Folk 179 Items

180g 2LP 45rpm Gatefold Sleeve

Analogue Productions (Atlantic 75 Series)
Celebrating the 75th Anniversary of Atlantic Records!
Willie Nelson's breakthrough solo album!
180-gram 45 RPM double LP
Pressed at Quality Record Pressings
Tip-on old style gatefold double pocket jacket by Stoughton Printing

Before Shotgun Willie, Willie Nelson had struggled to gain widespread recognition as a solo artist, despite having written many successful songs for other artists. Nelson's big break came when he signed with Atlantic Records in 1973. The pivotal moment in his career came after Atlantic Records executive Jerry Wexler, known for his work with artists like Ray Charles and Aretha Franklin, took an interest in Nelson's music. Wexler saw potential in Nelson's unique approach to country music and signed him to the label. With the creative freedom offered by Atlantic Records, Nelson was able to record Shotgun Willie with the artistic freedom he had long desired. The album's unconventional sound and honest lyrics resonated with both critics and fans.

Shotgun Willie marked a new beginning for Willie Nelson's career, and it set the stage for his subsequent albums and his emergence as one of the most influential and iconic figures in the history of country music. The recording was one of the first albums of outlaw country — a new subgenre of country music and an alternative to the conservative restrictions of the Nashville sound, the dominant style in the genre at the time

The album — the first to feature Nelson with long hair and a beard on the cover — gained him the interest of younger audiences. It peaked at No. 41 on Billboard's Top Country Albums and the songs "Shotgun Willie" and "Stay All Night (Stay A Little Longer)" peaked at Nos. 60 and 22 on Hot Country Songs respectively.

We are so pleased to bring you this deluxe 180-gram 45 RPM 2LP Analogue Productions (Atlantic 75 Series) reissue of the timeless Willie Nelson classic, Shotgun Willie. Cue it up and prepare to be transported!

Will Johnson's ninth solo album, No Ordinary Crown,hums with palpable motion. Travelers, runners andconductors fill its lyrics, and gesticulating storms andemotional highs and lows seep through the instinctualquality of its rock 'n roll performances. It's also cabledby ephemeral momentum.The songs were conceived in stolen moments and briefwindows of time between the responsibilities of familyand a multi-hyphenate career. The singer, songwriter,multi-instrumentalist, painter and novelist describes thedemo process as "fairly jagged," a gathering andstitching of audio snippets recorded via cell phone anddictaphone over a year and half. "I finalized the songson short tours where I could hear my thoughts a bitmore clearly," he says."Somewhere along the line someone advised me tonever be afraid to hurt my characters, that I will alwaysbe able to get them out of it," he says. "I do want thereto be these small victories and small portals of hope."With No Ordinary Crown, people may behave badly,and the road may get rough, but the reward is in thejourney.

Before I’m gone I’d like to see us turn the corner and give up being spoilers of the land . . .

In 1975 Wallace ‘Wally’ Smith Broecker published a paper that popularised the term ‘global warming’ and against a backdrop of change and environmental uncertainty, a musical concept album was commissioned. ‘Wilderness America / A Celebration of the Land’ - is a musical exploration of our place within the cycle of living things. All compositions were specially commissioned for the album and blended with natural sounds recorded in the wild – lending the entire project a conceptual air that still feels fresh today.

The journey begins with the sun rising in the atmospheric haze of 'Dawn' - a track composed by new-age innovator Iasos. Gospel singer Walter Hawkins soon drops in with the soulful but ever so funky 'Metropolis' backed by a heavy array of session musicians with Patrick Gleeson, Ed Bogas and Tom Salisbury all adding their own misty magic to the album. David Riordan is the sorcerer conjuring up many of the compositions and also takes vocal duties on the evocative 'Mountain' and the climatic 'Before I'm Gone'.

‘Wilderness America / A Celebration of the Land’ was born when environmentalist Emily DeSpain Polk assembled a group of California residents to participate in a groundbreaking conservationist project. Christening the group Swap (Small Wilderness Area Preservation) Emily needed funds and began a project to produce a promotional nature based music album. To acquire the financial backing Emily would need to source a musician of some calibre. Contacting Cliff Branch from ‘Warehouse Sound Co.’ she was told the man she was looking for was David Riordan.

David Riordan had been around the music business for several years, first with The Yankee Dollar, then Sugarloaf and then Sweet Pain, he saw huge success with the single 'Green Eyed Lady'. David had worked on Cliff Branch’s 'Warehouse Sound Co. & Friends' albums and then released his solo album, 'Medicine Wheel'. But bored of touring he made the move to more concept-driven albums. First with ‘Christmas in San Francisco’ and then, in quick succession, 'Wilderness America, A Celebration Of The Land'.

Riordan, along with Peter Scott, a music producer friend in San Francisco, began piecing together an idea for the album. They brought in Ed Bogas to do string arrangements and Tom Salisbury to conduct. David had also asked his friend Patrick Gleeson if he knew of any R&B/Gospel singers in the Bay Area, and they soon added gospel singer Walter Hawkins into the mix.

Other than the track ‘Metropolis’, which was recorded in LA, the rest of ‘Wilderness America, A Celebration Of The Land’ was recorded and mixed by Richard Beggs at the San Francisco studio of Francis Ford Coppola. Coppola was filming ‘Apocalypse Now’ at the same time – so in between studio sessions, the musicians were able to view the seemingly never-ending film rushes arriving from the Philippines.

Eventually, the record produced by David Riordan and Peter Scott drifted onto the radar of vinyl obsessives and selectors as several of its key tracks began popping up on mixtapes and sales lists. It wasn’t long before this privately pressed, art-funded masterpiece became something of a holy grail for collectors. At long last, a re-issue of this masterpiece is now available on Ebalunga!!! Records.

Obscure Dutch private pressing from 1977. Laid-back instrumental psychedelic / progressive sounds with jazz-funk-groove and abstract / experimental / Latin-indigenous touches. Stoned homemade atmosphere with treated / distorted electric & acoustic guitars, flute, electric piano, primitive drum machines / homemade electronics...Much in the vein of the experimental-underground scene of France & Germany during the early 70s but actually recorded and released in Holland.
Wild Havana was the project of guitar player Johan Smith, helped by his brother Cor on flute. Influenced by artists like Zappa and Herbie Hancock, Johan recorded the “Wild Havana” album at his home studio on a 4-track, using effect devices developed by himself, like a modified proto-drum machine taken from a Hammond organ. He also used effects like phase shifter, chorus, etc and experimented with putting wool on the guitar strings and electric effects on the mandolin. The result sounded like nothing else at the time.
Buried for many years, we’re excited to bring to life this unique album.

Why you'll love it...
If there is a single album nexus point between what Waylon’s early career was like, and what his Imperial King of Country era was like, it’s The Taker/Tulsa: The one album from his pre-outlaw period that stands above the rest, a record that would help break an outsider songwriter to the Nashville mainstream, prove Waylon had instincts that couldn’t be taught and was maybe onto something that would
flower into all his commercial success later on.

2xLP Red & Blue VinylTwang reigned, the shitkickers kicked shit, and the vaguely western-sounding guitar records piled up. Country-rock became "the dominant American rock style of the 1970s," as Peter Doggett's comprehensive Are You Ready for the Country put it much later. Wayfaring Strangers: Cosmic American Music picks up and dusts off golden ingots from the dollar-bin detritus of that domination, to reconstruct events as seen from the genre's real Wild West - America's one-off private press label substructure.

180g Colored Vinyl! Hand-picked titles by Françoise Hardy, France Gall. Annie Philippe, Elsa, Violaine, Pussy Cat, Brigitte Bardot, Delphine and Liz Brady!

A variety of Voodoo Rhythm artists pay tribute to The
Monsters! Featured acts include Urban Junior, King Automatic,
The Devils, Roy And The Devils Motorcycle, Delaney Davidson,
The Seniles, Rolando Bruno, Sudden Infant and others.

Quantity: 950
Release type: 'RSD First' Release

The original 2011 release is one of the first projects that globally focused on the golden era of Turkish popular music of the 1970s. Back then, both originals and a selection of remixes were released and created serious hype in collector scenes with rare (300 copies each) 7"s that have never been pressed again. Meanwhile, the Turkish psychedelic-folk-disco style got more popular and some collectors discovered it via this series.

Now at its 10th anniversary Nublu Records is compiling these 12 remixes under a special edition double-LP pressed on 180g purple vinyl.

Why you'll love it...
Live at The Old Quarter, Houston, Texas, the 1977 record from troubadour Townes Van Zandt, is the VMP Country Record of the Month for November 2022. It's here on exclusive 2LP Black & White Galaxy vinyl with lacquers cut by...

Why you'll love it...
Townes Van Zandt’s work, as far-reaching and as universal as it has become, begs for possessorship. It’s a love language understood by all who find it, yet one that remains acutely difficult to translate to those who haven’t.



No one understood this better than his earliest fans. It’s perhaps why his first studio album, For the Sake of the Song, remains a point of controversy among anyone who discovered Townes Van Zandt outside of these LP’s grooves. Townes Van Zandt the songwriter was the antithesis of bells and whistles, and so an album with such accoutrements, as this album has in spades, rings false — however unfairly — among purists. Taken in context, though, For the Sake of the Song is a gorgeous study in polarity. Each anchor is an artist from wildly different backgrounds, united under the profound effect of songcraft.

Black Friday Record Store Day 2022 Reissue. Color: Sky Blue. Limitation: 4000.
35th anniversary edition of Townes Van Zandt’s first album on Sugar Hill Records. Lacquers cut by Kevin Gray at Cohearent Audio and pressed on sky blue vinyl.

Closing Time foreshadows the distinctly lyrical storytelling and original blending of jazz, blues, and folk styles that would come to be associated with Waits. It is on this debut album that Waits performs enduring classics of his career “Ol’ 55” (famously covered by the Eagles), the heartbreaking “Martha” and the gentle acoustic folk of “I Hope That I Don’t Fall In Love With You”. Reissued for the first time as a double LP to commemorate the 50th anniversary of the landmark debut with newly half speed mastering at Abbey Road Studios.

This Reissue has never before been releases as 2LP+CD and Poster. The Liminanas are a couple and a band. They have produced records in their own garage in Cabestany located in the south of France for about ten years. They played in Australia, the US and toured Europe regularly. United Kingdom included. The first opus of the now series “I have trouble in mind” was released on the initiative of Bill and Lisa Roe (iconic label “trouble in mind") in the US in 2014. It combines all the 45t , unreleased songs recorded by the couple for “Mojo magazine", tribute to Beach Boys, fanzines, micro labels. All the titles which were difficult to find and that fans were looking for. And now, here it is: I ve got trouble in mind vol 2.

From Asmara, Eritrea (formerly Ethiopia) Tewolde Redda revolutionized the sounds of traditional Eritrean music by amplifying his kirar, playing his Eko electric guitar, and recording six singles in the first part of the 1970s. Including the first Eritrean songs to use a horn section, traditional songs reworked into his new sound, and originals influenced by radio broadcasts from the United States military base in Asmara, Kagnew Station, these ten songs originally released on the Philips, Amha, and Yared labels show off his talents with stringed instruments, a talented back up band, and often the hand clapped beat shifting into double time near the song’s end. Tewolde’s thick, deep voice sings songs of love over somber and joyous tunes. Comes in a tip-on sleeve with extensive liner notes, lyrical translations, and unpublished photos. A co-release with Mitmitta Musika of Addis Abeba, Ethiopia.

Soundway presents the unique results of a one-off 2018 meeting in Marrakech between Belgrade-based tribal/techno/industrial outfit Tapan and the nomadic Touareg electrified desert-blues group Generation Taragalte.
Tapan is not an ordinary “techno” project, rather it escapes easy categorization. It is the Belgradebased production duo of 20/44 club resident Nebojša Bogdanović (Schwabe), and Goran Simonoski, a producer behind music projects such as Belgradeyard
Sound System, Piece of Shh and more. Both have been active in the Belgrade music and nightlife scenes since the 1990s, and since 2015 have brought together their diverse musical experience under the collaborative moniker of Tapan.
While performing at the Atlas Electronic festival in Morocco in 2018, they encountered Generation Taragalte of southern Morocco, and recorded the initial music for the Atlas EP in an improvised studio on the festival grounds, followed by final production
on returning to Belgrade. The result was the 4-track EP “Atlas”, a dark, desolate and potent collision of the electronic drone-jazz of Belgrade and the windswept, desiccated psych-guitar riffs of the Moroccan Sahara.

Donald Fagen and Walter Becker are two of the most sophisticated minds in the American Pop idiom. Originally broadcast live on Kmet FM, the famous Record Plant Studio concert was part of the 1974 promotional tour for the band's third album "Pretzel Logic". In front of a small audience and backed by a stellar band featuring classy session players like drummer Jeff Porcaro and keyboardist Michael Mc Donald, Fagen and Becker deliver immaculate versions of classic songs including "Do it Again", "Rikki Don't Lose That Number", and "Reelin' In The Years'' and other gems like "Bodhisattva", and "The Boston Rag".

Includes 4-page booklet and golden embossed cover print.

SG is none other than Andrew Pekler returning to faitiche with an album of sentimental guitar escapism. »For Lovers Only / Rain Suite« features ten tracks made using only an electric guitar and a handful of effects pedals (plus some additional recordings of rain) and finds Pekler once again attempting to reconicile his tendencies towards kitsch, experimentation and minimalism.

This is the 9th studio album of pop music diva Sezen Aksu, who has continued her music career in the Turkish Pop Music Scene for almost 50 years, was originally released in 1989 on CD and cassette. In addition to ballads, the artist showed how talented she is in interpreting disco songs.Beside the Sezen Aksu and Onno Tunç concept, this album features Aysel Gürel, Zülfü Livaneli, Bülent Ortaçgil, Orhan Atasoy, Hümeyra, Selim İleri, Melih Cevdet Anday, and is a milestone album in both Sezen Aksu discography and Popular Turkish music. Almost all of the tracks on this album were hit songs, like: "Şinanay", "Belalım", "Beni Kategorize Etme", "Gidiyorum", "Kış Masalı" and "Son Bakış"

This is one of the best albums of the diva's musical career. Originally released in 1986 on CD and cassette, her 7th studio album is finally available on vinyl. With lyrics by Aysel Gurel, album concept and music by Onno Tunç, this album contains many hits such as "Değer mi", "Git", "Kolay Değil", "Unzile" and "Beni Unutma".

It is the 5th studio album of the artist's oeuvre and was originally released in 1982 on cassette. The track "Firuze" is a ballad that can be considered an anthem in Turkish pop music.Sezen Aksu, who has a very special voice, strengthened her place in the Turkish Pop Music scene with this album. Other important tracks on the album are "Ayrılıklar Bitmez", "İkinci Bahar", "Beni Unutma" and "Dümtek".

Southern American folklore tells of song-catchers: individuals who possess a spiritual, almost supernatural, connection to the music of a culture. They gather important songs and preserve them, providing voices to give them life and ensuring they re remembered. Rumer is such a song-catcher. On Nashville Tears, Rumer immerses herself in the catalog of Hugh Prestwood, a songwriter whose name is spoken with reverence by his colleagues. An album to savor, Nashville Tears collects fifteen of Prestwood s finest songs, many never recorded until now, revealing truths of the heart, both intimate and universal, realistic and romantic.

Why you'll love it...
Milsap’s origins are undoubtedly country, though the majority of his middle catalog, where There’s No Gettin’ Over Me falls, is not. It takes a while. No one will ever accuse Ronnie Milsap of overnight success, but by 1973, he skyrockets. Country music began to merge with the mainstream in powerful and unchangeable ways — ways still happening today. A boy born without vision in the distal mountains of North Carolina had a whole lot to do with that.

Why you'll love it...
These are stories without redemption, without a cheerful twist or upbeat perspective. If country music so often pulls from the blues’ signature blend of pathos and humor, For My Broken Heart doesn’t shy from expressing heartfelt, deep sadness without an easy antidote. It’s most potent on the album’s closer, ‘’If I Had Only Known'' — a song so gutting McEntire has rarely performed it live. In the studio, she could barely get through it. The understandable emotion in her usually strong, unwavering voice is audible throughout; there are shakes that don’t sound intentional, words that trail off instead of being hit with her typical punch. It is a song seemingly written for the occasion, one that might have sounded maudlin without the simple arrangement and the raw emotion that Reba put into it.

In 2011, the French writer, Ingrid Astier met with the Hanak brothers, Frédéric and JB and expressed a desire to work with them. This came to be in 2013: when the two brothers and their band dDamage appear over in the pages of Ingrid Astier’s novel “Angle Mort” (dead corner), published by Gallimard. In 2014, Ingrid Astier publishes a new book, which stands out from the previous ones due to its poetic character and its alphabet form, “le petit éloge de la nuit” (the Little Praise of the Night), "a magnificent tribute to the power of the night" according to François Busnel. host and producer of La Grande Librairie on French television. The friendship story continues, and this time we see a double-page spread from the book entrusted to the two brothers. Immediately, the desire to bring “le petit éloge de la nuit” (the Little Praise of the Night), to music arose. Ingrid Astier then enabled the bridge between two extremely different worlds, and the improbable meeting between Pierre Richard and JB Hanak took place. In 2017, “le petit éloge de la nuit” (the Little Praise of the Night), was adapted to theater and had a successful run of more than fifty performances at the Rond-Point des Champs-Elysées theatre (Paris), a three-season tour in France, Switzerland, Belgium and Luxembourg, and finally a revival in June 2019 at La Scala in Paris. The three artists met again at the end of 2019, this time wanting to convert all their work into the album format. It will be “Nuit à jour” (Night to Day). Something more pop than their improvised concerts, more glam than their theatrical adaptation. JB Hanak is on guitar, bass, synth and rhythmic programming, consumed with a desire to reveal with each changing track a different facet of this imagined nocturnal universe. Ingrid Astier, is of course involved covering the direction of the actors as well as the writing of the lyrics, very much as would be found in the cinema. And then, there is Pierre Richard. At one moment a dreamer, the next a cowboy, suddenly Mafioso and then a nocturnal animal. Thinker, lover, philosopher, astronaut or sandman. Pierre Richard is an actor, an actor of immense presence confined too often to comic roles. “Nuit à Jour” offers him roles he has not had in the movies ... And it is breathtaking, both in its register and in a sense of deep renewal.

The debut album from Paul Baribeau. Baribeau has been referred to as many things: American singer songwriter, troubadour extraordinaire, man with beard, reclusive hermit, photographer, Paul, Spotify hero, and creator of the City of Beachgrass newsletter. One guy, one acoustic guitar, and a live-in-one-take, personal approach. The songs deeply affect those that care. His three albums, long out of print, are much sought-after by, well, someone or other. “If you know, you know.”

Travel back in time to the modern pre-Revolution Teheran and dig this wonderful, ear-catching album from 1976 by Iranian female singer Pari Zangeneh. Traditional Persian folk songs with a lovely, sweet psychedelic flavor with the use of beautiful strings, flutes, charming and tasty drumming, some organ and orchestration, percussions… imagine a Persian version of Mellow Candle or Vashti Bunyan and you’re there! Born in 1939 in Kermanshah (Iran), Pari Zangeneh is a Soprano singer that lost her sight after a car accident in 1972. Her work over the years on restoring traditional Persian music and regional folk songs is invaluable. In 1976 she recorded this very unique album commissioned by Kānoon (Institute for the Intellectual Development of Children and Young Adults), a social organization that produced many kinds of materials (books, films, records) for children in Iran. The arrangements were done by Varoujan (famous for his work with Googoosh, Dariush, etc…) *Sourced from the original masters *Hard cardboard sleeve + OBI

* Includes download card