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The ChronicRanked 137/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.
Digitally Remastered/EXPLICIT VERSION
The Chronic is the solo debut album of American hip hop artist Dr. Dre, released December 15, 1992, on his own record label Death Row Records, and distributed by Priority Records. Recording sessions for the album took place in June 1992 at Death Row Studios in Los Angeles and at Bernie Grundman Mastering in Hollywood. The album is named after a slang term for high-grade marijuana, and its cover is an homage to Zig-Zag rolling papers. It was recorded by Dr. Dre following his departure from hip hop group N.W.A and its label Ruthless Records over a financial dispute, and consequently features both subtle and direct insults at Ruthless and its owner, former N.W.A-member Eazy-E. Although a solo album, it features many appearances by Snoop Dogg, who used the album as a launch pad for his own solo career.
Upon its release, The Chronic received positive reviews from most music critics and earned considerable sales success. The album peaked at number three on the Billboard 200 and has sold over three million copies, which led to Dr. Dre becoming one of the top ten best-selling American performing artists of 1993. Dr. Dre's production has been noted for founding and popularizing the G-funk sub-genre within gangsta rap. The Chronic has been widely regarded as one of the most important and influential albums of the 1990s and regarded by many fans and peers to be one of the most well-produced hip hop albums of all time.1. The Chronic (Intro)
2. Fuck Wit Dre Day (And Everybody's Celebratin')
3. Let Me Ride
4. The Day The Niggaz Took Over
5. Nothin' But A 'G' Thang
6. Deeez Nuuuts
7. Lil' Ghetto Boy
8. A Nigga Witta Gun
10. The $20 Sack Pyramid
11. Lyrical Gangbang
12. High Powered
13. The Doctor's Office (Skit)
14. Stranded On Death Row
15. The Roach (The Chronic Outro)
16. Bitches Ain't Shit!$22.99Vinyl LP Reissue - 2 LPs Sealed Buy Now
Murder Was The Case Soundtrack (Explicit)he soundtrack to an 18-minute film inspired by Snoop Doggy Dogg's Murder Was the Case provides more thrills than the average hip-hop release. Again, Dre relies on his standard production tricks and crew, introducing a couple of new members to the mix. But the result sounds anything but stale -- it ranks alongside The Chronic, Doggystyle and Above the Rim in terms of quality. In fact, various-artist compilations like Murder Was the Case are the ideal vehicle for Dr. Dre -- they show his versatility. Murder has the harrowing title track from Snoop Dogg, as well as the smooth funk of Warren G and the chilling hardcore of Natural Born Killaz, the first track from Dre's collaboration with Ice Cube. At some point, Dre will need to find some new tricks, but Murder Was the Case finds him at the top of his game.
- Stephen Thomas Erlewine (All Music Guide)1. Murder Was The Case (Remix) - Snoop Doggy Dogg
2. Natural Born Killaz - Dr. Dre & Ice Cube
3. What Would You Do? - The Dogg Pound
4. 21 Jumpstreet - Snoop Doggy Dogg & Tray Deee
5. One More Day - Nate Dogg
6. Harvest For The World - Jewell
7. Who Got Some Gangsta Shit? - Snoop Doggy Dogg Featuring Tha Dogg Pound, Lil' Style & Young Swoop
8. Come When I Call - Danny Boy
9. You Better Recognize - Sam Sneed
10. Come Up To My Room - Jodeci
11. Woman To Woman - Jewell
12. Dollars & Sense - DJ Quik
13. The Eulogy - Slip Capone & CPO
14. Horny - B-Rezell
15. Eastside-Westside - Young Soldierz$19.99Vinyl LP - Sealed AWAITING REPRESS Buy Now
Regulate...G Funk Era (20th Anniversary)Grammy®-nominated hip-hop pioneer Warren G is a Long Beach rapper who formed the legendary group 213 (named after the city's area code) with Nate Dogg and Snoop Dogg, who went on to collaborate with step-brother Dr. Dre on The Chronic (providing the samples for "Nuthin' But a G-Thang")
and contribute the track "Indo Smoke" with Mista Grimm and Nate Dogg on the Poetic Justice soundtrack. After a lively bidding war, Warren signed to Def Jam, which released his debut album, Regulate G Funk Era in 1994, with the title track climbing to No. 2 on the Billboard Hot 100. In celebration of Def Jam's 30th Anniversary UMe will be releasing a "20th Anniversary Extended Edition" - The double-vinyl version features the album along with a bonus 12" (with the Destructo/Wax Motif and Photek remixes).LP1
1. Regulate (featuring Nate Dogg)
2. Do You See
3. Gangsta Sermon (featuring B-Tip and Ricky Harris)
4. Recognize (featuring The Twinz)
5. Super Soul Sis (featuring Jah Skills)
6. 94 Ho Draft (featuring B-Tip and Ricky Harris)
7. So Many Ways (featuring Wayniac and Lady Levi)
8. This D.J. (featuring O.G.L.B.)
9. This is the Shack (featuring The Dove Shack)
10. What's Next (featuring Mr. Malik)
11. And Ya Don't Stop
12. Runnin' wit No Breaks (featuring Jah Skills, Bo Roc, G Child and The Twinz)
1. Regulate (Destructo & Wax Motif Remix)
2. Regulate (Photek Remix)$29.99Vinyl LP - 2 LPs Sealed Buy Now
Chronic TownChronic Town established R.E.M.'s signature sound immediately, expanding the jangling riffs of their debut single, Radio Free Europe, into a full-fledged modus operandi. Recorded at Mitch Easter's Drive-In Studios, the EP has an endearingly ragged sound -- it's a garage band playing jangling pop songs, and while the music is melodic and memorable, it has an underground mentality that keeps it from sounding conventional. Their songwriting is distinctive, with Gardening at Night, Wolves, Lower, and Carnival of Sorts (Box Cars) ranking as early classics.1. Wolves, Lower
2. Gardening At Night
3. Carnival Of Sorts (Box Cars)
5. Stumble$15.99Vinyl LP - Sealed Buy Now
Eazy Duz It (25th Anniversary Edition)Remastered 25th Anniversary Edition
Released only a month after Straight Outta Compton (1988), Eazy-Duz-It was the first N.W.A spin-off album. Years before Ice Cube went solo with Amerikkka's Most Wanted (1990), before Dr. Dre changed the rap game with The Chronic (1992), before MC Ren struggled to establish himself with Shock of the Hour (1993), and before Yella simply fell into obscurity, Eazy-E rose to immediate superstar status with this solo debut. It's no wonder why, for the album plays like a humorous, self-centered twist on Straight Outta Compton with Eazy-E, the most charismatic member of N.W.A, front and center while his associates are busy behind the scenes, producing the beats and writing the songs.
In terms of production, Dr. Dre and Yella meld together P-Funk, Def Jam-style hip-hop, and the leftover electro sounds of mid-'80s Los Angeles, creating a dense, funky, and thoroughly unique style of their own. In terms of songwriting, the D.O.C., Ice Cube, and MC Ren are each credited; plus, Ren performs raps of his own on five of the 12 songs.
The collaborative nature of the music -- with Dre and Yella producing; the D.O.C., Ice Cube, and MC Ren writing the songs; MC Ren featured as a guest on half of them; and Eazy-E performing -- fortunately makes Eazy-Duz-It more of an N.W.A effort than a true solo album. This is fortunate because as charismatic as he may be, Eazy-E isn't an especially gifted MC. He's at his best here when he's cracking wise and also when he's overshadowed by Dr. Dre's productions, particularly on the four-song sequence of Eazy Duz It, We Want Eazy, Eazy-er Said Than Dunn, and Radio -- all heavily produced songs with layers upon layers of samples and beats competing with Eazy-E's rhymes for attention.
Straight Outta Compton is no doubt the more revolutionary album, yet Eazy-Duz-It is a great companion, showcasing N.W.A's sense of humor and, despite the often violent subject matter, casting them in a lighter, more humorous mood. When Eazy-E would return with a second solo release, 5150 Home 4 tha Sick, his N.W.A associates would be M.I.A. and the difference would be stark.
- Jason Birchmeier (All Music Guide)1. Still Talkin'
2. Nobody Move
3. Ruthless Villain
4. 2 Hard Mutha's
5. Boyz-N-The-Hood (remix)
7. We Want Eazy
8. Eazy-er Said Than Dunn
10. No More ?'s
11. I'mma Break It Down
12. Eazy - Chapter 8 Verse 10$24.99Vinyl LP Reissue - Sealed Buy Now
Boddie Recording Company: Cleveland, OH (Box Set)From 1958 to 1993, Thomas and Louise Boddies industrious Boddie Recording Company issued nearly 300 albums and 45s, recorded 10,000 hours of tape, and remained in operation longer than any other studio, pressing plant, or label group in the history of Cleveland. Long forgotten even by the standards of the chronically overlooked northeastern Ohio music scene, Boddie was a fusion of its owners engineering genius and his limited economic means; its DIY recording studio housed in a humble barn, churned night and day to capture the sounds emanating from Clevelands east side neighborhoods.
The 65 tracks on this 5LP box set represent the best of the Boddies in-house Soul Kitchen, Luau, and Bounty labels, which released an unspoiled treasure trove of kitchen-sink eccentric soul, fuzzbox funk, shoestring doo-wop, and haunted, eerily hook-laden spirituals. Enclosed inside is a mountain of office-styled ephemera: two massive booklets brimming with detail on the Boddies and their artists; extensive notes and scores of unpublished photos; a complete detailed discography folio; reproduced fliers; and a Boddie greeting card, all rendered with the handcrafted charm that was the Boddie hallmark. Call it a self-contained record industry crammed into one box.
Featuring 65 tracks on 5 LPs, two massive booklets brimming with detail, extensive notes and scores of unpublished photos, detailed discography, and reproduced fliers and a Boddie greeting card.LP1
1. Creations Unlimited - Chrystal Illusion
2. Ricky Hodges & the Funky People - Don't Destroy Our Love
3. Frankie Pighee & Soulettes - Soul Feeling
4. Chantells - World Of Soul
5. Jackie Russell - If You Don't Want Me Let Me Be
6. Angela Alexander & J.D. Saddler - Spoilin' For A Fight
7. Inter-Circle - The Pusher
8. Eddie & the Ant Hill Mob - I'm A Number Runner
9. Bo & the Metros - Moving On
10. Inter-Circle - The Players
11. Creations Unlimited - Corruption Is The Thing
12. King James Version feat. King Solomon & Moses - He's Coming
13. Angela Alexander & J.D. Saddler - Don't Make Me Kill You
14. Chantells - Why Won't You Say (What You Want)
15. Frankie Pighee & Soulettes - If You Don't Think That I Love You
16. Jackie Russell - Don't Trade Love For Money
17. Bo & the Metros - Buttered Out
18. Ricky Hodges - I Feel It (The Love You Have For Me)
19. King James Version feat. King Solomon & Moses - He's Forever
20. A.C. Jones & the Atomic Aces - Oh Baby (I Love You)
21. Harvey Hall - Tell Me About it
22. Headlines - He's Looking For A Love
23. J.C. Akins - I've Got to Find A Way (To Get To Your Heart)
24. Little Anthony & the Modern Detergents - Monkey Hips & Yice
25. A.C. Jones & the Atomic Aces - Give Me Your Love
26. Harvey & the Phenomenals - Darlene (Instrumental)
27. Little Anthony & the Modern Detergents - Don't Make Me Blue
28. Penny North - Satisfied
29. J.C. Akins & the Dukes - You Upset My Very Soul
30. Harvey & the Phenomenals - All In Your Eyes
31. J.C. Akins - I Love You
32. J.C. Akins & the Dukes - New Dance
33. A.C. Jones & the Soulettes - Hole In Your Sole
34. Penny North - Thought I Had A Good Thing
35. Harvey & the Phenomenals - Darlene
36. Headlines - Baby
37. A.C. Jones & the Atomic Aces - Give Me Your Love (Instrumental)
38. Headlines - He's Looking For A Love (Demo)
39. Rev. R. L. Hubbard - Child Of The King
40. Brother Bill - Wha's Happ'nin'
41. Guiding Lights - Lost In Sin
42. Wings of Faith Juniors Of Grand Rapids, MI - I Can't Thank Him Enough
43. Seven Revelators - Keep Holding On
44. Victory 5 - Have You Been To The Pool
45. Sounds of Soul - Gospel Train
46. Corinthian Singers - Why? (It's A Shame)
47. Fantastic Lightning Ares - Jesus You Are My Shining Star
48. North Wind Of Cleveland, OH - If I've Done Any Wrong
49. Golden Harmonizers - Won't Be Back No More
50. Gospel Hebrews - Jesus Is All Over Me
51. Gospel Fabulators - Read It In The Bible
52. Spiritual Believers - Sweet To Know
53. Silver Kings Trouble - The Water
54. Cleveland Golden Echos - Used To Live On Broadway
55. Royal Kings - Look Out For Jesus
56. Swanee Nightingales - I Know The Lord Will Make A Way
57. Gospel Ensemble - What You Need
58. Juanita Ellis - Make A Joyful Noise
59. Headlines - Baby (Demo)
60. Delores White - Why Don't We Understand
61. Addie Pearl Rice - Sara Culture
62. Harvey & the Phenomenals - T.G.I.F.
63. Addie Pearl Rice - Flowers Are Blooming
64. Jackie Russell - If You Don't Want Me Let Me Be (Demo)
65. Delores White - Lover's Paradise$64.99Vinyl LP - 5 LPs Sealed Buy Now
Enter The Wu-Tang Clan (36 Chambers)Ranked 386/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.
Along with Dr. Dre's The Chronic, the Wu-Tang Clan's debut, Enter the Wu-Tang (36 Chambers), was one of the most influential rap albums of the '90s. Its spare yet atmospheric production -- courtesy of RZA -- mapped out the sonic blueprint that countless other hardcore rappers would follow for years to come. It laid the groundwork for the rebirth of New York hip-hop in the hardcore age, paving the way for everybody from Biggie and Jay-Z to Nas and Mobb Deep. Moreover, it introduced a colorful cast of hugely talented MCs, some of whom ranked among the best and most unique individual rappers of the decade. Some were outsized, theatrical personalities, others were cerebral storytellers and lyrical technicians, but each had his own distinctive style, which made for an album of tremendous variety and consistency. Every track on Enter the Wu-Tang is packed with fresh, inventive rhymes, which are filled with martial arts metaphors, pop culture references (everything from Voltron to Lucky Charms cereal commercials to Barbra Streisand's The Way We Were), bizarre threats of violence, and a truly twisted sense of humor. Their off-kilter menace is really brought to life, however, by the eerie, lo-fi production, which helped bring the raw sound of the underground into mainstream hip-hop. Starting with a foundation of hard, gritty beats and dialogue samples from kung fu movies, RZA kept things minimalistic, but added just enough minor-key piano, strings, or muted horns to create a background ambience that works like the soundtrack to a surreal nightmare. There was nothing like it in the hip-hop world at the time, and even after years of imitation, Enter the Wu-Tang still sounds fresh and original. Subsequent group and solo projects would refine and deepen this template, but collectively, the Wu have never been quite this tight again. ~ Steve Huey, All Music Guide1. Bring Da Ruckus
2. Shame On A Nigga
3. Clan In Da Front
4. Wu-Tang: 7th Chamber
5. Can It Be All So Simple/Intermission
6. Mystery Of Chessboxin'
7. Wu-Tang Clan Ain't Nuthing Ta F' Wit
9. Method Man
10. Protect Ya Neck
12. Wu-Tang: 7th Chamber, Pt. 2
13. Conclusion$19.99Vinyl LP - Sealed Buy Now
LabcabincaliforniaThe Pharcyde's landmark Labcabincalifornia just hit its 20th anniversary, having originally been released on November 14th, 1995. The Bicycle Music Company celebrates with an all new pressing of the double gatefold LP. The Pharcyde released Labcabincalifornia, their follow up to their legendary debut Bizarre Ride II The Pharcyde (itself released on November 24th, 1992) with the album ultimately launching three singles, "Runnin'", "She Said" and "Drop" (which would go on to massive MTV music video fame due to it's first ever entirely backwards filmed video directed by Spike Jonze).
Over the next 20 years, the legacy of The Pharcyde and Labcabincalifornia has continued to rise. In the case of Labcabincalifornia, that's in no small part due to the production work on the project from the legendary Jay Dee, aka J Dilla. "If Labcabincalifornia came out today, boasting production by J Dilla on seven out of 17 tracks would be a big deal..." - Complex Magazine
"Labcabincalifornia is an artistic breakthrough, and because of the deep shift in hip-hop production in the last two decades, the timelessness of the album is more apparent than ever." - Treble Music's Induction of Labcabincalifornia into their Hall Of Fame "Years ahead of its time for a scene still hung over from The Chronic, Labcabincalifornia was an underappreciated album that would almost certainly have fared better amidst the alt-rap renaissance of 1999." - Rap Reviews1. Bullshit
3. Groupie Therapy
5. She Said
7. Somethin' That Means Somethin'
8. All Live
10. Hey You
12. It's All Good
13. Moment In Time
14. The Hustle
15. Little D
16. Devil Music
17. The E.N.D.$24.99Vinyl LP - 2 LPs Sealed Buy Now
Daddy Plays The HornThe lengthy, swinging tenor and rhythm formula that Dexter Gordon perfected coined him a major force in the emergence of modern tenor saxophone styles. The logical improvisations Gordon uses on Daddy Plays The Horn are no exception to this formula.
During a period of Dexter Gordon's (tenor sax) life -- when he was deep in the throws of chronic drug addiction -- the artist was miraculously able to reignite his career during the latter part of 1955. After several years of being out of the spotlight, Gordon resurfaced on the Big Apple-based indie Bethlehem imprint with the half-dozen sides that comprise Daddy Plays The Horn (1956).
While the support team provides Gordon top-notch contributions throughout, it is unquestionably Drew who offers the most in terms of active interaction and his prominence can not be overstated. Nowhere is that as noticeable as the good-natured interaction heard on the disc's opener, the Gordon-penned title composition Daddy Plays The Horn. In fact it could be argued that Drew enhances the tenor to the point of practically being a co-leader. The update of Charlie 'Bird' Parker's bop standard Confirmation is taken at a steady mid-tempo pace, allowing plenty of room for the participants to have their say and not get in the way of the melody. Gordon seems considerably more relaxed and comfortable as he spreads line upon line of inspired improvisation. Drew is once again a real treat to hear briefly taking charge of the rhythm section. The pair of ballads on Daddy Plays The Horn are nothing short of stellar and stand as simple, emotive expressions unto themselves. Darn That Dream embraces the warmth of Gordon's tenor as his sensual phrasing leaves just enough space for Drew to sonically bridge the gap with his own unhurried and stylish chords. The generically monikered Number Four is anything but ordinary. The Gordon original jumps right from the opening and the ensemble lets loose with equally solid licks beneath his cool tone. Drew gets in the driver's seat missing nary a measure to reveal what could easily be his most tasteful contributions to date. The same can be said of bassist Vinnegar, who is briefly spotlighted on an efficient (if not somewhat sparse) solo. Autumn in New York -- the album's other essential ballad -- is proof that despite Gordon's addiction, he had retained his singular and precious sense of lyricism. Indeed, the Great American Songbook entry has rarely been permeated in such a meaningful way. The seamless transitions between Gordon and Drew are further evidence of their undeniable bond. Saving what may be the best example of the gathered instrumentalists flexing their respective be-bop muscle, You Can Depend On Me rounds out the platter with a bang.1. Daddy Plays The Horn
3. Darn That Dream
4. Number Four
5. Autumn In New York
6. You Can Depend On Me$19.99Vinyl LP Reissue - Sealed Buy Now
Gone Banana"Backed by film noir brass and gently reverbed minor chords, Birgy's spectral vocals are at once comforting like a cashmere blanket and discomboblatingly strange. Not unlike catching the scent of someone that pulls you
back to a dimension you forgot."- Noisey
"The record takes delightfully unexpected..., mixing together subdued vocals, fuzzy riffs, and deliberate bass lines with a saxophone that often slices
through melodies with free-spirited and seductive cries." - Wild Magazine
A thick green mist, a lush chill vibe; after 5 years and countless self-released
tapes and CDs, Mega Bog - the brainchild of songwriter Erin Birgy - has
completed their best work to date; a swirling pop cloud called 'Gone Banana'.
Influenced equally by the emotional psychedelia of Kevin Ayers and the pop
whimsy of Steely Dan, 'Banana' is a joyous declaration of artistic independence and purpose. The story of a chronic goofball insisting on being taken
seriously. A celebration of melancholy; using music to force yourself off the
floor when you hit the bottom. Birgy is an enigmatic musician and a true
weirdo - Megabog changes lineups and configurations faster than most musicians change clothes.
Alternately a tender songwriting project, a blazin-hot jazz-rock combo, or an
open forum for goofy one offs and fragile experimentation, it is ultimately
whatever Birgy wants it to be on a given day. For 'Banana' she has gathered a
loose group from Seattle's thriving experimental pop and improvised music
scene, including members of local mainstays like Neighbors and Iji, along
with hotshot sax guy Jacob Zimmerman. Sounding equal parts Ariel Pink and
Prefab Sprout, they rip through 9 hazy burners with a sneaky tightness hidden behind layers of drizzle and reverb. Birgy's rich voice croons and bends
around the shifting walls of sound, organizing and refocusing the swirl. Representing a unique moment in Birgy's songwriting and a budding maturation
for a bouncy community of oddball pop addicts, 'Gone Banana' is an immersive listening experience and a peek into the life of a truly strange soul.1. Intro (Bird Bridge)
3. Goobie Krishna
4. Cologne in the Night
5. Wet Moss
6. Gone Banana
7. Year of Patience
9. TP - 89 (edit)
10. Lady Rachel (by Kevin Ayers)$19.99Vinyl LP - Sealed Buy Now
ColtraneAfter establishing himself as a star on the rise with the Miles Davis quintet, the Thelonious Monk quartet, and various Prestige recordings with Sonny Rollins, Hank Mobley, and Tadd Dameron, John Coltrane made his debut as a leader on this excellent self-titled 1957 release. The 6-song set finds the tenor sax giant joined by John Splawn (trumpet), Sahib Shihab (baritone sax), Mal Waldron (piano), Red Garland (piano), Paul Chambers (bass) and Al Heath (drums) on a pair of Trane's own compositions in Straight Street and Chronic Blues, alongside Cal Massey's Bakai and pop fare such as Violets for Your Furs, While My Lady Sleeps and Time Was.1. Bakai
2. Violets For Your Furs
3. Time Was
4. Straight Street
5. While My Lady Sleeps
6. Chronic Blues$21.99Vinyl LP Reissue -Sealed Buy Now
Endtroducing (Awaiting Repress)What resonated about Endtroducing when it was released in 1996, and what makes it still resonate today, is the way in which it loosens itself from the mooring of the known and sails off into an uncharted territory that seems to exist both in and out of time. Davis is not only a master sampler and turntablist supreme, he is also a serious archeologist with a world-thirsty passion for seeking out, uncovering and then ripping apart the discarded graces of some other generation, that pile of broken dreams, and sewing them back together into a tapestry of chronic bleakness and beauty. - Eliot Wilder1. Best Foot Forward
2. Building Steam With A Grain Of Salt
3. The Number Song
5. What Does Your Soul Look Like (Part 4)
7. Stem/Long Stem
8. Mutual Slump
9. Organ Donor
10. Why Hip-Hop Sucks In '96
11. Midnight In A Perfect World
12. Napalm Brain/Scatter Brain
13. What Does Your Soul Look Like (Part 1 - Blue Sky Revisit)$24.99Vinyl LP - Sealed AWAITING REPRESS Buy Now
Coltrane (Mono)After establishing himself as a star on the rise with the Miles Davis quintet, the Thelonious Monk quartet, and various Prestige recordings with Sonny Rollins, Hank Mobley, and Tadd Dameron, John Coltrane made his debut as a leader on this excellent self-titled 1957 release. The 6-song set finds the tenor sax giant joined by John Splawn (trumpet), Sahib Shihab (baritone sax), Mal Waldron (piano), Red Garland (piano), Paul Chambers (bass) and Al Heath (drums) on a pair of Trane's own compositions in Straight Street and Chronic Blues, alongside Cal Massey's Bakai and pop fare such as Violets for Your Furs, While My Lady Sleeps and Time Was.
This title is not eligible for discount.1. Bakai
2. Violets For Your Furs
3. Time Was
4. Straight Street
5. While My Lady Sleeps
6. Chronic Blues$34.99200 Gram Audiophile Virgin Vinyl Mono LP - Sealed Buy Now
Daddy Plays The Horn (Pure Pleasure)During a period of Dexter Gordon's (tenor sax) life -- when he was deep in the throws of chronic drug addiction -- the artist was miraculously able to reignite his career during the latter part of 1955. After several years of being out of the spotlight, Gordon resurfaced on the Big Apple-based indie Bethlehem imprint with the half-dozen sides that comprise Daddy Plays The Horn (1956).
While the support team provides Gordon top-notch contributions throughout, it is unquestionably Drew who offers the most in terms of active interaction and his prominence can not be overstated. Nowhere is that as noticeable as the good-natured interaction heard on the disc's opener, the Gordon-penned title composition Daddy Plays The Horn. In fact it could be argued that Drew enhances the tenor to the point of practically being a co-leader. The update of Charlie 'Bird' Parker's bop standard Confirmation is taken at a steady mid-tempo pace, allowing plenty of room for the participants to have their say and not get in the way of the melody. Gordon seems considerably more relaxed and comfortable as he spreads line upon line of inspired improvisation. Drew is once again a real treat to hear briefly taking charge of the rhythm section. The pair of ballads on Daddy Plays The Horn are nothing short of stellar and stand as simple, emotive expressions unto themselves. Darn That Dream embraces the warmth of Gordon's tenor as his sensual phrasing leaves just enough space for Drew to sonically bridge the gap with his own unhurried and stylish chords. The generically monikered Number Four is anything but ordinary. The Gordon original jumps right from the opening and the ensemble lets loose with equally solid licks beneath his cool tone. Drew gets in the driver's seat missing nary a measure to reveal what could easily be his most tasteful contributions to date. The same can be said of bassist Vinnegar, who is briefly spotlighted on an efficient (if not somewhat sparse) solo. Autumn in New York -- the album's other essential ballad -- is proof that despite Gordon's addiction, he had retained his singular and precious sense of lyricism. Indeed, the Great American Songbook entry has rarely been permeated in such a meaningful way. The seamless transitions between Gordon and Drew are further evidence of their undeniable bond. Saving what may be the best example of the gathered instrumentalists flexing their respective be-bop muscle, You Can Depend On Me rounds out the platter with a bang.
- Dexter Gordon (tenor saxophone)
- Kenny Drew (piano)
- Leroy Vinnegar (bass)
- Larry Marable (drums)
Recording: September 1955 in Hollywood, CA.
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. Number Four
2. Autumn In New York
3. You Can Depend On Me
4. Daddy Plays The Horn
6. Darn That Dream$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
"Carefully crafted, perfectly balanced, addictively
melodic" - ROCK-A-ROLLA
"In cold surroundings, moments of warmth arrive
with life-affirming brightness, and that's what
makes Siskiyou's music so memorable" - BLURT
Siskiyou returns with Nervous, a majestic album of carefully constructed art rock
built around songwriter and lead singer Colin Huebert's stacked acoustic guitars
and intimate, whispery vocals. Siskiyou's sound has been previously dubbed a sort
of 'Northern Gothic', conjuring cold winds and the life-saving warmth of temporary
shelters and tiny hearth fires. With Nervous, the band continues to push beyond
the crisp lo-fi intimacy of its early work, and has forged its most confident and
finely-crafted recording to date, moving fully into auteur and chamber-pop
territory with a song cycle that brings to mind the meticulousness of mood and
sonics found in recent work by PJ Harvey, Nick Cave and Tindersticks. Inflected
by an anxious, sussurant restraint, Huebert's voice is supported by the falsetto
backing vocal counterpoint and economical instrumentation of bandmates Erik
Arnesen, Peter Carruthers and Shaunn Watt. Fans of the understated and
underrated 1990s group Swell may also hear a welcome evocation of that group's
acoustic guitar-driven simplicity and austere deployment of adornments.
Following Siskiyou's excellent sophomore release Keep Away The Dead in 2011,
Huebert became afflicted with a serious inner ear condition that eluded
conventional diagnosis. While honouring a previously-scheduled songwriting
residency in Dawson City, Yukon in winter 2012, Huebert found himself grappling
with severe anxiety and an unwelcome interiority, engendered by hyperacusis and
a house that felt utterly haunted. Intense chronic ear-ringing and panic attacks
continued throughout the year, for which conventional medicine was unable to find
any cause or effective treatment; Huebert began focusing on meditation, retreated to
silence for a period, and then began rehearsing his new songs with the band at
extremely low volumes. The songs on Nervous are shot through with the entirety of
this experience: the literal feeling of being trapped in one's head and the physica-lpsychological
feedback loop of debilitating anxiety; the lyrical themes and tense,
whispered singing amidst tightly-wrought compositions and arrangements.
Huebert found solace in new working methods within the controlled environment
of studio-based production and composition, developing new sonic palettes and
pursuing new avenues of instrumental arrangement and recording fidelity.
Working with producer/engineer Leon Taheny (Owen Pallett/Final Fantasy, Dusted,
Austra) on most of Nervous, Siskiyou has emerged with by far its most assured,
ambitious and authoritative recordings, while preserving the economy of elements,
deft structures, and assiduous melodic deliberation for which the band has been
rightly celebrated over its two previous albums. In charting escape paths from his
disquieting cranial confinement, Huebert has very much succeeded in setting his
songs out on an expansive canvas, while preserving a palpable sense of nervous
interiority and quiet desperation at their heart.1. Deserter
2. Bank Accounts and Dollar Bills (Give Peace a Chance)
3. Wasted Genius
4. Violent Motion Pictures
5. J.esus in the 70s
6. Oval Window
8. Imbecile Thoughts
9. Babylonian Proclivities
10. Falling Down the Stairs$25.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
FencesNew Album Produced By John Vanderslice (Spoon, The Mountain Goats, Samantha Crain)
Mastered By Bernie Grundman (Michael Jackson's Thriller, Dr. Dre's The Chronic, Carole King's Tapestry)
180-Gram Vinyl Pressed By Quality Record Pressing
Vinyl Lacquers Were Cut Directly From Analog Tape
Fences is something new for our band Bombadil. It is more than just an album; it is a new path, a reset after several challenging years. The path began in January 2015, when a longtime member of Bombadil unexpectedly left our band. Daniel Michalak and I sat down to discuss our next steps. It was a time for soul searching. A duo of a bassist and drummer did not feel like a band. Moving forward seemed daunting, but we both felt like there was more to say with the band. We wanted to make music. So we began simply by making some. Writing and recording the Still Bombadil EP was fun. A fast and dirty exploration of a creative idea, no room for fiddling, deadline looming. Our last album, Hold On, had not been like that. It had been an ordeal.
Daniel suggested composing songs using guitar instrumentals our old bandmate Bryan Rahija had written, and of limiting ourselves to a small palette for the next album: guitar, piano, upright bass, harmony vocals. The goal was to make a folk record, something easy to understand, something beautiful. He shared a demo for "Binoculars" and I loved it. It was simple, elegant. We added it to the live set almost immediately. Daniel continued writing, focusing on guitar, harmony, and emotion. The songs inconveniently had no drums (what was I going to play?!). He instead wrote parts for me to sing and we began collaborating on composing tunes with a similar approach. "Fence" was written together at a friends house in Crozet, Virginia to kill time on tour. An old song of mine, "Long Life," was revived and extended. Percussion parts started to show up. Daniel's commitment to songwriting continued to inspire, a new demo was in my inbox almost weekly. Daniel enlisted the help of an old friend and data scientist, Nasir Bhanpuri, to analyze the success of our old catalog of songs and make suggestions to guide our writing and arranging. It was an experiment that pushed us to take the songs further than we might have in the past. In part, we were throwing ideas at the wall to see what would stick, but we were also searching for something new, actively trying to push ourselves to new creative heights.
We kept the Bombadil ship moving by accepting all shows, searching for more opportunities to play. We found wonderful people to tour in our band. There were good shows. There were bad ones, too. I learned to be a lead singer on the fly and on stage (with the help of an encouraging septuagenarian opera singer). And we kept writing, practicing, and recording. In July 2015, Stacy Harden sent me an email inquiring if we needed a musician. In his audition, he played through songs like he had been in the band all along. He even knew the harmonies. He had grown up a fan of the band, singing along in the car. In October, Stacy and I drove our equipment across the country for a West Coast tour in a four-day sprint and listened to every song the Beatles recorded. His easy-going spirit was infectious, his presence made the band more fun and more inspiring. We had found our man. "What's So Great About You" was the first collaboration between this new trio, and we started to discover what a new version of our band sounded like.
In January 2016, the three of us left North Carolina for Littleton, Massachusetts to spend several weeks at a friend's farmhouse. We recorded all day long, cooked together, spent our breaks around a roaring wood stove carefully tended to by Daniel. The resulting demo recordings gave us a roadmap to follow. Our label, Ramseur Records, suggested a producer, a departure after self-recording our last three records. John Vanderslice was given the demos and was enthusiastic about the material. He insisted that we listen closely to Paul Simon's first record. He told us the songs needed a sense of danger, that our demos felt like we were being too careful, and that the songs needed more percussion. John is opinionated, talented, and inspirational. And most of all, making the record with him over 12 days in September 2016 at Tiny Telephone in San Francisco was easy. And fun. And fast. We used only analog equipment, recording to tape through high-end vintage equipment. Bryan came to play his guitar parts (which by this point Stacy had learned for live performances of the material). The recordings were all first takes, new ideas were quickly embraced, mistakes were left alone as intention, very little artificial reverb was used but John's concrete echo chamber was used extensively. We hoped to catch lightning in a bottle and I think that we did.
To me, Fences represents the journey of the last two years. It is the discovery of a group voice, the willingness to explore collaboration between old friends, and an openness to let new voices into the fold. It is something I am proud to have been a part of and am excited to share with the world. To me, it is an example of the power and positivity of collaboration, of a group of human beings working diligently on a shared vision. If nothing else, I can say that we tried as hard as we possibly could. I can't wait to do it again.
Thank you for listening,
James Phillips/Bombadil1. What's So Great About You
2. Not Those Kind of People
4. Math and Love
7. Good News Sadie
8. I Could Make You So Happy
9. Long Life
10. Is This Danger
11. No Snow in the Valley$20.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
No One Can Do It Better180 Gram Audiophile Vinyl
Includes It's Funky Enough, The D.O.C. And The Doctor Featuring Dr. Dre, No One Can Do It Better And Portrait Of A Master Piece
The D.O.C., short for Department of Correction, is a highly skilled battle rhymer from Dallas, USA. In addition to his solo career, he was a member of the hip hop group Fila Fresh Crew and later collaborated with gangsta rap group N.W.A where he co-wrote many of their releases. After Fila Fresh Crew split up in 1988, The D.O.C. went on to pursue a successful solo career.
No One Can Do It Better is the debut album by The D.O.C. from 1989 and is produced by the then upcoming Dr. Dre who contributed on most of the fast hard hitting rap tracks with his heavy funk laden beats. The album reached number one on the US Top R&B/Hip-Hop Albums chart for two weeks and spawned two number one hits on the Hot Rap Songs chart: It's Funky Enough and The D.O.C. & The Doctor. The album went platinum five years after its release.
Tragically The D.O.C. severed his vocal chords in an almost fatal car accident in November 1989 but No One Can Do It Better still stands the test of time as one of the early pre-Chronic albums.1. It's Funky Enough
2. Mind Blowin'
3. Lend Me An Ear
4. Comm. Blues
5. Let The Bass Go
6. Beautiful But Deadly
7. The D.O.C. & The Doctor
8. No One Can Do It Better
9. Whirlwind Pyramid
10. Comm. 2
11. The Formula
12. Portrait Of A Master Piece
13. The Grand Finale$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
The Second AlbumBack in 1995, Bay Area rap was at the big-ballin' peak of the mobb music craze, LA was chronically gripped in a G-funk indo smoke haze, Atlanta was
enjoying its Southernplayalistic days, and NYC was entering a shiny-suit phase. There was no frame of reference for two lyrical emcees experimenting
with the tonality and resonance of rhyme patterns. This was uncharted territory. The pairing of Lyrics Born and Lateef the Truthspeaker into Latyrx was an accident, LB recalls. Both emcees were solo artists, but when LB heard the pre-Endtroducing DJ Shadow beat which would become Latyrx' eponymous debut single, his reaction was, Oh my God, I gotta get on this.
Latyrx was a syllabic tour de force which began with two dissonant voices -- one gruff and bassy, the other higher-pitched and trebly, both hella fluid -- it
transmogrified into a harmonic convergence of doubled verses simultaneously assaulting eardrums. Undeniably, it was great... but weird. It was ill,
Lateef recalls. We really felt like we had something unlike anyone else had done, he adds. Latyrx' first and thusfar, only, full-length, 1997's Latyrx: the Album, set the tone for what Solesides and Quannum would do, LB recalls, while 1998's Muzappers Re-Mixes EP spawned one of the only feminist-affirming club bangers in hip-hop history, Lady Don't Tek No.
Though Latyrx never officially broke up, after Muzappers, both members followed their chosen paths to considerable solo success. Yet no matter how
much acclaim each attained individually, the notion of someday making another Latyrx record was always present. It's probably the number one thing I
got asked about in my career, LB says. 16 years (!) after the release of Latyrx: the Album, LB and Lateef have finally answered the prayers of long-starved fans who have begged, pleaded and, by now, tweeted about the possibilities of a reunion. An impromptu Latyrx set at a 2010 Jazz Mafia concert at San Francisco's Mezzanine led to an
appearance at 2011's Outside Lands festival, Google's Summer Concert Series (they were the first ever hip-hop act to perform) and a last minute
appearance as part of HITRECORD At The Movies -- a unique film and music traveling showcase curated and hosted by actor and artist Joseph Gordon-
Most recently the duo have performed at the Wintersalt Festival in San Francisco last December and toured the United States with super funk group,
Galactic. Having just released a brand new EP titled 'DISCONNECTION' late last year, LB & Lateef are hard at work on the proper follow up to their debut album, a
new record aptly titled, 'THE SECOND ALBUM'.
Featuring a long list of producers and special guests, the album credits read like a music festival with artists from Tune Yards and Forrest Day to
Blackalicious and The Decemberists stepping in to help create one of the most highly anticipated records of all time. What Latyrx brings to the table is a technical difficulty level rare these days in hip-hop and matched only by a few groups in the genre's entire history: Run -DMC, Jurassic 5, Blackstar, Freestyle Fellowship. Their challenging, intricate back-and forth arrangements evoke a lyrical version of bebop, with layer
upon layer of rhythmic syncopation and vocal patterning constantly pushing the envelope.
We have a good chemistry and it's kind of unique, Lateef says. We step up each others' game content, and both of us push each other in the originality
department. What we've talked about is very simply, picking up where we left off, LB explains. The return of Latyrx stands as Very Good News for true hip-hop fans,
lyrical aficionados, boom-bap beatniks, urban bohemians, wee tots in Reeboks, and Muzappers of all shapes, sizes, colors, and ages.1. Arrival [prod. by Jel of Anticon]
2. It's Time [feat. Zion I, prod. by Amp Live]
3. Reload [prod. by Jel of Anticon]
4. Exclamation Point [feat. Forrest Day, prod. by Forrest Day]
5. Deliberate Jibberish [prod. by tUnE-yArDs]
6. Close Your Eyes [feat. Busdriver, prod. by Antonionian]
7. Nebula's Eye [feat. 1-O.A.K. & Joyo Velarde, prod. by G-Koop & O-Man]
8. The Power of Rumor (Leonard Is Lost) [prod. by Adam Theis and Lyrics Born]
9. Watershed Moment [feat. The Gift of Gab of Blackalicious, prod. by tUnE-yArDs]
10. Sometimes Why? [prod. by Chris Funk of The Decemberists]
11. Every Man For Himself [feat. Joyo Velarde, prod. by Future People]
12. Electric Chair [feat. Corey Glover of Living Colour, prod. by Kaveh Rastegar & Jeremy Ruzumna]
13. Gorgeous Spirits (Aye, Let's Go!) [prod. by The Bangerz]$24.99Vinyl LP - 2 LPs Sealed Buy Now