Folk Preorder 221 Items

Analogue Productions (Atlantic 75 Series)

Celebrating the 75th Anniversary of Atlantic Records!

R&B, soul singer Wilson Pickett's classic third album

Features "In the Midnight Hour," "Land of a Thousand Dances" and "Ninety-nine and a Half (Won't Do)"

180-gram 45 RPM double LP

Pressed at Quality Record Pressings

Tip-on old style gatefold double pocket jackets with film lamination by Stoughton Printing

The Exciting Wilson Pickett, released in 1966, was R&B and soul singer Wilson Pickett's third album, charting at No. 3 on the U.S. Billboard R&B albums chart and No. 21 on the popular albums chart, becoming the highest-charting studio album of Pickett's career.

The making of the album saw Pickett end his relationship with Stax Studios in Memphis, Tennessee, where he had cut his early singles, and move to Fame Studios in Muscle Shoals, Alabama, where he would record for the next two years. According to AllMusic, this album firmly established Picket's "stature as a major '60s soul man," launching four major crossover hits.

The chart-toppers include "In the Midnight Hour" reached No. 1 on the Billboard R&B singles chart and No. 21 on the pop singles chart. "Land of a Thousand Dances" reached No. 1 and No. 6 respectively, his biggest pop hit. "Ninety-nine and a Half (Won't Do)" reached No. 13 and No. 53. "634-5789 (Soulsville, U.S.A.)," a song which Pickett had not on first hearing liked, reached No. 1 and No. 13.

The deeper album cuts hold significant appeal as well and include standards "Something You Got," "Barefootin'" and "Mercy Mercy" as well as several original tunes with Memphis Soul greats Steve Cropper, Eddie Floyd, and David Porter.

Pressed on 180-gram vinyl at Quality Record Pressings, and housed in tip-on old style gatefold double pocket jackets with film lamination by Stoughton Printing.

180g 2LP 45rpm Gatefold Sleeve

The Japanese alternative band lead by Oorutaichi Urichipangoon's 2nd Album on vinyl first time.
Original CD was released in 2008.
270 Gatefold and incert.
They crossover Jazz, Brazilian, Afrobeat and folklore, and on unique Japanese poetry.

The only officially released live recordings of Doji Morita have been "Tokyo Cathedral Saint Mary Live" and "FM Tokyo Pioneer Sound Approach Live Recording", both recorded in 1978. This album contains live recordings in 1980, and this is the first time ever that recordings from this period have been released.

Analogue Productions (Atlantic 75 Series)

Celebrating the 75th Anniversary of Atlantic Records!

R&B, soul singer Wilson Pickett's classic third album

Features "In the Midnight Hour," "Land of a Thousand Dances" and "Ninety-nine and a Half (Won't Do)"

Hybrid Stereo SACD

The Exciting Wilson Pickett, released in 1966, was R&B and soul singer Wilson Pickett's third album, charting at No. 3 on the U.S. Billboard R&B albums chart and No. 21 on the popular albums chart, becoming the highest-charting studio album of Pickett's career.

The making of the album saw Pickett end his relationship with Stax Studios in Memphis, Tennessee, where he had cut his early singles, and move to Fame Studios in Muscle Shoals, Alabama, where he would record for the next two years. According to AllMusic, this album firmly established Picket's "stature as a major '60s soul man," launching four major crossover hits.

The chart-toppers include "In the Midnight Hour" reached No. 1 on the Billboard R&B singles chart and No. 21 on the pop singles chart. "Land of a Thousand Dances" reached No. 1 and No. 6 respectively, his biggest pop hit. "Ninety-nine and a Half (Won't Do)" reached No. 13 and No. 53. "634-5789 (Soulsville, U.S.A.)," a song which Pickett had not on first hearing liked, reached No. 1 and No. 13.

The deeper album cuts hold significant appeal as well and include standards "Something You Got," "Barefootin'" and "Mercy Mercy" as well as several original tunes with Memphis Soul greats Steve Cropper, Eddie Floyd, and David Porter.

Sacd

Heilung don’t play “shows”. They perform a ritual. Christopher Juul, Maria Franz, Kai Uwe Faust and their Nordic collective sweep audiences into rapture with throat singing, primordial rhythms, subtle electronic textures, a mesmerizing light show, an army of warriors and bursts of fire. What better place on earth to experience their ancient ritual than Red Rocks? The world-famous venue - which is located outside of Denver, Colorado, tucked between two giant sandstones - was once home to indigenous tribes. When Heilung performed on October 5th 2021, they recognized this history by inviting Natives to join the prayer that opens all of their rituals. “Remember that we all are brothers. All people, beasts, trees, and stones, and wind. We all descend from the one great being.” What followed was a night that no one would forget. Experience the magic of Heilung’s very first Red Rocks performance again and again on CD and vinyl. CD11. Opening Ceremony (01:03)2. In Maidjan (12:30)3. Alfadhirhaiti (07:23)4. Krigsgaldr (09:04)5. Hakkerskaldyr (03:33)6. Svanrand (03:31)CD27. Norupo (05:42)8. Othan (10:21)9. Traust (09:41)10. Elddansurin (07:25)11. Hamrer Hippyer (13:32)

Heilung don’t play “shows”. They perform a ritual. Christopher Juul, Maria Franz, Kai Uwe Faust and their Nordic collective sweep audiences into rapture with throat singing, primordial rhythms, subtle electronic textures, a mesmerizing light show, an army of warriors and bursts of fire. What better place on earth to experience their ancient ritual than Red Rocks? The world-famous venue - which is located outside of Denver, Colorado, tucked between two giant sandstones - was once home to indigenous tribes. When Heilung performed on October 5th 2021, they recognized this history by inviting Natives to join the prayer that opens all of their rituals. “Remember that we all are brothers. All people, beasts, trees, and stones, and wind. We all descend from the one great being.” What followed was a night that no one would forget. Experience the magic of Heilung’s very first Red Rocks performance again and again on CD and vinyl. CD11. Opening Ceremony (01:03)2. In Maidjan (12:30)3. Alfadhirhaiti (07:23)4. Krigsgaldr (09:04)5. Hakkerskaldyr (03:33)6. Svanrand (03:31)CD27. Norupo (05:42)8. Othan (10:21)9. Traust (09:41)10. Elddansurin (07:25)11. Hamrer Hippyer (13:32)

Drag City is excited to present the first ever vinyl pressing of guitarist Lee Underwood"s under-sung 1988 acoustic guitar opus, California Sigh.Guitarist Lee Underwood"s syncretic blend of jazz, folk, and blues was a tremendous force behind Tim Buckley"s genre-stretching late 60s/early 70s music - but his 1988 acoustic guitar opus California Sigh has remained a unsung footnote to his story. Until now! This first time vinyl-edition reveals Lee"s free-floating acoustic moods, with synths and co-production from ambient avatar Steve Roach, as a soulful work of tranquility and transcendence.In the years following the release of California Sigh, Lee wrote and recorded two solo piano CDs, Phantom Light and Gathering Light. Additionally, he wrote Blue Melody: Tim Buckley Remembered, a memoir of their time together, as well as three books of poems, Timewinds (2010), Diamondfire (2016) and Into Light (Poetic Matrix Press, 2021). He continues to live in Northern California.

"Love and Ashes” by Blood and Sun stands as a testament to the power of dark folk, melding Luke Tromiczak's compelling vocals with a rich array of passionate percussion and heartfelt strings. Produced by Bob Ferbache (Woven Hand, 16 Horsepower, Blood Axis, etc) and crafted with care across various locations, this album offers a journey of introspection and universality, shining a light on the dualistic nature of home and wanderlust.

Over the last ten years, Michael Morley has embraced the acoustic guitar as the means of channeling the darkest threads that have run through his work since the early 1980s. While he largely made a name for himself as a maverick of primitive electric guitar and electronics in The Dead C and Gate, Morley's love of song form has never been far from the surface. In recent years, chance discoveries of Spanish and classical guitar records languishing in the discount and free bins at junk shops in South Dunedin proved to be a revelation. These records, largely recorded in the 1950s and 60s, began to shift Morley's work and lead him to piece together a new musical language from elements completely removed from the rock and avant-garde underground from which he first emerged. Spanish, Mexican and South American composers such as De Fossa, Ponce, Lauro, Barrios, Pujol, Albéniz, Falla, and Villa-Lobos as well as more traditional classical guitar composers like Schubert, Haydn, and Scarlatti all began to etch themselves into his consciousness. Rather than emulate them, Morley "channeled the experience of listening to these strange guitar sounds" as he began to play the acoustic guitar for hours at a time every day as an almost meditative exercise and a way of discovering a new way to play. This new musical language is realized on Pushed Streets, a suite of 12 songs Morley recorded at home in Kōpūtai/Port Chalmers, New Zealand. The music is quiet, almost ephemeral. Chords and melodies are traced in a dark atmosphere with Morley's unmistakable voice almost imperceptibly double tracked, words softly sung and stretched, sometimes at a near whisper. There are no amplifiers, no effects, nothing to distract from Morley's words and the tone of his guitar. Recorded with two 1970s guild guitars, an orchestral six string and dreadnaught twelve string, the guitar sound is rich and dynamic, chords and melodic figures are struck with what sometimes seems the gentlest possible gesture, resonating and floating away into the night. The music and voice, the lyrics are all of that dark thread, distilled with frightening clarity. The music is intimate and fragile, unadorned and heartbreaking in a way that recalls the spirit of lonely and world-weary albums by Skip Spence, Bill Fay, and Loren Connors; yet against the backdrop of the absolute finality of today's culture, the album's alchemy of Spanish and classical influences with Morley's formative work avant garde work, Pushed Streets exists in its own hauntingly desolate realm.

Inushiki is back after 13 years absence. The album reflects Yohei Miyake's lifestyle change, which includes a return to nature. It includes the ambient rock anthem “Yama Uta” and the poetry reading style “Kikainokarada.”

In 2017, the group resumed its activities after a nine-year hiatus. In 2022, Inushiki droped its first album in 13 years, “Doubutsu Sengen”. In this era of many disasters, the winds surrounding the music industry are blowing more harshly, but the way of life as a “musician” is being questioned and refined. And then, they will return to the way of life as a “human being. The way of music is also broadening its base. What will Inushiki bring to this age that has already passed the end of the century? The journey from Revolution to Evolution begins.

Master and disciples who have mastered the art of folk music have teamed up to create a superb masterpiece of Okinawan folk music, finally available on vinyl to commemorate the 20th anniversary of the release of this album! Following the release of Seijin Noborikawa's "Spiritual Unity" LP, which was released in 2021 and sold out immediately, this album was also selected for analog under the supervision of Tadashi Fujita. This is the depth of a true, atmospheric, Okinawa island song a.k.a "Shima Uta".

Niandra LaDes And Usually Just A T-Shirt is the first solo record by John Frusciante. Between 1990 and 1992 the guitarist made a series of 4-track recordings, which at the time were not intended for commercial release. After leaving the band Red Hot Chili Peppers in 1992, Frusciante was encouraged by friends to release the material that he wrote in his spare time during the Blood Sugar Sex Magik sessions.

Originally released on Rick Rubin’s American Recordings label in 1994, Niandra LaDes is a mystifying work of tortured beauty. Frusciante plays various acoustic and electric guitars, experimenting with layers of vocals, piano and reverse tape effects. Channeling the ghosts of Syd Barrett and Skip Spence, his lyrics are at once utterly personal and willfully opaque.

Frusciante’s rapidfire, angular playing shows how key he was in the Chili Peppers’ evolution away from their funk-rock roots. His cover of “Big Takeover” perfectly deconstructs the Bad Brains original with laid-back tempo, twelve-string guitar and a fierce handle on melody.

The album’s second part—thirteen untitled tracks that Frusciante defines as one complete piece, “Usually Just A T-Shirt”—contains several instrumentals featuring his signature guitar style. Sparse phrasing, delicate counterpoint and ethereal textures recall Neu/Harmonia’s Michael Rother or The Durutti Column’s Vini Reilly.

On the front cover, Frusciante appears in 1920s drag—a nod to Marcel Duchamp’s alter-ego Rrose Sélavy—which comes from Toni Oswald’s film Desert in the Shape.

This first-time vinyl release has been carefully remastered and approved by the artist. The double LP set is packaged with old style tip-on gatefold jacket and printed inner sleeves.