagan, Kenny Jones


    Stewarts Equally Iconic Every Picture Tells A Story Also Available on LP from Silver Label


    No matter what era or phase of Rod Stewart you prefer, nearly everyone is unanimous in choosing the artists early 1970s output as his very finest. Proof comes courtesy of Gasoline Alley. A 1970 record that literally set the template for all folk-rock efforts that followed, the critically acclaimed album has been cited as one of the 1001 Albums You Must Hear Before You Die and remains a blueprint for evocative vocals, low-key presentation, and incredible interpretation.


    Barely removed from his debut, Stewart comes into his own on Gasoline Alley, essentially a largely unplugged record on which the singer surrounds himself with a transcendent blend of acoustic guitars, mandolin, fiddle, piano, and understated percussion and channels the music with a gritty, rock n roll attitude. The results? Tough, organic, warm, swaggering, and unfettered songs that bow to country, rockabilly, blues, and folk influences all the while managing to belong to their own genre. Its just one of the reasons why Gasoline Alley remains a study in distinctive excellence.


    Another is due to Stewarts passionate singing. Sensitive, understated, wistful, and raggedly worn, he inhabits the role of a journeyman that inhabits the narratives on standard-bearing covers of Bob Dylans Only a Hobo, Elton Johns Country Comforts, and the R&B shuffle Cut Across Shorty. He conveys a bevy of complex emotionssadness, regret, optimism, sorrow, loss, humor, yearningwith a poignancy that suggests every song here is disarmingly personal. Of course, having a band sympathetic to his desires and directions, and one that claims the talent of players such as guitarist Ronnie Wood and organist Ian MacLagan, doesnt hurt matters.


    Mastered on Mobile Fidelitys world-renowned mastering system and pressed at RTI (America's best record plant), this numbered limited edition LP allows Gasoline Alley to come across with unrivaled warmth, organic tones, and transparent presence. The signature acoustic-electric blend of rock, blues, soul, and country crackles with energy; midrange and highs are vastly improved, affording listeners a clearer image of the Faces dynamic contributions and chemistry. And Stewarts vocals take place right in your room. Wait until you hear the inflections and contrasts.


    Dont hesitate on this all-time rock and folk classic.


    This title is not eligible for further discount.

    1. Gasoline Alley
    2. It's All Over Now
    3. Only A Hobo
    4. My Way Of Giving
    5. Country Comforts
    6. Cut Across Shorty
    7. Lady Day
    8. Jo's Lament
    9. You're My Girl (I Don't Want To Discuss It)
    Rod Stewart
    $24.99 $22.49 Save $2.50 (10%)
    Vinyl LP - Sealed Buy Now
  • The Invention Of Animals (Awaiting Repress) The Invention Of Animals (Awaiting Repress) Quick View

    $19.99
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    The Invention Of Animals (Awaiting Repress)


    A Collection Of Out-of-print And Unreleased Live Recordings


    Limited Edition 180 Gram Vinyl


    The John Lurie National Orchestra featuring John Lurie, Billy Martin and G. Calvin Weston


    Billy Martin's Amulet Records have announced the release of The Invention of Animals by The John Lurie National Orchestra. The archival compilation assembles seven previously unreleased live and out-of-print studio recordings by the acclaimed musician, actor and visual artist John Lurie leading his early 1990s' trio with percussionists Billy Martin and G. Calvin Weston.


    The three of us got together to try and write stuff for my band The Lounge Lizards, but what happened between the three of us was magical. After about a year of playing live it really came together, says John Lurie. There is something so unique and beautiful about this music. I don't think there is anything else like it.


    Billy Martin adds: John and I share the idea that this is like someone discovered a field recording of a lost civilization. Some strange and beautiful tribe unlike any other known to man.


    The Invention of Animals opens with Flutter, one of four National Orchestra performances culled from the soundtrack of John Lurie's 1991 television series, Fishing With John. Also drawn from that same soundtrack are The Beast, Little and Ignore The Giant. The additional studio recording included here is the title track to the only official John Lurie National Orchestra album Men With Sticks released in 1993. Rounding out the collection are two previously unreleased live recordings. I Came To Visit Here For Awhile was preserved at the Threadwaxing Space in New York City on May 7, 1993. The album's centerpiece and title track, The Invention of Animals, running at 19-minutes-plus, was captured by highly regarded sound engineer Claudia Engelhart from a performance on February 12, 1994 in Thessaloniki, Greece.


    John Lurie first became known for his work in the late '70s leading the band The Lounge Lizards, which went on to make music for 20 years. During this time, Lurie recorded 22 albums and composed scores for over 20 movies, including Stranger than Paradise, Down by Law, Mystery Train, Clay Pigeons, Animal Factory and Get Shorty, which earned him a Grammy nomination. Lurie also starred in three films directed by Jim Jarmusch, as well as a host of other films. He wrote, directed and starred in the aforementioned cult classic Fishing with John, a series that is now part of The Criterion Collection. Lurie is also responsible for the incredible music of Marvin Pontiac. Lurie emerged onto the art scene in the spring of 2004, when he had his first painting exhibition at Anton Kern Gallery. Since then Lurie's work has been exhibited in esteemed galleries throughout the world. His solo museum exhibits include P.S.1. Contemporary Arts Center in New York, Musee Des Beaux-Arts De Montreal, the Musee d'Art Moderne Grand-Duc Jean in Luxembourg and the Watari Museum of Contemporary Art in Tokyo, who gave their entire museum over to the presentation of Lurie's work. Both the Wadsorth Athenaeum in Connecticut and The Museum of Modern Art in New York have acquired his work for their permanent collections.


    The Invention of Animals by The John Lurie National Orchestra features a painting by John Lurie as its cover art.

    1. Flutter
    2. Men with Sticks (Noble Version)
    3. I Came to Visit Here for a While
    4. The Beast
    5. Little
    6. Ignore the Giant
    7. The Invention of Animals
    The John Lurie National Orchestra
    $19.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • Neon Art (Out Of Stock) Neon Art (Out Of Stock) Quick View

    $18.99
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    Neon Art (Out Of Stock)

    Red Colored Vinyl!


    Previously Unreleased Performances from January 28, 1981 at Parnell's Seattle, WA!


    Cut at Capitol Records by Ron McMaster!


    Just in time for what would have been jazz great Art Pepper's 87th birthday (September 1st) and in cooperation with Art's widow, Laurie Pepper and her label, Widow's Taste Music, Omnivore Recordings is pleased to release the first volume in a series of previously unissued live recordings by Art Pepper called Neon Art.


    From his early recordings with Stan Kenton's and Shorty Rogers' bands and sessions with Chet Baker, Henry Mancini or Quincy Jones, to his own recordings like classics made for Contemporary and Galaxy Records (The Art Pepper Quartet and Art Pepper Meets the Rhythm Section) Art Pepper built a legacy of recordings that can only be described as legendary. Thankfully, he also left us a narrative, tracing the history of his life and the roadmap with details of his great recordings in the shape of the book, Straight Life, which Art and Laurie authored together.


    The first volume of Neon Art features two tunes drawn from the unissued performances at Parnell's in Seattle, WA on January 28, 1981. Side one features a workout on Art's composition, "Red Car," while side two features "Blues For Blanche," also a Pepper-composed track. Cut at Capitol Records by Ron McMaster and pressed on red vinyl in a see-through jacket, this first volume is aimed at both the longtime Art Pepper aficionado and collector, and to those just coming to know Art's work. It's an entry point into the multifaceted colorful world of Art Pepper. Download card included.

    1. Red Car
    2. Blues For Blanche
    Art Pepper
    $18.99
    180 Gram Audiophile Virgin Vinyl LP -Sealed Temporarily out of stock
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