Format > Classic Records

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

Over his twenty-five year tenure on Blue Note, pianist Silver employed some great horn men to record with but arguably none blended better with his arranging than the group he assembled for this May 1957 session. Hank Mobley’s tenor and Art Farmer’s trumpet become the right and left hands to Silver’s body of work and set a standard for small-ensemble writing and playing. No slouches themselves, Teddy Kotick’s bass and Louis Hayes’ drum work help produce a stellar collection including a version of “Home Cookin” that became a jazz classic. 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. No Smokin'
2. The Back Beat
3. Soulville
4. Home Cookin'
5. Metamorphosis
6. My One and Only Love

Recorded in 1962 by Rudy Van Gelder at the Englewood Cliffs studio, Rouse and Co. departed from the normal hard-bop that as Monk’s main tenorman he had earned his New York rep with and took the recent bossa nova / calypso craze, started by Stan Getz, Charlie Byrd and even Sonny Rollins to another place. With great grooves from the rhythm section, including augmentation with conga and chekere, the result is a great collection, rooted in various Afro-Caribbean styles and not American jazzmen trying to sound Brazilian. Among others, guitarist Kenny Burrell’s and especially drummer Willie Bobo’s playing makes this not just another bossa nova fad date. 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. Back to the Tropics
2. Aconteceu
3. Velhos Tempos
4. Samba de Orfeu
5. Un Dia
6. Meci Bon Dieu
7. In Martinique

Outside of Paul Chambers, who was employed as Miles Davis’s bassist at this time, all of the other players on these April 1957 RVG Hackensack dates were leaders of their own renowned groups; a reflection of the respect they all shared for the date leader, Sonny Rollins. Besides Chambers, with J.J. Johnson on trombone, Art Blakey behind the drums and alternating pianists Thelonious Monk and Horace Silver, who both play on the now-famous version of “Misterioso”, the words All-Star seem almost demeaning to this conclave. The resulting recordings burst forth with confidence and enthusiasm, capturing a fire and passion usually found only with uninhibited live dates and not the constraints of a recording studio. Exceptional versions of “Poor Butterfly” and “You Stepped Out Of a Dream” elevate this record to monumental status. 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. Why Don't I
2. Wail March
3. Misterioso
4. Reflections
5. You Stepped Out of a Dream
6. Poor Butterfly

Beauty and Crime is possibly Suzanne Vega’s best effort since her debut album and likely even better than the highly acclaimed “Solitude Standing”. “Beauty and Crime is a lengthy meditation on the city of New York, the place she calls home. These songs glide like a harlequin's ghost through the hearts and minds of city residents past and present, on its streets, in its hotels, apartments, in every corner of the city. There is more than the hint of memory on Beauty & Crime. The album is dedicated to the memory of Tim, who lived on "Ludlow Street" -- the name of the set's second cut, a searing and simply moving tribute to him -- and cites as muses in part "...Edith Wharton and all her heroines...and Frank Sinatra and Ava Gardner for their passion," and who have songs named for them here. In doing so, 9/11 itself cannot be left out of the equation, and the album's final two cuts deal with personal versions of this story, one of which is informed by her brother-in-law Angel Ruiz, a New York City cop stationed at Ground Zero after the attacks on the World Trade Center. Most of these songs look at life in the interim, or remembering what the city was like in the '70s as on the cut "Zephyr and I."??Musically, this is easily her most adventurous record ever; yet it is also more accessible than any album since her debut. The craft and care put into the songs themselves and their articulation by Vega and producer Jimmy Hogarth are amazing. Here, emotions are laid bare in places whether in the first, second, or third persons, but they are always placed inside elegant yet spare lyrics that are taut, poetic, and evocative. The dreamy soundscape contains layers of guitars, percussion (organic, electronic and live, in one case) strings, reeds, brass, and backing singers (including daughter Ruby Froom who appears on a couple of cuts, and KT Tunstall who appears once). But it's the sound of Vega's acoustic guitar on all these songs that is unmistakably at the top and provides the album's anchor. It's important to note this, simply because it keeps these beautiful pop songs rooted in a new kind of contemporary folk that Vega was a pioneer of in the '80s. And it keeps her rooted to her own catalog, from the beginning to the present. In other words, as she has experimented in the past with all kinds of sounds, she has forever remained herself and never more so than here, whether it's the jazzy, faux bossa nova of "Pornographer's Dream" or its predecessor, the stunning "New York Is a Woman." "Frank and Ava," is a rocking pop tune whose electric and acoustic guitars entwine, seemingly kissing, wrapped around a bassline played by Tony Shanahan from the Patti Smith Group writes a reviewer from All Music Guide.” Mixed by Tchad Blake and recorded at both Sear Sound in New York and Olympic Studios in London , the sound of this record is full of depth and nuance that every audiophile and music lover will love. Mastered and cut on Classic Records “All Tube” cutting system by Bernie Grundman, this LP release is a must have and not to be missed! Highest recommendation.

1. Zephyr & I
2. Ludlow Street
3. New York Is A Woman
4. Pornographer's Dream
5. Frank & Ava
6. Edith Wharton's Figurines
7. Bound
8. Unbound
9. As You Are Now
10. Angel's Doorway
11. Anniversary

After the worldwide success of Tommy, Pete Townshend’s decided to take a second stab at ’rock opera’ and 1973’s Quadrophenia was the result. Its premise is rooted in a teenage perspective in 1964-65, and the friction between ‘mods and rockers’ in the London and Bristol regions of the UK. The four-way split personality of the central figure ‘Jimmy’ has been admitted to by Townshend as also being based on the distinct personalities of the! four b and members. The legendary Glyn Johns’ production is both powerful and stunning with the writing and arrangements, featuring maybe the most tasteful use of both sound effects and synthesizers in rock recording, brilliant. Pianist Chris Stainton (Spooky Tooth) contributes strong support on such songs as The Real Me, The Punk Meets The Godfather, I’m One and Love Reign o’er Me, all classic Who performances. This LP reissue was mastered and cut from the original ¼” analog master tapes by Chris Bellman at Bernie Grundman Mastering using Classic’s “ALL TUBE” analog cutting system. Pressed on Classic’s 140g Super Vinyl Profile gives a slight edge to this reissue over the excellent original Track release. Gatefold artwork including tipped in 44 page booklet are given the usual Classic authenticity treatment down to the paper stock being original. For most Who fans this is the pinnacle of Who albums and is treated as such in all aspects of this reissue which is NOT to be missed!

1. I Am the Sea – 2:08
2. The Real Me – 3:20
3. Quadrophenia – 6:15
4. Cut My Hair – 3:46
5. The Punk and the Godfather – 5:10

1. I'm One – 2:39
2. The Dirty Jobs – 4:30
3. Helpless Dancer – 2:32
4. Is It in My Head – 3:46
5. I've Had Enough – 6:14

1. 5:15 – 5:00
2. Sea and Sand – 5:01
3. Drowned – 5:28
4. Bell Boy – 4:56

1. Doctor Jimmy – 8:42
2. The Rock – 6:37
3. Love, Reign O'er Me – 5:48

Fans of Neil Young and Crazy Horse waited years to hear the band live with original leader Danny Whitten, the talented guitarist who was lost to a heroin overdose in 1972, and this incredible collection of well-produced and well-performed live tracks performed at the Fillmore East was well worth the wait! The long-anticipated first live release from Young’s personal archives, 1970's Live at the Fillmore East also happened to feature Miles Davis on the same bill no less and was only heard on various bootleg versions before this release. On tour in support of the album Everyone Knows This Is Nowhere, the recording features Young backed by Crazy Horse plus renowned arranger and future collaborator, the late Jack Nitzsche on piano. Staples such as "Down By The River," "Cowgirl In The Sand" and "Everybody Knows This Is Nowhere" get the full on stretched out treatment that Young’s shows would become known for. A great slice of prime Neil Young and friends in all their raw, ragged, rockin’ glory. Mastered and cut by Chris Bellman at Bernie Grundman Mastering in Hollywood from analog master tapes prepared by John Nowland at Neil Young’s Studio. All Classic/Reprise Neil Young vinyl issues including Live at Fillmore East, are pressed only on Classic’s proprietary 200g Super Vinyl Profile.

Neil Young Live at the Fillmore East Track Listing

1. Everybody Knows This Is Nowhere
2. Winterlong
3. Down By The River
4. Wonderin'
5. Come On Baby Let's Go Downtown
6. Cowgirl In The Sand

It was over thirty five years ago when Jimi Hendrix took the stage to end what would arguably become the most famous Rock event in history. Who knew it would be around 9 am on the Monday morning after the event was to end on Sunday night. What we do know is that Jimi came to headline the show and did so with a great set albeit at least twelve hours later than anticipated. Yes, many people had already left but for those who stayed to see the world's greatest rock guitarist it must have been a fitting end to three days of memorable performances by Crosby Stills and Nash, Janis Joplin, Santana, The Greatful Dead, Creedence Clearwater Revival, The Who, Jefferson Airplane, The Band and a host of others. To commemorate that day and the spirit of what it has come to represent, Classic Records and Experience Hendrix would like to announce the Limited Edition Jimi Hendrix at Woodstock deluxe LP Boxed Set which includes the legendary Hendrix performance on 3 - LP's transferred from the original analog master tapes. Accompanying features include a 36 page booklet with rare photos, expanded essays and interviews with Eddie Kramer, Mitch Mitchell, Billy Cox and other band members present that last day in the Summer of Love. Also included is a bonus vinyl 7" single with "Izabella" and "Message to the Universe" recorded Eddie Kramer at the Hit Factory the week after Woodstock with the same band by Eddie Kramer. This definitive package will undoubtedly become a collectors item in years to come and is a must have for all serious Hendrix fans - the King of Rock has never sounded better at Woodstock - well, unless you were there just outside Bethel, New York on August 18th 1969!

LP 1
1. Introduction
2. Message To Love
3. Hear My Train Comin'
4. Spanish Castle Magic
5. Red House
6. Lover Man
LP 2
1. Foxey Lady
2. Jam Back At The House
3. Izabella
4. Fire
5. Voodoo Child (Slight Return)
LP 3
1. Star Spangled Banner
2. Purple Haze
3. Woodstock Improvisation
4. Villanova Junction
5. Hey Joe

After all these years we finally get a "Greatest Hits" which could be thought of more as a sampler of his many Hits even though it comes as a 2 LP set with a bonus 7" single (Sugar Mountain (mono version) / The Loner). This was cut from complied 30 ips analog master tapes prepared by John Nowland at Neil Young's Redwood Ranch Studios and mastered and cut by Chris Bellman at Bernie Grundman Mastering. After listening tests at the Ranch Neil Young decided that Classic's 200g Super Vinyl Profile was to be used exclusively for this long anticipated release which includes favorites such as "Cinnamon Girl", "Helpless", "Comes A Time", Harvest Moon" among others. This LP belongs in every collection - enough said.

1. Down By The River - from Everybody Knows This Is Nowhere, 1969
2. Cowgirl In The Sand - from Everybody Knows This Is Nowhere, 1969
3. Cinnamon Girl - from Everybody Knows This Is Nowhere, 1969
4. Helpless - with Crosby, Stills and Nash, from Déjà Vu, 1970
5. After The Gold Rush - from After The Goldrush, 1970
6. Only Love Can Break Your Heart - from After The Goldrush, 1970)
7. Southern Man - from After The Goldrush, 1970)
8. Ohio - with Crosby, Stills and Nash, from Four Way Street, 1971
9. The Needle and the Damage Done - from Harvest, 1972
10. Old Man - from Harvest, 1972
11. Heart Of Gold - from Harvest, 1972
12. Like A Hurricane - from American Stars 'n' Bars, 1977
13. Comes A Time - from Comes A Time, 1978
14. Hey Hey, My My (Into The Black) - from Rust Never Sleeps, 1979
15. Rockin' In The Free World - from Freedom, 1989
16. Harvest Moon - from Harvest Moon, 1992

This is the first collection of Roy Orbison Hit tunes, about half taken from the first two albums "Lonely and Blue" and "Crying", with the remaining songs being singles that were not released on LP. Released in 1962 prior to Orbison's third album, this LP includes "Only The Lonely", "Evergreen", "Crying", "Uptown", "Running Scared", "Love Star", "Dream Baby", "The Crowd", "Blue Angel", "Candy Man", "I'm Hurtin'" and "Mama", cut on an all tube cutting system by Bernie Grundman from a compilation analog reel assembled from the actual session masters - not copies. You can't get a Roy Orbison "Greatest Hits" on LP that is closer to the original analog master tapes - as it should be. In Stereo and pressed on Classic's 200g Quiex Super Vinyl Profile.

1. Only The Lonely
2. Evergreen
3. Crying
4. Uptown
5. Running Scared
6. Love Star
7. Dream Baby
8. The Crowd
9. Blue Angel
10. Candy Man
11. I'm Hurtin'
12. Mama

Released at the front end of what might be Lilith Fair's last hurrah, Mirrorball is a take-home sampler of the live performances that have catapulted McLachlan into the modern rock stratosphere. Over half of the album's 14 songs are radio hits (including four of the first five), proving McLachlan's worth as a pop songstress bar none. With little dialogue between songs, and the sound quality so pristine, if it weren't for the occasional hoot and holler from the audience one would never know it's a live album. A must have for all Sarah fans.

1. Building A Mystery
2. Hold On
3. Good Enough
4. I Will Remember You
5. Adia
6. I Love You
7. Do What You Have To Do
8. Path Of Thorns
9. Fear
10. Possession
11. Sweet Surrender
12. Ice Cream
13. Fumbling Toward Ecstasy
14. Angel

A first in the new vinyl collaboration between Classic Records and Vapor Records (Neil Young's label) to bring you this stunning rock meets real people with the message that politics and the environment are often at odds. This record in its conception is an act of genius on all levels and those who saw the live shows will certainly agree that Neil has more guts than any one else in the Rock world. The 3-LP set is housed in a deluxe box, with a 24-page booklet, a collector's Showbill from the live concert and a Greendale bumper sticker. Also included is an undetermined (at press time) version of Sun Green as a 7" Green vinyl single in a custom picture sleeve. The LP's were mastered and cut from the 1/2" analog master tapes by Chris Bellman at Bernie Grundman mastering. Available in both 140g conventional profile and 200g QUIEX SV-P editions.

LP1
1. Falling From Above
2. Double E
3. Devil's Sidewalk
4. Leave the Driving
LP2
1. Carmichael
2. Bandit
3. Grandpa's Interview
4. Bringin' Down Dinner
Bonus 7" Green Vinyl
1. Sun Green
2. Be The Rain

It was 35 years ago at about this time that Jimi Hendrix took the stage at the Fillmore East in New York to perform a set that would become, in part, one of the best Live albums ever recorded - entitled simply "Band of Gypsys". In fact, Hendrix played two nights at the Fillmore, the second performance being on New Years day 1970 after a rousing performance on New Years eve 1969. To celebrate the beginning of the new decade, Fillmore East impresario Bill Graham went to great length to ensure a special evening for his patrons, dressing his ushers in special shirts and placing toy tambourines on each of the venue's 2,639 seats. He strode onstage and introduced "some very old friend with a brand-new name" As the sold-out crowd roared in approval, Jimi led his trio through a scintillating 75 minute set. Hendrix was ON this night delivering perhaps his finest live performance. His playing was focused and precise. In fact, for most of the set, Hendrix stood motionless, a far cry from the stage antics that helped establish his reputation as a performer. Equipment problems had plagued him in past live shows as well, but everything was perfect for the Fillmore shows. His absolute mastery of his guitar and effects is even more amazing considering that this was the first time he used the Fuzz Face, wah-wah pedal, Univibe, AND Octavia pedals on stage together. The guitar tones he gets on "Who Knows" and "Power to Love" are powerful and intense, but nowhere is his absolute control more evident than on "Machine Gun," where Hendrix conjures bombs, guns, and other sounds of war from his guitar, all within the context of a coherent musical statement. The solo on "Machine Gun" totally rewrote the book on what a man could do with an electric guitar and is arguably the most groundbreaking and devastating guitar solo ever. At midnight, when the strains of the Guy Lombardo Orchestra's "Auld Lang Syne" filled the theatre, the Band of Gypsys appeared back on stage, Jimi launching into his own arrangement of the traditional year-opener, a beautiful rendition that captivated the audience immediately. Now Classic Records brings back this legendary title for the first time on 140 gram vinyl. George Marino and Eddie Kramer mastered and cut the lacquers from the original analog two track masters at Sterling Sound in New York with Michael Fremer in attendance in 1998. The legend lives on as do our memories of one of Rock's greatest performers - Jimi Hendrix.

1. Who Knows
2. Machine Gun
3. Changes
4. Power To Love
5. Message To Love
6. We Gotta Live Together

Stunning 2LP Live set recorded during Peter Gabriel's 1982 tour. This 2LP heavy vinyl release showcases the entire 16 tracks, including those left off of the original release.

1. The Rhythm Of The Heat
2. I Have The Touch
3. Not One Of Us
4. Family Snapshot
5. D.I.Y.
6. The Family And The Fishing Net
7. Intruder
8. I Go Swimming
9. San Jacinto
10. Solsbury Hill
11. No Self Control
12. I Don't Remember
13. Shock The Monkey
14. Humdrum
15. On The Air
16. Biko

Passion is in actuality Peter Gabriel's soundtrack to the Martin Scorsese film The Last Temptation of Christ, re-titled as a result of legal barriers; regardless of its name, however, there's no mistaking the record's stirring power. Like much of Gabriel's solo work, the album is a product of his continuing fascination with world music, which he employs here to create an exceptionally beautiful and atmospheric tapestry of sound perfectly evocative of the film's resonant spiritual drama; inspired by field recordings collected in areas as diverse as Turkey, Senegal, and Egypt, Passion achieves a cumulative effect clearly Middle Eastern in origin, yet its brilliant fusion of ancient and modern musics ultimately transcends both geography and time. Remarkably dramatic, even visual, it is not only Gabriel's best film work but deserving of serious consideration as his finest music of any kind; equally worthwhile is Passion: Sources, which assembles the original native recordings which served as his creative launching pad. ason Ankeny. 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. The Feeling Begins
2. Gethsemane
3. Of These, Hope
4. Lazarus Raised
5. Of These, Hope (reprise)
6. In Doubt
7. A Different Drum
8. Zaar
9. Troubled
10. Open
11. Before Night Falls
12. With this Love - Choir
13. Sandstorm
14. Stigmata
15. Passion
16. With this Love
17. Wall of Breath
18. Promise of Shadows
19. Disturbed
20. It is Accomplished
21. Bread and Wine

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

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)

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 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

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

The seventh volume of Bob Dylan's Bootleg Series doubles as the soundtrack to No Direction Home, Martin Scorseses's feature-length documentary covering Dylan's career from its beginnings to 1966 (it was aired in two parts on PBS in September 2005 and released in expanded form on DVD that same month). Unlike the previous three installments of The Bootleg Series, which focused exclusively on live concerts, No Direction Home is assembled from a variety of sources, including home recordings, publishing demos, alternate studio takes, and live recordings, with the first disc devoted to early acoustic recordings and the second to electric music. In fact, No Direction Home proceeds chronologically, filling in gaps between the proper albums or, more often, providing a parallel history of the most productive era of Dylan's career. All of this material -- with the exception of "Song to Woody," taken from his debut, and a cataclysmic version of "Like a Rolling Stone" taken from the Royal Albert Hall show that was released as Bob Dylan Live '66 -- is previously unreleased, and much of it has not been widely bootlegged (and the cuts that have been bootlegged, such as "Dink's Song," have never been heard in such crystal-clear fidelity). Where the inaugural edition of The Bootleg Series had many previously unreleased Dylan originals, there is only one here, the tentative opener, "When I Got Troubles," a sweet, simple 1959 song that finds Dylanin his formative stage. In place of unheard songs are a slew of alternate versions of familiar tunes. On the first two LP's, these are largely live versions of such warhorses as "Blowin' in the Wind," "Masters of War," and "A Hard Rain's a-Gonna Fall," recorded when the songs were still fresh. These live performances have an immediacy and intimacy that not only illustrate what a powerful folksinger Dylan was, but also suggest how the songs might have sounded when they were new tunes. Toward the end of the second LP, alternate versions that are significantly different from the final versions begin to surface with an early take on "Mr. Tambourine Man" recorded at the Another Side of Bob Dylan sessions with Ramblin' Jack Elliott on second guitar and backing vocals. The third and fourth LP's contain several alternates that are similarly notably different, highlighted by a lively, careening "It Takes a Lot to Laugh, It Takes a Train to Cry" with a different final verse, a "Desolation Row" with electric guitar, "Highway 61 Revisited" without the siren whistle, a slower, heavier, blusier take on "Leopard-Skin Pill Box Hat," a relaxed version of "Stuck Inside of Mobile with the Memphis Blues Again" that lacks the carnivalesque swirl of sound from the Blonde on Blonde version, and a lean, insistent "Visions of Johanna." Everything here is uniformly excellent and worth hearing well more than once. That alone, of course, would make this yet another worthwhile addition to any serious Dylan collection, but what makes No Direction Home noteworthy as an album is that it is the first Dylan record to offer an aural biography of Dylan. This does a superb job of tracing the development of Dylan as a musician, taking him from a young folkie singing standards, through the rush of his early standards, and to the visionary music he made once he went electric. Put in this context, the electric music on the third and fourth LP's sounds as bracing and brilliant and surprising as it did in the '60s, while the acoustic folk on LP's one and two sounds vibrant, pure, and alive. After all these years, that's a hard accomplishment to pull off, and to the credit of everybody involved in this terrific release, they've been able to make even the most familiar Dylan tunes feel new again. As usual, this deluxe edition comes from the original mix down masters and was transferred by Bernie Grundman to lacquer on on Classic's "all tube" analog cutting system. This deluxe 4-LP set includes two alternate cover art gatefold jackets (Blonde on Blonde and Bringing it all Back Home), a 60+ page 12" x12" booklet all housed in an a special outer box. Definitive - Highest Recommendations!

LP 1
1. When I Got Troubles (1959)
2. Rambler, Gambler (Home Recording)
3. This Land is Your Land (Live)
4. Song to Woody
5. Dink's Song (Home recording)
6. I Was Young When I Left Home (Home recording)
7. Sally Gal (Alternate Take)
8. Dont' Think Twice, It's Alright (Demo)
9. Man of Constant Sorrow
LP 2
1. Blowin' In The Wind (Live)
2. Masters of War (Live)
3. Hard Rains A-Gonna Fall (Live)
4. When the Ship Comes In (Live)
5. Mr. Tambourine Man (Alternate Take)
6. Chimes of Freedom (Live)
7. It's All Over Now, Baby Blue (Alternate Take)
LP 3
1. She Belongs To Me (Alternate Take)
2. Maggie's Farm (Live)
3. It Takes A Lot To Laugh, It Takes A Train To Cry (Alternate Take)
4. Tombstone Blues (Alternate Take)
5. Just Like Tom Thumb's Blues (Alternate Take)
6. Desolation Row (Alternate Take)
7. Highway 61 Revisited (Alternate Take)
LP 4
1. Leopard-Skin Pill-Box Hat (Alternate Take)
2. Stuck Inside of Mobile with the Memphis Blues Again (Alternate Take)
3. Visions of Johanna (Alternate Take)
4. Ballad of a Thin Man (Live)
5. Like A Rolling Stone (Live)

Stunning 200 gram pressing of the 2LP classic.

1. A Hole In Bucket
2. A Little Lyric Of Great Importance
3. Chickens
4. Didn't It Rain
5. Hen Ma Tov
6. I Do Adore Her
7. I Know Where I'm Going
8. I've Been Driving On Bald Mounting-Water Boy
9. Jump Down Spin Around
10. La Bamba
11. Old King Cole
12. One More Dance
13. Suzanne
14. The Ballad Of Sigmund Freud
15. The Click Song
16. The Ox Drivers
17. The Red Rosy Bush
18. Vaichazkem

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

1. Purple Haze (Original Mono Mix)
2. 51st Anniversary (Original Mono Mix)
3. Wind Cries Mary (Original Mono Mix)
4. Highway Chile (Original Mono Mix)
5. Burning of the Midnight Lamp (Original Mono Mix)
6. Stars That Play with Laughing Sam's Dice (Original Mono Mix)
7. Hey Joe (Original Mono Mix)
8. Foxey Lady (Original Mono Mix)
9. Up From the Skies (Original Mono Mix)
10. One Rainy Wish (Original Mono Mix)
11. Crosstown Traffic (Original Reprise Records Mono Mix)
12. Gypsy Eyes (Original Reprise Records Mono Mix)
13. Stepping Stone (Original Reprise Records Stereo Mix)
14. Izabella (Original Reprise Records Stereo Mix)
15. Dolly Dagger (Original Stereo Mix)
16. Star Spangled Banner (Original Stereo Mix)
17. Johnny B. Goode (Original Stereo Mix)
18. Lover Man (Original Stereo Mix)
19. Gloria
20. Look Over Yonder

A compendium to the highly successful Classic Hendrix Singles Collection vol.1, Volume 2 presents 10 Hendrix 7" singles (20 songs) in MONO in picture sleeves with a deluxe booklet all housed in a box styled from a Hendrix suitcase on display at The Rock and Roll Hall of Fame. Was first released on assorted colored vinyl(out of print). Now Available on Black Vinyl.

Which just about sums up the universal opinion of the first official live recording released by The Who. After repeated failed attempts on their 69-70 UK Tommy tour, the hall on the campus of Leeds University was intentionally scheduled for the main purpose of recording a live album. The results, although only six selections from a much longer performance, were a triumph. Riding the crest of the Tommy album and their monumental appearance at the Woodstock Festival, the original quartet of Townshend, Daltrey, Entwhistle and Moon channeled Mose Allison, Eddie Cochran and Chad Allen with cover versions of Young Man Blues, Summertime Blues and Shakinâ€™ All Over respectively, while delivering expanded and stripped down versions that turned their own Substitute, Magic Bus and My Generation inside-out. A perfect mix, flaunting warts and all; amp noise, feedback and distortionâ€¦Who cares! This album ROCKS! All original artwork and packaging including all the "bits" are part of this Classic Records authentic reissue of the original Track UK release. Cut from the original two track master tapes (amp lead pops and all) at Bernie Grundman Mastering by Chris Bellman on Classic's "ALL TUBE" cutting system, this 200g Super Vinyl Profile pressing brings new insight into the genius in the nuance that has previously been obscured - even on original track pressings used for comparison in mastering. Recommendation not need - just buy it!

1. Young Man Blues
2. Substitute
3. Summertime Blues
4. Shakin' All Over
5. My Generation
6. Magic Bus

Considered the very first rock opera, this 1969 breakthrough recording from the genius of Pete Townshend was highly controversial upon its release. Originally banned by the BBC and by some U.S. radio stations, the underlying child abuse and molestation theme in the tale of the deaf, dumb and blind Tommy Walker was a startling, darker side to the former mod-rockers from Shepherds Bush. Highlighted at the Woodstock festival and film, the album peaked at # 4 on the Billboard chart. Townshend proved to himself and the world he could still attempt such a libretto and still rock!. It s pawned such Who staples as "Pinball Wizard," "The Acid Queen," "I'm Free" and "We're Not Gonna Take It / See Me, Feel Me." Ultimate movie, Broadway and concertized versions have kept its imaginative story and music in the forefront for the past three decades. Cut from the original two track quarter inch mater tapes provided by The Who on Classic's all tube stereo cutting system by Chris Bellman at Bernie Grundman Mastering in Hollywood. Pressed on 140g heavy weight vinyl and packaged in authentic tri-fold laminated sleeve including original booklet. This is a masterpiece in every way and an absolute must for all rock fans!

1. Overture
2. Its' A Boy
3. 1921
4. Amazing Journey
5. Sparks
6. The Hawker
7. Christmas
8. Cousin Kevin
9. The Acid Queen
10. Underture
11. Do You Think It's Alright?
12. Fiddle About
13. Pinball Wizard
14. There's A Doctor
15. Go To The Mirror!
16. Tommy Can You Hear Me?
17. Smash The Mirror
18. Sensation
19. Miracle Cure
20. Sally Simpson
21. I'm Free
22. Welcome
23. Tommy's Holiday Camp
24. We're Not Gonna Take It

The most famous bootleg in rock history, with the possible exception of Dylan's own Basement Tapes finally made its official appearance 32 years after the event, and nearly 30 years after it started circulating in the underground. Although often identified as a Royal Albert Hall show, this May 17, 1966, concert, in which Dylan played electric material in front of a British audience, was actually recorded in Manchester (hence the unwieldy title with quotes around "Royal Albert Hall"). Even those who've owned this recording for many a year should be tempted by this official package, as it has been expanded to include the eight electric rock songs from the original bootleg, but also the seven solo acoustic performances that comprised the first half of the show. It's all in great fidelity. More importantly, the electric half in particular is an important document of rock history. It captures the point at which Dylan was at his most controversial and hard rocking as he blazes through mid-'60s classics such as "Like a Rolling Stone" and "Ballad of a Thin Man," radical electric arrangements of songs that had originally been recorded acoustically ("One Too Many Mornings," "I Don't Believe You"), and the hard rocker "Tell Me, Momma," which Dylan never recorded in the studio. On top of everything else there's a 56-page booklet with a fine essay by Dylan's friend Tony Glover (a notable folk musician in his own right). This is not just an interesting adjunct to Dylan's '60s discography; it's as worthy of attention as anything else he recorded during that decade. Originally, transferred from the 1/2" analog mix down masters and cut on Classic's "all tube" cutting system by Bernie Grundman and released on 180g Classic vinyl, this re-release is the first time this, long out of print Classic Record, has been on 140g vinyl as well our proprietary 200 gram Super Vinyl Profile making it sound better than ever!

LP 1
1. She Belongs To Me
2. Fourth Time Around
3. Visions of Johanna
4. It's All Over Now, Baby Blue
5. Desolation Row
6. Just Like A Woman
7. Mr. Tambourine Man
LP 2
1. Tell Me, Momma
2. I Don't Believe You (She Acts Like We Never Have Met)
3. Baby, Let Me Follow You Down
4. Just Like Tom Thumb's Blues
5. Leopard-Skin Pill-Box Hat
6. One Too Many Mornings
7. Ballad of a Thin Man
8. Like A Rolling Stone

Generally considered one of rocks first concept™ albums, this December 1967 release was preceded by two months with its first single release, the monster hit â€œI Can See For Milesâ€. Recorded in London, New York and Los Angeles including some post-production at the famed Gold Star Studios, this album was a turning point in the bandâ€™s progression, weaving pure pop power with minor psychedelia in both a humorous mockery and tribute to Britainâ€™s pirate radio scene, complete with faux commercials written and performed by the band, interspersed between songs. Also included is their second single â€œMary Ann With The Shaky Handâ€ plus the mini-drama â€œRaelâ€, featuring Al Kooper on organ, which was originally intended as a full scale rock-opera by itself and propelled Pete Townsend to the realizations of both Tommy and Quadrophenia. The Stereo version was mastered and cut at Bernie Grundman Mastering by Chris Bellman on Classic's "all tube" Stereo cutting system from the original Stereo master tapes provided by The Who. This deluxe reissue package includes original TRACK artwork and labels and an authentic reproduction of the "Psychedelic Poster" included in original pressings of this title which are now nearly impossible to find other than on eBay for many hundreds of dollars.

1. Armenia City In The Sky
2. Heinz Baked Beans
3. Mary Anne With The Shaky Hand
4. Odorono
5. Tattoo
6. Our Love Was
7. I Can See For Miles
8. I Can't Reach You
9. Medac
10. Relax
11. Silas Stingy
12. Sunrise
13. Rael 1
14. Rael 2
15. Glittering Girl
16. Melancholia
17. Someone's Coming
18. Jaguar
19. Early Morning Cold Taxi
20. Hall Of The Mountain King
21. Girl's Eyes
22. Mary Anne With The Shaky Hand (Alternative Version)

The second effort by the Who recorded in 1967 and transferred by Chris Bellman at Bernie Grundman Mastering from the original mono master tapes provided by the Who on Classic's own pure mono cutting system featuring a mono tape head, mono tube electronics, mono tube cutting amp and pure mono cutter head. To say that we went over the top to bring you the best versions of Boris the Spider, Heatwave, and Cobwebs & Strange among others would be an understatement. You could of course get an original copy on ebay for $900. but why would you do that when you can get a Quiex SV-P copy for 3% of that price. Quick...get one! NOW AVAILABLE ON 150gm VINYL

1. Whiskey Man
2. Cobwebs and Strange
3. I Need You
4. See My Way
5. A Quick One While He's Away
6. Heatwave
7. Run Run Run
8. So Sad About Us
9. Boris the Spider
10. Don't Look Away

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. NOW AVAILABLE ON 140gm VINYL!

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

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

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

The third album from The Who featuring the hit tune " I Can See For Miles" in addition to others like "Mary Anne With The Shaky Hand"', "I Can't Reach You" and "Relax" among others. The Mono version was mastered and cut at Bernie Grundman Mastering by Chris Bellman on Classic's "all tube" MONO cutting system from the original Mono master tapes provided by The Who. This deluxe reissue package includes original TRACK artwork and labels and an authentic reproduction of the "Psychedelic Poster" included in original pressings of this title which are now nearly impossible to find other than on eBay for many hundreds of dollars. The stereo version of this title has also been reissued as part of the Classic Who LP reissue series and both are must haves for the serious Who fan and music lover!

Deluxe 4 LP box set edition of this great compilation previously only available as a two CD set includes four studio sides and four live sides along with a 12 page 12" x 12" color booklet filled with pictures and an essay by Kurt Loder. This issue was compiled from the original analog masters and mastered and cut by Bernie Grundman on Classic's "all tube" stereo cutting system and pressed on 140g RED vinyl! These babies are RED HOT and include all the biggest songs - Purple Haze, Foxey Lady, Stone Free and all the rest! (also available on Classic 200g Super Vinyl Profile pressings)

LP 1 - Studio
1. Purple Haze
2. Hey Joe
3. The Wind Cries Mary
4. Fire
5. Highway Chile
6. Are You Experienced?
7. Burning of the Midnight Lamp
8. Little Wing
9. All Along the Watchtower
10. Crosstown Traffic
LP 2 - Studio
1. Voodoo Child (Slight Return)
2. Spanish Castle Magic
3. Stone Free
4. Izabella
5. Stepping Stone
6. Angel
7. Dolly Dagger
8. Hey Baby (New Rising Sun)
LP 3 - Live
1. Fire
2. Hey Joe
3. I Don't Live Today
4. Johnny B. Goode
5. Hear My Train a Comin'
6. Foxey Lady
LP 4 - Live
1. Machine Gun
2. Red House
3. Freedom
4. Purple Haze
5. Star Spangled Banner
6. Wild Thing

1. Whiskey Man
2. Cobwebs and Strange
3. I Need You
4. See My Way
5. A Quick One While He's Away
6. Heatwave
7. Run Run Run
8. So Sad About Us
9. Boris the Spider
10. Don't Look Away

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

At the beginning of the 70s, the impact of Tommy weighed heavily on Pete Townshend's shoulders. How on earth would he and the Who top such a successful and important album? The guitarist-songwriter felt he had to take his music and its conceptual strains one step further. He began writing a futuristic fable that would transcend itself beyond the usual conventions of modern music. Intended to be a film, a play, a concert, a mega multimedia and cerebral experience - Townshend called his new project Lifehouse. And although Lifehouse would stay frozen on the blocks for another 30 years, its seeds sprouted the Who's most cohesive and consistent effort, Who's Next. How Townshend's ambitious follow-up ended up as Who's Next isn't easy to discern. After several false starts and a break with Who manager/mentor, Kit Lambert, the record was eventually rescued and shaped by producer/engineer, Glyn Johns. Much of Townshend's vision was contained within his extensive demos -- bits and pieces of a loosely constructed storyline set against experimental melodies and basic backbeats. The album's opening track, "Baba O'Riley," was originally an elongated cycle of synthesizer loops. What it became was an anthem, highlighted by a tumultuous build, Dave Arbus' rambling violin and Roger Daltrey's acclamation of a "Teenage Wasteland." The thunder is sustained by the contagious "Bargain" - now, like so much of the Who's music, a commercial jingle. "Love Ain't For Keeping" chugs away against a fierce acoustic rhythm while John Entwistle's sole contribution of "My Wife" remains one of his most electrifying songs. "This Song Is Over" features Nicky Hopkins' incomparable piano work and ends with a chorus pulled from "Pure And Easy," the central number of Lifehouse that failed to make the final cut, but would resurface three years later on the Odds And Sods compilation. The theme is maintained on "Getting In Tune," reintroduced during the Who's most recent tour, and "Going Mobile," a track with Townshend on lead vocals that recounts a couple of Lifehouse's characters cruising the streets in a Cadillac. It's the album's two singles that set up the grand finale. "Behind Blue Eyes" and "Won't Get Fooled Again" are adrenaline-filled powder kegs that capture the Who in their most primal state. Keith Moon's drumming is as wild as ever, yet enduringly steady. Entwistle's sturdy bass and Townshend's barking guitar rise and shift as Daltrey's signature scream radiates with emotion and authority during the climax. This is arguably one of the Who's greatest triumphs ever put on record. And indisputably one of the most definitive moments in all of rock and roll. - Review by Shawn Perry Mastered by Chris Bellman at Bernie Grundman mastering from the original two track 1/4" analog master tapes, cut on the Classic "All Tube" cutting system, and pressed on Classic's proprietary 200g Quiex Super Vinyl Profile. This release also features original Track labels and artwork. Arguably one of Rock's greatest recordings - enough said!

1. Baba O'Riley
2. Bargain
3. Love Ain't For Keeping
4. My Wife
5. Song Is Over
6. Getting In Tune
7. Going Mobile
8. Behind Blue Eyes
9. Won't Get Fooled Again

It was thirty five years ago today when Jimi Hendrix took the stage to end what would arguably become the most famous Rock event in history. Who knew it would be around 9 am on the Monday morning after the event was to end on Sunday night. What we do know is that Jimi came to headline the show and did so with a great set albeit at least twelve hours later than anticipated. Yes, many people had already left but for those who stayed to see the world's greatest rock guitarist it must have been a fitting end to three days of memorable performances by Crosby Stills and Nash, Janis Joplin, Santana, The Greatful Dead, Creedence Clearwater Revival, The Who, Jefferson Airplane, The Band and a host of others. To commemorate that day and the spirit of what it has come to represent, Classic Records and Experience Hendrix would like to announce the 35th anniversary Jimi Hendrix at Woodstock deluxe LP Boxed Set which includes the legendary Hendrix performance on 3 LP's transferred from the original analog master tapes. Accompanying features include a 36 page booklet with rare photos, expanded essays and interviews with Eddie Kramer, Mitch Mitchell, Billy Cox and other band members present that last day in the Summer of Love. Also included is a bonus colored vinyl 7" single with "Izabella" and "Message to the Universe" recorded by Eddie Kramer at the Hit Factory the week after Woodstock with the same band by Eddie Kramer. This definitive package will undoubtedly become a collectors item in years to come and is a must have for all serious Hendrix fans - the King of Rock has never sounded better at Woodstock - well, unless you were there just outside Bethel, New York on August 18th 1969!

Generally regarded as Peter Gabriel's finest record, his third eponymous album finds him crafting an album that's artier, stronger, more song oriented than before. Consider its ominous opener, the controlled menace of "Intruder." He's never found such a scary sound, yet it's a sexy scare, one that is undeniably alluring, and he keeps this going throughout the record. For an album so popular, it's remarkably bleak, chilly, and dark Transferred, for the first time ever, from the original 30 ips 1/4" master on Bernie Grundman's all tube cutting system, this Classic 200g Quiex SV-P pressing, packaged in a deluxe gatefold die cut jacket with printed inner sleeves, is the definitive LP version of this giant album. This is a rock record for anyone with good taste.

1. Intruder
2. No Self Control
3. Start
4. I Don't Remember
5. Family Snapshot
6. And Through The Wire
7. Games Without Frontiers
8. Not One Of Us
9. Lead A Normal Life
10. Biko

#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

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