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Top 10 Rock Keyboardists
With so many guitar heroes, it’s easy to forget that piano has always been at the heart of rock and roll. From the original ivory pounders of the ‘50s, who took a cue from boogie-woogie and blues piano, to the synth pioneers of the late ’60s and ’70s and modern innovators of today, these musicians are the epitome of rock keys.
#10) Fats Domino – The Pioneer
Fats Domino came rocking out of New Orleans with his piano in the late ‘40s and left the music world forever changed. He was the most successful of rock and roll’s pioneers after Elvis, and many say that rock piano began with his 1949 hit “The Fat Man.” His pounding piano style was highly influential on rock of the ’50s, ‘60s, and ‘70s (the Beatles, for example, frequently sang his praises), and his rhythmic style of accentuating the off-beats was also an influence on ska music. More importantly, however, the man didn’t just do piano rolls with both hands, he worked the house by pushing the piano across the stage with his belly. HIS BELLY.
#9) Ray Manzarek – The Combo Organ Maestro
As the keyboardist of the revolutionary ‘60s psychedelic rock band the Doors, Ray Manzarek “combined the Apollonian and the Dionysian – the Dionysian side is the blues, and the Apollonian side is classical music,” as he explained in a 1997 interview. Second only to Jim Morrison’s distinct baritone and cult persona, Manzarek’s kaleidoscopic organ swirls were the defining characteristic of the Doors’ sound, and in many ways the sound of the decade. There is no mistaking that opening riff to “Light My Fire.” In addition to his signature Vox Continental combo organ – and then Gibson G-101 – Manzarek played the role of bassist with his Fender Rhodes Piano Bass.
#8) Richard Wright – The Magic Behind Pink Floyd
There is no doubt that Richard Wright was a monumental musical force in Pink Floyd. His somber, atmospheric keyboard layers were a vital component of the legendary art-rock band’s sound, and his processed Farfisa organ gave the band its initial psychedelic edge. Fusing jazz, neoclassical, and experimental influences, Wright used many different keyboards and synths including the Minimoog, Mellotron, VCS 3, and Wurlitzer to achieve his spacious, eerie effects. In addition to being one of Floyd’s most musically gifted members, he was also a talented songwriter and contributed significantly to Pink Floyd’s classic albums. After Wright’s death, bandmate David Gilmour said of him, “After all, without ‘Us and Them’ and ‘The Great Gig in the Sky,’ both of which [Wright] wrote, what would The Dark Side of the Moon have been?”
#7) Billy Joel – The Piano Man
Rivaled only by Elton John, Billy Joel is a piano-pounding hit machine and one of the most popular pianists of the late ‘70s and ‘80s. Joel embraced a wide range of styles over the course of his career, but it is his pop-rock that is the most well known. Influenced by the Beatles, Broadway, and R&B, he combined technical skill and memorable melodies to make for a catalog that is full of great piano rock. Just listen to his 1973 Columbia Records debut, Piano Man, his 1977 commercial breakthrough The Stranger (“Only the Good Die Young”), 1983’s Innocent Man (“Uptown Girl”), and 1993’s River of Dreams, and you’ll find tons of incredible piano riffs.
#6) Tori Amos – The Piano Woman
Sorry to break up the boys’ club, but this piano prodigy has more than earned her place on this list. Between her inventive style and fearless playing, Tori Amos has made the piano fierce again. What’s that you say? She’s not a rocker? Well then you’ve never heard her slay on the harpsichord (“Professional Widow”) or seen her play her piano and keyboard simultaneously live, one on each side of her. As a young piano prodigy, she was kicked out of the prestigious Peabody Conservatory of Music for playing Zeppelin, and in her solo career has been more at home next to hard rockers like Nine Inch Nails and Tool as opposed to female singer-songwriters like Sarah McLaughlin or Fiona Apple. She has even challenged metal bands with her unyielding power.
#5) Rick Wakeman – The Virtuoso
As the keyboardist of one of the most successful prog-rock bands in history, the classically trained Rick Wakeman played some of the most epic keyboard solos on record. He replaced Tony Kaye in Yes in 1971 and greatly influenced the band’s most successful albums (1971’s Fragile and 1972’s Close to the Edge in particular) with his fierce synth showcases and flamboyant organ solos – especially on Yes’ breakout hit “Roundabout.” In addition to being a charismatic showman and key element of Yes’ success, Wakeman was a session musician for the likes of David Bowie (you can hear his Mellotron on “Space Oddity’), Elton John, Black Sabbath, Al Stewart, T. Rex, Cat Stevens, and Lou Reed, and has released a well-spring of solo albums including the instrumental The Six Wives of Henry VIII (1973) and chart-topping Journey to the Centre of the Earth (1974).
#4) Jerry Lee Lewis – The Great Ball of Fire
Known for his wild glissandos, which he would play with everything from his foot to his butt, this Louisiana musician really was a great ball of fire and one of rock’s first bad boys. He was also a highly skilled pianist who learned to play by ear, absorbing the influence of country, gospel, and R&B music. One of the original piano rockers after Fats Domino and Little Richard, Lewis gave us classic ‘50s piano rockers like “Great Balls of Fire” and “Whole Lotta Shakin’ Goin’ On.” Nicknamed “The Killer,” Lewis also changed the game by bringing attitude into the picture. His reckless fire was captured on record at Sun Records in Memphis, the home of rock and roll. Though his career was marked by controversy in his personal life, Lewis slayed on piano and was more punk rock than most contemporary bands.
#3) Keith Emerson – The Hendrix of the Hammond
One of the most technically accomplished keyboard players of the prog-rock era (and of all time), Keith Emerson was as innovative as he was flamboyant. Known for both his mind-blowing skill and insane live antics, he would use knives to wedge down keys of his organ, play the organ upside down while lying under it (occasionally needing to be rescued by a roadie), and pluck the interior strings of the grand piano like an autoharp. Beginning his career in the late ‘60s with the R&B group the Nice, Emerson became the master of classically influenced rock with the prog-rock supergroup Emerson, Lake & Palmer in the ‘70s. He could get sounds out of his L-100 Hammond like Hendrix could get out of his electric guitar, including wailing howls and bomb-like effects. He was also the first person to tour with a Moog synthesizer (other bands just used it on recordings in the studio) and was no coward when it came to taking new keyboard technologies to the extreme.
#2) Elton John – The Piano-Rock Superstar
Hands down the most successful artist on this list, Elton John’s impact on rock and roll is immeasurable. With seven consecutive No. 1 albums and non-stop hits, he dominated the charts during the ‘70s. But more significantly, Elton John reintroduced piano into the guitar-then-synth-dominated genre, all the while proving that you can be a piano player and a rock star. With his over-the-top costumes and powerhouse performances, he also helped usher rock into the arenas. Influenced by the likes of Little Richard and Jerry Lee Lewis, John’s playing style is often spontaneous, improvisational, and rhythmic. Billy Joel said it best with this: “Elton knows what his instrument is capable of. The piano is a percussion instrument, like a drum. You don’t strum a piano. You don’t bow a piano. You bang and strike a piano. You beat the shit out of a piano.”
#1) Little Richard – The First High-Voltage Rocker
One of the most electrifying piano players of all time, Little Richard was the first to bring a showiness to rock and roll. Infusing R&B and boogie-woogie piano with the fire of gospel, Richard’s piano style was fast, loud, and staccato. Where Fats had smooth pipes, Little Richard belted it out in a raspy voice over his crackling chords and rapid-fire triplets. Beginning his career in the mid-‘40s, Little Richard claims to be the “architect of rock and roll” and his ’50s hits like “Good Golly Miss Molly” and “Tutti Frutti” are some of the genre’s core classics. His influence on generations of rock and rollers to come (we’re talking Dylan, Jagger, Hendrix, McCartney, Bowie…) is profound. There have been plenty of more virtuosic players since him, but none can top the electricity of this original.
HONORABLE MENTIONS (yes, there are six)
Billy Ritchie – It would be foolish to highlight Keith Emerson and Rick Wakeman without acknowledging British keyboardist Billy Ritchie. With his band the Satellites, he became the first keyboard player to take a leading role in rock and literally stand up at the keyboard, mounting his Hohner Clavinet on stilts. His next band 1-2-3(which later became Clouds) is credited for laying the blueprint for prog-rock, and they did it sans guitarist. Even Bowie himself called the man a genius.
Jon Lord – A classically trained piano player and member of Deep Purple and Whitesnake, Jon Lord (aka “The Hammond Lord”) stood out from the other keyboardists of the ’70s (namely Emerson and Wakeman) for embracing his blues-rock influences instead of shying away from them. While they were jumping on the synthesizer bandwagon, he was experimenting with pushing the Hammond-Leslie sound through Marshall amps to attain a distorted, growling effect that was just as heavy as Ritchie Blackmore’s lead guitar and often more prominent.
Tony Banks – Genesis’ Tony Banks also stood out from his over-the-top peers for his restraint. A composer and arranger as much as a keyboard virtuoso, his playing was always tasteful and in service of the song. Banks also had an ever-growing array of electronic keyboards and pioneered the ARP Pro Soloist synth, the Mellotron, the Yamaha CP-70, and the Hammond T-102.
Freddie Mercury – His keyboard work has been called underrated and virtuosic, and while often overshadowed by his amazing voice and larger-than-life persona, we all know there would be no “Bohemian Rhapsody” without Freddie Mercury’s piano. Whether he was playing a concert grand or harpsichord, Mercury’s keys added greatly to many of Queen’s most popular songs.
Alan Price – As the keyboardist of the Animals, Alan Price made the organ a prominent feature in rock via classic songs like “House of the Rising Sun” and”Don’t Let Me Be Misunderstood.” Genesis’ Tony Banks regards him as “the first person who made me aware of the organ in a rock context.”
Steve Winwood – One of the first rock keyboardists, multi-instrumentalist Steve Winwood is best known for rocking the Hammond B3. At a time when electric guitars ruled rock, he powered the Spencer Davis Group with his blazing keys and brought a lyricism to rock piano with his band Traffic and with Eric Clapton in the short-lived supergroup Blind Faith.
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Vinyl Releases of the Week: January 11, 2012
It’s an interesting bunch of releases this week, from rare ‘90s reissues to joyful interpretations of country classics.
Morphine – Cure for Pain (Modern Classics Recordings)
The second release on Light in the Attic imprint Modern Classics Recordings is the sophomore album from Morphine, originally released in 1993. Considered “one of the best and most cutting-edge rock releases of the ’90s,” the album was previously only available on vinyl as a (really expensive) Brazilian import. Now, for its first-ever US vinyl issue, it is available on 180-gram vinyl, lovingly re-mastered and packaged in a deluxe “tip-on” gatefold jacket with the original album art and added liner notes.
Red Hot Chili Peppers – Blood Sugar Sex Magik reissue (Warner Bros.)
In case you missed it in December, Warner Bros. has reissued the Red Hot Chili Peppers’ landmark 1991 album as a double 180-gram LP. A seminal alternative rock record, the album showcases the band’s signature blend of funk and punk and features RHCP staples “Under the Bridge,” “Give It Away,” “Suck My Kiss,” and “Breaking the Girl.” Produced by Rick Rubin.
The Little Willies – For the Good Times (Milking Bull)
180-gram vinyl pressing of the brand new release from Norah Jones’ country side project. This time out, the group covers some of their favorite songwriters including Loretta Lynn, Willie Nelson, Johnny Cash, Kris Kristofferson, Lefty Frizzell, and Dolly Parton, recreating the songs with love and adding a bit of jazz-inflected warmth and the occasional dose of humor. Jones’ take on Parton’s “Jolene” is especially arresting.
The Lemonheads – Hotel Sessions (Hall of Records)
This album of unearthed Lemonheads recordings features 14 songs recorded one Sunday night nearly 20 years ago by Evan Dando with just his acoustic guitar and a Walkman in a hotel room in Bondi Beach, Australia. In addition to revealing commentary, Hotel Sessions features songs that were intended for the at-the-time still unreleased Come On Feel the Lemonheads (some of which never did make it on that record) and includes a version of “Into Your Arms” that Dando prefers to the album version.
Jellyfish – Bellybutton, Spilt Milk (Omnivore Recordings)
Vinyl reissues of the sole two studio albums from the influential early-‘90s power-pop band. Drawing from a wide range of influences including Cheap Trick, the Paisley Underground, Queen, and the Beach Boys, these albums are power-pop classics, and this marks the first time either have been commercially available in the U.S. Originally released in 1990 as a promotional CD, the band’s debut album, Bellybutton, features Jellyfish’s most successful single, “Baby’s Coming Back,” and the first 1,500 copies are reissued here on 180-gram translucent blue vinyl. Its 1993 follow-up, Spilt Milk, is a pop gem that features more elaborate arrangements and lush vocal harmonies, and was originally only released on vinyl in the UK. Omnivore is pressing the first 1,500 copies of Spilt Milk on 180-gram translucent green vinyl.
Snow Patrol – Fallen Empires (Island)
Double vinyl LP pressing of the 2012 release and sixth studio album from the Irish alt-rock band, which frontman Gary Lightbody told fans would reflect the next phase of the band. Recorded in various unique locales around Southern California – from a crazy house in Santa Monica with panoramic ocean views to the one-time hippie commune and former home of Neil Young and Woody Guthrie in Topanga Canyon – the album is surprisingly melancholy with more techno-inspired moments. It features backing vocals from the LA Inner City Mass Gospel Choir in Compton as well guest appearances from R.E.M.’s Michael Stipe, singer Lissie, and Queens of the Stone Age guitarist Troy Van Leeuwen.
Alex Chilton – Free Again: The “1970” Sessions (Omnivore Recordings)
A collection of Alex Chilton’s post-Box Tops/pre-Big Star recordings, these sessions (his first solo recordings) mark a man breaking free, no longer a puppet of his former group’s producers. Includes the previously unissued track “All We Ever Got from Them Was Pain.” LP includes digital download and the first 1,500 copies are pressed on clear 180-gram vinyl.
Thee Headcoats – The Kids Are All Square: This Is Hip!, Knights of the Baskervilles (Damaged Goods)
2012 is apparently the year of the Thee Headcoats reissues! Fronted by the “King of Garage Rock,” Billy Childish, Thee Headcoats were a prolific band, running from 1989 to 2000 and garnering the praise of everyone from Kurt Cobain to Jack White. To kick things off, we have 1990’s The Kids Are All Square: This Is Hip! featuring classics “All My Feelings Denied,” “Davey Crockett,” and “Cowboys Are Square,” and 1996’s Knights of the Baskervilles.
Mark Lanegan Band – “The Gravedigger’s Song” 7-inch (4AD)
The lead track off of the upcoming album Blues Funeral, the first Mark Lanegan Band release since 2004’s Bubblegum, paired with the non-album B-side “Burning Jacob’s Ladder.”
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Top-Selling Vinyl Releases of 2011
RollingStone.com recently published an interesting piece about the top 10 best-selling albums of 2011, according to sales data from Nielsen SoundScan. While the Beatles’ Abbey Road takes the #1 slot for the third year in a row, the rest of the list predominantly features 2011 releases from indie artists – the new wave of vinyl bands. And there is no doubt that their music sounds stunning in this format.
1.
The Beatles – Abbey Road (41,000)
2. Fleet Foxes – Helplessness Blues (29,700)
3. Bon Iver – Bon Iver (27,200)
4. Mumford & Sons – Sigh No More (26,800)
5. Radiohead – The King of Limbs (20,800)
6. Adele – 21 (16,500)
7. Bon Iver – For Emma, Forever Ago (16,200)
8. Wilco – The Whole Love (14,900)
9. The Black Keys – Brothers (14,200)
10. The Black Keys – El Camino (13,800)
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Top 10 Posthumous Albums
The recent release of the late Amy Winehouse’s Lioness: Hidden Treasures got me thinking about posthumous albums. How, when done out of love and respect, they can be a true artist tribute and a treasure to any fan; and how they can just as easily be a shameless attempt on the part of the record label to cash in on the departed. These albums that follow stand out for being essential entries in the artists’ discographies (as well as in every vinyl collection). In loving memory of the musicians we lost in 2011.
#10) Sublime – Sublime (1996)
This album often gets overlooked on posthumous best-of lists. Sublime’s third, it was to be the Long Beach band’s major label debut and was completed just before lead singer/guitarist Bradley Nowell died of an overdose. It indeed proved to be Sublime’s mainstream breakthrough, going multi-platinum and dominating alternative rock radio with songs like “Wrong Way,” “Santeria,” and “What I Got.” A classic reggae-punk album.
#9) Tupac – The Don Killuminati: The 7 Day Theory (1996)
There are a few names that immediately come to mind when talking about posthumous albums, and Tupac Shakur’s is one of them. His posthumous discography is epic and easily outnumbers the work he produced during his lifetime. Shakur’s first posthumous release, The Don Killuminati takes the cake. It was recorded just before his fatal shooting in Las Vegas and released under the name Makaveli two months after his death. Introducing a darker, angrier side and a new sound that has come to define the rapper in the years since his passing, The Don Killuminati is considered one of the greatest hip-hop albums of all time.
#8) Gram Parsons – Grievous Angel (1974)
This former Byrd and Flying Burrito Brother overdosed a week after completing his second solo album, Grievous Angel. (He was 26 – just shy of joining the 27 Club.) Grievous Angel features Emmylou Harris as well as guests Bernie Leadon and Linda Ronstadt. What’s interesting about this release is that it was already “posthumous compilation-like” even prior to Parson’s death. Featuring only two (at the time) new songs, it gathered songs that were rejected from previous albums along with country standards and material Parsons had recorded with the Byrds, the Flying Burrito Brothers, and when he was a Harvard-based folksinger in the mid ’60s. The result is an alt-country masterpiece that brilliantly fuses country with psychedelic rock, pop, and R&B – what Parsons called “Cosmic American Music.”
#7) Roy Orbison – Mystery Girl (1989)
This album is amazing for a number of reasons. After the great success of his debut album with the supergroup the Traveling Wilburys (featuring Tom Petty, Bob Dylan, George Harrison, and Jeff Lynne), Mystery Girl is Roy Orbison’s first solo album in a decade and a major career comeback. Unfortunately he died from a heart attack before it was released and never got to enjoy its success. Collaborators U2 and Tom Petty did a spectacular job finishing it up, and as Orbison’s voice is still in great form, this album can hold up to any of his early-‘60s output. Just look at opener “You Got It” – it’s an Orbison classic!
#6) Johnny Cash – American V: A Hundred Highways (2006)
Johnny Cash’s American series – a series of Rick Rubin-produced albums that began in 1994 and is responsible for one of the biggest music comebacks in history – is pretty phenomenal as a whole. And this, its fifth installment is no exception. Released three years after Cash’s death, it became his first No. 1 album since 1969’s Johnny Cash at San Quentin. It’s obvious that Rubin handled the final arrangements, made after Cash’s death, with great respect for the Man in Black. He stuck to the aesthetic of the series, featuring minimal accompaniment with Cash’s baritone front and center, singing a mix of covers, originals, and re-recordings. June Carter Cash passed away during the recording sessions for this album and a sense of mortality pervades, made all the more powerful by Cash’s aging voice. Though an American VI would be issued in 2010, this remains the stronger collection.
#5) Jimi Hendrix – Live at the Fillmore East (1999)
An elite member of the 27 Club, Jimi Hendrix has one of the most massive posthumous discographies of all time. And while there are numerous releases that mine every inch of his vaults for buried treasure, this live recording of his performances at the iconic venue with the Band of Gypsies on December 31, 1969 and January 1, 1970 stands out from the rest. It captures Hendrix at his peak, just nine months before his death, and while it’s not the Experience backing him up, the sound is phenomenal. His renditions of “Machine Gun” and “Voodoo Child (Slight Return)” alone are nothing short of revelatory.
#4) Otis Redding – The Dock of the Bay (1968)
Like Janis Joplin, Otis Redding had his biggest hit after death. In fact, “(Sittin’ On) The Dock of the Bay” is the first posthumous No. 1 single in history, recorded just days before Redding’s fatal plane crash outside of Madison, Wisconsin. Released in 1968, Redding’s sixth studio album is a collection of B-sides and singles dating back to July of 1965, including two previously unissued tracks from 1966 and 1967. While not the most cohesive, the album truly showcases the soul singer’s versatility and extraordinary talent.
#3) Joy Division – Closer (1980)
Joy Division had only released one album when its frontman and primary songwriter Ian Curtis committed suicide in May of 1980. Fortunately, the band had another album finished. The fact that Closer was completed in Curtis’ lifetime surely contributes to its stellar quality; it was, in reality, the band’s second album. However, there is no doubt that Curtis’ death amplified its impact. Embodying darkness and despair in its music, lyrics, and cover art, Closer is as haunting as it is flawless. It reflects the band’s own progression into lusher sonic realms, featuring more synthesizers (which the surviving members would wholeheartedly embrace with their next project, New Order). Making many best of-lists, Closer is just as vital to the post-punk movement as it is to the band’s legacy.
#2) Janis Joplin – Pearl (1971)
Janis Joplin died of a heroin overdose during the recording sessions for Pearl, her fourth album, leaving one song without vocals. In her absence, producer Paul Rothchild put the finishing touches on what is now her most well-known album. Not only does Pearl stand out as the shining star in her catalog, it’s the album most people associate with Joplin. It features the a cappella “Mercedes Benz,” her powerful reading of “Cry Baby,” and her only No. 1 hit, a cover of Kris Kristofferson’s “Me and Bobby McGee.” Released four months after Joplin’s death, the album topped the charts and has since gone multi-platinum. Polished but still oozing with her raw passion and heartache, Pearl is a wonderful representation of Joplin and a magnificent album all around.
#1) Nirvana – MTV Unplugged in New York (1994)
MTV Unplugged in New York aired in December of 1993; Kurt Cobain committed suicide in April of 1994. The first Nirvana album released after his death, MTV Unplugged in New York is one of the most beloved and vital entries in the band’s catalog. In addition to featuring songs that don’t appear elsewhere, this live acoustic performance captures a naked intimacy and honesty that is extremely powerful, if not chilling. Here is this grunge band showing a softer, vulnerable side and playing a setlist of songs that no one expected – including Bowie, Lead Belly, Meat Puppets, and Vaselines covers. Between these, the stage banter, and the acoustic version of “About a Girl,” this album is absolutely priceless. Here’s my two cents: if you want to really get to know Nirvana, start here. One of the greatest albums of all time, it showcases this influential band’s emotional and musical depth like no other.
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Vinyl Releases of the Week: December 28, 2011
The last reissues of 2011 are the perfect antidote to your sugar coma. Between the 180-gram imports from Real Gone Jazz (who took three classic albums from some of the most legendary jazz artists and packaged them together on virgin white vinyl) and Wax Time, all signs point to NOW IS A GREAT TIME TO EXPAND YOUR JAZZ VINYL COLLECTION!
John Coltrane – John Coltrane (Real Gone Jazz)
From Coltrane’s early years come these reissues of his 1957 solo debut, Coltrane, its follow-up, Blue Train, and 1958’s Soultrane.
Nina Simone – Nina Simone (Real Gone Jazz)
Nina Simone’s 1958 debut album, Jazz As Played at an Exclusive Side Street Club (also released as Little Girl Blue), is paired with The Amazing Nina Simone (1959) and Nina Simone at Town Hall (1959) to make for one incredible collection.
Ray Charles – Ray Charles (Real Gone Jazz)
Re-mastered triple LP set featuring the 1959 albums What’d I Say and The Genius of Ray Charles along with 1960’s The Genius Hits the Road.
Chet Baker – Chet Baker (Real Gone Jazz)
1958’s It Could Happen to You plus 1959’s Chet and Chet Baker in Milan.
Ahmad Jamal – Ahmad Jamal (Real Gone Jazz)
From the great jazz pianist: 1956’s Count ‘Em 88, 1958’s But Not for Me, and 1959’s Jamal at the Penthouse.
Billie Holiday – Songs for Distingué Lovers (Wax Time Import)
Limited 180-gram vinyl reissue of this 1957 recording from the great jazz singer, featuring her expressive readings of standards from the Great American Songbook. The album finds Holiday backed by an all-star band and features solos by trumpeter Harry Edison, saxophonist Ben Webster, and guitarist Barney Kessel.
Sun Ra and his Arkestra – Jazz in Silhouette (Wax Time Import)
Limited 180-gram vinyl reissue of this 1959 masterpiece from Sun Ra’s pre-avant-garde, Chicago period.
Duke Ellington – Such Sweet Thunder (Wax Time Import)
Limited 180-gram vinyl pressing of this 1957 album – a 12-part suite based on the works of William Shakespeare – from the great jazz composer and big band leader.
Louis Armstrong and Ella Fitzgerald – Ella and Louie Again (Wax Time Import)
Limited 180-gram vinyl pressing of this classic 1957 collaboration between two of the most recognizable jazz vocalists, the sequel to their 1956 duets album.
Phil Spector – A Christmas Gift for You from Philles Records (Music on Vinyl Import)
The greatest rock ‘n’ roll Christmas album of all time is now available on 180-gram vinyl. Featuring Spector’s signature Wall of Sound production technique together with the incredible vocal performances of Darlene Love, the Crystals, the Ronettes, and Bob B. Soxx and the Blue Jeans. Originally released in 1963.
David Bowie – Heathen (Music on Vinyl Import)
The best of his late-career releases, 2002’s Heathen is reissued here on 180-gram audiophile vinyl. Co-produced by Tony Visconti, it feels like classic Bowie – and features guest guitar spots from Pete Townshend and Dave Grohl, as well as a Pixies cover and a Neil Young cover.
Yes – In the Present: Live from Lyon (Frontiers Records Import)
2011 triple live album from the prog-rock vets, recorded in Lyon, France on December 1, 2009. Features new lead singer Benoit David backed by the group’s founding fathers.
Johnny Winter – Second Winter (Friday Music)
180-gram audiophile reissue of the self-produced 1969 album from the legendary Texas blues rocker. Re-mastered from the original tapes, it is presented here in its original three-sided format. One of Winter’s finest albums, Second Winter features his career-defining songs “Highway 61 Revisited” and “Johnny B. Goode.”
James Carr – In Muscle Shoals 7-inch (Kent Records UK)
For this EP, the Memphis soul man ventured down to Muscle Shoals, Alabama and cut these four tracks at FAME and Quinvy Studios between 1968 and 1969. This limited-edition 7-inch import features longer, new stereo mixes of both tracks on Side One and mono versions of both tracks on Side Two. The ‘60s-styled sleeve features a very rare photo of Carr.
Pete Shelley – Sky Yen (Drag City)
Vinyl reissue of the experimental electronic solo debut from the Buzzcocks frontman, recorded in 1974 and originally released in 1979.
Van Dyke Parks – “Amazing Graces”/”Hold Back Time” (Bananastan LLC)
The latest from the acclaimed songwriter’s 7-inch single series. Album art features life-size sculptures of Van Dyke Parks by Charles Ray.
Marianne Faithfull – Dangerous Acquaintances (Music on Vinyl Import)
180-gram reissue of Faithfull’s 1981 album featuring “For Beauty’s Sake,” a song she co-wrote with Steve Winwood.
Beth Gibbons and Rustin Man – Out of Season (Music on Vinyl Import)
The 2002 solo debut from Portishead singer Beth Gibbons featuring former Talk Talk bassist Paul Webb, aka Rustin Man, reissued on 180-gram audiophile vinyl.
Jill Scott – Who Is Jill Scott: Words and Sounds Vol. 1 (Music on Vinyl Import)
180-gram vinyl pressing of the 2000 debut album from the soul singer and spoken-word poet.
2012 sneak-peak:
The Monkees – Greatest Hits (Friday Music)
Classic ‘60s hits like “Daydream Believer,” “Last Train to Clarksville,” “I’m a Believer,” “Pleasant Valley Sunday,” “Valleri,” and “(I’m Not Your) Steppin’ Stone” can all be enjoyed in full audiophile splendor NEXT WEEK thanks to this 180-gram reissue from Friday Music, impeccably mastered from the original 1969 Colgems Records tapes. Includes long-time unearthed vinyl mixes of the band’s hit singles as well as album tracks like “She” and “Shades of Gray.”
And in case you missed last week’s awesome reissue from Friday Music:
America – History/America’s Greatest Hits (Friday Music)
This 1976 greatest hits compilation was produced by George Martin (the Beatles) and is loaded with the band’s classic-rock hits like “A Horse with No Name,” “Ventura Highway,” “Tin Man,” “Sister Golden Hair,” and “I Need You,” as well as stand-out album tracks. It is now available for the first time on 180-gram audiophile vinyl – classic Phil Hartman album artwork and all.
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Vinyl Releases of the Week: December 14, 2011
Andy Warhol famously once said, “In the future, everyone will be world-famous for 15 minutes.” While many musicians certainly do enjoy only 15 minutes of fame, many of these artists below are the exception. In spite of their mega-stardom, they created music with staying power and sustained long, influential careers. Now they are immortalized on vinyl.
Various Artists – 15 Minutes: Homage to Andy Warhol (Sony Legacy)
Bob Dylan, Patti Smith, and over a dozen additional artists contribute an original recording and an original piece of art inspired by their relationship with Warhol. Includes four vinyl LPs, three CDs, and 16 12” x 12” silkscreen prints, as well as artist notes.
Pearl Jam – Pearl Jam Twenty Soundtrack (Columbia)
180-gram triple vinyl LP pressing of the soundtrack to Cameron Crowe’s acclaimed 2011 documentary, packaged in a double-gatefold sleeve. In addition to 29 rare and unreleased tracks hand-picked by Crowe, the package comes with a full-color book of never-before-seen photos, and each LP is housed in a full-color inner sleeve with stills from the film.
Amy Winehouse – Lioness: Hidden Treasures (Universal Republic)
Double vinyl pressing of this posthumous release from the British soul diva that collects previously unreleased tracks dating back to 2002. These include covers of the Shirelles’ classic “Will You Still Love Me Tomorrow” (which Winehouse recorded in 2004 with the Dap Kings), Stan Getz and Joao Gilberto’s “The Girl From Ipanema,” Ruby & the Romantics’ “Our Day Will Come,” and Leon Russell’s “A Song For You,” first made famous by Winehouse’s favorite artist, Donny Hathaway. Also included are post-Back to Black Winehouse compositions intended for what would have been her third album, as well as alternate versions of Winehouse’s popular songs like “Wake Up Alone,” “Tears Dry,” and her Zutons cover, “Valerie.”
Lou Reed and Metallica– Lulu (Warner Bros.)
Double 180-gram vinyl pressing of the 2011 collaboration between Lou Reed and Metallica. Drawing inspiration from German playwright Frank Wedekind’s controversial “Lulu Plays,” Earth Spirit (1895) and Pandora’s Box (1904), about a young, abused dancer and her series of relationships, the album pairs Reed’s spoken-word recitations with Metallica’s meaty, hard-rock grooves. Though Reed had originally sketched out the lyrics for a theatrical production, he was inspired to team up with Metallica after their performances together at the Rock and Roll Hall of Fame 25th Anniversary Concert in 2009.
Red Hot Chili Peppers – Blood Sugar Sex Magik reissue (Warner Bros.)
Double 180-gram reissue of Red Hot Chili Peppers’ landmark 1991 LP. A seminal alternative rock record, the album showcases the band’s signature blend of funk and punk and features RHCP staples “Under the Bridge,” “Give It Away,” “Suck My Kiss,” and “Breaking the Girl.” Produced by Rick Rubin.
Grateful Dead – Built to Last (Friday Music)
For the first time on 180-gram vinyl is this 1989 LP, the final studio album from the Dead.
Gary Numan – 1980-81 (Virtual/Vinyl 180)
5xLP box set from the New Wave icon and synth pioneer. Includes a re-mastered 180-gram double LP pressing of his chart-topping 1980 album, Telekon, featuring additional singles tracks, as well as a re-mastered 180-gram 3xLP pressing of Living Ornaments ’81, a live recording of his “farewell” concerts at Wembley Arena before his temporary break from performing.
Drake – Take Care (Cash Money)
Vinyl pressing of the 2011 R&B-influenced sophomore album from Canadian rapper Drake. Featuring Rihanna, Nicki Minaj, Rick Ross, Lil Wayne, and Andre 3000 among others, Take Care assumes a mostly melancholy mood with dark synths, murky beats, low-end grooves, and introspective lyrics.
Dia Frampton – Red (Universal Republic)
Runner-ups can get record deals too! And this runner-up from NBC’s hit T.V. series The Voice did something the other finalists didn’t–she released her debut solo album on vinyl! Classic singer-songwriter tunes in the indie-pop/folk vein showcasing Frampton’s winning voice and honest storytelling.
Frankie Paul – Tomorrow (Jammys)
Vinyl pressing of this 1992 album from the reggae icon, aka “the Jamaican Stevie Wonder.”
Savoy Brown – Voodoo Moon (Ruf)
2011 album from the ‘60s British blues-rock band, written by its sole constant member, Kim Simmonds. 45 years into the band’s career, Savoy Brown is still loving the blues and Simmonds’ guitar chops are strong as ever.
IMPORTS:
Bob Marley – Natty Dread (Music on Vinyl Import)
180-gram vinyl reissue of this quintessential reggae album, originally released in 1974. Marley’s most political record, Natty Dread portrays life in the ghetto of Jamaica’s Trenchtown and bursts with Rastafarian spirit. Features Marley’s most enduring classics “Lively Up Yourself,” “No Woman No Cry,” “Them Belly Full (But We Hungry),” “Rebel Music (3 O’Clock Road Block),” and “Revolution.”
Leonard Cohen – New Skin for the Old Ceremony (Music on Vinyl Import)
180-gram audiophile vinyl reissue of this 1974 album from the great poet and songwriter. Cohen’s fourth album, it sets his vivid lyrics to richer arrangements and features a duet with Janis Ian, “Who By Fire,” as well as a song about his relationship with Janis Joplin, “Chelsea Hotel #2.” One of Cohen’s best.
The Jam – The Gift (Music on Vinyl Import)
The final studio album from the U.K. New Wave band, originally released in 1982. Debuting at No. 1 on the British charts, The Gift embraces frontman, aka “The Modfather,” Paul Weller’s love for Northern Soul.
The Dave Brubeck Quartet – Countdown: Time in Outer Space (Music on Vinyl Import)
The jazz pianist’s most adventurous album returns to vinyl for the first time since its initial release in 1962. 180-gram audiophile pressing.
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