Vinyl LP pressing. 2016 release. Fantastic Negrito is a man’s truth told in the form of black roots music. Each song the true story of a musician from Oakland who experienced the highs of a million dollar record deal, the lows of a near fatal car accident that put him in a coma, and is now in the phase of rebirth despite his playing hand being mangled. Negrito’s music emphasizes rawness and space. Slide guitar, drums, piano. Rather than update the Delta Blues, Fantastic Negrito leaves the original sounds of Lead Belly and Skip James intact, building bridges to a modern sound with loops and samples of his own live instruments. But the primary element that drives Fantastic Negrito’s music is uncut realness and zero concern for “pop” anything.
Limited double 180gm vinyl LP pressing including bonus seven inch single. Complete & Unbelievable: The Otis Redding Dictionary of Soul was the soul legend’s 1966 album (and the last issued in his lifetime). The original album features mostly covers on side one and original compositions on side two. The reissue features stereo and mono mixes of the album, remastered from Ian Sefchick’s vinyl masters. The double vinyl edition repeats the mono/stereo split across the two LPs and comes with a bonus seven-inch single (‘Try A Little Tenderness’ backed with ‘I’m Sick Y’All’). The album features musical assistance from Booker T. & the M.G.’s-organist Booker T. Jones, pianist/guitarist Steve Cropper, bassist Donald “Duck” Dunn, drummer Al Jackson, Jr.-pianist Isaac Hayes, and the Memphis Horns, consisting of tenor saxophonist Joe Arnold, trumpeter Wayne Jackson, tenor saxophonist Andrew Love and baritone saxophonist Floyd Newman.
Limited double vinyl LP pressing. 2016 release from the British singer, songwriter and electronic musician. The Colour In Anything Frank Ocean and Rick Rubin contributed to the album as co-writer and co-producer. Blake recently appeared on “Forward” and co-wrote “Pray You Catch Me” on Beyoncé’s Lemonade. Following the release of 2013’s Overgrown, Blake garnered a Best New Artist nomination at the 2014 Grammy Awards, and a British Male Solo Artist nomination at the 2014 BRIT Awards. James Blake Litherland (born 26 September 1988), known as James Blake first received recognition in 2010 for a trio of dubstep-influenced EPs, and the following year his self-titled debut album was released in the United Kingdom to critical praise. His second studio album Overgrown was released in 2013 and was awarded the Mercury Prize. Blake has also released remix work under the moniker Harmonimix.
Limited triple vinyl LP pressing in gatefold sleeve. Includes digital download. 2016 release. Kenya Special was one of Soundway Records’ most popular releases and is considered a milestone in East African compilations. Soundway is now proud to present Kenya Special : Volume Two. This time the team of compilers have gone to even greater lengths to share a small part of what is slowly being accepted as an essential element of East Africa’s cultural heritage: the history of recorded popular music. The featured songs on Kenya Special : Volume Two bend the rules, break away from existing genres and sometimes experiment with foreign music trends. The approach to musical rediscovery behind Kenya Special : Volume Two has it’s origins in a youthful movement of vinyl collecting as well as, to some extent, club culture.
Limited vinyl LP repressing. Scottish singer/songwriter Bert Jansch recorded his first album in producer Bill Leader’s London flat with a borrowed guitar, sitting on the edge of the bed and singing into a portable tape recorder. As author Richie Unterberger writes in the liner notes, “When Bert Jansch’s self-titled debut LP was issued in April 1965, he was already a major figure on the British folk scene. His synthesis of traditional British folk with blues and a bit of jazz was at the vanguard of a new generation of UK folk performers, well-versed in past forms but unafraid to venture into new territory. His virtuosic guitar was complemented by a plaintive rough-hewn voice that didn’t just document the on-the-road experience, but lived it.” Bert Jansch contains all original material, except a shattered cover of Davy Graham’s “Angie” that Jansch makes all his own. “Needle of Death,” one of the first folk songs to address the consequences of heroin use, yields to a restraint uncommon for Jansch, yet beautifully encapsulates the album’s tone of heartfelt conviction. Superior Viaduct is honored to present the first-time domestic release of Bert Jansch’s debut. For those interested in a unique strand of music that would become a major influence on everyone from Jimmy Page, Nick Drake, Donovan, Neil Young and more – there is no better place to start than here.
Vinyl LP pressing. 2016 release. Nine time Grammy award winner Norah Jones returns to the piano and her roots on her sixth solo album Day Breaks, a kindred spirit to her multi-platinum breakthrough Come Away With Me. Features legendary jazz musicians saxophonist Wayne Shorter, organist Dr. Lonnie Smith, and drummer Brian Blade. “This new album feels full circle because I’m going back to my early influences,” says Jones. “After the first record, I drifted away from the piano a little bit. I still played it, but was more inspired to write on guitar. I really loved playing piano on this record.” With the help of co-producer Eli Wolf, Jones enlisted renown jazz musicians such as drummer Blade, organist Smith and saxophonist Shorter for recording the album. Blade previously worked with Jones on her debut, Come Away with Me. Having just had a baby and a piano in her kitchen, Jones wrote much of the album during late-night sessions at the piano while drawing influence from a wide range of jazz music. There are three cover songs on Day Breaks: “Peace”, originally performed by Horace Silver, “Fleurette Africaine (African Flower)”, originally performed by Duke Ellington and “Don’t Be Denied”, originally performed by Neil Young.
Susana Baca‘s eponymously titled debut captures the plangent beauty of her voice. The accompaniment is thankfully sparse, including only a guitar and cajón (a wooden box drum). The songs are unhurried and round corners melodically, twisting and turning, always showcasing her musicality. There’s nothing on the album quite like “Maria Lando,” and Baca‘s astonishing performance that led off the Soul of Black Peru compilation of Afro-Peruvian music, but a few tracks come close. The lead tune, “Negra Presentuosa,” is the strongest, beginning with the cajón, which is soon joined by the guitar, then Baca, and finally a chorus at the close.
180gm vinyl LP pressing, includes digital download. Available for the first time on vinyl, Live At The New Penelope Café, recorded in Montreal in 1967, showcases the legendary folk/blues duo in unusually lively form. It’s possible that the duo weren’t even thinking about the fact that they were being recorded which resulted in a less stiff and formal performance than they could sometimes deliver when playing in front of white collegiate audiences. The result is a record a bit louder and noisier, but also more exciting than most of their other live albums – the voices mesh together a bit rougher and more honestly than they do on some of their other live releases. The sound is clean mono, with the audience present but not overly obtrusive.
Limited vinyl LP repressing. 1984 album from the female Japanese punk/pop trio. Yama no Att-chan is the second album released by Shonen Knife and is almost exclusively in Japanese. The album was named after Atsuko, their drummer, the honorific “-chan” being added. Thus the title a bit of a pun, since the drummer’s name is, when rendered Japanese style, Yamano Atsuko. Heavily influenced by 1960s girl groups, pop bands, The Beach Boys, and early punk rock bands, such as the Ramones, Shonen Knife crafts stripped-down songs with simplistic lyrics sung both in Japanese and English. Despite their pop-oriented nature, the trio maintains a distinctly underground garage rock sound rooted in edgy instrumentation and D.I.Y. aesthetics, which over the course of their long career has earned them a solid, worldwide cult following and made avid fans out of seminal ’90s alternative rock bands such as Sonic Youth, Nirvana, and Redd Kross.
Vinyl LP pressing includes digital download. Whiskey for the Holy Ghost is the second solo album from Lanegan, and it was released January 18th, 1994. It builds upon the roots-music foundation Lanegan established with his debut The Winding Sheet. Released during the grunge explosion of the early 1990s, Whiskey for the Holy Ghost showcases Lanegan’s growing maturity as a songwriter and vocalist. Lyrically, Lanegan continues to delve into the darker side of the human experience on songs like “Borracho” and the biblical “Pendulum.” “House a Home” was released as a single with an accompanying video. Dan Peters of Mudhoney guests on the album, playing drums on the songs “Borracho” and “House a Home.”
Limited vinyl LP pressing in gatefold jacket including digital download. 2016 release. Lewis Del Mar is the self-titled debut album from lifelong friends Danny Miller and Max Harwood. The two are inseparable creative companions filled with zeal and confidence, recently became twenty-somethings. They have been on a continual musical journey together, a DIY mission that found them ingloriously wading against the current for years. Through a tireless pursuit including self-booked tours and uncomfortable nights on friend’s couches and floors, they have created one of the most impressive debut albums in recent memory. All of the album’s 10 tracks were written and recorded by Danny and Max in their shared 400 sq ft bungalow in Rockaway Beach, NY, a working class neighborhood in the shadows of New York City on the periphery of Queens.
Vinyl LP pressing. Eleven tracks recorded by Miles Davis’s nonet in 1949 and 1950, Birth of the Cool (1956) may just be the most accurately titled album ever. The tracks just bleed hipness – cool, smooth, and swinging – and practically define the genre of “cool jazz.” Unparalleled recordings required for any fan of mid-century American jazz.
Vinyl LP pressing includes digital download. Western exports may have dominated the consciousness of international rock fans for the entirety of the 20th century, but our increasing global awareness has unearthed a treasure trove of transcendental grooves and spellbinding riffage from exotic and remote corners of the planet. Goat’s previous albums World Music and Commune were perfect testaments to this heightened awareness, with Silk Road psychedelia, desert blues, and Third World pop all serving as governing forces within the band’s sound. But Goat’s strange amalgam isn’t some cheap game of cultural appropriation – it’s nearly impossible to pinpoint the exact origins of the elusive group’s sound. The fact that they pledge allegiance to a spot on the periphery of our maps bolsters the nomadic quality of their sonic explorations. With Requiem, Goat continue to rock and writhe to a beat beholden to no nation, no state. Goat’s only outright declaration for Requiem is that it is their “folk” album, and the album is focused more on their subdued bucolic ritualism than psilocybin freakouts. But Goat hasn’t completely foregone their fiery charms – tracks like “All-Seeing Eye” and “Goatfuzz” conjure the sultry heathen pulsations that ensnared us on their previous albums. Perhaps the most puzzling aspect of Requiem comes with the closing track “Ubuntu.” The song is little more than a melodic delay-driven electric piano line, until we hear the refrain from “Diarabi” – the first song on their first album – sneak into the mix. It creates a kind of musical ouroboros – an infinite cycle of reflection and rejuvenation, death and rebirth. Rather than offering explanations for their strange trajectories, Goat create a world where the line between truth and fiction is so obscured that all you can do is bask in their cryptic genius.
Limited vinyl LP repressing. Art Blakey’s Jazz Messengers with Thelonious Monk is a studio album released in 1958 on Atlantic Records. It is a collaboration between the Jazz Messengers, the group led by drummer Art Blakey, and special guest Thelonious Monk on piano. The album is the only time Monk recorded for the Atlantic label. Throughout the preceding decade, on sessions for both Blue Note and Riverside, Blakey had supported Monk on various occasions. Monk returned the favor on this one-off session for Atlantic. Blakey was on the verge of beginning a long-term contract with Blue Note, while Monk was in the middle of his stay on Riverside. One month after these recordings, Monk would begin his summer and autumn residency at the Five Spot on Cooper Square after regaining his cabaret card, without which he had been barred from playing in most of New York City’s clubs.
Vinyl LP pressing includes digital download. Hiss Golden Messenger return on Merge Records in October 2016 with their sixth full-length album Heart Like a Levee. The eleven songs on Heart Like a Levee are immediate, dealing with themes that include leaving and returning, belief and trust, guilt, honesty, and life on the road. Hiss Golden Messenger creative force M.C. Taylor says, “I wrote these songs during a time of transition and doubt. The process was raw, but also joyous. I spent a lot of time with these words and chords in all types of weather. In the end I learned more about myself making this record than any in the past, and that’s one important way for me to gauge whether an album was worth making. I want to make records that feel both minor- and major-key at the same time; maybe ‘bittersweet’ is a good word for it. Life is simultaneously happy and sad at once, and that’s how I want my records to feel. I think that’s how Heart Like a Levee feels.” The highly anticipated release was self-produced by Taylor and Bradley Cook and recorded in Durham, NC, with Taylor’s close-knit North Carolina collaborators: brothers Phil and Bradley Cook on piano and bass, respectively;Matt McCaughan on drums; Tift Merritt and Alexandra Sauser-Monnig on backing vocals; and Matt Douglas and Michael Lewis on horns.
Limited vinyl LP pressing. A Thousand Leaves was Sonic Youth’s 10th studio album and the group’s first major effort to be recorded at their own Echo Canyon studio in NYC. Free from the constraints of paying for costly studio time, the band was able to work at their desired pace and experiment at will. The result was an album born out of improvisation, chiefly characterized by the guitar interplay between guitarists Thurston Moore and Lee Ranaldo. The album title was inspired by Walt Whitman as Moore explained, “The same way he improvises with images and words, we improvise with sounds and notes.” Sonic Youth formed in 1981. Founding members Thurston Moore (guitar, vocals), Kim Gordon (bass guitar, vocals, guitar) and Lee Ranaldo (guitar, vocals) remained together for the entire history of the band, while Steve Shelley (drums) followed a series of short-term drummers in 1985, and rounded out the core line-up. In their early career Sonic Youth were associated with the no wave art and music scene in New York City. Part of the first wave of American noise rock groups, the band carried out their interpretation of the hardcore punk ethos throughout the evolving American underground that focused more on the DIY ethic of the genre rather than it’s specific sound.
Vinyl LP pressing. 2016 release from the country music great. Dwight developed a love for bluegrass music at an early age, and for years has wanted to record an all bluegrass album. The songs for this album are new interpretations of classic Dwight songs plus a John Prine track that Dwight loves, and a very unique cover of Prince’s “Purple Rain.” The album includes four of Dwight’s past Billboard Top 100 Country tracks: “These Arms,” “Gone,” “Guitars, Cadillacs,” and “Please Please Baby,” all reimagined with a bluegrass treatment. Dwight Yoakam is an American singer-songwriter, actor, and film director, most famous for his pioneering country music. Popular since the early 1980s, he has recorded more than twenty one albums and compilations, charted more than thirty singles on the Billboard Hot Country Songs charts, and sold more than 25 million records. He has recorded five Billboard #1 albums, twelve gold albums, and nine platinum albums, including the triple platinum This Time.
180gm vinyl LP pressing. The celebration of Erasure’s (Andy Bell and Vince Clarke) 30th anniversary continues in the fall of 2016 with the next installment of 180-gram vinyl catalog reissues which includes Other People’s Songs (2003), Nightbird (2005), Union Street (2006), and Light at the End of the World (2007). Light At The End Of The World is Erasure’s thirteenth studio album and it contains some of the band’s most anthemic work. Big production by Gareth Jones resulted in a kind of synth-pop grandeur that borders on techno in places, with the catchy hooks that have become synonymous with Erasure throughout their career. Originally released in 2007, the album made the UK Top 30 and spawned two Top 40 singles: “Sunday Girl” and “I Could Fall In Love With You,” both soulful upbeat tracks with huge choruses. Light At The End Of The World was the third Erasure studio album not to be released on vinyl, so this special reissue is the very first time the record has been made available as an LP. Erasure is one of the UK’s most enduring award-winning songwriting duos. The BRIT and Ivor Novello winning pair have released a staggering number of albums, including 5 UK No. 1’s and 17 top 10 singles (35 singles charted in the UK Top 40). Caitlin Moran of The Times exclaimed, “Let’s face it – there is nothing Kraftwerk did that Erasure didn’t do better, for longer, and while wearing a blue sequinned cowboy hat and chaps.”
Limited vinyl LP repressing. Buck Owens is the debut album on Capitol Records by Buck Owens, released in 1961. It would mark the beginning of a long association for Owens with producer Ken Nelson. Owens’ single “High as the Mountain” reached #27 on the Billboard Country Singles charts. Buck Owens had 21 #1 hits on the Billboard country music charts with his band the Buckaroos. They pioneered what came to be called the Bakersfield sound, a reference to Bakersfield, California, the city Owens called home and from which he drew inspiration for what he preferred to call American music. While Owens originally used fiddle and retained pedal steel guitar into the 1970s, his sound on records and onstage was always more stripped-down and elemental, incorporating elements of rock and roll. His signature style was based on simple storylines, infectious choruses, a twangy electric guitar, an insistent rhythm supplied by a drum track placed forward in the mix, and high two-part harmonies featuring Owens and his guitarist Don Rich.
180gm translucent red colored vinyl LP pressing includes digital download. LITTLE SEEDS is as loud as we’ve ever been and it’s as quiet as we’ve ever been. It’s our most personal record and reflects some of those extremes we’ve experienced both sonically and lyrically. It has been nothing short of a harrowing couple of years, full of beauty and sorrow. We got served an adult portion. We grew up. From raw and primal electric guitar feedback slammers to mandolin led ballads, it’s just us being ourselves… and stretching.
Throughout his career, Boom Bip aka Bryan Hollon has thrived in producing off-kilter experimental music. Boom Bip’s debut on Lex ‘Seed To Sun’ (2002) was also the first album on the label. The songs on the album are a combination of sample-loops, synths and rock instrumentation. Companion piece ‘Corymb’ arrived two years later, including songs from his Peel Sessions and remixes by Four Tet, Boards Of Canada and Mogwai. Boom Bip’s second album for Lex, ‘Blue Eyed In The Red Room’ (2005), was a record in which he meticulously played and recorded every single instrument separately, using no samples in the process. The album also included his first collaboration with Gruff Rhys of The Super Furry Animals, with whom he went on to form the group Neon Neon. The most recent solo LP, ‘Zig Zaj’ (2011), expands on the sound of ‘Blue Eyed In The Red Room’ and is a precursor to the sound of Neon Neon’s ‘Praxis Makes Perfect’.
Vinyl LP pressing. Dude Ranch is the second studio album by Blink-182. Recorded at Big Fish Studios in Encinitas, California with producer Mark Trombino, the album was released in the United States on June 17, 1997, jointly through independent label Cargo Music and major label MCA Records. MCA signed the band in 1996 following moderate sales of their debut Cheshire Cat (1995) and growing popularity of the trio in Australia. Dude Ranch was the band’s final recording released on Cargo and their last with original drummer Scott Raynor before he was dismissed from the band in 1998. The band recorded the album during the winter of 1996-1997. With lyrical material written on the band’s nonstop tours over the previous years, as well as completed songs, the band recorded with Trombino in sessions that lasted for five weeks.
Vinyl LP pressing. Total Reggae: Roots is 10 essential reggae anthems from this golden age of roots and culture including massive hits from Leroy Smart, Junior Byles, Horace Andy, Jacob Miller and others. These classic productions from Joe Gibbs & Errol Thompson, recorded at Channel One Studios capture the essence of mid-seventies Jamaica that is the template for all reggae music that followed.
Vinyl LP pressing including digital download. 2016 release from the Canadian punks. Sum 41 returns with their first album in over five years with 13 Voices. The quintet is back with their signature choruses and metallic guitar riffs that fans have come to love throughout the band’s career. The album is the first to feature guitarist Dave Baksh since 2004’s Chuck and the first to feature second drummer Frank Zummo, who replaced founding member Steve Jocz in 2015. It is also Sum 41’s first album as a five-piece and all new lineup, as it features both Baksh and Tom Thacker on lead guitar.
Limited double vinyl LP pressing of this collection by legendary blues/rock guitarist Stevie Ray Vaughan. This set includes songs from 1980 to 1990. Born and raised in Dallas, Texas, Vaughan began playing guitar at the age of seven, inspired by his older brother Jimmie. In 1971 he dropped out of high school, and moved to Austin the following year. He played gigs with numerous bands, earning a spot in Marc Benno’s band, the Nightcrawlers, and later with Denny Freeman in the Cobras, with whom he continued to work through late 1977. He then formed his own group, Triple Threat Revue, before renaming the band Double Trouble after hiring drummer Chris Layton and bassist Tommy Shannon. He gained fame after his performance at the Montreux Jazz Festival in 1982, and in 1983 his debut studio album, Texas Flood, charted at #38.
Vinyl LP repressing. Fly Like an Eagle is the ninth studio album by rock group Steve Miller Band. The album was released in May 1976 by Capitol Records in North America. The album was a success, spawning three singles: the title track, “Take the Money and Run” and “Rock’n Me”, and eventually receiving quadruple platinum certification from the RIAA. The Steve Miller Band formed in 1966 in San Francisco, California. The band is led by Steve Miller on guitar and lead vocals. It is best known today for a string of (mainly) mid-1970s hit singles that are staples of classic rock radio, as well as several earlier acid rock albums.
Vinyl LP pressing. 2016 release, the third album from Phantogram. The album features the single You Don’t Get Me High Anymore. Since their 2014 album Voices, Phantogram have trekked across the globe playing live shows and festivals, contributed features to everyone from A-Trak and Miley Cyrus and have been sampled by Kanye West, The Game and A$AP Rocky. Phantogram (formerly Charlie Everywhere) is a duo from Greenwich, New York formed in 2007 and consisting of Josh Carter (vocals, guitars) and Sarah Barthel (vocals, keyboards).They define their music as dream pop, electronica and trip hop, and have described their sound as “street beat, psych pop”.
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