Vinyl LP pressing. The legendary Jesus and May Chain – fronted by the quarrelsome Reid brothers Jim and William – release their long awaited brand new studio album Damage and Joy – their first studio effort since Munki, issued back in the summer of 1998. Produced by Martin Glover aka Youth and featuring contributions from former Lush bassist Phil King and the band’s touring drummer Brian Young, the highly anticipated 14-track set includes stunning lead single “Amputation” and a re-energized new version of “All Things Must Pass” which was previously showcased in the TV show Heroes. Creation Records boss and band manager Alan McGee exclaimed, “They’ve made another album! It’s a big deal! It’s kinda enormous.”
180gm vinyl LP pressing includes digital download. Faithfully remastered and complete with six bonus tracks. New West Records is proud to present Vic Chesnutt’s fourth studio album, Is The Actor Happy? Arguably Chesnutt’s most accessible album, Is The Actor Happy? features such tracks as “Gravity Of The Situation,” “Onion Soup” and “Guilt By Association.”
Limited double 180gm vinyl LP pressing in gatefold jacket. 2017 release, the second album from the widely acclaimed project produced by Will ‘Quantic’ Holland, Mario Galeano from Frente Cumbiero. Recorded in both Bogota and the Caribbean island of Old Providence. Fueled by bushy rum, the sessions, often including up to 35 musicians, captured the dialogues between calypso and gaita, accordion and lapsteel, clave and mandolin, even synthesizer and a horse’s jaw bone.
Without knowing it, you’ve probably heard Kelly Lee Owens’ work over the past few years: the 27-year-old London producer contributed vocals to several tracks & co-wrote ‘Knowing We’ll Be Here’ – on fellow UK techno wizard Daniel Avery’s debut LP, 2014’s Drone Logic, and she’s made waves with a pair of limited-release 12″ singles showcasing her gifts for spectral, hallucinatory pop. On Oleic, her debut release on Smalltown Supersound, Owens flexes her considerable muscle as a dance producer with four luscious, deeply satisfying slices of big-room electronic music.
Limited vinyl LP pressing released to coincide with the film’s 50th Anniversary. Originally released in 1967, the Valley Of The Dolls soundtrack won an Academy Award for Best Music (Scoring of Music – Adaptation or Treatment). Valley of the Dolls is a drama based on the 1966 novel of the same name by Jacqueline Susann. It was directed by Mark Robson, produced by Robson and David Weisbart, and stars Barbara Parkins, Patty Duke, Sharon Tate, and Susan Hayward. The soundtrack was released in 1967. Dionne Warwick sang the title track; however, her version is not on the soundtrack album, only on the actual film soundtrack. According to Susann, she wrote her own lyric for the film title track as she felt that Dory Previn’s lyric did not establish the story background. Warwick was signed to Scepter Records at the time and could not contractually appear on the soundtrack album. Therefore, a re-recorded version appears on the LP Dionne Warwick in Valley of the Dolls. The film contains two versions of the theme song with different lyrics: one version plays over the opening credits, and the other, with the same lyrics as Warwick’s recorded version, is heard towards the end of the film.
Doxy present a reissue of Dorothy Ashby’s Soft Winds / The Swinging Harp Of Dorothy Ashby, originally released in 1961. From the original liner notes: “Dorothy Ashby may not be the first jazz harpist (Caspar Reardon) or the first female jazz harpist (Adele Girard), but her good feeling for time and ability to construct melodic, guitar-like lines, mark her as the most accomplished modern jazz harpist (…) Accompanying her was another Detroit girl, Terry Pollard. Terry’s main instrument is the piano and she is one of the best in the country, bar none. She is also a pretty fair country vibraharpist and in this set, Miss Pollard plays vibes exclusively. With them is still another Detroiter, Herman Wright, who like Miss Pollard has worked with Terry Gibbs and Yusef Lateef, and who also served as Miss Ashby’s regular bassist. (…) Completing the quartet is Jimmy Cobb, drummer for the Miles Davis group. During the proceedings, Cobb travels between brushes and sticks without upsetting the equilibrium of this essentially quiet set. There is wide range of material presented here, from blues like Benny Goodman’s title number, ‘Soft Winds’, and Miss Ashby’s ‘With Strings Attached’, to movie themes such as ‘Laura’, ‘Wild Is the Wind’, and ‘The Guns Of Navarone’. Then there are works by such superior writers of standards as Kurt Weill (‘My Ship’); Gershwin (‘The Man I Love’ and ‘Love Is Here To Stay’)” Edition of 500.
During a two-day period (July 20-21, 1967) tenor-saxophonist Dexter Gordon and his quartet (pianist Kenny Drew, bassist Niels Pederson and drummer Albert “Tootie” Heath) recorded enough music to fill up three CDs, all of which have been released by the English Black Lion label. Four of the six standards on this hard-swinging set (“But Not for me,” “Take the ‘A’ Train,” “Blues Walk” and “Love for Sale”) are over ten minutes long while the other two (“For All We Know” and “I Guess I’ll Have to Hang My Tears out to Dry” are a little more concise).
Double 180gm audiophile vinyl LP pressing in gatefold jacket. Second vinyl LP features nine acoustic demos. Includes digital download. Digitally remastered edition of this 1989 album. One of the most critically acclaimed albums of the ’80s, nominated for both BRIT and Grammy Awards, Flowers In The Dirt saw Paul McCartney team up with Elvis Costello to co-write a third of the album (‘My Brave Face’, ‘You Want Her Too’, ‘Don’t Be Careless Love’ and ‘That Day is Done’) as well as boasting production credits from producers such as Mitchell Froom, Trevor Horn, David Foster, Steve Lipson, Elvis Costello and Paul McCartney himself. The album was widely regarded as a return to form.
Vinyl LP pressing includes digital download. Arbouretum has been called “the best of the millennial classic rock bands, a guitarfuzzed powerhouse.” The band, founded by guitarist and vocalist Dave Heumann, effortlessly weaves it’s melodies and guitar solos with the often hypnotic rhythms of bassist Corey Allender and drummer Brian Carey around the deliberate keyboard of Matthew Pierce to lift the vocals. The results are a full sound delivered with a striking sense of intimacy. Throughout their time together, the Baltimore-based band have been praised for their ability to weave elaborate vocal lines, and guitar solos that often unravel into extended improvisation, but never with as much finesse as on Song of the Rose. In less practiced hands, these ideas could easily fall into contrivance, but on Song of the Rose, Arbouretum use these elements to perfect their craft of storytelling in song, both lyrically and sonically. Arbouretum recorded Song of the Rose with Steve Wright at Wrightway Studios. While previous records were recorded in a matter of days, Song of the Rose took weeks. Attention to production details augment their time-tested emphasis on capturing the energy of performance. Song of the Rose is the first time the band has mixed with Kyle Spence at his studios in Athens, GA (Kurt Vile, Luke Roberts, Harvey Milk). At the root of the songs and compositions on Song of the Rose is the concept of balance. As is true for the movements of Tai Chi, of which Dave Heumann is an avid practitioner, each motion both musical and lyrical has an equal but opposite motion, that works together harmoniously. “Woke Up On The Move” pores over nature s beauty as much as it heeds the warning of humankind s destructive potential. The variations that result from the constant push and pull throughout Song of the Rose make Arbouretum’s music as arresting as it is thoughtful. The lyrical imagery makes it masterful. Arbouretum’s lyrics explore elements of philosophy, mysticism, redemption, and the implications of human progress. Songs are written in poetic form as Heumann, Arbouretum’s lyricist, prefers stories remain abstract and open rather than a more typical storytelling format, all within a more traditional song structure. Titular track “Song of the Rose” completes a trilogy of songs from past records, calling back to “Song of the Nile” and “Song of the Pearl,” which have their roots in examining Taoist and Gnostic mythic traditions. Fittingly “Rose” is also a nod to Heumann’s ancestor Richard Lovelace, a 17th century poet who penned “The Rose.” The driving “Absolution Song,” featuring the albums only instrumental guest appearance by Drums of Life, is a contemplation of the idea of writing and thereby absolving oneself of all wrongdoings, through the creative act, in this case, using poetic imagery. Arbouretum music takes these philosophical ideas and transforms them into a sonic experience that is at once contemplative and emotionally affecting.
Vinyl LP pressing. Live archive release. On A Monday Evening is an unreleased (and never bootlegged!) 1976 concert recording of The Bill Evans Trio, featuring Eddie Gomez and Eliot Zigmund, captured live at Madison, WI’s Union Theater. The 12-track album offers both contemporary compositions from that era, as well as longstanding signature tunes of Evans’, and includes new liner notes by Grammy Award-winning jazz historian Ashley Kahn, with commentary by Gomez and Zigmund. A jazz legend, Evans’ use of impressionist harmony, inventive interpretation of traditional jazz repertoire, block chords, and trademark rhythmically independent, “singing” melodic lines continue to influence jazz pianists today.
2017 release. Son of Greg Allman, Devon Allman’s Ride Or Die is his third solo record for RUF Records. The album contains twelve soulful and powerful tracks that showcase Allman’s maturity as a songwriter, a singer, and his continuous evolution into one of the top guitarists on the scene today. Co- produced along with Grammy winning Tom Hambridge, Allman takes you on a journey through his own intimate back roads and personal highways. It’s an emotional journey that takes you through the mountain highs and valley lows, while sheltered from the storms under melodic choruses, surrounded by verses rich with powerful messages throughout some of the deepest material that he has ever written and recorded. There is no doubt that his family’s musical DNA has graced Devon Allman with that Allman Soul, but there is clearly no denying that he puts his personal stamp and his own style, of bending and twisting the blues, into his own Devon Allman brand.
Vinyl LP pressing. Gentle on My Mind is the sixth album by American singer-guitarist Glen Campbell, released in 1967 by Capitol Records. The centerpiece of the album is “Gentle on My Mind”. Campbell heard songwriter John Hartford’s original version on the radio and fell in love with this song about memories of a lost love. At the time, Campbell was under contract with Capitol Records as a solo artist but had little success in establishing a name for himself in the public eye. Campbell gathered some of his fellow session players from the famous Wrecking Crew gang (which included Leon Russell) to come into the Capitol studio to record a demo version that he could pitch to his producer. Between phrases and stanzas, Campbell would yell instructions to the players. He then left the rough recording for his producer to listen to. His producer fell in love, not only with the song but with the recording itself. Without telling Campbell, he took the tape back into the studio and removed the unwanted verbiage from between the phrases. He then released the demo recording, which became a mega-hit for Campbell when it was released.