Vinyl LP pressing. 2018 release. Showcasing the essence of what Jake Shears does best, the eponymously titled solo debut from the Scissor Sisters frontman is an album brimming with anthemic choruses and lyrics about the joys and vagaries of love and sex – all of it underpinned by a swampy soul influence imparted from his newly adopted hometown New Orleans. Shears’ artistic vision blossomed in the epicenter of Southern decadence, where he had headed following the Scissors hiatus in 2012. Initial ideas for the album were mapped out at the city’s famed Marigny Studios before he decamped to Louisville, KY to work with producer Kevin Ratterman (Ray LaMontagne, My Morning Jacket) who recruited members of My Morning Jacket, VHS or Beta, Jim James’ solo band, and Floating Action to lay down the album’s foundation. With string and brass arrangements by Christian Hebel (Barbra Streisand) and Lance Horne (Alan Cumming), they returned to NOLA to capture the city’s signature sound with the Preservation Hall Jazz Band and Sturgill Simpson’s brass section. The result is a thrilling work that plays inside some of the hallmarks of classic American rock music and marries them with Jake’s inimitable point of view, humor, and gift for unforgettable hooks.
All songs are performed by Byron Lee’s Allstars. Featuring Ken Lazarus, Jo-Jo, Keith Lynn, Smokey 007, Hubert Lee and Cecil Barker.
All the tracks originally recorded in the mid-Sixties, were produced by Alty East, one of the first producers of Ska in Jamaica.
Among the most unsung of Delta blues greats is Robert Wilkins. A Mississippian who staked his claim to American musical history out of Memphis, Wilkins’s plaintive voice and innovative songwriting produced a breadth of material unmatched by all but a few recorded bluesmen. This essential collection represents sessions from 1928 through 1935, when Wilkins enjoyed his greatest popularity, giving the world such finery as “I Do Blues,” “Rollin’ Stone (Parts 1 and 2),” “Jailhouse Blues,” and “I’ll Go with Her.” His poignantly confessional “That’s No Way to Get Along” from 1929 was recreated some 35 years later by the Reverend Robert Wilkins as “Prodigal Son,” and covered by the Rolling Stones on Beggars Banquet. Another unusual number is the scandalous “Old Jim Canan’s,” the subject of which is a notorious Memphis barrelhouse run by bootlegger Jim Kinane, where blues-loving patrons were “drinkin’ whiskey and sniffin’ cocaine” until the cops came in 1916.
Through four full-length albums, Dawn Landes has blazed her own path with songs that are as fresh as they are timeless. Still, there’s no mistaking that strains of Nashville reside in her voice and in her musical soul, and now, with her fifth album, Landes is finally bringing them to center stage. Meet Me at the River is Landes’ self-described “Nashville record,” and she has assured it’s pedigree by enlisting the production skills of Fred Foster, the Country Music Hall of Fame member who played a pivotal role in the careers of Dolly Parton, Roy Orbison, and Kris Kristofferson. Download Card Included, Limited Edition Sage Green Vinyl.
THE MAGPIE SALUTE, which brings together the reunited guitar team of Rich Robinson and Marc Ford from THE BLACK CROWES, bassist Sven Pipien (also from the CROWES) along with lead singer John Hogg (HOOKAH BROWN, MOKE), drummer Joe Magistro and guitarist Nico Bereciartua, will release its debut album, “High Water I”, on August 10. It is the follow-up to last year’s “The Magpie Salute (Live)”, which was largely recorded in front of a studio audience in Woodstock, New York.
Pulled together by Robinson, it continued a storyline he began in the BLACK CROWES with Ford and Pipien. Meanwhile, Hogg shared HOOKAH BROWN with Robinson as keyboardist Matt Slocum and Magistro both joined him for solo records and tours over the years.
Now, these six individuals conjure magic on their full-length debut of original material, “High Water I” (Mascot/Eagle Rock), for 2018, with “High Water II” to come in 2019.
Vinyl LP pressing. 2018 album from the Linkin Park member. In the months since the passing of Linkin Park vocalist Chester Bennington, Shinoda has immersed himself in art as a way of processing his grief. With no agenda, Shinoda hunkered down alone in his Los Angeles home and began writing, recording, and painting. In January, he released the Post Traumatic EP consisting of three deeply personal songs – each one a powerful, stream-of-consciousness expression of unvarnished grief – accompanied by homemade visuals that Shinoda filmed, painted and edited himself. The response was overwhelmingly positive, with New York Times stating “The tracks are reverberant electronic dirges; the rhymes, heading into sung choruses, testify to bewilderment, mourning, resentment, self-pity and questions about what to do.” Following the EP release, Shinoda continued to create, and the result is Post Traumatic, a transparent and intensely personal album that, despite it’s title, isn’t entirely about grief, though it does start there. “It’s a journey out of grief and darkness, not into grief and darkness,” Shinoda says. Ultimately, Post Traumatic is an album about healing. The songs, though specific about Shinoda’s experience with loss, manage to be universally relatable, thanks to their honesty and heart. “If people have been through something similar, I hope they feel less alone,” he says. “If they haven’t been through this, I hope they feel grateful.”
Vinyl LP pressing. The 3LP-set Uncharted Territories reunites double bassist/composer/bandleader Dave Holland with saxophonist Evan Parker, a longtime friend from their early days in London. They’re joined by Craig Taborn, on piano and electronics, and Ches Smith on percussion. In addition to quartet improvisations, they also break off into every possible subset of duo and trio configurations here. Featuring two compositions by Smith and one by Holland, the 23-track collection presents a series of deep, multi-layered conversations between the musicians, some of whom were interacting for the first time.
Double vinyl LP pressing. Warner Bros. Records is celebrating it’s 60th Anniversary with a series of double vinyl compilations highlighting some of the greatest music of the last six decades. The second collection is I Wanna Be Sedated: From The Underground. The album features 20 tracks from the Punk, New Wave and Alternative Rock era. Artists include B-52s, Elvis Costello, Dead Boys, Echo And The Bunnymen, Flaming Lips, Hüsker Dü, Jane’s Addiction, The Jesus And Mary Chain, Ramones, Pretenders, New Order, Replacements, Talking Heads, Violent Femmes and many others. Classic songs include ‘Shake Some Action’, ‘Blister In The Sun’, ‘Life During Wartime’, ‘The Killing Moon’ and more.
Ever the outlaw, Jennings has now crafted what might well be his most truly idiosyncratic work thus far, SHOOTER. Produced by longtime friend and collaborator, Low Country Sound founder Dave Cobb, at the renowned RCA Studio A on Nashville’s Music Row, the album sees Jennings staking out a fairly straightforward goal: to simply make a great country record. It should be noted, Jennings’ last studio album was a genuinely visionary tribute to Giorgio Moroder so in some ways, making a straight up country record is as much of a left turn as anything else in his brilliantly mercurial career thus far. But with songs like “Fast Horses & Good Hideouts” or the raucous “I’m Wild & My Woman Is Crazy,” Jennings more than affirms his mission by returning to country’s original, if oft misplaced, mandate: singing songs about growing up and getting older, about going out and getting trashed. In short, making music for real people with real lives. With SHOOTER, Jennings truly puts his own mark on country music, living up to his extraordinary birthright with unparalleled passion, experience, and heart.
The Welsh rocker’s first post-Velvet Underground album shows a quirky pop craftsman at work on 11 tracks that reference everything from country rock ( Bring It On Up ) to Beach Boys harmonies ( Gideon’s Bible ) to the Band-style Americana ( Big White Cloud ) and beyond.
Vinyl LP pressing. Sundazed Music offers up a colored vinyl reissue of Another Side of This Life, 13 previously unheard demo recordings of Gram Parsons, country-rock pioneer and former member of the Byrds and founding member of the Flying Burrito Brothers. The collection features Parsons, singing and playing acoustic guitar, recorded from March 1965 to April 1966 at the home of his Winter Haven, FL friend, Jim Carlton. Another Side of This Life also features rare photos and a detailed liner essay by noted writer Stanley Booth (The True Adventures of the Rolling Stones).
This November marks the, limited edition, vinyl re-issue of Neko Case record Furnace Room Lullaby, that has been long out of print. This title has been remastered from it’s original analog tape and comes complete with a full album download card. This stand-alone offering comes on the heels of her stunning vinyl box set, Truckdriver, Gladiator, Mule, and is available in red marble colored vinyl just in time for the holidays.
Vinyl LP pressing. Recorded live over seven nights and at three different venues in Chicago and Toronto in 2004, The Tigers Have Spoken finds Neko Case in incredible voice backed by a full band featuring The Sadies and steel guitar wizard Jon Rauhouse along with special guests Kelly Hogan, Carolyn Mark, Jim & Jennie and the Pinetops, Paul Morstad, and Brian Connelly. While The Tigers Have Spoken is a live album, it’s not your typical career retrospective – only two of the eleven songs are from Neko’s back catalog. In addition to two new original compositions, the songstress wraps her powerful pipes around a surprising collection of covers written by artists like Buffy Saint Marie, Loretta Lynn, the Shangri-La’s and Freakwater’s Catherine Irwin. The set closes with impassioned versions of the standards, “Wayfaring Stranger” and “This Little Light,” which Neko forever makes her own.
Remastered vinyl LP pressing. 1977’s Foreign Affairs takes the jazz and poetry that Waits explored on his earlier albums in a more cinematic direction, foreshadowing his own breakthrough work in the ’80s. Opening with the instrumental “Cinny’s Waltz” and featuring some new standards like “Muriel” and “I Never Talk To Strangers,” his dramatic duet with Bette Midler, the album gets into some of Waits’ most ambitious storytelling ever. Foreign Affairs also features the jazzy, colorful “Jack and Neil” and the sweeping, dramatic “Potters Field” as well as the classic ballads “Burma Shave” and “Sight for Sore Eyes.”
Vinyl LP pressing. After signing with Asylum Records in the early 1970s, Tom Waits recorded a series of acclaimed albums whose noir tales about the after-midnight underworld transformed the seedy into the sublime in songs laced with both dark humor and profound longing. Decades and several musical evolutions later, Waits’ Asylum years still hold a special place in the hearts of many fans. Waits’ first seven albums on Asylum have been remastered and will be re-released via Anti-Records. 1978’s Blue Valentine is a big departure from earlier Waits albums. Trading the piano for the guitar, the singer/songwriter is getting rawer and bluesier and the title track is a great example of this. Waits is in transition here, so you also get a stunning orchestrated rendition of Gershwin’s “Somewhere,” and the beautiful piano ballad, “Kentucky Ave.,” but you also get the juke joint swagger of “Romeo Is Bleeding” and “Whistlin Past the Graveyard.” This is also the record that contains one of Waits’ most popular songs ever, “Christmas Card from A Hooker in Minneapolis.”
This is the second installment of deep roots Rastafarian reggae at Studio One and features classic music from some of the most important figures in reggae music – Alton Ellis, The Heptones, Jackie Mittoo, The Gladiators – alongside a host of rarities and little-known recordings, such as a truly rare Mystic Revelation of Rastafari seven-inch single, Willie William’s first ever recording ‘Calling’ and Horace Andy’s righteous (and equally rare) masterpiece ‘Illiteracy.’
Black Man’s Pride 2 extends the legacy of Studio One’s ground-breaking path in roots reggae which began at the end of the 1960s and continued throughout the 1970s. The album tells the story of how the rise of Studio One Records and the Rastafari movement were interconnected, through the adoption of the Rastafari faith by key reggae artists – everyone from the Skatalites and Wailers in the 1960s, major singers such as Alton Ellis and Horace Andy at the end of the decade, through to major roots artists such as The Gladiators in the 1970s – and how Clement Dodd consistently recorded this heavyweight roots music throughout Studio One’s history.
The extensive sleeve-notes to this album also discuss the links between Rastafari and Studio One in time and place, noting how both the religion and Clement Dodd’s musical empire had their roots in the intense period of pre-independence Jamaica in Kingston, expanded in the 1960s following the visit of Haile Selassie in 1966, and how roots music then came to dominate reggae music in the early 1970s. Also discussed is how the outsider stance of both reggae music and the Rastafari movement relate back many hundreds of years to the original rebel stance of the Maroons, escaped slaves who set up self-sufficient enclaves in the hills of the Jamaican countryside.
There is also a track-by-track history by the noted Studio One writer Rob Chapman (Never Grow Old). This new album comes as heavyweight gatefold double vinyl (+ download code).
Vinyl LP pressing. The seventeen songs collected here come from The Fall’s Brix Smith era, aka “the golden era of Fall releases.” This is a perfect introduction to the band, and as legendary critic Robert Christgau said, it’s “The only Fall record any normal person need own”. Originally released in 1990, this album has never been released on vinyl in the US, and isn’t easy to find elsewhere. The band’s legendary and notorious frontman Mark E. Smith passed away earlier this year at the age of 60. The band’s output since they formed at the height of the punk rock movement in Manchester in 1976 was prolific to say the least. It’s hard to be exact, but in their four decades, The Fall released 31 studio albums, 5 part-studio/ part live albums, 32 live albums, 40 compilations, and Mark E. Smith also released two spoken word albums. Another high number is that of former members of The Fall. There were over 60 different band members over the years. Their high volume of quality work over the last 40+ years had an enormous influence which was extolled greatly after his death.
Vinyl LP pressing. Cary Ann Hearst and Michael Trent (known jointly as the Americana/folk duo Shovels & Rope) started their career performing independently as solo artists, each releasing records under their own names in the mid-to-late aughts and early 2010’s. In 2008 they released the album titled Shovels & Rope as a collaboration and the two artists decided to tour together. Performing live, they’d play together on songs from Hearst’s Lions and Lambs (2011), Trent’s The Winner (2010), and their collaborative album, creating the first live glimpses of the band that would eventually become Shovels & Rope. Dualtone is excited to offer these early individual solo albums alongside early collaborations in the form of Predecessors, a three LP package featuring Hearst’s Lions and Lambs, Trent’s The Winner, and a third LP with never-before-released material from Shovels & Rope’s archives.
Vinyl LP pressing. Gillian Welch’s rich and remarkable career spans over 20 years, and is a pillar of the modern acoustic music world. This is the long-awaited first pressing of the roots singer/songwriter’s moving 2003 album, Soul Journey, a collaborative effort with producer/multi-instrumentalist David Rawlings which Mojo called “pretty much perfect” in their 5-star review. It marked the pair’s first experimentation with a fuller, electric sound and is home to some of the most beloved songs in Welch’s catalog including the timeless classics “Look at Miss Ohio” and “Wayside/Back in Time.”
On View at the Five Spot Cafe is a live album by American jazz guitarist Kenny Burrell with drummer Art Blakey. It was recorded live at the Five Spot Cafe in New York City on August 25, 1959, and released on the Blue Note label.
Vinyl LP pressing. Digitally remastered and expanded edition of this 1974 album by the British folk legend. First of a diptych of albums recorded in and influenced by Bert’s time in America, and the first of three for American label, Charisma. Tony Stratton Smith himself brought Bert to the label, claiming proudly that “if ever a man is due his place among the ‘superstars’, it’s Bert Jansch.” Of the era, As the title suggests, this album was something of a contrast to Jansch’s usual style – taking in swathes of Nashville-infused pedal steel – courtesy of the legendary Red Rhodes – to sparkling effect. Bert himself seemed surprised by just how well the record turned out, influenced by the assembled company’s alternative approach to recording: “Red Rhodes was delightful, both he and Mike [Nesmith] who played rhythm guitar were extraordinary musicians. I had the songs when we came to record but Mike and Red didn’t know them. There were no demos or anything. We’d run through them and I’d teach them the songs but Red especially was used to jamming, playing to the song.” Often cited by fans as some of Bert’s best work, this 1974 album was produced in part by the Monkees’ Mike Nesmith, whose guidance is much in evidence on this perfectly measured slice of British country-rock.
Limited 180gm clear vinyl LP pressing. This special 30th anniversary edition includes an insert with a lyric sheet. Vaya con Dios is the debut album of the band by the same name. As one of the most successful Belgian music acts they sold over than seven million albums. Their first album is known for the eclectic mix between jazz, soul and blues. While listening to this album you’ll hear the influences from the French Chanson and gypsy music. This surprising combination results in an album which will blend wonderful with summer evenings. Vaya con Dios was founded in 1986 by Dirk Schoufs, Dani Klein and Willy Lambregt.