Format > 180 Gram Vinyl

Reiner’s penchant for effects is not irritating, but rather adds highlights which support his highly musical interpretation, indeed one even forgets this trait when listening to the brilliant music.

From a tonal point of view, the sound is beautifully balanced and reaches the highest standards despite its recording date of 1960 – or maybe just for that reason? The recording is characterized by its brilliance, warmth and vivacity with the result that listening becomes a true musical pleasure.

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BRUCH/SCOTTISH FANTASY/HINDEMITH/VIOLIN CONCERTO/DAVID OISTRAKH/JASCHA HORENSTEIN - LONDON SYMPHONY ORCHESTRA/PAUL HINDEMITH - LONDON SYMPHONY ORCHESTRA

Max Bruch’s Scottish Fantasia is a late-Romantic work which is seldom found on concert hall programmes today. One realises after listening to the piece for the first time that the composition proves to be at least as solid and artistic as all the other works of the composer.

The London Symphony Orchestra, conducted by Jascha Horenstein gives a sonorous interpretation of the melancholic which, according to Bruch, depicted an aged minstrel who, while gazing upon the ruins of an ancient keep, ponders over the splendid days gone by. The well-known slender but warm timbre of David Oistrakh’s violin is well suited to this music which was inspired by Scotland.

David Oistrakh demonstrates his versatility in this performance of Hindemith’s Violin Concerto, written in 1939, where he effortlessly mesmerises the audience with breakneck cascades of scales. With many years of experience in the performance of modern music, the London Symphony Orchestra, led by the composer himself, prove that they are a match for this work.

This 1962 Decca recording engineered by Arthur Lilly and Alan Reeve at Walthamstow Town Hall in London offers first class interpretations of two great masterpieces from differing eras that have been acclaimed widely and have reached far beyond the circle of Oistrakh fans.

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1. Dog My Cats
2. I'm Glad There Is You
3. Blues for Bohemia
4. Junior's Tune
5. Between the Devil and the Deep Blue Sea
6. Casa De Marcel
7. Little Girl Blue
8. T's Tune
9. Broadway at Basin Street
10. Just Norman
11. I Don't Care

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This album features Chet Atkins as “Mister Guitar”, who as a soloist, only allowed a small and highly discreet rhythm group to accompany him. The result is a refreshingly pure and unadulterated steel-string sound without frills and padding and so has little in common with the commercial country music of the masses. With his relaxed, technically perfect and highly variable playing technique, Atkins shows us what the New World has to offer in the way of folk music: highly melodic numbers which delight the ear with the simplest of means. Simply beautiful music here, in astonishing sound quality thanks to our friends at Speakers Corner.

1. I Know That You Know
2. Rainbow
3. Hello Bluebird
4. Siesta
5. Country Style
6. Show Me The Way Go Home
7. I’m Forever Blowing Bubbles
8. Backwoods
9. Country Gentleman
10. Slinkey
11. Jessie
12. Concerto In C Minor

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Forty-two years ago, Chet Baker was constantly on the road from one European jazz club to another. Local rhythm groups were not always top notch so it was only logical to pick the very best from several countries for a film-music production in Italy. And it was equally logical that RCA’s Italian subsidiary brought the musicians into the studio in January 1962. These recordings - made in Rome in 1962 - are not purely restricted to collectors living in the Sixties. This re-release on LP now offers the opportunity to listen to some excellent music and to enjoy the cover – just as it was on the original recording: a priceless gem! 1. Well, You Needn’t
2. These Foolish Things
3. Barbados
4. Star Eyes
5. Over The Rainbow
6. Pent Up House
7. Ballata In Forma Di Blues
8. Blues In The Closet

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The debut recording by the Argentinian pianist Martha Argerich took the public by storm all over the world – and the applause has still not subsided. A mere glance at the repertoire shows that she was reaching for the stars. To bring five composers together on an LP of roughly 45 minutes length means nothing other than speaking five different musical languages – and Martha Argerich proves herself a master of them all. No. 3 C Sharp Minor, Op.39: Scherzo No. 3 In C Sharp Minor, Op.39
Rhapsody, Op.79: No.1 Agitato In B Minor
Rhapsody, Op. 79: No. 2 Molto passionato, ma non troppo allegro In G Minor
Toccata, Op. 11
Jeux D'Eau: Tres doux
Barcarole In F Sharp Major, Op. 60
Hungarian Rhapsody No.6:

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A great name, a genial arranger, a brilliant soloist, and an experienced bandleader. And all that combined in one man who is surrounded by musicians of equal calibre – his Allstars. That’s how we know it from New Orleans and Chicago, and that’s how it was in the Fifties, when the traditionalists believed that Jazz was on its way out.

Clifford Brown was one of the most important musicians of that day who strove to produce a completely new form of expression by amalgamating intellectual Cool Jazz with the wild impulsiveness of Bebop. And how successful he was! Brown’s style, the harmonic freedom of his playing, and his well-rounded, full timbre have influenced many generations of young trumpeters since then.

Each side of this record (which first appeared in 1956) is devoted to a large-scale work filled with haunting melodies and a wealth of improvisation. The Allstars paint a melancholy picture of “Autumn in New York“ in subdued tones as varied as the season itself.

In “Caravan“ the combo kindles a fire which crackles and burns for a full 15 minutes. While the whole of this improvisation is totally gripping, it is the brilliant percussion solo which stands out. For this alone, the album is worth its weight in gold.

1. Autumn in New York
2. Caravan

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1. Cherokee (05:44)
2. Jacqui (05:11)
3. Swingin' (02:52)
4. Land's End (04:56)
5. George's Dilemma (05:36)
6. Sandu (04:56)
7. Gerkin for Perkin (02:56)
8. If I Love Again (03:24)
9. Take the "A" Train (04:18)

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Surely there is no better number in which one can enjoy two tenor saxophones ‘with a big sound’ (and by that one means a meaty, fat sound, loud and expressive yet melodious) than “Maria”.

Ben Webster had long passed along the path of imitator, then pupil to himself become a master. His ‘college attendance’, as one might put it, in the Duke Ellington Orchestra gave him a sureness of expression in his great showpieces and he also learnt to hold his own against such musical giants as Paul Gonsalves and Jimmy Hamilton.

‘Hawk’ was able to thoroughly enjoy his fame in numerous Jazz At The Philharmonic concerts given all over the world, where, of course, he had to assert himself against many other saxophone players. Two such JATP ensembles are to be found on the “Confrères” LP. The relaxed atmosphere is particularly noticeable in the title “Sunday” in which Roy Eldridge comes into the limelight with a brilliant solo. And just listen to George Buvivier’s marvellous bass playing (in “Nabob”!) where he certainly has no reason to hide in the shadow thrown by Ray Brown. “Hanid” is nothing less than up to the mark; “Dinah” - another number with a solo by Eldridge. Coleman Hawkins’s voluminous, supple sound which had a great influence on the styles of musicians ranging from Dexter Gordon and Sonny Rollins up to Joe Lovano, is best to be heard after Roy’s solo in “Honey Flower”. So, lots of reasons to re-release this album, especially considering that only a few collectors will possess the original release which is surely no longer in mint condition.

1. Maria
2. Cocktails for Two
3. Sunday
4. Hanid
5. Honey Flower
6. Nabob
7. Honey Flower (Alternate Take)

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The trench warfare over the two very different playing styles of Lester Young and Coleman Hawkins came to an end with the date of this recording. At the Jazz At The Philharmonic concerts the two musicians even stood on the stage together. Following up on these JATP live events, the recording company Verve brought the rhythm group and “Hawk” into the studio, the standard numbers were well-known and well-practised, the recording equipment was all set up and off they went.

Just listen to the fabulous flow of improvisation – it was not first with this recording that Coleman Hawkins proved that he was the first tenor saxophonist who knew how turn into music what he heard in his head. And then he has this gloriously warm yet thrilling sound; no matter whether it’s a slow tempo or a racy piece, “Hawk” remains superb, always recognisable and always an individualist. In the way he constructs his improvisations, one has the feeling that it just has to be like that, that there’s no other path to follow.

It’s really a waste of time to try to pick out any one number – although they are all short, each and every one is a gem.

The rhythm group deserves nothing but praise too. Or have you ever heard of a recording session where Peterson, Brown, Ellis and Stoller fail to add their own particular fire to pep up the soloist in the fast sections? The famous four are almost even better, however, in the ballads: reserved yet still giving the beat, simply great! Don’t miss this opportunity to buy some real ‘highlights’: this LP certainly deserves its name.

1. I'll Never Be the Same
2. You're Blas'e
3. I Wished on the Moon
4. How Long Has This Been Going On?
5. Like Someone in Love
6. My Melancholy Baby
7. Ill Wind
8. In A Mellow Tone
9. There's No You
10. The World Is Waiting for the Sunrise
11. Somebody Loves Me
12. Blues for Rene

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History has proven no one had a better grasp on Copland’s gorgeous ballets better than Dorati and the LSO. This great album by a great American composer, originally released as one of the most sought-after Mercury Living Presence LPs, has been loving re-mastered from the original tapes by Speakers Corner in Germany and pressed on ultra-quiet, pristine 180g vinyl. Dorati’s versions have long been considered the finest readings of these performances and this LP is all the proof you’ll need; as these are the most rapt and fluent readings of these performances caught on tape. Our highest recommendation!

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The musical press has showered praise upon the Stuttgarter Kammerorchester and its founder and conductor Karl Münchinger for their spectacular performances. This DECCA recording now presents a delightful choice of works performed by this South German ensemble.

The programme opens in a splendidly festive Baroque spirit with Arcangelo Corelli’s famous Christmas Concerto, a work which is typical for the concerto grosso form with its alternation of tutti and solo passages. The instrumental soloists in particular dazzle with their finely chiselled playing and ravishing tone over the gentle sway of the strings. Münchinger has achieved a veritable miracle with his arrangement of Johann Pachelbel’s Canon, originally composed for the organ, for each and every instrument of the orchestra enhances the magic of this music. Carlo Ricciotti’s Concertino No. 2 offers us an insight into the various musical forms of the early 18th century.

The programme ends with Christoph Willibald Gluck’s vigourous Chaconne whose splendour and pomp is taken to new dramatic heights by the Stuttgarter Kammerorchester.

Light a candle and settle down for a delightful evening of entertainment: this excellent recording ensures that you will enjoy every minute to the full – and not just at Christmas time.

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Although for many fans the equation Count Basie = big band jazz is quite undisputable, one has to agree that when one listens to these eight numbers: less is more when it comes to swing. Bob Thiele, Impulse producer - seen here on one of the photos with Count Basie - came to the conclusion that even with a meagre budget a whole lot of music with a terrific sound could be squeezed into the grooves.

As always, the great soloists of the Basie big band are on top form: first and foremost Frank Wess who demonstrates how rightly popular the flute is for its sound-colouring and as a solo instrument. Thad Jones on the trumpet is quite outstanding in all the numbers - and is equally important as composer and arranger. The 'All American Rhythm Group Number 1' consisting of the Count, Freddie Green, Eddie Jones and Sonny Payne deliver one adrenaline-like thrill after another - without ever neglecting the jazz beat. All in all this is an important LP from the Impulse label, whose quality is greatly enhanced by the transparent sound.

Older fans who omitted to buy their copy 40 years ago can at last grab the chance. And younger fans should quickly follow their good example.

1. Oh Lady Be Good
2. Secrets
3. I Want a Little Girl
4. Shoe Shine Boy
5. Count's Place
6. Senator Whitehead
7. Tally Ho, Mr. Basie!
8. What'cha Talkin?

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If you think a bombarde is a thundering medieval cannon, this record will give you the chance to hear a different sort of bombarde and a host of other new sounds too. Better known as a pommer, this reed instrument is just one of a host of historical instruments which luckily have not fallen totally into oblivion and upon which the Clemencic Consort perform. In addition to several other wind instruments such as the cornet and flutes, the musicians perform on small keyboard istruments like the regal, harpsichord, positive organ and diverse percussion instruments.

The majority of works on this recording were found by the ensemble in two slavic codices and the Leutschau Virginal Book – a collection of music made in the middle of the 17th century in Hungary. These sources contain not only dance movements for performing at court which have been known since the Renaissance but also sacred and profane songs. Due to the fact that most of these works are only noted down as a particelle, just the melody and a bass line, one is even more appreciative of the wealth of instruments used by the Clemencic Consort. As is usual in historical performance practice, each movement is given a different instrumentation and inner voices have been added to produce an intricate web of instrumental parts. Despite all the historical authenticity, the producers relied on thoroughly modern analogue recording techniques to achieve a sound recording of the very highest level.

1. Otodik Tancz
2. Duch Pane swu Swatuny (Grace au Saint-Esprit)
3. U naseho Barty (Notre vieux Barty)
Erdelyi Hajdutanc (Danse des Heiduques)
Chodila, Chodila (La bien-aime qui louche)
4. Pro Clarinis XXIII et XXII
5. Chorea hungarica
Chorea Tancz
6. Pargamasca
Corant
Sarabanda
Coranda
Gagliarda
7. Tantz
Chorea Tantz
Ritka
8. O Gloriosa Domina
9. Alia chorea No. 8
Lopatkowany tanecz
Klobucky tanecz
Proportio
Alia chorea - Alia hungarica
10. Pro Clarinis III et XI
11. Lapozskas tancz
Tancz
Apor Lazar tancza
12. Olach tancz (1 partie)
Alia chorea
Alia polonica
Nerada robyla
Olach tancz (2 partie)

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As in numerous other works by Spanish composers, Isaac Albéniz’s aim in his Iberia Suite was to portray the landscape and express the zest for life which is so abundant in southern countries. Infused with folkmusic elements, the suite is introduced by the dancelike Evocación which vividly evokes a picture of Iberia. The lush, extravagant harmonies and the stark contrasts of the dynamics in particular – from the softest pianissimo to the extreme fortissimo – certainly whet one’s appetite. Don’t worry – Spain has a lot to offer! The next movement, El Corpus en Sevilla transports us to Andalusia where a solemn procession is taking place to celebrate the feast of Corpus Christi. This is followed by a sparkling Triana in which the various complex and brilliant rhythms of the national dances Almería, Rondeña and Fandango are ingeniously combined. And the two movements El puerto and El Albaicín are no less exciting: the first presents a rich potpourri of types of Spanish songs, while the second – held in the minor key – conjures up a picture of Granada’s gypsy quarter.

Turina’s Danzas fantásticas are noted for their sumptuous orchestration and marked rhythms. A better choice to round off this first-class recording, dedicated to Spanish tradition, is almost impossible to imagine.

1. Evocación (Iberia)
2. El Corpus en Sevilla (Iberia)
3. Triana (Iberia)
4. El Puerto (Iberia)
5. El Albaicín (Iberia)
6. Exaltación (Fantásticas)
7. Ensueño (Fantásticas)
8. Orgia (Fantásticas)

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With his Nocturnes, Debussy's vision of music inspired by Nature enters a new sphere. His first multi-part orchestral work – the composition was originally conceived for violin but was published as a vocal-symphonic work – offers a wealth of subtleties as regards melody and sound coloring, the likes of which had never been heard before in Debussy's oeuvre. Unlike traditional orchestral writing, the woodwinds here provide vitality with a wide spectrum of tonal coloring while the strings unroll a dynamically finely graded carpet of sound. Absolutely innovative is the wordless female chorus in the third movement whose voices combine with the instruments to produce a mysterious tonal concoction.

Debussy's compatriot, Ravel, went to even greater lengths in his Daphnis and Chloe Suites. As the instrumental distribution leads one to suspect – full orchestra plus 15 percussion instruments, chorus and wind machine – the work is a full-fledged modern-age French choreographic symphony and one of the greatest compositions of its time. It is almost superfluous to mention that a thrilling performance of both works can only be achieved by the very best of symphony orchestras

1. Claude Debussy: Nocturnes: Nuages, Fêtes, Sirènes
2. Maurice Ravel: Daphnis et Chloé Suite Nr. 2
3. Claude Debussy: Nocturnes: Nuages (Clouds), Fêtes (Festivals), Sirènes (Sirens)
4. Maurice Ravel: Daphnis and Chloé Suite No. 2

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What exactly is a faun and what does he do in the afternoon? Claude Debussy gives us a musical answer to this question by sending off the lecherous rural deity of fertility to have his pleasure with two sleeping nymphs. The bewitching sound of flutes and harps along with lilting melodies accompany the god while on the hunt. With its delectable, filigree themes, it is hardly surprising that this composition has continued to inspire choreographic interpretations since its conception. Composed, however, as a symphonic poem, the 'Prélude à l’après-midi d’un faune', with its iridescent tonal colouring and varying moods, is a sheer delight to the ear alone. Emotions of a cheerful kind are evoked by Ravel’s Valses nobles et sentimentales with their Viennese verve. The eight compositions are filled with every sort of joy and bliss that a waltz can offer. The one is sharply contoured, the next is sweetly sentimental, another dreamy, this one is hurried, yet another sweeps along with elegance - and the instrumentation in each case is gloriously sonorous. This album closes with the solemnly magnificent 'Le Tombeau de Couperin' and thus offers a both representative and delightful choice of modern French works.

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Dinah Washington was royalty in the singing world, where she ruled over real jazz, authentic blues, and Broadway standards. She managed to make any sort of song into her own and kept herself surrounded by great players throughout her career. “Grande Dame”, “Lady of Jazz”. The American journalists and marketing people have never been miserly in handing out titles for those with powerful black voices. But even so, some record producers have thought that calling Dinah Washington “Queen of the Blues” was falling short of the mark. And the title of this album – The Queen – makes this clear, for the Blues is just one of her strengths. Standard titles from the Twenties (Back Water Blues, Trouble In Mind) and the tongue-in-cheek, sarcastic Bad Luck show how it should be done. And there’s better to come! Dinah’s All of Me swings along easily in her own style – so very different from the mass of routinely sung bar-room performances. Her version of I Remember Clifford, a ballad for Clifford Brown, a musical compatriot who died young, is probably one of the most expressive obituaries in the whole of the jazz literature. The soft, glowing timbre of her voice and the tender trumpet solo in the last few bars provide a beautiful close that can’t be rivalled.

Recording: 1959 at Fine Recording Inc., New York, by Hal Mooney

1. All of Me
2. Make Me A Present Of You
3. Somewhere along the Line
4. Show Time
5. I Thought About You
6. Back Water Blues
7. I Remember Clifford
8. A Sunday Kind of Love
9. Bad Luck
10. Trouble In Mind Light
11. Lingering

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One certainly couldn't say that Ruth Jones had a velvety, smoochy voice. But in jazz history that's never been of prime importance. Dinah Washington, the name she used at her debut in 1942, became the Queen of rhythm 'n blues but was also an excellent big-band singer under bandleaders Lionel Hampton and Quincy Jones. She asked the latter (as well as Benny Golson and Ernie Wilkins) to write arrangements for her in December 1956 and borrowed his band for 11 classic numbers. In the ensemble were such top-notch soloists as Clark Terry, Quentin Jackson, Anthony Ortega and Lucky Thompson – and the band swings along right from the very first to last note. This EmArcy LP is one of the Queen's best, and even 50 years after its first release the quality is still totally satisfying.

Dinah Washington The Swingin' Miss D Track Listing

1. They Didn't Believe Me
2. You're Crying
3. Makin' Whoopee
4. Ev'ry Time We Say Goodbye
5. But Not For Me
6. Caravan
7. Perdido
8. Never Let Me Go
9. Is You Is Or Is You Ain't My Baby?
10. I'll Close My Eyes
11. Somebody Loves Me

At the beginning of 1961 Dizzy Gillespie was able to realize two large projects: together with Cuban percussionists and others musicians his big band set down Manteca in the Carnegie Hall in March, and in May he recorded the The Sword Of Orion suite in the Verve Studios.In February of the same year, at a thrilling live performance, the Argentine-born pianist and composer Lalo Schifrin brought a whole new world of sound and colouring to the band. Luckily enough the VERVE company had foresight enough to record this momentous performance which took place in the Museum of Modern Art. To experience Dizzy live on stage is not only pure entertainment but an experience in which all soloists are given ample room.

One might well think that one had heard A Night In Tunesia, The Mooch or Salt Peanuts in every possible variation. This album, however, teaches one otherwise! It's never an easy ride with Dizzy: he takes you along on his adventure into the wonderful world of sound with all its surprises and discovers unusual rhythms on the way.

This LP is justifiably entitled An Electrifying Evening, and the adjective does not limit itself to the quintet. The sound quality of this live recording will also set your hair on end. And just with acoustic instruments too! At the end of 1961 Dizzy Gillespie was deservedly honoured with the highest award the critics can give: he was elected to the DOWNBEAT Hall Of Fame.

Kush
Salt Peanuts
A Night in Tunisia
The Mooche
Interview With Dizzy Gillespie by Charles Shwartz

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When Billy Strayhorn died of cancer in 1967, Duke Ellington was devastated. His closest friend and arranger had left his life full of music and memories. As a tribute, Ellington and his orchestra almost immediately began recording a tribute to Strayhorn, using the late arranger’s own compositions. The album features well-known and previously unrecorded Strayhorn tunes that showcase his range, versatility, and, above all, the quality that Ellington admired him most for: his sensitivity to all of the timbral, tonal, and color possibilities an orchestra could bring to a piece of music.

1. Boo-Dah
2. U.M.M.G. (Upper Manhattan Medical Group)
3. Blood Count 9
4. Smada
5. Rock Skippin' at the Blue Note
6. Rain Check
7. Midriff
8. My Little Brown Book
9. Lotus Blossom
10. Snibor
11. After All
12. All Day Long
13. Lotus Blossom
14. Day Dream
15. The Intimacy of the Blues
16. Charpoy

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If anything influenced Duke Ellington’s compositions over and over again, it was the impressions and the images he took home with him from his concert tours around the world. In the Sixties, the record company RCA gave him the opportunity to set down these impressions in music and the result is the present 'Far East Suite', his most convincing work for large orchestra.

The 1963 tour took him from Damascus to Kabul and New Delhi, to Bombay and Ankara, and only the Duke knew how to capture such diverse impressions in music. And only such soloists as Johnny Hodges, Paul Gonsalves and Lawrence Brown right up to Harry Carney were capable of spinning out the ideas which Ellington conjured up on the piano. 'Isfahan', the Pearl of Persia, was full of 'poetry', as the Duke himself put it and Johnny Hodges certainly knows how to underline this view in his soulful, smooth and velvety solo. In 'Depk' Jimmy Hamilton and Harry Carney bring to our mind’s eye the dance of six boys and girls. 'Mount Harissa', a mountain outside Beirut, is portrayed by Paul Gonsalves, while 'Amad' with its ornamentation gives Lawrence Brown the opportunity for a solo. In 'Agra', Harry Carney’s baritone sax leads us through the famous Taj Mahal. To close the LP, 'Ad Lib On Nippon' presents an impression of the people of Tokyo and so we come to the end of our journey through several cultures in the Near and Far East - countries full of poetry and glorious impressions. There’s no place for war and destruction in these compositions by Duke Ellington.

1. Tourist Point of View
2. Bluebird of Delhi (Mynah)
3. Isfahan
4. Depk
5. Mount Harissa
6. Blue Pepper (Far East of the Blues)
7. Agra
8. Amad
9. Ad Lib on Nippon

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Collaborative albums such as this one have always been something of a stunt on the part of the record label, with the artists themselves usually stuck with too little time to work out something that would easily act as a functional compromise. Many of these albums, then, have faded away with time. Impulse, however, had more than its share of solid collaborations. This one is a lot of fun, whether it's the daffy cut-up of "Limbo Jazz" or the slow New Orleans smoke of "Wanderlust." All present turn in nice performances on this set of Ellington numbers.

1. Limbo Jazz
2. Mood Indigo
3. Ray Charles' Place
4. Wanderlust
5. You Dirty Dog
6. Self Portrait (Of the Bean)
7. The Jeep Is Jumpin'
8. The Ricitic
9. Solitude

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Janos Starker tackles this cello concerto with amazing confidence; technical difficulties encountered by others in its performance appear unknown to him. Tonal purity, even in the dreaded upper register and the cadenzas, remains unscathed, so that one can concentrate wholly on the meditative magic of the music.

Starker has found worthy fellow musicians in Antal Dorati and the London Symphony Orchestra. The conductor and soloist set a benchmark in how to work together as a team in concert in that it is less the often-lamented emulation than the interpretation, which stands in the foreground in this performance. Rather, the two protagonists commit themselves to a chamber-music-like reading, which is distinguished by the dynamically moderate intonation of the orchestra and the slender tone of the soloist throughout. An ever-welcome encore is found on side two with Bruch’s Kol Nidrei, performed with verve and a good portion of romantic, melting sweetness, which allows this evergreen to flourish.

1. Dvorak: Violoncello Concerto
2. Bruch: Kol Nidrei

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Dvorák’s long experience with classical forms finds its culmination in his final symphony, whose first performance took place in New York in 1893. The work still enjoys an unwaning popularity thanks to its finely contoured orchestration and its original themes, all of which are based on American folksongs and negro spirituals.

To capture Dvorák’s score in sound has always proved a challenge for both orchestra and recording team. This aim has been more than fulfilled in the present recording with the Vienna Philharmonic Orchestra led by István Kertész: the primeval power of the weighty brass, the glorious revelling of the strings, and the lyrical solo passages are all captured here. Musicianship of the highest degree combined with audio-technical perfection lend this recording, made in the early days of stereophony, the status of an historical sound document which, despite numerous other recordings, has no reason to fear competition.

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Import

1. The Drawback
2. Leaders Of Men
3. They Walked In Line
4. Failures
5. Novelty
6. No Love Lost
7. Transmission
8. Living In The Ice Age


1. Interzone
2. Warsaw
3. Shadowplay
4. As You Said


Bonus tracks:
5. Inside The Line
6. Gutz
7. At A Later Date
8. The Kill
9. You're No Good For Me

After her breakthrough on Capitol Records with The Stone Poneys (Different Drum) plus some acclaimed solo releases, Linda Ronstadt jumped to David Geffen’s bourgeoning Asylum roster, joining The Eagles and Jackson Browne to form the genesis of the California Country-Rock sound. Don’t Cry Now, her first for Asylum was released in 1973 and would help solidify Ronstadt as one of the premiere female pop vocalists for the next two decades. This is one of the most exceptional sounding female vocalist recordings of the 1970's. Various tracks were produced by John Boylan, J. D. Souther; and, for the first time in what would be a long and highly successful relationship, British musician (Peter & Gordon) Peter Asher. The album spent more than a year on the Billboard chart and peaked at No. 45. Featured hit singles are the Eagles' Desperado, Bonnie Raitt’s Love Has No Pride, Randy Newman’s sly observation on slavery and southern culture Sail Away plus a nod to both Dusty Springfield and the Grand Ole Opry with Silver Threads and Golden Needles. Guest appereances include guitar work by both the Eagles’ Glenn Frey and super-sessionman Larry Carlton, plus harmonica by the Nitty Gritty Dirt Band’s Jimmy Fadden, bass and drums by L.A.A-teamers Lee Sklar and Russ Kunkel respectively, plus last but certainly not least, the legendary Sneeky Pete adding his tasteful pedal steel throughout.

1. I Can Almost See It
2. Love Has No Pride
3. Silver Threads And Golden Needles
4. Desperado
5. Don't Cry Now
6. Sail Away
7. Colorado
8. The Fast One
9. Everybody Loves A Winner
10. I Believe In You

For the most part, this is a 1961 session wherein the blues raconteur and pianist Memphis Slim runs through a good chunk of his repertoire, the songs that came to mind that afternoon. As such, it's relaxed entertainment, rather than a fixed recording for a larger audience. Which is not to say an audience can't enjoy this music. Slim's piano playing is dynamically rich, delicate at times, and pounding when necessary. His vocals are strong, too, but just as capable of dropping down to just above a whisper to make a point. They just don't make records like this anymore, documents of an artist at work without any attempt to be outside the moment.

1. Born With The Blues
2. Just Let Me Be
3. Red Haired Boogie
4. Blue And Disgusted
5. New Key To The Highway
6. I’d Take Her To Chicago
7. Harlem Bound
8. El Capitan
9. I Just Landed In Your Town
10. John Henry
11. I Believe I’ll Settle Down
12. Bad Luck And Troubles
13. Late Afternoon Blues
14. Memphis Slim, U.S.A.

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Another outstanding record that's the result of the Folk Blues Revival of the 1960s when, generally-speaking, young White Americans began to appreciate and search for the blues of older Black Americans. One of the most famous 'rediscoveries' that came of this movement was that of Mississippi John Hurt, who before this 1966 release, had not recorded since 1928.

Hurt was a supremely-skilled guitarist with a warm, inviting voice. Typical of the Vanguard releases from this period, the recording is excellent – perfectly sparse, ambient and true. The material is comprised of standards and originals, including his famous 'Candy Man.' This is another essential record in any blues collection.

Mastered by Kevin Gray and Steve Hoffman.

1. Payday
2. I’m Satisfied
3. Candy Man
4. Make Me A Pallet On The Floor
5. Talkin’ Casey
6. Corrina, Corrina
7. Coffee Blues
8. Louis Collins
9. Hot Time In The Old Town Tonight
10. If You Don’t Want Me Baby
11. Spike Driver's Blues
12. Beulah Land

Released in 1976 this album of music for jazz orchestra features some of the biggest names in British jazz; Ian Carr, Tony Coe, Barbara Thompson and Paul Buckmaster, The music has an air of spontaneity and excitement as the principles have room to make their individual mark but in the context of some very attractive and highly melodic musical themes. The music has a great deal of variety of mood, texture and rhythm - sometimes the pieces are calm and reflective -at others more intense and rock focused and from time to time more than a funky bass line make their presence felt. Simply stunning 180g import from Pure Pleasure in the UK.

1.Prologue/Rainbow One (soloist Ian Carr and Brian Smith) 10.26
2.Rainbow Two (soloist Dave Macrae and Geoff Castle) 7.34
3.Rainbow Three (soloist Paul Buckmaster) 3.28
4.Rainbow Four (soloist Barbara Thompson) 6.15
5.Rainbow Five (soloist Tony Coe) 4.25
6.Rainbow Six (soloists Ken Shaw and Bob Bertles) 7.39
7.Rainbow Seven/Epilogue 14.56

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This album features the great Otis Spann (ex Muddy Waters sideman) in company with early Fleetwood Mac members, Peter Green, Danny Kirwin and John Mc Vie. Unlike many meetings between the worlds of rock and blues, this one produces consistently great music and actually sounds like an authentic Chicago blues session. Otis shows what we all knew anyway, that he was a worldly inspired vocalist and of course that Peter Green has the right to be considered as good as any blues guitarist that ever lived. His solos on this album are the very model of economy and deep emotion. This album is no flaccid jam session but a set of great songs performed with real passion and commitment by people who were born to play the blues. Upon one listen to this album, it becomes apparent that Otis Spann had the talent and personality to be as big as Muddy or Hooker, but death took him at an early age. Don’t miss out on this little lesser known of the greatest blues stars of all time.

1. My Love Depends on You
2. Walkin'
3. It Was a Big Thing
4. Temperature Is Rising (100. 2 F)
5. Dig You
6. No More Doggin'
7. Ain't Nobody's Business
8. She Needs Some Loving
9. I Need Some Air
10. Someday Baby

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Another absolute gem from Alan Bates’s Candid label this must be probably Otis Spann's finest piece of work on wax. He may not have been the blues, but he was sure close to being the blues pianist. Spann provided wonderful, imaginative, tasty piano solos and better-than-average vocals, and was arguably the best player whose style was more restrained than animated. Not that he couldn't rock the house, but Spann's forte was making you think as well as making you dance.

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Just how funky and swinging are you? What ever your funk/swing quotient after having Mr. Ramon Morris on your turntable you’ll be certain to achieve a new level of consciousness that can only be defined as ‘far out’. Ramon Morris is a fluid saxophonist with a taste for soulful licks and melodic lines. He recorded with Art Blakey and Woody Shaw. He now teaches at the Carnegie –Mellon in Pittsburgh USA. As a performer he deserves to have been more widely heard and recorded. This rare LP from Groove Merchant (1973) is an eight track set of tuneful, foot tappin’ jazz, funk and soul instrumentals that are reminiscent of what Deodarto was doing around the same time over at CTI. There is plenty of funky ‘walking’ bass and attractive electric piano. You’ll also hear some good trumpet support from Cecil Bridgewater and nice conga work from Tony Waters throughout. Sweet Sister Funk is an extremely listenable album. Mastered at Acoustec and pressed in Germany, this high quality release is not to be missed.

1. First Come, First Serve
2. Wijinia
3. Sweet Sister Funk
4. Sweat
5. Don't Ask Me
6. Lord Sideways
7. People Make the World Go Round

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Jazz drummers from the West Coast, whether we are talking about Shelly Manne, Mel Lewis or Chuck Flores, had few opportunities to demonstrate the whole range of their art. And the Chico Hamilton formations of the Fifties were no exception. It was only with the mixture of jazz and Latin music as performed by the new Chico Hamilton Formation in 1965 that percussionists came into the limelight.The Hungarian Gabor Szabo and his electric guitar must surely have been the second great discovery for many jazz fans. Imbued with the adaptability and flexibility of his native land, he was even able to set his own hallmark in the field of Latin-American music.The titles on this LP are well balanced between compositions by Chico Hamilton himself and film and musical hits. “People”, for example, is from “Funny Girl” with Barbra Streisand. This is Chico Hamilton’s first album with Latin percussion and it is to his credit that he was able to get hold of one of the very best musicians as support, namely Willie Bobo.

“El Chico”, the boy who wanders the streets, offering his wares in a loud voice, is the title of the album. But shouting out the virtues of his wares was not for Chico Hamilton and so this album has remained a real hot tip. Luckily things have changed! Latin rhythms are all the rage these days, especially when played by Chico Hamilton and his septet and offered in such excellent quality as on this re-release.

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Birds of a feather flock together! If this adage really held true, then the “grande dame” of swing and the pianist would surely not have waited until they were at the very peaks of their tremendous careers to make this recording. Third in the line-up of top musicians from the American jazz scene is Quincy Jones whose arrangements are uniquely suited to Ella’s unmatched voice and the Count’s big-band sound and which allow each artist’s individuality to shimmer through unhindered.

Classical evergreens such as Honeysuckle Rose, Tea for Two and Ain't Misbehavin’ are the topics of exciting musical conversation here; these and other favourite melodies are enhanced with the gentle sound of the saxophone and razor-sharp screams on the trumpet, lending them a quite new aspect. By no means neglecting the proverbial striking force and precision of the Basie style, the arrangements offer plenty of scope for Ella’s dusky voice and her highly popular “ba-ba-lu-ba” sections. Fortunately, the sound on this VERVE recording is situated “on the sunny side of the street”. The immediate presence of the vocal part, a fresh instrumental timbre and a pleasantly dry playhouse atmosphere all guarantee sheer delight for listeners to this collector’s item.

1. Honeysuckle Rose
2. 'Deed I Do
3. Into Each Life Some Rain Must Fall
4. Them There Eyes
5. Dream a Little Dream of Me
6. Tea for Two
7. Satin Doll
8. I'm Beginning to See the Light
9. Shiny Stockings
10. My Last Affair
11. Ain't Misbehavin'
12. On the Sunny Side of the Street
13. My Last Affair
14. My Last Affair
15. Robbins Nest (Breakdown)
16. Robbins Nest
17. Robbins Nest
18. Robbins Nest

The very fact that America’s biggest jazz label called one of their albums quite simply “Ella and Louis” indicates that we are talking about something very special here. And surely enough has been said – “Satchmo” and the grande dame of jazz certainly need no further introduction. In the '50s just the mere mention of their forenames was enough to light up the eyes of jazz fans. A glance at the tracklist reveals that tranquility rules the day: wild stomps and improvised scats will neither be sought nor missed. Of prime importance to the jazz-ballad is a feeling of “letting oneself drift” in the inspiration which gushes forth from the minds of genial American songwriters.

This is no contest – for the artists all pursue a common goal with extreme sensitiveness. The background combo, made up of first-class musicians and led by Oscar Peterson, performs with great concentration and almost obtrusive unobtrusiveness. VERVE’s highly successful producer Norman Granz decided quite deliberately to make the recording in the studio instead of at a live session. And success has verified his judgement, for such vocal jazz knows only gentle tones – but the result is all the more intensive for that.

1. Can't We Be Friends
2. Isn't This a Lovely Day
3. Moonlight in Vermont
4. They can't take that away from Me
5. Under a Blanket of Blue
6. Tenderly
7. A Foggy Day
8. Stars Fell on Alabama
9. Cheek to Cheek
10. The Nearness of You

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Following the success and acclaim of his two releases on the Kill Rock Stars label, as well an Oscar nomination for the use of his song "Miss Misery" in the film Good Will Hunting, the late Elliott Smith signed with Dreamworks for the 1998 release of XO. With a major label budget for this, his fourth full length album, Smith was able to craft a fully realized pop masterpiece, fulfilling the promise of previous releases. Though firmly in the McCartney/Lennon/Rundgren/Davies school of songwriting Elliott Smith was nothing if not an original. Possibly his best record.

1. Sweet Adeline
2. Tomorrow Tomorrow
3. Waltz #2 (XO)
4. Baby Britain
5. Pitseleh
6. Independence Day
7. Bled White
8. Waltz #1
9. Amity
10. Oh Well, Okay
11. Bottle Up and Explode!
12. A Question Mark
13. Everybody Cares, Everybody Understands
14. I Didn't Understand

From the seventh album in her celebrated Song Book series, Ella Fitzgerald tackled classic melodies written for Broadway and Hollywood by Jerome Kern, the grandfather of the modern musical comedy, with backing by the orchestra of Nelson Riddle, the dean of Hollywood pop-jazz arrangers. For lovers of great songs, great singing and great arrangements Ella Fitzgerald Sings the Jermone Kern Song Book is a triple threat.

Track Listings
1. Let’s Begin
2. A Fine Romance
3. All The Things You Are
4. I’ll Be Hard To Handle
5. You Couldn’t Be Cuter
6. She Didn’t Say Yes
7. I’m Old Fashioned
8. Remind Me
9. The Way You Look Tonight
10. Yesterdays
11. Can’t Help Loving That Man
12. Why I Was Born?

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His second release for the Dreamworks label, and fifth overall, Figure 8 is a lush and beautiful melancholy collection of pop songs. Gone is the intimate lo-fi feel of his Kill Rock Stars albums, replaced by intricate arrangements and orchestration. One gets the feeling that the sound of his earlier work was not by choice but by economic necessity and Elliott Smith was now, with a major label budget and backing, able to establish himself as a pop craftsman on par with Brian Wilson and Paul McCartney.

1. Son of Sam
2. Somebody That I Used to Know
3. Junk Bond Trader
4. Everything Reminds Me of Her
5. Everything Means Nothing to Me
6. L.A.
7. In the Lost and Found (Honky Bach)/The Roost
8. Stupidity Tries
9. Easy Way Out
10. Wouldn't Mama Be Proud?
11. Color Bars
12. Happiness/The Gondola Man
13. Pretty Mary K
14. I Better Be Quiet Now
15. Can't Make a Sound
16. Bye

It was a long road for the composer Irving Berlin: beginning with 'Alexander’s Ragtime Band' in 1911, leading him on via 'Cheek To Cheek', right up to 'Change Partners' in 1938 - it was one success after another. The once-heard, never-forgotten tunes found in the musicals 'Follow The Fleet' and 'Puttin’ On The Ritz' were simple little songs - taken from life itself. And Ella’s interpretations are just as simple and straightforward, while the arranger Paul Weston held back his soloists too. With the Irving Berlin Songbook, an album has been created in which the small variations on well-known melodies (such as 'Cheek To Cheek' and 'How Deep Is The Ocean') can be truly appreciated, and magical moments or lesser known songs discovered or hummed along to ('I Used To Be Color Blind' and 'Lazy'). But this is also an album which mirrors the history of the Broadway musical in the 1920s and ’30s, the majority of which were written by the Gershwins, Jerome Kern, Rodgers and Hammerstein, and a good many of them by Irving Berlin. Nobody knew the tricks of the entertainment trade better than Ella: not only a brilliant scat singer, she was also the very best interpreter of the ballad. And should you need any proof of this, just listen to any song contained within this Songbook (my tip: 'Reaction For The Moon' and 'Always'). Ella’s capability of giving a new interpretation to Irving Berlin’s songs doesn’t end there, however. The 'Song Is Ended' and 'Heat Wave' are rare jewels of swing against which singers right up to the present day are measured. Just why should you buy this particular Songbook? There are two simple reasons: to listen to Ella’s voice and her immense variety is sheer pleasure, and Irving Berlin’s songs offer pure entertainment at the highest level.

1. Let’s Face The Music And Dance
2. You’re Laughing At Me
3. Let Yourself Go
4. You Can Have Him
5. Russian Lullaby
6. Puttin’ On The Ritz
7. Get Thee Behind Me Satan
8. Alexander’s Ragtime Band
9. Top Hat, White Tie And Tails
10. How About Me
11. Cheek To Cheek
12. I Used To Be Color Blind
13. Lazy
14. How Deep Is The Ocean (How High Is The Sky)
15. All By Myself
16. Remember
17. Suppertime
18. How’s Chances
19. Heat Wave
20. Isn’t This A Lovely Day
21. You Keep Coming Back Like A Song
22. Reaching For The Moon

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It’s something everyone has experienced: whether at one of the great jazz festivals in Berlin, Montreux or Paris, or in a small, provincial jazz club which exudes the charm of a dingy jazz cavern in the Fifties - you sit, listen, and then rack your brain to remember the name of the number which the young jazz musician is playing with all his heart. Just what was the name?

Put the 'Ella Sings The Rodgers And Hart Song Book' album on your turntable and you’re guaranteed to recall “My Funny Valentine”, “Blue Moon” and “It Never Entered My Mind”. All these and many more excellent ballads flowed out of the pens of the songwriting team - and each and every one of them is a winner.

But don’t make the mistake of associating merely scat singing taken at a cracking pace with the most famous (the name ‘Ella’ is a fully adequate epithet) and the BEST (for that’s what she is and she will remain so!) jazz vocalist between 1930 and 1995: this album more than demonstrates her excellent powers of expression and her brilliant modulations. The ballads are done true justice in these sensitive, almost subdued arrangements by the West Coast film music expert Buddy Bregman, which put Ella’s voice, Richard Rodgers’ melodies and Lorenz Hart’s lyrics in the limelight. With the exception of “Blue Moon”, all the numbers are themes taken from Broadway musicals, virtually none of which will ever have been seen by us, but whose evergreen melodies will remain in our memories for ever. What is more, there is a special treat for us in store on this album: three titles are now appearing on stereo-LP for the very first time. A further milestone along the road of jazz singing is at last re-released with this song book: it constitutes an important documentation of Ella’s musical path which began with the children’s song “A-tisket, a-tasket”.

1. A Ship Without Sail
2. Bewitched
3. Blue Moon
4. Dancing On The Ceiling
5. Give It Back To The Indians
6. Have You Met Miss Jones?
7. I Could Write A Book
8. I Didn't Know What Time It Was
9. Isn't It Romantic
10. I Wish I Were In Love Again
11. It Never Entered My Mind
12. Johnny One Note
13. Little Girl Blue
14. Lover
15. Manhatten
16. Mountain Greenery
17. My Funny Valentine
18. My Romance
19. Spring Is Here
20. Ten Cents A Dance
21. The Lady Is A Tramp
22. There's A Small Hotel
23. This Can't Be Love
24. Thou Swell
25. Wait Till You See Her
26. Where Or When
27. You Took Advantage Of Me

This title is not eligible for further discount.

Out of print on CD for three years and unavailable on vinyl since the 1980s, the hugely influential Mission of Burma debut record Signals, Calls, And Marches is back in what is its definitive edition on 180g Double LP with some remarkable extras, including unreleased studio tracks, a DVD of concert footage from 1979 and 1980 and a thick booklet of interviews and much more. Remastered from the original analog tapes, Signals, Calls, And Marches contains the band's best-known song "That's When I Reach For My Revolver." The deluxe gatefold vinyl has been re-cut all-analog from the original half-inch tapes by George Marino at Sterling Sound.

1. Academy Fight Song
2. Max Ernst
3. Devotion
4. Execution
5. That's When I Reach For My Revolver
6. Outlaw
7. Fame And Fortune
8. This Is Not A Photograph
9. Red
10. All World Cowboy Romance


Mission Of Burma Live at The Space (October 6, 1979) and The Underground (April 20, 1980) DVD Track Listing

1. This Is Not A Photograph (The Underground, 1980)
2. Secrets (The Space, 1979)
3. Devotion (The Underground, 1980)
4. Manic Incarnation (The Underground, 1980)
5. Eyes Of Men (The Underground, 1980)
6. Tremelo (The Underground, 1980)
7. Break On Through (The Space, 1979)
8. Head Over Head (The Underground, 1980)
9. Peking Spring (The Space, 1979)
10. OK/No Way (The Underground, 1980)

Mission of Burma's second and final studio album Vs. was released in the fall of 1982, just months before they broke up when the band was at the pinnacle of their songwriting and performing skills. Vs. is a strange and exciting record, full of depth and harmonic color. Unlike its predecessor, it begins slowly, with a fever dream of guitar workouts, drone and tremelo, in "Circles," "Trem Two" and "Dead Pool." The album pivots around the central track, "Mica," perhaps the band's finest moment about a woman's descent into unreality and madness. At the end, Vs. expands with the triumphant melodic anthems "The Ballad Of Johnny Burma" and "That's How I Escaped My Certain Fate." This Definitive Edition of Vs. now on a Deluxe Gatefold 180g Double LP looks and sounds better than ever and it includes four bonus tracks (previously on the Ryko CD); tracks 13-15 were unreleased studio outtakes from the Vs. sessions, and 16 was the B-side of the 1982 “Trem Two” 7″ single.

1. Secrets
2. Train
3. Trem Two
4. New Nails
5. Dead Pool
6. Learn How
7. Mica
8. Weatherbox
9. The Ballad Of Johnny Burma
10. Einstein's Day
11. Fun World
12. That's How I Escaped My Certain Fate
13. Laugh The World Away
14. Forget
15. Progress
16. OK/No Way


Mission Of Burma Live at The Bradford Ballroom, March 12, 1983 DVD Track Listing

1. The Ballad Of Johnny Burma (Bradford, 1983, afternoon set)
2. Red (Bradford, 1983, afternoon set)
3. Dirt (Bradford, 1983, afternoon set)
4. Forget (Bradford, 1983, afternoon set)
5. Secrets (Bradford, 1983, afternoon set)
6. Academy Fight Song (Bradford, 1983, afternoon set)
7. Trem Two (Bradford, 1983, afternoon set)
8. Sing-A-Long (Bradford, 1983, afternoon set)
9. That’s How I Escaped My Certain Fate (Bradford, 1983, afternoon set)
10. Weatherbox (Bradford, 1983, afternoon set)
11. That’s When I Reach For My Revolver (Bradford, 1983, afternoon set)
12. Learn How (Bradford, 1983, afternoon set)
13. OK/No Way (Bradford, 1983, afternoon set)
14. Fun World (Bradford, 1983, afternoon set)
15. All World Cowboy Romance (Bradford, 1983, afternoon set)

Mission of Burma's original The Horrible Truth About Burma album, restored to its original sequence (1985, posthumously released), now here in its Definitive Edition on 180g Double LP and housed in gorgeous heavy-duty Stoughton gatefold sleeves! Includes four bonus tracks, three of which were included on the Ryko CD, the fourth of which (track 12) has never been released. Also includes a companion DVD Live at The Bradford Ballroom from March 12, 1983. Extras also include a full-size 12" X 12" 32-page booklet with new interviews with the band and Rick Harte about the making of the record, as well as never-before seen photos and MP3 download coupons.

1. Tremolo
2. Peking Spring
3. Dumbells
4. New Disco
5. Dirt
6. Go Fun Burn Man
7. 1970
8. Blackboard
9. He Is, She Is
10. Heart Of Darkness
11. That's When I Reach For My Revolver
12. Weatherbox
13. Trem Two
14. Learn How


Mission Of Burma Live at The Bradford Ballroom, March 12, 1983 DVD Track Listing

1. This Is Not A Photograph (Bradford, 1983, evening set)
2. Mica (Bradford, 1983, evening set)
3. He Is, She Is (Bradford, 1983, evening set)
4. Outlaw (Bradford, 1983, evening set)
5. Peking Spring (Bradford, 1983, evening set)
6. Trem Two (Bradford, 1983, evening set)
7. Go Fun Burn Man (Bradford, 1983, evening set)
8. Fun World (Bradford, 1983, evening set)
9. Blackboard (Bradford, 1983, evening set)
10. See My Friends (Bradford, 1983, evening set)
11. Max Ernst (Bradford, 1983, evening set)
12. That’s How I Escaped My Certain Fate (Bradford, 1983, evening set)
13. Einstein’s Day (Bradford, 1983, evening set)
14. Dumbells (Bradford, 1983, evening set)
15. That’s When I Reach For My Revolver (Bradford, 1983, evening set)
16. Secrets (Bradford, 1983, evening set)
17. Academy Fight Song (Bradford, 1983, evening set)

In order to comfort all his fans during his forced absence, the record bosses produced an album with a smartly-uniformed Elvis on the cover, smiling widely to let his faithful followers know that he’d be back soon. There was a special 1960 calendar on the back of this gatefold jacket, so that his fans could count off the days until his return. What made this a classic is that most of the tracks were the original Sun Records singles and tracks from his RCA EP’s- all among his best sides. Which takes us back full circle to the date. What better way is there to celebrate the 50th birthday of rock-’n’-roll than with this early album by its 'King'?

1. Blue Moon of Kentucky Monroe 2:05
2. Young and Beautiful Schroeder, Silver 2:07
3. (You're So Square) Baby I Don't Care
4. Milk Cow Blues Arnold 2:38
5. Baby Let's Play House Gunter 2:18
6. Good Rockin' Tonight Brown 2:12
7. Is It So Strange Young 2:32
8. We're Gonna Move Matson, Presley 2:31
9. I Want to Be Free Leiber, Stoller 2:16
10. I Forgot to Remember to Forget 2:27

This title is not eligible for further discount.

Import

1982’s Pornography, still considered by many to be the Cure's best, was also their darkest and most disturbing. It cemented their role as beacons of the emergent gothic rock genre, with the band sporting their signature red lipstick and big hair look for the first time during this tour. Includes 8 Bonus Tracks from the Deluxe CD Edition.

1. One Hundred Years
2. Temptation Two (Bonus Track)
3. Airlock/The Soundtrack (Bonus Track)
4. A Short Term Effect
5. Cold (Live) (Bonus Track)
6. The Hanging Garden
7. A Strange Day (Live) (Bonus Track)
8. Siamese Twins
9. The Figurehead
10. Pornography (Live) (Bonus Track)
11. A Strange Day
12. All Mine (Live) (Bonus Track)
13. A Short Term Effect (Live) (Bonus Track)
14. Cold
15. Pornography
16. Siamese Twins (Live) (Bonus Track

In retrospect, maybe this should been just been called Now That's What I Call Elton John! While only boasting three American hit singles, ''Saturday Night's Alright For Fighting'', the title song and ''Bennie And The Jets'', this 1973 double LP is full of classic songs in every pop style that existed up to that time. The packaging is derived from the British version and has two LP's housed in a single-sleeve.

1. Funeral for a friend
2. Loves Lies Bleeding
3. Candle in the Wind
4. Bennie and the Jets
5. Goodbye Yellow Brick Road
6. This Song Has No Title
7. Grey Seal
8. Jamaica Jerk-off
9. I've Seen That Movie Too
10. Sweet Painted Lady
11. The Ballad of Danny Bailey (1909-34)
12. Dirty Little Girl
13. All the Girls Love Alice
14. Your Sister Can't Twist (but she can rock 'n' roll)
15. Saturday Night's All Right for Fighting
16. Roy Rogers
17. Social Disease
18. Harmony

This title is not eligible for further discount.

In order to comfort all his fans during his forced absence, the record bosses produced an album with a smartly-uniformed Elvis on the cover, smiling widely to let his faithful followers know that he’d be back soon. There was a special 1960 calendar on the back of this gatefold jacket, so that his fans could count off the days until his return. What made this a classic is that most of the tracks were the original Sun Records singles and tracks from his RCA EP’s- all among his best sides. Which takes us back full circle to the date. What better way is there to celebrate the 50th birthday of rock-’n’-roll than with this early album by its 'King'?

1. Blue Moon of Kentucky Monroe 2:05
2. Young and Beautiful Schroeder, Silver 2:07
3. (You're So Square) Baby I Don't Care
4. Milk Cow Blues Arnold 2:38
5. Baby Let's Play House Gunter 2:18
6. Good Rockin' Tonight Brown 2:12
7. Is It So Strange Young 2:32
8. We're Gonna Move Matson, Presley 2:31
9. I Want to Be Free Leiber, Stoller 2:16
10. I Forgot to Remember to Forget 2:27

This title is not eligible for further discount.

Wild rock’n’roll and Christian spirituality at Christmastide are impossible to bring together musically, one might think. But Elvis, who in the Fifties was climbing as steadily up the ladder of success as Father Christmas coursed the sky in his sleigh, certainly pulled off this feat in his "Christmas Album" with its mixture of popular Christmas songs and seasonal evergreens. The 'King' delivers a rocking version of "Santa Claus Is Back In Town" just as successfully as "Peace In The Valley", an inspirational gospel song praising nature. Of course it goes without saying that "White Christmas" – the most-recorded Christmas hit, which in the Bing Crosby version alone achieved sales of 35 million – is included on the album. And Elvis’s sentimental interpretation of "Silent Night" may well have made its contribution to the immortality of the former truck driver from Tennessee. Back on this earth the original LP exchanges hands for around US$ 500 when the gift tag is still attached. And because it’s Christmas, the coveted sticker can be found on the re-release.

Elvis' Christmas Album Track Listing

1. Santa Claus Is Back in Town - Elvis Presley
2. White Christmas - Elvis Presley
3. Here Comes Santa Claus (Right Down Santa Claus Lane) - Elvis Presley
4. I'll Be Home for Christmas - Elvis Presley
5. Blue Christmas - Elvis Presley
6. Santa Bring My Baby Back (To Me) - Elvis Presley
7. O Little Town of Bethlehem - Elvis Presley
8. Silent Night - Elvis Presley
9. Peace in the Valley - The Jordanaires, Elvis Presley
10. I Believe - The Jordanaires, Elvis Presley
11. Take My Hand, Precious Lord - The Jordanaires, Elvis Presley
12. It Is No Secret (What God Can Do) - The Jordanaires, Elvis Presley

This title is not eligible for further discount.

This album represents one of the greatest musical comebacks in history. After dominating the charts and pop culture in the '50s, Elvis returned to the forefront of both with this album recorded in 1969 at America Sound Studios. Aside from a greatest hits package, this is the single greatest studio album from Elvis bar-none and features the incomparable hit single 'In The Ghetto'. A 'must have' recording!

1. Wearin' that Loved Look
2. Only the Strong Survive
3. I'll Hold You in My Heart
4. Long Black Limousine
5. It Keeps Right On A-Hurtin'
6. I'm Movin On
7. Power of My Love
8. Gentle on My Mind
9. After Loving You
10. True Love Travels on a Gravel Road
11. Any Day Now
12. In the Ghetto

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Nehemiah 'Skip' James is one of the Delta Blues giants and one of the genre's earliest recording artists. He was born in Bentonia, Mississippi in 1902 and began his recording career in 1931 for the Paramount Records label – the same Grafton, Wisconsin-based company that cut the ultra-famous sides by Robert Johnson, Son House, Blind Lemon Jefferson, Charley Patton, Blind Blake and pretty much every other pre-war blues artist that's still remembered today. After that Paramount session and its resulting 26 sides, James went relatively unheard for the next 33 years. He followed in his father's footsteps and became a Baptist minister. But in 1964, three record collectors went in search of Skip James and found him. The three booked him at the 1964 Newport Folk Festival, and James' comeback was born. Thank God for that! This record was recorded shortly after the rediscovery. Amazingly, James' musicianship was still utterly remarkable, even though his health had begun to fail and he would die just five years later. What sets Skip James' talent apart, aside from his equal mastery of both the guitar and piano, is his haunting falsetto singing. You've got to hear it for yourself. This record allows us a glimpse into a long-gone world.

Hard Time Killin’ Floor Blues
Crow Jane
Washington D.C. Hospital Center Blues
Special Rider Blues
Drunken Spree
Cherryball
How Long Blues
All Night Long
Cypress Grove Blues
Look Down the Road
My Gal
I'm So Glad

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After being rediscovered by the folk-blues community in the early '60s, Son House rose to the occasion and recorded this magnificent set of performances. Allowed to stretch out past the shorter running time of the original 78s, House turns in wonderful, steaming performances of some of his best-known material. On some tracks, House is supplemented by folk-blues researcher/musician Alan Wilson, who would later become a member of the blues-rock group Canned Heat and here plays some nice second guitar and harmonica on several cuts.

1. Death Letter Blues
2. Pearline
3. Louise McGhee
4. John The Revelator
5. Empire State Express
6. Preachin' Blues
7. Grinnin' In Your Face
8. Sundown
9. Levee Camp Moan
10. Death Letter Blues (alternate take)
11. Levee Camp Moan (alternate take )
12. Grinnin' In Your Face (alternate take )
13. JohnThe Revelator (alternate take )
14. Preachin' Blues (alternate take )
15. President Kennedy
16. A Down The Staff
17. Motherless Children
18. Yonder Comes My Mother
19. Shake It and Break It
20. Pony Blues
21. Downhearted Blues

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Stevie Ray and Double Trouble's follow up to Texas Flood, Couldn't Stand the Weather further explores Vaughan's ambitious goal of modernizing electric blues. Stevie is heard here at his absolute prime; playing with passion and conviction and the tracklist is just stellar highlighted by his rousing cover of Hendrix's classic 'Voodoo Chile (Slight Return)'. 2LP 180g Set including 4 bonus tracks! With his astonishingly accomplished guitar playing, Stevie Ray Vaughan ignited the blues revival of the ‘80’s. Vaughan drew equally from bluesmen like Albert King, Otis Rush, and Muddy Waters and rock & roll players like Jimi Hendrix and Lonnie Mack, as well as the stray jazz guitarist like Kenny Burrell, developing a uniquely eclectic and fiery style that sounded like no other guitarist, regardless of genre. Vaughan bridged the gap between blues and rock like no other artist had since the late '60s. For the next seven years, Stevie Ray was the leading light in American blues, consistently selling out concerts while his albums regularly went gold. His tragic death in 1990 only emphasized his influence in blues and American rock & roll. From 1978 and for the next few years, Stevie Ray Vaughan and 'Double Trouble' played the Austin area, becoming one of the most popular bands in Texas. In 1982, the band played the Montreux Festival and their performance caught the attention of David Bowie and Jackson Browne. After 'Double Trouble's' performance, Bowie asked Vaughan to play on his forthcoming album, while Browne offered the group free recording time at his Los Angeles studio, 'Downtown'; both offers were accepted. Stevie Ray laid down the lead guitar tracks for what became Bowie's 'Let's Dance' album in late 1982. Shortly afterward, John Hammond, Sr. landed Vaughan and 'Double Trouble' a record contract with Epic, and the band recorded its debut album, 'Texas Flood', in less than a week at 'Downtown'. Bowie offered Vaughan the lead guitarist role for his 1983 stadium tour, but he turned him down, preferring to play with 'Double Trouble'. Vaughan and 'Double Trouble' set off on a successful tour and quickly recorded their second album, 'Couldn't Stand The Weather', which was released in May of 1984. The album was more successful than its predecessor, reaching number 31 on the charts; by the end of 1985, the album went gold. From the blistering licks of 'Scuttle Buttin' to the bitchin blues of 'Tin Pan Alley' and the cover classic that is 'Voodoo Chile' SRV really delivers on this 1984 recording. This is classic Stevie Ray Vaughan, now lovingly remastered from the analog tapes by the maestro cutting engineer, Ray Staff, in his Alchemy Mastering Soho studio, with five more tracks not on the original vinyl LP.

SIDE ONE:
1. Scuttlebuttin'
2. Couldn't Stand The Weather
3. Things That I Used To Do
SIDE TWO:
4. Voodoo Chile (Slight Return)
5. Cold Shot
SIDE THREE:
6. Tin Pan Alley
7. Honey Bee
8. Stang's Swang
SIDE FOUR
9. SRV Speaks
10. Hide Away
11. Look at Little Sister
12. Give Me Back My Wig
13. Come On (Pt.3)

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Stevie Ray Vaughan's 1983 debut album, Texas Flood, was a phenomenal success, climbing into the Top 40 and spending over half a year on the charts, which was practically unheard of for a blues recording. The record plays like a dynamite club show, filled with crowd-pleasing originals and covers, all performed with unbridled enthusiasm. Certified Gold on August 13, 1990; certified Platinum on January 22, 1992. Pure Pleasure knocks this album right out of the park! Spread lovingly over 2 full LPs, Texas Flood with Bonus Tracks has never sounded this good ever! Stevie Ray is missed by all of us! Our highest recommendation!

1. Love Struck Baby
2. Pride And Joy
3. Texas Flood
4. Tell Me
5. Testify
6. Rude Mood
7. Mary Had A Little Lamb
8. Dirty Pool
9. I’m Cryin’
10. Lenny

Bonus Tracks:
11. SRV Speaks
12. Tin Pan Alley (AKA Roughest Place In Town)
13. Testify (live)
14. Mary Had A Little Lamb (live)
15. Wham! (live)

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T-Bone Walker is one of the all-time greats, an innovator and significant influence on just about every blues guitarist who followed. But his musical legacy is also incredibly enjoyable, full of humor as well as invention. A man who played the blues with flair, sophistication, technical brilliance and a sense of humor. Walker pioneered the electric guitar sound that helped create the blues and thus influenced all popular music that followed. He played one of the first electric guitars in the mid-'30s, recording with it in 1939. His single-string solos influenced blues players like B.B. King and such rockers as Eric Clapton and Stevie Ray Vaughan.

Strollin' With Bones
You Don't Love Me
You Don't Understand
Say! Pretty Baby
Tell Me What's the Reason
Blue Mood
The Sun Went Down
Travelin' Blues
Evil Hearted Woman
Cold, Cold Feeling
I Got the Blues Again
Blues Is a Woman

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One of the most prominent figures in late 20th century blues, singer/multi-instrumentalist Taj Mahal played an enormous role in revitalizing and preserving traditional acoustic blues. Not content to stay within the realm, Mahal soon broadened his approach, taking a musicologist's interest in a multitude of folk and roots music from around the world. Beautifully remastered from the analog master tapes by Ray Staff at Alchemy Soho.

1. Conch (Introduction)
2. Kalimba
3. Bound to Love Me Some
4. Ricochet
5. A Free Song
6. Corinna
7. Conch Close
8. Cakewalk into Town
9. Sweet Home Chicago
10. Texas Woman Blues
11. Gitano Negro

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Whiskeytown, a highly acclaimed founding band of the alt-country/No Depression scene, launched the solo career of four-time Grammy®-nominated singer-songwriter-guitarist Ryan Adams as well as that of fiddler-singer-songwriter Caitlin Cary. Now the group’s 1997 major label debut album, an overlooked gem from a band considered one of the genre’s most promising, is being released for the first time ever on vinyl. 1997's Strangers Almanac was Whiskeytown's major-label debut and the album that first introduced Ryan Adams to a wide audience, but at the same time it marked the beginning of the end for the group. When Whiskeytown went into the studio to record Strangers Almanac, the band had undergone the first of what would become a long line of personnel shakeups, and in addition to Ryan Adams, the only proper members of the group on hand for the sessions were violinist and vocalist Caitlin Cary and guitarist Phil Wandscher; session musicians filled out the lineup, while the new rhythm section, Jeff Rice (bass) and Steve Terry (drums), was hired only two weeks before recording began. Despite its chaotic creation, Strangers Almanac sounds stronger and more cohesive than its ragged but forceful indie predecessor, Faithless Street, and there's a deeper resonance in Ryan Adams' tales of wasted nights and wasted lives, such as "Inn Town," "Losering," and "Dancing with the Women at the Bar." Strangers Almanac doesn't rock as hard as Whiskeytown's earlier material, but when the guitars kick into high gear on "Yesterday's News" and "Waiting to Derail," it reveals just how good a match Ryan Adams and Wandscher were, and "Excuse Me While I Break My Own Heart Tonight" and "16 Days" are as strong and moving as their country gestures got. Strangers Almanac captures Whiskeytown when they still had some business calling themselves a band rather than just Ryan Adams' backing musicians, and the glorious world-weariness of its best moments makes it a far more satisfying listen than most of what would follow once Ryan Adams struck out on his own.

1. Inn Town
2. Excuse Me While I Break My Own Heart Tonight
3. Yesterday’s News
4. 16 Days
5. Everything I Do
6. Houses on the Hill
7. Turn Around
8. Dancing with the Women at the Bar
9. Waiting to Derail
10. Avenues
11. Losering
12. Somebody Remembers the Rose
13. Not Home Anymore


Live in the Studio Radio Performances September 1997 Houses on the Hill*
14. Nurse with the Pills*
15. I Don’t Care What You Think About Me*
16. Somebody Remembers the Rose*
17. Turn Around*


*previously unreleased

Considered by many to be one of the best live albums of all time, this classic album by the Allman Brothers, recorded at the pinnacle of their success, was a huge hit for the band. In 1971, the Allman Brothers were already one of the most popular groups in America, but by the time this album hit the streets their brand of Southern rock had become a national obsession. Live At Fillmore East was also the band's last with guitar hero Duane Allman who was killed in a motorcycle accident later that year. Includes 2 Bonus Tracks!

1.Statesboro Blues
2. Done Somebody Wrong (Bonus Track)
3. In Memory Of Elizabeth Reed
4. Don't Keep Me Wondering
5. You Don't Love Me
6. Hot'lanta
7. Stormy Monday
8. Drunken Hearted Boy (Bonus Track)
9.Whipping Post

Import

Recorded in 1981, this classic album full of mournful atmospheric tracks, including the hit single “Primary,” took the band further down the road of despair that was initiated on Seventeen Seconds. Faith is often seen as a mid-point in a "Dark Trilogy" that begins with Seventeen Seconds and ends with Pornography. Includes 6 Bonus Tracks from the CD deluxe version.

1. The Holy Hour
2. Primary
3. Other Voices
4. All Cats Are Grey
5. The Funeral Party
6. Doubt
7. The Drowning Man
8. Faith
9. Carnage Visors / The Soundtrack (Bonus Track)
10. Charlotte Sometimes (Bonus Track)
11. Going Home Time (Bonus Track)
12. The Violin Song (Bonus Track)
13. A Normal Story (Bonus Track)
14. Forever (Bonus Track)

Released in 1972, this classical music meets 70's progressive rock performance was recorded live during a concert at Newcastle's City Hall. The band performs the legendary Mussorgsky piano cycle with all the power, energy and authority of a '70s rock power trio; giving the legendary classical piece a contemporary, unique feel. In the Seventies, numerous rock and pop groups attempted to produce a maximum of sound on the stage with a minimum of manpower. The majority of them failed miserably in their struggles to master the Moog synthesizer with its 28 million varieties of sound – but not so Keith Emerson, Greg Lake and Carl Palmer! Their legendary rock version of Mussorgsky’s piano cycle, which was set down for posterity during a live concert in Newcastle’s City Hall, towers above all other recordings of the kind. Perhaps their success is due to the fact that the trio avoided a Late Romantic powerful sound and steered away from the temptations of creating electronic, grandiose sound effects. Their vocals, guitar and drums produced a highly original and contemporary yet soulful rendering. Even if you aren’t into British rock-pop, you should still listen to this album. Those who choose to ignore it don’t know what they are missing!

Recording: March 1971 at Newcastle City Hall, UK, by Eddy Offord Production: Greg Lake

1. Promenade/The Gnome/Promenade/The Sage/The [medley] (Lake/Mussorgsky/Palmer) - 1:58
2. The Gnome (Mussorgsky/Palmer) - 4:18
3. Promenade (Lake/Mussorgsky) - 1:23
4. The Sage (Lake) - 4:42
5. The Old Castle (Emerson/Mussorgsky) - 2:33
6. Blues Variation (Emerson/Lake/Palmer) - 4:22
7. Promenade (Mussorgsky) - 1:29
8. The Hut of Baba Yaga (Mussorgsky) - 1:12
9. The Curse of Baba Yaga (Emerson/Lake/Palmer) - 4:10
10. The Hut of Baba Yaga (Mussorgsky) - 1:06
11. The Great Gates of Kiev/The End (Lake/Mussorgsky) - 6:37
12. End/Nutrocker (Fowley) - 4:26

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