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  • Southern Accents Southern Accents Quick View

    $24.99
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    Southern Accents

    Southern Accents is the sixth album by Tom Petty and the Heartbreakers, originally released on March 26, 1985, through MCA Records.
    1. Rebels
    2. It Ain't Nothin' To Me
    3. Don't Come Around Here No More
    4. Southern Accents
    5. Make It Better
    6. Spike
    7. Dogs On The Run
    8. Mary's New Car
    9. The Best Of Everything
    Tom Petty And The Heartbreakers
    $24.99
    Vinyl LP - Sealed Buy Now
  • The Big To-Do The Big To-Do Quick View

    $21.99
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    The Big To-Do

    ATO Records is pleased to commence its relationship with the The Drive-By Truckers beginning with the incomparable rock band's label debut, The Big To-Do. The album is the band's 10th in their thirteen-year career and it features 13 new DBT tracks produced by their long time collaborator, David Barbe (Sugar, Bettye LaVette). Patterson Hood and Mike Cooley continue to handle chief songwriting duties here while bassist Shonna Tucker also contributes two originals. Brad Morgan (drums), John Neff (guitar/pedal steel), and Jay Gonzalez (keyboards) round out the current lineup.


    The Big To-Do was recorded in three concentrated sessions during the first part of 2009: ten days in January, five days in March, ten days in May. That added up to 25 songs, a dozen of which sequenced into The Big To-Do. We had it mixed, mastered, and completely done, and Cooley wrote the best song that just needed to be on it, Patterson says with his raspy chuckle. This happens a lot with the Truckers, and it's always a good sign. So we went back in and recorded, mixed, and mastered 'Birthday Boy' pretty much in one fell swoop. Thirteen songs, then.
    The balance of the remaining tracks, plus five more they've cut in the interim, will make up the Truckers' next album, which Patterson projects as a quieter affair.
    This is, in large part, possible because the Truckers have such a long-standing relationship with David Barbe (ex-Sugar, etc.) and the Athens, GA, studio he calls Chase Park Transduction, which long ago Patterson helped to build so as to earn the right to record there.


    It's gotten to where, that day of set-up time to get sounds and levels and all of that takes us about two hours, Patterson says. We can pretty much walk in the door, and we know exactly where to put everything to get that sound, so that's just one less thing to have to think about. I wanted to eliminate the distractions. That clarity of purpose translates into a delicious assortment of Trucker songs themed loosely around crime and (self-) punishment. The Wig He Made Her Wear, Patterson says, is both a true story (as seen on Court TV) and the closest he's come to making the movie he started out to make a decade or more back. The Fourth Night of My Drinking will speak for itself, and This Fucking Job (paired thematically with Cooley's wry Get Downtown) is arguably the most political song the Truckers have made since Living Bubba. Which leaves the deceptive, airy simplicity of Shonna Tucker's You Got Another and (It's Gonna Be) I Told You So to reckon with. We always knew she had that in her, Patterson says, delighted with the emergence of another strong songwriter in the band. It was never a secret. She was writing songs all along. But watching it come out has been a really amazing thing to behold.


    Off the road, incidentally, didn't mean out of work. First off, there was the matter of cutting an instrumental album with the legendary Booker T, having previously served as the backing band to the equally legendary soul singer, Bettye Lavette. Potato Hole turned out all right, got a Grammy nod, and Neil Young added his touches separately even though it's pretty much a Truckers effort. But it's what they learned making Potato Hole that counts most. I think doing the Booker album really, really paid off a lot on the musical end of this record, even though stylistically it might not sound anything like that record, says Patterson, and then tells the story.


    We made that record in four days, and that included the first day when it was, 'Booker, it's wonderful to meet you!' Maybe the third song we tracked just wasn't going the way he wanted it to go. We weren't quite understanding what he wanted. We were playing it right, but it wasn't right. All the sudden he just stopped the session. He gathered us around, and he told us a story about a Thanksgiving dinner, and the way it smelt in the house, he'd been on the road a long time, and they were all in - cousins and aunts he hadn't seen in several years. He said, 'It's just a day where nothing happens, but it's all really good.'


    And we sat down and we played it, and we nailed it. It was like a revelation. We're a lyric-driven band, and our songs generally paint scenes and tell stories based on scenes. He instinctively knew that was how we operated. And I think it taught us a lot about how we operated. Going in and making this record, I could tell a real difference in the way the songs hold up musically. We put a little more care into that side of it than I think we ever did before because of what we learned from him.


    ...an absorbing hunk of smart, crunchy, guitar-driven music shot through with the bands vivid narratives, balanced storytelling, barroom punch, and Southern accents. Its a set that portrays desperate people trying to survive in these ever more desperate times, with the Truckers joyous pride and spirited attitude warding off any bitter aftertaste. Several songs are sad, and at times depressing, but the moods always point up. As it is for Bruce Springsteen, this blue-collar band not only believes in but preaches rock as salvation, and their iron-clad conviction suggests they wont have it any other way. --Bob Gendron, TONE Audio, Issue 27

    1. Daddy Learned to Fly
    2. The Fourth Night of My Drinking
    3. Birthday Boy
    4. Drag the Lake Charlie
    5. The Wig He Made Her Wear
    6. You Got Another
    7. This Fucking Job
    8. Get Downtown
    9. After the Scene Dies
    10. (It's Gonna Be) I Told You So
    11. Santa Fe
    12. The Flying Wallendas
    13. Eyes Like Glue
    14. Girls Who Smoke (vinyl only bonus track)
    Drive-By Truckers
    $21.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • The Complete Studio Albums Volume 1 (1976-1991) (Box Set) The Complete Studio Albums Volume 1 (1976-1991) (Box Set) Quick View

    $259.99
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    The Complete Studio Albums Volume 1 (1976-1991) (Box Set)


    All box sets ordered after November 27, 2016 will ship in early January.


    Limited Edition 9-LP Box Set


    Pressed On 180-Gram Vinyl


    Features Replica Artwork


    The Complete Studio Albums Volume 1 (1976-1991) includes:


    Tom Petty And The Heartbreakers*

    You're Gonna Get It!*

    Damn The Torpedoes*

    Hard Promises

    Long After Dark

    Southern Accents

    Let Me Up (I've Had Enough)

    Full Moon Fever

    Into The Great Wide Open


    *Remastered since 2010

    The Complete Studio Albums Volume 1 (1976-1991) includes:


    Tom Petty And The Heartbreakers*
    You're Gonna Get It!*
    Damn The Torpedoes*

    Hard Promises

    Long After Dark

    Southern Accents

    Let Me Up (I've Had Enough)
    Full Moon Fever

    Into The Great Wide Open


    *Remastered since 2010

    Tom Petty & The Heartbreakers
    $259.99
    180 Gram Audiophile Virgin Vinyl LP Box Set - 9 LPs Sealed Buy Now
  • Atliens Atliens Quick View

    $29.99
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    Atliens

    OutKast has almost single-handedly defined the sound of Atlanta rap. Tongue-flippin', rhyme-spittin' and Cadillac-ridin', all with a Southern accent, Big Boi and Dre have proved tobe the South's ideal MCs. ATLIENS continues in the same vein as Outkast's 1994 debut, SOUTHERNPLAYALISTICADILLACMUZIK, with producers Organized Noize back to accompany the duo's laid-back flow. Big Boi and Dre proclaim to prove a point with every rhyme, never wasting a line. They like to think of themselves as outcasts from the hip-hop community--aliens,so to speak. Their tracks have an outer-space feeling to them--a feeling that, ironically, has warmed the community right up to them. They're so out, they're in.
    1. You May Die (Intro)
    2. Two Dope Boyz (In A Cadillac)
    3. ATLiens
    4. Wheelz Of Steel
    5. Jazzy Belle
    6. Elevators (Me & You)
    7. Ova Da Wudz
    8. Babylon
    9. Wailin'
    10. Mainstream
    11. Decatur Psalm
    12. Millennium
    13. E.T. (Extraterrestrial)
    14. 13th Floor/Growing Old
    15. Elevators (ONP 86 Mix)
    Outkast
    $29.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • This Side This Side Quick View

    $21.99
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    This Side

    Grammy-Winning Folk-Roots Masterwork: Newly Remastered and Available for the First Time Ever on Vinyl


    No Contemporary Band Better Merged Pop Hooks With Bluegrass Craft: Flatts & Scruggs Rubbing Shoulders With the Beatles


    2003 Grammy Award Winner for Best Contemporary Folk Album Presents Chris Thile, Sara Watkins, and Co. in Supreme Fidelity


    Produced by Alison Krauss: You-Are-There Acoustic Imaging, Organic Warmth, Extraordinary Textures


    Also Available on Remastered 2LP Sets: Nickel Creek and Why Should The Fire Die?


    An inimitable merger of pop hooks, bluegrass craft, virtuosic musicianship, and unbeatable acoustic sounds, 2002's This Side is the Grammy-winning sophomore record from the bluegrass/progressive folk trio Nickel Creek. Produced by mentor Alison Krauss, as was the group's 1999 breakthrough predecessor Nickel Creek, This Side finds permanent members Chris Thile (mandolin), Sara Watkins (fiddle) and Sean Watkins (guitar) expanding their sound and becoming the most original and inventive bluegrass band of modern times in the process.


    The Absolute Sound's Neil Gader captured the group's appeal, stating: The charm of this Southern Cal-based band stems from its fresh challenge to our preconceptions of homespun musical genres like folk and bluegrassNickel Creek simultaneously honors old-world traditions while respinning them with contemporary country-pop hooks and hill-country accents. Here, the echoes of bluegrass legends Flatt & Scruggs and The Dillards rub shoulders with those of the Beatles and Eagles. With Sara Watkins on violin and Sean Watkins on guitar (both sing lead as well), Nickel Creek offers crisp ensemble playing, but its Chris Thiles mandolin virtuosity and quirky singing that puts the caffeine in the coffee and keeps it percolating. Highlights include a cover of Pavement's Spit on a Stranger and originals Speak and Beauty and the Mess.


    The production values are exceptionally high, reflecting the intense musicality of producer and iconic newgrass artist Alison Krauss. The instrumental envelope, acoustic properties, rich body, and vocal presence on this pressing need to be experienced by every fan of acoustic music, Americana, and folk. These newly remastered Nickel Creek LP pressings blow the great-sounding SACD counterparts away. In addition, the gatefold packing looks incredible.

    1. Smoothie Song

    2. Spit on a Stranger
    3. Speak
    4. Hanging by a Thread
    5. I Should've Known Better
    6. This Side
    7. Green and Gray
    8. Seven Wonders
    9. House Carpenter
    10. Beauty and the Mess
    11. Sabra Girl
    12. Young
    13. Brand New Sidewalk
    Nickel Creek
    $21.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • The Genius Sings the Blues (On Sale) The Genius Sings the Blues (On Sale) On Sale Quick View

    $34.99 $31.49 Save $3.50 (10%)

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    The Genius Sings the Blues (On Sale)

    Numbered Limited-Edition 180g LP from Mobile Fidelity



    1961 Collection Gathers 12 Must-Have Songs from Charles' Peak Era



    Mobile Fidelity Has Righted the Sonic Wrongs That Plagued Earlier Versions - You Won't Find a Better-Sounding Ray Charles LP



    Genius doesnt even begin to describe the greatness of The Genius Sings the Blues. Comprised of a dozen songs Ray Charles made between 1952 and 1960, the collection was released in 1961 by Atlantic Records to counter the singers migration to rival ABC Paramount. What Atlantic originally underestimated is that the album contained many of Charles greatest works, all unified by their bluesy emotions and stirring arrangements. A classic of the soul and R&B canon, The Genius Sings the Blues is a snapshot of the evolution of timeless American music captured by the pianists indelible rhythmic pace, gospel roots, jazz backgrounds, and Southern-styled accents. And its never sounded so good.



    From the iconic cover art (a photo of Charles taken by legendary photographer Lee Friedlander) to the distinguished music within, everything about the thematic record is iconic. Now, nearly 50 years later, it can be heard in pristine fidelity sourced from the original mono master tapes. Mobile Fidelitys engineers have taken great pains to ensure that every clink of the piano keys, ache of Charles rolling voice, and rush of the backing arrangements sounds better than they have since first being recorded in the studio. This 180g LP simply lays waste to the competition.



    Previous editions of The Genius Sings the Blues, including a remastered digital edition from Rhino, suffered from varying levels, distracting static and noise, and inconsistent vocal balances. Mobile Fidelity has gone back to the original mono master tapes to correct these problems, giving music lovers what is now unquestionably the best-sounding Charles album to stem from his peak era. And these performances are simply on fire.



    Whether inhabiting the sadness in Night Time (Is the Right Time) or personifying the loss of Hard Times, Charles invests each song with supreme emotion and undeniable conviction that makes the lyrics ring true and the blues resonate with cathartic pathos. Uptempo country blues numbers (Im Movin On, Early in the Mornin) balance the mournful slow fare, and again prove Charles a master composer, interpreter, and musician who could make any style his own. The Genius Sings the Blues also speaks to legendary jazz pianist Billy Taylors initial impressions of Charles upon hearing him in a way in which few other Charles recordings do.



    Taylor recalled: While playing through some new music for a projected Ruth Brown record date, I was asked to listen to an original song played and sung by a young composer and pianist from Seattle, Washington. I can still remember how surprised I was to hear this kind of music from a Northwesterner. He reminded me of Charles Brown, another pianist-singer who was very popular in the Forties, but he had a very personal sound and there was something different about his rhythmic approach. In his handling of melody he seemed to be using devices similar to those used by Dinah Washington and a small group of popular singers who allowed their gospel singing backgrounds to influence their interpretation of popular songs... I was intrigued by the emotional quality projected by both his piano playing and his unusual voice and was not surprised when Ahmet Erteg√ún said that he wanted to let the young musician record some of his own material. He communicates just like the old blues singers, Ahmet said.



    Indeed, that innate blues aesthetic dominates this collection, as does Charles distinctive rhythmic mannerisms. Finally, hear them as theyve always been intended to be experienced.


    This title is not eligible for further discount.

    1.Early in the Mornin'
    2.Hard Times (No One Knows Better Than I)
    3.The Midnight Hour
    4.(Night Time Is) the Right Time
    5.Feelin' Sad
    6.Ray's Blues
    7.I'm Movin' On
    8.I Believe to My Soul
    9.Nobody Cares
    10.Mr. Charles' Blues
    11.Some Day Baby
    12.I Wonder Who
    Ray Charles
    $34.99 $31.49 Save $3.50 (10%)
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
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