Format > 180 Gram Vinyl

Import

1. It'll Take A Long Time
2. Sweet Rosemary
3. For Nobody To Hear
4. Tomorrow Is A Long Time
5. Quiet Joys Of Brotherhood
6. Listen, Listen
7. The Lady
8. Bushes And Briars
9. It Suits Me Well
10. The Music Weaver
11. Here In Silence
12. Man Of Iron

Import

1. All Your Love
2. Hideaway
3. Little Girl
4. Another Man
5. Double Crossing Time
6. What'd I Say
7. Key To Love
8. Parchman Farm
9. Have You Heard
10. Ramblin' On My Mind
11. Steppin' Out
12. It Ain't Right

Import

1. Crawling Up a Hill
2. I Wanna Teach You Everything
3. When I'm Gone
4. I Need Your Love
5. Hoot Owl
6. R&B Time: Night Train/Lucille
7. Crocodile Walk
8. What's the Matter with You
9. Doreen
10. Runaway
11. Heartache
12. Chicago Line

Side 1

Babylon
Stranded in the Jungle
Who are the Mystery Girls?
Showdown
It's Too Late

Side 2

Puss 'N Boots
Chatterbox
Bad Detective
Don't Start Me Talkin'
Human Being

Import

1. It Has Not Taken Long
2. Secret Side
3. You Forgot To Answer
4. Innocent And Vain
5. Valley Of The Kings
6. We've Got The Gold
7. The End
8. Das Lied Der Deutschen

1. Chain Of Fools
2. Money Won't Change You
3. People Get Ready
4. Niki Hoeky
5. (You Make Me Feel Like) A Natural Woman
6. Since You've Been Gone (Sweet Sweet Baby)
7. Good To Me As I Am To You
8. Come Back Baby
9. Groovin'
10. Ain't No Way

Import

1. Already Gone
2. You Never Cry Like a Lover
3. Midnight Flyer
4. My Man
5. On the Border
6. James Dean
7. Ol' 55
8. Is It True
9. Good Day in Hell
10. Best of My Love

1. Just A Little Lovin'
2. So Much Love
3. Son Of A Preacher Man
4. I Don't Want To Hear It Anymore
5. Don't Forget About Me
6. Breakfast In Bed
7. Just One Smile
8. The Windmills Of Your Mind
9. In The Land Of Make Believe
10. No Easy Way Down
11. I Can't Make It Alone

Import

1. Love Will Tear Us Apart
2. Ian Curtis Interview
3. Leaders Of Men
4. Steve Morris and Ian Curtis Interview
5. Failures
6. Ian Curtis Interview
7. Novelty
8. Martin Hannet Interview
9. New Dawn Fades
10. Ian Curtis Interview
11. Ice Age
12. Steve Morris And Ian Curtis Interview
13. Shadowplay
14. Ian Curtis Interview
15. Passover
16. Martin Hannet Interview
17. Transmission
18. Steve Morris And Ian Curtis Interview
19. At A Later Date
20. Ian Curtis Interview
21. Digital
22. Bernard Sumner Interview
23. Colony

1. Messin' With The Kid
2. Laundromat
3. I Could've Had Religion
4. Pistol Slapper Blues
5. Going To My Home Town
6. Bullfrog Blues
7. Shin Kicker
8. Wayward Child
9. Brute Force And Arrogance
10. Moonchild
11. Follow Me
12. Bought and Sold
13. Shadow Play

Two LP set/Double Gatefold. Alterna-Rock band's 2007 album. 'Rick Rubin asked us what we wanted this album to sound like. We wanted to create something that maintained the integrity of the band?s personality, but pushed our boundaries. Rick challenged us that no boundaries should exist whatsoever in our creative pursuit.' Minutes To Midnight is rock?s most anticipated album of the year. Four years since the release of Linkin Park?s quadruple-platinum, #1 smash Meteora and after more than a year of musical experimentation Minutes To Midnight redefines one of today?s most adventurous, accomplished and acclaimed bands. 12 tracks. Warner.

1. Wake
2. Given Up
3. Leave Out All The Rest
4. Bleed It Out
5. Shadow Of The Day
6. What I've Done
7. Hands Held High
8. No More Sorrow
9. Valentine's Day
10. In Between
11. In Pieces
12. Little Things Give You Away

1. Music For Money
2. I Love The Sound Of Breaking Glass
3. Little Hitler
4. Shake And Pop
5. Tonight
6. So It Goes
7. No Reason
8. 36 Inches High
9. Marie Provost
10. Nutted By Reality
11. Heart Of The City (Live)
12. Shake That Rat
13. I Love My Label
14. They Called It Rock
15. Born A Woman
16. Endless Sleep
17. Halfway To Paradise
18. Rollers Shaw
19. Cruel To Be Kind (Original Version)
20. Heart Of The City
21. I Don't Want The Night To End

1. Teen Drama
2. (My Head)
3. RIP Allegory
4. The Wait
5. Drop-Out
6. Come Together
7. Faces On Fire
8. Relevant: Now
9. The Early ?80s
10. Mean God
11. Another Day
12. The Apt.
13. Off The Wall
14. End Of All Things
15. Times New Viking Vs. Yo La Tengo
16. Post Teen Drama

1. Ain't Got Nothing
2. Between Me And The Ground
3. What Needs Must Be
4. Down Here
5. Till Kingdom Come
6. I'm Gone
7. Seven Seers
8. The Great Deceiver
9. The Queen Of All Returns
10. Keep On Walking
11. Hard People/Hard Times
12. Either Way

1. Shake (Yo Mama)
2. Keep The Devil Down
3. Soldier
4. Eaglebird
5. I'd Love To Be A Hippy
6. Mizzip
7. Blow Out
8. Come Go With Me
9. Rooster's Blues
10. Take Yo Time, Rodney
11. Long Way From Home

"Well I guess it would be nice, if I could touch your body...." Given George Michael's restroom hi-jinks in early 1998, those words from "Faith" sound pretty funny, but they sounded fresh and exciting blasting out of car radios all over America in 1987. George Michael's stunning solo debut (after four years in the lightweight British duo Wham!) sold seven million copies and yielded six Top 10 hits. Some of those were among the decade's best pop, including the hiccuping title track, the heartfelt ballad "Father Figure" and the wicked R&B groove of "I Want Your Sex." Unlike so much 1980s treacle, this album hold ups surprisingly well--even if George Michael hasn't always done so himself, but we won't talk about that.

1. Faith
2. Father Figure
3. I Want Your Sex (Parts 1 & 2)
4. One More Try
5. Hard Day
6. Hand To Mouth
7. Look At Your Hands
8. Monkey
9. Kissing A Fool

Import (Holland)

One
A Reflection
Play For Today
Secrets
In Your House
Three
Two
The Final Sound
A Forest
M
At Night
Seventeen Seconds

Import

Alan Parsons Project's Eye in the Sky was almost guaranteed at least moderate success due to the hits that preceded it ("Games People Play" and "Time" from Turn of a Friendly Card.) With Eye in the Sky, Alan Parsons returned in some ways to his more progressive, art-rock past and the album only had one major hit, the lush title track. Alan Parsons's approach was a synthesis of studio wizardry with a symphonic, spacey interplay between keyboards, synthesizerss and basic rock instrumentation. Though never a hit, "Psychobabble" remains a favorite of fans. "Children of the Moon," "Sirius," and "Gemini" all have Alan Parsons's love of the esoteric. "Mammagamma" also allowed Alan Parsons to fully indulge his fondness for orchestration with its instrumental structure.

1. Sirius
2. Eye in the Sky
3. Children of the Moon
4. Gemini
5. Silence and I
6. You're Gonna Get Your Fingers Burned
7. Psychobabble
8. Mammagamma
9. Step by Step
10. Old and Wise

The music from the concert film of the same name. While the video release of the concert actually featured very little music, Hendrix and crew (Billy Cox and Mitch Mitchell) performed to shows at the festival that took place in at Haleakala Crater, Maui, Hawaii, on July 30, 1970. The group performed both an early and a late show and each is presented in it's entirety. Each of the shows is pressed on 180g vinyl and features different play lists. This is Jimi and band at their most explosive and it features all the big hits. Finally the full shows on high-quality, limited-edition, numbered import pressings! Far from audiophile in terms of recording, the burning performance makes up for the sonic shortcomings.

1. Dolly Dagger 5:08
2. Instrumental 5:27
3. Ezy Rider 4:54
4. Red House 6:45
5. Freedom 4:21
6. Jam Back At The House 6:59
7. Land Of The New Rising Sun 4:45

The music from the concert film of the same name. While the video release of the concert actually featured very little music, Hendrix and crew (Billy Cox and Mitch Mitchell) performed to shows at the festival that took place in at Haleakala Crater, Maui, Hawaii, on July 30, 1970. The group performed both an early and a late show and each is presented in it's entirety. Each of the shows is pressed on 180g vinyl and features different play lists. This is Jimi and band at their most explosive and it features all the big hits. Finally the full shows on high-quality, limited-edition, numbered import pressings! Far from audiophile in terms of recording, the burning performance makes up for the sonic shortcomings.

1. Lover Man
2. Hey Baby ( New Rising Sun )
3. In From The Storm
4. Message To Love
5. Foxy Lady
6. Hear My Train A Comin'
7. Voodoo Chile ( Slight Return )
8. Fire
9. Purple Haze

Little Feat's self-titled debut instantly established the band as a fresh slice of musical Americana. Steeped in their love of rock, R&B, blues and country with just a pinch of New Orleans spice - the album received nearly unanimous critical acclaim!
* New liner notes by legendary producer Russ Titelman. (Mofi exclusive)
* Numbered Limited Edition “Japanese Mini Sleeve” gatefold packaging

1. Snakes on Everything
2. Strawberry Flats
3. Truck Stop Girl
4. Brides of Jesus
5. Willin’
6. Hamburger Midnight
7. Forty Four Blues/How Many More years
8. Crack in Your Door
9. I’ve Been the One
10. Takin’ My Time
11. Crazy Captain Gunboat Willie

Idlewild South, the sophomore release from America's sovereign Southern rock band the Allman Brothers, is easily their greatest studio album. Unlike the band's labyrinthine live shows, which are distinguished by their immense, walloping swamp rock, this album focuses on the considerable songwriting capabilities of Gregg Allman and Dicky Betts. Plus, it showcases the band’s original lineup, before multiple tragedies began taking their toll: The lightning slide guitar of Duane Allman, the vocals and Hammond B-3 of his brother Greg Allman, lead guitarist Dickey Betts, bassist Berry Oakley, and the thunderous drum tandem of Butch Trucks and Jaimoe Johanson. This album lays bare their talent for weaving disparate but distinctly Southern elements of rock, gospel, soul, jazz, and R&B into a cohesive and original whole. The legendary Engineer/Producer Tom Dowd oversaw these sessions, which resulted in the Bible-thumping "Revival," the smash hit "Midnight Rider," the dirty blues of "Don't Keep Me Wonderin'," the soul-soothing "Please Call Home," and the legendary "In Memory of Elizabeth Reed," which would go on to become the penultimate Allman Brothers' concert war-horse.

1. Revival
2. Don't Keep Me Wonderin'
3. Midnight Rider
4. In Memory Of Elizabeth Reed
5. Hoochie Coochie Man
6. Please Call Home
7. Leave My Blues At Home

Import
Miles Davis's famous mid-1960s quintet, featuring saxophonist Wayne Shorter and pianist Herbie Hancock, was intact until just a few weeks before his new, electric ensemble recorded In a Silent Way. Legendary as a kind of line in the sand challenging jazz fans during the ascendance of electric, psychedelic rock, In a Silent Way hinted at the repetitive polyrhythms Davis would employ throughout the early 1970s. It also partook generously of electric piano and bass and rekindled the tonal palette that Davis had explored famously with Kind of Blue. But In a Silent Way remains a clearly electric jazz record, part ambient color exploration, part rock-inflected energy and vibe, and part outright maverick creativity. Davis takes many long, breathy solos, and they glisten in a burnished blue against his new group's strange admixture of musical moods. In a Silent Way is a one of kind record that mixed the late-'60s pop and underground movement into the jazz realm. On this record Miles began to hook into the late '60s sounds that flowed from the bands in San Francisco. They would never make a record like it again, an absolutely timeless work that proves that Miles Davis and crew were some of the most innovative thinkers in modern music.

1. Shhh/Peaceful
2. In A Silent Way

Import

Overwrought and undeniable, Meat Loaf's Bat out of Hell remains both one of rock's biggest--and least likely--hit albums. The byproduct of a partnership between beefy singer Marvin Lee "Meat Loaf" Aday and fellow journeyman/National Lampoon Road Show cast member Jim Steinman, Bat out of Hell met 1977's vaunted Year of Punk with a blast of neo-operatic, Wagnerian-scaled bombast (based on Peter Pan, no less) that was as reactionary as anything the spiked set and their supporters could possibly imagine--13 million units worth, and counting. Bat seems to have thrived on the same formula that's made Andrew Lloyd Webber a multimillionaire knight: if you do kitsch, do it big. And what could be more kitschy and emblematic of the '70s than the ubiquitous "classic rock" (an overused adjective that applies all too well here) of "Two out of Three Ain't Bad" or the breathless nookie-quest, "Paradise by the Dashboard Light," replete with Phil Rizzuto calling the play-by-play? This digitally remastered edition also includes '78-vintage bonus live cuts of "Bolero" (the live show's equally over-the-top opener) and "Bat out of Hell" that showcase the production's energetic, perfectionist bent. The sonic upgrading here also underscores the oft-overlooked efforts of producer Todd Rundgren.

Bat Out Of Hell
You Took The Words Right Out Of My Mouth (Hot Summer Night)
Heaven Can Wait
All Revved Up With No Place To Go
Two Out Of Three Ain't Bad
Paradise By The Dashboard Light
For Crying Out Load

Country Woman
Generation
Poor Precious Dreams
Another August Revisited
Going Nowhere
Happiness Girl
Goodtime Feeling
September Rain
Neon River
Plastic Soldiers
Say Mann
Tapestries

1. What Went Wrong
2. Adam's Lament
3. Mr. Grey
4. Blue Funk
5. Carnival of Love
6. Sara Wells
7. Inside-Out Man
8. Camino Real
9. People I Once Knew

Metallica Kill 'Em All On Vinyl LP

Half Speed Mastered from the original analog tapes at Mobile Fidelity Sound Labs for the ultimate listening experience... Audiophile Quality, Louder, Faster, Heavier!!!

Metallica's debut album--originally released in 1983--is a masterpiece of thrash metal, and as good a marker as any for the debut of the genre. Fusing the rapid-fire attack of bands like Motorhead with a guitar style reminiscent of such British heavy metal bands as Iron Maiden and Judas Priest, Metallica essentially created a new kind of metal. Several of the songs from this 1983 album have since become classics, including "Seek & Destroy", "The Four Horsemen", and "Jump in the Fire". Essential for any heavy metal fan.

1. Hit The Lights
2. The Four Horsemen
3. Motorbreath
4. Jump In The Fire
5. (Anesthesia) - Pulling Teeth
6. Whiplash
7. Phantom Lord
8. No Remorse
9. Seek And Destroy
10. Metal Militia

Limited to 3,000 copies

Metallica Kill 'Em All On Limited Edition 45RPM 180g 2 x Vinyl LP Set

This series will allow Metallica fans the option to hear these legendary recordings as never before... Louder, Faster, Heavier!!!

Half Speed Mastered from the original analog tapes at Mobile Fidelity Sound Labs for the ultimate listening experience... Audiophile Quality

Metallica's debut album--originally released in 1983--is a masterpiece of thrash metal, and as good a marker as any for the debut of the genre. Fusing the rapid-fire attack of bands like Motorhead with a guitar style reminiscent of such British heavy metal bands as Iron Maiden and Judas Priest, Metallica essentially created a new kind of metal. Several of the songs from this 1983 album have since become classics, including "Seek & Destroy", "The Four Horsemen", and "Jump in the Fire". Essential for any heavy metal fan.

1. Hit The Lights
2. The Four Horsemen
3. Motorbreath
4. Jump In The Fire
5. (Anesthesia) - Pulling Teeth
6. Whiplash
7. Phantom Lord
8. No Remorse
9. Seek And Destroy
10. Metal Militia

Import

1. Wanted Man
2. Wreck of the Old 97
3. I Walk the Line
4. Darling Companion
5. Starkville City Jail
6. San Quentin
7. San Quentin
8. A Boy Named Sue
9. Peace in the Valley
10. Folsom Prison Blues

VINYL ONLY! Double white vinyl 180 gram, gatefold sleeve, reissue of the legendary rare recording from Toronto's Phoenix Theatre on October 26th, 1996. First pressing comes with a bonus Boognish "Cowboy" glow-in-the-dark sticker. This album will NOT be made available on CD or as a download. The set list focuses on the "12 Golden Country Greats" tunes and previous fab favorites such as "Push th' Little Daisies" and "Buenas Tardes Amigo", plus a cover of Billy Joel's "Piano Man". Schnitzel. 2006.

1. Pretty Girl
2. What Deaner Was Talkin' About
3. Japanese Cowboy
4. Pumpin' 4 the Man
5. Mister Richard Smoker
6. Spinal Meningitis (Got Me Down)
7. Help Me Scrape the Mucus Off My Brain
8. Waving My Dick in the Wind
9. Push th' Little Daisies
10. Buenas Tardes Amigo
11. Poop Ship Destroyer
12. I'm Holding You
13. Doctor Rock
14. The H.I.V. Song
15. Piano Man
16. Fluffy

Engineer, producer and songwriter Alan Parsons and his partner Eric Woolfson created a very loose concept of songs based on gambling and temptation for The Turn Of A Friendly Card. The standout songs, 'Time,' and 'Games People Play' work entirely on their own but the overall flow and ebb of the album makes an effortless and wonderful journey. Mainstay vocalist Lenny Zakatek is also joined by Chris Rambow. The ace musicians, including Parsons and Woolfson on various keyboards, are backed by a full orchestra as well.

1. May Be A Price To Pay
2. Games People Play
3. Time
4. I Don't Wanna Go Home
5. The Gold Bug
6. The Turn Of A Friendly Card
I. The Turn Of A Friendly Card (Part One)
II. Snake Eyes
III. The Ace Of Swords
IV. Nothing Left To Lose
V. The Turn Of A Friendly Card (Part Two)

Ernest Ansermet conducts the L'Orchestre De La Suisse Romande performing Isaac Albéniz's Iberia and Joaquín Turina's Danzas Fantásticas 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 Evocacian 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 Almeria, Rondena and Fandango are ingeniously combined. The two movements El Puerto and El Albaicin are no less exciting: the first presents a rich potpourri of Spanish songs, while the second - held in the minor key - conjures up a picture of Granada's gypsy quarter.

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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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

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Regard as one of the most artistic bossa nova records ever, perhaps because Jobim rides the gentlest of waves in this particular recording. While the large instrumental ensemble might lead one to suspect that sensationalism was the aim here, listening to the music proves that Jobim has remained true to his clear melodies and his simple, sensitive style. A relaxed carpet of sound is rolled out which enhances and refines the essence of Jobim’s musical roots, turning them into miniature tone poems.

1. Wave
2. The Red Blouse
3. Look to the Sky
4. Batidinha
5. Triste
6. Mojave
7. Dialogo
8. Lamento
9. Antigua
10. Captain Bacardi

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Just a glance at the original cover is enough – the ‘King of the Trumpet’ and the ‘King of the Keyboard’ must have thoroughly enjoyed making this album back in 1957. Musical sparks obviously flashed right from the very first title. Well, that’s not really surprising since the two musicians were the ‘dream team’ of the Fifties, and only the producer Norman Granz, who had both artists under contract, could make that dream come true. Louis Armstrong is at the centre of most titles as singer, but his crystal-clear, brilliant trumpet sound had lost nothing of its fascination in the Fifties. Naturally Oscar Peterson does not let himself be restricted to the mere role of accompanist – he’s far too genial, too full of imagination and technically accomplished for that. “You Go To My Head”, in the version as sung by Billie Holiday, can match hers any day, filled as it is with unspent freshness and clarity. This title provides a good example of how Armstrong and the Peterson Quartet breathed new life into the old war horses of the “American Songbook” and set new standards for the art of improvisation. ‘There’s No You’, in which Louis is joined by Herb Ellis, is a jewel of a performance and deserves special mention. The old MGM/Verve pressings often had the drawback that the high notes tended to hiss, which of course spoiled listening to Armstrong’s voice. Luckily this defect has been ironed out in this new pressing.

1. That Old Feeling
2. Let's Fall in Love
3. I'll Never Be the Same
4. Blues in the Night (My Mama Done Tol' Me)
5. How Long Has This Been Going On?
6. I Was Doing All Right
7. What's New?
8. Moon Song
9. Just One of Those Things
10. There's No You
11. You Go To My Head
12. Sweet Lorraine

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Today it is difficult to understand that despite the tremendous Bach renaissance that took place in the 19th century many compositions by the Cantor of St. Thomas’s Church in Leipzig had been underrated. The Cello Suites, for example, have been regarded for almost 300 years as purely a set of tricky etudes that every virtuoso in the making simply must tackle. What recording engineers and their equipment can bring to the ears is quite astounding. So it was back in the Thirties with Pablo Casal’s legendary recording against which every cellist is measured today and to whose perfection he aspires. Janos Starker’s recording of the Suites from 1963 and 1965 makes a lasting impression on the listener, even when compared with other recordings from the digital era, and even record producers who are well used to recorded excellence have been highly impressed. For Charlotte Gilbert of the Mercury record label, these recording sessions were one of five truly great events in all her 20 years of recording experience. Without a doubt, Starker allows his instrument to resound freely but without forcing the tone. Starker’s full-bodied sound and technical brilliance are complemented by his finely chiselled interpretation that lends immense expression to Bach’s thrilling harmony and verve to the strict rhythmic construction of the movements. Just listen to his organ-like double-stopped passages, the eloquent dialogues, and the pure excitement created by his highly individual treatment of tempo. Then you will surely agree with the often-quoted paradox that Bach’s Cello Suites are ‘polyphony for a solo instrument’.

This title is not eligible for further discount.

Import (Germany)

Bartok composed his Dance Suite as the result of a commission from the city fathers of Budapest to celebrate the 50th anniversary of the union of the two towns Pest and Buda. While on his travels, Bartok liked to collect old folksongs, and he used this opportunity to express the act of fraternity in his music in the manner of a hidden program. As he himself stated, he made use of Arabian, Hungarian and Romanian influences in the Suite, whose dances are linked together by means of ritornello-like interludes. Glossiness in order to achieve romantic tonal magnificence is uncalled for here. Dorati's conducting is oriented towards the archaic strength, and the dry and at times rustic nature of the Suite. He allows the orchestra to seethe, whistle and stamp, driven on by ever-changing rhythms which lend the work its impulsive urge. Together with the highly expressive Portraits, Op. 5 and the two excerpts from Mikrokosmos, originally composed for the piano and heard here in an arrangement for orchestra by Tibor Serly, this compilation offers an excellent insight into Bartok's musical thoughts and works.

1. Dance Suite
2. Deux Portraits (Two Portraits), Op. 5
3. Mikrokosmos: Bourree (From the Diary of a Fly)

This title is not eligible for further discount.

The performance history of Beethoven’s Piano Concertos is, it appears, bound up with a paradoxical situation. On the one hand, every great pianist must almost feel destined to perform these works at least once in his lifetime. But on the other hand, so many heroes of the schellac era have left future generations their excellent recordings that these are filled with awe and respect, their otherwise nimble fingers become lame – and often only a mediocre recording is the result. The present recording, a milestone among the multitude of televised recordings made in they heyday of analogue recording technique, is highly impressive for its depth of musical focus, even without any visual support. Arturo Benedetti Michelangeli’s performance is a far cry from sugar-sweet pedaling and showy virtuosity, rather he displays a highly individual understanding of the intricately constructed musical material. Each phrase blossoms out to become a unique event in time composed. The soloist and the excellent orchestra here give a performance which sums up all Beethoven’s famous compositions and in which the pianist’s amazing sensitivity penetrates even the smallest detail. This is an exact reproduction of the 1979 Deutsche Grammaphon release.

This title is not eligible for further discount.

“It is a happy state of events to see two great masters unite in a glorious work and thus fulfil every wish of the thoughtful connoisseur. Beethoven has proved that he alone – among many composers – was certainly the one to comprehend the tender and at the same time powerful poem deep in his innermost soul: every tone which the poet struck resounded in his heart like a string tuned at the very same pitch and vibrating at the same rate, and so the music was created which now threads its way and binds all together like a brightly coloured ribbon woven from brilliant tones.“ Such were E.T.A. Hoffmann’s enthusiastic words about Beethoven’s Egmont: indeed very little else needs to be added – except that this recording has been newly pressed and is now available on the DECCA label once again. The chambermusic-like directness of the interpretation and the fact that the individual instrumental groups are easily identifiable will be appreciated by the perceptive listener. On top form, Pilar Lorengar sings her vocal part with playful lightness and dramatic expressivity. The speaking role is performed by the famous actor and member of the Burg Theater, Klaus-Jürgen Wussow, whose clear and dignified recitation throws a literary bridge to the music.

This title is not eligible for further discount.

The performance history of Beethoven’s Piano Concertos is, it appears, bound up with a paradoxical situation. On the one hand, every great pianist must almost feel destined to perform these works at least once in his lifetime. But on the other hand, so many heroes of the schellac era have left future generations their excellent recordings that these are filled with awe and respect, their otherwise nimble fingers become lame – and often only a mediocre recording is the result. The present recording, a milestone among the multitude of televised recordings made in they heyday of analogue recording technique, is highly impressive for its depth of musical focus, even without any visual support. Arturo Benedetti Michelangeli’s performance is a far cry from sugar-sweet pedaling and showy virtuosity, rather he displays a highly individual understanding of the intricately constructed musical material. Each phrase blossoms out to become a unique event in time composed. The soloist and the excellent orchestra here give a performance which sums up all Beethoven’s famous compositions and in which the pianist’s amazing sensitivity penetrates even the smallest detail. This is an exact reproduction of the 1979 Deutsche Grammaphon release.

1. First Movement - Allegro
2. Second Movement: Adagio Un Poco Mosso
3. Third Movement: Rondo (Allegro)

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Conductors are always highly tempted to present Beethoven’s “Eroica” as a heroic epic brimming over with a magnificent, powerful sound. It is all the more surprising, therefore, to discover that Hermann Scherchen does not succumb to this temptation but lends this epoch-making work glowing brilliance and inspiring rhythm. His analytical insight delves deep into the score and illuminates even the minutest detail, and this is not something he achieves by decreasing the tempo – quite to the contrary! The stormy outer movements are taken to the very limits of what is technically possible but they certainly never seem rushed. Scherchen’s ideal, this uncompromising laying-bare of the musical structure, is also applied to the second and third movements. Nothing is obscured or muffled: the funeral march proceeds on its way, rich, darkly glowing and sonorous; the horn calls and the circling, flurrying strings in the Scherzo find their way directly to the listener. The tutti is taut, sinewy, and quite free of all romanticizing pomp. Thanks to the finely balanced recording technique this disc offers true “symphonic” listening pleasure coupled with a chamber-music-like transparency.

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It was clear from the start that Beethoven’s Ninth Symphony, with its air of solemnity in the final chorus, which calls for brotherly love just as the New Year comes in, would become a musical part of our world’s cultural legacy. Hundreds of minds, Beethoven researcher Karl Nef prophesied, have been set in motion by this music in the most varied ways, and it will continue not only to bestow pleasure upon countless thousands, but also to stimulate mental life right at the most fundamental level. There are certainly only a very few truly cerebral interpretations which stand out from the fathomless mass of recordings. One of those upon which “The Absolute Sound” journal has stamped its coveted seal of approval is the recording with Georg Solti and his perfectly honed symphony musicians from Chicago. Here, this usually somewhat daring baton-wielder plumbs the very depths of the score and allows Beethoven’s rich abundance of ideas to ferment into a great whole. The four soloists prove their worth as first choice for the richly detailed and balanced synopsis of this fissured work. They captivate us as much in the solo as in the group singing with their natural and expressive intonation. The dry, very present sound highlights the fact that this is an artistic performance at the highest level.

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Prog-Rock Masterpiece from Yes! Cut from the Analog Master Tape!

Propelled by the timeless hit 'Roundabout,' Yes' fourth album, Fragile, became an instant classic and is undoubtedly one of prog-rock's finest moments. It was the first Yes record to feature Rick Wakeman on keyboards and the first to display the inimitable artwork of Roger Dean. And it's now been remastered by the incomparable team of Kevin Gray and Steve Hoffman at AcousTech Mastering. Typical of Kevin and Steve's work, this version of Fragile is warmer, richer and airier than the 1971 original. Rediscover a classic. By far the most successful and enduring progressive rock group ever, Yes have been navigating the sonic stratosphere for more than three decades. Weathering myriad personnel changes and as many musical trends, their popularity has endured like granite. As Q Magazine put it, Yes are 'the long haired dads of Radiohead.'

1. Roundabout
2. Cans And Brahms
3. We Have Heaven
4. South Side Of The Sky
5. Five Per Cent For Nothing
6. Long Distance Runaround
7. The Fish (Shindleria Praematurus)
8. Mood For A Day
9. Heart Of The Sunrise

Opening slowly with the dark, swampy "Born on the Bayou," Bayou Country reveals an assured Creedence Clearwater Revival, a band that has found its voice between their first and second album. It's not just that "Born on the Bayou" announces that CCR has discovered its sound — it reveals the extent of John Fogerty's myth-making. With this song, he sketches out his persona; it makes him sound as if he crawled out of the backwoods of Louisiana instead of being a native San Franciscan. He carries this illusion throughout the record, through the ominous meanderings of "Graveyard Train" through the stoked cover of "Good Golly Miss Molly" to "Keep on Chooglin'," which rides out a southern-fried groove for nearly eight minutes. At the heart of Bayou Country, as well as Fogerty's myth and Creedence's entire career, is "Proud Mary." A riverboat tale where the narrator leaves a good job in the city for a life rolling down the river, the song is filled with details that ring so true that it feels autobiographical. The lyric is married to music that is utterly unique yet curiously timeless, blending rockabilly, country, and Stax R&B into something utterly distinctive and addictive. "Proud Mary" is the emotional fulcrum at the center of Fogerty's seductive imaginary Americana, and while it's the best song here, his other songs are no slouch, either. "Born on the Bayou" is a magnificent piece of swamp-rock, "Penthouse Pauper" is a first-rate rocker with the angry undertow apparent on "Porterville" and "Bootleg" is a minor masterpiece, thanks to its tough acoustic foundation, sterling guitar work, and clever story. All the songs add up to a superb statement of purpose, a record that captures Creedence Clearwater Revival's muscular, spare, deceptively simple sound as an evocative portrait of America.

1. Born on the Bayou
2. Bootleg
3. Graveyard Train
4. Good Golly Miss Molly
5. Penthouse Pauper
6. Proud Mary
7. Keep on Chooglin'

The 1954 masters from Norman Granz's studio were in great shape so this Speakers Corner re-issue sounds fabulous in mono.

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No session in which black jazz musicians take part would be worth its salt without an own good and honest opening blues number, as the first two tracks on this LP go to show. But in the classic hits Lover Come Back To Me and Makin’ Whoopee too, the very heartbeat of the Age of Swing can be easily discerned. And it’s well worth taking a look at the small print on the cover too. Joining the prominent members of the Peterson trio are Herb Ellis and Stan Levey no less! It’s hardly necessary to add that the sound reproduction on this VERVE recording made in the 1950s is of the very highest quality.

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Track Listing

1. Honeysuckle Rose
2. The Midnight Sun Will Never Set
3. Crazy Rhythm
4. Blue Star
5. Cotton Tail
6. Body And Soul
7. Cherry
8. Doozy

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Behind the mysterious title Symphonie fantastique is to be found what was undoubtedly one of the most powerful musical compositions of its day. The highly controversial discussions which this autobiographical, extraordinary work provoked are quite understandable when one considers that Beethoven and Schubert had just put down their quills for the last time and that Wagner had only just left his childhood behind him. In commenting upon the daring cyclical structure of the work, one French music critic said, “In Berlioz’s Symphony we believe that we have seen the prelude to a revolution in instrumental music”. In spite of being acknowledged and praised as a composer, Berlioz was never given the professorship he coveted at the Paris Conservatoire, and it might appear as if the renowned Conservatoire Orchestra was making its apologies for this in the present excellent recording. The various scenes of the intoxicating programme music are approached with daring; dreadful, macabre ideas are presented in a low, gloomy and dark timbre until finally a heroic attitude comes to the fore, accompanied by thundering drum rolls, when the death sentence is pronounced. Fantastique!

1. First Movement: Reveries, Passions
2. Second Movement: Un Bal
3. Third Movement: (Sceneaux Champs)
4. Third Movement: (Sceneaux Champs)
5. Fourth Movement: Marche Au Supplice
6. Fifth Movement Song D'Une Nuit De Sabbat

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By the time Bill Withers made this, his debut recording, he'd already served for many years in the US Navy, had a job as a milkman and installed toilets in jets for American airplane construction companies. All the while, he bombarded record companies with self-produced demo tapes that landed in the dustbin. In 1971 came his breakthrough when the successful producer Booker T. Jones hauled him onboard and sent him into the studio with guitarist Stephen Stills, drummer Al Jackson and bass player Donald "Duck" Dunn. In his debut album, Withers demonstrates his universal, mature competence as a singer, composer and performer, which was hardly surpassed in his later recordings.

Bill Withers Just As I Am Track Listing

1. Harlem
2. Ain't No Sunshine
3. Grandma's Hands
4. Sweet Wanomi
5. Everybody's Talkin'
6. Do It Good
7. Hope She'll Be Happier
8. Let It Be
9. I'm Her Daddy
10. In My Heart
11. Moanin' And Groanin'
12. Better Off Dead

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Her interpretations were a benchmark against which all aspiring singers were measured. Highly expressive, almost visual ballads went hand in hand with Billie Holiday’s life and voice - and only she alone could sing them! Her voice was always embedded in the sound carpet produced by her accompanying musicians: Tony Scott and Paul Quinichette are two names who made their mark on her music in the mid-Fifties, and the rhythm group of Barney Kessel, Kenny Burrell and Chico Hamilton is really first class. The trumpeter Harry ‘Sweets’ Edison, a long-time friend from the Count Basie Band, sensitively accompanies the singer’s mature voice.

This album in its original cover proves for first time just how great the old Clef recordings by Norman Granz can sound. And surely almost no-one will still possess a well-preserved copy (with lyrics!).

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1. If the Moon Turns Green
2. Remember
3. Autumn in New York
4. My Man
5. Lover Come Back to Me
6. Stormy Weather
7. Yesterdays
8. He's Funny That Way
9. I Can't Face the Music
10. How Deep is the Ocean
11. What a Little Moonlight Can Do
12. I Cried for You

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Some violinists enrapture their audience with their purity of tone, others with their warm timbre, or their amazing technical virtuosity. Pablo de Sarasate y Navascuéz was one of the very few violinists who combined all these merits, and in addition was a composer in his own right. The most famous of his 50 works are Zigeunerweisen, based on traditional gypsy folklore and the fiendishly difficult Carmen Fantasy. And what better proof is there than Saint-Saëns’s Rondo capriccioso that it is perfectly possible to unite high-spirited joyfulness with a minor key. As the name suggests, his Havanaise is filled with the melodies and colourful rhythms of Spain: no wonder this piece is known as “the violinists' warhorse”. It goes without saying that these 19th-century bravura pieces are an absolute “must” for all those who wish to join the annals of great virtuoso violinists. And today, 40 years after the making of this recording, general consensus has it that Ruggiero Ricci has taken his rightful place among the great virtuosos.

Recording: September 1959 at Kingsway Hall, London by Alan Reeve / Production: James Walker

These are two of the most moving string quartet works in the Russian repertoire and these 1962 renditions are amongst the best ever recorded.

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Fritz Reiner dedicated himself to the interpretation of works by modern composers such as Richard Wagner, Richard Strauss and Béla Bartók, and it suited him well to tackle works such as Brahms’s Hungarian Dances and Dvorák’s Slavonic Dances. These lively compositions require a conductor whose interaction with the orchestra is vivacious and animated. Reiner always demanded utmost concentration and perfection from his ensemble. Under his baton, the Vienna Philharmonic Orchestra plays with enthusiasm and without restaint; no trace of a sterile concert atmosphere is found in this recording.

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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Brahms originally intended his Piano Concerto No. 1 as a symphony and he extensively reworked his ideas before setting down the work in the form as we know it today. The composer’s original intentions still shimmer through however, for the work goes far beyond mere concertante playing and a display of virtuoso brilliance by the soloist. The first movement in particular, with its relentless, threatening main theme, embodies Brahms’s dramatic symphonic writing and even a conciliatory secondary theme offers no relief for it too must give way to the heavy, fateful initial theme.

The passionate and grandiose opening movement is followed by an Adagio full of tranquillity and quiet devotion; the solemn atmosphere is taken to exalted heights by the soloist and orchestra only to fade out pianissimo. Although the forceful, belligerent Finale occasionally conjures up the dark powers of the first movement, the work ends in a confident and cheerful vein. It is amazing how the sheer presence of the emotions in this composition have been captured on the present DECCA recording from 1962. This is not only true of the gripping interpretation but also of the recording itself which remains transparent and brilliant throughout.

Brahms: Piano Concerto No. 1 in D minor Op. 15
Maestoso
Adagio
Rondo: Allegro non troppo

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The original pressing just doesn’t hold a candle to this re-issue! Lovingly re-mastered from the original Mercury Living Presence analog tapes, Speakers Corner has done an astounding job on this album. Hear Starker’s bold and natural cello and Sebok’s piano reproduced with perfect clarity and tonality. The performances are exceptional; lively and heartfelt. The sound quality is purely first rate. Outstanding music, impeccably performed, and the sound quality is the best you’ll hear! It just doesn’t get better than this!

Brahms' Cello and Piano Sonatas could well be described as 'romantic expression dressed in classical garb,' filled as they are with the same musical philosophy that is to be found in many of his instrumental works. Although 21 years lay between the two compositions, Brahms remained true to the formal musical language of the Viennese masters, and this brought him – and other composers of his time – the reproach of imitating Beethoven.

The unmistakable personal style of Brahms is reflected in the sweeping first movement which is in the manner of a serious song and calls for sensitive but by no means feeble bowing. Starker's wiry, austere playing keeps a check on any excessive emotion and instead brings the music to life in great detail. This one comes with Music Direct's Highest Recommedation!

Sonata for Cello and Piano No. 1 in E minor, op. 38
Allegro Non Troppo
Allegretto Quasi Minuetto
Allegro

Sonata for Cello and Piano No. 2 in F major, op. 99
Allegro Vivace
Adagio Affetuoso
Allegro Passionato
Allegro Molto

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In the 18th and 19th century, a great many chamber-music works for winds were composed with a specific occasion in mind. Brahms’s Horn Trio, however, is an exception in that it was not especially written for a contemporary virtuoso. It is known, though, that Brahms himself played this difficult instrument fairly well, that he valued the beauty of its tone, and that he was inspired to compose the work recorded here by an inner urge.

In his performance, John Barrows concentrates upon bringing out the compositional layout of the work, which largely dispenses with a display of virtuosi fireworks. The sonorous tonal character of the horn and its range of expression – from lyrical to mournful – are shown off to great effect. In the rapid Finale, however, Barrows pays tribute to the various playing techniques offered by this aristocratic instrument. With blaring staccatos and organ-like bass notes, he goads his fellow musicians to join him in a musical hunt, as it were, and they take up his challenge with thrilling effect.

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When one considers that Erica Morini’s 60-year career on the concert platform brought her together with such orchestras as the Leipzig Gewandhaus Orchestra and the Berlin Philharmonic and took her as far as New York’s Carnegie Hall, the number of recordings she left us is very small indeed. In order to obtain an idea of this violinist’s great talent, which she developed to perfection as one of the very first women to attend the Vienna Conservatory, it has generally been necessary to delve into the shellac record archive. And of course, such records crackle and hiss, thus ruining the listener’s pleasure. But now here is the remedy: a stereo recording of Brahms’s Violin Concerto which the 61-year-old Erica Morini recorded for the Westminster label. Her clean and highly differentiated timbre, her lyrical expression, technical perfection, and of course her very own thrilling esprit is marvellous to hear. No matter whether the absolute Brahms fan tucks this LP under his pillow at night, or the collector stows it away in his cupboard, or even better lets it spin around on the turntable, this LP remains invaluable for its documentary and artistic value

1. Violin Concerto in D Major, Op. 77

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British military bands are as much a part of life in England as is the famous cup of tea! Just as the hot drink has its very own aroma, British bands have their very own imitable sound which is only to be found where it is ‘brewed’. Of course, there’s always an exception, such as when the highly decorated and well-versed Eastman Wind Ensemble and their experienced leader Frederick Fennell set their foot on English soil. The American musicians prove that they can do more than justice to Gordon Jacob’s arrangements of suite movements which William Byrd originally wrote for the harpsichord in the 17th century. With well-marked rhythmic contours and a freshness of tone, Fennell’s men pipe the music in lofty heights.

1. Gordon Jacob: “William Byrd” Suite
2. William Walton: 'Crown Imperial' - Coronation March
3. Gustav Holst: 'Hammersmith' - Prelude and Scherzo for Military Band, Op. 52 - The Eastman Wind Ensemble conducted by Frederick Fennell

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