Format > 180 Gram Vinyl

Considered by many to be one of the greatest 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!

The Allman Brothers Live At Fillmore East Track Listing

1. Statesboro Blues
2. Done Somebody Wrong
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
9. Whipping Post

Bonus Tracks
1. Done Somebody Wrong
2. Drunken Hearted Boy

Undeniably one of the best small bands in the history of jazz, the Miles Davis quintet of the mid-1950s made history at the Cafe Bohemia on Manhattan's Barrow Street and in the New Jersey studio of Rudy Van Gelder for Prestige. This is the 3rd in a series of four LPs taped in two marathon studio sessions, done in the style of sets at the Bohemia, producing music of high energy and immediacy. This is a mix of standards and originals, up-tempos and ballads, and a trio number, "Ahmad's Blues." Miles is the sole survivor of this quintet but the music made in the mid-50's period will live forever. The excitement of the emerging John Coltrane; the informed, melodic swing of Red Garland; the tremendous snap and pop of the rhythm trio of Garland, Paul Chambers and Philly Joe Jones, and Miles' poignancy and intense swing. Recording engineered by Rudy Van Gelder.

Mastered by Stan Ricker.

1. It Never Entered My Mind
2. Four
3. In Your Own Sweet Way
4. The Theme (take 1)
5. Trane's Blues
6. Ahmad's Blues
7. Half Nelson 8. The Theme (take 2)

The Wailers' fourth album overall, Burnin', was their second for Island Records, released only six months after its predecessor, Catch a Fire. Given that speed, it's not surprising that several tracks — 'Put It On,' 'Small Axe,' and 'Duppy Conqueror' — are re-recordings of songs dating back a few years. But they fit in seamlessly with the newer material, matching its religious militancy and anthemic style. The confrontational nature of the group's message is apparent immediately in the opening track, 'Get Up, Stand Up,' as stirring a song as any that emerged from the American Civil Rights movement a decade before. The Wailers are explicit in their call to violence, a complete reversal from their own 1960s 'Simmer Down' philosophy. Here, on 'Burnin' and Lootin',' they take issue with fellow Jamaican Jimmy Cliff's song of the previous year, 'Many Rivers to Cross,' asking impatiently, 'How many rivers do we have to cross/Before we can talk to the boss?' 'I Shot the Sheriff,' the album's most celebrated song, which became a number one hit in the hands of Eric Clapton in 1974, claims self-defense, admits consequences ('If I am guilty I will pay'), and emphasizes the isolated nature of the killing ('I didn't shoot no deputy'), but its central image is violent. Such songs illuminated the desperation of poor Jamaican life, but they also looked forward to religious salvation, their themes accentuated by the compelling rhythms and the alternating vocals of the three singers. Bob Marley was a first among equals, of course, and after this album his partners, Peter Tosh and Bunny Wailer, quit the group, which thereafter was renamed Bob Marley and the Wailers.

1. Get Up, Stand Up
2. Hallelujah Time
3. I Shot The Sheriff
4. Burnin' And Lootin'
5. Put It On
6. Small Axe
7. Pass It On
8. Duppy Conqueror
9. One Foundation
10. Rasta Man Chant

A tireless showman and an underrated musical talent, Louis Prima swung his way to iconic status thanks to an irresistible, infectious sound thats appeal has translated across generations. Normally a swing artist, Prima's distinctive sound also encompassed New Orleans-style jazz, boogie-woogie, jump blues, R&B, early rock and roll, and even the occasional Italian tarantella. Regardless of what form his music took, it swung hard and fast, with a rolling, up-tempo shuffle beat. His greatest period of popularity coincided with his marriage to singer Keely Smith, whose coolly sophisticated vocals and detached stage manner made a perfect counterpoint to Prima's boisterous presence. A veritable greatest-hits album, The Wildest is an absolute gem in Louis Prima's catalog.

1. Medley: Just A Gigolo/I Ain’t Got Nobody
2. (Nothing’s Too Good) For My Baby
3. The Lip
4. Body And Soul
5. Oh Marie
6. Medley: Basin Street Blues/ When It’s Sleepy Time Down South
7. Jump, Jive And Wail
8. Buona Sera
9. Night Train
10. (I’ll Be Glad When You’re Dead) You Rascal You

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Jacob Fred Jazz Odyssey re-emerges with their most mind-expanding album yet, Lil Tae Rides Again. The fearless trio from Tulsa, Oklahoma appeared for only a handful of tour dates and summer festivals in 2007. Rumors swirled among fans regarding the reasons for such scarcity. They simply went underground to create music on their own terms, in their own universe, on their own timetable.

The trio enlisted eccentric electronic music futurist Tae Meyulks to produce. He shared in the trio's vision to record an album awash in sprawling soundscapes, minimalist melodies and subliminal themes. Lil Tae Rides Again achieves its intent, an Eno-esque masterwork that offers a sustaining aura of psychedelic splendor. As on previous efforts, JFJO define themselves as a mercurial musical force in a constant state of re-imagining their creative horizons. The beauty in JFJO's self-definition is that they are utterly un-definable. Lil Tae Rides Again, but better still, Jacob Fred Jazz Odyssey rides again.

1. Autumnal
2. Winter Clothes
3. Tether Ball Triumph
4. Carpool
5. Tae Parade
6. Santiago Lends a Hand
7. Waking the Reluctant Genius
8. Scuffle in the Hall
9. The Votes are Counted
10. Recovering the Time Capsule

A classic set originally cut for the Choice label, Where Is Love is a program of ballads exquisitely interpreted by singer Irene Kral and pianist Alan Broadbent. The tempos are all quite slow, but the emotional yet cool intensity given by Kral and Broadbent leaves no slow moments. Among the songs given definitive and memorable treatment are Blossom Dearie's "I Like You, You're Nice" and Bob Dorough's "Love Came On Stealthy Fingers," "Never Let Me Go," and especially "Spring Can Really Hang You Up The Most."

1. I Like You, You're Nice
2. When I Look In Your Eyes
3. A Time For Love / Small World
4. Love Came On Stealthy Fingers
5. Never Let Me Go
6. Spring Can Really Hang You Up The Most
7. Lucky To Be Me / Some Other Time
8. Where Is Love?
9. Don't Look Back

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The formula was simple: surround Ella with a small group of virtuoso musicians who were regulars on the Pablo label for a session where informality prevailed and everyone could "stretch out." Ella is in top form, and the song selection includes many standards that are given fresh interpretations. The version of Monk's "Round Midnight" is not to be missed. And with the whole proceedings captured in audiophile-approved sound, this has to rank as one of the strongest dates of Ella's illustrious career.

1. Fine And Mellow
2. I''m Just A Lucky So And So
3. (I Don''t Stand) A Ghost Of A Chance With You
4. Rockin'' In Rhythm
5. I''m In The Mood For Love
6. ''Round Midnight
7. I Can''t Give You Anything But Love
8. The Man I Love
9. Polka Dots And Moonbeams

The original soundtrack from the film 'Blow-up' features the work of both Herbie Hancock (with Freddie Hubbard, Joe Henderson, Ron Carter and Jack DeJohnette) and the Yardbirds (with Jeff Beck and Jimmy Page) to produce a soundtrack full of proto-funk and features the classic 'Bring Down the Birds'.

1. Main Title
2. Verushka Pt.1
3. Verushka Pt.2
4. The naked camera
5. Bring down the birds
6. Jane's theme
7. Stroll on (The Yardbirds)
8. The thief
9. The kiss
10. Curiosity
11. Thomas studies photos
12. The bed
13. End title 'Blow Up'

One of the pivotal recordings in bringing about the widespread acceptance of Sonny Rollins as a major figure, Saxophone Colossus inspired critics to write scholarly analysis and fans to revel in the hard-swinging invention, humor, and tender-strength balladry. Up to this album, while most musicians recognized Rollins as one of the new influential forces in the jazz of the Fifties, most critics were carping at Rollins or damning him with faint praise. "St. Thomas," a traditional West Indian melody which Mal Waldron remembered as "The Carnival," was recorded by many artists after Sonny introduced it here, and it remains a jazz standard today. The contributions of Tommy Flanagan's elegant swing, Doug Watkins' steady lift and Max Roach's most musical accompaniment and soloing (hear "Blue 7") make this a landmark album. Mastered by Steve Hoffman and Kevin Gray.

Track Listings
1. Strode Rode
2. Blue 7
3. Moritat
4. St. Thomas
5. You Don't Know What Love Is

The Modern Jazz Quartet’s origins, like so much in postwar jazz, were in Dizzy Gillespie’s 1946 big band. Vibraharpist Milt Jackson often joined the rhythm section so that the four could perform as a quartet and give the brass section a rest from Gillespie’s demanding arrangements. Later, they worked as the Milt Jackson Quartet. In the early 1950s, they changed the name to the Modern Jazz Quartet and over the next three and a half decades were one of the most successful and acclaimed small bands in the history of jazz. The MJQ was a leaderless group, but John Lewis functioned as musical director and wrote much of the group’s repertoire. Many of his compositions reflected musical traditions going back to Bach and the Italian renaissance. One of them, "Django," the stately piece named for the virtuoso French gypsy guitarist Django Reinhardt, became an instant jazz classic.

"…Django was one of the group's finest albums, and is a welcome addition to the re-issue market. While not audiophile grade recordings, these sessions provide quite good sound given their early provenance. Rudy Van Gelder recorded the later sessions, but the uncreditied 1953 session does not suffer by comparison. I compared the Van Gelder recorded sessions to the original 10" LP. The remastered LP wins hands down, the purity of the vibes being the most conspicuous evidence. I will return to this LP many times." Recording = 7/10; Music = 8/10 – Dennis Davis, Hi-Fi+, Issue 43

“The latest round of Acoustic Sounds’ ‘Fantasy 45 series’ – albums from Fantasy’s Original Jazz Classics catalogue, each reissued on two 180-gram LPs cut at 45rpm – includes two mid-‘50s masterworks…The better part of Django was recorded the day before the Miles session, and John Lewis’ piano sounds fine and present, while Jackson’s vibes seem a bit recessed – which tells you who was in charge. Heath’s bass, once again, is spot-on; you can smell the wood.” – Fred Kaplan, The Absolute Sound, January 2006, Issue 158

The Queen's Fancy
Delaunay's Dilemma
Autumn In New York
But Not For Me
La Ronde Suite
Django
One Bass Hit
Milano

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"Lightnin' is among the rewarding acoustic dates Lightnin' Hopkins delivered in the early '60s. The session has an informal, relaxed quality, and this approach serves a 48-year-old Hopkins impressively well on both originals like 'Thinkin' 'Bout an Old Friend' and the familiar 'Katie Mae' and enjoyable interpretations of Sonny Terry & Brownie McGhee's 'Back to New Orleans' and Arthur 'Big Boy' Crudup's 'Mean Old Frisco.' Hopkins' only accompaniment consists of bassist Leonard Gaskin and drummer Belton Evans, both of whom play in an understated fashion and do their part to make this intimate setting successful. From the remorseful 'Come Back Baby' to more lighthearted, fun numbers like 'You Better Watch Yourself' and 'Automobile Blues,' Lightnin' is a lot like being in a small club with Hopkins as he shares his experiences, insights and humor with you." - All Music Guide

Track Listings
1. Automobile Blues
2. You Better Watch Yourself
3. Mean Old Frisco
4. Shinin' Moon
5. Come Back Baby
6. Thinkin' 'Bout An Old Friend
7. The Walkin' Blues
8. Back To New Orleans
9. Katie Mae
10. Down There Baby

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The Hawk at his finest with features like "A Fellow Needs A Girl" and a version of "Smoke Gets In Your Eyes." Hawkins, of course, is on tenor sax. He's joined by Tommy Flanagan on piano, Major Holly Jr. on bass, and Eddie Locke on drums.

Track Listings
1. I Talk to the Trees
2. Smoke Gets in Your Eyes
3. Wanting You
4. Strange Music
5. The Man That Got Away
6. Get Out of Town
7. Here I'll Stay
8. A Fellow Needs a Girl

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The quintet on this LP was not the first operated by Cannonball Adderley. The gregarious alto saxophonist and his cornetist brother Nat had a band earlier in the 1950s. They formed it shortly after they burst onto the New York scene from Florida, but hard economic breaks forced them to disband and seek work elsewhere. Cannonball went with Miles Davis, Nat with Woody Herman. As the decade wound down, Cannonball’s success with Davis and increased popularity with the public led him to think he was ready to retrieve Nat and again try leadership. He was right. The new Adderley quintet quickly became beloved of listeners in clubs across the country. Nowhere was it more enthusiastically received than at the Jazz Workshop in San Francisco. In the fall of 1959, Adderley called his producer, Orrin Keepnews, and said now was the time and the Workshop was the place to record the quintet live. Keepnews sprang into action. The result was this album, one of the most spectacularly successful — and enjoyable — live recordings in the jazz canon.

"…These master tapes, now owned by Fantasy (now part of the Concord Record Group) are in superb condition, mostly because jazz titles never sold in large numbers and Scotch 111 tape was almost indestructible and held the signal extremely well. Anyone thinking original Riversides were some kind of sonic holy grail, is pulling your stylus: these 45rpm reissues beat originals in most of the ways that count, in my opinion: they are more dynamic, by far, are pressed on better vinyl and offer greater transparency. No wonder certain titles from the first series are already collector's items…I regret not having bought every Riverside title available to me at $1.98 back in 1964, just as thousands of jazz fans will regret missing out on these limited edition double 45rpm LPs from Analog Productions, so if you're even thinking about buying this one, get it while you can!" Music = 9/11; Sound = 9/11 – Michael Fremer, musicangle.com

“…I’m a big fan of this series, and we’re now into the third set of 25 Jazz titles from the Fantasy catalogue (now owned by Concord) and re-issued by Chad Kassem’s Analogue Productions as 180g 45rpm releases. Issuing 45s with music on both sides makes so much more sense than single-sided releases. (Especially as they don’t warp the way single-sided 45s tend to.) I love the work Steve Hoffman and Kevin Gray perform with these tapes. Masters the pair!…I can tell you that you won’t get the sound quality and the quiet surfaces this recording offers for $50. The musicians here are playing spontaneously at the Jazz Workshop and you’ve got that ‘club atmosphere’ going for you as well as the master players in the Quintet. Strongly recommended for those who have even the slightest interest in these outstanding musicians.” Recording = 8/10 Music = 8/10 – Richard Foster, Hi-Fi+, Issue 41, page 138

This Here
Spontaneous Combustion
Hi-Fly
You Got It
Bohemia After Dark

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Art Pepper left a legacy of innumerable appearances on records, but his sessions for Contemporary always seemed to find him in the best company and in the best shape. Here his impassioned alto sax is appropriately applied to the compositions of six saxophonists, among them Benny Carter, Ornette Coleman, and Pepper himself. The presence of Jack Sheldon in a rare performance as a small-group trumpeter was another important factor in the album's success.

"The soundstage is spacious and the imaging precise. Pepper is almost in the room (separated by only the thinnest of curtains); you can practically see the air swirling through his alto sax. Pete Jolly's piano is a bit closed-off (as if the lid were shut), but Jimmy Bond's bass thumps and Frank Butler's drumset smacks and sizzles." – Fred Kaplan, The Absolute Sound, March 2006

"…Art Pepper's 'Las Cuevas De Mario' is a wonderfully subtle and convoluted track, built entirely on a subtly insistent rhythm motif that's set up by the bass and piano, before the drums start to add accent and prompts. Against the background foundation Pepper's sax and Jack Sheldon's trumpet play beautiful chorus and call and response melodies. Superbly understated, there's a lot going at once yet the instrumentation stays sparse. A longtime collectible record…" – Roy Gregory, Hi-Fi+, Issue 45

Track Listings
1. Smack Up
2. Las Cuevas De Mario
3. A Bit Of Basie
4. How Can You Lose
5. Maybe Next Year
6. Tears Inside

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Another of the mid-1950s Ammons studio jam sessions for Prestige, Blue Gene lives up to its title by utilizing blues changes as the basis for three of its four selections. Pianist Mal Waldron wrote all these lines and the minor-key ballad, “Hip Tip.” Ammons was one of the most expressive saxophonists and, in Idrees Sulieman and Pepper Adams, he found soulmates among the other horns. Each man had jammed with Gene on Prestige previously.

featuring
Idrees Suliman
Pepper Adams
Mal Waldron
Arthur Taylor
Doug Watkins
Ray Barretto

Blue Gene
Scamperin'
Blue Greens 'N Beans
Hip Tip

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When Riverside Records recorded this John Lee Hooker session in 1959, producer Bill Grauer asked the Mississippi moaner to play acoustic guitar, much in the manner he had years earlier, before coming North, plugging in, and creating "boogie lightnin'." The result, on which Hooker put his distinct stamp on tunes associated with Muddy Waters, Howlin' Wolf, Lightnin' Hopkins and Big Bill Broonzy, as well as a number of his own highly personal compositions, is a country blues classic.

Track Listings

1. Burnin' Hell
2. Graveyard Blues
3. Baby, Please Don't Go
4. Jackson, Tennessee
5. You Live Your Life And I'll Live Mine
6. Smokestack Lightnin'
7. I Don't Want No Woman If Her Hair Ain't No Longer Than Mine (Short-Haired Woman)
8. I Rolled And Turned And Cried The Whole Night Long
9. Blues For My Baby
10. Key To The Highway
11. Natchez Fire (Burnin')

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The relationship between Dizzy Gillespie and Ray Brown goes back to the mid 1940s when Brown was the bassist in Gillespie's magnificent big band. Joe Pass and Mickey Rocker came along somewhat later. When he heard them, Dizzy understood immediately that they were worthy of admission into the inner circle of musicians whose artistic life was centered in the bebop tradition that he and Charlie Parker had established. The core of that tradition is perfectly expressed in this blistering version of Be Bop, a piece Dizzy wrote in 1942 that still tests musicians' ability to express themselves at high velocity. Gillespie's tender side and harmonic wisdom are disclosed in Hurry Home and September Song, his blues expressiveness in his classic Birks Works. Pass solos beautifully and rounds out a stunning rhythm section.

Track Listings

1. Tanga
2. Hurry Home
3. Russian Lullaby
4. Be Bop (Dizzy's Fingers)
5. Birks Works
6. September Song
7. Jitterbug Waltz

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Quiet Kenny is yet another reminder of what a trumpet giant Kenny Dorham was. Whether limning ballads such as “My Ideal,” “Alone Together,” “I Had the Craziest Dream” and “Old Folks,” or investigating the timelessness and intricacies of the blues (his originals in this set with “Blue” in their titles), the former Charlie Parker cohort and ex-Jazz Messenger exhibits his subtle swing, personal sound, and finely-honed harmonic sense. Along the way these reflections and connections with Bird, Coleman Hawkins, Sonny Rollins, Max Roach, Harry James and Louis Armstrong make for a rich legacy.

Track Listing:

Lotus Blossom
My Ideal
blue Friday
Alone Together
Blue Spring Shuffle
I Had The Craziest Dream
Old Folks
Mack the Knife

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This 1961 set of standards, favoring ballads, is Gene Ammons in his prime. For the most part, this session is tight and structured, keeping Ammons firmly locked in the groove more so than on some of his more wandering dates. His big-as-a-house tone stands center stage in front of a sympathetic piano-bass-drums trio of Richard Wyands, Doug Watkins and J.C. Heard, respectively.

Track Listings

1. Till There Was You
2. Answer Me, My Love
3. Willow Weep For Me
4. Little Girl Blue
5. Something I Dreamed Last Night
6. Something Wonderful
7. I Remember You
8. Someone To Watch Over Me

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One of the best efforts from Ammons' extensive catalog. A fat, warm, rich sax tone - you know, the one you immediately identify as Jug - is on display in all its glory on this great Moodsville release.

"Feeling tired and stressed out? Give Uncle Gene a spin. Besides perfect pitch, Ammons' other special gift was a melodic sense that allowed him to effectively convey feelings at slow tempos. Here is a great jazz ballad player given full scope to spin his charms." - Dick Olsher, Stereophile, February 1995

Track Listings:

1. Two Different Worlds
2. But Beautiful
3. Skylark
4. Three Little Words
5. Street Of Dreams
6. You'd Be So Nice To Come Home To
7. Under A Blanket Of Blue
8. I'm Glad There Is You

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John Coltrane brought a new sound and style to jazz, and he applied it in his own unique way to the standard material of the storehouse of American music gathered from Broadway, Hollywood and Tin Pan Alley. With the excellent rhythm team of Red Garland, Paul Chambers (both of whom had done so many concert, club and recording dates with him) and Jimmy Cobb and the Miles-directed flugelhorn of Wilbur Harden, Trane puts his personal stamp on numbers not done that often like Henry Nemo's "Don't Take Your Love from Me," Fred Ahlert's "I'll Get By" and two more familiar yet still not overdone songs, Richard Rodgers' "Spring Is Here" and Bronislau Kaper's "Invitation."

Track Listings:

1. Don't Take Your Love From Me
2. I'll Get By
3. Spring Is Here
4. Invitation

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"…Of this set of 25 albums being doled out over the next year, this is my favorite title of the bunch…This is the place to start for music lovers who would like to explore something a little more avant-garde, but are not feeling comfortable enough to leap straight in at the deep end of the pool…Hoffman and Gray have spun gold with these tapes…Like most of the titles in the Fantasy 45 Series, this new version takes the sound quality up a couple notches from the original. Top recommendation." – Dennis D. Davis, Hi-Fi+, Issue 51

Dolphy had left his native California and come east as part of Chico Hamilton's group, settling in New York in 1960 and becoming part of Charles Mingus's group. This first recording as a leader brought comparisons with Ornette Coleman but the two were really parallel figures in the then-emerging avant-garde. Dolphy did not eschew "changes," as Coleman did, but he used them in new ways. This LP was significant not only for his alto saxophone but introduced his individual approach to the flute and, particularly, the bass clarinet.

Track Listings:

1. G.W.
2. On Green Dolphin Street
3. Les
4. 245
5. Glad to Be Unhappy
6. Miss Toni

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When Cannonball and Nat Adderley heard Wes Montgomery in an Indianapolis after-hours club in the fall of 1959, Cannonball decided that this remarkable talent had to be exposed to the world. He then not so much persuaded, as ordered, Riverside’s Orrin Keepnews to record Montgomery. Soon, Keepnews flew to Indianapolis, listened, and signed Montgomery before the night ended. At the age of 37, this mild, teetotaling father of six was on his way to becoming the most influential jazz guitarist since Charlie Christian. What we hear on this SACD of Montgomery’s first album is essentially what the Adderleys and Keepnews heard, Wes at the helm of his trio playing his thrilling, melodic single-note lines, revolutionary octaves and block chords. After 12 Riverside albums, Montgomery switched to another label and had huge commercial success. But it was during the Riverside period that he astonished the jazz world with his technique, musicianship and soul. This is the record that started it all.

Track Listings:

1. 'Round Midnight
2. Yesterdays
3. The End of A Love Affair
4. Whisper Not
5. Ecaroh
6. Satin Doll (take 5)
7. Satin Doll
8. Missle Blues
9. Missle Blues
10. Too Late Now
11. Jingles

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Monk's second album for Riverside continued the label's initial plan to broaden his audience by the use of recognizable standard tunes instead of his somewhat frightening originals. Thelonious' uncompromising performances, along with major league support (Art Blakey and Oscar Pettiford) and strong material, helped to turn this concept into lastingly superior jazz. Particularly notable are Monk's sharp thrusts of humor on such well-worn pieces as "Honeysuckle Rose" and "Tea for Two." The album's impact was strengthened by one of the most unique covers ever devised. Riverside went so far as to print near-postage-sized Monk stamps, quite a few of which reportedly found their way through the actual mail.

Track Listing:

1. Liza (All The Clouds'll Roll Away)

2. Memories Of You

3. Honeysuckle Rose

4. Darn That Dream

5. Tea For Two

6. You Are Too Beautiful

7. Just You

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The formula was simple: surround Ella with a small group of virtuoso musicians who were regulars on the Pablo label for a session where informality prevailed and everyone could "stretch out." Ella is in top form, and the song selection includes many standards that are given fresh interpretations. The version of Monk's "Round Midnight" is not to be missed. And with the whole proceedings captured in audiophile-approved sound, this has to rank as one of the strongest dates of Ella's illustrious career.

1. Fine And Mellow
2. I''m Just A Lucky So And So
3. (I Don''t Stand) A Ghost Of A Chance With You
4. Rockin'' In Rhythm
5. I''m In The Mood For Love
6. ''Round Midnight
7. I Can''t Give You Anything But Love
8. The Man I Love
9. Polka Dots And Moonbeams

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The most impresssive point to be made about his record is that it is a product of precisely the same night's work as the earlier Riverside album, Thelonious Action; the two are in all respects a matched set. On the evening of August 7, 1958, recording equipment was rather precariously set up in the always-overcrowed Five Spot, the room where Monk had made his triumphant recent return to the New York club scene and was now appearing with a new quartet featuring Johnny Griffin. This turned out to be the first successful live recording of Thelonious (he had rejected the results of a night's work here a month earlier), and the substantial number of Monk-approved performances were readily programmed onto two full and equally memorable albums.

"...thanks to the outstanding mastering choices and the 4 side, 45rpm spread, dynamics and instrumental timbres are believable and the overall effect is of a lively, vivid presentation with great image three dimensionality and rhythmic drive...Listening to this great reissue is about as close as you can come to being at The Five Spot Cafe, August of 1958. Highly recommended! These limited editions are sure to sell out, if not sooner, then later, and they will become collector's items in the (not to distant). So if you can afford the admittedly steep ($50) asking price, get this and some of the others while you can." Music = 10/11; Sound = 10/11 - Michael Fremer, www.musicangle.com

1. Well, You Needn't
2. Misterioso
3. Light Blue
4. I'm Getting Sentimental Over You
5. All The Things You Are
6. Honeysuckle Rose
7. Bemsha Swing
8. Evidence

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This was Sonny’s second Contemporary album and his second West Coast session, a year and a half after the historic Way Out West. Jazz labels acquire “personalities” not only from the musical tastes of the owner/recording director but also from the roster of musicians signed to the company. The “Contemporary Sound”— every bit as distinctive as the competing “Blue Note Sound,” “Prestige Sound,” and “Pacific Jazz Sound”— was largely a product of the work by Hampton Hawes, Barney Kessel and Shelly Manne, all of whom had won Down Beat awards for their respective instruments and recorded as “The Poll Winners.”

What Would You Do?
Fast Livin' Blues
Saturday Night Fish Fry
Do You Call That A Buddy
I'll Die Happy
Another Get Together
Contemporary Blues
Stop and Go Blues
I Never Get Enough Of You

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Shakey Jake - Mouth Harp Blues The late James Harris earned the moniker "Shakey Jake" due to his proficiency at dice, but he was equally adept at the blues game. The Arkansas-born, Chicago-based singer and harmonica blower traveled to Rudy Van Gelder's New Jersey studio in November 1960 to record this, his second album for the Bluesville label. Jake brought along Jimmie Lee Robinson, the brilliant, fast-fingered guitarist best known for his work with Little Walter's band. Also making tasty contributions to the session was Robert Banks, the New York R&B and gospel studio organist who, in this case, ably appointed himself as a two-fisted blues piano stylist. Among the 10 selections is the distinctively loping "Easy Baby," a tune also associated with Jake's nephew Magic Sam.

Guitarist Jimmie Lee Robinson, who died in 2002, was the soul of Acoustic Sounds' own APO Records. He was the first to record at Blue Heaven Studios, having made three records (one still unreleased) in the converted church, and he was there several more times to perform. A Chicago native and lifelong resident, Robinson began playing guitar in the open-air market on Maxwell Street in 1942 with the likes of Big Bill Broonzy and Robert Nighthawk. He later teamed with Freddie King for a four-year partnership and went on to play guitar and bass with Little Walter, Howlin' Wolf, Eddie Taylor, Elmore James, Jimmy Rogers, Jimmy Reed, Magic Sam and of course Shakey Jake.

Track Listings:

1. Mouth Harp Blues
2. Love My Baby
3. Jake's Cha Cha
4. Gimme A Smile
5. My Broken Heart
6. Angry Lover
7. Things Is Alright
8. Easy Baby
9. Things Are Different Baby
10. It Won't Happen Again

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Anyone who ever heard Count Basie launch his band into a blues with several choruses of effortless piano has lamented that there is far too little of Basie the soloist among his recorded legacy. This shortage was rectified to a certain extent by the trio albums Basie made with Ray Brown and Louis Bellson in the Seventies, of which this is the sequel to the For the First Time set of the previous year. Once again, Basie’s poetic introductions, precise calibrations of touch and coloration and definitive swing create a joyous program of four venerable standards and an equal number of new blues. Bellson is empathetic throughout and dances with his brushes on “Sandman,” while Brown’s robust tone and earth-moving walking lines bring out the best in Basie the soloist and accompanist.

Track Listing:

Sandman
If I Could Be With You One Hour Tonight
Draw
On The Sunny Side Of The Street
The One I Love Belongs To Someone Else
Blues For Eric
I Surrender, Dear
Racehorse

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To a great many people, the name of Charlie Byrd and the updated samba beat known as bossa nova will always be intertwined. The guitarist did play a most important role in the introduction into this country of the compelling Brazilian rhythm-first on that major hit with Stan Getz and then on his own Bossa Nova Pelos Passaros. But before, during, and after the craze, Byrd was capable of much more-a remarkable impoviser and a richly versatile in-person performer. This 1963 "live" session at a celebrated New York club, the Village Gate, offers a little South American flavor and a lot of other jazz elements, including the guest appearance of trumpet great Clark Terry.

Track Listings:
1. Shiny Stockings
2. More (theme from Mondo Cane)
3. Blues For Night People
4. Butter and Egg Man
5. Ela Me Deixou
6. Broadway
7. I Left My Heart In San Francisco
8. Some Other Spring
9. Where Are The Hebrew Children?
10. Let's Do It
11. Jive at Five

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Here are four tunes from one of the classic sessions of all time when a combination of giants gathered in Rudy Van Gelder's studio for a historic meeting on Christmas Eve afternoon, 1954. With Thelonious Monk and three-quarters of the Modern Jazz Quartet (Jackson, Heath and Clarke) as his accomplices, Miles blends sophisticated harmonic knowledge with raw, spontaneous invention to produce extraordinary music. The two takes of "The Man I Love" are quite different within their basic similarity.

“The latest round of Acoustic Sounds’ ‘Fantasy 45 series’ – albums from Fantasy’s Original Jazz Classics catalogue, each reissued on two 180-gram LPs cut at 45rpm – includes two mid-‘50s masterworks…The Miles session, Christmas Eve ’54, was famously tense. Miles apparently yelled at Monk not to play during his solos…Every song, every bar, crackles with electricity. Miles’ solos, especially on ‘Bemsha Swing,’ are explosively creative…Jackson, freed from the MJQ chamber, storms the vibes with unmatched verve and precision. This was one of Rudy Van Gelder’s first recordings, and it already displays his hallmark traits…the trumpet blares and the vibes gleam with as much fidelity as on any modern recording. And listen to those juicy high-plucked bass strings during Heath’s solos. During his solo on ‘The Man I Love,’ Monk loses himself and stops playing; Miles assists by playing a few notes of the theme. He’s off-mike, and you can hear those notes bouncing off the studio walls. It’s a spooky, time-travel moment; you’re there!” – Fred Kaplan, The Absolute Sound, January 2006, Issue 158

Track Listing:
1. The Man I Love (Take 2)
2. Swing Spring
3. 'Round Midnight
4. Bemsha Swing
5. The Man I Love (Take 1)

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Although their styles were regions apart and they’d never performed together previously, Georgia harmonica ace Sonny Terry and Texas guitar titan Lightnin’ Hopkins fit like foot in sock when producer Kenneth S. Goldstein paired them at Rudy Van Gelder’s studio on October 26, 1960. As LeRoi Jones observed in the original album notes, “There is a meeting of ways, where the light and the sad seem to come together simply as blues.” Selections six through 10 were recorded the following year, and Terry was back in the more familiar company of another great guitarist, his longtime partner Brownie McGhee.

"…Terry was a remarkable mouth harp player, and these performances are first rate…What makes this a truly stand out record is the fine sound, which just jumps out of the speakers. Although this is a stereo recording with rather hard left and right separation (especially on the McGhee songs), that anomaly distracts little from the performance." Recording = 7/10; Music = 8/10 – Dennis Davis, Hi-Fi+, Issue 43

Track Listing:

One Monkey Don't Stop The Show
Changed The Lock On My Door
Tater Pie
She's So Sweet
Diggin' My Potatoes
Sonny's Coming
Ida Mae
Callin' My Mama
Bad Luck
Blues From The Bottom

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Despite the inherent modesty of its title, The Hawk Relaxes is far more than merely a tenor saxophonist – albeit one of the greatest who ever lived – at his ease. Recorded for Prestige's Moodsville subsidiary, the album presents Coleman Hawkins, paterfamilias of the tenor and one of its master balladeers. As he grew older, Hawkins often made it a point to perform with much younger musicians, in order to keep his work fresh. Pianist Ronnell Bright, 30 years old at the time of this recording, was the oldest of Hawkins' accompanists herein, while drummer Andrew Cyrille was, at just 21, the junior partner. With the multifaceted guitarist Kenny Burrell and bassist Ron Carter, at the dawn of what would be a ubiquitously brilliant career, rounding out a highly simpatico group, Hawkins adroitly weaves his way rhapsodically through seven timeless popular songs that lend themselves to his signature harmonic brilliance.

Track Listing:

1. I'll Never Be The Same
2. When Day Is Done
3. Under A Blanket of Blue
4. More Than You Know
5. Moonglow
6. Just A Gigolo
7. Speak Low

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Jazz impression of Black Orpheus. In the early 60s, the Brazilian import called bossa nova swept through jazz. The music's most prominent composer was Antoinio Carlos Jobim, and his score for the 1959 motion picture Black Orpheus was packed with songs adopted by jazz musicians. Vince Guaraldi was one of the earliest to grasp the possibilities of bossa nova and recorded four of the Black Orpheus pieces in this 1962 album. He also played two standards and two of his own compositions. One of those originals was a pleasantly rhythmic little melody called "Cast Your Fate to the Wind," which cut like a beam of sunshine through the pop music gloom of the day, beat the odds against quality music and illuminated the upper regions of the national sales charts for nearly half a year.

Track Listing:

Samba De Orpheus
Manha De Carnaval
Musso Amor
Generique
Cast Your Fate To The Wind
Moon River
Alma-ville
Since I Fell For You

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Red Garland and Miles Davis had a symbiotic relationship. Red was such an important cog in the Davis quintet as a soloist, interactive accompanist and keeper of the repertory. Being in Miles' group gave Garland the exposure he otherwise would not have gotten. Once Garland's talent as a pianist, with a boundless repository of material in his head, was established, Prestige's Bob Weinstock signed him to a contract as a recording leader in his own right. With his Davis section-mate, Paul Chambers, on bass, and New York drummer Arthur Taylor, Garland formed a trio that met quite often in Rudy Van Gelder's studio. Groovy was the third in Red's trio series for Prestige and it has the usual fine mix of jazz standards, ballad standards, blues ballads and just plain blues. It is an object lesson in finding and maintaining a groove.

Track Listing:

C-Jam Blues
Gone Again
Will You Still Be Mine?
Willow Weep For Me
What Can I Say Dear?
Hey Now

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Featuring musicians: Count Basie, piano & organ; Louie Bellson, drums; Ray Brown, bass; Irving Ashby, bass; J.J. Johnson, trombone; Harry Edison, trumpet; Eddie Davis, tenor sax; and Zoot Sims, tenor sax. This is one of Pablo's finest and the title says it all.

"So far, I have received everything available (same serial #) on the Fantasy 45 series and all the pressings have been outstanding…The Basie Jam album is possibly one of the best I've heard from the series." – Bill Koski, Acoustic Sounds customer

Track Listings:

1. Doubling Blues
2. Hanging Out
3. Red Bank Blues
4. One-Nighter
5. Freeport Blues

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Blue Mitchell possessed one of the truly individual trumpet sounds: richly melodic but always strong — clearly in the tradition of Clifford Brown, but very much his own voice. The series of Riverside albums that established him on the jazz scene, beginning at the end of the 1950s, usually presented him in at least three-horn ensembles; this was his only quartet set. Fully in the spotlight, Mitchell moves most effectively through a widely varied repertoire that covers standards, blues, originals and a Charlie Parker classic. There is flawless rhythm support from all-stars Wynton Kelly and Sam Jones and drummer Roy Brooks (Blue’s bandmate during part of his many years with the Horace Silver Quintet).

Track Listings:

1. I'll Close My Eyes
2. Avars
3. Scrapple From The Apple
4. Kinda Vague
5. Sir John
6. When I Fall In Love
7. Sweet Pumpkin
8. I Wish I Knew

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Sonny Rollins was only 26 years old when he recorded this, his first Riverside album, but he was an eight-year veteran of the jazz big leagues. He had worked with Thelonious Monk, Miles Davis and the Clifford Brown-Max Roach Group, among others. His style, personal and eccentric but deeply rooted in the jazz tradition and in American popular song, made him the most talked-about young tenor saxophonist in the mid-1950s. Like all great jazz improvisers, he communicated through his instrument in a way that made listeners feel he was speaking to them. The stories he told were delivered with energy, swing and wry good humor. He gave the layman a frame of reference by using familiar material like the standard songs here for explorations full of excitement and adventure. Supported by a blue-ribbon rhythm section, this is young Sonny Rollins at his best.

Track Listings:
1. The Last Time I Saw Paris
2. Just in Time
3. Toot, Toot, Tootsie, Goodbye
4. What Is There to Say?
5. Dearly Beloved
6. Ev'ry Time We Say Goodbye
7. Cutie
8. It Could Happen to You
9. Mangos
10. Funky Hotel Blues

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This was a forerunner of the Miles Davis Quintet as it was his first session with Red Garland and Philly Joe Jones. Up to then, his Prestige dates had been of the "all star" variety. By the fall, John Coltrane and Paul Chambers would come aboard to help form the first of a continuum of great Davis working groups.

Track Listing:

I Didn't
Will You Still Be Mine?
Green Haze
I See Your Face Before Me
A Night In Tunisia
A Gal In Calico

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Another of Cobb's great Prestige sessions, this one from late 1960. Cobb and his tenor sax are joined by Red Garland on piano, J.C. Heard on drums and George Tucker on bass. The quartet cruises through six tunes – including two Cobb originals and a couple of old standards in "The Way You Look Tonight" and "Georgia On My Mind."

Track Listings:

1. Sweet Georgia Brown
2. Black Velvet
3. Blue Sermon
4. Georgia On My Mind
5. Sizzlin'
6. The Way You Look Tonight

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In the 1950s, the Curtis Counce Group was the West Coast answer to the East Coast hard bop, epitomized by groups such as Art Blakey and the Jazz Messengers and the Horace Silver Quintet. The brilliant pianist Carl Perkins, an early casualty of the jazz life, and who Miles Davis once identified as his favorite pianist, was at the core of this exceptional band. Harold Land, who was fresh from the Clifford Brown/ Max Roach band, and who has gone on in the nearly forty years since this album was recorded to international acclaim, and the vastly underrated trumpeter Jack Sheldon round out the front line. The fiery Frank Butler (who the legendary Count Basie drummer Jo Jones once called the greatest living jazz drummer) and Kansas City native, Curtis Counce, who had had recent stints with Stan Kenton, Maynard Ferguson, Art Pepper and Gerald Wilson formed the rock-solid rhythmic underpinnings that propelled the band. Characterized by the solid musical concept and sound quality normally associated with Contemporary, this album is sonically, musically, and historically outstanding.

Track Listings:
1. Complete
2. How Deep Is The Ocean
3. Too Close For Comfort
4. Mean To Me
5. Stranger In Paradise
6. Counceltation
7. Big Foot

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Rarely has a singer and a songwriter been so perfectly matched. Johnny Adams possesses one of the most remarkable and expressive voices in popular music today, while the late Doc Pomus wrote some of the most succinctly elegant and enduring songs of the rhythm and blues era. Johnny's interpretations of Doc's lyrics are as deep and true as the songs themselves. While this album may be regarded as a retrospective of Doc's work, many of the songs are new, written expressively for this project. The supporting musicians comprise a New Orleans dream band, with outstanding contributions from arranger/ saxophonist Alvin Red Tyler, guitarist Duke Robillard and pianist/ co-producer Mac Dr. John Rebennack.

Track Listings:

1. Imitation of Love
2. Still In Love
3. There Is Always One More Time
4. My Baby's Quit Me
5. She's Everything To Me
6. I Underestimated You
7. Blinded By Love
8. Prisoner Of Life
9. The Night Is A Hunter
10. No One
11. The Real Me

1968's Super Session is one of the original groovy jam-rock statements, a spontaneous session that paired singer/keyboardist/producer Al Kooper with two major guitar heroes of the day in Mike Bloomfield and Stephen Stills. The material ranges from folk pop covers of Donovan and Dylan, to the blues "Albert's Shuffle," "You Don't Love Me," to heady jams "His Holy Modal Majesty" and big-band jazz "Harvey's Tune." Here on audiophile quality 180g Import Vinyl!

Track Listing:

Albert’s Shuffle
Stop
Man’s Temptation
His Holy Modal Majesty
Really
It Takes A Lot To Laugh, It Takes A Train To Cry
Season Of The Witch
You Don’t Love Me
Harvey’s Tune

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The Definitive 45RPM Blue Note Reissue Series!

Jackie McLean's slightly acidic tone on alto can be instantly identified. He perfectly symbolizes the intensity, passion, excitement and urgency of New York in the 1960s. Born in 1932 and part of the musical generation that matured in the shadow of Charlie Parker, McLean served his apprenticeship at the very top, recording with the likes of Miles Davis, Charles Mingus and Art Blakey. However, Jackie McLean is best known for a brilliant series of Blue Note albums recorded from 1959-67. Bluesnik is, on the surface, one of McLean's most accessible recordings, since the six songs are all blues-based. However, McLean remains quite explorative here, clearly inspired by his excellent sidemen (trumpeter Freddie Hubbard, pianist Kenny Drew, bassist Doug Watkins, and drummer Pete La Roca). McLean stretches himself, showing every side of the blues. The results are exceptional to say the least. One listen to Bluesnik tells you that this is one of Jackie McLean's masterpiece recordings. Engineer Rudy Van Gelder was up to the challenge of this fine session, getting all of this passionate soul on tape with exceptional fidelity. Bluesnik is essential! Here on Limited Edition 180g 45RPM Double Vinyl!

Track Listing:

1. Bluesnik
2. Goin Way Blues
3. Drew's Blues
4. Cool Green
5. Blues Function
6. Torchin

One of Southern California's most exciting young bands!

1. Doomsday
2. Honor
3. Falling Down
4. Becoming the Bull
5. When Two Are One
6. Lose It
7. No One Cares
8. Can't Happen Here
9. Slow Burn
10. Blow
11. Lead Sails (and Paper Anchor)
12. Bonus Track

Arguably Mingus' greatest recording! Features performances by John Handy, Booker Ervin, Jimmy Knepper, Horace Parlan, Dannie Richmond and many others. Compositions include "Goodbye Pork Pie Hat," "Better Git It In Your Soul," "Fables Of Faubus," "Jelly Roll" and other classics.

Track Listing:

1. Better Git It in Your Soul

2. Goodbye Pork Pie Hat

3. Boogie Stop Shuffle

4. Self Portrait in Three Colors

5. Open Letter To Duke

6. Bird Calls

7. Fables of Faubus

8. Pussy Cat Dues

9. Jelly Roll

1. This Time
2. Underground
3. Monday
4. River Runs Red
5. Through And Through
6. Words And Music
7. Thursday
8. Bad Seed
9. My Eyes
10. Respect
11. Method Of Grooves
12. The Stain Remains
13. Friday

For the first time, the soundtrack to City of God, originally released in 2003, is now available on 180g Double LP! Antonio Pinto and Ed Côrtes’s timeless score enhances this gritty portrayal of poverty, violence and urban decay. Consisting of classic Brazilian funk, jazz and pop music, the soundtrack includes songs by the Brazilian legends Hyldon, Tim Maia, Raul Seixas, Cartola and Simonal.

Track Listing:

1. Meu Nome E Ze
2. Vida de Otario
3. Funk da Virada
4. Estoria da Boca
5. Na Rua, Na Chuva, Ha Fazenda (Casinha de Sape)
6. A Transa
7. Metamorfose Ambulante
8. Nem Vem que Nao Tem
9. Preciso Me Encontrar
10. Alvorada
11. Convite Para Vida
12. No Caminho Do Bem
13. Morte Ze Pequeno
14. Batucada - (DJ Camillo Roche & DJ Yah remix)

1. Inflikted
2. Sanctuary
3. Terrorize
4. Black Ark
5. Ultra Violent
6. Hex
7. Doom Of All Fires
8. Bloodbrawl
9. Nevertrust
10. Hearts Of Darkness
11. Must Kill

Seventeen years after the release of her multiplatinum, award winning album Unforgettable: With Love, eight-time Grammy-winning vocalist Natalie Cole delves back into the great American Songbook to recreate the feel and flow of that landmark title with Still Unforgettable. The album marks Cole's first producer credit and features fourteen all-new recordings on which the singer lends her voice to classic songs such as “The Best Is Yet To Come,” “Nice 'N' Easy” and “Something's Gotta Give” among others. Also featured is another memorable duet with her late father, the legendary Nat King Cole, on “Walkin' My Baby Back Home.”

Track Listing:

1. Walkin’ My Baby Back Home – Duet with Nat King Cole
2. Come Rain Or Come Shine Coffee Time
3. Somewhere Along The Way
4. You Go To My Head
5. Nice ’N’ Easy
6. Why Don’t You Do Right?
7. Here’s That Rainy Day
8. But Beautiful
9. Lollipops And Roses
10. The Best Is Yet To Come
11. Something’s Gotta Give
12. Until The Real Thing Comes Along
13. It’s All Right With Me

2006 album from the singer/songwrter/painter who has recorded 7 records to date, including the widely-acclaimed "Be Headed" (Elektra), and whose Band of Changes (his live lineup) has included everyone from Richard Thompson to Loudon Wainwright III to the Proclaimers to Ween to members of the Bob Dylan and Elliott Smith bands. Produced by Dean Ween aka Mickey Melchiondo.

1. What We Do Not Know
2. This Moment Is All We've Got
3. I Don't Need You Anymore
4. Pain Is Good
5. Render Me Still
6. Teach Me
7. To Understand You
8. This Glider To The Queen

Acoustic guitarist Antonio Forcione is joined by Zap Mama's Sabina Kabongo, saxophonist Julian Arguelles, bassist Malcom Crease, and percussionist Bosco de Oliveira.

This is the recording that prompted Martin Taylor to write 'Antonio possesses all the qualities of a great artist - a complete command of his instrument, a vast knowledge and respect for all musical traditions, the charisma to communicate his music to an audience, and the ability never to allow the above fine qualities to get in the way of his creative processes. Antonio is a virtuoso who plays from the heart.'

Track Listing:

1. Tiramisu
2. Twilight
3. Maya's Song
4. Dedicato
5. I heard it through the grapevine
6. Tango Nights
7. Attempo
8. Come Together
9. Folk Song
10. Nocturne

Vinyl LP pressing of the fourth album from this side project featuring Mickey Melchiondo (AKA Dean Ween from Ween) and Guy Heller (from False Front). Your girlfriend will not like Moistboyz IV unless she has tattoos and drives a truck - this is rock'n'roll played with intensity and conviction by the last true champions of freedom. Mixed by Howie Weinberg, who has worked with Nirvana, Metallica, White Stripes and Sonic Youth.

1. I Don't Give A Fuck Where The Eagle Flies
2. Uncle Sam And Me
3. Captain America
4. White Trash
5. Fuck You
6. Year Of The Maggot
7. Officer Please
8. Roy
9. That's What Rock And Roll Can Do
10. Stalker
11. Everybody's Fucked Her
12. I'll Die Tomorrow

Tip-on gatefold with high gloss spot-varnish finish with heavy-stock inner sleeve. Comes on 5 colors: silver,clear light blue, clear with black splatter,baby pink with black splatter, and black.

1. Bliss In Concrete
2. City Of Echoes
3. Spaceship Broken-Parts Needed
4. Winds With Hands
5. Dead Between the Walls
6. Lost In the Headlights
7. Far From Fields
8. A Delicate Sense Of Balance

It was the plaintive and uplifting Teaser and the Firecat that brought Cat Stevens to superstar status and in terms of melody and social commentary, it stands amongst his best work. Features the hits "Peace Train," "Morning Has Broken" and "Moonshadow." Reissued here on 180g Vinyl LP!

Cat Stevens Teaser and the Firecat Track Listing

1. The Wind
2. Rubylove
3. If I Laugh
4. Changes IV
5. How Can I Tell You
6. Tuesday's Dead
7. Morning Has Broken
8. Bitterblue
9. Moonshadow
10. Peace Train

This Deluxe 2 LP Edition of the self-titled 1984 debut from Dead Can Dance also includes the Garden of the Arcane Delights 12” EP, both remastered from the original analog tapes. Pressed on Double 180g vinyl and packaged in a heavyweight board gatefold jacket. Limited to only 2000 copies!

Dead Can Dance Dead Can Dance And The Arcane Delights EP Track Listing

Dead Can Dance - LP 1
1. The Fatal Impact
2. The Trial
3. Frontier
4. Fortune
5. Ocean
6. East Of Eden
7. Threshold
8. A Passage In Time
9. Wild in The Woods
10. Musica Eternal

The Arcane Delights EP - LP2
1. Carnival Of Light
2. In Power We Entrust The Love Advocate
3. The Arcane
4. Flowers Of The Sea

On their eponymous debut album, originally released in 1984, Dead Can Dance successfully harnessed a bewitching barrage of sounds, layering grinding guitars and even a dulcimer-like yang chin over a taut wash of percussion. If the range of the group is staggering, then so too is their disciplined economy, no song lasting more than four minutes or degenerating into formless cacophony. With the five group members continually interchanging instruments, only the vocals of Lisa and Brendan remain as a constant focus. A true cult act, in every sense of the word.

Remastered from the original analog tapes specially for this limited vinyl edition. Pressed on 180g vinyl and packaged in a heavyweight board jacket.

Dead Can Dance Dead Can Dance Track Listing

1. The Fatal Impact
2. The Trial
3. Frontier
4. Fortune
5. Ocean
6. East Of Eden
7. Threshold
8. A Passage In Time
9. Wild in The Woods
10. Musica Eternal

Upon ABC's original 1970 release, The Jackson brothers were regarded as more of a singles act. ABC drastically changed that, and in addition to the radio classics "ABC," "The Love You Save" and "I Found That Girl," the quintet produces fine versions of other Motown stars' hits and a tough version of Funkadelic's funny psychedelic-soul nugget "I'll Bet You." The preteen Michael emotes more than credibly on the likes of Stevie Wonder's "Don't Know Why I Love You" and Smokey's "(Come 'Round Here) I'm the One You Need."

Jackson 5 ABC Track Listing

1. The Love You Save
2. One More Chance
3. ABC
4. 2-4-6-8
5. (Come 'Round Here) I'm The One You Need
6. Don't Know Why I Love You
7. Never Had A Dream Come True
8. True Love Can Be Beautiful
9. La-La (Means I Love You)
10. I'll Bet You
11. I Found That Girl
12. The Young Folks

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An excellent album from one of Motown's best female singers of the early years! Mary Wells has got a great voice and a style that's deeper than the sweeter sounds of some of Motown's girl groups of the time. The album's filled with gems including her huge hit "My Guy" as well as "He's The One I Love," "Does He Love Me," "He Holds His Own," "My Baby Just Cares For Me," "You Do Something To Me," "If You Love Me, Really Love Me" and "At Last."

Mary Wells Sings My Guy Track Listing

1. He's the One I Love
2. Whisper You Love Me Boy
3. My Guy
4. Does He Love Me?
5. How? (When My Heart Belongs To You)
6. He Holds His Own
7. My Baby Just Cares For Me
8. I Only Have Eyes For You
9. You Do Something To Me
10. It Had To Be You
11. If You Love Me (Really Love Me)
12. At Last

This title is not eligible for further discount.