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A Quiet StormA Quiet Storm was the legendary Smokey Robinsons third solo album for Motown, following his departure from The Miracles. Released in 1975, the albums influential smooth R&B produced three hit singles with Baby Thats Backatcha, The Agony And The Ecstasy, as well as the title track.1. Quiet Storm
2. The Agony And The Ecstasy
3. Baby That's Backatcha
4. Wedding Song
5. Happy (Love Theme from Lady Sing the Blues)
6. Love Letters
7. Coincidentally$19.99Vinyl LP Reissue -Sealed Buy Now
Wish It Would RainThe Temptations Wish It Would Rain is a 1968 album by The Temptations for the Gordy (Motown) label. It was the final release from the group's Classic-5 era, during which David Ruffin, Eddie Kendricks, Paul Williams, Melvin Franklin, and Otis Williams constituted the Temptations' lineup.
Wish It Would Rain also marks the last Temptations solo album to focus on the classic Motown Sound, and the last to feature production from Smokey Robinson.
Included on Wish It Would Rain are the hit singles I Wish It Would Rain and I Could Never Love Another (After Loving You), both featuring Ruffin on lead vocals and co-written by Motown writer Roger Penzabene, who committed suicide on New Years Eve 1967 because of the breakup described in these two songs. I Wish It Would Rain's b-side, I Truly, Truly Believe, is a rare solo showcase for Franklin, the group's bass singer.
The third single, Please Return Your Love to Me, features Kendricks on lead, and was released in July after Ruffin's departure. The song's b-side, How Could I Forget (led by Williams), is not included here, because it was newly recorded on June 29 to accompany the a-side.1. I Could Never Love Another (After Loving You)
3. I Wish It Would Rain
4. Please Return Your Love To Me
5. Fan The Flame
6. He Who Picks A Rose
7. Why Did You Leave Me Darling
8. I Truly, Truly Believe
9. This Is My Beloved
10. Gonna Give Her All The Love I've Got
11. I've Passed This Way Before
12. No Man Can Love Her Like I Do$14.99Vinyl LP Reissue - Sealed Buy Now
Part Time LoveThere were so many competent records coming out of Memphis that any burgeoning greatness can only be detected by a careful listening. Ann Peebles deserves that kind of extra care.
Her style is so subtle and economical that the fi ner qualities of her talents might be passed
over as being merely competent. This would be a crime because little Ann has so very much
Ann stresses the melody (rather than rhythm for its own sake). This is not to say she can't
sing funky; she can and does very effectively. It just means Ann shines extra brightly on the
slower bluesy numbers. For example "Give Me Some Credit" is such a moving lament, filtering faint traces of early Smokey Robinson and the album's two most tender cuts, "I Still Love
You" and "Steal Away" are the places where Ann Peebles makes such a great impression.
These are the kinds of song that become "personal" classics.
Ann sings seven up-tempo numbers on which she illustrates her tight, full-bodied voice and
shows why she's presently way up on R & B charts all over the country. Her renditions of "It's
Your Thing," "Part Time Love," and "Make Me Yours" are unfettered delights.
Ann Peebles goes past the apparent and into the sublime. She stands beyond the predictably
competent. And you know that's where it's at.1. Part Time Love
2. I'll Get Along
3. I Still Love You
4. Make Me Yours
5. It's Your Thing
6. Generation Gap Between Us
7. Crazy About You Baby
8. Give Me Some Credit
9. Steal Away
10. Solid Foundation$17.99Vinyl LP - Sealed Buy Now
DeliverIn their brief but eventful reign as one of America's hippest and most popular recording acts, the Mamas and the Papas-Denny Doherty, Cass Elliot, Michelle Phillips and main songwriter/sonic architect John Phillips-created a uniquely captivating brand of smart, harmony-laden pop that was consistently inventive and innovative, yet effortlessly commercial.
Although their hitmaking heyday lasted less than three years, these trendsetting California dreamers left a long-lasting mark on popular music, releasing a series of hit singles and classic albums that remain deeply ingrained in the pop-culture consciousness four and a half decades later. Now, Sundazed Music brings the Mamas and the Papas' much-requested, long-out-of-print second and third albums back to the marketplace in LP editions that preserve their timeless brilliance for the ages.
These beloved '60s classics have been lovingly restored by Sundazed Music to their original glory, on high-quality vinyl LP. This definitive edition faithfully reproduces the album's iconic original cover art, while careful mastering from the original reels guarantees that it's never sounded better than it does here.
Released in early 1967, the group's third longplayer Deliver is one of the Mamas and the Papas' essential works, and an exquisitely engaging expression of the group's singular pop artistry. The album produced a pair of Top Five singles in the amusingly autobiographical "Creeque Alley" and the quartet's transcendent reading of "Dedicated to the One I Love," previously recorded by the "5" Royales and the Shirelles. Other highlights include the much-loved originals "Look Through My Window" and "Boys & Girls Together," and reworkings of the Smokey Robinson-penned Temptations classic "My Girl" and the Beatles/Isley Brothers hit "Twist and Shout."1. Dedicated To The One I Love
2. My Girl
3. Creeque Alley
4. Sing For Your Supper
5. Twist And Shout
6. Free Advice
7. Look Through My Window
8. Boys & Girls Together
9. String Man
11. Did You Ever Want To Cry
12. John's Music Box$24.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Get ReadyMotown Records approached American R&B/rock band Rare Earth in the latter part of 1968 to sign a recording contract with the label. At first the group was reluctant because of the fact that other white artists/groups hadn't found success with the label because they were primarily geared for promotion and distribution in the black market only.
It was when Motown decided they wanted to launch a new division of Motown to cater to more white artists and broader radio formats that Rare Earth relented. Motown didn't have a name for their new endeavor initially so the band jokingly suggested their namesake Rare Earth. Surprisingly, they agreed and the Rare Earth subsidiary was born.
Rare Earth had been playing clubs for several years prior to signing with Motown, cutting their teeth on a lot of R&B music which was prevalent on the radio at the time. This is where the band developed their now famous version of the Smokey Robinson/Temptations song Get Ready. It started out as a 3-minute song until one member took a solo and then everyone wanted a solo so over time it evolved into a 21-minute long monster. It became the closing song each night and people liked it so much they would stay just to hear it.
The band even featured the extended take of Get Ready on an entire side of this, their 1969 debut album of the same name for Motown. After initial slow sales, they decided to release the first three minutes of Get Ready as a single. Not only was it a huge hit, peaking at #4, it propelled the album, which also boasts the band's takes on the classics Tobacco Road and Feelin' Alright, into the Top 20!1. Magic City
2. Tobacco Road
3. Feelin' Alright
4. In Bed
5. Train To Nowhere
6. Get Ready$37.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
PolicyWill Butler has been a member of the band Arcade Fire for over 10 years.
This is his first release under his own name.
Policy is American music-in the tradition of the Violent Femmes, The
Breeders, The Modern Lovers, Bob Dylan, Smokey Robinson, The Magnetic
Fields, Ghostface Killah. And John Lennon (I know, but it counts).
Music where the holy fool runs afoul of the casual world.
Policy was recorded in one week in Jimi Hendrix's old living room
(upstairs at Electric Lady Studios). Jeremy Gara played drums; other
musicians contributed woodwinds and backing vocals. Most everything else
was played by Will.
The song structures are traditional; the arrangements are clean. The music is
experimental only in that it attacks consistency as a requirement for sincerity.
The songs are angry, loving, joking, tired, honest, idiotic. They clash against
each other but also fit and work together-as if a blind watchmaker made a
Frankenstein watch that came alive and told extremely accurate time while
having conflicting feelings about its creator. No, about creation itself. But
then the watch makes friends with a talking rat, and they go on hilarious
adventures until it turns out that the rat was dead the whole time. With a
really good credits song-I mean, the whole soundtrack is excellent. You
should check it out.
Blues Musician1. Take My Side
3. Finish What I Started
4. Son of God
5. Something's Coming
6. What I Want
7. Sing to Me
8. Witness$18.99Vinyl LP - Sealed Buy Now
Bus StopNo rest for the Hollies in 1966! Hot on the heels of Beat Group!, Bus Stop rolled into U.S. record shops, right on schedule. Written by Gouldman, the title track became the bands first Top Ten U.S. single, peaking at #5, and featuring their bell-tone harmonies to perfection. In addition to the sparkling single, the album is packed with their renditions of contemporary hits like Simon and Garfunkel's I Am A Rock, Smokey Robinson and the Miracles' Mickey's Monkey' and the Fred Neil/Roy Orbison chestnut Candy Man. Self-penned songs We're Through, Don't Run and Hide and You Know He Did also shine brightly and prove there was no danger of covering up the band members writing skills. With this disc, the Hollies put the rock world on notice that they were the British Invasions most beat-filled battalion!
Out of print for decades, this classic album is FINALLY available again. Sourced from the aurally awesome original U.K. mono master, this LP is pressed on pristine 180-gram vinyl per your turntables request. Get in the queue!
Perhaps the most undervalued band of the original British Invasion, The Hollies hits are well known in the U.S. but their early albums are almost impossible to find! Taking their name from Buddy Holly and modeling their harmonies on the Everly Brothers, the Hollies gathered these American musical ingredients and whipped them into a wholly-UKnique concoction. Forging their sound to the east of their Liverpool brothers-in-beat, this Manchester quintet had it all: the soaring vocals of Allan Clarke, Graham Nash and Tony Hicks; Hicks cascading, arpeggio-laden licks on guitar and a hard-hitting rhythm section driven by drummer extraordinaire Bobby Elliot. On top of that, their keen ears for top quality songs, written by the premier songsmiths of the day like teenage wunderkind Graham Gouldman, Chip Wild Thing Taylor and the stellar in-house writing team of Clarke/Hicks/Nash, ensured that their albums were extraordinary from start to finish. In short, they were a band that exuded greatness on all fronts. Now, as that greatness has been acknowledged by their induction into the Rock and Roll Hall of Fame, Sundazed Music is proud to present meticulously restored vinyl editions of the rare U.S. mono versions of the Hollies third and fourth Imperial label albums, from 1966.1. Bus Stop
2. Candy Man
3. Baby Thats All
4. I Am A Rock
5. Sweet Little Sixteen
6. Were Through
7. Dont Run And Hide
8. Oriental Sadness
9. Mickeys Monkey
10. Little Lover
11. You Know He Did
12. Whatcha Gonna Do Bout It$24.99180 Gram Audiophile Virgin Vinyl Mono LP - Sealed Buy Now
The Beat Greatest
180 Gram Picture Disc Vinyl
Limited To 500
12 Of Their Original Classic Hits
Transparent PVC Cover With Sticker
This collection features 12 of The Beat's (known as The English Beat in the U.S.) greatest hits. Featuring classic hits such as 'Mirror in the Bathroom', 'Hands Off...She's Mine', 'Can't Get Used to Losing You', 'Too Nice to Talk To', 'Best Friend' and many more.
The Beat was formed in Birmingham in 1979, with members Dave Wakeling (vocals, guitar), Ranking Roger (vocals, toasting), Andy Cox (guitar), Everett Morton (drums), veteran Jamaican saxophonist Saxa, and from the Isle of Wight, David Steele on bass. The band was part of the West Midlands ska revival scene that also produced The Specials and The Selecter, whilst London saw the formation of Madness and The Bodysnatchers.
The Beat's first single was an arresting version of Smokey Robinson's ''Tears Of A Clown'', given a completely new feel, and was backed with their own composition ''Ranking Full Stop''. Released in a one-off deal on Jerry Dammers' Chrysalis-backed 2-Tone label, the single stormed into the Top 10 in December 1979, and saw the band appear twice on Top Of The Pops.
Backed by Arista, the band formed their own label Go-Feet Records, with its own distinctive art direction and design provided by Hunt Emerson. The first release in February 1980 was another Top 10 hit, ''Hands Off... She's Mine'', and was the first of twelve chart singles for the band on Go-Feet, a list that includes permanent favourites like ''Mirror In The Bathroom'', ''Too Nice To Talk To'', ''Best Friend'', ''All Out To Get You'', ''Doors Of Your Heart'', ''Save It For Later'' (later covered by both The Who and Pearl Jam!), ''Jeanette'', ''I Confess'' and their Top 3 hit cover of ''Can't Get Used To Losing You''.
The band released three albums ''I Just Can't Stop It'' (1980, # 3), ''Wha'ppen?'' (1981, # 3) and ''Special Beat Service'' (1982, # 21), which contained many tracks that demonstrated their more politicised and socially-conscious leanings in songs like ''Stand Down Margaret'', ''Get-A-Job'', ''Big Shot'' and ''Click Click''. The band broke up in 1983, Dave Wakeling and Ranking Roger going on to form General Public, and Andy Cox and David Steele forming Fine Young Cannibals.1. Mirror in the Bathroom
2. Hands Off...She's Mine
3. Can't Get Used to Losing You
4. Too Nice To Talk To
5. Best Friend
6. Twist And Crawl
8. All Out to Get You
9. Doors of Your Heart
10. Save it For Later
12. I Confess$31.99180 Gram Picture Disc Vinyl LP - Sealed Buy Now
Life. Love. Flesh. BloodImelda May's fifth studio record, entitled Life. Love. Flesh. Blood, is set for release via Verve Records.
It is clear that one of Ireland's biggest exports has found a new groove, here presenting the most personal and intimately autobiographical album she has ever written. The album is produced by the legendary T Bone Burnett, who said of Imelda: "When I first happened onto her music, she was a punky Irish Rockabilly singer with a great band. When I ran across her several years later, she had gone through a change of lives and was writing about it with a wild intensity and singing about it in the most open-hearted way."
The album marks a new direction for May who, in the time since her 2014 release Tribal, ended her marriage of eighteen years. Imelda May's new sound sits firmly outside of any sharply defined genre box, widely spanning blues, rock, soul, gospel and jazz. Life, Love, Flesh, Blood breathes new life into a classic sound, with Imelda's powerhouse vocal as distinctive as ever, cementing her position as one of the strongest vocalists of her generation. The singer herself describes the record as her most "honest" yet. Imelda's life changed considerably in the run-up to recording, and this is documented in the only way she knew how. Imelda explains, "It's therapy, like keeping a diary that a lot of people read. Some of my favorite songs don't say much, but they reveal everything."
Recorded over seven days in Los Angeles, the album features musical contributions from guitar hero Jeff Beck ("Black Tears"), piano legend Jools Holland ("When It's My Time") and an accomplished group of backing musicians including the core trio of guitarist Marc Ribot (Tom Waits, Elvis Costello), drummer Jay Bellerose (Elton John & Leon Russell, Ray Lamontagne) and bassist Zach Dawes (The Last Shadow Puppets, Mini Mansions), the same band that recorded Robert Plant and Alison Krauss' Raising Sand.
First single "Black Tears" is a personal and heart-wrenching ballad, it features a distinctive slide guitar part, coupled with a unique picking and guitar tone that could be the handiwork of only one man - the legendary Jeff Beck. Jeff Beck says of Imelda, "I knew it from the start you cannot ignore talent this unique."
Imelda showcases her raw yet restrained breathtaking lead vocal, complimented by rich backing vocals and a super tight rhythm section. Written with Angelo Petragalia (Kings of Leon), the inspiration for the song's visual and poignant lyrics was inspired by a very personal moment for Imelda: "I wrote Black Tears with Angelo Petraglia after a heart-wrenchingly difficult goodbye. I closed my door and caught a glimpse of myself in the mirror with black tears rolling down my face. It's a sight and situation most women have unfortunately seen ourselves in at some point in life. Angelo had a beautiful guitar piece that fit the mood perfectly."
Imelda May, born and raised in The Liberties area of Dublin, has become one of Ireland's most celebrated female artists in history. Discovered by Jools Holland, who asked Imelda to support him on tour, Imelda has gone on to perform alongside legendary artists including Lou Reed, Bono, and Smokey Robinson.1. Call Me
2. Black Tears (feat. Jeff Beck)
3. Should've Been You
4. Sixth Sense
6. How Bad Can A Good Girl Be
7. Bad Habit
9. When It's My Time (feat. Jools Holland)
10. Leave Me Lonely
11. The Girl I Used To Be$19.99Vinyl LP - Sealed Buy Now
Broken PeopleAmerican music is a mile-wide river that beckons black and white, urban and rural, dreamer and doer alike to launch their vessels. All the streams of style and genre flow into it; its tributaries are blues and jazz, mountain and folk, rock, soul and R&B.
The release of the debut album by Muddy Magnolias, Broken People, marks the launch of a great new vessel onto that waterway. The album showcases a confluence of style and sound as colorful as it is unlikely, steeped in that river of influence, yet bracingly fresh.
With Broken People, Jessy Wilson and Kallie North take us on an 11-song journey with its origins in two widely divergent backgrounds that came together in a friendship and creative partnership with world-changing resonance.
North was raised in southeast Texas and began singing with her family and studying piano at an early age. She grew to love rich vocal harmonies singing in church choirs and listening to artists like the Carpenters, Alison Krauss, James Taylor and the Eagles. By her early teens, she was singing lead parts in church and in musical theater productions at her high school. Her palette grew when a friend turned her on to the Grateful Dead, and after high school she spent every spare moment in the clubs of Austin, absorbing everything from alt-country and jam bands to New Orleans funk. She met her husband at a concert and moved with him to his native Mississippi. There, on their isolated farm, she had her awakening, starting a career as a photographer, capturing the spirited, deep history of the Mississippi Delta.
"To me, the Delta is the most overlooked and mysterious place," she says. "It was the birthplace of America's music, and all the legends were influenced by everything that came out of it. I went on this personal exploration to learn about the Delta blues and the region's history. I picked up a camera and started taking pictures, blogging about what I was experiencing, and I tapped into all the creative energy lying dormant inside me." When her husband gave her a guitar, she began spending her days on the porch of their farm learning how to connect her first chords. From there, the songs began pouring out and she knew she had to find a way to get to Nashville and write songs professionally.
Wilson, raised in Brooklyn, was in love with music from her earliest days. She was singing before she could talk, and was 5 when her mother recognized her passion for music. "I would cry because I couldn't hit the high notes in Whitney Houston and Mariah Carey songs," she says. Influenced by greats from Aretha and Smokey Robinson to Lauryn Hill, Mary J. Blige and The Notorious B.I.G., she began auditioning in the highly competitive New York entertainment scene and was working professionally in musical theater by the age of 10. Her mother took her to nightclubs where she experienced a variety of live performances. She attended New York's top performing arts schools, including La Guardia High School, the "Fame" school, where she discovered her love for gospel music and took part in the gospel chorus for four years. She worked at Cafe Wha? in Greenwich Village, making $500 a weekend while still in high school.
She sang backup for Alicia Keys in her teens, then worked four years with John Legend, and through him with legends like will.i.am, Kanye West, Raphael Saadiq and Babyface. Legend mentored her in songwriting and recording before she began writing songs on her own for American Idol winner Fantasia Barrino and others. Inspired by her evolving love of songwriting, she too moved to Nashville, looking for a wider creative palette. There, while meeting with then-BMI executive Clay Bradley, her eye settled on a photograph of "a rundown juke joint piano" in his office.
"I want to meet whoever took that photo," she said. The photographer was North-it had been taken during her creative awakening in Mississippi-and the subsequent meeting led quickly to collaboration and an epic friendship.
"The first day we wrote together," says North, "there wasn't much thought that we were blending genres and worlds. That never came up. It was just natural. She had never written a country song and I was writing them every day. We sat down to write one but when we listened back it was a country R&B song. And we decided to become songwriting partners." Before long, they had their first cut as collaborators, and they were off and running.
"The spirit of the Muddy Magnolias existed from the moment we met," says Wilson, "but we didn't know we were the Muddy Magnolias yet." North was toying with the idea of a solo career; Wilson had aspirations of making history as an African-American female songwriter in Nashville. Their new friendship was a game-changer.
"We spent a whole year writing, trying to understand what our message was when we combined our stories," says Wilson. Then one day over afternoon wine at Burger Up, their favorite hangout in the 12 South section of Nashville, both admitted to be being at a crossroads. "The next thing you know," says North, "Jessy said, 'What if we made a record together?' It was like all of our dreams in one."
"We went back to that same office on Music Row where I saw the photograph," says Wilson, "and sat down side by side in Clay's office and said, 'We've got something to tell you. We're going to make an album together.'" Bradley believed enough to sign on as their manager. They held three days of band auditions and found four best friends who had been playing together since college, primarily doing jazz. The fit was perfect, providing just the right sonic backdrop for their soulful approach and high-energy delivery.
As they continued to write and perform, opening for the likes of The Zac Brown Band and Gary Clark, Jr., they put together a project that crosses genres effortlessly, showcasing two voices that soar together in a blending of cultures as electrifying as if Janis Joplin and Tina Turner, or Whitney Houston and Lee Ann Womack had joined forces.
Broken People combines poetic imagery and vocal passion, with the musicianship and production of Motown or Muscle Shoals by way of the raw honesty of Sun Records. Of course it deals with love, longed for and unleashed, in songs like "I Need A Man," "Why Don't You Stay" and "Devil's Teeth," but the album soars as it reaches for bigger themes, dealing with the need for hope in "Take Me Home," for love on a societal scale in "Shine On" and "Brother What Happened," and hope for the future in "Got It Goin' On." With "Leave It To The Sky," the two, joined by John Legend on vocals and piano, make a powerful case for spiritual solutions, and few songs in the modern lexicon are as steeped in present-day reality as the gospel- and R&B-tinged title track.
"Ultimately," says North, "this album is a result of an unlikely friendship and is a testament to what can happen when you diversify your relationships."
"It's about getting out of your comfort zone and being rewarded with a great friendship," adds Wilson. "We've both felt the power of that."
"Our path is so much better and our lives are so much richer because of it," says North, "and we want to bring people along on this journey."
"We want to see what society would be like if we all reached out in ways we normally wouldn't," adds Wilson.
And that is the magic and the message. The music of Muddy Magnolias, live and on record, comes from a place where the Mississippi meets the A-Train by way of Nashville. Whether yours is the back porch or the front stoop, Spanish moss or window box garden, dusty country lane or crowded subway car, rural honky-tonk or uptown club, this is music that beckons. Muddy Magnolias are collaboration without boundaries, musical healing in a landscape of the heart, and all of us who treasure creative energy, honest art and the possibilities of love and unity, are better for their arrival.1. Broken People
2. Brother, What Happened?
3. Got It Goin' On
4. Why Don't You Stay
5. Take Me Home
6. Shine On!
7. It Ain't Easy
8. I Need A Man
9. Devil's Teeth
11. Leave It To The Sky (feat. John Legend)$18.99Vinyl LP - Sealed Buy Now