{"title":"soul","description":"","products":[{"product_id":"bradley-charles-victim-of-love-lp","title":"Bradley, Charles - Victim Of Love - New LP","description":"Bradley and writer\/producer\/multi-instrumentalist Thomas \"TNT\" Brenneck returned to Dunham studios and recorded the most exciting Daptone release to date, Victim of Love. On this album, Bradley moves past his \"Heartaches and Pain\" to the great promise of hope and love. Though quite at home among the music that has affirmed Daptone as the world's #1 authority on Soul Music, Victim of Love proves to be a genre-bending masterpiece, picking up where the early 70's Temptations left off and edging boldly forward into psychedelic soul exploration.\u003cbr\u003e\u003ciframe style=\"border: 0; width: 100%; height: 42px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=1439946835\/size=small\/bgcol=333333\/linkcol=2ebd35\/transparent=true\/\" seamless=\"\"\u003e\u003ca href=\"http:\/\/charlesbradley.bandcamp.com\/album\/victim-of-love\"\u003eVictim of Love by Charles Bradley\u003c\/a\u003e\u003c\/iframe\u003e","brand":"Daptone Records","offers":[{"title":"Default Title","offer_id":33808540622,"sku":"","price":22.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0635\/1427\/products\/bradleyvictim.jpg?v=1523741598"},{"product_id":"bradley-charles-no-time-for-dreaming-lp","title":"Bradley, Charles - No Time For Dreaming - New LP","description":"Charles Bradley's voice has evolved from a lifetime of paying dues, having nomadically labored for decades at various day jobs from Maine to Alaska--singing and performing in his spare time--before re-settling in his hometown Brooklyn and eventually finding a musical home at Dunham\/Daptone. In his distinctively rough-hewn timbre one hears the unmistakable voice of experience--each note and gruff infection a reflection of his extended, sometimes rocky, personal path. It's only fitting that \u003cb\u003e\u003ci\u003eNo Time For Dreaming\u003c\/i\u003e\u003c\/b\u003es producer Thomas \"Tommy TNT\" Brenneck (also a member of The Dap-Kings and The Budos Band)would recognize in Bradley a kindred musical spirit--a singer whose performances exude both raw power and poignant beauty. Recorded at Dunham Studios, and mixed at Daptone Records' internationally revered \"House of Soul\" Studios, \u003cb\u003e\u003ci\u003eNo Time For Dreaming\u003c\/i\u003e\u003c\/b\u003e is the inspired sound of an awakening.\u003cbr\u003e\u003ciframe style=\"border: 0; width: 100%; height: 42px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=3617474445\/size=small\/bgcol=333333\/linkcol=0f91ff\/transparent=true\/\" seamless\u003e\u003ca href=\"http:\/\/charlesbradley.bandcamp.com\/album\/no-time-for-dreaming\"\u003eNo Time For Dreaming by Charles Bradley\u003c\/a\u003e\u003c\/iframe\u003e\u003cbr\u003e","brand":"Daptone Records","offers":[{"title":"Default Title","offer_id":33808592910,"sku":"","price":20.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0635\/1427\/products\/bradleynotime.jpg?v=1523151187"},{"product_id":"bradley-charles-changes-lp","title":"Bradley, Charles - Changes - New LP","description":"\u003cdiv class=\"gmail_default\" style=\"color: #222222; font-family: arial, sans-serif; font-size: 12.8000001907349px; background-color: #ffffff;\"\u003e\u003cspan style=\"font-family: verdana,sans-serif;\" face=\"verdana, sans-serif\"\u003e2016\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv class=\"gmail_default\" style=\"color: #222222; font-family: arial, sans-serif; font-size: 12.8000001907349px; background-color: #ffffff;\"\u003e\u003cspan style=\"font-family: verdana,sans-serif;\" face=\"verdana, sans-serif\"\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv class=\"gmail_default\" style=\"color: #222222; font-family: arial, sans-serif; font-size: 12.8000001907349px; background-color: #ffffff;\"\u003e\n\u003cspan style=\"font-family: verdana,sans-serif;\" face=\"verdana, sans-serif\"\u003eSoul singer Charles Bradley’s star has been on the rise since the release of his widely praised 2011 debut album No Time For Dreaming, and his ascent has continued long after the release of his triumphant second album, 2013’s Victim of Love. Dubbed “The Screaming Eagle of Soul,” the singer is proud to present his highly anticipated third album Changes, on Daptone imprint Dunham Records. The album is named for his popular, “smoldering” (SPIN) cover of the Black Sabbath track. \"I think about the lyrics very closely when I sing ‘Changes’ and get emotional,” notes Bradley. “It makes me think of my mother and the changes in my life since she passed away.” \u003c\/span\u003e\u003cspan style=\"font-size: 12.8px; font-family: verdana,sans-serif;\" face=\"verdana, sans-serif\"\u003eBy now, Charles Bradley’s remarkable, against-all-odds rise has been well documented: how he transcended a bleak life on the streets and struggled through a series of ill-fitting jobs before finally being discovered by Daptone's Gabriel Roth. The documentary Charles Bradley: Soul of America, directed by Poull Brien, follows Bradley’s extraordinary journey during the electrifying and transformative months leading up to the release of debut album No Time for Dreaming. The year following the release of No Time For Dreaming was one triumph after another and Victim of Love saw Bradley emerging from his past heartaches stronger and more confident, overflowing with love to share. Victim of Love went on to receive overwhelming praise and was included on \"Best of 2013\" lists by SPIN, MOJO, Paste, BuzzFeed, Rough Trade \u0026amp; more. The album’s title track was also named one of Rolling Stone’s \"Best Songs of 2013.\" \u003c\/span\u003e\u003cspan style=\"font-size: 12.8000001907349px; font-family: verdana, sans-serif;\"\u003eCharles Bradley has also made a name for himself as a riveting live performer. He’s taken his show to venues and festivals across the globe including Coachella, Glastonbury Festival and Primavera Sound. Bradley’s also performed on famed stages including the Apollo Theater—the same place he saw his idol James Brown perform when he was 14 years old, and the Beacon Theatre where he’s separately supported The Tedeschi Trucks Band and the Afghan Whigs. \u003c\/span\u003e\n\u003c\/div\u003e\n\u003cbr\u003e\u003ciframe style=\"border: 0; width: 100%; height: 42px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=3567174391\/size=small\/bgcol=333333\/linkcol=2ebd35\/transparent=true\/\" seamless=\"\"\u003e\u003ca href=\"http:\/\/charlesbradley.bandcamp.com\/album\/changes\"\u003eChanges by Charles Bradley\u003c\/a\u003e\u003c\/iframe\u003e","brand":"Daptone Records","offers":[{"title":"Default Title","offer_id":33808660174,"sku":"","price":25.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0635\/1427\/products\/bradleychanges.jpg?v=1543092988"},{"product_id":"green-al-greatest-hits-lp","title":"Green, Al - Greatest Hits - New LP","description":"While I ain't big on greatest hits collections, there are exceptions, EWF for example, and of course this.  This is where it's at, classic sleeve, classic songs: no reason to mess with perfection. -- winch\u003cbr\u003e\u003ciframe style=\"border: 0; width: 100%; height: 42px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=3367580338\/size=small\/bgcol=ffffff\/linkcol=0687f5\/transparent=true\/\" seamless\u003e\u003ca href=\"https:\/\/algreen.bandcamp.com\/album\/greatest-hits\"\u003eGreatest Hits by Al Green\u003c\/a\u003e\u003c\/iframe\u003e\u003cbr\u003e","brand":"Fat Possum Records","offers":[{"title":"Default Title","offer_id":3272838053912,"sku":"","price":22.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0635\/1427\/products\/al-green-greatest-hits_grande_ad154ce2-e885-49c8-a706-8044fc0afc83.jpg?v=1625451222"},{"product_id":"sharon-jones-and-the-dap-kings-100-days-100-nights-lp","title":"Sharon Jones and the Dap-Kings - 100 Days, 100 Nights - New LP","description":"Renowned Soul and Funk band Sharon Jones \u0026amp; the Dap-Kings released 100 Days, 100 Nights on their self-owned independent label, Daptone Records. Since the 2005 release of their Naturally LP, the band has continued to build a worldwide following for their raw soulful recordings and blistering live performances. \u003cbr\u003e\u003ciframe style=\"border: 0; width: 100%; height: 42px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=33074880\/size=small\/bgcol=333333\/linkcol=0f91ff\/transparent=true\/\" seamless=\"\"\u003e\u003ca href=\"http:\/\/sharonjonesandthedapkings.bandcamp.com\/album\/100-days-100-nights\"\u003e100 Days, 100 Nights by Sharon Jones \u0026amp; The Dap-Kings\u003c\/a\u003e\u003c\/iframe\u003e\u003cbr\u003eLike the highly acclaimed Naturally LP before it, 100 Days, 100 Nights was recorded in their self-built, self-operated, all analog recording studio in Bushwick, Brooklyn and bares the unmistakable Daptone Soul Sound - highly in demand among music fans and tastemakers alike. In the 2007, producers such as Kanye West, Mark Ronson, Hank Shocklee, and Kenny Dope have been among those who came knocking at Daptone's door seeking the inimitable Dap-Kings sound. The Dap-Kings lend a tougher edge to their own productions for such artists as Rhymefest, Lily Allen, Ghostface Killah and Amy Winehouse. Meanwhile, Sharon Jones herself has passed the time between touring lending her soulful voice to projects for Lou Reed, Rufus Wainwright, They Might Be Giants and others.","brand":"Daptone Records","offers":[{"title":"Default Title","offer_id":3355542650904,"sku":"","price":25.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0635\/1427\/products\/a0145800625_16.jpg?v=1593211284"},{"product_id":"sunburst-ave-africa-lp","title":"Sunburst - Ave Africa [2xLP + 2 CDs IMPORT] - New LP","description":"\u003cspan\u003eStrut presents a definitive collection of recordings from one of Tanzania’s most revered bands of the early 1970s, Sunburst. \u003cbr\u003e\u003ciframe style=\"border: 0; width: 100%; height: 42px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=3309801531\/size=small\/bgcol=333333\/linkcol=0f91ff\/transparent=true\/\" seamless\u003e\u003ca href=\"https:\/\/sunburstmusic.bandcamp.com\/album\/ave-africa-the-complete-recordings-1973-1976\"\u003eAve Africa: The Complete Recordings 1973-1976 by Sunburst\u003c\/a\u003e\u003c\/iframe\u003e\u003cbr\u003eCovering their output from 1973 to 1976, this first retrospective features their singles for the Moto Moto and TFC labels, their sole album, ‘Ave Africa’ and an unreleased radio session recorded in Tanzania in 1973. By the time Zairean guitarist Hembi Flory Kongo had formed the band in Dar Es Salaam in 1970 playing “copyright” cover versions, soul and funk had long influenced young musicians in Dar and ‘boogies’, weekly soul events, were commonplace at the city’s clubs. Despite the Tanzanian government banning soul (both music and dancing) through their conservative Ujamaa policy in 1969, Sunburst grew as a band and developed their own musical direction which they later called Kitoto Sound, reflecting the diverse backgrounds of the band members. Lyrical themes included black pride and colonial oppression – the band even played a gig for visiting civil rights heroine Angela Davis. After June 1973, Sunburst gained a national audience through a live session for the state-owned Radio Tanzania, a crucial means for domestic bands to air their work. A month later, they won a band competition in Dar Es Salaam and their popularity in Tanzania grew further. They began recording singles in Kenya, standing apart from the predominantly rumba, jazz or taarab styles sung in local languages at the time. In 1974, Sunburst met Zambian musician Rikki Ililonga from Zamrock group Musi- O-Tunya and he invited them to Zambia. Meeting their later manager, car company employee Peter Bagshawe, they embarked on an ill-fated tour with Kenyan funk band Matata before working on a first full album in 1976 in Lusaka with new band members. The LP came out at the height of the Zamrock scene led by bands like Witch and Ngozi Family but Sunburst offered a more intricate sound as musicians born in six different countries tapped into a multitude of styles, languages and stories. “Our songs support freedom struggles and encourage peasants and workers to work harder,” singer James Mpungo recounted. “Our songs also criticize our people for allowing themselves to be too westernized.” After a handful of further singles for Tanzanian state label TFC, including the popular ‘Banchikicha’, the band split, frustrated by living on “bare minimum earnings” from their music. The result of three years’ painstaking work after tracking down bandleader Hembi Kongo, bassist Bashir and the band’s ex-manager Peter Bagshawe, this overdue retrospective is curated by Thomas Gesthuizen (DJ Gioumanne) of Africanhiphop. com and Dave Tinning of Santuri East Africa. The package features a full band biography alongside rare photos, press cuttings and memorabilia.\u003c\/span\u003e","brand":"Strut Records (Europe)","offers":[{"title":"Default Title","offer_id":12260564860998,"sku":"","price":25.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0635\/1427\/products\/SUNBURST_FINAL_FRONT_COVER_HI_RES.jpg?v=1532640257"},{"product_id":"bradley-charles-black-velvet-lp","title":"Bradley, Charles - Black Velvet - New LP","description":"\u003cspan\u003e2018.  Black vinyl. Charles Bradley's forthcoming LP, \"Black Velvet\" is an extraordinary collection of 10 tracks making their LP debut. In addition to fan favorites like Charles' covers of Nirvana's \"Stay Away\", Neil Young's \"Heart Of Gold\", and Rodriguez's \"Slip Away\" - this album features 4 never-before-heard tracks from Producer Tommy 'TNT' Brenneck's vaults. Includes download card.\u003cbr\u003e\u003ciframe style=\"border: 0; width: 100%; height: 42px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=3085110018\/size=small\/bgcol=333333\/linkcol=2ebd35\/transparent=true\/\" seamless=\"\"\u003e\u003ca href=\"http:\/\/charlesbradley.bandcamp.com\/album\/black-velvet\"\u003eBlack Velvet by Charles Bradley\u003c\/a\u003e\u003c\/iframe\u003e\u003c\/span\u003e","brand":"Daptone Records","offers":[{"title":"Default Title","offer_id":18167784800326,"sku":"","price":23.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0635\/1427\/products\/LP-DAPT-054.jpg?v=1593927879"},{"product_id":"fields-lee-the-expressions-it-rains-love-lp","title":"Fields, Lee \u0026 The Expressions - It Rains Love [RED VINYL] - New LP","description":"\u003cp\u003eCLEAR RED VINYL!! \u003c\/p\u003e\n\u003ch2\u003eNot a weak moment, going strong and giving it their all from go to whoa.  Essential.  -- winch\u003cbr\u003e\u003ciframe style=\"border: 0; width: 100%; height: 42px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=4270137635\/size=small\/bgcol=333333\/linkcol=0f91ff\/transparent=true\/\" seamless\u003e\u003ca href=\"https:\/\/leefieldsandtheexpressions.bandcamp.com\/album\/it-rains-love\"\u003eIt Rains Love by Lee Fields \u0026amp; The Expressions\u003c\/a\u003e\u003c\/iframe\u003e\u003cbr\u003e\n\u003c\/h2\u003e\n\u003cdiv class=\"tralbumData tralbum-about\"\u003eAt the corner of Living Legend St. and OG Ave. you will find Lee Fields’ house. A home that was built with blood, sweat, and tears, and stands on the unshakable foundation of his god given talent. Lee has been singing for 50 plus years and is undeniably, yet amazingly, at the top of his game. Those who have paid attention know that Lee is part of the class that is directly responsible for the revival of old school funk and soul. He has inspired many of today’s younger artists who are doing their best to carry the torch. As long as the road has been, and heavy as the crown may be, Fields is proving yet again that he’s “still got it”. His latest offering is sure to be a warmly received instant classic. \u003c\/div\u003e\n\u003cdiv class=\"tralbumData tralbum-about\"\u003e\u003c\/div\u003e\n\u003cdiv class=\"tralbumData tralbum-about\"\u003eIt Rains Love is the 2nd album by Lee Fields \u0026amp; The Expressions on Brooklyn’s Big Crown Records and gives us yet another masterclass in soul. Teaming up again with frequent collaborator and producer Leon Michels and his devoted band, The Expressions, they have managed again to take a classic approach and update it. Traditional soul sensibilities are mixed with a hip-hop tinged, sample ready sound that is as much an homage to the old as to the new. Some of the songs sound like they could belong to any of the last 4 decades without it feeling like a throwback, while others are 60’s soul\u003cspan class=\"bcTruncateMore\"\u003e\u003cspan\u003e \u003c\/span\u003ethrough and through. Lyrically, Lee runs the gamut from gushing admonishments of love to politically charged calls to action, from proclamations of God’s existence to love letters written to his wife. This record marks the fifth studio album from Lee Fields \u0026amp; the Expressions and we are very proud to add it to the already impeccable catalog they have created together. Another strong offering by a man many people consider to be a national treasure, the professor of love himself, Mr Lee Fields. It’s all love baby!\u003c\/span\u003e\u003cspan\u003e \u003ca\u003e\u003c\/a\u003e\u003c\/span\u003e\n\u003c\/div\u003e\n\u003ch3 class=\"credits-label\"\u003e\u003cbr\u003e\u003c\/h3\u003e\n\u003cdiv class=\"tralbumData tralbum-credits\"\u003ereleased April 5, 2019\u003c\/div\u003e\n\u003cp\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"Big Crown Records","offers":[{"title":"Default Title","offer_id":20623352266822,"sku":"","price":25.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0635\/1427\/products\/a3085067102_16.jpg?v=1672264359"},{"product_id":"moses-lee-how-much-longer-must-i-wait-singles-rarities-1965-1972-lp","title":"Moses, Lee - How Much Longer Must I Wait? Singles \u0026 Rarities 1965-1972 [RED\/TRANSPARENT VINYL] - New LP","description":"\u003cp\u003e\u003cspan\u003eStellar collection of cuts, vocals and instrumentals, both showing the skills of this man, from his guitar chops to his deeply soulful voice, both cutting deep into the groove and deep into the innards of anybody lucky enough to listen...click off the lights and crank this one for a deep listen...Moses moving from Georgia to NYC, the sounds capture both places, especially the former, Southern soul with clarity and crunch, cooking it up with grease and flame, stunning originals and kick-ass covers, each made his own, including stirring instrumental versions of \"Reach Out\" and \"Day Tripper,\" and the vocal cuts just grabbing you where it hurts, where it feels so good, the man from Atlanta pulling in the devil (sometimes dressed in drag) so close you can feel the fire on its breath, shoving the evil back and giving it the gate, slicing through the nonsense of a false life to get to the heart and soul of it all.  If this don't grab you, you might want to give up the ghost.  -- winch\u003cbr\u003e\u003ciframe width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/CgOgJJ1PBro?si=8Ti24JCfZNYS-xxG\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen\u003e\u003c\/iframe\u003e\u003cbr\u003e\u003ciframe style=\"border: 0; width: 100%; height: 42px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=1801723902\/size=small\/bgcol=333333\/linkcol=0f91ff\/transparent=true\/\" seamless\u003e\u003ca href=\"https:\/\/leemoses.bandcamp.com\/album\/how-much-longer-must-i-wait-singles-rarities-1965-1972\"\u003eHow Much Longer Must I Wait? Singles \u0026amp; Rarities 1965-1972 by Lee Moses\u003c\/a\u003e\u003cbr\u003e\u003cbr\u003e\u003ciframe style=\"border: 0; width: 100%; height: 42px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=1801723902\/size=small\/bgcol=333333\/linkcol=0f91ff\/transparent=true\/\" seamless\u003e\u003ca href=\"https:\/\/leemoses.bandcamp.com\/album\/how-much-longer-must-i-wait-singles-rarities-1965-1972\"\u003eHow Much Longer Must I Wait? Singles \u0026amp; Rarities 1965-1972 by Lee Moses\u003c\/a\u003e\u003c\/iframe\u003e\u003cbr\u003e\u003c\/iframe\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e After reissuing his much sought-after \u003cem\u003eTime and Place\u003c\/em\u003e LP, many questions still remained, but the one asked most was, “where’s “Bad Girl”?!” Not included on his lone LP, “Bad Girl” is an undisputed Southern soul classic—arguably the song LEE MOSES’ legacy rests on. While we may never know all we wish we knew about the man behind the music, we can finally complete the picture of his work. And what tunes they are. How Much Longer Must I Wait? Singles \u0026amp; Rarities 1965-1972 collects all of Lee Moses’ non-album singles and B-sides, plus three never-released tracks together for the first time ever. Most of the material here pre-dates 1971’s Time and Place, reflecting his initial bid for stardom via a series of now-legendary 45s recorded with Atlanta producer JOHNNY BRANTLEY. As for the unreleased recordings—much like the man himself, little is known about them. What remains is an oeuvre that has become synonymous with raw and emotionally charged Southern soul. Essential listening for anyone with a heart.\u003c\/span\u003e\u003c\/p\u003e\n\u003cdiv class=\"acordion_description\" id=\"Release-Detail\"\u003e\n\u003cdiv class=\"d-flex flex-wrap flex-lg-nowrap\"\u003e\n\u003cdiv class=\"product__info-description product__info-description--full product__info-description--open\"\u003e\n\u003cdiv class=\"section_height\"\u003e\n\u003cdiv class=\"release-description\"\u003e\n\u003cdiv class=\"release-description-complete\"\u003e\n\u003cul\u003e\n\u003cli\u003eThe definitive collection of Lee Moses’ legendary non-album tracks available together for the first time\u003c\/li\u003e\n\u003cli\u003eContains three previously unreleased songs, plus the Southern soul classic \"Bad Girl” (both versions)\u003c\/li\u003e\n\u003cli\u003eRemastered audio\u003c\/li\u003e\n\u003cli\u003eLP housed in a deluxe Kraft board jacket with insert\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003eDigital mockups are not an exact representation of the colors\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eColor Vinyl Edition pressed on “Day Trippin’” Split Color wax\u003c\/strong\u003e\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\nVincent Lee Moses (March 13, 1941 – January 26, 1998), known as Lee Moses, was an American R\u0026amp;B and soul singer and guitarist. His recordings in the late 1960s as well as his 1971 LP Time and Place, are highly regarded within the deep soul genre. Life and career Lee Moses was born in Atlanta, Georgia, and attended Booker T. Washington High School. In the late 1950s he formed his first band, the Showstoppers. They became a popular live act in the Atlanta area, and were at one time the house band at the Royal Peacock club.\u003c\/div\u003e\n\u003cdiv class=\"section_height\"\u003e\u003c\/div\u003e\n\u003cdiv class=\"section_height\"\u003eMoses moved to New York City in the mid-1960s, where he worked as a session musician and recorded with Johnny Brantley, who co-wrote and produced his first single, \"My Adorable One\", in 1965.  In 1966, he co-produced, with Johnny Brantley, several tracks by a virtually unknown Jimi Hendrix at Abtone Recording Studios in New York City. The tracks were later released as a 4-LP box set titled \"The Genius of Jimi Hendrix\".  In 1967, he recorded three singles – all commercially unsuccessful – for the Musicor label, including \"Bad Girl,\" and an instrumental version of The Four Tops' \"Reach Out, I'll Be There\". He also recorded a version of \"Dark End of the Street\", issued by Gates Records (probably in 1969). Moses' guitar style has been described as \"funky\" and likened to that of Jimi Hendrix, a contemporary of his on the club scene of the mid-1960s. He has also been praised for his \"rough and powerful deep soul singing style\". In 1970, Moses released a single, \"Time and Place\", on the Maple label, a subsidiary of All Platinum Records. This was followed by a nine-track LP of the same name - also produced by Brantley - that included his versions of several classic songs of the period including \"Hey Joe\" and \"California Dreaming\". The album featured several members of The Ohio Players, as well as Moses' own band, the Diciples (sic). Although the album has since been described as \"a revered and highly sought-after lost treasure for deep soul fans and collectors,\" it was a commercial failure at the time.  Moses also worked with fellow Atlanta native The Mighty Hannibal on his 1973 album, Truth. He returned to Atlanta in the early 1970s, and continued to perform locally, but did not record again. He died there from lung cancer in 1998.\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"acordion_description\" id=\"Artist-Bio\"\u003e\n\u003cdiv class=\"d-flex flex-wrap flex-lg-nowrap\"\u003e\n\u003cdiv class=\"product__info-description product__info-description--full\"\u003e\n\u003cp class=\"section_title\"\u003e \u003c\/p\u003e\n\u003cp class=\"section_title\"\u003e---------------------\u003c\/p\u003e\n\u003cdiv class=\"section_height\"\u003e\n\u003cdiv class=\"artist-bio-description\"\u003e\n\u003cdiv class=\"artist-bio-complete\"\u003e\n\u003cp\u003eIn New York in the ‘60s that Moses made his greatest bid to find the solo fame he desired. Moses began working there as a session player, even playing frequently with a pre-fame Jimi Hendrix, but his close relationship with producer and Atlanta native Johnny Brantley eventually saw him getting his own break via a series of 45s in 1967 – most notably with covers of Joe Simon’s “My Adorable One”, The Four Tops’ “Reach Out, I’ll Be There” and The Beatles’ “Day Tripper”.\u003c\/p\u003e\n\u003cp\u003eIt was 1971 before Moses’ dream of being at stage front was realized, when he released his Brantley-produced LP\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eTime And Place\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003efor Maple Records. Recorded with a band including members of The Ohio Players and Moses’ own backing group The Deciples, it was, nonetheless, Moses himself whose star quality shone through, via his scratchy guitar riffs, his throat-ripping vocals and the stirring mood that permeates the LP’s heady mix of funk, soul and R\u0026amp;B.\u003c\/p\u003e\n\u003cp\u003eThe LP did no business, and Moses’ dream quickly crumbled. Though details on his life are scarce, it’s believed he fled New York disenchanted with the music industry, feeling he’d been double-crossed by Brantley both in credit and remuneration for the countless records he’d played on. Back in Atlanta, Moses returned to playing the clubs, married twice, and fell into depression and drug dependency. He died in 1997 at the age of 56.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eTime And Place\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003esoon became a much-sought after item for collectors, and its cult has continued to grow over the years. Here, we represent it on deluxe vinyl, with brand new liner notes from Sarah Sweeney including interviews with Moses’ sister and his closest collaborator, the singer and guitarist Hermon Hitson. Through them, Moses becomes a little – but just a little – less of an enigma.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"Future Day Recordings","offers":[{"title":"Default Title","offer_id":44516093821089,"sku":"","price":16.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0635\/1427\/products\/5c64619af1ecd_main.jpg?v=1720036870"},{"product_id":"various-artists-nashboro-records-used-lp","title":"Various Artists - Nashboro Records - Used LP","description":"\u003cp\u003eStill sealed but shrink ripped along several seams and sleeve has considerable wear.  \u003c\/p\u003e\n\u003cp\u003e1977 comp from this classic gospel label out of Nashville.  It looks like it contains about 40 selections so this must be a sampler in the true sense, just samples of the many groups that graced this label, about 40 artists and 40 songs.  (Other copies of this album are double albums while this one is a single LP.)\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003e\"\u003cb\u003eNashboro Records \u003c\/b\u003erecorded some of the most potent and forceful gospel music of the time period. Although initially begun in response to overwhelming demand for gospel locally, Nashboro quickly became nationally applauded for its curatorial prowess (under the guidance of Rev. Dr. Morgan Babb of the Radio Four) and signature production style. The lightly-reverbed, clear sound of a Nashboro record is unmistakable...a far too overlooked and important chapter in Nashville’s music history. These musicians, store employees and businesspeople played a critical role in building the infrastructure for independent music to flourish in their city.\" -- Third Man Records\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003e\"Ernest L. Young\u003cspan\u003e learned the music business from the ground up, starting in the jukebox operating field, and soon became one of the largest suppliers in the Nashville area. He opened Ernie's Record Mart on Third Avenue North in Nashville as a means to move more records, and realizing the advantages in making his own product, he built a small studio in the back of the store, later expanding into a larger space on the third floor of his shipping department building, finally opening the pioneering gospel label Nashboro Records in 1951. \u003c\/span\u003eYoung\u003cspan\u003e launched a secular subsidiary label, the more famous Excello Records, four years later in 1955. Always hands-on, \u003c\/span\u003eYoung\u003cspan\u003e oversaw every phase of making records at his labels, and gospel artists responded by giving \u003c\/span\u003eYoung\u003cspan\u003e's Nashboro imprint one of the finest rosters of gospel in the genre's history, while his roster for the Excello blues and R\u0026amp;B subsidiary was pretty singular too -- but that's another story.  Gritty, exuberant black gospel from a label that had as much to do with shaping the sound of pop music in the latter part of the 20th century as more famous labels like Sun and Chess Records did. The roots of soul and so much more are heard here,\u003c\/span\u003e\u003cspan\u003e the best little gospel label that ever was.\"\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv\u003e\u003c\/div\u003e","brand":"Nashboro","offers":[{"title":"Default Title","offer_id":29233093804102,"sku":"","price":16.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0635\/1427\/products\/image_2370d1c1-68f8-4c2f-b45f-9561fa886833.jpg?v=1561970860"},{"product_id":"professor-longhair-mardi-gras-in-new-orleans-new-lp","title":"Professor Longhair - Mardi Gras in New Orleans (1949 - 1957) - New LP","description":"\u003cp\u003e\u003cspan\u003eReissue of an anthology originally issued in 1981, housing cuts from 1949 - 1957.\u003cbr\u003e\u003ciframe style=\"border: 0; width: 100%; height: 42px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=1838725381\/size=small\/bgcol=ffffff\/linkcol=0687f5\/artwork=none\/track=294424529\/transparent=true\/\" seamless\u003e\u003ca href=\"https:\/\/professorlonghair.bandcamp.com\/album\/the-bach-of-rock\"\u003eThe Bach of Rock by Professor Longhair\u003c\/a\u003e\u003c\/iframe\u003e\u003cbr\u003e\u003ciframe style=\"border: 0; width: 100%; height: 42px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=1838725381\/size=small\/bgcol=333333\/linkcol=0f91ff\/track=1007488534\/transparent=true\/\" seamless\u003e\u003ca href=\"https:\/\/professorlonghair.bandcamp.com\/album\/the-bach-of-rock\"\u003eThe Bach of Rock by Professor Longhair\u003c\/a\u003e\u003c\/iframe\u003e\u003cbr\u003e\u003ciframe style=\"border: 0; width: 100%; height: 42px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=1838725381\/size=small\/bgcol=333333\/linkcol=0f91ff\/artwork=none\/track=4091929440\/transparent=true\/\" seamless\u003e\u003ca href=\"https:\/\/professorlonghair.bandcamp.com\/album\/the-bach-of-rock\"\u003eThe Bach of Rock by Professor Longhair\u003c\/a\u003e\u003c\/iframe\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\"Plenty of rarities are featured on\u003cem\u003e \u003c\/em\u003e\u003c\/span\u003e\u003cem\u003eMardi Gras in New Orleans\u003c\/em\u003e\u003cspan\u003e, making it a valuable cross-section of \u003c\/span\u003eProfessor Longhair\u003cspan\u003e's early releases. Both sides of the pianist's first two 78s for Star Talent Records are aboard, as well as sides he cut for Mercury, Federal (\"Curly Haired Baby,\" \"Gone So Long\"), Wasco (\"East St. Louis Baby\"), Atlantic, and Ebb.\" -- \u003c\/span\u003eBill Dahl\u003c\/p\u003e\n\u003cp\u003e\"Justly worshipped as a founding father of New Orleans R\u0026amp;B,\u003cspan\u003e \u003c\/span\u003eRoy \"Professor Longhair\" Byrd\u003cspan\u003e \u003c\/span\u003ewas nevertheless so down-and-out at one point in his long career that he was reduced to sweeping the floors in a record shop that once could have moved his platters by the boxful. That\u003cspan\u003e \u003c\/span\u003eLonghair\u003cspan\u003e \u003c\/span\u003emade such a marvelous comeback testifies to the resiliency of this late legend, whose Latin-tinged rhumba-rocking piano style and croaking, yodeling vocals were as singular and spicy as the second-line beats that power his hometown's musical heartbeat.\u003cspan\u003e \u003c\/span\u003eLonghair\u003cspan\u003e \u003c\/span\u003ebrought an irresistible Caribbean feel to his playing, full of rolling flourishes that every Crescent City ivories man had to learn inside out (Fats Domino,\u003cspan\u003e \u003c\/span\u003eHuey Smith, and\u003cspan\u003e \u003c\/span\u003eAllen Toussaint\u003cspan\u003e \u003c\/span\u003eall paid homage early and often).  Longhair\u003cspan\u003e \u003c\/span\u003egrew up on the streets of the Big Easy, tap dancing for tips on Bourbon Street with his running partners. Local 88s aces Sullivan Rock, Kid Stormy Weather, and\u003cspan\u003e \u003c\/span\u003eTuts Washington\u003cspan\u003e \u003c\/span\u003eall left their marks on the youngster, but he brought his own conception to the stool. A natural-born card shark and gambler,\u003cspan\u003e \u003c\/span\u003eLonghair\u003cspan\u003e \u003c\/span\u003ebegan to take his playing seriously in 1948, earning a gig at the Caldonia Club. Owner Mike Tessitore bestowed\u003cspan\u003e \u003c\/span\u003eLonghair\u003cspan\u003e \u003c\/span\u003ewith his professorial nickname (due to\u003cspan\u003e \u003c\/span\u003eByrd's shaggy coiffure).  Longhair\u003cspan\u003e \u003c\/span\u003edebuted on wax in 1949, laying down four tracks (including the first version of his signature \"Mardi Gras in New Orleans,\" complete with whistled intro) for the Dallas-based Star Talent label. His band was called the Shuffling Hungarians, for reasons lost to time! Union problems forced those sides off the market, but\u003cspan\u003e \u003c\/span\u003eLonghair's next date for Mercury the same year was strictly on the up-and-up. It produced his first and only national R\u0026amp;B hit in 1950, the hilarious \"Bald Head\" (credited to\u003cspan\u003e \u003c\/span\u003eRoy Byrd \u0026amp; His Blues Jumpers).  The pianist made great records for Atlantic in 1949, Federal in 1951, Wasco in 1952, and Atlantic again in 1953 (producing the immortal \"Tipitina,\" a romping \"In the Night,\" and the lyrically impenetrable boogie \"Ball the Wall\"). After recuperating from a minor stroke,\u003cspan\u003e \u003c\/span\u003eLonghair\u003cspan\u003e \u003c\/span\u003ecame back on Lee Rupe's Ebb logo in 1957 with a storming \"No Buts - No Maybes.\" He revived his \"Go to the Mardi Gras\" for\u003cspan\u003e \u003c\/span\u003eJoe Ruffino's Ron imprint in 1959; this is the version that surfaces every year at Mardi Gras in New Orleans. \u003cspan\u003eOther than the ambitiously arranged \"Big Chief\" in 1964 for Watch Records, the '60s held little charm for \u003c\/span\u003eLonghair\u003cspan\u003e. He hit the skids, abandoning his piano playing until a booking at the fledgling 1971 Jazz \u0026amp; Heritage Festival put him on the comeback trail. He made a slew of albums in the last decade of his life, topped off by a terrific set for Alligator, \u003c\/span\u003eCrawfish Fiesta\u003cspan\u003e.  \u003c\/span\u003eLonghair\u003cspan\u003e \u003c\/span\u003etriumphantly appeared on the PBS-TV concert series Soundstage, co-starred in the documentary Piano Players Rarely Ever Play Together (which became a memorial tribute when\u003cspan\u003e \u003c\/span\u003eLonghair\u003cspan\u003e \u003c\/span\u003edied in the middle of its filming; funeral footage was included), and saw a group of his admirers buy a local watering hole in 1977 and rechristen it Tipitina's after his famous song. He played there regularly when he wasn't on the road; it remains a thriving operation.  Longhair\u003cspan\u003e \u003c\/span\u003ewent to bed on January 30, 1980, and never woke up. A heart attack in the night stilled one of New Orleans' seminal R\u0026amp;B stars, but his music is played in his hometown so often and so reverently you'd swear he was still around.\"  -- \u003cspan\u003eBill Dahl\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cmeta charset=\"utf-8\"\u003eTracks A1 to A7 rec. 1949\u003cbr\u003eTracks A8 to B2 rec. 1951\u003cbr\u003eTrack B3 rec. circa 1952\u003cbr\u003eTrack B4 rec. 1952\u003cbr\u003eTrack B5 rec. 1954\u003cbr\u003eTracks B6 to B8 rec. 1958\u003c\/span\u003e\u003c\/p\u003e","brand":"Nighthawk Records","offers":[{"title":"Default Title","offer_id":29351654195270,"sku":"","price":22.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0635\/1427\/files\/R-11071420-1509306497-8540.jpg?v=1724883511"},{"product_id":"brasher-liz-painted-image-new-lp","title":"Brasher, Liz - Painted Image - New LP","description":"\u003cp\u003e2019.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cbr\u003e\u003cbr\u003e\u003ciframe style=\"border: 0; width: 100%; height: 42px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=2084317068\/size=small\/bgcol=333333\/linkcol=2ebd35\/transparent=true\/\" seamless=\"\"\u003e\u003ca href=\"http:\/\/lizbrasher.bandcamp.com\/album\/painted-image\"\u003ePainted Image by Liz Brasher\u003c\/a\u003e\u003c\/iframe\u003e\n\u003cp\u003eSolid set of soul music, clearly aware of the past (Stax for example) yet no museum piece, Brasher delivers a collection of gems that your grandmother, your daughter and your brother are all bound to love. \u003c\/p\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003eNorth Carolina sends us another gift, this one called Liz Brasher.    - Winch\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003e\"Liz Brasher\u003cspan\u003e found her voice while singing in the choir of her all-Spanish church in North Carolina. After relocating to Memphis with a new appreciation for the South and its rich musical history, Brasher tapped into the city's creative scene to mold something of her own.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eIt's easy to hear Memphis' retro-soul influences threaded throughout \u003cem\u003ePainted Image\u003c\/em\u003e, which was recorded in the city's historic Ardent, Royal and Electraphonic Recording studios. The pulse of a golden era when Stax and Sun Records were cutting hit after hit beats loudly throughout the record, but \u003cem\u003ePainted Image\u003c\/em\u003e is far from a resurrection of a bygone era. Brasher's use of sharp and poetic storytelling, often punctuated by biblical imagery, brings an engaging and uniquely modern perspective. It builds impressively on Brasher's 2018 EP Outcast.\u003c\/p\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003e\"The fiery, unapologetic \"Blood of the Lamb\" kicks off with a triumphant horn section, rumbling organ and rolling electric guitar as Brasher speaks her truth: \"I am dressed in black \/ I walk in white,\" she sings. \"Thoughts unclean \/ I speak of light \/ Who are you to tell me who I am?\"\u003c\/p\u003e\n\u003cp\u003e\"Backed by an expertly arranged string section, \"Cold Baby\" showcases Brasher's innate ability to project a complicated mix of human emotions onto a shimmering and complex vocal performance. She dives into overwhelming love and devotion in the blissful \"Air,\" while the groove-driven \"Body of Mine\" explores themes of mortality while embracing the unknown. The record closes with\u003cspan\u003e \u003c\/span\u003e\u003cem\u003ePainted Image\u003c\/em\u003e's simmering title track, which picks through the ashes of a dying relationship. Even at her most uplifting, Brasher isn't afraid to explore and accept life's darker moments.\u003c\/p\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003e\u003cspan\u003e\"All of these elements come together in Brasher's ardent, echoing vocals, as she thoughtfully dissects an array of sounds and styles, from fierce rock and roll to melodic gospel devotionals. At every turn, \u003c\/span\u003e\u003cem\u003ePainted Image\u003c\/em\u003e\u003cspan\u003e finds beauty in the fragility and conflict inherent to the human condition.\" - Lorie Liebig\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003eRating: 4 out of 5 stars\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan class=\"s1\"\u003eSoul music, especially of the classic variety, can roughly be divided into Northern and Southern styles. It may be a simplistic and not entirely scientific distinction but the smoother, more commercial music of Motown and Chicago is contrasted against the tougher, grittier, rawer approach of Southern soul emerging from the Stax and Hi labels and others.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan class=\"s1\"\u003eIt won’t take long to slot Liz Brasher’s impressive debut in the latter category, especially because she records for the bluesy Fat Possum imprint. It’s little surprise that Brasher has spent most of her life in the South, born and raised in North Carolina, now calling Memphis home. The singer-songwriter released a well-received six track EP in 2018 that helped land her opening slots with diverse acts including the Psychedelic Furs and The Zombies. Two tunes from that harder-rocking introduction are repeated here, along with nine new compositions that find Brasher moving in a darker yet more soulful direction.\u003c\/span\u003e\u003c\/p\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cdiv id=\"aniBox\"\u003e\n\u003cdiv id=\"aniplayer_aniviewJS437140662\"\u003e\n\u003cdiv id=\"anibid\"\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv id=\"viewdeos-player\"\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cp class=\"p1\"\u003e\u003cspan class=\"s1\"\u003e\"Opener “Blood Of The Lamb” sets up a sparse guitar lick counterpointed by crisp horns in a spiritually based swamp burner with Brasher’s husky voice leading the charge. Members of Memphis’ retro-leaning Bo-Keys with veteran keyboardist Al Gamble lay down the limber grooves as Brasher unleashes her sensual, supple voice, splitting the difference between\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eDusty In Memphis\u003c\/i\u003e-styled pop (“Every Day”), upbeat Sam \u0026amp; Dave-influenced gospel laced R\u0026amp;B (“Living Water”), and Steely Dan-ish jazz\/pop, some with religious overtones (“Hand To The Plow”).\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan class=\"s1\"\u003e\"Nothing breaks four minutes which keeps the music short, tight and forceful without extended solos to distract from Brasher’s bellowing, throaty voice. When she hits a slow Otis Redding ballad vibe on “Cold Baby,” aided by a five-piece string section, and sings, “My flesh has been aching\/ My world has been shaking” to a lover “with a “heart made of stone” that she knows is no good for her, the effect is galvanizing. She’s determined to cement a relationship on “Heaven \u0026amp; Earth” (“Let’s rock this\/ Let’s roll\/ You know I’d follow anywhere you go”), singing with the intensity and determination of a woman who knows what she wants and how to get it. Scott Bomar’s distorted guitar provides the basic riff for “Body Of Mine,” a tight slab of funked-up soul as Brasher sings, “One day I’m gonna be somebody\/ Walk into the light” with forceful fortitude. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan class=\"s1\"\u003e\"It’s still early in 2019, but with the striking, often churchy\u003cspan\u003e \u003c\/span\u003e\u003ci\u003ePainted Image\u003c\/i\u003e, the half-Dominican\/half-Italian southerner Liz Brasher sketches a claim as a breakout Americana soul-singer with crossover potential.\" - Hal Horowitz\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e \u003c\/p\u003e\n\u003cp class=\"p1\"\u003e \u003c\/p\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cp class=\"p1\"\u003e \u003cbr\u003e\u003cbr\u003e\u003ciframe style=\"border: 0; width: 100%; height: 42px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=2084317068\/size=small\/bgcol=333333\/linkcol=2ebd35\/transparent=true\/\" seamless=\"\"\u003e\u003ca href=\"http:\/\/lizbrasher.bandcamp.com\/album\/painted-image\"\u003ePainted Image by Liz Brasher\u003c\/a\u003e\u003c\/iframe\u003e\u003c\/p\u003e","brand":"Fat Possum Records","offers":[{"title":"Default Title","offer_id":29390252441670,"sku":"","price":19.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0635\/1427\/products\/brasher.jpg?v=1562804544"},{"product_id":"nikki-hill-heavy-hearts-hard-fists-new-lp","title":"Hill, Nikki - Heavy Hearts, Hard Fists - New LP","description":"\u003cmeta charset=\"utf-8\"\u003e\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv class=\"subscriber-preview\"\u003e\n\u003cp\u003e\"Nikki Hill adds some sultry R\u0026amp;B and Stones-style riff rock to her '50s-rooted rock ‘n’ roll on “Heavy Hearts, Hard Fists,” the Southern Fireball’s excellent debut album. A powerhouse singer and killer live barroom performer, Hill’s delivers her brand of soul-rock ‘n’ roll with expressive verve, variety and style.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"subscriber-preview\"\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003e\u003cspan\u003eThere’s the sultry shimmy of “And I Wonder,” the blues-rocking title cut and the swaggering “Hotshot.” Plus there's riff rock on “Struttin’,” and “(Let Me Tell You ‘Bout) LUV,” which sounds like it came off “Exile on Main Street.” \u003c\/span\u003eThe '50s numbers -- the burner “Oh My,” “I’m Gonna Love You” with its jumpin’ vamp and the frenetic “Scratch Back” -- really connect and the showcase ballad “Nothing With You” proves Hill can handle the slow ones just as well as the rockers.\u003c\/p\u003e\n\u003cdiv class=\"subscriber-only\"\u003e\n\u003cp\u003eOh yeah, the record ends with swinging version of Sam Cooke’s “Twistin’ the Night Away.\" \u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eGrade:\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003eA-\" -- L. Kent Wolgamott\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cbr\u003e\u003ciframe style=\"border: 0; width: 100%; height: 42px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=4139870946\/size=small\/bgcol=333333\/linkcol=2ebd35\/transparent=true\/\" seamless=\"\"\u003e\u003ca href=\"http:\/\/nikkihill.bandcamp.com\/album\/heavy-hearts-hard-fists\"\u003eHeavy Hearts Hard Fists by Nikki Hill\u003c\/a\u003e\u003c\/iframe\u003e\u003cbr\u003e\n\u003cdiv class=\"subscriber-preview\"\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003e\"North Carolina’s Nikki Hill is blessed with the kind of classic soul voice that could place her comfortably at any point in the history of modern music from the mid-50s onwards – feminine and tough, rich, but with that devilish Tina Turner rasp that hints at mischief to come.\u003c\/p\u003e\n\u003cp\u003e\"There’s a lot of character at play here. In\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eAnd I Wonder\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eshe paints a picture of a woman not quite in control of her wicked side, attracting the wrong element and loving it. Vocally at least, this particular track is swimming in similar waters to the searing, heart-on-sleeve honesty of Amy Winehouse.\u003c\/p\u003e\n\u003cp\u003e\"And while the songwriting here falls short of the magic of Camden’s favourite daughter – it’s too focused on recreating a live barroom feel to transcend the shackles of trad blues tropes on the likes of\u003cspan\u003e \u003c\/span\u003e\u003cem\u003e(Let Me Tell You ’Bout) Luv\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003e– the easy boogie of\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eHot Shot\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003ecould happily nestle among AC\/DC’s back pages.\u003c\/p\u003e\n\u003cp\u003e\"Meanwhile, the soft-centred\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eNothin’ With You\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eis so perfectly pitched for a cosy Sunday afternoon indoors, it ought to be served up with a bowlful of apple crumble.\" --Emma Johnston\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e ----------------------\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"subscriber-preview\"\u003e\n\u003cdiv class=\"subscriber-only\"\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003e\u003cspan\u003eRecorded and mixed by Billy Horton at Fort Horton Studios, Wyldwood, Texas\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eMastered by Jim Wilson Mastering in Longmont, Colorado\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eAll songs written by Nikki Hill except as credited.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"Deep Fryed Records","offers":[{"title":"Default Title","offer_id":29393742463046,"sku":"","price":25.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0635\/1427\/products\/R-8593088-1483040633-3742_jpeg.jpg?v=1579805007"},{"product_id":"gladys-knight-the-pips-letter-full-of-tears-new-lp","title":"Gladys Knight \u0026 the Pips - Letter Full of Tears - New LP","description":"\u003cp\u003eReissue of debut 1962 album.\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"Vinyl Lovers","offers":[{"title":"Default Title","offer_id":29398414590022,"sku":"","price":22.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0635\/1427\/products\/Gladys_Knight_the_Pips_-_Letter_Full_of_Tears.jpg?v=1562967889"},{"product_id":"funkadelic-s-t-used-lp","title":"Funkadelic - S\/T - Used LP","description":"\u003cp\u003e(1989 European pressing.  VG.)\u003c\/p\u003e\n\u003cp\u003eClinton was sunk deep into Detroit for nearly a decade before unleashing this mad dog funk on the world (recorded in the Motor City and issued on Detroit label Westbound), a street-tough older brother to Parliament that would become a huge part of the \"Parliafunkadelicment Thang\" (a family of creative outlets and personas that must have inspired the diverse renaissance aspect of the golden era of hip hop decades later).  While the future would see Clinton owning the 1970s, embracing and inventing the decade, here the sound clearly comes out of the late 1960s, pure acid groove, blues, funk, acid rock, the first cut offering obvious nods to both Sly and Hendrix, the two influences showing throughout the set.  Of course, this dips down to Ohio, Memphis and even Mississippi and brings it up to Detroit, \"a joint rolled in toilet paper,\" circular motion lotion applied to ashy kneecaps, this is clearly rust-belt hard funk, the second cut \"I Bet You\" exploring the same territory that Norman Whitfield had been exploring with this Motown outlets.  Of course, these comparisons shouldn't suggest any assembly-line mentality or lack of originality, this was delivery of something sporting a fresh paint job and a brand new powerplant under the hood roaring out of the garage, pistons pumping out the rhythm, curb feelers scraping against concrete, Motor City muscle that was built to last and cause notice, the sounds of the 1960s rolled up tight and rolled out like a steamroller in the late-night moments when the dark of night meet the light of morning.  \"I Bet You,\" would become a minor hit (#63 and oddly their biggest hit for the first half of the decade), but while perhaps it's not surprising that this album was mostly ignored, it's even less surprising that this would eventually take on classic status, it's just a whip-crack attack on the status quo, deep dark funk rolling like a tank down the streets of Detroit...bust out the TV cameras, take notice interplanetary sources, there's a riot goin' on. - winch (green noise records)\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"Westbound","offers":[{"title":"Default Title","offer_id":29432357388358,"sku":"","price":12.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0635\/1427\/products\/funkadelic.jpg?v=1564361002"},{"product_id":"matthews-milt-milt-matthews-inc-used-lp","title":"Matthews, Milt - Milt Matthews Inc. - Used LP","description":"\u003cp\u003eNew vinyl.  Old stock.  Rare soul\/funk 1970. \u003c\/p\u003e\n\u003cp\u003eVaried set, but it's full of DIY charm from go to whoa and features some standout numbers that stand above the others.   It looks like a folk or folk blues set, but it's North Carolina soul, with electric organ and electric guitars.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003e\"...an overall excellent album by\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eMilt Matthews Inc.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\"Milt Matthews\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003ewas born in North Carolina, but relocated to Washington, DC in the mid-60s, where he worked as a session guitarist and songwriter.\u003c\/p\u003e\n\u003cp\u003e\"His 1970 debut LP is an outstanding example of the intersection of soul, folk and funk, which was bubbling up into the zeitgeist at the time.\u003c\/p\u003e\n\u003cp\u003e\"Matthews spends the album working out all manner of mellow grooves, sounding like a soulful singer-songwriter in the\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eBill Withers\/Lou Bond\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003etradition, but with a solid, funky underpinning.\u003c\/p\u003e\n\u003cp\u003e\"‘It Ain’t Your Fault’ is one of the more upbeat tunes on the album, mixing jazzy lead guitar with organ and nice, solid rhythm section locked into the groove.\u003c\/p\u003e\n\u003cp\u003e\"Matthews talent as a vocalist is well-displayed in his version of the\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eO.C. Smith\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003e‘Little Green Apples’. Here we have a song that I thought I never needed to hear again, yet Matthews takes it and really digs in, playing with the tempo and delivering an epic reading of the song that clocks in at over eight minutes. It’s rare to hear someone get their hands on a ‘standard’ and really do something interesting and new with it, and Matthews really makes the song his own.\u003c\/p\u003e\n\u003cp\u003e\"Try and get your hands on a copy of the album, which is excellent from start to finish.\u003c\/p\u003e\n\u003cp\u003e\"Oddly enough, Matthews second LP ‘For the People’ moves in a more psych-rock direction and is sought out by collectors of the genre.\" - Larry (Funky16Corners)\u003c\/p\u003e","brand":"Commonwealth United Records","offers":[{"title":"Default Title","offer_id":29448071610438,"sku":"","price":18.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0635\/1427\/products\/Matthews_Milt_-_Milt_Matthews_Inc..jpg?v=1564380961"},{"product_id":"porter-david-sweat-love-used-lp","title":"Porter, David - Sweat \u0026 Love - Used LP","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003eVG: some wear to both vinyl and sleeve, some crackle between songs; sleeve has ugly drill hole in bottom left corner.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eDavid Porter: Under appreciated living legend from the world of North American music...born and raised at the center of it all in Memphis, staying in his hometown to become songwriting partner of Isaac Hayes in the 1960s, house composers for Stax, they penned most of Sam \u0026amp; Dave's hits, “Soul Man\" and \"Hold On! I'm Coming, Porter’s name ending up on the credits of hundreds of songs. While his songs traveled the world, he remains dedicated to his hometown, founding the Memphis-based Consortium MMT, a nonprofit organization seeking to develop the music industry in Memphis.\u003cspan class=\"Apple-converted-space\"\u003e  \u003c\/span\u003ePorter has a street named after him in Memphis and was awarded the Governor's Arts Award for his achievements including founding The Consortium MMT venture.\u003cspan class=\"Apple-converted-space\"\u003e  \u003c\/span\u003eEven fans aren’t always aware that he recorded his own albums at Stax, like this one just added to greennoiserecords.com, not surprisingly an enjoyable set, of course focusing on the many sides of falling hard, falling in and falling out, slow-burning waterbed soul and mid-tempo funky numbers, focused on originals by Porter and Ronnie Williams, featuring the Memphis Horns and a group of musicians called Ebony Web (who released at least one single on Hi in 1972), all enjoyable with several highlights.\u003cspan class=\"Apple-converted-space\"\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e","brand":"Enterprise \/ Stax","offers":[{"title":"Default Title","offer_id":29506992832582,"sku":"","price":16.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0635\/1427\/products\/David_Porter.jpg?v=1565926702"},{"product_id":"damon-lochs-black-monument-ensemble-where-future-unfolds-new-lp","title":"Locks, Damon Black Monument Ensemble - Where Future Unfolds - New LP","description":"\u003cp\u003e\u003cbr\u003e\u003cbr\u003e\u003ciframe style=\"border: 0; width: 100%; height: 42px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=3239489699\/size=small\/bgcol=333333\/linkcol=2ebd35\/transparent=true\/\" seamless=\"\"\u003e\u003ca href=\"http:\/\/intlanthem.bandcamp.com\/album\/where-future-unfolds\"\u003eWhere Future Unfolds by Damon Locks - Black Monument Ensemble\u003c\/a\u003e\u003c\/iframe\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv class=\"tralbumData tralbum-about\" itemprop=\"description\"\u003eWhere Future Unfolds is a new work spirited by Chicago-based sound \u0026amp; visual artist Damon Locks. Starting as a solo sound collage piece (where Locks pulled samples from Civil Rights era speeches and recordings to create an improvisational pallet for performance on his drum machine), over 4 years the project has blossomed into his 15-piece Black Monument Ensemble – featuring musicians (including Angel Bat Dawid on clarinets and Dana Hall on drums), singers (alumni of the Chicago Children's Choir), and dancers (members of Chicago youth dance company Move Me Soul). Where Future Unfolds is a live capture of the ensemble's epic debut at the Garfield Park Botanical Conservatory on the West Side of Chicago. Recalling the spirits of Phil Cohran's Artistic Heritage Ensemble, Eddie Gale's Black Rhythm Happening, Archie Shepp's Attica Blues, and Public Enemy's It Takes a Nation of Millions to Hold Us Back, the album presents an inspired, innovative \u0026amp; immediate intersection of gospel, jazz, activism \u0026amp; 808 breaks.\u003c\/div\u003e\n\u003cdiv class=\"tralbumData tralbum-about\" itemprop=\"description\"\u003e\u003c\/div\u003e\n\u003cdiv class=\"tralbumData tralbum-about\" itemprop=\"description\"\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cspan\u003e\"The music moves easily between Afrofuturist gospel—typified by the spacy synths of “Which I Believe It Will” and the luminous electro beats of “Which I Believe I Am”—and hip-hop grime. “The Colors That You Bring” sets the choir’s soulful harmonies against wavering strings and murky boom-bap drums, like a civil rights protest movie scored the RZA. Upping the intensity, sampled fragments of archived speeches are embedded in the songs; on “Solar Power” a voice proclaims, “There's no black person on this planet that will disagree with freedom.” These spoken snippets give the album a militant edge, recalling interludes from the classic Public Enemy records, where speeches from social reformers like Frederick Douglass were fused with steely breaks.\u003c\/span\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"tralbumData tralbum-about\" itemprop=\"description\"\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv class=\"tralbumData tralbum-about\" itemprop=\"description\"\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cspan\u003e\u003cem\u003e\"Where Future Unfolds\u003c\/em\u003e began as a retelling of the Civil Rights movement of the ’50s and ’60s, but as the title suggests, it is also concerned with what is to come. At one point we hear the sweet, youthful voice of Rayna Golding—the daughter of Black Monument Ensemble singer Monique Golding—leading the choir in a vow: “I can rebuild a nation no longer working out.” The line comes to encapsulate the tenor of the album: gritty sentiments that radiate an optimistic glow. In the way that music from old eras can be sampled and repurposed into new forms, Locks’s majestic work strives to reach better days by looking back and learning from the past.\"\u003c\/span\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"tralbumData tralbum-about\" itemprop=\"description\"\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv class=\"tralbumData tralbum-about\" itemprop=\"description\"\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003ch3 class=\"credits-label\"\u003e\u003c\/h3\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003e\u003cspan\u003eBlack LP in a heavyweight tip-on gatefold jacket *coated in metallic gold foil* with our standard dome-patterned inner-sleeve, and our Japanese-style obi strip. With 4 art prints.\u003c\/span\u003e\u003c\/p\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv class=\"tralbumData tralbum-about\" itemprop=\"description\"\u003e\u003c\/div\u003e\n\u003cdiv class=\"tralbumData tralbum-credits\"\u003e2019\u003cspan\u003e \u003c\/span\u003e\u003cbr\u003e\u003cbr\u003eMusicians:\u003cspan\u003e \u003c\/span\u003e\u003cbr\u003eAngel Bat Dawid (clarinets), Dana Hall (drums, percussion), Damon Locks (electronics, bells, voice), Arif Smith (percussion).\u003cspan\u003e \u003c\/span\u003e\u003cbr\u003e\u003cbr\u003eSingers:\u003cspan\u003e \u003c\/span\u003e\u003cbr\u003ePhillip Armstrong, Monique Golding, Rayna Golding (on \"Rebuild A Nation\"), Eric McCarter, Tramaine Parker, Lauren Robinson.\u003cspan\u003e \u003c\/span\u003e\u003cbr\u003e\u003cbr\u003eDancers:\u003cspan\u003e \u003c\/span\u003e\u003cbr\u003eAnna Martine Whitehead, Raven Lewis (Move Me Soul), Cheyenne Spencer (Move Me Soul), Mary Thomas (Move Me Soul), Bryonna Young (Move Me Soul), Tiarra Young (Move Me Soul).\u003cspan\u003e \u003c\/span\u003e\u003cbr\u003e\u003cbr\u003eLyrics \u0026amp; Compositions by: Damon Locks.\u003cspan\u003e \u003c\/span\u003e\u003cbr\u003e\u003cbr\u003eRecorded \u0026amp; Mixed by: Charlie Mammoser.\u003cspan\u003e \u003c\/span\u003e\u003cbr\u003eMastered by: Casey Rice \u0026amp; David Allen.\u003cspan\u003e \u003c\/span\u003e\u003cbr\u003e\u003cbr\u003eCostumes Designed by: Jamie Hayes at Production Mode.\u003cspan\u003e \u003c\/span\u003e\u003cbr\u003ePhotography by: Daris Jasper \u0026amp; Chris Hershman\u003cspan\u003e \u003c\/span\u003e\u003cbr\u003e\u003cbr\u003eAlbum Art by: Damon Locks\u003cspan\u003e \u003c\/span\u003e\u003cbr\u003eLayout \u0026amp; Liner Design by: Craig Hansen\u003cspan\u003e \u003c\/span\u003e\u003cbr\u003e\u003cbr\u003eRecorded Live at Garfield Park Conservatory, as part of Red Bull Music Festival, Chicago, November 15th, 2018.\u003c\/div\u003e","brand":"International Anthem Recording Company","offers":[{"title":"Default Title","offer_id":29519863808070,"sku":"","price":22.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0635\/1427\/products\/Locks_Damon_Black_Monument_Ensemble_-_Where_Future_Unfolds.jpg?v=1631495671"},{"product_id":"seratones-power-new-lp","title":"Seratones - Power [CLEAR VINYL Louisiana rock 'n funk] - New LP","description":"\u003cp\u003euh-oh, look out...Louisiana is kicking down your door and coming into your house, and you will welcome them with both arms, smoking set of rock 'n funk from the land that invented most of that anyway.  Bring it back home.\u003cbr\u003e\u003cbr\u003e\u003ciframe style=\"border: 0; width: 100%; height: 42px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=4117184317\/size=small\/bgcol=333333\/linkcol=2ebd35\/transparent=true\/\" seamless=\"\"\u003e\u003ca href=\"http:\/\/seratones.bandcamp.com\/album\/power\"\u003ePOWER by Seratones\u003c\/a\u003e\u003c\/iframe\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv id=\"trackInfo\" class=\"leftColumn\"\u003e\n\u003cdiv id=\"trackInfoInner\"\u003e\n\u003cdiv class=\"tralbumData tralbum-credits\"\u003ereleased August 23, 2019\u003c\/div\u003e\n\u003cdiv class=\"tralbumData tralbum-credits\"\u003e\u003c\/div\u003e\n\u003cdiv class=\"tralbumData tralbum-credits\"\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cspan\u003eWe, the Seratones, are four musicians highly skilled in the art of rocking your socks off, bringing the house down, and \u003c\/span\u003e\u003cspan class=\"peekaboo-text\"\u003eblowing\u003c\/span\u003e\u003cspan class=\"bcTruncateMore\"\u003e\u003cspan class=\"peekaboo-text\"\u003e\u003cspan\u003e \u003c\/span\u003eyour mind. Our goal is to make your musical experience replenish your faith in the power of Rock \u0026amp; Roll. Cheers to all our fans and friends for believing in the power of music!\u003c\/span\u003e\u003c\/span\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"tralbumData tralbum-credits\"\u003e\n\u003cbr\u003eAJ Haynes - Vocals, Guitar\u003cbr\u003eAdam Davis - Bass, Backup Vocals\u003cbr\u003eJesse Gabriel - Drums, Percussion, Vibraphone, Backup Vocals\u003cbr\u003eTyran Coker - Keyboard, Piano, Synth, Guitar, Backup Vocals\u003cbr\u003eTravis Stewart - Guitar, Backup Vocals\u003cbr\u003eMatt Combs - Strings\u003cbr\u003e\u003cbr\u003e------------------\u003cbr\u003e\u003cbr\u003eProduced by Bradley Shultz - A Small House Production\u003cbr\u003eAdditional Production on “Crossfire” by Chris Sunday\u003cbr\u003eRecorded by Jeremy Ferguson at Battle Tapes Recording, Nashville, TN\u003cbr\u003eMixed by Claudius Mittendorfer\u003cbr\u003eMastered by Adam Grover at Sterling, Nashville, TN\u003cbr\u003e\u003cbr\u003eA\u0026amp;R: Kim Buie \u0026amp; Chris Sunday\u003cbr\u003eManagement: Kim Ross at Quartz Management\u003cbr\u003eBooking: Matt Hickey at High Road Touring \u0026amp; Alex Bruford at ATC Live\u003cbr\u003eStylist: Annika White\u003cbr\u003eDesign \u0026amp; Layout: Matt Etgen and Nate Treme\u003cbr\u003e------------------\u003cbr\u003e\u003cbr\u003eWe are beyond grateful for Kim Ross, Elizabeth Gregory, Matt Hickey, Alex Bruford, Jason Klein \u0026amp; Fender, C\u0026amp;C Drums \u0026amp; Bill and Jacob Cardwell, Shreveport Music Co, Lottie Haynes, Hope Medical Group, Todd \u0026amp; Adrienne Gabriel, Lewis Pesacov, Jesse Phillips, Jeremy Ferguson \u0026amp; Bear Ferguson, Kim Buie, John Allen \u0026amp; our New West Records Family. Special thanks to Chris Sunday and Brad Schultz, we love you dudes. Most importantly we want to express our gratitude to our extended family--our fans. We couldn't do this without your continued Love and support.\u003cbr\u003e\u003cbr\u003e------------------\u003cbr\u003e© \u0026amp; P 2019 New West Records, LLC. 2923 Berry Hill Dr., Nashville, TN 37204. All rights reserved. Unauthorized duplication is a violation of applicable laws.\u003c\/div\u003e\n\u003ch3 class=\"license-label\"\u003e\u003c\/h3\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"tralbumData tralbum-tags tralbum-tags-nu\"\u003e\u003c\/div\u003e","brand":"New West Records","offers":[{"title":"Default Title","offer_id":30340722294921,"sku":"","price":25.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0635\/1427\/products\/Seratones_album.jpg?v=1589641340"},{"product_id":"shelton-naomi-the-gospel-queens-cold-world-new-lp","title":"Shelton, Naomi \u0026 the Gospel Queens - Cold World - New LP","description":"\u003cbr\u003e\u003ciframe style=\"border: 0; width: 100%; height: 42px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=825302393\/size=small\/bgcol=333333\/linkcol=2ebd35\/transparent=true\/\" seamless=\"\"\u003e\u003ca href=\"http:\/\/naomisheltonandthegospelqueens.bandcamp.com\/album\/cold-world\"\u003eCold World by Naomi Shelton \u0026amp; The Gospel Queens\u003c\/a\u003e\u003c\/iframe\u003e\u003cbr\u003e\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003e\n\u003ch3 class=\"review-author headline\"\u003eReview by\u003cspan\u003e \u003c\/span\u003e\u003cspan itemprop=\"author\"\u003eMark Deming\u003c\/span\u003e\n\u003c\/h3\u003e\n\u003cdiv class=\"text\" itemprop=\"reviewBody\"\u003e\n\u003cp\u003eGospel and rhythm \u0026amp; blues have long been close siblings even if they don't always acknowledge each other in public -- many early R\u0026amp;B hits were essentially secularized versions of classic sacred numbers, and dozens of soul stars got their start singing with gospel groups -- so it certainly makes sense that the soul revivalists at Daptone Recordings would open their arms to the talents of\u003cspan\u003e \u003c\/span\u003eNaomi Shelton, who has sung both Saturday night and Sunday morning music over the course of her career that's spanned six decades.\u003cspan\u003e \u003c\/span\u003eShelton's second album for Daptone,\u003cspan\u003e \u003c\/span\u003eCold World, mixes elements of traditional gospel with '60s-influenced soul, and while there's less of a churchy feel to this album than 2009's\u003cspan\u003e \u003c\/span\u003eWhat Have You Done, My Brother?, it certainly fits in with the mindset of acts like\u003cspan\u003e \u003c\/span\u003eCurtis Mayfield\u003cspan\u003e \u003c\/span\u003eand\u003cspan\u003e \u003c\/span\u003ethe Staple Singers, who weren't afraid to add some Christian-leaning commentary to their music. \"Sinner,\" \"Heaven Is Mine,\" \"Humble Me,\" and the title track all have the slinky feel of vintage soul (Shelton's longtime musical director\u003cspan\u003e \u003c\/span\u003eCliff Driver\u003cspan\u003e \u003c\/span\u003eand Daptone chief\u003cspan\u003e \u003c\/span\u003eGabriel Roth, the latter of whom wrote six of the album's 12 numbers, have helped give this music a groove that's authentic yet unforced), while\u003cspan\u003e \u003c\/span\u003eShelton's voice -- compassionate and muscular, with just a hint of sass -- has both the power and the emotional heft to bring these tunes to life, not so much preaching as offering her audience advice about life lessons she learned the hard way.\u003cspan\u003e \u003c\/span\u003eShelton's style makes a virtue of her maturity while showing off an energy and passion one would expect from a much younger woman;\u003cspan\u003e \u003c\/span\u003eCold World\u003cspan\u003e \u003c\/span\u003eis an example of what Daptone and the retro-soul crowd are doing right, and it's an authoritative and affecting piece of work.\u003c\/p\u003e\n\u003c\/div\u003e\n----------------------------\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv id=\"trackInfo\" class=\"leftColumn\"\u003e\n\u003cdiv id=\"trackInfoInner\"\u003e\n\u003cdiv class=\"tralbumData tralbum-credits\"\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cspan\u003eLike many gospel and rhythm and blues singers, Naomi Davis grew up singing with her sisters in their Alabama church. She has \u003c\/span\u003e\u003cspan class=\"peekaboo-text\"\u003ealso\u003c\/span\u003e\u003cspan class=\"bcTruncateMore\"\u003e\u003cspan class=\"peekaboo-text\"\u003e\u003cspan\u003e \u003c\/span\u003espent much of her life in the soul clubs around New York so it’s clear that her singing is equally influenced by both facets of her life. This is soul music – informed by the church, perhaps, but soul music nonetheless, relatable to all.\u003c\/span\u003e\u003c\/span\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"tralbumData tralbum-credits\"\u003e\u003c\/div\u003e\n\u003cdiv class=\"tralbumData tralbum-credits\"\u003ereleased July 29, 2014\u003c\/div\u003e\n\u003cdiv class=\"tralbumData tralbum-credits\"\u003e------------------\u003c\/div\u003e\n\u003cdiv class=\"tralbumData tralbum-credits\"\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cspan\u003eFive years after her Daptone debut, soul veteran Naomi Shelton returns with her second album with the Gospel Queens. \u003c\/span\u003e\u003cem\u003eCold World\u003c\/em\u003e\u003cspan\u003e covers a lot of ground stylistically, but Shelton confidently ties everything together with songs that address social issues and paint the world bleakly.\u003c\/span\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"tralbumData tralbum-credits\"\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv class=\"tralbumData tralbum-credits\"\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003eaomi Shelton\u003cspan\u003e \u003c\/span\u003ehas been singing the Lord’s praises longer than most of us have been alive. Born in the early 1940s, she began performing with her sisters at their small church in Midway, Alabama. After graduating high school and discovering soul music, she moved first to Florida and then to New York City, where she continued singing in church but also held court in Brooklyn nightclubs under the name Naomi Davis. Like many African American singers at the time, her repertoire balanced the secular and the spiritual, the worldly and the heavenly. Even though her singing career spans half a century, her recording career has been much shorter. In 1999, she and an old friend\/collaborator named Cliff Driver formed a gospel group that attracted the ear of Gabriel Roth. At the time he was running a label called Desco, for which Shelton recorded two sides; when it folded, she signed with his new venture,\u003cspan\u003e \u003c\/span\u003eDaptone Records.\u003c\/p\u003e\n\u003cp\u003eShe’s been a major presence on that label’s roster, touring the world with the Daptone Super-Soul Revue and singing with the Sugarman 3. Never quite as popular or as prolific as\u003cspan\u003e \u003c\/span\u003eSharon Jones\u003cspan\u003e \u003c\/span\u003e(who is Daptone’s flagship act), Shelton has proved a powerful vocalist and performer even into her 70s. In 2009, she finally released her debut full-length for the label,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eWhat Have You Done, My Brother?,\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003ewhich closed with a soul-stirring cover of\u003cspan\u003e \u003c\/span\u003eSam Cooke’s “A Change Is Gonna Come”. Five years later, she’s finally following it up with\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eCold World\u003c\/em\u003e. As the title suggests, Shelton is concerned not just with the individual sinner but with the sad state of the world. Faith is never a private matter; because it informs how we treat ourselves and others, it is a social concern.\u003c\/p\u003e\n\u003cp\u003eConsequently, Shelton is drawn to songs that address social issues and paint the world bleakly. “It’s a Cold, Cold World” describes the back-stabbings and betrayals among humans (“They’ll step on you every every day!”) and points to a certain carpenter as the truest friend possible. With Shelton and the Gospel Queens (Bobbie Jean Gant and Edna Johnson, plus newcomer Angel McKenzie) delivering a lively call and response, the song itself sounds steeped in ‘70s R\u0026amp;B, as though making a conscious nod to the heyday of the\u003cspan\u003e \u003c\/span\u003eStaple Singers. Yet, the conviction in their voices rescues the song from any sense of nostalgia, lending it some persuasive topicality beyond its musical reference points.\u003c\/p\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003eRoth, producing under his alias Bosco Mann, has put together a band of R\u0026amp;B veterans to back Shelton and the Gospel Queens on\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eCold World\u003c\/em\u003e. If they weren’t such fine players, sensitive to the cadence of Shelton’s vocals and the sentiments of these songs, you might think they were hired for their historical connections to artists who likewise blended the secular and the spiritual. Driver himself has played with Sam Cooke and\u003cspan\u003e \u003c\/span\u003eSolomon Burke; bass player Fred Thomas was a\u003cspan\u003e \u003c\/span\u003eJB\u003cspan\u003e \u003c\/span\u003ein the 1970s. Somehow, the music occasionally sounds too Daptone, as though these backing tracks could have been created for Jones or anyone else on the roster. That shouldn’t reflect on Shelton, but should suggest either the label’s somewhat limited sound or Roth’s too-familiar production style.\u003c\/p\u003e\n\u003cp\u003eBut the band cover a lot of ground on\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eCold World\u003c\/em\u003e, toggling between the reggae-tinged rhythms of “Sinner” and the breezy groove of “Everybody Knows (River Song)”, a cover of the 1965 O.V. Wright tune. Still, it’s Shelton who confidently ties everything together and insinuates a larger story arc in the sequencing: a journey that begins in doubt (“Sinner”) and ends with salvation and gratitude (“Thank You Lord”). If her label defines itself by the past tense, Shelton understands that gospel is rooted in the present (the tribulations we face today) and the future (the promise of eternity in heaven). It may seem like a minor distinction, but on\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eCold World,\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eit’s the difference between revival and revivalist.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003ch3 class=\"license-label\"\u003e\u003c\/h3\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"tralbumData tralbum-tags tralbum-tags-nu\"\u003e\u003c\/div\u003e\n\u003cdiv class=\"tralbumData tralbum-tags tralbum-tags-nu\"\u003e\u003c\/div\u003e\n\u003cdiv class=\"tralbumData tralbum-tags tralbum-tags-nu\"\u003e\u003c\/div\u003e\n\u003cdiv class=\"tralbumData tralbum-tags tralbum-tags-nu\"\u003e\u003c\/div\u003e","brand":"Daptone Records","offers":[{"title":"Default Title","offer_id":30673631248521,"sku":"","price":20.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0635\/1427\/products\/Naomi_Shelton.jpg?v=1571039796"},{"product_id":"burnside-r-l-wish-i-was-in-heaven-sitting-down-new-lp","title":"Burnside, R. L. – Wish I Was in Heaven Sitting Down – New LP","description":"\u003cp\u003eOuch! one listen to this and you'll chuck all your Eric Clapton, Black Keys... in the trash. This is the shit, the shit you need.  - winch\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eBtw, this rl burnside record is so fucking good ! -- Will\u003cbr\u003e\u003ciframe style=\"border: 0; width: 100%; height: 42px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=1751022692\/size=small\/bgcol=ffffff\/linkcol=0687f5\/transparent=true\/\" seamless\u003e\u003ca href=\"https:\/\/rlburnside.bandcamp.com\/album\/wish-i-was-in-heaven-sitting-down\"\u003eWish I Was in Heaven Sitting Down by R.L. Burnside\u003c\/a\u003e\u003c\/iframe\u003e\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv class=\"leftColumn\" id=\"trackInfo\"\u003e\n\u003cdiv id=\"trackInfoInner\"\u003e\n\u003cdiv class=\"tralbumData tralbum-about\" itemprop=\"description\"\u003eR.L Burnside is the ultimate paradox of blues music--he is the last genuine performer of raw Mississippi hill country sound, as well as the most cutting edge crossover artist the blues has had in the past 30 years. Wish I Was In Heaven Sitting Down proves it. It is the accumulation of 73 years of hard-earned experience and contains some of R.L.'s best singing ever. His voice has gained maturity and depth, while his phrasing is detailed and emotional.\u003c\/div\u003e\n\u003ch3 class=\"credits-label\"\u003e\u003c\/h3\u003e\n\u003cdiv class=\"tralbumData tralbum-credits\"\u003ereleased October 24, 2000\u003cbr\u003e\u003cbr\u003eProducer – Andy Kaulkin (tracks: A1 to A3, A5 to B4), Antony Glenn (tracks: A1, B5), Brad Cook* (tracks: A2, A5), Bruce Watson (2) (tracks: A4), Iki Levy (tracks: A5), John Porter (tracks: A2, A3, A6 to B4), Matt Johnson* (tracks: A4)\u003c\/div\u003e\n\u003ch3 class=\"license-label\"\u003e\u003c\/h3\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"tralbumData tralbum-tags tralbum-tags-nu\"\u003e\u003c\/div\u003e","brand":"Fat Possum Records","offers":[{"title":"Default Title","offer_id":30898437324937,"sku":"","price":22.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0635\/1427\/products\/RL_Burnside_I_wish.jpg?v=1571558834"},{"product_id":"burnside-r-l-burnside-on-burnside-new-lp","title":"Burnside, R. L. – Burnside on Burnside [Aqua Vinyl] – New LP","description":"\u003cp\u003e\u003cbr\u003e\u003cbr\u003e\u003ciframe style=\"border: 0; width: 100%; height: 42px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=1403706735\/size=small\/bgcol=333333\/linkcol=2ebd35\/transparent=true\/\" seamless=\"\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv id=\"customHeaderWrapper\"\u003e\n\u003cdiv class=\"band-navbar-wrapper flex\"\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"trackView leftMiddleColumns has-art\" itemscope=\"\" itemtype=\"http:\/\/schema.org\/MusicAlbum\" data-tooltips='{\"dash_seen\":null,\"tooltips\":[]}'\u003e\n\u003cdiv id=\"trackInfo\" class=\"leftColumn\"\u003e\n\u003cdiv id=\"trackInfoInner\"\u003e\n\u003cdiv class=\"tralbumData tralbum-about\" itemprop=\"description\"\u003eAll tracks recorded live in Portland, OR at the Crystal Ballroom Jan. 21, 2001, except 3, 10-12 recorded live in San Francisco, CA at the Great American Music Hall, Jan. 24, 2001.\u003c\/div\u003e\n\u003ch3 class=\"credits-label\"\u003e\u003c\/h3\u003e\n\u003cdiv class=\"tralbumData tralbum-credits\"\u003ereleased October 23, 2001\u003cbr\u003e\u003cbr\u003eWritten-By – R.L. Burnside (tracks: 1 to 3, 5, 7 to 12)\u003cbr\u003eRecorded By – Steve Beatty (3)\u003cbr\u003eProducer – Bruce Watson (2), Matthew Johnson (4)\u003cbr\u003eMastered By – Mark Yoshida\u003cbr\u003e\u003cbr\u003eVocals, Guitar – R.L. Burnside\u003cbr\u003eDrums – Cedric Burnside\u003cbr\u003eGuitar – Kenny Brown (2)\u003cbr\u003e\u003cbr\u003eMixed at the Money Shot in Water Valley, MS.\u003cbr\u003eMastered at AudioGraphic Masterworks in Memphis, TN.\u003c\/div\u003e\n\u003ch3 class=\"license-label\"\u003e\u003c\/h3\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003e\u003cspan\u003eR.L. Burnside’s first break came in the early ‘90s when the documentary film based on author Robert Palmer’s book Deep Blues featured R.L. as one of its highlights. Subsequently Palmer produced R.L.’s Too Bad Jim for the fledgling Fat Possum label. Along with Junior Kimbrough’s All Night Long, Too Bad Jim was one of the most important and influential blues albums of the ‘90s. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eToo Bad Jim brought R.L. to the attention of post-punk musician Jon Spencer. R.L. toured extensively with the Jon Spencer Blues Explosion and this led to the collaboration between the two, the result was A Ass Pocket of Whiskey, a teenage party record. Ass Pocket of Whiskey made R.L an unlikely champion in the indie rock world.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eIn 1997 R.L. released Mr. Wizard, Fat Possum’s debut record on their new distribution label Epitaph. The album featured R.L’s hardcore touring mates, grandson Cedric Burnside and adopted son Kenny Brown.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eIn 1998 R.L. released Come On In, which pitted his raw blues against modern electronica, courtesy of producer Tom Rothrock (Beck, Elliot Smith). The album was a critical and commercial success, and one of its tracks, “It’s Bad You Know,” became a respectable radio hit and was featured in The Sopranos and on its soundtrack.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eIn the year 2001, R.L. Burnside was still breaking down boundaries, and bringing the blues to where it had never gone before. Listen up.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e1. Shake ‘Em On Down\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e2. Skinny Woman\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e3. Miss Maybelle\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e4. Rollin’ \u0026amp; Tumblin’\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e5. Long Haired Doney\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e6. Walkin’ Blues\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e7. He Ain’t Your Daddy\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e8. Bad Luck And Trouble\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e9. Jumper On The Line\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e10. Goin’ Down South\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e11. Alice Mae\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e12. Snake Drive\u003c\/span\u003e\u003c\/p\u003e\n\u003cdiv class=\"tralbumData tralbum-tags tralbum-tags-nu\"\u003e\u003c\/div\u003e\n\u003c\/div\u003e","brand":"Fat Possum Records","offers":[{"title":"Default Title","offer_id":30899168247945,"sku":"","price":26.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0635\/1427\/products\/burnside_on_burnside.jpg?v=1623214460"},{"product_id":"burnside-r-l-come-on-in-new-lp","title":"Burnside, R. L. – Come On In – New LP","description":"\u003cp\u003e \u003c\/p\u003e\n\u003ciframe style=\"border: 0; width: 100%; height: 42px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=3813378908\/size=small\/bgcol=333333\/linkcol=2ebd35\/track=3640536830\/transparent=true\/\" seamless=\"\"\u003e\u003ca href=\"http:\/\/rlburnside.bandcamp.com\/album\/come-on-in\"\u003eCome On In by R.L. Burnside\u003c\/a\u003e\u003c\/iframe\u003e\u003cbr\u003e\u003cbr\u003e\u003ciframe style=\"border: 0; width: 100%; height: 42px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=3813378908\/size=small\/bgcol=333333\/linkcol=2ebd35\/track=3284940729\/transparent=true\/\" seamless=\"\"\u003e\u003ca href=\"http:\/\/rlburnside.bandcamp.com\/album\/come-on-in\"\u003eCome On In by R.L. Burnside\u003c\/a\u003e\u003c\/iframe\u003e\u003cbr\u003e\u003cbr\u003e\u003ciframe style=\"border: 0; width: 100%; height: 42px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=3813378908\/size=small\/bgcol=333333\/linkcol=2ebd35\/transparent=true\/\" seamless=\"\"\u003e\u003ca href=\"http:\/\/rlburnside.bandcamp.com\/album\/come-on-in\"\u003eCome On In by R.L. Burnside\u003c\/a\u003e\u003c\/iframe\u003e\u003cbr\u003e\u003cbr\u003e \u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv class=\"tralbumData tralbum-about\" itemprop=\"description\"\u003eThis has some great raw blues that will please most fans of blues as well as fans of other brands of music, but some blues purists might wanna stick with some of Burnside's other recordings.  On the other hand fans of gut-bucket funk and garage punk blues will want to grab this one with both hands!\u003c\/div\u003e\n\u003cdiv class=\"tralbumData tralbum-about\" itemprop=\"description\"\u003e\u003c\/div\u003e\n\u003cdiv class=\"tralbumData tralbum-about\" itemprop=\"description\"\u003e\u003c\/div\u003e\n\u003cdiv class=\"tralbumData tralbum-about\" itemprop=\"description\"\u003e$2.00 Initial Charge\u003cbr\u003e\u003cbr\u003e30¢ per 1\/5 mile\u003cbr\u003e\u003cbr\u003e20¢ Per Minute Stopped or Slow Traffic\u003c\/div\u003e\n\u003ch3 class=\"credits-label\"\u003e\u003c\/h3\u003e\n\u003cdiv class=\"tralbumData tralbum-credits\"\u003ereleased September 25, 1998\u003cbr\u003e\u003cbr\u003eProducer, Recorded By, Mixed By – Martin Tino Gross* (tracks: 1, 3, 5, 7, 9 to 13)\u003cbr\u003eMastered By – Mark Yoshida\u003cbr\u003e\u003cbr\u003eTracks 1, 3, 5, and 9 mixed at Funhouse.\u003cbr\u003eTracks 2 and 11 mixed at the Money Shot Water Valley, MS.\u003cbr\u003eTrack 8 recorded in 1968.\u003cbr\u003eTrack 12 mixed at Audio Magic.\u003c\/div\u003e\n\u003cdiv class=\"trackView leftMiddleColumns has-art\" itemscope=\"\" itemtype=\"http:\/\/schema.org\/MusicAlbum\" data-tooltips='{\"dash_seen\":null,\"tooltips\":[]}'\u003e\n\u003cdiv class=\"tralbumData tralbum-tags tralbum-tags-nu\"\u003e\u003c\/div\u003e\n\u003c\/div\u003e","brand":"Fat Possum Records","offers":[{"title":"Default Title","offer_id":30899181420681,"sku":"","price":21.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0635\/1427\/products\/Burnside_come_on_in.jpg?v=1602476238"},{"product_id":"burnside-r-l-a-bothered-mind-new-lp","title":"Burnside, R. L. – A Bothered Mind – New LP","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003eGive me a little time to think, while I mix me another motherfucking drink.\u003cbr\u003e- RL Burnside\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eNew pressing of this bottle of 200 proof, skunk and funk, stang with fangs, moving like a king snake across the dirty, slapping the dust from an old hat, chugging like a choo choo train, chopping at black coal to feed the steam to move the locomotion, blues and rhythm, swampy shuffle and even some hip hop, raw and ready, electric and electrifying, this is the slap of a callous palm upside the head of the blues purists.  this is the blues and nothing but. -- winch (green noise)\u003c\/span\u003e\u003cbr\u003e\u003ciframe style=\"border: 0; width: 100%; height: 42px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=3585327433\/size=small\/bgcol=333333\/linkcol=0f91ff\/transparent=true\/\" seamless\u003e\u003ca href=\"https:\/\/rlburnside.bandcamp.com\/album\/a-bothered-mind\"\u003eA Bothered Mind by R.L. Burnside\u003c\/a\u003e\u003c\/iframe\u003e\u003cbr\u003e \u003c\/p\u003e\n\u003cp\u003e1. Detroit Boogie, Pt. 1\u003c\/p\u003e\n\u003cp\u003e2. See What My Buddy Done\u003c\/p\u003e\n\u003cp\u003e3. Shake 'Em on Down\u003c\/p\u003e\n\u003cp\u003e4. Goin' Down South\u003c\/p\u003e\n\u003cp\u003e5. My Name Is Robert Too\u003c\/p\u003e\n\u003cp\u003e6. Someday Baby\u003c\/p\u003e\n\u003cp\u003e7. Go to Jail\u003c\/p\u003e\n\u003cp\u003e8. Bird Without a Feather\u003c\/p\u003e\n\u003cp\u003e9. Glory Be\u003c\/p\u003e\n\u003cp\u003e10. Goin' Away Baby\u003c\/p\u003e\n\u003cp\u003e11. Rollin' and Tumbln'\u003c\/p\u003e\n\u003cp\u003e12. Stole My Check\u003c\/p\u003e\n\u003cp\u003e13. Detroit Boogie, Pt.2\u003c\/p\u003e\n\u003cp\u003eInstant Download with Purchase of CD or LP\u003c\/p\u003e","brand":"Fat Possum Records","offers":[{"title":"Default Title","offer_id":30899310821513,"sku":"","price":25.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0635\/1427\/products\/burnside_bothered.jpeg?v=1623214457"},{"product_id":"peebles-ann-straight-from-the-heart-new-lp","title":"Peebles, Ann - Straight From The Heart - New LP","description":"\u003cp\u003eEssential 1971 set, some insane understated guitar and then keyboard coming to the front on the mini bridge, horns helping punch it home, rock solid rhythm section for the foundation that backs Ann without getting in the way.  That's just the opening cut, and the set never lets up, slinking in close and taking hold, grabbing you right from the get go and never letting go, \u003cmeta charset=\"utf-8\"\u003estaying strong from go to whoa.  Talk about totality and tight, in the pocket, bass, drum, and guitar in sync with Ann as she takes it all in and makes it her own, beauty and grit, funk and soul.  -- winch (green noise)\u003cbr\u003e\u003ciframe style=\"border: 0; width: 100%; height: 42px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=634545499\/size=small\/bgcol=333333\/linkcol=0f91ff\/transparent=true\/\" seamless\u003e\u003ca href=\"https:\/\/annpeebles.bandcamp.com\/album\/straight-from-the-heart\"\u003eStraight From The Heart by Ann Peebles\u003c\/a\u003e\u003c\/iframe\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eIf Al Green is heads on the Hi Records coin, ANN PEEBLES is tails. The signature female artist on the legendary Memphis soul and R\u0026amp;B label, Ann Peebles rocked the pre-disco '70s with songs of love, lost love, and love straight up taken. Released in 1972, Straight From The Heart preceded by just two years Peebles' über-classic, I Can't Stand The Rain, proving the young, soon to be American R\u0026amp;B icon didn't need worldwide fame and record sales for a license to be fierce and provocative (see the album track \"I Feel Like Breaking Up Somebody's Home Tonight\").\u003c\/p\u003e","brand":"Hi Records \/ Fat Possum Records","offers":[{"title":"Default Title","offer_id":30901114994825,"sku":"","price":22.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0635\/1427\/products\/annstraight_36872425-a48f-4e77-b009-452bd1ada4f2.jpg?v=1571721912"},{"product_id":"johnson-syl-uptown-shakedown-new-lp","title":"Johnson, Syl – Uptown Shakedown – New LP","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv class=\"content\"\u003eSylvester Thompson\u003c\/div\u003e\n\u003cdiv class=\"head\"\u003eProfile:\u003c\/div\u003e\n\u003cdiv class=\"content\"\u003e\n\u003cdiv class=\"readmore initialized uncropped\" id=\"profile\"\u003eb. 1st July 1936, Holly Springs, Mississippi, U.S.A.\u003cbr\u003e\u003cbr\u003eAmerican funk\/soul\/blues singer and music producer.\u003cbr\u003e\u003cbr\u003eJohnson sang and played with blues artists\u003cspan\u003e \u003c\/span\u003eMagic Sam,\u003cspan\u003e \u003c\/span\u003eBilly Boy Arnold,\u003cspan\u003e \u003c\/span\u003eJunior Wells\u003cspan\u003e \u003c\/span\u003eand\u003cspan\u003e \u003c\/span\u003eHowlin' Wolf\u003cspan\u003e \u003c\/span\u003ein the 1950s, before recording with\u003cspan\u003e \u003c\/span\u003eJimmy Reed\u003cspan\u003e \u003c\/span\u003efor\u003cspan\u003e \u003c\/span\u003eVee Jay Records\u003cspan\u003e \u003c\/span\u003ein 1959. He made his solo debut that same year with\u003cspan\u003e \u003c\/span\u003eFederal Records (2), a subsidiary of\u003cspan\u003e \u003c\/span\u003eKing Records (3)\u003cspan\u003e \u003c\/span\u003eof Cincinnati, backed by\u003cspan\u003e \u003c\/span\u003eFreddie King\u003cspan\u003e \u003c\/span\u003eon guitar.\u003cbr\u003e\u003cbr\u003eHe then began recording for\u003cspan\u003e \u003c\/span\u003eTwinight Records\u003cspan\u003e \u003c\/span\u003eof Chicago in the mid 1960s. Beginning with his first hit,\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eCome On Sock It to Me\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003ein 1967, Johnson dominated the label as both a hitmaker and producer.\u003cbr\u003e\u003cbr\u003eLike other black songwriters of the period, several of his records at this time explored themes of African-American identity and social problems in songs including\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eIs It Because I’m Black\u003c\/i\u003e, which reached Number 11 in the R\u0026amp;B charts in 1969.\u003cbr\u003e\u003cbr\u003eIn 1971,\u003cspan\u003e \u003c\/span\u003eWillie Mitchell\u003cspan\u003e \u003c\/span\u003ebrought Johnson to\u003cspan\u003e \u003c\/span\u003eHi Records, for whom he recorded three albums and a number of singles. Produced in Memphis with the Hi house band, these yielded music of power and enduring value, including the hits\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eWe Did It\u003c\/i\u003e,\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eBack for a Taste of Your Love\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003eand\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eTake Me to the River\u003c\/i\u003e, his biggest success, reaching Number 7 on the R\u0026amp;B charts in 1975. However, at Hi Johnson was always to some extent in\u003cspan\u003e \u003c\/span\u003e\u003ca href=\"https:\/\/www.discogs.com\/artist\/25261-Al-Green\" target=\"_blank\" rel=\"noopener noreferrer\"\u003eAl Green\u003c\/a\u003e’s shadow commercially, if not artistically.\u003c\/div\u003e\n\u003c\/div\u003e","brand":"Hi Records \/ Fat Possum Records","offers":[{"title":"Default Title","offer_id":30981053874313,"sku":"","price":17.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0635\/1427\/products\/syl.jpg?v=1572063083"},{"product_id":"clay-otis-i-cant-take-it-new-lp","title":"Clay, Otis – I Can't Take It – New LP","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003e\"The shadows of both\u003cspan\u003e \u003c\/span\u003eAl Green\u003cspan\u003e \u003c\/span\u003eand\u003cspan\u003e \u003c\/span\u003eAnn Peebles\u003cspan\u003e \u003c\/span\u003elooming large over Hi, the record label's second league will always remain criminally overlooked. Being second to a soul superstar and a critics' favorite isn't necessarily a bad thing, though, as quality control at the label was always on a high level. A case in point is the sampler of sorts Al Bennett released on his own Cream imprint after buying the Hi catalog from Willy Mitchell in 1977. Titled A History of Soul, the double album contained strong single releases and non-album tracks by Hi second-leaguers\u003cspan\u003e \u003c\/span\u003eO.V. Wright,\u003cspan\u003e \u003c\/span\u003eSyl Johnson, and\u003cspan\u003e \u003c\/span\u003eOtis Clay. The latter's appearance proved most promising, as both 1973's \"I Didn't Know the Meaning of Pain\" and \"The Woman Don't Live Here No More\" from 1974 indicated the promise of a rewarding follow-up to his 1972 debut album,\u003cspan\u003e \u003c\/span\u003eTrying to Live My Life Without You. However, these songs weren't included on\u003cspan\u003e \u003c\/span\u003eClay's follow-up,\u003cspan\u003e \u003c\/span\u003eI Can't Take It. Instead, his final Hi album reprises \"Home Is Where the Heart Is,\" his first ever recording for the label. It quite possibly served as a means of reacquainting the public with\u003cspan\u003e \u003c\/span\u003eOtis Clay, since a five-year hiatus separated his lone two albums for Hi. During this period he kept himself busy with his own label. Apart from \"Slow and Easy,\" the album was comprised of leftover sessions from 1972. Still,\u003cspan\u003e \u003c\/span\u003eI Can't Take It\u003cspan\u003e \u003c\/span\u003efares strongly in opener \"Pussyfootin' Around,\" the scorching ballad \"House Ain't a Home (Without a Woman),\" and the gut-wrenching title track. As always, the Hi house band does an ace job.\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eBorn on 11th February 1942 in Waxhaw, Mississippi, U.S.A.\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eDied on 8th January 2016, U.S.A.\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eHe moved to Chicago to start his career, where he started singing in gospel groups. In 1965 he was signed at \u003c\/span\u003eOne-derful\u003cspan\u003e. When this label folded, in 1968 he moved at \u003c\/span\u003eAtlantic\u003cspan\u003e's \u003c\/span\u003eCotillion\u003cspan\u003e and in 1971 at \u003c\/span\u003eHi Records\u003cspan\u003e. He kept on recording all through the 70's and 80's at various labels.  \u003c\/span\u003e\u003cspan\u003eHe was one of the 2013 inductees to the \u003c\/span\u003e\u003cb\u003eBlues Hall Of Fame.\u003c\/b\u003e\u003c\/p\u003e","brand":"Hi Records \/ Fat Possum Records","offers":[{"title":"Default Title","offer_id":30981074321545,"sku":"","price":17.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0635\/1427\/products\/Otis_clay.jpg?v=1572063920"},{"product_id":"wright-o-v-into-something-cant-shake-loose-new-lp","title":"Wright, O.V. – Into Something (Can't Shake Loose) - New LP","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003ch3 class=\"review-author headline\"\u003eReview by\u003cspan\u003e \u003c\/span\u003e\u003cspan itemprop=\"author\"\u003eQuint Kik\u003c\/span\u003e\n\u003c\/h3\u003e\n\u003cdiv class=\"text\" itemprop=\"reviewBody\"\u003e\n\u003cp\u003eO.V. Wright's secular career started off in 1964 with \"That's How Strong My Love Is.\" Wright's delivery proves to be in the same league as the more famous version by\u003cspan\u003e \u003c\/span\u003eOtis Redding. After a few short spells in jail for narcotic offenses during the mid-'70s,\u003cspan\u003e \u003c\/span\u003eWright\u003cspan\u003e \u003c\/span\u003ere-emerged in 1977 with\u003cspan\u003e \u003c\/span\u003eInto Something (Can't Shake Loose). It was his first album for Hi, although producer\u003cspan\u003e \u003c\/span\u003eWillie Mitchell\u003cspan\u003e \u003c\/span\u003ehad overseen many of his Backbeat sides from the earlier days. For this comeback, the producer made sure\u003cspan\u003e \u003c\/span\u003eWright\u003cspan\u003e \u003c\/span\u003ewas supported by nothing but the best, from\u003cspan\u003e \u003c\/span\u003ethe Memphis Horns and Strings\u003cspan\u003e \u003c\/span\u003evia the rhythm section of Grimes and all three Hodgeses to the background vocals of Rhodes-Chalmers-Rhodes. Even\u003cspan\u003e \u003c\/span\u003eJames Brown\u003cspan\u003e \u003c\/span\u003eturned up for piano duties, but let's assume he's just a namesake. Obviously not as strong as the Hi albums\u003cspan\u003e \u003c\/span\u003eMitchell\u003cspan\u003e \u003c\/span\u003emade with\u003cspan\u003e \u003c\/span\u003eAl Green\u003cspan\u003e \u003c\/span\u003eor\u003cspan\u003e \u003c\/span\u003eAnn Peebles, it's still an example of genuine Southern soul. Highlights include \"I Feel Love Growin',\" the aforementioned medley, and the gospel-influenced title track with its chilling prologue. The medley would reappear integrally on\u003cspan\u003e \u003c\/span\u003eO.V. Wright Live, with an extra addition of \"You're Gonna Make Me Cry.\" \u003c\/p\u003e\n\u003cbr\u003e\u003ciframe style=\"border: 0; width: 100%; height: 42px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=3192340108\/size=small\/bgcol=333333\/linkcol=0f91ff\/transparent=true\/\" seamless\u003e\u003ca href=\"https:\/\/ovwright.bandcamp.com\/album\/into-something-cant-shake-loose\"\u003eInto Something Can't Shake Loose by O.V. Wright\u003c\/a\u003e\u003c\/iframe\u003e\u003cbr\u003e\n\u003c\/div\u003e","brand":"Hi Records \/ Fat Possum Records","offers":[{"title":"Default Title","offer_id":30981088346249,"sku":"","price":22.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0635\/1427\/products\/O.v._wright.jpg?v=1572065092"},{"product_id":"mitchell-willie-driving-beat-new-lp","title":"Mitchell, Willie - Driving Beat – New LP","description":"\u003cp\u003eReissue of 1966 LP.\u003c\/p\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003e\u003cstrong\u003eTracklisting:\u003c\/strong\u003e\u003cbr\u003e\u003cspan\u003e1. Everything is Gonna Be Alright\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e2. Nick-O-Demus\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e3. The Time Ain't Long\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e4. The Champion - Part 1\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e5. I'm Moving On Now\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e6. Stone Face\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e7. That Driving Beat\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e8. The Champion - Part II\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e9. Doing The Stroll\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e10. Pep Talk\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e11. Fat Cat\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e12. 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Get Gone - New CD","description":"\u003cbr\u003e\u003ciframe style=\"border: 0; width: 100%; height: 42px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=1965109340\/size=small\/bgcol=333333\/linkcol=2ebd35\/transparent=true\/\" seamless=\"\"\u003e\u003ca href=\"http:\/\/seratones.bandcamp.com\/album\/get-gone\"\u003eGet Gone by Seratones\u003c\/a\u003e\u003c\/iframe\u003e\u003cbr\u003e\n\u003cp\u003eLouisiana is kicking down your door and coming into your house, and you will welcome them with both arms, smoking set of rock 'n funk from the land that invented most of that anyway.  Bring it back home.\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv id=\"trackInfo\" class=\"leftColumn\"\u003e\n\u003cdiv id=\"trackInfoInner\"\u003e\n\u003cdiv class=\"tralbumData tralbum-about\" itemprop=\"description\"\u003eGet Gone, the potent debut album by the Shreveport, Louisiana natives in Seratones, makes a strong case that this little-known corner of the state is fertile ground, musically speaking. A.J. Haynes (vocals), Connor Davis (guitar), Adam Davis (bass) and Jesse Gabriel (drums) serve up a combination of Southern musicality, garage rock ferocity, and general badassery.\u003cbr\u003e\u003cbr\u003eHaynes’s powerful singing voice, first honed at Brownsville Baptist Church in Columbia, Louisiana at age 6, rings across every track. Davis’s bass and Gabriel’s playing propel every song with the grit, energy, and rawness of punk, the feeling of soul, and occasionally, a little jazz swing. The other Davis offers a clinic in guitar riffs, from swaggering blues to searing interstellar leads.\u003cbr\u003e\u003cbr\u003eRecorded at Dial Back Sound studios in Mississippi, Get Gone is all live takes, a portrait of the Seratones in their element. Add the soul and swagger of a juke joint with the electricity coursing through a basement DIY show, and you’d begin to approach the experience of seeing this foursome live. The well-paced, multi-faceted set showcases a band dedicated to sonic exploration. “Don’t Need It,” which opens with a muscular swing and tight guitar lines, builds into a monster finish with a nasty corkscrew of a guitar line\u003cspan class=\"bcTruncateMore\"\u003e. “Sun,” a brawny thrasher, courses with huge, raw voltage riffs. “Chandelier,” a mid-tempo burner and vocal workout by Haynes, goes from croon to a crescendo that would shake any crystals hanging from the rafters.\u003cbr\u003e\u003cbr\u003eShared history in the city’s music scene brought the Seratones together a few years ago. All four had played together with one or another in various local punk bands, bonding through all-ages basement shows, gigs at skate parks and BBQ joints, and late nights listening to jazz and blues records. In a city of multiple genres, no fixed musical identity and a flood of cover bands, these adventurous musicians carved out their own path, personifying the do-it-yourself ethos. The group was quickly recognized after forming, winning the Louisiana Music Prize in 2013.\u003cbr\u003e\u003cbr\u003e“Shreveport is always shifting its identity,” says Haynes. “You can do a lot of different things when it seems like every band is its own genre.”\u003cbr\u003e\u003cbr\u003eSeratones’s music, created with collaborative songwriting and spontaneous creativity, is certainly their own, due perhaps in part to Shreveport’s unique sonic geography. The city sits at a nexus roughly equidistant from Memphis soul, Mississippi Delta Blues, and New Orleans jazz, with Texas swing located just over the nearby state border. The band’s sound draws from those touch points and more, ranging from Black Sabbath to Kind of Blue. They’ll happily connect the dots between Ornette Coleman and Jello Biafra.\u003cbr\u003e\u003cbr\u003eSeratones have different names for the amalgamation of styles found on their debut: Their own “expression of freedom,” music that’s “all about waking people up,” a safe space to feel what you want. However you choose to describe it, Get Gone is unexpected and unbowed, a head-snapping showcase of the twin pillars of Southern music, restlessness and resourcefulness.\u003c\/span\u003e\u003cspan\u003e \u003ca\u003e\u003c\/a\u003e\u003c\/span\u003e\n\u003c\/div\u003e\n\u003ch3 class=\"credits-label\"\u003e\u003c\/h3\u003e\n\u003cdiv class=\"tralbumData tralbum-credits\"\u003ereleased May 6, 2016\u003cbr\u003e\u003cbr\u003eProduced by Jimbo Mathus\u003cbr\u003eAdditional production on tracks 3, 7, 10, \u0026amp; 11 by Clay Jones\u003cbr\u003eEngineered by Bronson Tew \u0026amp; Scott Bomar at Dial Back Sound, Water Valley, MS\u003cbr\u003eAdditional engineering on track 9 by Darren Osborn at Sandbox Recording Studio, Shreveport, LA\u003cbr\u003eMixed by Clay Jones at Pete's Room, Oxford, MS\u003cbr\u003eMastered by Matthew Barnhart at Chicago Mastering, Chicago, IL\u003cbr\u003eBand photography by Shannon O'Rear\u003cbr\u003eArtwork by Nate Treme\u003c\/div\u003e\n\u003ch3 class=\"license-label\"\u003e\u003c\/h3\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"tralbumData tralbum-tags tralbum-tags-nu\"\u003e\n\u003ch3\u003e\u003cspan class=\"tags-inline-label\"\u003eTags\u003c\/span\u003e\u003c\/h3\u003e\n\u003c\/div\u003e\n\u003cdiv id=\"trackInfo\" class=\"leftColumn\"\u003e\n\u003cdiv id=\"trackInfoInner\"\u003e\n\u003ch3 class=\"license-label\"\u003e\u003c\/h3\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"tralbumData tralbum-tags tralbum-tags-nu\"\u003e\u003c\/div\u003e","brand":"Fat Possum Records","offers":[{"title":"Default Title","offer_id":31013451563145,"sku":"","price":8.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0635\/1427\/products\/seratones_get.jpg?v=1572817405"},{"product_id":"libretto-ride-to-dat-12-ep-new-lp","title":"Libretto – Ride to Dat 12\" Maxi Single EP – New LP","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003ch1\u003e BACK TO BLACK: 100%. \u003c\/h1\u003e\n\u003ch1\u003e100% of the sale of this item goes to the artist.\u003c\/h1\u003e\n\u003cbr\u003e\u003ciframe style=\"border: 0; width: 100%; height: 42px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=3605983016\/size=small\/bgcol=333333\/linkcol=2ebd35\/track=3394646040\/transparent=true\/\" seamless=\"\"\u003e\u003ca href=\"http:\/\/bretto.bandcamp.com\/album\/ride-to-dat-feat-guilty-simpson-12\"\u003eRide To Dat Feat. Guilty Simpson 12\" by Libretto\u003c\/a\u003e\u003c\/iframe\u003e\u003cbr\u003efeaturing \"Da Bump!\" and 6 versions of the title track, including 3 instrumental versions.\u003cbr\u003e\u003ciframe style=\"border: 0; width: 100%; height: 42px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=2306169783\/size=small\/bgcol=333333\/linkcol=2ebd35\/track=3775206821\/transparent=true\/\" seamless=\"\"\u003e\u003ca href=\"http:\/\/liquidbeat.bandcamp.com\/album\/ride-to-dat-ft-guilty-simpson-12-maxi-single\"\u003eRide To Dat ft. Guilty Simpson 12\" Maxi Single by Libretto\u003c\/a\u003e\u003c\/iframe\u003e\u003cbr\u003e\u003ciframe style=\"border: 0; width: 100%; height: 42px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=3605983016\/size=small\/bgcol=333333\/linkcol=2ebd35\/transparent=true\/\" seamless=\"\"\u003e\u003ca href=\"http:\/\/bretto.bandcamp.com\/album\/ride-to-dat-feat-guilty-simpson-12\"\u003eRide To Dat Feat. Guilty Simpson 12\" by Libretto\u003c\/a\u003e\u003c\/iframe\u003e","brand":"Slum Funk \/ Liquid Beats","offers":[{"title":"Default Title","offer_id":31208480211081,"sku":"","price":4.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0635\/1427\/products\/libretto.jpg?v=1573362213"},{"product_id":"libretto-volume-new-lp","title":"Libretto – Volume – New 12\"","description":"\u003cp\u003eA1 Volume (Main) \u003cbr\u003eA2 Volume (Radio) \u003cbr\u003eA3 Volume (Instrumental) \u003cbr\u003eA4 Volume (Acappella) \u003cbr\u003eB1 Slumfunk (Main) \u003cbr\u003eB2 Slumfunk (Radio) \u003cbr\u003eB3 Slumfunk (Instrumental) \u003cbr\u003eB4 Slumfunk (Acappella)\u003c\/p\u003e","brand":"Dim Mak Records","offers":[{"title":"Default Title","offer_id":31208483192969,"sku":"","price":5.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0635\/1427\/products\/R-703501-1261264575_jpeg.jpg?v=1573362922"},{"product_id":"love-s-t-new-lp","title":"Love – S\/T – New LP","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003eAfter gigging around the Los Angeles scene for three years, Arthur Lee was ready for something different. Inspired by seeing The Byrds live, he decided to merge their folk-rock sound with the driving r\u0026amp;b he had been playing to create a new group, dubbed Love. Recruiting guitarists Johnny Echols and ex-Byrds roadie Bryan Maclean, bassist Ken Forssi and drummer Alban \"Snoopy\" Pfisterer, Love began recording their eponymous debut LP in January 1966. Their first single, Bacharach\/David composition \"My Little Red Book,\" spotlights an insistent, menacing riff that sounds nothing like what their contemporaries were committing to vinyl. Other cuts highlight the writing talents of Lee and the band members, notably on Lee's anti-drug essay \"Signed, D.C.\" and Maclean's \"Softly to Me.\" Also included is their version of the rock standard \"Hey Joe,\" rivaling The Leaves' hit version for power and sporting some lyric alterations. The group, which lived communally at the time in a house formerly owned by Boris Karloff (they are pictured in the house's garden on the LP cover), quickly coalesced into one of the West Coast's most influential and exciting groups; here is where it all began. Sourced from the original Elektra analog session tapes and lovingly pressed on high-definition vinyl.\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eIncludes:\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMy Little Red Book • Can’t Explain • A Message To Pretty • My Flash On You • Softly To Me • No Matter What You Do • Emotions • You I’ll Be Following • Gazing • Hey Joe • Signed D.C. • Coloured Balls Falling • Mushroom Clouds • And More\u003c\/p\u003e","brand":"Sundazed Music","offers":[{"title":"Default Title","offer_id":31283365871753,"sku":"","price":25.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0635\/1427\/products\/IMG_9186.jpg?v=1584777023"},{"product_id":"diddley-bo-s-t-new-lp-1","title":"Diddley, Bo - Where It All Began - New LP","description":"\u003cp\u003ereissue of 1972 album.  \u003c\/p\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003ch3 class=\"review-author headline\"\u003e\n\u003cspan itemprop=\"author\"\u003eReview by Bruce Eder: \u003c\/span\u003eJohnny Otis\u003cspan\u003e \u003c\/span\u003eand\u003cspan\u003e \u003c\/span\u003ePete Welding\u003cspan\u003e \u003c\/span\u003eproduced this surprisingly successful soul effort by\u003cspan\u003e \u003c\/span\u003eBo, which succeeded in reshaping his sound, not as a\u003cspan\u003e \u003c\/span\u003eSly Stewart\u003cspan\u003e \u003c\/span\u003ewannabe or a lounge act covering\u003cspan\u003e \u003c\/span\u003eCreedence Clearwater Revival\u003cspan\u003e \u003c\/span\u003ehits.\u003cspan\u003e \u003c\/span\u003eBo\u003cspan\u003e \u003c\/span\u003esounds comfortable and natural doing songs like \"Look At Grandma\" and \"Woman,\" and the latter is a pretty damn good song --\u003cspan\u003e \u003c\/span\u003eBo\u003cspan\u003e \u003c\/span\u003efinally emerged as a soul singer in his own right, and it worked, artistically at least. \"Hey Jerome\" even recalls tracks like \"Say Man\" in a not-unflattering light. Unfortunately, none of this mattered to the people who still cared about\u003cspan\u003e \u003c\/span\u003eBo Diddley\u003cspan\u003e \u003c\/span\u003e-- they wanted the beat and the old sound, which was present here on \"I've Had It Hard,\" and the extraordinary \"Bo Diddley-itis,\" but not in the kind of quantity they craved. He gave them his classics in concert, but not on this album. Where It All Began\u003cspan\u003e \u003c\/span\u003evanished from sight, leaving scarcely a trace or a ripple on the charts.\u003c\/h3\u003e\n\u003cp\u003eGH\u003c\/p\u003e\n\u003cdiv class=\"text\" itemprop=\"reviewBody\"\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e","brand":"Chess","offers":[{"title":"Default","offer_id":31311634759817,"sku":"SKU-31867","price":18.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0635\/1427\/products\/R-3955855-1350425817-8973_jpeg.jpg?v=1575690736"},{"product_id":"brown-james-and-the-famous-flames-think-new-lp","title":"Brown, James and the Famous Flames – Think! – New LP","description":"\u003cp\u003e2016 European import.  Reissue of 1960 album.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003e\u003cspan\u003e1960 was an important year for The Godfather, and an important year for black music. While white folks would be catching the bug for blues music in the years and decades that followed 1960, in the black communities, most of the folks were moving on and getting down to the sounds of soul and funk. Like the MC with the gold-tone megaphone 📣 parading through the block party, James Brown was there to help lead the way. -- winch (green noise records)\u003c\/span\u003e\u003c\/p\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003ch3 class=\"review-author headline\"\u003eAllMusic Review by\u003cspan\u003e \u003c\/span\u003e\u003cspan itemprop=\"author\"\u003eCub Koda\u003c\/span\u003e\n\u003c\/h3\u003e\n\u003cdiv class=\"text\" itemprop=\"reviewBody\"\u003e\n\u003cp\u003eJames' third album (his first for King) features 1960-era\u003cspan\u003e \u003c\/span\u003eJames Brown, moving from King's Federal subsidiary to the parent label with the hits \"Bewildered,\" \"If You Want Me,\" \"You've Got the Power,\" \"I'll Go Crazy,\" \"Baby You're Right\" (co-written with\u003cspan\u003e \u003c\/span\u003eJoe Tex), and \"I'll Never, Never Let You Go.\" This is one of his better efforts as well as a pivotal point in his career.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"Cornbread Records","offers":[{"title":"Default Title","offer_id":31480985321609,"sku":"","price":20.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0635\/1427\/products\/R-9618244-1483985853-5260_jpeg.jpg?v=1577130029"},{"product_id":"redding-otis-live-in-europe-new-lp","title":"Redding, Otis – Live In Europe – New LP","description":"\u003cmeta charset=\"utf-8\"\u003e\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003e\u003cspan\u003eOtis Redding's first live release was recorded in March 1967, on the now-legendary Stax\/Volt tour of Europe, on which Otis and company demonstrated that soul is a universal language. Backed by the erstwhile Stax studio combo Booker T. and the MGs and the Memphis Horns, the Big O rises to the historic occasion, delivering incendiary, emotion-charged readings of such iconic tunes as \"Respect,\" \"I Can't Turn You Loose,\" \"I've Been Loving You Too Long (To Stop Now),\" \"Fa-Fa-Fa-Fa-Fa (Sad Song)\" and \"These Arms of Mine,\" as well as scorching readings of songs by Sam Cooke, the Temptations, the Beatles and the Rolling Stones. The set climaxes with an impassioned \"Try a Little Tenderness\" that ranks as one of Redding's finest moments. This exact reproduction of this original Stax label LP is mastered from the original stereo tapes and pressed on pristine High-Definition vinyl.\u003c\/span\u003e\u003c\/p\u003e","brand":"Sundazed Records","offers":[{"title":"Default Title","offer_id":31530534076553,"sku":"","price":25.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0635\/1427\/products\/LP5134-mini.jpg?v=1577504187"},{"product_id":"redding-otis-otis-blue-new-lp","title":"Redding, Otis – Otis Blue – New LP","description":"\u003cmeta charset=\"utf-8\"\u003e\u003cmeta charset=\"utf-8\"\u003e\n\u003ch3 class=\"review-author headline\"\u003eAllMusic Review by\u003cspan\u003e \u003c\/span\u003e\u003cspan itemprop=\"author\"\u003eBruce Eder\u003c\/span\u003e\n\u003c\/h3\u003e\n\u003cdiv class=\"text\" itemprop=\"reviewBody\"\u003e\n\u003cp\u003eOtis Redding's third album, and his first fully realized album, presents his talent unfettered, his direction clear, and his confidence emboldened, with fully half the songs representing a reach that extended his musical grasp. More than a quarter of this album is given over to\u003cspan\u003e \u003c\/span\u003eRedding's versions of songs by\u003cspan\u003e \u003c\/span\u003eSam Cooke, his idol, who had died the previous December, and all three are worth owning and hearing. Two of them, \"A Change Is Gonna Come\" and \"Shake,\" are every bit as essential as any soul recordings ever made, and while they (and much of this album) have reappeared on several anthologies, it's useful to hear the songs from those sessions juxtaposed with each other, and with \"Wonderful World,\" which is seldom compiled elsewhere. Also featured are\u003cspan\u003e \u003c\/span\u003eRedding's spellbinding renditions of \"(I Can't Get No) Satisfaction\" (a song epitomizing the fully formed Stax\/Volt sound and which\u003cspan\u003e \u003c\/span\u003eMick Jagger\u003cspan\u003e \u003c\/span\u003eand\u003cspan\u003e \u003c\/span\u003eKeith Richards\u003cspan\u003e \u003c\/span\u003eoriginally wrote in tribute to and imitation of\u003cspan\u003e \u003c\/span\u003eRedding's style), \"My Girl,\" and \"You Don't Miss Your Water.\" \"Respect\" and \"I've Been Loving You Too Long,\" two originals that were to loom large in his career, are here as well; the former became vastly popular in the hands of\u003cspan\u003e \u003c\/span\u003eAretha Franklin\u003cspan\u003e \u003c\/span\u003eand the latter was an instant soul classic. Among the seldom-cited jewels here is a rendition of\u003cspan\u003e \u003c\/span\u003eB.B. King's \"Rock Me Baby\" that has the singer sharing the spotlight with\u003cspan\u003e \u003c\/span\u003eSteve Cropper, his playing alternately elegant and fiery, with\u003cspan\u003e \u003c\/span\u003eWayne Jackson\u003cspan\u003e \u003c\/span\u003eand\u003cspan\u003e \u003c\/span\u003eGene \"Bowlegs\" Miller's trumpets and\u003cspan\u003e \u003c\/span\u003eAndrew Love's and\u003cspan\u003e \u003c\/span\u003eFloyd Newman's saxes providing the backing.\u003cspan\u003e \u003c\/span\u003eRedding's powerful, remarkable singing throughout makes\u003cspan\u003e \u003c\/span\u003e\u003ca href=\"https:\/\/www.allmusic.com\/album\/otis-blue-mw0000264238\" class=\"album-link\"\u003eOtis Blue\u003c\/a\u003e\u003cspan\u003e \u003c\/span\u003egritty, rich, and achingly alive, and an essential listening experience.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eConsidered by many soul connoisseurs to be Otis Redding's finest and most fully realized LP, 1966's \u003c\/span\u003e\u003ci\u003eOtis Blue\u003c\/i\u003e\u003cspan\u003e delivers a compelling encapsulation of all of the qualities that made Redding the greatest soul performer of his era. In addition to the artist's self-penned classics \"Respect\" and \"I've Been Loving You Too Long,\" Otis Blue spotlights the artist's peerless interpretive skills, as he puts his dynamic stamp upon such iconic tunes as the Rolling Stones' \"(I Can't Get No) Satisfaction,\" The Temptations' \"My Girl,\" B.B. King's \"Rock Me Baby,\" \"You Don't Miss Your Water\" and Solomon Burke's \"Down in the Valley.\" Otis also pays tribute to his idol Sam Cooke, giving his all to a trio of Cooke tunes, \"A Change Is Gonna Come,\" \"Shake\" and \"Wonderful World.\" This exact reproduction of this original Stax label LP is mastered from the original mono tapes and pressed on pristine High-Definition vinyl.\u003c\/span\u003e\u003c\/p\u003e","brand":"Sundazed Records","offers":[{"title":"Default Title","offer_id":31530556489865,"sku":"","price":25.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0635\/1427\/products\/LP5064-mini.jpg?v=1577504657"},{"product_id":"richie-lionel-cant-slow-down-used-lp","title":"Richie, Lionel – Can't Slow Down – Used LP","description":"\u003cp\u003eVG\/VG\u003c\/p\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003ch3 class=\"review-author headline\"\u003eAllMusic Review by\u003cspan\u003e \u003c\/span\u003e\u003cspan itemprop=\"author\"\u003eStephen Thomas Erlewine\u003c\/span\u003e\n\u003c\/h3\u003e\n\u003cdiv class=\"text\" itemprop=\"reviewBody\"\u003e\n\u003cp\u003eOn\u003cspan\u003e \u003c\/span\u003eCan't Slow Down, his second solo album,\u003cspan\u003e \u003c\/span\u003eLionel Richie\u003cspan\u003e \u003c\/span\u003eran with the sound and success of his eponymous debut, creating an album that was designed to be bigger and better. It's entirely possible that he took a cue from\u003cspan\u003e \u003c\/span\u003eMichael Jackson's\u003cspan\u003e \u003c\/span\u003eThriller, which set out to win over listeners of every corner of the mainstream pop audience, because\u003cspan\u003e Richie \u003c\/span\u003eoes a similar thing with\u003cspan\u003e \u003c\/span\u003eCan't Slow Down\u003cspan\u003e \u003c\/span\u003e-- he plays to the MOR adult contemporary audience, to be sure, but he ups the ante on his dance numbers, creating grooves that are funkier, and he even adds a bit of rock with the sleek nocturnal menace of \"Running With the Night,\" one of the best songs here. He doesn't swing for the fences like\u003cspan\u003e \u003c\/span\u003eMichael\u003cspan\u003e \u003c\/span\u003edid in 1982; he makes safe bets, which is more in his character. But safe bets do pay off, and with\u003cspan\u003e \u003c\/span\u003eCan't Slow Down\u003cspan\u003e \u003c\/span\u003eRichie\u003cspan\u003e \u003c\/span\u003ereaped enormous dividends, earning not just his biggest hit, but his best album. He has less compunction about appearing as a pop singer this time around, which gives the preponderance of smooth ballads -- particularly \"Penny Lover,\" \"Hello,\" and the country-ish \"Stuck on You\" -- conviction, and the dance songs roll smooth and easy, never pushing the beats too hard and relying more on\u003cspan\u003e \u003c\/span\u003emelodic hooks than the grooves, which is what helped make \"All Night Long (All Night)\" a massive hit. Indeed, five of these songs (all the aforementioned tunes) were huge hits, and since the record ran only eight songs, that's an astonishing ration. The short running time does suggest the record's main weakness, one that it shares with many early-'80s LPs -- the songs themselves run on a bit too long, padding out the running length of the entire album. This is only a problem on album tracks like \"Love Will Find a Way,\" which are pleasant but a little tedious at their length, but since there are only three songs that aren't hits, it's a minor problem. All the hits showcase\u003cspan\u003e Richie\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003eat his best, as does\u003cspan\u003e \u003c\/span\u003eCan't Slow Down\u003cspan\u003e \u003c\/span\u003eas a whole.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"Motown Records","offers":[{"title":"Default Title","offer_id":31971071099017,"sku":"","price":2.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0635\/1427\/products\/R-4225726-1359055781-6265_jpeg.jpg?v=1584984980"}],"url":"https:\/\/store.greennoiserecords.com\/collections\/soul.oembed?page=8","provider":"Green Noise Records","version":"1.0","type":"link"}