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Two Sides To Every Story

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  • Two Sides To Every Story Two Sides To Every Story Quick View

    $22.99
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    Two Sides To Every Story

    Two Sides To Every Story, the criminally long out-of-print solo album from founding Byrds member, Gene Clark, finally returns to vinyl. 35 years after its initial 1977 release on RSO, High Moon Records re-mastered, 180-gram audiophile vinyl LP is presented in stunningly rich and crisp audio fidelity that will shed new light on this underrated, beautifully-crafted Gene Clark classic. The album was produced by Thomas Jefferson Kaye, producer of Clark's masterpiece, No Other, and features an all-star cast of musical co-conspirators: singer Emmylou Harris, banjo-virtuoso Douglas Dillard (The Byrds, Dillard & Clark), Country violin legend Byron Berline, guitarist Jeff Skunk Baxter (Doobie Brothers, Steely Dan, Joni Mitchell), and pedal-steel ace Al Perkins (Flying Burrito Brothers, Bob Dylan, Rolling Stones). Gene Clark served as The Byrds chief songwriter in the mid-sixties, penning some of their most essential songs, including Feel a Whole Lot Better, Eight Miles High and You Showed Me.


    Clark's inimitable songwriting and singing continue to inspire and influenced countless artists. Among them: Robert Plant and Alison Krauss (who recorded TWO of his compositions on their 2010 Grammy® winning Album Of The Year, Raising Sand ), Bob Dylan, Fairport Convention, REM, Tom Petty, Yo La Tengo, the Flamin' Groovies, Teenage Fanclub, and Wilco.

    1. Home Run King
    2. Lonely Saturday
    3. In The Pines
    4. Kansas City Southern
    5. Give My Love To Marie
    6. Sister Moon
    7. Marylou
    8. Hear The Wind
    9. Past Addresses
    10. Silent Crusade
    Gene Clark
    $22.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • III Sides To Every Story III Sides To Every Story Quick View

    $37.99
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    III Sides To Every Story

    25th Anniversary Edition Of 1000 Numbered Copies On Moss Green Vinyl, Black Vinyl Thereafter


    180-Gram Audiophile Vinyl


    Includes Insert With Song Lyrics


    III Sides To Every Story is the third album by the Boston funk-metal band Extreme, originally released in 1992. It was the follow-up to the very successful Pornograffitti album. III Sides To Every Story was the last album with the band's original line-up: Gary Cherone, Nuno Bettencourt, Pat Badger and Paul Geary.


    The album is structured as a concept album in three sections labeled as sides - a play on the notion of different sides to a story and that of sides of a vinyl album. The sides, mentioned in the song Cupid's Dead as three sides to every story are named Yours, Mine and The Truth, and each features a distinct musical style and lyrical imagery.


    Most of III Sides To Every Story was recorded at New River Studios, Ft. Lauderdale, Florida, and the orchestral parts were recorded at Abbey Road Studios, London. The single Rest in Peace reached #1 on the Mainstream Rock chart.


    Celebrating the 25th anniversary of this classic album, 2000 copies are pressed on Moss Green vinyl. Individually numbered and strictly limited!

    LP 1
    1. Warhead
    2. Rest in Peace
    3. Politicalamity
    4. Color Me Blind
    5. Cupid's Dead
    6. Peacemaker Die
    7. Seven Sundays
    8. Tragic Comic


    LP 2
    1. Our Father
    2. Stop the World
    3. God Isn't Dead?
    4. Don't Leave Me Alone
    5. Everything Under the Sun
    I. Rise 'N Shine
    II. Am I Ever Gonna Change
    III. Who Cares?

    Extreme
    $37.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Light: On The South Side (Awaiting Repress) Light: On The South Side (Awaiting Repress) Quick View

    $60.99
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    Light: On The South Side (Awaiting Repress)

    2 LPs and 132-page book!


    Between 1975-1977, Chicago's South Side night clubs were a little lighter. Photographer Michael Abramson hit Perv's House, Pepper's Hideout, The High Chaparral, The Patio Lounge, and The Showcase Lounge, not to capture the artists on stage, instead popping off a half dozen rolls every night on the crowd. Light: On The South Side gathers for the first time over 100 of these images, as Numero Group shines its own strobe on yet another dark corner of the past. The 132-page hard back book features photos, an ephemera section, and an essay by Nick Hornby.


    Housed in a gorgeous slipcase with the 12x12 book is Pepper's Jukebox, a seventeen track compilation of the kind of funky Chicago blues heard from the stage and the Wurlitzer. The deluxe 2LP set is packaged in a sharp gatefold jacket with two inner sleeves crammed to the gills with label scans and stories. All in all, it's the classiest Numero record ever made, spotted easily from across the room with its near 2 spine.


    Light: On the South Side is undoubtedly Numeros most extravagant and audaciously packaged seta dazzling collection that should receive an automatic Grammy nomination for Best Recording Package. Housed in a slipcase box, the compilations 2-LP gatefold vinyl and 132-page hardbound 12x12 book offer the ultimate immersion into Chicagos African-American South Side nightclubs and the sounds, sights, personalities, and smells that filled them on a nightly basis. The gorgeous collection is a prerequisite for any fan of blues, R&B, and soul (and by natural extension, rock and pop)and anyone curious to glimpse a bygone era of life-after-dark celebrations staged by urbanites that lived for evenings on the dance floor, in front of the Wurlitzer, and in leather booths surrounded by the opposite sex, booze, and cigarettes. -Bob Gendron, TONE Audio, Issue 25

    1. Arlean Brown - I'm A Streaker Baby
    2. Bobby Rush - Bowlegged Woman
    3. Ricky Allen - No Better Time Than Now
    4. Little Mac Simmons - The Same One
    5. Lady Margo - This Is My Prayer
    6. Andrew Brown - You Made Me Suffer
    7. Artie White - Gimmie Some Of Yours
    8. Lucille Span - Women's Lib
    9. Hugh Hawkins - Bring It Down Front
    10. Slim Willis Band - I Sayed That
    11. Little Ed - It's A Dream
    12. Syl Johnson - Is It Because I'm Black
    13. Walter 'Butterball' Davis - Baby Watcha' Doing
    14. Willie Williams - Detroit Blues
    15. Little Mack - Goose Walk
    16. Detroit Jr. - Young Blood
    17. Willie Davis - I Learned My Lesson
    18. James Kind - California Lady
    Various Artists
    $60.99
    Vinyl LP - 2 LPs Sealed AWAITING REPRESS Buy Now
  • Bluebird Bluebird Quick View

    $17.99
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    Bluebird

    "Musically she exists somewhere between
    Feist and Townes Van Zandt, and her New
    York-by-way-of-Kentucky pluck is a refreshing
    antidote to schmaltzy neo-folk"
    - SPIN


    "Dawn Landes' music sits neatly on the
    fulcrum between Cat Power and Neko Case"
    - PASTE


    " compelling mix of alternative folk with
    instrumental experimentation just the right
    hint of country"
    - NPR


    " Landes is a haunting presence in the world
    of alt-folk experimentalism.
    - BLACKBOOK


    Based in Brooklyn, but raised in Louisville, singer-songwriter Dawn Landes has been writing
    songs for most of her life, and at 33 already has more than a decade of experience as a
    professional producer and engineer. After leaving NYU where she studied psychology and
    literature, Landes began honing her production and engineering skills, working at Stratosphere Sound
    (owned by James Iha, Adam Schlesinger, and Andy Chase), and at Philip Glass'
    personal recording studio, before launching Saltlands Studio in Brooklyn with partners Steve
    Salett and Gary Maurer.


    Her new album Bluebird was produced in collaboration with good friend Thomas Bartlett
    (known for his work with The National, Sharon Van Etten, Rufus Wainwright, Antony and the
    Johnsons, and many others), and features contributions from Tony Scherr, Rob Moose, and
    Norah Jones.


    Press coverage of Bluebird will understandably present this album as Dawn's answer to her
    ex's divorce record. However, like any great songwriter, she's abstracting her personal
    narratives enough to leave them open to interpretation and a larger meaning. Bartlett's
    spartan production keeps the vibe intimate, making it easy to connect with these naked and
    honest songs which manage to rise above the context in which they were written. In the end,
    the fact that Bluebird is Landes' way of processing the overwhelming emotions she dealt
    with after her divorce doesn't matter - there are two sides to every story, and this is hers.

    1. Bluebird
    2. Try to Make a Fire Burn Again
    3. Bloodhound
    4. Heel Toe
    5. Cry No More
    6. Oh Brother
    7. Diamond Rivers
    8. Love Song
    9. Lullabye for Tony
    10. Home
    Dawn Landes
    $17.99
    Vinyl LP - Sealed Buy Now
  • Spirit Bird Spirit Bird Quick View

    $18.99
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    Spirit Bird

    When he debuted in 2002 with the album To Let, Xavier Rudd began a journey that would see him become one of the most iconic voices in Australian music, literally and figuratively. With each new album, this journey has wound like a river making its way toward the ocean, twisting and turning, flowing and cascading as it relentlessly pushes forward.


    Introducing himself as an artist of both imagination and conscience, Xavier Rudd's ability to marry uplifting melodies with thought-provoking themes and concepts produced music that, one way or another, made you feel good. With an array of guitars, yidakis (didgeridoos), stomp box and percussion, Rudd re-introduced a lot of Australians to the sounds and stories of the land's original owners, while introducing the rest of the world to an entirely new sound altogether. And, over the course of a decade, he has taken this sound to every corner of the globe; producing six studio albums, two live albums, multiple ARIA nominations and a global fan-base of like minded souls.


    This journey, truly befitting a storyteller, continues with Xavier Rudd's seventh and most moving album, Spirit Bird. Shaped by his history but continuing to break new ground, Xavier Rudd is at his most creative on Spirit Bird, once again painting breathtaking pictures with vivid, unmistakable tones. Hypnotic ceremonial rhythms ease effortlessly into tender folk songs. Gritty guitar blues sit perfectly alongside entrancing yidaki passages. Rudd's voice, and the voice of his ancestors, yet again bearing truth and knowledge.


    Led by the heart-warming Follow The Sun, Spirit Bird weaves together Rudd's trademark mixture of blues, reggae, indigenous and folk music in new and familiar ways, at times recalling the simplicity of Solace, and at others the electricity of Dark Shades Of Blue. There is the youthfulness of To Let, but the wisdom of Koonyum Sun. It is Xavier Rudd by every measure.


    And whether it is a message, or just some words from the heart; Spirit Bird is a defining moment in the evolution of one of Australia's most important artists. The moment where the river meets the ocean. Double LP pressed at Rainbo Records in Canoga Park, CA with gatefold packaging and digital download card.

    LP1
    1. Lioness Eye
    2. Comfortable In My Skin
    3. Spirit Bird
    4. Prosper
    5. Bow Down
    6. Follow The Sun
    7. Butterfly
    8. Culture Bleeding


    LP2
    1. Paper Thin
    2. Full Circle
    3. Mystery Angel
    4. 3 Roads
    5. Creating a Dream

    Xavier Rudd
    $18.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Queen: The Studio Collection Queen: The Studio Collection Quick View

    $445.00
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    Queen: The Studio Collection

    Colored Vinyl Exclusive To The Box Set


    All 15 Hit Studio Albums Sourced From The Original Master Tapes


    Mastered By Bob Ludwig


    Half-Speed Lacquers Cut At Abbey Road Studios


    Pressed On Heavyweight 180 Gram Colored Vinyl


    Includes A Lavishly Illustrated 108 Page Hardback Book


    15 albums. 18 discs? What's the story?


    Queen always had a special fondness for vinyl, the medium in which they first began to create, around 1970. As a matter of principle, every Queen studio album was offered at the time of original release on vinyl, even well into the era when CD's had taken over as the medium of choice for most of the public. However, the final two albums, 'Innuendo' and 'Made In Heaven' were actually formatted primarily with the CD in mind, with a longer running time, so the contents had to be edited down to fit them on to the two sides of a vinyl album. Now, specially for this edition, for the first time, these two albums have been cut at full length as double vinyl LP's - four sides each - making up a vinyl set that is complete in every way.


    The box-set offers many other special features. Most noticeable is the coloured vinyl: designed for collectors, each album has been given a different colour, in keeping with its original artwork, giving a unique record-deck experience. The colour discs have been custom-produced especially for this set, using new material technology which ensures the sound quality is uncompromised.


    There are more surprises in the box set; 'Queen II' originally never had a designated 'A side' or 'B side' - but 'Side White' and 'Side Black'. For this new edition, the album has been cut on two separate discs, black and white, each with a custom etching on the reverse side, a nice bonus for collectors.


    The collection has been five years in the making. Throughout this time Queen's production team has worked extensively on all stages of this painstaking mastering process. The first step was the tape research; locating and confirming the correct versions and best sources for all tracks. Most notably, Under Pressure, plus five tracks on the 'Innuendo' album, were improved hugely after the discovery of better sources during this period. Particular attention was paid to the original releases to ensure that nothing was lost or changed for the worse by reverting to earlier sources.

    Queen
    1. Keep Yourself Alive
    2. Doin' All Right
    3. Great King Rat
    4. My Fairy King
    5. Liar
    6. The Night Comes Down
    7. Modern Times Rock 'n' Roll
    8. Son and Daughter
    9. Jesus
    10. Seven Seas of Rhye (instrumental)


    Queen II (2 LP)
    1. Procession
    2. Father To Son
    3. White Queen (As It Began)
    4. Some Day One Day
    5. The Loser in The End
    6. Ogre Battle
    7. The Fairy Feller's Master-Stroke
    8. Nevermore
    9. The March of the Black Queen
    10. Funny How Love Is
    11. Seven Seas of Rhye


    Sheer Heart Attack
    1. Brighton Rock
    2. Killer Queen
    3. Tenement Funster
    4. Flick Of the Wrist
    5. Lily of the Valley
    6. Now I'm Here
    7. In the Lap of the Gods
    8. Stone Cold Crazy
    9. Dear Friends
    10. Misfire
    11. Bring Back That Leroy Brown
    12. She Makes Me (Stormtrooper in Stilettos)
    13. In the Lap of the Gods...Revisited


    A Night At the Opera
    1. Death on Two Legs (Dedicated to...)
    2. Lazing On A Sunday Afternoon
    3. I'm In Love With My Car
    4. You're My Best Friend
    5. 39
    6. Sweet Lady
    7. Seaside Rendezvous
    8. The Prophet's Song
    9. Love Of My Life
    10. Good Company
    11. Bohemian Rhapsody
    12. God Save the Queen (instrumental)


    A Day At the Races
    1. Tie Your Mother Down
    2. You Take My Breath Away
    3. Long Away
    4. The Millionaire Waltz
    5. You and I
    6. Somebody To Love
    7. White Man
    8. Good Old Fashioned Lover Boy
    9. Drowse
    10. Teo Torriatte (Let Us Cling Together)


    News Of the World
    1. We Will Rock You
    2. We Are The Champions
    3. Sheer Heart Attack
    4. All Dead, All Dead
    5. Spread Your Wings
    6. Fight From the Inside
    7. Get Down, Make Love
    8. Sleeping On the Sidewalk
    9. Who Needs You
    10. It's Late
    11. My Melancholy Blues


    Jazz
    1. Mustapha
    2. Fat Bottomed Girls
    3. Jealousy
    4. Bicycle Race
    5. If You Can't Beat Them
    6. Let Me Entertain You
    7. Dead On Time
    8. In Only Seven Days
    9. Dreamer's Ball
    10. Fun It
    11. Leaving Home Ain't Easy
    12. Don't Stop Me Now
    13. More of That Jazz


    The Game
    1. Play the Game
    2. Dragon Attack
    3. Another One Bites the Dust
    4. Need Your Loving Tonight
    5. Crazy Little Thing Called Love
    6. Rock It (Prime Jive)
    7. Don't Try Suicide
    8. Sail Away Sweet Sister
    9. Coming Soon
    10. Save Me


    Flash Gordon Soundtrack
    1. Flash's Theme
    2. In the Space Capsule (The Love Theme)
    3. Ming's Theme (In the Court of Ming the Merciless)
    4. The Ring (Hypnotic Seduction of Dale)
    5. Football Fight
    6. In the Death Cell (Love Theme Reprise)
    7. Execution of Flash
    8. The Kiss (Aura Resurrects Flash)
    9. Arboria (Planet of the Tree Men)
    10. Escape From the Swamp
    11. Flash to the Rescue
    12. Vultan's Theme (Attack of the Hawk Men)
    13. Battle Theme
    14. The Wedding March
    15. Marriage of Dale and Ming (and Flash Approaching)
    16. Crash Dive on Mingo City
    17. Flash's Theme Reprise (Victory Celebrations)
    18. The Hero


    Hot Space
    1. Staying Power
    2. Dancer
    3. Back Chat
    4. Body Language
    5. Action This Day
    6. Put Out the Fire
    7. Life Is Real (Song for Lennon)
    8. Calling All Girls
    9. Las Palabras de Amor (The Words of Love)
    10. Cool Cat
    11. Under Pressure (with David Bowie)


    The Works
    1. Radio Ga Ga
    2. Tear It up
    3. It's A Hard Life
    4. Man On the Prowl
    5. Machines (Or Back to Humans)
    6. I Want To Break Free
    7. Keep Passing the Open Windows
    8. Hammer to Fall
    9. Is This the World We Created...?


    A Kind of Magic
    1. One Vision
    2. A Kind of Magic
    3. One Year of Love
    4. Pain Is So Close to Pleasure
    5. Friends Will Be Friends
    6. Who Wants To Live Forever
    7. Gimme the Prize (Kurgan's Theme)
    8. Don't Lose Your Head
    9. Princes of The Universe


    The Miracle
    1. Party
    2. Khashoggi's Ship
    3. The Miracle
    4. I Want It All
    5. The Invisible Man
    6. Breakthru
    7. Rain Must Fall
    8. Scandal
    9. My Baby Does Me
    10. Was It All Worth It


    Innuendo (2LP)
    1. Innuendo
    2. I'm Going Slightly Mad
    3. Headlong
    4. I Can't Live With You
    5. Ride the Wild Wind
    6. All God's People
    7. These Are the Days of Our Lives
    8. Delilah
    9. Don't Try So Hard
    10. The Hitman
    11. Bijou
    12. The Show Must Go On


    Made In Heaven (2LP)
    1. It's A Beautiful Day
    2. Made In Heaven
    3. Let Me Live
    4. Mother Love
    5. My Life Has Been Saved
    6. I Was Born To Love You
    7. Heaven For Everyone
    8. Too Much Love Will Kill You
    9. You Don't Fool Me
    10. A Winter's Tale
    11. It's A Beautiful Day (reprise)
    12. Yeah

    Queen
    $445.00
    180 Gram Audiophile Virgin Vinyl LP Box Set - 18 LPs Sealed Buy Now
  • Renmin Park Renmin Park Quick View

    $29.99
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    Renmin Park

    With the release of Renmin Park, Cowboy Junkies are beginning their most ambitious period yet. In late 2008, Michael Timmins and his family were given an opportunity to spend three months in China. Renmin Park is a reflection of his familys adventure in the country. Its another chapter in a bands ongoing twenty-five year journey. Renmin Park (translated, it means Peoples Park, as found in every Chinese town) is a celebration of the sights, sounds, and characters of Jingjiang, a small town (by Chinese standards) situated on the Yangtze River, about two hours from Shanghai. Several of the tracks were actually built on loops made from field recordings Michael made in China where he recorded a myriad of sounds from music and conversations to badminton games to students chanting their lessons or performing their morning callisthenics. The album also includes covers of songs by two of the countrys most important rock artists I Cannot Sit Sadly By Your Side by Zuoxiao Zuzhou (ZXZZ) and Xu Weis My Fall. Renmin Park a fictional love story about two people whose two worlds will forever keep them apart, says the guitarist. Its a thank-you letter to an obscure city and the people who opened up their lives to five very strange strangers. Its a document about a bewilderingly complex culture that is, once again, experiencing a massive upheaval. Michael Timmins
    1. Intro
    2. Remnin Park
    3. Sir Francis Bacon At The Net
    4. Stranger Here
    5. A Few Bags Of Grain
    6. I Cannot Sit Sadly By Your Side
    7. (You've Got To Get) A Good Heart
    8. Cicadas
    9. Interlude
    10. My Fall
    11. Little Dark Heart
    12. A Walk In The Park
    13. Remnin Park (Revisited)
    14. Coda
    Cowboy Junkies
    $29.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Hurry Up, We're Dreaming (Colored Vinyl) Hurry Up, We're Dreaming (Colored Vinyl) Quick View

    $28.99
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    Hurry Up, We're Dreaming (Colored Vinyl)

    Pressed On Clear Pink & Clear Blue Vinyl


    With these soft spoken words on the simply-titled opening track-"Intro"- M83 mastermind Anthony Gonzalez introduces us to his sixth record and first double disc album, Hurry Up, We're Dreaming.


    Dauntlessly singing into the void that was left behind since Saturdays=Youth, Gonzalez suddenly surges with overwhelming emotion as the music mounts an invisible precipice. Historically, he softly eased you into his world, introducing you to the lush and radiant spaces between captivating melodies and intimate lyrics, but not this time. Not on this record.


    Graduating from the fuzzy, fumbling emotional cobwebs and draped ambiance of past records, Hurry Up, We're Dreaming careens past its audience. Brazenly stretching out along the horizon, spilling glittery, golden arms of sound across the landscape, it holds your breath hostage without you even noticing you were missing it. If it seemed that Anthony was basking in the sunshine-drenched days of his youth when he released Saturdays in 2008, then it can be said that in 2011, at the age of 30, he is tempestuously charging towards his future with Hurry Up, We're Dreaming.


    Relocating to Los Angeles from Antibes, Gonzalez surrounded himself with players pivotal to completing his childhood dream of a double disc record. Producer Justin Meldal-Johnsen (Beck, NIN, The Mars Volta, Goldfrapp) and guitarist Brad Laner (from 90s band Medicine) had been hugely influential on Anthony growing up and now were central to the new record's creation.


    "In France there is this show on TV where at the end there is a musical guest who plays one or two songs. I remember one night when I was a teenager being at home watching the best of performances and looking at this crazy bass player with a big afro and thinking, 'Wow this guy is so cool.' "And now I am working with him. It's so intense that thinking about it makes me feel weird. But it's weird in a super good way. Same thing with Brad, I was listening to his music when I was first getting into music and now he's on my album."


    Anthony and Justin met backstage in 2009 at Scotland's T In The Park. Later, "he came to me very genuinely stating that 'he was a fan and that he would love to work with me,'" explains Gonzalez. "I love when people do that because I can tell it's coming from the heart. He was sincere and that's the way I like to work with people."


    Stepping away from his work with producers Ken Thomas and Ewan Pearson on Saturday, Gonzalez freckles his new chapter with signature M83 fingerprints while pushing himself beyond the constricting emotions of a guarded musician. Bored with being frustrated and shy, Anthony is respectful of the precious time given to him and doesn't want to leave behind any regrets, thus thrusting himself into the spotlight vocally. He tests out different ways of singing, ranging from a spectral breathy whisper to a howling scream, and each voice clings to us like a dew-heavy spider web at dawn.


    Fans will recognize band member Morgan Kibby, her vocals flirting with the shadowy places in between verses, leaping off the record in spoken word or blending with an adult choir. Morgan will join Anthony on tour but she was never meant to sing as much on this record as she had on pervious projects. Quenching his desire to work with a different person on each record, Gonzalez added LA-based chanteuse Zola Jesus to the mix for the completion of "Intro." "The song was already written but I really wanted a female vocal on it and I was kind of struggling to find the right person, but then I heard her music and it just made sense."


    Where Saturday=Youth is drenched in lustful exploration and hungry adolescent wonder, Hurry Up is decadently cunning and seductive. "Intro" and "My tears are becoming a sea" eerily croon to you, swirling all of the glitter and growth from the past records into an epic swell, mysteriously and dramatically warning you of the impact you are about to experience. "Midnight City" (disc one) and "OK Pal" (disc two) are humid, adrenaline driven dreams unlike anything we have heard from M83 in the past. "Midnight City" adeptly sweeps you through abandoned concrete streets swimming in broken neon light and aggressively pushing and pulsating to synthetic beats. While "OK Pal" catcalls you to a locker full of mapped out Peter Gabriel-esque echoing lyrics, leaving you stranded in a post-apocalyptic landscape. These journeys are about awakening, craving and conquering. Throughout Hurry Up, We're Dreaming Anthony carries the listener to different countries of sound in his own universe, "We didn't need a story, we didn't need a real world. We just had to keep walking and we became the stories- we became the places." Drifting away from his previous records and reigned in politeness he unleashes all that he has been dreaming of and yearning for. Even when he takes a second to look back on "Echoes of Mine" the velvety, elderly voice of a woman heartbreakingly tells the story of a girl drenched in the shadows of her youth, knowing she has to grow up.


    Grandiose in scale and inspired by Smashing Pumpkin's revered double disc Melancholy & The Infinite Sadness, Anthony has long had the goal to create his own monumental double disc record. "I saw when I was a teenager that I could dig into it [the album]. It was like a treasure. If I were a teenager nowadays I would try to find something as creative as this album. They had so much to say in their songs."


    Impressed with the juxtaposing sun and moon artwork featured on Melancholy, Anthony focuses in on another natural duality: siblings. The cover artwork mirrors this relationship, featuring a photograph of a little boy with a little girl sitting on a bed. The photograph perpetuates the conversation for the two distinct voices we behind each disc, representing two sides of an overall piece that are almost the same. "I want people to listen to it as two different human beings that are connected somehow, but every song on the album has a secret on the other side."


    Soaring and scraping up against the sky while sharing each uncharted frontier with new collaborators is what M83 does best. Gracefully coming into the next decade of his life, Anthony delivers what makes each record sincere, innocent, and full of joy: he gives us his past and his future.


    "I think it is a reflection of my 30 years of being a human being. It's a compilation of all my previous music together. It's a retrospective of myself."

    LP 1
    1. Intro
    2. Midnight City
    3. Reunion
    4. Where The Boats Go
    5. Wait
    6. Raconte moi une histoire
    7. A Train To Pluton
    8. Claudia Lewis
    9. This Bright Flash
    10. When Will You Come Home?
    11. Soon, My Friend


    LP 2
    1. My Tears Are Becoming A Sea
    2. New Map
    3. OK Pal
    4. Another Wave From You
    5. Splendor
    6. Year One, One UFO
    7. Fountains
    8. Steve McQueen
    9. Echoes Of Mine
    10. Klaus I love You
    11. Outro

    M83
    $28.99
    Colored Vinyl LP - 2 LPs Sealed Buy Now
  • The Concrete Confessional (Picture Disc) The Concrete Confessional (Picture Disc) Quick View

    $21.99
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    The Concrete Confessional (Picture Disc)

    Picture Disc Edition - Limited To 500 Copies


    An institution can be relied on forever. Its foundations don't shake due to the winds of change or tides of trends-no matter how volatile, omnipresent, or tenuous.


    With steadfast determination, drive, and dedication, Hatebreed cement themselves as one of heavy music's strongest institutions on their seventh full-length offering and very first for Nuclear Blast worldwide, 2016's The Concrete Confessional. Since 1994, the Connecticut quintet-Jamey Jasta [vocals], Chris Beattie [bass], Wayne Lozinak [guitar], Frank Novinec [guitar], and Matthew Byrne [drums]-has risen to the ranks of hardcore and heavy metal elite with a GRAMMY® Award nomination, main stage slots on festivals, and countless fans worldwide. 2013's The Divinity Of Purpose earned their highest entry on the Billboard Top 200, bowing at #17 with impressive first-week sales in excess of 17,000. When it came time to return to the studio after two years on the road, Jasta and his cohorts clung to the bedrock on which their legacy stands firm.


    "There's nothing better than loud amps, riffs that hit you right in the chest, and lyrics that spark a new thought and give you a charge," he declares. "That's our musical DNA. We could just be who we are. We don't need to incorporate whatever the trend is. We can just be Hatebreed. There are some new highlights to the game, but you know it's us."


    The Divinity Of Purpose saw them become a headliner in locations such as Slovenia, Slovakia, Russia, Japan, and beyond. They would perform at Poland's Woodstock in front of 400,000 people. Stateside, the band supported longtime friends Slipknot on an extensive 2015 run in between festival appearances at Rock On The Range, Welcome To Rockville, and more as well as Motörhead's Motörboat with Slayer and Motörhead.


    "Riding into this album, I realized we could play with bands of every genre nearly anywhere without deviating from who we are," continues Jasta. "The Motörboat was really a highlight of our career. We played this exclusive event with some of our chief influences. We got to literally chart new territory."


    Returning home in the Fall of 2015, they entered the studio with longtime producer Zeuss [Rob Zombie, Soulfly]. Immediately, they channeled the spirit that's long defined their signature sound. By January, the record was mixed by Josh Wilbur [Megadeth, Lamb Of God] and primed for ignition.


    "We had a really good vibe in the studio," he says. "The record is a snapshot of this time for us."


    It also reflects what's going on outside. The opening track and first single "A.D." fuses together torrential thrashed-out guitars, double bass drums, and Jasta's immortal growl before an incendiary lead. The singer dissects what the American Dream means in a climate of upheaval. "Fight fire with fire, you'll see everyone's burning," he screams. Think of it as "Vote With A Bullet" or "Holy Wars The Punishment Due" for the Instagram age.


    "It's a mirror of both sides of the story whether it's what you believe in the media or what you actually see," he explains. "Musically, it came together quickly. It's about all of the frustrated feelings that come out when I turn on the news. So much of our attention is focused on the wrong areas. People want to one-up each other with better clothes and cars, and it's all bullshit. Nobody goes to the grave with any of that stuff. It's not all instant gratification. What exists on the phone and computer isn't what exists in real life. What is the American Dream anymore?"


    The machine gun chug of "Looking Down The Barrel Of Today" proves equally uplifting and undeniable. "I wanted something to get crowds pumped up," he admits. "So many fans will tell us, 'Your records help me get through my life.' I needed to encourage this cyclical power to get up and face the day. You either make the best of today, or you're done in by it."


    "Something's Off" carries an ominously lyrical bass line into a guttural chant, showcasing Jasta's chilling vocal dynamics in the process. "I've written songs about depression, alcoholism, and falling back into destructive patterns," he says. "However, I never felt like I could really put my finger on what anxiety is. It's not just social anxiety but this unexplained feeling of unease. I've felt it since I was in kindergarten. You can't control when it happens. Heavy music has kept that beast at bay-in addition to exercise and experiences with my family. I had to confront it directly in the lyrics here."


    Elsewhere, "Remember When" and "Slaughtered In Their Dreams" juxtapose visceral lyricism with a searing sonic backdrop as chaotic as it is catchy. Through and through, The Concrete Confessional is classic Hatebreed.


    In order to transfer this message to the masses, the band inked a global deal with Nuclear Blast. "They're world-renowned mainstays in the metal community," he smiles. "We get to be in the company of career bands we look up to." These musicians have come a long way from the East Coast's storied nineties underground scene. Their journey has seen them achieve a 2005 GRAMMY® Award nod in the category of "Best Metal Performance" for "Live For This," sell over 1.2 million records, and land a #1 debut on Billboard's DVD Chart with 2009's Live Dominance. Moreover, they've annihilated audiences from OZZfest Japan and Download Festival to Wacken, Hellfest, and beyond.


    Now, The Concrete Confessional fits right into the bold, bloody, and beating heart of the Hatebreed institution.


    "The title had to be something that was heavy and hard, but also vulnerable and honest," Jasta leaves off. "Heavy music is this cleansing, therapeutic, and cathartic experience. You're on that concrete floor, the guitars are crushing you, and someone's screaming their head off-sharing their pain and aspects of their life through words, poetry, or songs. There's nothing like it. You confess you have negative thoughts, and you purge them. For however long you're at the show, there are no bills to pay, issues to deal with, or problems holding you back. You can be free."

    1. A.D.
    2. Looking Down The Barrel Of Today
    3. Seven Enemies
    4. In The Walls
    5. From Grace We've Fallen
    6. Us Against Us
    7. Something's Off
    8. Remember When
    9. Slaughtered In Their Dreams
    10. The Apex Within
    11. Walking The Knife
    12. Dissonance
    13. Serve Your Masters
    Hatebreed
    $21.99
    Vinyl LP Picture Disc - Sealed Buy Now
  • The Concrete Confessional The Concrete Confessional Quick View

    $24.99
    Buy Now
    x

    The Concrete Confessional

    An institution can be relied on forever. Its foundations don't shake due to the winds of change or tides of trends-no matter how volatile, omnipresent, or tenuous.


    With steadfast determination, drive, and dedication, Hatebreed cement themselves as one of heavy music's strongest institutions on their seventh full-length offering and very first for Nuclear Blast worldwide, 2016's The Concrete Confessional. Since 1994, the Connecticut quintet-Jamey Jasta [vocals], Chris Beattie [bass], Wayne Lozinak [guitar], Frank Novinec [guitar], and Matthew Byrne [drums]-has risen to the ranks of hardcore and heavy metal elite with a GRAMMY® Award nomination, main stage slots on festivals, and countless fans worldwide. 2013's The Divinity Of Purpose earned their highest entry on the Billboard Top 200, bowing at #17 with impressive first-week sales in excess of 17,000. When it came time to return to the studio after two years on the road, Jasta and his cohorts clung to the bedrock on which their legacy stands firm.


    "There's nothing better than loud amps, riffs that hit you right in the chest, and lyrics that spark a new thought and give you a charge," he declares. "That's our musical DNA. We could just be who we are. We don't need to incorporate whatever the trend is. We can just be Hatebreed. There are some new highlights to the game, but you know it's us."


    The Divinity Of Purpose saw them become a headliner in locations such as Slovenia, Slovakia, Russia, Japan, and beyond. They would perform at Poland's Woodstock in front of 400,000 people. Stateside, the band supported longtime friends Slipknot on an extensive 2015 run in between festival appearances at Rock On The Range, Welcome To Rockville, and more as well as Motörhead's Motörboat with Slayer and Motörhead.


    "Riding into this album, I realized we could play with bands of every genre nearly anywhere without deviating from who we are," continues Jasta. "The Motörboat was really a highlight of our career. We played this exclusive event with some of our chief influences. We got to literally chart new territory."


    Returning home in the Fall of 2015, they entered the studio with longtime producer Zeuss [Rob Zombie, Soulfly]. Immediately, they channeled the spirit that's long defined their signature sound. By January, the record was mixed by Josh Wilbur [Megadeth, Lamb Of God] and primed for ignition.


    "We had a really good vibe in the studio," he says. "The record is a snapshot of this time for us."


    It also reflects what's going on outside. The opening track and first single "A.D." fuses together torrential thrashed-out guitars, double bass drums, and Jasta's immortal growl before an incendiary lead. The singer dissects what the American Dream means in a climate of upheaval. "Fight fire with fire, you'll see everyone's burning," he screams. Think of it as "Vote With A Bullet" or "Holy Wars The Punishment Due" for the Instagram age.


    "It's a mirror of both sides of the story whether it's what you believe in the media or what you actually see," he explains. "Musically, it came together quickly. It's about all of the frustrated feelings that come out when I turn on the news. So much of our attention is focused on the wrong areas. People want to one-up each other with better clothes and cars, and it's all bullshit. Nobody goes to the grave with any of that stuff. It's not all instant gratification. What exists on the phone and computer isn't what exists in real life. What is the American Dream anymore?"


    The machine gun chug of "Looking Down The Barrel Of Today" proves equally uplifting and undeniable. "I wanted something to get crowds pumped up," he admits. "So many fans will tell us, 'Your records help me get through my life.' I needed to encourage this cyclical power to get up and face the day. You either make the best of today, or you're done in by it."


    "Something's Off" carries an ominously lyrical bass line into a guttural chant, showcasing Jasta's chilling vocal dynamics in the process. "I've written songs about depression, alcoholism, and falling back into destructive patterns," he says. "However, I never felt like I could really put my finger on what anxiety is. It's not just social anxiety but this unexplained feeling of unease. I've felt it since I was in kindergarten. You can't control when it happens. Heavy music has kept that beast at bay-in addition to exercise and experiences with my family. I had to confront it directly in the lyrics here."


    Elsewhere, "Remember When" and "Slaughtered In Their Dreams" juxtapose visceral lyricism with a searing sonic backdrop as chaotic as it is catchy. Through and through, The Concrete Confessional is classic Hatebreed.


    In order to transfer this message to the masses, the band inked a global deal with Nuclear Blast. "They're world-renowned mainstays in the metal community," he smiles. "We get to be in the company of career bands we look up to." These musicians have come a long way from the East Coast's storied nineties underground scene. Their journey has seen them achieve a 2005 GRAMMY® Award nod in the category of "Best Metal Performance" for "Live For This," sell over 1.2 million records, and land a #1 debut on Billboard's DVD Chart with 2009's Live Dominance. Moreover, they've annihilated audiences from OZZfest Japan and Download Festival to Wacken, Hellfest, and beyond.


    Now, The Concrete Confessional fits right into the bold, bloody, and beating heart of the Hatebreed institution.


    "The title had to be something that was heavy and hard, but also vulnerable and honest," Jasta leaves off. "Heavy music is this cleansing, therapeutic, and cathartic experience. You're on that concrete floor, the guitars are crushing you, and someone's screaming their head off-sharing their pain and aspects of their life through words, poetry, or songs. There's nothing like it. You confess you have negative thoughts, and you purge them. For however long you're at the show, there are no bills to pay, issues to deal with, or problems holding you back. You can be free."

    1. A.D.
    2. Looking Down The Barrel Of Today
    3. Seven Enemies
    4. In The Walls
    5. From Grace We've Fallen
    6. Us Against Us
    7. Something's Off
    8. Remember When
    9. Slaughtered In Their Dreams
    10. The Apex Within
    11. Walking The Knife
    12. Dissonance
    13. Serve Your Masters
    Hatebreed
    $24.99
    Vinyl LP - Sealed Buy Now
  • Beauty & Ruin Beauty & Ruin Quick View

    $19.99
    Buy Now
    x

    Beauty & Ruin

    "It's a song cycle. A narrative. It's nobody's story but my own I ran so
    fast from my past that I caught up with myself. This album is
    acknowledging that and dealing with every year getting a little tougher."


    Bob Mould's new album Beauty & Ruin is a twelve-track journey of loss,
    reflection, conciliation, and coming through the other side. It may very well
    be the most epic emotional roller coaster ever pressed into 36 minutes.


    Well into his fourth decade as a singer-songwriter, Mould is as relevant,
    ferocious, and poignant as he has ever been. Much of Beauty & Ruin deals
    with the passing of Mould's father in October 2012, Bob's struggle to come
    to terms with it, himself, and his own identity and legacy, and repercussions
    of all of the above on his ongoing relationships in the land of the living.
    Beauty & Ruin is a challenging work of raw beauty-and may well be Bob
    Mould's finest work since his 1989 solo debut, Workbook.


    Bob Mould's journey as singer-songwriter, guitarist, author, DJ, and all-around
    MVP began in 1979 with the formation of HÜsker DÜ. In 1988, Mould began
    the first part of a solo career producing the aforementioned Workbook and the
    heavy Black Sheets of Rain. In 1992, Bob gave the world Sugar, a reimagined
    power trio that toured the globe and produced two albums and an EP: Copper
    Blue, Beaster, and File Under: Easy Listening. From these releases came a cache
    of songs-"Helpless," "Hoover Dam," "If I Can't Change Your Mind,"
    "Your Favorite Thing"-that remain staples of Bob's live shows to this day.


    In fall 2012, Bob gave the world Silver Age, his debut album for Merge
    Records and the first to feature current bandmates Jason Narducy and Jon
    Wurster. The subsequent touring covered four continents, ending in October
    2013 in South America. Beauty & Ruin is in large part the sound of this band,
    on the road relentlessly, congealing into the tightest unit to surround Bob
    in his storied career. Two days after returning from South America, the trio
    reconvened in Chicago to begin the recording of Beauty & Ruin. The
    October 2013 session at Steve Albini's famed studio complex Electrical Audio
    consisted of nine days of band tracking and five days of layering guitars. The
    following month, Bob returned to Different Fur Studios in his hometown of
    San Francisco to finish lyrics for six songs, add vocals, and mix the album.


    Beauty & Ruin is a product of a survivor who refuses to give up, thrives
    through his work, and subsequently embraces the many changes around and
    within himself. Bob smartly declares the album as "yet another bonus round,
    and I am very grateful."

    1. Low Season
    2. Little Glass Pill
    3. I Don't Know You Anymore
    4. Kid With Crooked Face
    5. Nemeses Are Laughing
    6. The War
    7. Forgiveness
    8. Hey Mr. Grey
    9. Fire in the City
    10. Tomorrow Morning
    11. Let the Beauty Be
    12. Fix It
    Bob Mould
    $19.99
    Vinyl LP - Sealed Buy Now
  • Black, Brown And Beige (Speakers Corner) Black, Brown And Beige (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Black, Brown And Beige (Speakers Corner)

    Black, Brown, & Beige is Duke Ellington's musical representation of the African-American experience in the United States. It is arguably The Maestro's greatest work. The triumph of telling so important a story so well through music alone makes Duke Ellington's Black, Brown, & Beige a masterpiece. It also displays Duke's, and Jazz's, highest achievement in long form. Whether you perceive it as a three-movement symphony or accept Ellington's own personalized terminology »Tone Parallel«, Black, Brown, & Beige matches conceptually and in artistic content the musical continuity of Western Classical's greatest names in their lengthiest works.


    The history of Black, Brown, & Beige is in its own right momentous. Ellington premiered the work at Carnegie Hall on January 23, 1943, at Duke's first performance on that illustrious stage. The Maestro has created the Come Sunday Suite. Duke Ellington basically reduced his three movement work to its first, Black, elevating that movement's spiritual theme, Come Sunday, making it the melody of the edited work. Truncating the symphony Black, Brown, & Beige into the song Come Sunday works because Duke Ellington has expanded Come Sunday through numerous theme and variations unknown to the original. The piece de resistance: a sacred text, by Duke himself, a text sung by the best known African-American religious singer in history, Mahalia Jackson. There is no doubt that it is the presence and performance of Mahalia Jackson which secures a home in the pantheon for this recasting of Black, Brown, & Beige, a work that already resided there.


    And Duke Ellington pulled off this coup with one hand tied behind his back, or without the services of his right-hand man. Overlooked over the years since the album Black, Brown, & Beige was recorded in February 1958 is the absence of Johnny Hodges (Hodges did a gig with Strayhorn in Florida during this period), the Ellington band's premier soloist


    The sides C & D are released on vinyl for the first time with this issue.


    Recording in mono.


    Musicians:



    • Duke Ellington (piano)

    • Mahalia Jackson (vocal)

    • Clark Terry (trumpet)

    • Ray Nance (trumpet, vocal)

    • Quentin Jackson (trombone)

    • Harry Carney (bassoon)

    • Paul Gonsalves (tenor saxophone)

    • Jimmy Hamilton (clarinet)

    • Russell Procope (clarinet, alto saxophone)

    • Jimmy Woode (bass)

    • Sam Woody (drums)



    About Speakers Corner



    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, Speakers Corner 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 existant 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 emphasise that Speakers Corner 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 have one digital recording in our catalogue (Alan Parsons / Eye In The Sky"), but even in this particular case we used the analogue tapes for cutting.



    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 - excluding the exception above - and that the lacquer discs are newly cut.



    LP 1
    1. Part I
    2. Part II
    3. Part III (AKA Light)
    4. Part IV (AKA Come Sunday)
    5. Part V (AKA Come Sunday)
    6. Part VI (23rd Psalm)


    LP 2
    1. Track 360 (AKA Trains)(Alt. Take)
    2. Blues In Orbit (AKA Tender)(Alt. Take)
    3. Part I (Alt. Take)
    4. Part II (Alt. Take)
    5. Part III (AKA Light) (Alt. Take)
    6. Part IV (AKA Come Sunday)(Alt. Take)
    7. Part V (AKA Come Sunday)(Alt. Take)
    8. Part VI (23rd Psalm)(Alt. Take)
    9. Studio Conversation (Mahalia Swears)
    10. Come Sunday (A Capella)

    Duke Ellington & Mahalia Jackson
    $34.99
    180 Gram Audiophile Virgin Vinyl LP Mono - 2 LPs Sealed Buy Now
  • Say It Like You Mean It Say It Like You Mean It Quick View

    $34.99
    Buy Now
    x

    Say It Like You Mean It

    180 Gram Blue/Green Haze Vinyl


    Limited To 750 Copies


    Etched D Side



    Not many 17-year-olds could say that they are already living
    out their dreams, but for The Starting Line's singer/bass
    player, Ken Vasoli, life is one big dream. After signing to
    Drive-Thru at the tender age of 16, Ken took night and
    summer classes so that he could graduate from High School a
    year early. What was supposed to be his senior year of school
    turned into every kid's fantasy: ayear of touring, traveling the
    country, meeting new people, making new friends,and flying
    to the U.K. for the first time to play with label mates and new found friends New Found Glory.


    The Starting Line's first release in July 2001 was the 5-song EP With Hopes of Starting
    Over, which proved to be more rewarding than the band could
    have ever imagined.Twenty-five thousand copies later,TSL is
    selling out 300-800 capacity venues across the country on
    their first-ever headlining tour.Say It Like You MeanIt, TSL's
    debut full-length showcases a more mature style of song writing well beyond their years, without compromising the sense of
    untainted youth and freshness. The charm of this band is over-
    flowing in the story-style lyrics,the urgency and the sincerity.
    The buzz is strong, and is only getting bigger.

    LP 1
    1. Up & Go
    2. Given The Chance
    3. Leaving
    4. The Best Of Me
    5. A Good Night's Sleep
    6. Almost There, Going Nowhere
    7. Cheek To Cheek
    8. Hello Houston
    9. Decisions, Decisions
    10. Saddest Girl Story


    LP 2
    1. Left Coast Envy
    2. The Drama Summer
    3. This Ride
    4. The Best Of Me (Acoustic)
    5. Greg's Last Day

    The Starting Line
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Buy Now
  • Open Book (Pre-Order) Open Book (Pre-Order) Quick View

    $18.99
    Buy Now
    x

    Open Book (Pre-Order)

    Fred Hersch has long been acclaimed as an exploratory artist, an outspoken activist, an influential educator and a uniquely revelatory and lyrical pianist. As one of the most expressive voices in modern jazz, Hersch has never been shy about letting listeners glimpse his most intimate thoughts and emotions. In September, however, Hersch's fans will be treated to even deeper, more revealing insights into the story of the renowned pianist when he publishes his much-anticipated memoir, Good Things Happen Slowly: A Life In and Out of Jazz. As a companion piece, Hersch decided to present an equally direct and vulnerable glimpse into his private musical thoughts with his 11th solo release, Open Book.

    The seven pieces on Open Book (set for release via Palmetto Records) offer some of the finest, most unguardedly emotional solo music that Hersch has created in a career unique for its profound poignancy and passion. Recorded in a South Korean concert hall on a superb Hamburg Steinway concert grand piano, the album captures the vital essence of the revelatory adventurousness and intense beauty that have made Hersch one of the most important solo artists in jazz. With more than 40 albums to his credit as a leader or co-leader, Hersch remarkably continues to discover new areas of inspiration and depths of feeling.

    For the last two and a half decades I've been pretty open about who I am, what I like and what I'm dealing with at times, Hersch says. But I've always got to dig deeper, and I thought this might be a chance to make an album that's a window into the kinds of things that I play at home or don't play in public all that much.

    The album arrives during a momentous month for Hersch. On September 12, the esteemed publishers Crown Archetype (Penguin Random House) will release Good Things Happen Slowly, Hersch's bravely confessional memoir. The book covers the pianist's meteoric rise in jazz from his sideman days alongside masters like Art Farmer and Joe Henderson to his gradual recognition as one of the most individualistic and innovative artists of his generation, a ten-time Grammy Award nominee and winner of countless accolades including being named a 2016 Doris Duke Artist as well as the same year's Jazz Journalists Association Pianist of the Year. But it also frankly reveals his story as the first openly gay, HIV-positive jazz musician, tracing his path through hedonistic post-Stonewall New York City to the dramatic two-month medically induced coma in 2007 from which he emerged to make some of the most stunning and captivating music of his career.

    Later that month Hersch will reprise his ambitious Leaves of Grass full-evening piece at Jazz at Lincoln Center's Appel Room, the first time the song cycle has been performed in New York City since 2005. Vocalists Kurt Elling and Kate McGarry will reprise their roles from the original project, which sets the verse of American bard Walt Whitman. The legendary poet's timeless ode to the miracle of nature and openhearted love of all beings seems especially vital in our present socio-political moment.

    The centerpiece of Open Book, and the spark that ignited the album, is the nearly 20-minute improvisation Through the Forest. Unique in Hersch's extensive discography, the stream-of-consciousness gem is a miniature masterpiece of narrative development, a compelling journey through an abstract, glimmering landscape, revealing that in his early 60s Hersch continues to take creative risks and daunting inventive leaps.

    The creation of Through the Forest was as unplanned and spontaneous as the music itself. In Seoul for a pair of solo concerts during a break in a tour of Asia with his esteemed trio, Hersch overslept during an after-breakfast nap and rushed to take the stage at JCC Art Center Concert Hall for his afternoon performance. The titular forest is, in part, a jetlag and coffee-fueled dreamscape through which Hersch wanders, applying his vivid powers of observation to unusual terrain. I was a little groggy, my defenses were down, and rather than fight it I just gave in to it, Hersch recalls. I'd never really done anything of that length in public where I had no agenda and was able to stay in that zone for such an extended period of time. I realized it was something special, something different that might be the core of an album.

    Through the Forest became the leaping-off point for an album intended to be singularly divulgent and reflective. A few months later, Hersch returned to the same hall and recorded the remainder of Open Book alone in the empty venue (with the exception of Benny Golson's classic Whisper Not, taken from a concert during that return engagement).

    The album opens with the stark musings of The Orb, taken from Hersch's autobiographical music-theater piece My Coma Dreams. A love letter to Hersch's longtime partner, AIDS activist Scott Morgan, The Orb is the final dream depicted in the show, and in this solo rendition becomes a nakedly heartfelt outpouring of raw but tender emotion. The mood then takes a turn for the playful and swinging on Whisper Not, a longtime staple of Hersch's repertoire that here becomes a vibrant, virtuoso marathon of thematic exploration.

    The piece also serves as an ideal mirror to the album's other composition from the pen of a jazz icon, Thelonious Monk's Eronel. Hersch has long been recognized as one of the premier interpreters of the Monk songbook, but despite including one of the iconic composer's pieces in every one of his sets for most of his career, Hersch had never tackled this particular tune, co-written by pianist Sadik Hakim. Monk's original stride-inflected lines come in for a dizzying array of variations in Hersch's endlessly imaginative take.

    The music of Brazil has also been a constant in Hersch's career, in particular the music of Antonio Carlos Jobim, the subject of one of the pianist's earlier solo efforts, 2009's Fred Hersch Plays Jobim. Picture in Black and White is a new addition to that repertoire, majestically transformed from a bossa nova feel to a crystalline hybrid with Chopin's last nocturne. On the other side of Through the Forest in the album's symmetrical structure comes Hersch's own classical-flavored Plainsong, a spare, lyrical piece composed in the bucolic setting of the MacDowell Colony, the inspirational artists' retreat in rural New Hampshire.

    Open Book ends on a meaningful ellipsis, Billy Joel's moving And So It Goes. In title alone it's an apt conclusion, suggesting an embrace of life as lived and hinting at its open-ended continuation. The full lyrics, which Hersch has performed in duo settings with singers including frequent collaborator Kate McGarry, remain unspoken here but obviously deeply felt in every note. I connect with the sentiment of the words, Hersch says, and it felt like a good benediction to the whole album.

    1. The Orb
    2. Whisper Not
    3. Zingaro
    4. Through The Forest
    5. Plainsong
    6. Eronel
    7. And So It Goes
    Fred Hersch
    $18.99
    Vinyl LP - Sealed PRE-ORDER Buy Now
  • We The People We The People Quick View

    $26.99
    Buy Now
    x

    We The People

    Hard rock icons Adrenaline Mob have had their fair share of challenges in the past but have risen to each & every one continuing to march forward yet again & again! Formed by guitarist Mike Orlando & vocalist Russell Allen they joined forces with drummer Mike Portnoy & bassist John Moyer to launch the band's debut. The band eventually parted ways with drummer Mike Portnoy due to scheduling conflicts & brought drum legend AJ Pero into the fold. Only two years after the debut was released, the group was involved in a major vehicle accident while on the road with Avenged Sevenfold and Hellyeah. Then, in 2015, Adrenaline Mob lost drummer and long-time friend drum legend A.J. Pero to a heart attack while on tour with Drowning Pool. In 2017, Adrenaline Mob have now replenished the ranks with newcomers David Zablidowsky on bass and Jordan Cannata on drums for work on their latest effort, 'We The People'.


    Recorded once again at Sonic Stomp Studios over a year-plus period, We the People sounds huge. Each riff is massive, every drum hit a chest-thumping pound, and each line Russell vocalizes exudes unbelievable power and heart. Life-changing events may've halted Adrenaline Mob, but the group's third full-length is proof positive they're stronger now than they've ever been. Tracks like the raging 'Blind Leading the Blind', the big-hitting 'King of the Ring', the rhythmically wicked 'What Do You Really Want', and the rock radio-tailored title track evince purpose and authority. In every way, We the People puts the hard in hard rock. And the metal in heavy. Orlando was responsible for composing the music, engineering, recording, co-producing, mixing, and mastering and that all says one thing: the dude's a beast. Along with the incredible talents & amazing voice of his co-producing partner Allen who is by far one of rocks greatest voices, the two seem unstoppable on We The People.


    As the title, We the People, indicates there's a political side to Adrenaline Mob. Throughout their years as a musicians and songwriters, they hadn't stayed silent on matters significant. Whether they were masked in metaphor or flatly conspicuous, they've always poured their feelings into song. It was, as Orlando puts it, a form of catharsis. So, as they were watching the presidential campaigns, feeling the negativity-the constant bickering and finger pointing-they knew Adrenaline Mob's next venture would be impacted. In fact, the first song Orlando began writing for We the People was the politically-charged rocker 'Blind Leading the Blind'. "The title track is very much inspired by the past election year," confirms Allen. "It touches on our society, here in America. The album title is a reflection of our times. The songs have certain particular stories that stand on their own. Many of them are also driven by the climate we live in today & some are about having a good time, being free & loving rock n roll. All the tracks have a personality and character to them."


    Undoubtedly, the re-energized Adrenaline Mob will face adversity with We the People. But the strong always rise. Adrenaline Mob have proven they have the fortitude and music to prevail over anything. We the People, folks. It's time to rise up with Adrenaline Mob!

    LP 1
    1. King Of The Ring
    2. We The People
    3. The Killer's Inside
    4. Bleeding Hands
    5. Chasing Dragons
    6. Til The Head Explodes
    7. What You're Made Of
    8. Raise Em Up


    LP 2
    1. Ignorance & Greed
    2. Blind Leading The Blind
    3. Violent State Of Mind
    4. Lords Of Thunder
    5. Rebel Yell
    6. Devil Went Down To Georgia
    7. Snortin' Whiskey
    8. Tie Your Mother Down

    Adrenaline Mob
    $26.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • The Ugly Organ (Deluxe) The Ugly Organ (Deluxe) Quick View

    $27.99
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    The Ugly Organ (Deluxe)


    Remastered Deluxe 180g Vinyl Limited To 3000 2 LP


    Extensive Booklet With Photos From The Band's Archives, Alternate Album Art Sketches, A List Of All Tour Dates From The Era, Show Posters, And New Liner Notes Written By The A.V. Club's Kyle Ryan


    8 Bonus Tracks From The Era, Including 4 Tracks From The 8 Teeth To Eat You Split EP Previously Unreleased On Vinyl


    "A brilliant leap forward" -Rolling Stone


    "The best punk record you'll hear all year" -Magnet


    The Ugly Organ made landfall on March 4, 2003, the same day as Evanescence's Fallen and roughly two weeks
    before the start of the Iraq War. The darkest days of the Bush Era were settling in like a dense fog over the
    entire country, and the outlook was bleak. That made The Ugly Organ especially potent, its gloomy inward
    focus a natural re action of the era. The press accolades came quickly, from the mainstream (Rolling Stone
    called it "a brilliant leap forward," and Entertainment Weekly said it "raised the Saddle Creek bar") to the niche
    (The A.V. Club called it "a potent piece of rock art," Alternative Press gave it a perfect score).


    With The Ugly Organ, Cursive made a landmark album for itself and Saddle Creek. It was the label's 51st release
    and the second in what my colleague Marc Hawthorne called "Saddle Creek's holy trinity" in his liner notes for
    The Faint's Danse Macabre reissue: Danse Macabre, The Ugly Organ, and Bright Eyes' I'm Wide Awake, It's
    Morning. (I'd argue more for LIFTED or the Story is in the Soil, Keep Your Ear to the Ground on that count, but I'll
    save that for the next time I see Marc.)


    Just prior to The Ugly Organ, Saddle Creek had released the celebratory compilation Saddle Creek 50, which
    included Cursive's gleefully self-referential "Nonsense" ("I really don't want to write another 'I'm a dick' song
    again"), which is included on this reissue. The label's 49th release had been another Cursive joint, the "Art is
    Hard" single, which featured the explosive six-minute B-side "Sinner's Serenade," also included here. Rounding
    it out are four songs from Cursive's split EP with Eastern Youth, 8 Teeth to Eat You-check out the ferocious
    playing by cellist Gretta Cohn on "Excerpts from Various Notes Strewn Around the Bedroom of April Connolly,
    Feb 24, 1997"-and two songs from the single for "The Recluse." It's an exhaustive-and exhausting-snapshot of a band realizing its power and wielding it for maximum impact.


    And then Cursive was gone. Again. Taking another of its intermittent hiatuses. An unease has accompanied
    every album after The Ugly Organ that it could be the last one-no, for real this time. Maybe because The Ugly
    Organ capped an unprecedented productive streak, ending a three-record, three-year run with an album that
    can't help but re ect the e ort that went into it. The exhaustion, the ambivalence, the doubt, it all bleeds out
    of those 12 tracks. At the end of "Staying Alive," the "ghost chorus" referenced in the liner notes sings, "The
    worst is over, Doo do Doo do Doo do Doo doo." On second thought, maybe it's neither hope nor resignation,
    but simple relief. The storm has passed. And it was a motherfucker.


    -Kyle Ryan, The A.V. Club

    1. The Ugly Organist
    2. Some Red Handed Sleight of Hand
    3. Art Is Hard
    4. The Recluse
    5. Herald! Frankenstein
    6. Butcher the Song
    7. Driftwood: A Fairy Tale
    8. A Gentleman Caller
    9. Harold Weathervein
    10. Bloody Murder
    11. Sierra
    12. Staying Alive
    13. Excerpts from Various Notes Strewn Around the Bedroom of April Connolly Feb 24, 1997*
    14. Am I Not Yours?*
    15. Escape Artist*
    16. May Flowers*
    17. Sinner's Serenade*
    18. Nonsense*
    19. Once*
    20. Adapt*


    *Bonus Tracks

    Cursive
    $27.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Babel Babel Quick View

    $16.99
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    Babel


    Babel follows the 2009 release of Mumford & Sons' debut album, Sigh No More. It is produced by Markus Dravs.


    Fantastic 4 Star review from American Songwriter!



    There are some guitar sounds so indelibly stuck into our collective pop-consciousness that even those who can't tell a minor from a major chord can identify the band or player from just a few riffs -a dreamy John Lennon lick, the cosmic climb of Joe Perry, Slash's slash, Nirvana's fuzzy-barre rips, the post-punk fury of Sonic Youth. Now, the chugging, kinetic strum of Mumford & Sons is slowly creeping onto this revered list - not born out of extreme skill or virtuosity but by sheer branding, note for note. And it's how the band's second album, Babel, opens on the title track: with that same very strum, born somewhere between English mountain folk and an old time Appalachia. You can nearly hear the sweat flying off Marcus Mumford, his Martin instrument hiked high on his chest, every time he and banjo player Winston Marshall attack their strings.

    So it's no coincidence, it seems, that the band's highly anticipated sophomore record begins exactly where we might expect, and the rest of LP that follows proves that this isn't an attempt to smash any expectations with a sudden progression of their style. For those devotees looking for the Mumfords to evolve drastically, well, you're out of luck. But who would that audience be, anyway? The band is no doubt polarizing: old time and bluegrass faithfuls wouldn't be caught dead with a copy of Sigh No More, and their most ardent followers are more likely to have an iPod stocked with Coldplay and John Mayer than Bill Monroe or Doc Watson. Even pop addicts can't deny the catchy craft of "Little Lion Man" or "The Cave." No one is looking for their Kid A. Thus Babel's not a new sentence in the book of Mumford & Sons - it's what happens after an ellipses. And in many ways, that suits them just fine. It will most definitely suit their fans.


    Marcus Mumford has always been a bit of a melancholy fellow, and even a marriage to pixie-haired starlet Carey Mulligan, sold-out shows and Grammy nominations haven't shaken the teary introspection from this set of songs. Obviously, Babel deals in a lot of religious imagery and lyrics - with all the success and opportunities to indulge, it seems the boys have taken a moment to ask a few questions of their maker. "This cup of yours tastes holy/but a brush with the devil can clear your mind," Mumford sings on the second track "Whispers in the Dark." It's an anthem call with a firm statement: "I'm a cad but I'm not a I'm not a fraud / I set out to serve the lord." Maybe the trials and tribulations of being simultaneously loved and harangued have worn on the Mumford's, but at least they can prove to themselves, their audience or even their lord that this stuff comes from the heart.


    The album's single, "I Will Wait," is an easy crowd-pleaser moment with an arena-ready hushed chorus, set to those furious strings. The lyric and melody could easily be a Fray song if you removed the plucking banjo -and that's the amazing thing about Mumford & Sons. Purists aside, there's no one else that can get an audience from ages eight to eighty screaming along to a bunch of acoustic instruments or urge a kid to choose guitar lessons over computer games. Every time they perform - live or on Babel - they do it with sheer fervor, as if it's both their first and last time.


    While the band is mostly known for their "Americana" sound, they also pull references from their side of the pond: from both classic British countryside folk and Celtic punk bands like The Pogues. Those influences run a little more clear on Babel - "Ghosts That We Knew" and "Reminder" are both soft, melancholy stunners born out of grassy hills and cockney-tinged tales told in wood-paneled bars. And "Broken Crown" is the boys at their angriest yet: "I'll never be your chosen one," Mumford sings lightly before launching into an all-out war over minstrel plucks. It's a force of a song, and not your firmest pick nor hard-earned callous could weather that storm.


    Babel has some other unexpected moments, too, like on "Hopeless Wanderer," which begins with keys instead of strum, and "Lover of the Light" is a sunnier moment, perhaps a nod to the singer's recent vows ("to have and to hold," Mumford howls on the track). And the album's closer, "Not Without Haste," is a beautiful lullaby meant more for singing a restless man to sleep than a still-innocent child.


    There's also a continuation of the Mumford's love of literary references, with the boys even copping recently to ripping a line from Hilary Mantel's Wolf Hall - this is the band, after all, that was able to loop Macbeth's fateful cry of "stars, hide your fires" into their rollicking song "Roll Away Your Stone." So while the album title, Babel, is most likely a biblical reference, it's hard not to think of Jorge Louis Borges' short story, The Library of Babel. In it Borges imagines a universe composed of an endless library that contains every book in every possible permutation, and, therefore, nothing at all. This excess causes great despair for people of the library as they try to search for meaning in all of it. They fret. They come up empty.


    Babel may not hold all the answers, and it may not be some exotic transformation of their original formula - it's a safe bet to say that nothing from the Mumford & Sons may ever be. In The Library of Babel, the final realization that everything repeats itself is the universe's saving grace. And in Babel, you could say the same. Though there may not be endless possibilities, there's comfort - elegance, even - in that familiar, now nearly iconic rip of those strings, strummed in the way only those boys from West London can strum. It's not perfect, but it's perfectly Mumford & Sons.


    1. Babel
    2. Whispers In The Dark
    3. I Will Wait
    4. Holland Road
    5. Ghosts That We Knew
    6. Lover Of The Light
    7. Lovers' Eyes
    8. Reminder
    9. Hopeless Wanderer
    10. Broken Crown
    11. Below My Feet
    12. Not With Haste
    Mumford And Sons
    $16.99
    Vinyl LP - Sealed Buy Now
  • Stiff Stiff Quick View

    $19.99
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    Stiff

    Three years on from their critically acclaimed "barbeque" record Corsicana Lemonade, White Denim are back with more than just a new album to commemorate. Their sixth record, Stiff - out 25 March 2016 via Downtown/Sony Red - is a return to the Austin quartet's frenetic rock band roots, and is both a jubilant thrill ride and joyous celebration of their past ten years. Heading into the studio with an external producer to oversee a whole album for the first time - and even writing a tune with Cass McCombs ('Thank You') - the band teamed up with the legendary Ethan Johns (Paul McCartney, Laura Marling, The Staves) to produce their first truly live record, one teeming with a cool '70s undertow, tumultuous riffs and a feverish energy that's resulted in arguably some of their biggest and brawniest songs to date.


    With drummer Joshua Block and guitarist Austin Jenkins now pursuing other production ventures, vocalist/guitarist James Petralli and bassist Steve Terebecki spent a long time reassessing exactly what White Denim meant to them. "The big thing for Steve and I was trying to define what made us want to keep going," Petralli explains of the album's early days. "What's our partnership about? What's cool about this? We learnt a lot making D and Corsicana Lemonade. We wanted to take some of those lessons and apply it back to our original mission statement. We were trying to get back to some of the things that made us excited about the band in the first place."


    Opener 'Had 2 Know (Personal)' is the embodiment of that mission statement. Described by Petralli as "a reassertion of our initial intent to make songs that satisfy our urge to play fast", it sets the tone brilliantly for the bulk of Stiff, right from its idiosyncratic, Red Krayola-sampling beginning to its huge, golden era chorus. While it remains distinctively White Denim, there's a reinvigoration permeating through its riffs via new guitarist Jonathan Horne and a beefed-up rhythm section thanks to the work of new drummer Jeffrey Olson. Every single high octane turn - from the tremendously fun 'Ha Ha Ha Ha (Yeah)' to the outrageously shredding 'Holda You (I'm Psycho)' - sounds like a band re-energised and revitalised, resulting in what Petralli describes as a "high heat, high energy, good times record". Having previously sold out Shepherd's Bush Empire and having toured with Tame Impala and Arctic Monkeys, Stiff is full to the brim with songs that sound ready to now lift White Denim to similar heights.


    For the most part, Stiff is an album crammed with adrenaline-fuelled sing-alongs that show off the band's staple technical abilities. But it's also one that sees some new shades that they've developed along the way, too. Citing new wave and the razor-sharp pop punk of Buzzcocks as influences this time round, there's an addictive Elvis Costello circa This Year's Model quality to 'Real Deal Momma', a tune that highlights the band's love for hummable synthesisers and curious, affecting oddities. Then there's the cow bell calm and backing vocals laden brilliance of 'I'm The One (Big Big Fun)', that along with 'Take It Easy (Ever After Lasting Love)' (a song Petralli says "wants to be on a collection of doo wop songs written in 2016") shows a softer and more intricate side to the band while fully emphasising Petralli's vocal excellence.


    Of the artwork - which was created by collagist Eugenia Loli - was inspired and worked from the band's previous album covers and videos as a visual template. Ultimately, it's a fleeting visit to a place the band have been before, with the covers of Workout Holiday and D being collages too. Stiff was even originally stylised 'Stif', which when spelt backwards spells out the title of their second full-length Fits. Then there's 'Mirrored In Reverse', a nod to the Fits track 'Mirrored And Reverse'. "I mean, we're ten!" Petralli says in disbelief while explaining all of the record's throwbacks. "We did think about naming this record Ten and referencing the Pearl Jam cover!"


    Recorded with nothing but equipment that Petralli describes as being "past a certain point in the '70s", he explains that Stiff is an album made "entirely the old way". "It was tracked live to 16-track tape with very little overdubs," he says. "It was very hardcore record making - traditional in every aspect." Recorded with Ethan Johns in Asheville, North Carolina over a twenty-day period, Petralli and the band had an intense but deeply educational time with Johns. "It was really cool. The guy had these stories that were just unbelievable. He started talking about playing with Jimmy Page when he was a kid, and he lived in the studio where The Rolling Stones and The Faces would just hang out. Having Ethan in the room pushing us really made it more of an 'in the moment' and a visual thing. Capturing live performances is what he does really well."


    To make things even more celebratory, there was an extra ten day stint spent with go-to White Denim man Jim Vollentine, who Petralli describes as "my guy, man". He continues: "we've made a lot of records together now. When we left the studio in Asheville with Ethan, we thought we gotta work on this record some more, you know? Though it was really just mixing, which we did with respect to Ethan's arrangements and his recording. I feel like I really haven't made anything like this before."


    Ultimately, Stiff is the sound of a band finding their feet again and having the time of their lives. It's a record that refuses to buckle under the pressures of life, instead offering up a soundtrack to sing, dance, shout and scream along to. As a White Denim album, it's a joyride through the past ten years of the band's idiosyncratic catalogue while simultaneously pushing things further forward into new territories. "It's similar to our first record [Workout Holiday] in that we found the initial energy and just went with that," Petralli says of the initial studio spark that started it all. "We thought, what's the fundamental thing that made us want to get into a van and quit our terrible jobs and start this whole thing in the first place? And it was loud, fast-playing, rock and roll."

    1. Had 2 Know (Personal)
    2. Ha Ha Ha Ha (Yeah)
    3. Holda You (I'm Psycho)
    4. There's a Brain in My Head
    5. Take It Easy (Ever After Lasting Love)
    6. (I'm the One) Big Big Fun
    7. Real Deal Momma
    8. Mirrored in Reverse
    9. Thank You
    White Denim
    $19.99
    Vinyl LP - Sealed Buy Now
  • Broken People Broken People Quick View

    $18.99
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    Broken People

    American 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
    10. Train
    11. Leave It To The Sky (feat. John Legend)
    Muddy Magnolias
    $18.99
    Vinyl LP - Sealed Buy Now
  • Anthology of Interplanetary Folk Music Vol. 1: Nommos / Visiting (Out Of Stock) Anthology of Interplanetary Folk Music Vol. 1: Nommos / Visiting (Out Of Stock) Quick View

    $29.99
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    Anthology of Interplanetary Folk Music Vol. 1: Nommos / Visiting (Out Of Stock)


    Includes Detailed Artwork And Two Essays By Leon


    Craig Leon's seminal synthesizer albums Nommos and Visiting are finally re-editioned in
    definitive form as the Anthology of Interplanetary Folk Music Vol. 1 for RVNG Intl.'s archival
    series.


    Issued respectively by John Fahey's Takoma record label in 1980 and Leon's Arbitor
    private press in 1982, Nommos and Visiting were the twin brainchildren of studio wizard
    Craig Leon. Leon's production was pivotal in realizing the debut recordings by Ramones,
    Blondie, Richard Hell and Suicide. While those albums broke ground in new worlds of sound,
    Leon's own debut album was arguably, if not literally, more alien.


    In 1973 , the Brooklyn Museum hosted a comprehensive collection of sculptures by the
    Dogon of the Republic of Mali, a tribe whose religion is based in reveries and recollections
    of a visit from an extraterrestrial species they named Nommos. Years after experiencing the
    exhibit, Leon remained fascinated by the idea of alien visitors sharing not just stories of their
    home-planet, but musical traditions as well. For the classically trained Leon, a puzzle was
    presented and a challenge in place: what would music sound like if handed down from an
    ancient alien species? And how best to imagine it?


    Upon meeting Fahey in the late 70s, Leon pitched the concept as an opportune time to
    employ the latest and greatest synthesizer technology available. An avant empathist and
    eternally free spirit, Fahey enthusiastically green-lighted the project for his Takoma imprint.
    After a secluded week in an Austin, Texas studio with his partner, wife and collaborator
    Cassell Webb, Leon returned with a collection of incorporeal melodies generated by the
    Oberheim OB-X, Roland JP-4 and Arp 2600 synthesizers propelled by primitive rhythms
    programmed on a prototype of Roger Linn's nascent drum-machine, the LM-1.


    Issued by Fahey with zero expectation of the same radio airplay Leon accomplished
    with his pop productions, Nommos now stands as an innovative example of cosmic-synth
    composition that wasn't made for its time or any other. For this edition, Leon has in fact
    re-animated Nommos by re-recording the exact audio signals as preserved in the album's
    original studio notes. Every patch, tape-delay speed and outboard setting was transcribed
    as first scored, materializing the best possible audio from an album whose masters were lost
    in major label merger milieu years ago.


    Additionally, the re-master of Visiting was supervised firsthand by Leon. As its title
    suggests, Visiting materialized in 1982 as a conceptual continuation of Nommos. The
    album is in equal measure more improvisatory and constructed than its predecessor. Both
    albums were intended to be listened to as a set in the first volume of Leon's Anthology of
    Interplanetary Folk Music (the title was an homage to Harry Smith's influential collection of
    folk music issued two decades prior). A creative evolutionist, Leon made subtle edits and
    compositional additions to both albums to enhance the connectivity and encourage infinite
    interpretation.


    While reissues and bootlegs have appeared to relieve the demand for these records,
    this collection will stand as the first ever version authorized by Craig Leon himself. The
    vinyl edition will be housed in a 2xLP set that includes detailed artwork and two essays by
    Leon. The first tells the complete story of the stargazing Dogon people and their prescient
    understanding of cosmology. The second details Leon's adventure in creating the Anthology
    of Interplanetary Folk Music Vol. 1, an epic story bookended on this side of history as one
    seamless synth classic.

    1. Ring With Three Concentric Discs
    2. Donkeys Bearing Cups
    3. Nommo
    4. Four Eyes To See The Afterlife
    5. She Wears A Hemispherical Skullcap
    6. One Hundred Steps
    7. Region of Fleeing Civilians
    8. Three Small Coins
    9. Visiting
    10. Details Suggest Fidelity To Fact
    11. The Customs of the Age Disturbed
    Craig Leon
    $29.99
    Vinyl LP - 2 LPs Sealed Temporarily out of stock
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