Format > 200 Gram Vinyl LP

After the U.S. release of Are You Experienced and American tour dates that left jaws dropped, anticipation was very high about the next Jimi Hendrix album. Many fans and critics consider this follow up, Axis: Bold As Love, his best collective effort. Released in November of 1968, it immediately garnered high praise for it's incredible performances and innovative engineering by Eddie Kramer. The album was to spawn many hits including Up From The Skies, If 6 was 9, Spanish Castle Magic, Little Wing, and Castles Made of Sand, among others. Again joined by Noel Redding's bass and Mitch Mitchell on drums. This Track Edition is exclusively presented here by Classic, pressed on 180 gram vinyl and mastered directly from the original MONO master tapes. Original 1968 mono copies of this title on Reprise, bring as much as a staggering $1400 - $2000 if they can be found.

1. EXP
2. Up From The Skies
3. Spanish Castle Magic
4. Wait Until Tomorrow
5. Ain't No Telling
6. Little Wing
7. If 6 was 9
8. You Got Me Floatin'
9. Castles Made of Sand
10. She's So Fine
11. One Rainy Wish
12. Little Miss Lover
13. Bold As Love

On her stunning sophomore album, Central Reservation, Beth Orton slips free of the electronic textures that colored her acclaimed 1996 debut, Trailer Park, stripping her music down to its raw essentials to produce a work of stark simplicity and rare poignancy. With the exception of a pair of Ben Watt-produced tracks ("Stars All Seem to Weep" and a remix of the title cut), Central Reservation rejects synthetic sounds and beats altogether in favor of an organic atmosphere somewhere between folk, jazz, and the blues; the focal point is instead Orton's evocatively soulful voice, which invests songs like "Sweetest Decline" and "Feel to Believe" with remarkable warmth and honesty. It's a risky move creatively as well as commercially

1. Stolen Car
2. Sweetest Decline
3. Couldn't Cause Me Harm
4. So Much More
5. Pass in Time
6. Central Reservation (Original Version)
7. Stars All Seem to Weep
8. Love Like Laughter
9. Blood Red River
10. Devil Song
11. Feel to Believe
12. Central Reservation (The Then Again Version)

Union's release in 1988 announced a bold, incendiary new voice in the singer/songwriter sweepstakes in Toni Childs. The well-traveled Childs, the short-term original lead singer for Berlin, draws upon the vast experiences of her life and delivers them with an urgency that is hypnotically compelling. It's all tied together by David Tickle's production and aided by first-rate backing by musicians including songwriting collaborator David Ricketts, drummer Rick Marotta and guitarist David Rhodes. The single "Don't Walk Away" kicks things off in high gear and Childs rarely looks back. Her take-no-prisoners vocal drives the funky, horn-driven track, which is backed by the gospel swell of the background vocalists. Although the rest of the album is a little more sedate, Childs never loses the urgent edge to her dusky voice. "Stop Your Fussin'" is sung to a restless lover over a Caribbean rhythm and "Hush" has a playful bounce to it. Elsewhere, "Zimbabwae" is a parable detailing African strife complete with chanting background vocals and "Dreamer" provides her with a bed of keyboards that shimmer like stars. The twice Grammy-nominated Union received universal critical acclaim and is riveting right through the moody poetry of the final track, "Where's the Ocean." — Tom Demalon

1. Don't Walk Away
2. Walk And Talk Like Angels
3. Stop Your Fussin
4. Dreamer
5. Let the Rain Come Down
6. Zimbabwae
7. Hush
8. Tin Dream
9. Where's the Ocean

Supply and Demand is the second effort from Amos following his highly acclaimed self titled first album from the Blue Note Label. Supply and Demand is produced by Barrie Maguire who also plays bass on several tracks, and mixed by Kevin Killen onto 1/2" analog tapes which were used by Bernie Grundman to master and cut lacquers on Classic's "all tube" cutting system at Bernie Grundman Mastering in Hollywood. Tunes include: Shout out Loud, Sympathize, Freedom, Careless, Sweet Pea and Night Train among others all of which remind us what a masterful and soulful vocalist Amos Lee really is. This LP is, of course, pressed on Classic Records proprietary 200g Super Vinyl Profile for maximum fidelity and musical pleasure. Highly recommended.

1. Shout Out Loud
2. Sympathize
3. Freedom
4. Careless
5. Skipping Stone
6. Supply And Demand
7. Sweet Pea
8. Night Train
9. Southern Girl
10. The Wind
11. Long Line Of Pain

One of the many alto players deemed a Charlie Parker descendant; Donaldson did indeed help carry the torch from the post-bop era but gradually infused more blues and eventually what was to become soul-jazz into his playing. This June 1957 session cut in Hackensack was a distinct departure from his previous dates for Blue Note. Pianist Herman Foster and conga-player Ray Barretto both of whom he would utilize on future recordings are joined by the tasteful drummer Dave Bailey and bassist Peck Morrison to complete the quintet. This was one of Donaldson’s last sessions to incorporate piano, choosing in the future to replace it with an organ, which fellow label-mate Jimmy Smith was making very popular. Not forsaking his bop roots altogether, Lou and crew mix it up on this set, with three originals, a mambo arrangement plus a literally perfect rendition of “There Will Never Be Another You”. Mastered and cut on an all tube pure mono cutting system by Bernie Grundman. Pressed on Classic's proprietary 200g super vinyl profile for the best and most authentic sound possible.

1. Dorothy
2. I Won't Cry Any More
3. Herman's Mambo
4. Peck Time
5. There Will Never Be Another You
6. Groove Junction
7. Grits and Gravy

Continuing the major groove that pianist Silver had established at Blue Note, this 1958 release finds trumpeter-extraordinaire Art Farmer and Clifford Jordan’s tenor sax on the front-line assault. Rounding out the five are drummer Louis Hayes and bassist Teddy Kotick. Silver penned five new exciting pieces for these sessions including The Outlaw, Melancholy Mood, Pyramid, Moon Rays and Safari while also tailoring a personal arrangement of the Arlen-Koehler standard Ill Wind. Both hornists get the chance to really stretch out in Silver’s writing. Farmer’s prowess was already well established but both Jordan’s time and recordings with Silver jump-started his career to other echelons including as leader on his own recordings for Blue Note. Mastered and cut from the original FULL TRACK mono master tapes using a full track mono tape head and ALL TUBE tape electronics and cutting system allowed Bernie "BeBop" Grundman to extract every nuance on the tapes which adds to the magic of this Rudy Van Gelder recording. This is the real deal and it is done perfectly from mastering through to the authentic laminated cover art (front only) to the "deep groove" in the center label. If you didn't know better you would think that a copy of this reissue is a perfect original that has been locked in a time capsule instead of another installment in the acclaimed Classic Records Signature Blue Note Mono LP series pressed on Classic’s 200g Super Vinyl Profile.

1. The Outlaw
2. Melancholy Mood
3. Pyramid
4. Moon Rays
5. Safari
6. Ill Wind

Time Waits: The Amazing Bud Powell Vol. 4

This classic piano trio date from May, 1958 is considered one of absolute best from Powell’s late period. Bouts of mental disease resulted in highs and lows in his final discography, but the majority of his titles cut for Blue Note in the late 1950’s stand out. Showing he still possessed what listeners and critics called ‘the bounce’, this album in particular reinforces Powell as a first-rate composer, with the debut of seven originals including the magnificent “John’s Abbey” and the title tune. Bassist Sam Jones and drummer Philly Joe Jones know how to stay out of his way and their contributions are nothing short of perfection. All three truly nail it on the remainder; “Sub City”, Dry Soul”, “Marmalade”, “Monopoly” and the Afro-Latin groove of “Buster Rides Again”. Mastered and cut from the original FULL TRACK mono master tapes using a full track mono tape head and ALL TUBE tape electronics and cutting system allowed Bernie "BeBop" Grundman to extract every nuance on the tapes which adds to the magic of this Rudy Van Gelder recording. This 200g Super Vinyl Profile LP is done perfectly from mastering through to the authentic laminated cover art (front only) to the "deep groove" in the center label. If you didn't know better you would think that a copy of this reissue is a perfect original that has been locked in a time capsule instead of another installment in the acclaimed Classic Records Signature Blue Note Mono.

1. Buster Rides Again
2. Sub City
3. Time Waits
4. Marmalade
5. Monopoly
6. John's Abbey
7. Dry Soul
8. Sub City (alternate Master)

One of the more unique recordings in the Blue Note 1500 series, trombonist Bennie Green oversees a cool mix of swing, blues and mambo arrangements, including vocal contributions by the leader himself and the great Babs Gonzales. With his bone tone still rooted in the swing era, Green was starting to take notice and become influenced by the emergence of soul and rhythm and blues. Case in point; inviting Gene Ammons to sit in on tenor. Adding Billy Root as a second tenor creates a front line like no other while the legendary Sonny Clark handles the piano. Ike Isaac’s bass and the brute-drumming of Elvin Jones round out the sextet. Highlights include a forceful “We Wanna’ Cook”, plus heartbreaking takes of the ballads “That’s All” and “Lullaby Of The Doomed”. Mastered and cut from the original FULL TRACK mono master tapes using a full track mono tape head and ALL TUBE tape electronics and cutting system allowed Bernie "BeBop" Grundman to extract every nuance on the tapes which adds to the magic of this Rudy Van Gelder recording. This reissue is pressed on Classic’s proprietary 200g Super Vinyl Profile and features authentic laminated cover art (front only) and the "deep groove" in the center label. If you didn't know better you would think that a copy of this reissue is a perfect original that has been locked in a time capsule instead of another installment in the acclaimed Classic Records Signature Blue Note Mono LP series.

1. Soul Stirrin'
2. We Wanna Cook
3. That's All
4. Lullaby Of The Doomed
5. B.G. Mambo
6. Black Pearl

An alto player originally deep-rooted in bop, who by the late fifties was beginning to shed his Charlie Parker influences and take a more bluesy/soul approach. Blues Walk, from a one-day session in July of ï¿½58 has attained unanimous five-star status with the title track itself becoming one the leaderï¿½s signature tunes. Surrounding himself not with the usual all-stars found on many Blue Note dates from this period, Donaldson carefully chose his cohorts personally for their cohesiveness as a unit. Never one to engage frequently in wide-open ï¿½blowing sessionsï¿½, the results are powerful yet melodic and in one case, ï¿½Autumn Nocturneï¿½, fairly romantic without causing full-blown diabetes. Pianist Herman Fosterï¿½s intense pianistics almost steal the show while Peck Morrisonï¿½s bass and the often-overlooked Dave Bai! leyï¿½s d rumming augment to perfection. The addition of Ray Barrettoï¿½s congas (a regular on many of Donaldsonï¿½s sessions from this period) is tasteful and a nice touch without turning every song into a Latin re-write. ï¿½Play, Rayï¿½ is an arrangement dedicated to the congist while ï¿½The Masquerade Is Overï¿½, ï¿½Calling All Catsï¿½ and ï¿½Moveï¿½ complete the set. Mastered and cut from the original FULL TRACK mono master tapes using a full track mono tape head and ALL TUBE tape electronics and cutting system allowed Bernie "BeBop" Grundman to extract every nuance on the tapes which adds to the magic of this Rudy Van Gelder recording. This is the real deal and it is done perfectly from mastering through to the authentic laminated cover art (front only) to the "deep groove" in the center label. If you didn't know better you would think that a copy of this reissue is a perfect original that has been locked in a time capsule instead of another installment in the acclaimed Classic Records Signature Blue Note Mono LP series.

1. Blues Walk
2. Move
3. The Masquerade is Over
4. Play Ray
5. Autumn Nocturne
6. Callin' All Cats

This live date broken into two volumes has never sounded better! Upon its original release, critics and fans alike marveled at the recording quality and the moderate amount of audience noise that can distract from crucial moments of music. Recorded just two years after moving to New York, at the Manhattan Towers on May 14, 1958, leader Burrell decided to eschew a small ensemble and super-size the bandstand. During this period, between contributions for Blue Note and Prestige, he may have been the most-reco! rded na me guitarist in jazz and definitely had his pick of east coast players to choose from. His personnel choices for this show were inspired. After asking label-mate Louis Smith to bring his trumpet, he made an interesting choice in going with twin tenors in Tina Brooks and Junior Cook. Duke Jordan and Bobby Timmons split time behind the piano for the two different sets, while Sam Jones and Art Blakey handled bass and drums, respectively, straight through. Great extended jams get everyone involved on both standards and some originals including Jordan’s tongue-in-cheek “Scotch Blues”. Burrell himself takes front and center on outstanding versions of “Autumn In New York” and “Caravan”. Mastered and cut from the original FULL TRACK mono master tapes using a full track mono tape head and ALL TUBE tape electronics and cutting system allowed Bernie "BeBop" Grundman to extract every nuance on the tapes which adds to the magic of this Rudy Van Gelder recording. This is the real deal and it is done perfectly from mastering through to the authentic laminated cover art (front only) to the "deep groove" in the center label. If you didn't know better you would think that a copy of this reissue is a perfect original that has been locked in a time capsule instead of another installment in the acclaimed Classic Records Signature Blue Note Mono LP series.

1. Yes Baby
2. Scotch Blues
3. Autumn In New York
4. Caravan

Volume two of this highly acclaimed live date has never sounded better! Upon its original release, critics and fans alike marveled at the recording quality and the moderate amount of audience noise that can distract from crucial moments of music. Recorded just two years after moving to New York, at the Manhattan Towers on May 14, 1958, leader Burrell decided to eschew a small ensemble and super-size the bandstand. During this period, between contributions for Blue Note and Prestige, he may have been the most-reco! rded na me guitarist in jazz and definitely had his pick of east coast players to choose from. His personnel choices for this show were inspired. After asking label-mate Louis Smith to bring his trumpet, he made an interesting choice in going with twin tenors in Tina Brooks and Junior Cook. Duke Jordan and Bobby Timmons split time behind the piano for the two different sets, while Sam Jones and Art Blakey handled bass and drums, respectively, straight through. Great extended jams get everyone involved on both standards and some originals including Jordan’s tongue-in-cheek “Scotch Blues”. Burrell himself takes front and center on outstanding versions of “Autumn In New York” and “Caravan”. Mastered and cut from the original FULL TRACK mono master tapes using a full track mono tape head and ALL TUBE tape electronics and cutting system allowed Bernie "BeBop" Grundman to extract every nuance on the tapes which adds to the magic of this Rudy Van Gelder recording. This is the real deal and it is done perfectly from mastering through to the authentic laminated cover art (front only) to the "deep groove" in the center label. If you didn't know better you would think that a copy of this reissue is a perfect original that has been locked in a time capsule instead of another installment in the acclaimed Classic Records Signature Blue Note Mono LP series.

1. Rock Salt
2. The Man I Love
3. Chuckin'
4. Phinupi

This live date broken into two volumes has never sounded better! Upon its original release, critics and fans alike marveled at the recording quality and the moderate amount of audience noise that can distract from crucial moments of music. Recorded just two years after moving to New York, at the Manhattan Towers on May 14, 1958, leader Burrell decided to eschew a small ensemble and super-size the bandstand. During this period, between contributions for Blue Note and Prestige, he may have been the most-reco! rded na me guitarist in jazz and definitely had his pick of east coast players to choose from. His personnel choices for this show were inspired. After asking label-mate Louis Smith to bring his trumpet, he made an interesting choice in going with twin tenors in Tina Brooks and Junior Cook. Duke Jordan and Bobby Timmons split time behind the piano for the two different sets, while Sam Jones and Art Blakey handled bass and drums, respectively, straight through. Great extended jams get everyone involved on both standards and some originals including Jordan’s tongue-in-cheek “Scotch Blues”. Burrell himself takes front and center on outstanding versions of “Autumn In New York” and “Caravan”. Mastered and cut from the original TWO TRACK master tapes (running simultaneously with the full track mono master) using ALL TUBE tape electronics and cutting system allowed Bernie "BeBop" Grundman to extract every nuance on the tapes which adds to the magic of this Rudy Van Gelder recording. This is the real deal and it is done perfectly from mastering through to the authentic laminated cover art (front only) to the "deep groove" in the center label. In a few cases, when the two track master is done just right as with this recording, Classic complements the MONO release with a stereo offering. If you have to choose one over the other, you should go for the MONO as this was Rudy's focus in mixing live to MONO but if you can't resist comparing the two versions recorded at the same time with the same equipment or you can get a deal, then buy both - you won't be unhappy!

1. Yes Baby
2. Scotch Blues
3. Autumn In New York
4. Caravan

Volume two of this highly acclaimed live date has never sounded better! Upon its original release, critics and fans alike marveled at the recording quality and the moderate amount of audience noise that can distract from crucial moments of music. Recorded just two years after moving to New York, at the Manhattan Towers on May 14, 1958, leader Burrell decided to eschew a small ensemble and super-size the bandstand. During this period, between contributions for Blue Note and Prestige, he may have been the most-reco! rded na me guitarist in jazz and definitely had his pick of east coast players to choose from. His personnel choices for this show were inspired. After asking label-mate Louis Smith to bring his trumpet, he made an interesting choice in going with twin tenors in Tina Brooks and Junior Cook. Duke Jordan and Bobby Timmons split time behind the piano for the two different sets, while Sam Jones and Art Blakey handled bass and drums, respectively, straight through. Great extended jams get everyone involved on both standards and some originals including Jordan’s tongue-in-cheek “Scotch Blues”. Burrell himself takes front and center on outstanding versions of “Autumn In New York” and “Caravan”. Mastered and cut from the original TWO TRACK master tapes (running simultaneously with the full track mono master) using ALL TUBE tape electronics and cutting system allowed Bernie "BeBop" Grundman to extract every nuance on the tapes which adds to the magic of this Rudy Van Gelder recording. This is the real deal and it is done perfectly from mastering through to the authentic laminated cover art (front only) to the "deep groove" in the center label. In a few cases, when the two track master is done just right as with this recording, Classic complements the MONO release with a stereo offering. If you have to choose one over the other, you should go for the MONO as this was Rudy's focus in mixing live to MONO but if you can't resist comparing the two versions recorded at the same time with the same equipment or you can get a deal, then buy both - you won't be unhappy!

1. Rock Salt
2. The Man I Love
3. Chuckin'
4. Phinupi

Prairie Wind is an adventure akin to taking a drive through one's own life stopping off to revisit old friends and loved ones along the way. For Neil Young fans this album delivers songs that instantly stick in your mind as familiar. Tunes like "Falling Off The Face Of The Earth" and "The Painter" evoke thoughts of introspection that remind us of our humanity and its ultimate fragility. "No Wonder" feels like a early 70's anthem applied to more recent events while "Far From Home", with its bluesy harmonic interludes and horn accompaniment, tells a story of fond reminiscence of childhood and growing up. "It's A Dream" incites one to confront how fleeting our surroundings are and ,in a sense, the desire to have them remain as more than "just a memory without anywhere to stay". The title track weaves the same bluesy harmonica and horn section with a group backup singers to create an eerie and evocative scene. Neil Young has created in "Here for You" possibly the ultimate love song with a pace and harmonica rifts reminiscent of Bob Dylan in the mid 60's if he'd been in Nashville. "This Old Guitar" is a masterful story of life that is impossible not to relate to in one way or another and features a great backing vocal from Emmy Lou Harris making this tune even more special. "He Was King" is clearly a tribute to Elvis which harkens back to an easier time. The final track "When God Made Me" asks the questions about our humanity we all ponder at some time in our lives. This is an album, dedicated to his father that Neil Young made for himself, his friends and family and is giving, as a gift, to the rest of us. We can all benefit from the insights contained here and possibly gain some important perspectives on life - thanks Neil. Classic Records, in cooperation with Reprise Records and Neil Young are proud to present "Prairie Wind" as a Deluxe 2 LP gatefold edition. Included is an 18 page 12" x 12" booklet with lyrics and photos printed with soy based inks on paper that is from sustainable forests and Rain Forest Alliance certified. The LP mastering and cutting was done at Bernie Grundman Mastering in Hollywood by Chris Bellman using the original 1/2" analog master tapes with plating and pressing on Classic's proprietary 200g QUIEX Super Vinyl Profile at RTI. The sound is, to put it bluntly, without compare and sets a new standard for sonic achievement. Is this Grammy worthy? You bet it is. As an added bonus, side 4 of the set is an interview with Neil discussing guitars, equipment, music, musicians and musical arrangers among others things. Not to be missed!

LP1
1. The Painter
2. No Wonder
3. Falling Off The Face Of The Earth
4. Far From Home
5. It's A Dream
6. Prairie Wind
7. Here For You
LP2
1. This Old Guitar
2. He Was The King
3. When God Made Me
4. An Interview With Neil Young

This is one of the seminal albums of the 60's along with the White Album and Let it Bleed. Originally mixed to Mono and a few tunes half heartedly to stereo, this record contains the title track "My Generation" which is as accurate today as it was 40 years ago. Additional tunes include "The Kids Are Alright", "I'm a Man", "It's Not True", and "The Ox" among others. To mount this important reissue, we reassembled the original MONO master takes of each tune onto a master reel and had Chris Bellman at Bernie Grundman Mastering cut directly from that reel through our all tube MONO cutting system. That's right, this is not mono cut on a stereo head with the resulting crosstalk (read added ambient information) - it is the real deal just like it was cut in 1965 from the Shel Talmy (producer) original (not copies) MONO master tapes. Artwork and labels are meticulously recreated from a Mint original copy of the impossibly rare UK Brunswick LP - which now sells for over $1500. On eBay. Whether you were alive in 1965 or not you need this record in your collection, that is, unless you are into Lionel Richie, in which case you should save your money because you won't get it anyway. The first release from arguably the World's best Rock band - still! Buy it or piss off you wankers.

1. Out in the Street
2. I Don't Mind
3. The Good's Gone
4. La-La-La-Lies
5. Much Too Much
6. My Generation
7. The Kids Are Alright
8. Please Please Please

9. It's Not True
10. I'm A Man
11. A Legal Matter
12. The Ox

#4 which was titled Security in the U.S. continues where the third Gabriel album left off, sharing some of the same dense production and sense of cohesion, yet lightening the atmosphere and expanding the sonic palette somewhat. The gloom that permeates the third album has been alleviated and while this is still decidedly somber and serious music, it has a brighter feel, partially derived from Gabriel's dabbling in African and Latin rhythms. These are generally used as tonal coloring, enhancing the synthesizers that form the basic musical bed of the record. #4 flows easily and enticingly, with certain songs the eerie "San Jacinto," "I Have the Touch," "Shock the Monkey." #4 remains a powerful listen, one of the better records in Gabriel's catalog, proving that he is becoming a master of tone, style, and substance, and how each part of the record enhances the other.

1. Rhythm of the Heat
2. San Jacinto
3. I Have the Touch
4. The Family and the Fishing Net
5. Shock the Monkey
6. Lay Your Hands on Me
7. Wallflower
8. Kiss of Life

Peter Gabriel introduced his fifth studio album So with "Sledgehammer," an Otis Redding-inspired soul-pop raver that was easily his catchiest, happiest single to date. Needless to say, it was also his most accessible, and, in that sense it was a good introduction to So, the catchiest, happiest record he ever cut. "Sledgehammer" propelled the record toward blockbuster status, and Gabriel had enough songs with single potential to keep it there. There was "Big Time," another colorful dance number; "Don't Give Up," a moving duet with Kate Bush; "Red Rain," a stately anthem popular on album rock radio; and "In Your Eyes," Gabriel's greatest love song which achieved genuine classic status after being featured in Cameron Crowe's classic, Say Anything. These all illustrated the strengths of the album: Gabriel's increased melodicism and ability to blend African music, jangly pop, and soul into his moody art rock. Apart from these singles, plus the urgent "That Voice Again," the rest of the record is as quiet as the album tracks of Security. The difference is, the singles on that record were part of the overall fabric; here, the singles are the fabric, which can make the album seem top-heavy (a fault of many blockbuster albums, particularly those of the mid-'80s). Even so, those songs are so strong, finding Gabriel in a newfound confidence and accessibility, that it's hard not to be won over by them, even if So doesn't develop the unity of its two predecessors. The Classic Reissue was cut from the original 1/2" 30 ips analog master tapes on the Classic all tube stereo cutting system at Bernie Grundman Mastering by "The Wizard" Bernie Grundman himself. This release features the additional tune "We Do What We're Told (Milgrames 37)" that was originally not on the Geffen vinyl issue in 1986.

1. Red Rain
2. Sledgehammer
3. Don't Give Up
4. That Voice Again
5. In Your Eyes
6. Mercy Street
7. Big Time
8. We Do What We're Told

This unofficial "Greatest Hits" is two LP's worth of songs spanning PG's material from Solsbury Hill to Red Rain. In the sequence of releases this is PG 9 and was remastered from the original analog master tapes.

1. Solsbury Hill
2. I Don't Remember
3. Sledgehammer
4. Family Snapshot
5. Mercy Street
6. Shaking The Tree
7. Don't Give Up
8. San Jacinto
9. Here Comes The Flood
10. Red Rain
11. Games Without Frontiers
12. Shock The Monkey
13. I Have The Touch
14. Big Time
15. Zaar
16. Biko

"Up" will likely be hailed as Peter Gabriel's masterpiece! Dark and mysterious with layered complexity, the album, overall leaves one uplifted and hopeful. . . The Deluxe Edition of "UP" from Classic Records / Real World is pressed on Classic's proprietary 200g Quiex Super Vinyl Profile. The gatefold jacket is die cut inside the gatefold to feature a specially printed inner sleeve. The package also includes a 7" - 24 page booklet featuring photos commissioned by Real World, each of which relate to a track on the album and is bundled with a 7" vinyl single in a picture sleeve. Side A of the 7" features the radio edit of "The Barry Williams Show" and the B side a radio edit of "Cloudless" - both at 45 rpm!. This package is a Gabriel vinyl lover's dream come true. Classic Records is the also the manufacturer of the 2 LP - conventional 180g version of "UP" being marketed and sold by Virgin Records in the UK. The package includes the same gatefold jacket as above without the die cut, 7" single, and printed inner sleeves. This is the budget version not available in the US. Which is better? The Quiex SV-P pressing of course! If you are a Gabriel freak then buy both and compare.

1. Darkness
2. Growing Up
3. Sky Blue
4. No Way Out
5. I Grieve
6. The Barry Williams Show
7. My Head Sounds Like That
8. More Than This
9. Signal To Noise
10. The Drop

Six years after earning his first blockbuster, Peter Gabriel finally delivered Us, his sequel to So. Clearly, that great span of time indicates that Gabriel was obsessive in crafting the album, and Us bears the sound of endless hours in the studio. It's not just that the production is pristine, clean, and immaculate, it's that the music is, with only a handful of exceptions (namely, the "Sledgehammer" rewrite "Steam" and the fellatio ode "Kiss That Frog"), remarkably subtle and shaded. It's also not a coincidence that Us is, as Gabriel says in his liner notes, "about relationships," since the exquisitely textured music lets him expose his soul, albeit in a typically obtuse way. Gabriel is as adventurous as ever, yet he is relentlessly sober about his experiments, burying exotic sounds and percussion underneath crawling tempos measured atmospherics this is tastefully two-toned music, assembled by a consummate craftsman who became too immersed in detail to make anything but an insular, introspective work. Some gems are easier to unearth than others "Digging in the Dirt" has an insistent pulse, "Blood of Eden" and "Come Talk to Me" are quite beautiful, "Secret World" is quietly anthemic yet, given enough time, the record's understated approach and reflection becomes its most attractive element. Transferred for the first time from the 30 ips analog master for 2 LP vinyl and packaged in a deluxe gatefold jacket makes for a definitive version.

1. Come Talk To Me
2. Love To Be Loved
3. Blood Of Eden
4. Steam
5. Only Us
6. Washing Of The Water
7. Digging In The Dirt
8. Fourteen Black Paintings
9. Kiss That Frog
10. Secret World

The pairing is ideal - the former front man of Genesis, as produced by the leading light of King Crimson. On this, Peter Gabriel's second album, the songs "On the Air" and "D.I.Y." are stunning slices of modern rock circa 1978, bubbling with synths, insistent rhythms, and polished processed guitars, all enclosed in a streamlined production that nevertheless sounds as large as a stadium. Other tunes include "A Wonderful Day in a One-Way World" ,"White Shadow," "Animal Magic," the tense yet catchy "Perspective," and the reflective closer "Home Sweet Home". Transferred for the first time from the original 1/4" analog two-track master tapes by Bernie Grundman using his all tube cutting system.

1. On the Air
2. D.I.Y.
3. Mother of Violence
4. A Wonderful Day in a One-Way World
5. White Shadow
6. Indigo
7. Animal Magic
8. Exposure
9. Flotsam and Jetsam
10. Perspective
11. Home Sweet Home

A Stereo copy of Lonely and Blue, Orbison's first Monument release in 1961, is almost impossible to find in any condition. Almost equally rare Mono copies are usually in poor condition having been played to death. This will allow audiophiles and Orbison lovers, for the first time, to truely compare the Mono and Stereo versions of the titles cut from the same two track original masters that were originally used for the first issues. The Mono is cut from a folding of the stereo channels as specified by Porter originally. The stereo versions have historically been more sought after because of their relative scarcity but which is really better? Many would argue persuasively that the Mono is the proper way to listen to these legendary titles but we'll let you be the judge of that. Buy both and enjoy a special discount. Complete with original labels and authentic jackets this 200g QUIEX SVP pressing is not to be missed! "Crying" and "In Dreams", Orbison's 2nd and 3rd Monument titles, in both Mono and Stereo are also planned for Spring release!

1. Only the Lonely (Know How I Feel)
2. Bye-Bye Love
3. Cry
4. Blue Avenue
5. I Can't Stop Loving You
6. Come Back To Me (My Love)
7. Blue Angel
8. Raindrops
9. (I'd Be) A Legend In My Time
10. I'm Hurtin'
11. Twenty-Two Days
12. I'll Say It's My Fault

This third Orbison release came on the heals of "Lonley and Blue" and "Crying" and includes the hits "Blue Bayou" and "All I have to do is Dream". This Bill Porter recording directly onto two track stereo offers two perspectives - mono from a fold of the discreetly recorded stereo channels and a stereo presentation directly from the master. Porter intended the recording to be presented in Mono and as such recorded the stereo channels discreetly so that the blend in combining (mixing) the two tracks makes for a perfectly layered musical presentation which supports Orbison's astonishing vocal exquisitely. This is a must have record from the original 2 track master tape mixed into mono and cut on Classic's pure Mono (horizontal cutting only) all tube cutting system by Bernie Grundman. Pressed on Classic's 200g Quiex Super Vinyl Profile.

1. In Dreams
2. Lonely Wine
3. Shahdaroba
4. No One Will Ever Know
5. Sunset
6. House Without Windows
7. Dream
8. Blue Bayou
9. (They Call You) Gigolette
10. All I Have To Do Is Dream
11. Beautiful Dreamer
12. My Prayer

This debut recording, originally released in 1989 when she was only 20 years old, was an impressive platform for Sarah McLachlan. As the first step towards her classic efforts that were to follow (Surfacing, Fumbling Towards Ecstasy), this collection possesses insights from personal and introspective viewpoints. Crystal clear vocals and intimate guitar accompany her often-Celtic inspired youthful romanticism. As a "contemporary folkie" her whimsy and ethereal approach to lyrics touched a new generation trying to find their place in the world. This and the albums that followed paved the way for women singer/songwriters. Selections include Out Of the Shadows, Vox, Strange World, Trust, Tough, Steaming, Sad Clown, Uphill Battle and Ben's Song.

1. Out of the Shadows
2. Vox
3. Strange World
4. Trust
5. Touch
6. Steaming
7. Sad Clown
8. Uphill Battle
9. Ben's Song

Solace is at once comforting, mysterious, expansive, timeless, and familiar. The sophomore jinx was certainly eluded here, as McLachlan sets forth a superior collection of songs and performances with the help of longtime producer Pierre Marchand. The opening track, "Drawn to the Rhythm," serves its title well and does the job of luring you in. Intelligent, intriguing lyrics and lilting melodies abound, whether amidst the pulsing rhythms of "Into the Fire" and "Back Door Man" or the quietly profound stories of "Home" and "Shelter." Although pretty much all of the tunes will grab you at one point or another, "The Path of Thorns (Terms)" and "I Will Not Forget You" are especially memorable, the latter not to be confused with McLachlan's "I Will Remember You," which appears on the 1995 soundtrack for The Brothers McMullen and Classic Records 2 LP set "Fumbling Towards Ecstacy / Freedom Sessions". Solace is a wonderful record that offers a glimpse of the astounding talent of a young Sarah McLachlan. - Kelly McCartney

1. Drawn to the Rhythm
2. Into the Fire
3. The Path of Thorns (Terms)
4. I Will Not Forget You
5. Lost
6. Back Door Man Shelter
7. Black
8. Home
9. Mercy
10. Wear Your Love Like Heaven

On "Surfacing" Sarah and producer Pierre Marshand again collaborate on this multi-platinum record. Full of rich textures and superb vocals, Surfacing features one great song aftger another. This album is, without a doubt, Sarah's best work to date and is very addicting - the songs seem to stay in your head for days. This is a keeper.

1. Building a Mystery
2. I Love You
3. Sweet Surrender
4. Adia
5. Do What You Have To Do
6. Witness
7. Angel
8. Black & White
9. Full of Grace
10. Last Dance

The ultimate Hendrix tribute record featuring legendary Hendrix tunes such as Red House performed by John Lee Hooker, Purple Haze performed by Prince and The Wind Crys Mary performed by Sting. Other all-star artists on this 2 LP set include Seal, Eric Clapton, Lenny Kravitz Santana, Stevie Ray Vaughn among others. Available as both a collectible 140g Aqua vinyl edition and as a 200g QUIEX SV-P version.

LP1
1. Gratitude - James 'Al' Hendrix
2. Are You Experienced? - Musiq
3. Spanish Castle Magic - Santana
4. Purple House - Prince
5. The Wind Cries Mary - Sting
6. Voodoo Child (Slight Return) - Earth, Wind & Fire
7. Power of Soul - Bootsy Collins featuring George Clinton & The P-Funk Mob
8. Burning of the Midnight Lamp - Eric Clapton
9. Have You Ever Been (To Electric Ladyland) - Lenny Kravitz
10. 30 Years - James 'Al' Hendrix
11. Who Knows - Devoted Spirits featuring George Duke
12. The Wind Cries Mary - Seal *LP Only Bonus Track
LP2
1. Purple Haze - Robert Randolph & The Family Band
2. Going Home - Velvert Turner
3. Little Wing - Chaka Khan & Kenny Olsen
4. Castles Made of Sand - Sounds of Blackness
5. May This Be Love - Eric Gales
6. Foxey Lady - Cee Lo
7. Red House - John Lee Hooker
8. Little Wing / 3rd Stone from the Sun - Stevie Ray Vaughan & Double Trouble

During the mid-'90s, Sarah McLachlan was a near-ubiquitous presence in pop music, establishing adult alternative pop radio with 1994's Fumbling Toward Ecstasy and 1997's Surfacing and spearheading the popular Lilith Fair touring festival, but once the last Lilith wound up in 1999, she retreated from the spotlight, had a baby, and seemingly retired from music. Four years later, she has made a return with Afterglow, her first album in six years. Not much has changed in the time she was away. Afterglow is firmly within the McLachlan signature sound a softly tuneful, mildly atmospheric blend of classic singer/songwriterism and a touch of vaguely dreamy alternative pop, all shined and immaculately produced by Pierre Marchand. The album is the first collection of songs she wrote entirely on piano, not guitar, which ultimately doesn't make much of a difference to the overall feel and effect of the album, which perfectly dovetails with Surfacing. In other words, after a prolonged absence, Sarah McLachlan re-emerges with a record that could have followed Surfacing by six months, not years. Some may call that predictable, some may call it reliable, but there's little arguing that Afterglow is a solid effort it may not win new fans, but who cares - it will certainly satisfy the old ones. Pressed on Classic s 200g QUIEX Super Vinyl Profile allows you to hear every nuance of the haunting production.

1. Fallen
2. World On Fire
3. Stupid
4. Drifting
5. Train Wreck
6. Push
7. Answer
8. Time
9. Perfect Girl
10. Dirty Little Secret

Eric Clapton's breathtaking repertoire of blues tunes comes home again with the release of his newest effort, Me & Mr. Johnson. Joined by master keyboardist Billy Preston, with Steve Gadd on drums and Jerry Portnoy on harmonica, Robert Johnson's catalogue gets the royal treatment. Slick production and effortless fluid transitions pour out of the tracks with a smoothness that Johnson's original versions couldn't have foreseen. Mastered by Bernie Grundman, this record truly is a Classic.

1. When You Got A Good Friend
2. Little Queen Of Spades
3. They're Red Hot
4. Me And The Devil Blues
5. Traveling Riverside Blues
6. Last Fair Deal Gone Down
7. Stop Breakin' Down Blues
8. Milkcow's Calf Blues
9. Kind Hearted Woman Blues
10. Come On In My Kitchen
11. If I Had Possession Over Judgement Day
12. Love In Vain
13. 32-20 Blues
14. Hell Hound On My Trail

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This follow up to the multi platinum "Supernatural" may not ultimately prove as commercially successful but it still delivers the goods. A variety of songs featuring Carlos collaborations with the likes of Placido Domingo, Chad Kroeger, P.O.D. , Musiq and Seal offers something for all musical tastes. The gem on the albulm is, of course, "The Game of Love" sung by Michelle Branch which gets better every time you hear it. Cut from the original 1" and 1/2" analog masters insures that you'll hear every nuance of this slick production housed in a deluxe gatefold cover.

1. Adouma
2. Nothing At All (Featuring Musiq)
3. The Game Of Love (Featuring Michelle Branch)
4. You Are My Kind (Featuring Seal)
5. Amore (Sexo) (Featuring Macy Gray)
6. Foo Foo
7. Victory Is Won
8. Since Supernatural (Featuring Melkie Jean & Governor Washington)
9. America (Featuring P.O.D.)
10. Sideways (Featuring Citizen Cope)
11. Why Don't You & I (Featuring Chad Kroeger from Nickelback)
12. Feels Like Fire (Featuring Dido)
13. Aye Aye Aye
14. Hoy Es Adios (Featuring Alejandro Lerner)
15. One Of These Days (Featuring Ozomatli)
16. Novus (Featuring Placido Domingo)

Another in the series of Classic Legacy Bob Dylan Bootleg series on Vinyl.This edition was cut from the 1/2" analog master tape on the Classic all tube cutting system by Bernie Grundman and features a deluxe box housing three LP's - each in unique jackets. Also included is a 60 pg 12 x 12 perfect bound booklet, and a custom 12" x 8" letter pressed vintage tour poster. Available in both 140g conventional profile and 200g QUIEX SV-P editions. It does seem strange, very strange indeed, to be hearing an official release of this historic concert, which has been available as a bootleg for decades. The Halloween gig at Philharmonic Hall in New York was a special part of the tour for Another Side of Bob Dylan, arguably his greatest acoustic recording. What's more poignant, however, is how it previews the material on Bringing It All Back Home. While the songs on Another Side hinted at things to come, nothing could have prepared audiences for the dreamy surrealism of "Mr. Tambourine Man," or the nightmarish abstract poetry of "It's Alright Ma (I'm Only Bleeding)," and "Gates Of Eden" all of which appear on Disc One The remainder of the material comes from Dylan's preceding catalog; there are stirring protest and topical songs, folk songs, humorous narratives, love songs, great wisecracks, and talking blues ("Talking John Birch Paranoid Blues!"), most of them classics "With God on Our Side," "Hard Rain's Gonna Fall," "Times They Are A-Changin'," "Lonesome Death of Hattie Carroll," "Don't Think Twice, It's Alright," "Mama You've Been on My Mind," "All I Really Want to Do," "It Ain't Me Babe," etc. All of these songs and many others (there are 17 in all) are delivered with the confidence of the seasoned performer; a man who knows his audience and how to handle them. It's not cynical, not detached, just masterful. For those unfamiliar with this set, Joan Baez makes an appearance near the end of the show, and duets with Dylan on four cuts including an amazing read of "Silver Dagger." It is true that if you possess the boot, you have all the music here, and chances are, it has some pretty good sound. But you'll need this version, too. For starters, the sound is spectacular, wonderfully warm and immediate, and the transfer is extremely clean with wonderful dynamics. Secondly, the package is deluxe. In addition to a fine essay by Princeton historian and author Sean Wilentz (he made the gig when he was 13), there are a truckload of killer photos from the show and the period, along with complete discographical information that puts the bootleg packages to shame. For those interested in the acoustic Bob Dylan, this concert is like the grail; his voice is in impeccable shape, and his delivery is revelatory. For those interested in the transition from acoustic to electric, this show is the seam, and for who are diehard fans, this is another welcome item in the official catalog. Thom Jurek.

LP1
1. The Times They Are A-Changin'
2. Spanish Harlem Incident
3. Talkin' John Birch Paranoid Blues
4. To Ramona
5. Who Killed Davey Moore?
6. Gates of Eden
7. If You Gotta Go, Go Now
LP2
1. It's Alright Ma, (I'm Only Bleeding)
2. I Don't Believe You (She Acts Like We Never Have Met)
3. Mr. Tambourine Man
4. A Hard Rain's A-Gonna Fall
LP3
1. Talkin' World War III Blues
2. Don't Think Twice, It's All Right
3. The Lonesome Death of Hattie Carroll
4. Mama, You Been On My Mind - performed with Joan Baez
5. Silver Dagger - performed with Joan Baez
6. With God On Our Side - performed with Joan Baez
7. It Ain't Me, Babe - performed with Joan Baez
8. All I Really Want To Do

This is the second in the series of Classic Dylan, over the top, LP boxed sets. On the heals of the January 1975 release of "Blood on the Tracks", Dylan decided to assemble an Old Timey Medicine Show troupe of performers and mount the now historic tour. Originally the tour was to be called the Montezuma Revue but was changed to the Rolling Thunder Revue and includes the likes of Joan Baez who performs on "Blowin' In The Wind" and "Mama" and Roger McGuinn who performs on "Knockin' On Heaven's Door" along with Joni Mitchell and Ramblin' Jack Elliott who add vocal and guitar support. This release was mixed from the original 24 track tapes down to 1/2" analog tapes from which the 3 LP's are cut. In addition the set includes a 7"45 rpm blue vinyl single of a never before released alternate version of "Tangled Up in Blue" coupled with the alternate version of "Isis" as a B-side. The 3 LP's, 7" single, 70+ page perfect bound 12" x 12" book along with a reproduction of the original tour poster, two show tickets, and the hand bill are housed in a deluxe Gold foil embossed slip case. It is one of the most insane packages we've ever put together and is a must have for any serious music fan. Also includes 70 page book *Limited to 2500 Sets

1. Tonight I'll Be Staying Here With You (Dylan) - 3:55
2. It Ain't Me Babe (Dylan) - 5:25
3. A Hard Rain's A-Gonna Fall (Dylan) - 5:16
4. The Lonesome Death of Hattie Carroll (Dylan) - 5:25
5. Romance in Durango (Dylan/Levy) - 5:22
6. Isis (Dylan/Levy) - 5:11
7. Mr. Tambourine Man (Dylan) - 5:39
8. Simple Twist of Fate (Dylan) - 4:17
9. Blowin' in the Wind performed by Dylan / Joan Baez - 2:43
10. Mama, You Been on My Mind (Dylan) - 3:11
11. I Shall Be Released performed by Dylan / Joan Baez - 4:33
12. It's All over Now, Baby Blue (Dylan) - 4:34
13. Love Minus Zero/No Limit (Dylan) - 3:13
14. Tangled Up in Blue (Dylan) - 4:41
15. The Water is Wide (Traditional) - 5:16
16. It Takes a Lot to Laugh, It Takes a Train... (Dylan) - 3:12
17. Oh, Sister (Dylan/Levy) - 4:04
18. Hurricane (Dylan/Lev

This is the soundtrack from the Movie, starring, along with an all star cast including Jessica Lange, John Goodman, Melanie Cruse, Ed Harris, Jeff Bridges among many others, the Dylan Man himself. The Movie has received mixed reviews which means it is probably worth seeing but the soundtrack is great featuring a myriad of Dylan tunes covered by an international cast of musicians in a host of styles. There are also four tunes that Dylan himself covers, two of which are brand new versions. This is a must have for any serious Dylan fan or music lover. This package is a two LP set with a gorgeous gatefold jacket and printed inner sleeves. A top recommendation.

1. My Back Pages performed by Magokoro Brothers - 4:01
2. Gotta Serve Somebody performed by Shirley Caesar - 5:49
3. Down in the Flood [version] (Dylan) - 3:36
4. It's All Over Now, Baby Blue performed by Grateful Dead - 7:26
5. Most of the Time performed by Sophie Zelmani - 5:30
6. On a Night Like This performed by Lobos - 3:11
7. Diamond Joe (Traditional) - 2:32
8. Come una Pietra Scalciata (Like a Rolling... performed by Articolo 31 - 4:12
9. One More Cup of Coffee performed by Sertab - 3:52
10. Non Dirle Che Non E' Cosi' (If You See Her... performed by De Gregori, Francesco - 4:53
11. Dixie (Traditional) - 2:12
12. Seor (Tales of Yankee Power) performed by Jerry Garcia - 7:50
13. Cold Irons Bound [version] (Dylan) - 5:43
14. City of Gold [*] performed by Dixie Hummingbirds - 5:35

Pete Townshend's demos had grown legendary among Who collectors well before the official release of the double-album Scoop in 1983. On each demo, Townshend worked out full arrangements, which the Who would often follow exactly. He also recorded a wealth of songs and instrumental pieces that never made it to record. Over the course of two albums, Scoop features 25 of these demos, including both classic Who songs ("So Sad About Us," "Bargain," "Behind Blue Eyes," "Magic Bus," "Love Reign O'er Me") and unreleased gems ("Politician," "Melancholia," "To Barney Kessell," "Mary"). Occasionally, the songs sound better in their demo versions, particularly on latter-day Who songs, which were over-wrought in their official incarnations. But what makes Scoop so fascinating is its revelation of the depth and detail of Townshend's imagination, and how he refined his ideas. But even casual fans will find the sheer musicality of the record worthwhile it's one of the most focused and impressive albums he has ever released.

1. So Sad About Us
2. Squeezebox
3. Zelda
4. Politician
5. Dirty Water
6. Circles
7. Piano: 'Tipperary'
8. Unused Piano: 'Quadrophenia'
9. Melancholia
10. Bargain
11. Things Have Changed
12. Popular
13. Behind Blue Eyes
14. The Magic Bus
15. Cache, Cache
16. Cookin'
17. You're So Clever
18. Body Language
19. Initial Machine Experiments
20. Mary
21. Recorders
22. Goin' Fishin'
23. To Barney Kessell
24. You Came Back
25. Love Reign O'er Me

In a world of trendy popsters, the "King of Rock Royalty" emerges solo with a new masterpiece. Scoop 3 is a continuation of Townshend's infamous "Scoop" projects, proving that carefully orchestrated lullabys, such as I Think I Like It the Way It Is, can co-exist with the cutting, raw power of bedroom style recording in Dirty Water. Townshend miraculously brings to life a notebook of his art in a fashion that may seem a bit unorthodox to some, but fully realized to devoted music lovers of all ages. This three LP set offers many moods to travel through, only to realize that Townshend is still a sure bet when it comes to pleasure, beauty, and intensity.

LP1 1. Can You See the Real Me
2. Dirty Water
3. Commonwealth Boys
4. Theme
5. Marty Robbins
6. I Like it the Way it is
7. Theme
8. No Way Out (However Much I Booze)
9. Collings
10. Parvardigar (German version)
11. Sea & Sand
12. Arpeggio Piano
13. Theme
LP2
1. I Am Afraid
2. Maxims for Lunch
3. Wistful
4. Eminence Front
5. Lonely Words
6. Prelude
7 Iron Man Recitative
8. Tough Boys
9. Did You Steal My Money?
10. Can You Really Dance?
11. Variations on Dirty Jobs
LP3
1. All Lovers are Deranged (Pete's version)
2. Elephants
3. Wired to the Moon (Pt. 2)
4. How Can You Do It Alone?
5. Poem Disturbed
6. Squirm Squirm
7. Outlive the Dinosaur
8. Teresa
9. Man and Machines
10. It's In Ya

Roy Orbison's second album features early Orbison production flourishes, with swooping strings and full vocal choruses. With such tracks as "Love Hurts," the title track, and the epic hit "Running Scared," most of the cuts lean toward the Orbinson©ös more sentimental side. On the up-tempo side are "Nite Life" and "Let's Make A Memory," with its bouncing string arrangement.

1. Crying
2. The Great Pretender
3. Love Hurts
4. She Wears My Ring
5. Wedding Day
6. Summersong
7. Dance
8. Lana
9. Loneliness
10. Let's Make a Memory
11. Nite Life
12. Running Scared

Recorded by Eddie Kramer (Jimi Hendrix) while Peter Frampton was still in the band, Performance: Rockin' the Fillmore captures an early performance by Humble Pie where Steve Marriot's lyricism and ideas where balanced by Frampton's searing lead guitar. This is a document of a band at a pivotal point in their existence, this is valuable and at times insightful. Another part of the Classic Fillmore East performances highlighted by Classic Records and transferred from the Kramer mixed two track 1/4 analog masters on the Bernie Grundman all tube cutting system and pressed on Classic 180g QUIEX Super Vinyl Profile.

1. Four Day Creep
2. I'm Ready
3. Stone Cold Fever
4. I Walk On Gilded Splinters
5. Rolling Stone
6. Hallelujah (I Love Her So)
7. I Don't Need no Doctor

David & David's Boomtown is a hard look at urban life in the 1980s, a time when many were fulfilling the American Dream of financial success and upward mobility. It is not an easy album to listen to, as the characters depicted in the songs are often dealing with major problems such as drugs and domestic violence. But it is an artful record, full of poetry and convincing stories of the hard times that many silently endured. At times the record is full of pop hooks, and at other stages a more bleak sound dominates. The vocals of David & David are also effective in telling the tales, as often there is a shrill, despondent quality that complements what is being related to the listener. In particular, the drums have kind of a hushed sound to them, and the guitars often purvey sounds of doom through distortion or other means. "Welcome to the Boomtown" is the hit off the album, and is one of various cuts that convincingly detail the many trials of the characters such as Kevin, who "deals dope out of Denny's keeps a table in the back." Although there are often hints of hope and seemingly a sense of compassion toward the subjects in the songs, it is not apparent that most will eventually pull themselves out of their predicaments. One may not want to listen to this record to lift the spirit, but it is a strong reminder of difficult situations faced during what can be perceived by many as the best of times.

1. Welcome to Boomtown
2. Swallowed by the Cracks
3. Ain't So Easy
4. Being Alone Together
5. A Rock for the Forgotten
6. River's Gonna Rise
7. Swimming in the Ocean
8. All Alone in the Big City
9. Heros

Pete Townshend's first solo album is a homespun, charming forum for low-key, personal songs that weren't deemed suitable for The Who, as well as spiritual paeans (direct and indirect) to his spiritual guru Meher Baba. Who fans will be immediately attracted by the presence of a couple of songs from the aborted Who concept album Lifehouse (much of which ended up on Who's Next), "Pure & Easy" and "Let's See Action." The Who did eventually release their own versions of both those songs. This record shows a folkier and gentler side to The Who's chief muse. "Sheraton Gibson" is a neat tune about rock & roll road life, and "Time Is Passing" takes very subtle inspiration from Baba. Most of the rest of the album contains some of the most unusual pieces Townshend has released: his acoustic cover of Jim Reeves' "There's A Heartache Following Me" (recorded because it was one of Baba's favorite tunes), "Evolution" (which is actually pretty much a solo track by his buddy Ronnie Lane of The Faces), "Parvardigar" (adapted from Baba's Universal Prayer), and "Content" (a philosophical poem by Maud Kennedy that Townshend put to music). Transferred from the two track 1/4 analog masters on the Bernie Grundman all tube cutting system and pressed on Classic s 200g QUIEX Super Vinyl Profile.

1. Pure & Easy
2. Evolution
3. Forever's No Time At All
4. Let's See Action
5. Time Is Passing
6. Heartache
7. Sheraton Gibson
8. Content
9. Parvardigar

Warm Your Heart - A star studded effort on Neville's part, collaborating with Linda Ronstadt, Rita Coolidge, Dr. John, David Lindley among others. The album starts with a great version of Randy Newman's "Louisiana" and also includes "Feels Like Rain", "Ave Maria", "Please Stay", "Feels Like Rain", "Angola Bound" as well as the hit "Close Your Eyes" as a duet with Ronstadt. This longtime audiophile favorite was produced by Neville, Ronstadt and George Massenburg who also engineered and mixed the tracks. This is one of those records that gets to the end of a side too quickly; but what a delight when you turn it over to play the other side! Mastered from the original master tapes and cut on an "all tube" cutting system by Bernie "The Wizard" Grundman. Not to be missed.

1. Louisiana 1927
2. Everybody Plays The Fool
3. It Feels Like Rain
4. Somewhere, Somebody
5. Don't Go Please Stay
6. With You In Mind
7. That's The Way She Loves
8. Angola Bound
9. Close Your Eyes
10. La Vie Dansante
11. Warm Your Heart
12. I Bid You Goodnight
13. Ave Maria

Three track 12" 33/45 rpm sampler from the forthcoming Classic Records LP reissue of Aaron Neville's "Warm Your Heart". Tracks include: "Louisiana 1927", "Angola Bound" and "Close Your Eyes" (duet with Linda Rondstadt).

1. Warm Your Heart
2. Louisiana 1927
3. Angola Bound
4. Close Your Eyes

Life for Rent doesn't offer anything that drastically different from Dido's debut album, No Angel the dance beats are fresher, the production is clean and new Dido is successful at modest songs. She has a sweet, warm voice and a knack for tuneful modern folk-pop that sounds intimate while being confidently catchy and nicely atmospheric. In other words, it retains the feel of No Angel but contributing songs like "White Flag," "Stoned," "Life for Rent," and "Do You Have a Little
Time," which are all memorable efforts. The appeal of Life for Rent is what makes Dido appealing she's unassuming and gentle, but her songs are so melodic and atmospheric they easily work their way into the subconscious, and the records are well-crafted enough to be engaging on repeated plays. So, Life for Rent isn't much different than its predecessor, but that's a very good thing in this case as this will surely become an audiophile favorite, cut from the original master on the Bernie Grundman all tube cutting system and pressed on Classic s 180g QUIEX Super Vinyl Profile.

1. White Flag
2. Stoned
3. Life For Rent
4. Mary's In India
5. See You When You're 40
6. Don't Leave Home
7. Who Makes You Feel
8. Sand In My Shoes
9. Do You Have A Little Time
10. This Land Is Mine
11. See The Sun

The stunning new 4-disc 45rpm release of this classic album! A surprising twist and gutsy call from the Texas outlaw-Nashville outcast, choosing to wrap his trademark twang around what are considered pop standards. An audiophile favorite on vinyl and commercial success upon its release in 1978. Radio stations that program easy listening took to it immediately and continue to play cuts from it today. Utilizing many of Nelson's usual country bandmates to augment the unique arrangements by producer Booker T. Jones.

1. Georgia On My Mind
2. Blue Skies
3. All Of Me
4. Unchained Melody
5. September Song
6. On The Sunny Side Of The Street
7. Moonlight In Vermont
8. Don't Get Around Much Anymore
9. Someone To Watch Over Me
10. Stardust

Bridge Over Troubled Water (Classic Records)

Bridge Over Troubled Water was one of the biggest selling albums of its decade, and it hasn't fallen too far down on the list in the 30-plus years since. The album was perhaps the most delicately textured album to close out the 1960s from any major rock act. Bridge Over Troubled Water, at its most ambitious and bold, on its title track, was a quietly reassuring album; at other times, it was personal yet soothing; and at other times, it was just plain fun.

1. Bridge Over Troubled Water
2. El Condor Pasa (If I Could)
3. Cecilia
4. Keep The Customer Satisfied
5. So Long, Frank Lloyd Wright
6. The Boxer
7. Baby Driver
8. The Only Living Boy In New York
9. Why Don't You Write Me
10. Bye Bye Love
11. Song For The Asking
12. Feuilles-O
13. Bridge Over Troubled Water

This sensational follow up to Norah's "Come Away with Me" features the same mixture of great songs with Norah's sexy and alluring vocals. Produced by the legendary Arif Mardin and cut from the original two track ANALOG master tapes on the all tube Bernie Grundman Mastering chain makes for a great record with lots of vibe. This release features a deluxe gatefold cover and is not to be missed Highest recommendations.

1. Sunrise
2. What Am I to You?
3. Those Sweet Words
4. Carnival Town
5. In the Morning
6. Be Here to Love Me
7. Creepin’ In
8. Toes
9. Humble Me
10. Above Ground
11. The Long Way Home
12. The Prettiest Thing
13. Don’t Miss You At All

This is the famous version of Porgy and Bess that was supposed to have Gladys Knight singing the part of Bess. When Ray Charles offered the part to Gladys, having just come of the hit "Midnight train to Georgia", her manager at the time, would only allow her to participate if she owned the masters. According to Ray, he said, "well now you know that just won't be possible" to which her manager responded that she wouldn't be available. Ray told me that his mother taught him the meaning of "NO" and hence he asked Cleo Laine, who did a beautiful job of singing the part. Ray was also in top form as this 2 LP edition mastered from the original analog masters shows very clearly. Now available on 200g Quiex Super Vinyl Profile for the first time. A must have!

1. Summertime - Ray Charles
2. My Man's Gone Now - Cleo Laine
3. Woman Is a Sometime Thing - Ray Charles
4. They Pass by Singin' - Cleo Laine
5. What You Want Wid Bess? - Cleo Laine
6. I Got Plenty O' Nuttin' - Ray Charles
7. Buzzard Song - Ray Charles
8. Bess, You Is My Woman Now - Ray Charles
9. Oh, Doctor Jesus - Cleo Laine
10. Crab Man - Ray Charles
11. Here Come de Honey Man - Ray Charles
12. Strawberry Woman (Instrumental) - Ray Charles
13. Strawberry Woman - Cleo Laine
14. It Ain't Necessarily So - Ray Charles
15. There's a Boat Dat's Leavin' Soon for New York - Ray Charles
16. I Loves You, Porgy - Cleo Laine
17. Oh Bess, Oh Where's My Bess? (Instrumental) - Ray Charles
18. Oh Bess, Oh Where's My Bess? - Ray Charles
19. Oh, Lawd, I'm on My Way! - Ray Charles

Peter Gabriel's first foray into soundtracks was for Alan Parker's contemplative film Birdy and is a successful companion piece, providing a backdrop that is moody and evocative. Nearly half of the album's dozen tracks incorporate threads from material found on Gabriel's 1982 Security set, including "Close Up," which makes use of keyboard passages from "Family Snapshot," and "The Heat," which is a reworking of "The Rhythm of the Heat" and builds to a frenzied percussive crescendo. Material specially written for this project includes the murky opening track, "At Night," the tribal "Floating Dogs," and "Slow Marimbas," a track which would become part of future live performances. The fact that Birdy is comprised of all instrumentals and its meditative nature makes it fine, reflective listening for the more adventurous. The transfer was from the original two track 1/2" analog master tapes provided by Peter Gabriel's Real World for cutting the master lacquers. The detail, clarity and bottom octave weight are superb!

1. At Night
2. Floating Dogs
3. Quiet and Alone
4. Close Up
5. Slow Water
6. Dressing the Wound
7. Birdy's Flight
8. Slow Marimbas
9. Heat
10. Sketchpad With Trumpet and Voice
11. Under Lock and Key
12. Powerhouse at the Foot of the Mountain

Legendary recording of Belafonte at Carnegie Hall in 1959. Transferred from the original three track session masters by Bernie Grundman at 45 rpm and pressed on Classic's 200g one - sided Super Vinyl Profile for the first time. The only way you can get closer to hearing the actual performance of "Matilda", "Danny Boy", "Day O" among others is to time travel back to the event! Highest recommendations!

1. Intro
2. Darlin' Cora
3. Sylvie
4. Cotton Fields
5. John Henry
6. Take My Mother Home
7. The Marching Saints
8. Day O
9. Jamaica Farewell
10. Man Piaba
11. All My Trials
12. Mama Look a Boo Boo
13. Come Back Liza
14. Man Smart (Woman Smarter)
15. Hava Nageela
16. Danny Boy
17. Merci Bon Dieu
18. Cu Cu Ru Cu Cu paloma
19. Shenandoah
20. Matilda

Classic Records is proud to announce the reintroduction of the long out of print best selling Classic - Belafonte at Carnegie Hall. This two LP gatefold edition features authentic original artwork and labels and was transferred from the original three track session master tapes. Using the original Classic metal parts Classic has now re-released this legendary title on our proprietary 200 gram QUIEX Super Vinyl Profile. What are the differences between our original 180g conventional profile pressings and the new QUIEX SV-P pressings? For one, the clarity is greatly enhanced. Belafonte feels more "in the room" because of the added low level spatial information that now comes through. The new QUIEX SV-P pressing is flat across the record profile which provides better coupling to the platter surface thereby reducing resonant feedback. Also, the flat profile greatly reduces "groove distortion" that is present in conventional concave profiles - this makes the playback level seem louder due to the reduced groove distortion. All things considered this 200 gram QUIEX SV-P pressing is the closet to the sound on the master tape as we have ever been able to achieve! Alas, it is too bad that it is not at 45 rpm.....maybe next year!

Between March 1956 and November 1957, Sonny Rollins recorded two albums that would cement forever his rightful place as a jazz icon. Saxophone Colossus for Prestige in ’56 would become a jazz masterpiece while the live ‘trio’ recordings for Blue Note in late 1957 at the Village Vanguard would show another side of Rollins altogether. His some-what daring use of basically replacing the piano with his tenor, was not new for him nor, would it be the last time; his Way Out West in early 1957 was a breakthrough landmark and later, Freedom Suite in 1958 would be his return to the triad. Operating at his creative peak, Rollins was making the art of extended soloing his own and was able to both focus and stretch each song out in extemporaneous thoughts and whims. From an! aftern oon set he locked horn with bassist Don Bailey and drummer Pete LaRoca on the famous rendition of “A Night In Tunisia”. The evening set found the highly underrated Wilbur Ware on bass and the great Elvin Jones behind the skins, resulting in “The Ol’ Devil Moon”, “Softly, As In A Morning Sunrise”, “Sonnymoon For Two”, “I Can’t Get Started”, and “Striver’s Row”. Simply one of the greatest and most powerful live dates in the history of recorded jazz. Mastered and cut by Bernie Grundman on Classic's "ALL TUBE PURE MONO" cutting system (not like others who use a stereo cutting head which imparts "crosstalk" onto the groove cut) and pressed onto 200 gram QUIEX Super Vinyl Profile for maximum fidelity. Jackets are authentic "tip-on" and laminated (front only) as were the originals - and the labels have the desirable "deep groove". Another installment in the Classic Blue Note Signature Mono LP Series.

1. Old Devil Moon
2. Softly As in a Morning Sunrise
3. Striver's Row
4. Sonnymoon For Two
5. A Night In Tunisia
6. I Can't Get Started

"From this Moment On" cut from the original analog master tapes on Classic's "all tube" cutting system by Bernie Grundman at Bernie Grundman mastering in Hollywood. The release features a gatefold jacket and as always will be pressed on Classic's 200g Super Vinyl Profile for maximum fidelity and musicality.

1. It Could Happen To You
2. Isn't This A Lovely Day?
3. How Insensitive
4. Exactly Like You
5. From This Moment On
6. I Was Doing Alright
7. Little Girl Blue
8. Day In Day Out
9. Willow Weep For Me
10. Come Dance With Me
11. It was A Beautiful Day in August / You Can Depend On Me

Signed to the label when he only eighteen years old, this jazz prodigy, who cut his teeth as a Jazz Messengers with the great Art Blakey, proceeded to record a stream of impressive records as a leader for Blue Note. At the ripe old age nineteen, Morgan helmed the City Lights sessions in August of 1957 at Rudy Van Gelder’s Hackensack site. The all-star sextet tackles arrangements provided by the likes of Benny Golson and Gigi Gryce that are a perfect fit to their collective playing. Curtis Fuller on trombone, George Coleman blowing both alto and tenor, Ray Bryant at the piano, Paul Chambers on bass and Art Taylor’s drumming add to Morgan’s trumpet that produced a classic of 50’s modern jazz. Cut on Classic's all tube pure mono cutting system by Bernie "be-bop" Grundman from the original full track mono master tapes and pressed on Classic's proprietary 200g Super Vinyl Profile. Another "must have" installment in Classic Blue Note Signature Mono LP Series.

1. A Night In Tunisia
2. Heavy Dipper
3. Just One of Those Things
4. Lover Man
5. New Ma

The third and quite possibly the best, of a trio of recordings for Blue Note that are considered a triumph for this tortured artist. One of the true architects of be-bop, Powell’s recording history, like his personal life, experienced extreme highs and lows. Before moving to Europe, Blue Note was able to capture him in variety of groupings. This August 3, 1957 date from Rudy Van Gelder’s Hackensack studio is damn near sheer perfection. Trio-mates Art Taylor on drums and Paul Chamber’s bass offer the perfect compliment to Powell’s five original compositions, with an outpouring of swing, blues and improvisation. A unique choice of a complimenting horn finds a quite young Curtis Fuller on trombone on three standards. Powell adds a fun break in the action with his s! olo, ba roque-bop Bud On Bach. Cut on Classic's all tube pure mono cutting system by Bernie "be-bop" Grundman from the original full track mono master tapes and pressed on Classic's proprietary 200g Super Vinyl Profile. Another "must have" installment in Classic Blue Note Signature Mono LP Series.

1. Some Soul
2. Blue Pearl
3. Frantic Fancies
4. Bud On Bach
5. Keepin' in the Groove
6. Idaho
7. Don't Blame Me
8. Moose the Mooche

Two separate sessions, from July 1956 and February 1957 make up this 12” release, recorded by RVG at his Hackensack studio. Trumpeter Jones decided to utilize two distinct groups of supporting players and the results are interesting contrasts in structure. Rounding out the quartet date with just a rhythm section of Barry Harris’s piano, Percy Heath on bass and drummer Max Roach, Thad’s trumpet is the main focal point. On the quintet date, Jones adds Benny Powell’s trombone and Gigi Gryce on alto sax for the front line, with Tommy Flanagan at the piano, George Duvivier on bass and his brother Elvin banging the skins. Sharp, tight playing from both groups, especially on “I’ve Got A Crush On You” and “I’ll Wind” highlight this collection. Mastered and cut on an all tube pure mono cutting system by Bernie Grundman. Pressed on Classic's proprietary 200g super vinyl profile for the best and most authentic sound possible

1. Slipped Again
2. Ill Wind
3. Thadrack
4. Let's
5. I've Got a Crush On You

Transistion was a very small and obscure Jazz label for about two seconds in the mid - Fifties but they did a couple of great Jazz records and Watkins at Large is one of them. This is Watkins on bass as leader of a band consisting of Duke Jordan on piano, Arthur Taylor on drums, Kenny Burrell on Guitar, Donald Byrd on trumpet, and Hank Mobley on tenor sax. Watkins plays a seven foot Italian bass on tunes including his own "Panonica" and a 13 minute version of Tiomkin's "Return to Paradise". According to Tom Wilson who produced the session and wrote the notes, " Watkins at Large is one of those rare sessions where everyone falls immediately into the groove from the opening minute. The result of such a 'hang-upless' date is freely constructed, intensely personal jazz without pretention or frills." As always, this "True MONO" recording was transferred from the original full track Mono master tapes on Classic's ALL TUBE, MONO cutting system - no Mono cut on a stereo lathe here. Pressed on Classic's 200g Super Vinyl Profile and presented with original artwork and eight page booklet provided by Jeff Barr of Jeff Barr Rare records. This is a record that is so impossibly rare that if we didn't reissue it then most people would never know of its existence. We got the tip on this gem from Ron Rambach who has helped Classic over the years to consistently choose winning Jazz titles - Roe Baby this one's for you!

1. Return to Paradise
2. Phinupi
3. Phil T. McNasty's Blues
4. More of the Same
5. Panonica

Kenny Dorham on trumpet, Hank Mobley on tenor Sax, Doug Watkins on bass and Art Blakey on Drums are the jazz Messengers supporting Horace Silver playing piano on tunes like "Creepin' In", "To Whom it May Concern" and "Doodlin'" to name three of seven tunes written by Silver for this the first Jazz Messengers Sessions recorded by Rudy Van Gelder. Another incredibly rare record that is worth hearing as a "True MONO" transferred from the original full track Mono master tapes on Classic's ALL TUBE, MONO cutting system - no Mono cut on a stereo lathe here. Another in the Classic Blue Note Signature Mono LP reissue series pressed with the authentic "deep groove" on Classic's proprietary 200g Super Vinyl Profile.

1. Room 608
2. Creepin' In
3. Stop Time
4. To Whom It May Concern
5. Hippy
6. The Preacher
7. Hankerin'
8. Doodlin'

Amos Lee is one of those special singer songwriters that comes along very infrequently. On this, his first release he sings songs from the heart that we can all relate to and does so with a voice that we all wish we had. Amos opened for Norah Jones on her 2004 European tour and this record is produce by Norah Jones band member Lee Alexander. Mastered and cut from the original 1/2" analog masters by Bernie Grundman on Classic's "all tube" stereo cutting system and pressed on the 180g Classic Super Vinyl Profile pressings. Amos is definitely in the house and in the room!

1. Keep It Loose, Keep It Tight
2. Seen It All Before
3. Arms Of A Woman
4. Give It Up
5. Dreamin'
6. Soul Suckers
7. Colors
8. Bottom Of The Barrel
9. Black River
10. Love In The Lies
11. All My Friends

Another in the Classic Sonny Criss Imperial reissue series features Cole Porter tunes such as "I Love You" , "Anything Goes", "In The Still Of The Night", "Just One of Those Things" and "I Get A Kick Out Of You" among others. The original liner notes proclaim "Since high fidelity recoding includes a true reproduction of all sounds without discrimination or distortion, the original recording was done on an Ampex 300-C Magnetic Tape Recorder at 15 IPS using Scotch tape". This reissue was transferred directly from from the original full track mono tapes by Bernie Grundman using Classic's "all tube" pure mono cutting system and pressed on Quiex 200g Super Vinyl Profile. Jacket artwork, including laminate on the front to create the original "Glossy" look, and labels are authentically replicated. Another must have!

1. I Love You
2. Anything Goes
3. Easy To Love
4. It's Alright With Me
5. In The Still Of The Night
6. Love For Sale
7. Night And Day
8. Just One Of Those Things
9. What It This Thing Called Love
10. I Get A Kick Out Of You

Monk Quartet with John Coltrane At Carnegie Hall

What is so grand about the Carnegie tapes is that those tunes Trane was struggling with (the first couple of weeks he was near-pitiful, with the heads, but Monk pounded away at the chords) - say, "Evidence," "Monk's Mood," "Epistrophy" which grew steadily more finished and exquisite during that Summer of wonder - by time of the concert a few months later, not only was Trane peerless with the heads, but now sailed off into his own furtherness and the band itself was tight as Dick's hat band. Of even more curious delight is that one can see now how Trane's residency with that great band influenced the teacher as well. Check Monk's expansive backup arpeggio's on "Monk's Mood," matching Trane's multi-noted zoom. "Epistrophy" shows the exactness the well-honed match that playing together over an extended period can produce. - Amiri Baraka, liner notes Jazz has had its share of great archival discoveries, not the least of which were Dean Benedetti's recordings of Charlie Parker. But the discovery of more music from the Thelonious Monk quartet with John Coltrane is made all the more extraordinary because so few knew it existed and the only official recordings by this band were made in its first weeks of existence. Now a forgotten November 1957 Carnegie Hall concert taped by Voice Of America radio has been discovered by the Library of Congress with two appearances by the quartet. These two 25-minute, five-tune sets feature the quartet in great fidelity and unbelievable form. The empathy and invention of the group here far surpasses the Riverside session, made months earlier. Playing together every night for 18 weeks sharpened the skills and interaction of these brilliant musicians. Monk's piano playing has never sound like this; his arpeggios are virtuosic and each note rings with clarity on the Carnegie Hall piano. Coltrane had fully mastered Monk's music by this time. In the confines of short playing times (most tunes are 4 to 6 minutes in duration), he plays with a fervid intensity trying to cram all his ideas into a brief amount of time. Ahmed Abdul-Malik and Shadow Wilson play the intricate arrangements with fluidity and push the soloists to great heights. Thanks to the clarity and presence of Wilson's drums on this recording, his work will be a revelation to anyone who had not had the fortune to see him live. This LP was mastered from the original 15 ips mono analog tapes by Kevin Hodge at the Master Cutting Room and pressed on Classic Records proprietary 200 gram Quiex Super Vinyl Profile virgin vinyl. Production notes: Produced for release by T. S. Monk and Michael Cuscuna Executive producer: Bruce Lundvall Recorded on November 29, 1957 by Voice of America at Carnegie Hall, New York City This concert was produced by Kenneth Lee Karpe for the benefit of the Morningside Community Center. Tape preserved and provided from the collections of the Library of Congress Mastered from the original 15 ips mono analog tape by Kevin Hodge at the Master Cutting Room, NYC

Early Show
1. Monk's Mood 7:52 (Thelonious Monk) Embassy Music Corp ((BMI))
2. Evidence 4:41 (Thelonious Monk) Thelonious Music Corp (BMI)
3. Crepescule with Nellie 4:28 (Thelonious Monk) Thelonious Music Corp (BMI)
4. Nutty 5:03 (Thelonious Monk) Thelonious Music Corp (BMI)
5. Epistrophy 4:28 (T. Monk-K. Clarke) Embassy Music Corp (BMI)/Music Sales Corp (ASCAP)
Late Show 6. Bye-Ya 6:31 (Thelonious Monk) Thelonious Music Corp (BMI)
7. Sweet and Lovely 9:34 (Arnheim-Daniels-Tobias) Anne Rachel Music/Harry Tobias Music/Jerry Leiber Music/Mike Stoller Music/Range Road Music (ASCAP)
8. Blue Monk 6:30 (Thelonious Monk) Thelonious Music Corp (BMI)
9. Epistrophy 2:24 (T. Monk-K. Clarke) Embassy Music Corp (BMI)/Music Sales Corp (ASCAP)