Buy Future Days Recordings Products online in United States

Sort by
Tim Buckley Lady, Give Me Your Key: The Unissued 1967 Solo Acoustic Sessions LP (Vinyl)
& lt;font color= & quot;#FF0000 & quot; & gt; & lt;b & gt;Rare Newly Discovered Recordings On Vinyl LP! & lt;/b & gt; & lt;/font & gt; & lt;br & gt; & lt;br & gt; In 1967, the face of rock was changing. In that year alone there were debut albums from The Velvet Underground, The Doors, and Pink Floyd, to name a few. The Beatles had combined orchestration with their music—the result was Sgt. Peppers in June, the same month that Tim Buckley recorded Goodbye & amp; Hello. & lt;br & gt; & lt;br & gt; Buckley was no longer just another singer-songwriter with an acoustic guitar; he was drenched in acid-folk tinges of harpsichord and harmonium. Lyricist Larry Beckett embellished Tim's songs with introspective lyrics at times, worldly views at others. It was the first major triumph for Tim as an album artist, partially because there were a remarkable amount of pre-production demos that led to it. & lt;br & gt; & lt;br & gt; Available here for the first time are these & lt;b & gt;newly discovered master tapes & lt;/b & gt;, recorded by Goodbye & amp; Hello's producer Jerry Yester, along with & lt;b & gt;an ultra-rare acetate & lt;/b & gt;, found to be in co-songwriter (and best friend) Beckett's possession. & lt;br & gt; & lt;br & gt; Of the 13 previously unreleased solo acoustic songs contained here, six of them did eventually appear with more expansive instrumentation on Goodbye & amp; Hello (along with another four not included here). However, the crown jewel of this package is seven never-before-heard compositions. These are new to even the most devoted Buckley fan. Arguably, two of them crept out decades after Tim’s death (albeit, much different recordings than what you have here) but with little fanfare. & lt;br & gt; & lt;br & gt; So much has been written about Tim Buckley but so little of it by people who actually knew him. This booklet, however, includes a detailed interview with both Larry Beckett and Jerry Yester, providing real insight on how these recordings came to be and attempting to uncover the man behind all the myths, the real Tim Buckley. & lt;br & gt; & lt;br & gt; Several rarities releases in the 1980s and '90s shed light on his talent, especially the live recordings, but all of the studio material has generally been alternative versions of songs that fans already knew—until now. & lt;b & gt;This is the first-ever posthumous release that reveals a wealth of previously unreleased and unheard tracks from Tim at the peak of his career. In short, you need this! & lt;/b & gt; & lt;br & gt; & lt;br & gt; & lt;b & gt;Features: & lt;/b & gt; & lt;br & gt; • Vinyl LP & lt;br & gt; • Remastered from the original analog tapes and acetate & lt;br & gt; • In-depth interview with Buckley's lyricist, Larry Beckett & lt;br & gt; & lt;br & gt; & lt;b & gt;Selections: & lt;br & gt; Side A: The Demo Tape & lt;/b & gt; & lt;br & gt; 1. Sixface* & lt;br & gt; 2. Contact* & lt;br & gt; 3. Lady, Give Me Your Key* & lt;br & gt; 4. Once Upon A Time** & lt;br & gt; 5. Once I Was** & lt;br & gt; 6. I Never Asked To Be Your Mountain** & lt;br & gt; 7. Pleasant Street** & lt;br & gt; & lt;b & gt;Side B: The Acetate & lt;/b & gt; & lt;br & gt; 1. Knight-Errant** & lt;br & gt; 2. Marigold* & lt;br & gt; 3. Carnival Song** & lt;br & gt; 4. No Man Can Find The War** & lt;br & gt; 5. I Can't Leave You Lovin' Me** & lt;br & gt; 6. She's Back Again* & lt;br & gt; & lt;br & gt; *Previously unreleased song & amp; recording & lt;br & gt; **Previously unreleased recording
Future Days Recordings
Tim Buckley Lady, Give Me Your Key: The Unissued 1967 Solo Acoustic Sessions LP (Vinyl)
Lee Moses Time And Place LP (Psych Splatter Color Vinyl)
& lt;header & gt; & lt;p & gt; & lt;strong & gt;1971 Album Remastered & amp; Pressed On Psych Splatter Color Vinyl LP! & lt;br & gt; A Heady Mix Of Funk, Soul And R & amp;B! & lt;br & gt; Featuring His Stellar Soul Rendition Of & quot;California Dreaming & quot;! & lt;/strong & gt; & lt;/p & gt; & lt;/header & gt; & lt;p & gt;Lee Moses was a huge talent and if he'd had the big hit album he richly deserved, Time And Place would've been it. A self-taught multi-instrumentalist, Moses cut his teeth in the clubs of Atlanta, the 'Motown of the South', where he frequently performed alongside his contemporary & lt;strong & gt;Gladys Knight & lt;/strong & gt; (who reportedly wanted him for the Pips, but couldn't pin him down). & lt;/p & gt; & lt;p & gt;It was, however, in 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 & lt;strong & gt;Jimi Hendrix & lt;/strong & gt;, 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 & quot;My Adorable One & quot;, The Four Tops' & quot;Reach Out ('ll Be There) & quot; and The Beatles' & quot;Day Tripper & quot;. & lt;/p & gt; & lt;p & gt;It was 1971 before Moses' dream of being at stage front was realized, when he released his Brantley-produced LP Time And Place for Maple Records. Recorded with a band including members of The Ohio Players and Moses' own backing group The Disciples, 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 & amp;B. & lt;/p & gt; & lt;p & gt;The 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. & lt;/p & gt; & lt;p & gt;Time And Place soon became a much-sought-after item for collectors, and its cult has continued to grow over the years. Here, Future Days re-present 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. & lt;/p & gt; & lt;blockquote cite= & quot;www.allmusic.com & quot; & gt; Lee Moses' 1971 LP on Maple Records called Time and Place has long been the Holy Grail for R & amp;B and soul collectors, and one listen to this Atlanta musician's scratchy and funky guitar playing and his raspy and throat shedding deep soul singing style should be enough to convince anyone that he was indeed a great lost soul treasure. & lt;footer & gt; -Steve Leggett, AllMusic & lt;/footer & gt; & lt;/blockquote & gt; & lt;section id= & quot;features & quot; & gt; & lt;h3 & gt;Features & lt;/h3 & gt; & lt;ul & gt; & lt;li & gt;Psych Splatter Color Vinyl & lt;/li & gt; & lt;li & gt;Remastered & lt;/li & gt; & lt;li & gt;Expanded gatefold Stoughton tip-on jacket & lt;/li & gt; & lt;li & gt;New liner notes by Sarah Sweeney & lt;/li & gt; & lt;/ul & gt; & lt;/section & gt; & lt;section id= & quot;selections & quot; & gt; & lt;h3 & gt;Selections & lt;/h3 & gt; & lt;h4 & gt;Side One: & lt;/h4 & gt; & lt;ol & gt; & lt;li & gt;Time And Place & lt;/li & gt; & lt;li & gt;Got That Will & lt;/li & gt; & lt;li & gt;What You Don't Want Me To Be & lt;/li & gt; & lt;li & gt;California Dreaming & lt;/li & gt; & lt;li & gt;Every Boy And Girl & lt;/li & gt; & lt;/ol & gt; & lt;h4 & gt;Side Two: & lt;/h4 & gt; & lt;ol & gt; & lt;li & gt;Hey Joe & lt;/li & gt; & lt;li & gt;Free At Last & lt;/li & gt; & lt;li & gt;Would You Give Up Everything & lt;/li & gt; & lt;li & gt;Adorable One & lt;/li & gt; & lt;/ol & gt; & lt;/section & gt;
Future Days Recordings
Lee Moses Time And Place LP (Psych Splatter Color Vinyl)
The Grateful Dead Three From The Vault 4LP (Vinyl)
& lt;header & gt; & lt;p & gt; & lt;strong & gt;Essential Dead Repressed On Vinyl 4LP Set! & lt;br & gt; Remastered by Joe Gastwirt & amp; Cut by Kevin Gray! & lt;br & gt; Pressed at RTI! & lt;/strong & gt; & lt;/p & gt; & lt;/header & gt; & lt;p & gt; & lt;strong & gt;Rolling Stone 2015 Readers' Poll: The 10 Best Jam Bands: The Grateful Dead Rated 1st! & lt;/strong & gt; & lt;/p & gt; & lt;p & gt;Following on the heels of Light In The Attic's vinyl LP release of One and Two From The Vault comes the final release in the trilogy of From The Vault releases by the Grateful Dead. These releases are distinguished from the more abundant Dick's Picks series in that Dick's Picks are & quot;direct from the soundboard & quot; recordings, while the From The Vault series were professionally recorded on multi-track tape and then mixed down (decades) later for release. & lt;/p & gt; & lt;p & gt;Recorded live at the Capitol Theatre (Port Chester, NY) in 1971, this is the worldwide vinyl debut release of this seminal show featuring the 5 piece line-up of Pigpen, Garcia, Weir, Lesh, and Kruetzmann (Mickey Hart had temporarily left the band at that point), freshly remastered in 2014 by Joe Gastwirt for your pleasure. 20 classic songs on 8 sides of wax, this show has previously only been available on CD; this is the first ever vinyl LP release! & lt;/p & gt; & lt;p & gt;The band played six shows over the course of seven nights at the Capitol Theatre in February of 1971, and this was the second of that run, recorded on the 19th. Their previous two studio albums had been their landmark recordings of Workingman's Dead and American Beauty, and while songs from those albums were certainly featured, the Dead debuted seven brand new songs on this night-all of which went on to become Dead & quot;standards & quot; including & quot;Playing in the Band & quot;, & quot;Greatest Story Ever Told & quot; and two absolute classics: & quot;Bird Song & quot; and & quot;Deal & quot;. Essential Dead. & lt;/p & gt; & lt;blockquote cite= & quot;www.allmusic.com & quot; & gt; The Capitol show is an all-out rock & amp; roll concert...The template for nearly the next two-and-a-half decades of Dead-dom - including the idea of dividing the show into two halves, the second devoted to more introspective improv - was set right here. By the end of 1971, San Francisco's secret would build a fan base that would never shrink. & lt;footer & gt; -Jeff Tamarkin, AllMusic & lt;/footer & gt; & lt;/blockquote & gt; & lt;section id= & quot;features & quot; & gt; & lt;h3 & gt;Features & lt;/h3 & gt; & lt;ul & gt; & lt;li & gt;Repress of 2015 release & lt;/li & gt; & lt;li & gt;4LP Set & lt;/li & gt; & lt;li & gt;Recorded live at Capitol Theatre, Port Chester, NY (2/19/71 & lt;/li & gt; & lt;li & gt;Remastered for vinyl by Joe Gastwirt (2014) & lt;/li & gt; & lt;li & gt;Original DAT tapes captured at that format's original rate of 16 bit / 44.1kHz & lt;/li & gt; & lt;li & gt;Lacquers cut by Kevin Gray & lt;/li & gt; & lt;li & gt;Gatefold Stoughton ''tip-on'' M-Pack jacket & lt;/li & gt; & lt;li & gt;Pressed at RTI & lt;/li & gt; & lt;/ul & gt; & lt;/section & gt; & lt;section id= & quot;selections & quot; & gt; & lt;h3 & gt;Selections & lt;/h3 & gt; & lt;h4 & gt;Side A: & lt;/h4 & gt; & lt;ol & gt; & lt;li & gt;Two Ditties: The Merry-Go-Round Broke Down / Spring Song & lt;/li & gt; & lt;li & gt;Truckin' & lt;/li & gt; & lt;li & gt;Loser & lt;/li & gt; & lt;li & gt;Cumberland Blues & lt;/li & gt; & lt;/ol & gt; & lt;h4 & gt;Side B: & lt;/h4 & gt; & lt;ol & gt; & lt;li & gt;It Hurts Me Too & lt;/li & gt; & lt;li & gt;Bertha & lt;/li & gt; & lt;li & gt;Playing In The Band & lt;/li & gt; & lt;li & gt;Deal & lt;/li & gt; & lt;/ol & gt; & lt;h4 & gt;Side C: & lt;/h4 & gt; & lt;ol & gt; & lt;li & gt;Dark Hollow & lt;/li & gt; & lt;li & gt;Smokestack Lightnin' & lt;/li & gt; & lt;/ol & gt; & lt;h4 & gt;Side D: & lt;/h4 & gt; & lt;ol & gt; & lt;li & gt;China Cat Sunflower & lt;/li & gt; & lt;li & gt;I Know You Rider & lt;/li & gt; & lt;li & gt;Greatest Story Ever Told & lt;/li & gt; & lt;li & gt;Johnny B. Goode & lt;/li & gt; & lt;/ol & gt; & lt;h4 & gt;Side E: & lt;/h4 & gt; & lt;ol & gt; & lt;li & gt;Bird Song & lt;/li & gt; & lt;li & gt;Easy Wind & lt;/li & gt; & lt;/ol & gt; & lt;h4 & gt;Side F: & lt;/h4 & gt; & lt;ol & gt; & lt;li & gt;That's It For The Other One: Cryptical Envelopment / Drums / The Other One & lt;/li & gt; & lt;/ol & gt; & lt;h4 & gt;Side G: & lt;/h4 & gt; & lt;ol & gt; & lt;li & gt;Wharf Rat & lt;/li & gt; & lt;/ol & gt; & lt;h4 & gt;Side H: & lt;/h4 & gt; & lt;ol & gt; & lt;li & gt;Good Lovin' & lt;/li & gt; & lt;li & gt;Casey Jones & lt;/li & gt; & lt;/ol & gt; & lt;/section & gt;
Future Days Recordings
The Grateful Dead Three From The Vault 4LP (Vinyl)
The Grateful Dead Two From The Vault 4LP (Vinyl)
& lt;header & gt; & lt;p & gt; & lt;strong & gt;Second In Trilogy On Vinyl 4LP Set! & lt;br & gt; Remastered by Joe Gastwirt & amp; Cut by Kevin Gray! & lt;br & gt; Pressed at RTI! & lt;/strong & gt; & lt;/p & gt; & lt;/header & gt; & lt;p & gt; & lt;strong & gt;Rolling Stone 2015 Readers' Poll: The 10 Best Jam Bands: The Grateful Dead Rated 1st! & lt;/strong & gt; & lt;/p & gt; & lt;p & gt;Following on the heels of Light In The Attic's vinyl LP release of One From The Vault comes the next in the trilogy of From The Vault releases by the Grateful Dead. These releases are distinguished from the more abundant Dick's Picks series in that Dick's Picks are & quot;direct from the soundboard & quot; recordings, while the From The Vault series were professionally recorded on multi-track tape and then mixed down (decades) later for release. & lt;/p & gt; & lt;p & gt;Recorded live at the Shrine Auditorium (Los Angeles) in 1968, this is the worldwide vinyl debut release of this legendary show featuring the 6 piece line-up of Pigpen, Garcia, Weir, Lesh, Kruetzmann, & amp; Hart, freshly remastered in 2014 by Joe Gastwirt for maximum mind expansion. 9 dynamic songs on 8 sides of wax, this show has previously only been available on CD; this is the first ever vinyl LP release! & lt;/p & gt; & lt;p & gt;Five songs weigh in around the 15-minute mark, while 3 others touch down close to 10 minutes - this is the Dead at their most improvisational while still retaining the Blues-Rock roots of the & quot;Pigpen & quot; years. & lt;/p & gt; & lt;blockquote cite= & quot;www.allmusic.com & quot; & gt; The band is able to achieve - if not arguably surpass - much of the same energy that drove the versions which became indelibly stamped into the psyche of the counterculture, as well as Deadheads world wide. Two from the Vault is a fun ride, as well as a glimpse into the immense improvisational talents of the Grateful Dead in the late '60s. & lt;footer & gt; -Lindsay Planer, AllMusic & lt;/footer & gt; & lt;/blockquote & gt; & lt;section id= & quot;features & quot; & gt; & lt;h3 & gt;Features & lt;/h3 & gt; & lt;ul & gt; & lt;li & gt;Repress of 2014 release & lt;/li & gt; & lt;li & gt;4LP Set & lt;/li & gt; & lt;li & gt;Remastered for vinyl by Joe Gastwirt & lt;/li & gt; & lt;li & gt;Lacquers cut by Kevin Gray & lt;/li & gt; & lt;li & gt;Gatefold Stoughton ''tip-on'' M-Pack jacket & lt;/li & gt; & lt;li & gt;Pressed at RTI & lt;/li & gt; & lt;/ul & gt; & lt;/section & gt; & lt;section id= & quot;selections & quot; & gt; & lt;h3 & gt;Selections & lt;/h3 & gt; & lt;h4 & gt;Side A: & lt;/h4 & gt; & lt;ol & gt; & lt;li & gt;Good Morning, Little Schoolgirl & lt;/li & gt; & lt;/ol & gt; & lt;h4 & gt;Side B: & lt;/h4 & gt; & lt;ol & gt; & lt;li & gt;Dark Star & lt;/li & gt; & lt;li & gt;St. Stephen & lt;/li & gt; & lt;/ol & gt; & lt;h4 & gt;Side C: & lt;/h4 & gt; & lt;ol & gt; & lt;li & gt;The Eleven & lt;/li & gt; & lt;/ol & gt; & lt;h4 & gt;Side D: & lt;/h4 & gt; & lt;ol & gt; & lt;li & gt;Death Don't Have No Mercy & lt;/li & gt; & lt;/ol & gt; & lt;h4 & gt;Side E: & lt;/h4 & gt; & lt;ol & gt; & lt;li & gt;That's It For The Other One: Cryptical Envelopment / Quadlibet For Tender Feet / The Faster We Go, The Rounder We Get & lt;/li & gt; & lt;/ol & gt; & lt;h4 & gt;Side F: & lt;/h4 & gt; & lt;ol & gt; & lt;li & gt;New Potato Caboose & lt;/li & gt; & lt;/ol & gt; & lt;h4 & gt;Side G: & lt;/h4 & gt; & lt;ol & gt; & lt;li & gt;Turn On Your Lovelight & lt;/li & gt; & lt;/ol & gt; & lt;h4 & gt;Side H: & lt;/h4 & gt; & lt;ol & gt; & lt;li & gt;(Walk Me Out In The) Morning Dew & lt;/li & gt; & lt;/ol & gt; & lt;/section & gt;
Future Days Recordings
The Grateful Dead Two From The Vault 4LP (Vinyl)
The Grateful Dead One From The Vault: Live At The Great American Music Hall San Francisco 8/13/75 3LP (Vinyl)
& lt;font color= & quot;#FF0000 & quot; & gt; & lt;b & gt;Re-Pressed & amp; Once Again Available! & lt;br & gt;Order Your Copy Before It Goes Away Again! & lt;/b & gt; & lt;/font & gt; & lt;br & gt; & lt;br & gt; & lt;font color= & quot;#FF0000 & quot; & gt; & lt;b & gt;3LP Set! Re-Mastered By Joe Gastwirt & amp; Cut By Kevin Gray! & lt;/b & gt; & lt;/font & gt; & lt;br & gt; & lt;br & gt; & lt;font color= & quot;#FF0000 & quot; & gt; & lt;b & gt;Rolling Stone 2015 Readers' Poll: The 10 Best Jam Bands: The Grateful Dead Rated 1st! & lt;/b & gt; & lt;/font & gt; & lt;br & gt; & lt;br & gt; & lt;b & gt;One From the Vault: Live At The Great American Music Hall, San Francisco 8/13/75 & lt;/b & gt; & lt;br & gt; & lt;br & gt; For a legacy filled with legendary performances, the Grateful Dead Live at the Great American Music Hall in San Francisco on August 13th 1975 stands out. The band only played 4 shows during that entire year! (Remarkable for a band that toured non-stop for decades) and at their August 13th show, they rolled multi-track tape (which allowed for the band decades later to properly mix the show). & lt;br & gt; & lt;br & gt; Because the Great American Music Hall holds less than 1,000 people (another unique thing about this show), it was an invitation only performance in which the band debuted their recent studio album Blues For Allah in a live setting. & lt;br & gt; Although One From The Vault has been available on CD nearly continuously since 1991, the vinyl version was only available for less than a year (and in Europe only) in the early 1990's. This deluxe vinyl reissue marks the first time this legendary show has been available anywhere in over 20 years and the first time in America. & lt;br & gt; & lt;br & gt; Rolling Stone magazine has described One From The Vault as: & lt;br & gt; & lt;b & gt; & quot;The closest the Dead came in the Seventies to the band's trippy, late-Sixties peak, and the performance indulged the group's jazzy, free-form impulses even further. & quot;Help on the Way, & quot; & quot;Franklin's Tower & quot; and & quot;The Music Never Stopped & quot; cohere into a twenty-minute song cycle. & quot;King Solomon's Marbles, & quot; a tumbling, polyrhythmic instrumental by bassist Phil Lesh, crackles with energy. Inventive percussion duets by Mickey Hart and Bill Kreutzmann are appended to & quot;Eyes of the World, & quot; as well as to the pretty, elliptical & quot;Crazy Fingers. & quot; The crowning touch is & quot;Blues for Allah, & quot; which runs 21 minutes and explores inner space with a meditative intensity barely hinted at on the studio version. & quot; & lt;/b & gt; & lt;br & gt; & lt;br & gt; & lt;b & gt;Features: & lt;/b & gt; & lt;br & gt; & amp;bull; 3LP Set & lt;br & gt; & amp;bull; Remastered by Joe Gastwirt (2013) & lt;br & gt; & amp;bull; Lacquers cut by Kevin Gray (Cohearent Audio) & lt;br & gt; & amp;bull; Housed in a heavy 3-panel jacket & lt;br & gt; & lt;br & gt; & lt;b & gt;Selections: & lt;br & gt; Side A: & lt;/b & gt; & lt;br & gt; 1. Introduction & lt;br & gt; 2. Help On The Way / Slipknot! & lt;br & gt; 3. Franklin's Tower & lt;br & gt; 4. The Music Never Stopped & lt;br & gt; & lt;b & gt;Side B: & lt;/b & gt; & lt;br & gt; 1. It Must Have Been The Roses & lt;br & gt; 2. Eyes Of The World / Drums & lt;br & gt; & lt;b & gt;Side C: & lt;/b & gt; & lt;br & gt; 1. King Soloman's Marbles / Stronger Than Dirt (Or, Milkin' The Turkey) & lt;br & gt; 2. Around & amp; Around & lt;br & gt; 3. Sugaree & lt;br & gt; & lt;b & gt;Side D: & lt;/b & gt; & lt;br & gt; 1. Big River & lt;br & gt; 2. Crazy Fingers / Drums & lt;br & gt; & lt;b & gt;Side E: & lt;/b & gt; & lt;br & gt; 1. The Other One & lt;br & gt; 2. Sage And Spirit & lt;br & gt; 3. Goin' Down The Road Feeling Bad & lt;br & gt; 4. U.S. Blues & lt;br & gt; & lt;b & gt;Side F: & lt;/b & gt; & lt;br & gt; 1. Blues For Allah / Sand Castles & amp; Glass Camels / Unusual Occurrences In The Desert
Future Days Recordings
The Grateful Dead One From The Vault: Live At The Great American Music Hall San Francisco 8/13/75 3LP (Vinyl)
Link Wray Link Wray LP (Split Color Red, Orange & Green Vinyl)
& lt;header & gt; & lt;p & gt; & lt;strong & gt;1971 Solo Album On Limited Edition 3 Color Split Red, Orange & amp; Green Vinyl LP! & lt;/strong & gt; & lt;/p & gt; & lt;/header & gt; & lt;p & gt;Recorded in a shaky makeshift chicken shack in rural Maryland, Link Wray's eponymous 1971 solo album is a compelling and forward-looking piece of honest, handmade Americana. This album is vastly different from his previous work, foregoing instrumentals entirely. Instead, Wray, left with only one lung following a bout with tuberculosis in 1956, gives us his raw voice, full of spit and vinegar, as he blends elements of country, rock 'n' roll, roots, folk and gospel marked with fuzzy guitar and booming percussion. He kicks off with a track, & quot;La De Da & quot;, that may be the greatest song the Stones never wrote. Elsewhere, the single & quot;Fallin' Rain & quot; channels Dylan at his most political, with lyrics about & quot;stabbings and shootings and young men dying all around. & quot; Link Wray proved to be the only album that the guitarist issued in his own name to hit the American charts during his nearly 50-year recording career. Although it didn't receive much critical acclaim at the time of its release, Link Wray has seen a resurgence in recent years and developed a cult following, with artists from Nick Cave to The Neville Brothers recording versions of its tracks. & lt;/p & gt; & lt;p & gt;Link and his brothers Vernon and Doug began playing together professionally in 1942, their rowdy instrumental single & quot;Rumble & quot; charting at number 16 in 1958. Following a string of hits on Philadelphia-based Swan Records, Vernon began to serve as the family's producer, eventually starting his own studio; first in the basement of his home and then - after his wife Evelyn complained about the noise - in a converted shack on the property. It was there that Link, Vernon and producer Steve Verroca found a sound that marked & quot;a return to simplicity. & quot; This carefully remastered reissue will take you right back to that chicken shack, and to sessions so electric you can almost feel the atmosphere. & lt;/p & gt; & lt;p & gt; & lt;strong & gt;Please Note: Mock-up colors are subject to change. & lt;/strong & gt; & lt;/p & gt; & lt;blockquote cite= & quot;www.allmusic.com & quot; & gt; Link Wray was one of rock & amp; roll's first bone fide guitar heroes, and his speaker-shredding buzzy chords were as distinctive a sound as anyone conjured up in rock's early years. So Link's old fans were thrown for a loop when, in 1971, the man made a comeback after several years along the margins with a self-titled album that set aside his big slabs of fretboard fuzz in favor of a loosely tight fusion of country, blues, and roughshod folk-rock... it's an honest and passionate piece of music that's a fascinating detour from the music that has largely defined his career, and has aged better than the vast majority of the country-rock product of the early '70s. & lt;footer & gt; -Mark Deming, AllMusic & lt;/footer & gt; & lt;/blockquote & gt; & lt;blockquote cite= & quot;www.pitchfork.com & quot; & gt; In 1971, Link Wray reinvented himself and made one of the greatest roots rock albums ever, full of fuzz blasts, gnarled folk, and backwoods gospel. Rock'n'roll doesn't get leaner or more primal. & lt;footer & gt; -Andy Beta, Pitchfork, 9.1 - Best New Reissue & lt;/footer & gt; & lt;/blockquote & gt; & lt;section id= & quot;features & quot; & gt; & lt;h3 & gt;Features & lt;/h3 & gt; & lt;ul & gt; & lt;li & gt;Limited Edition & lt;/li & gt; & lt;li & gt;3 Color Split LP: Red, Orange & amp; Green Vinyl & lt;/li & gt; & lt;li & gt;Remastered & lt;/li & gt; & lt;li & gt;Standard gatefold jacket & lt;/li & gt; & lt;li & gt;Liner notes by Chris Morris & lt;/li & gt; & lt;/ul & gt; & lt;/section & gt; & lt;section id= & quot;selections & quot; & gt; & lt;h3 & gt;Selections & lt;/h3 & gt; & lt;h4 & gt;Side One: & lt;/h4 & gt; & lt;ol & gt; & lt;li & gt;La De Da & lt;/li & gt; & lt;li & gt;Take Me Home Jesus & lt;/li & gt; & lt;li & gt;Juke Box Mama & lt;/li & gt; & lt;li & gt;Rise And Fall Of Jimmy Stokes & lt;/li & gt; & lt;li & gt;Fallin' Rain & lt;/li & gt; & lt;/ol & gt; & lt;h4 & gt;Side Two: & lt;/h4 & gt; & lt;ol & gt; & lt;li & gt;Fire And Brimstone & lt;/li & gt; & lt;li & gt;Ice People & lt;/li & gt; & lt;li & gt;God Out West & lt;/li & gt; & lt;li & gt;Crowbar & lt;/li & gt; & lt;li & gt;Black River Swamp & lt;/li & gt; & lt;li & gt;Tail Dragger & lt;/li & gt; & lt;/ol & gt; & lt;/section & gt;
Future Days Recordings
Link Wray Link Wray LP (Split Color Red, Orange & Green Vinyl)
Back to Top