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Miles Davis Colored Vinyl'
Santana (Awaiting Repress)Numbered, Limited Edition
Deluxe 45RPM Version Features Extra-Wide Grooves: Richest, Most Dynamic and Realistic Sound of Any Version
Lyrical, Splendorous, Rapturous, Psychedelic, and Bluesy Debut Set a New Musical Standard: Experience This Paradigm the Way the Artist Intended
Ranked #149 on Rolling Stone's List of the Greatest Albums of All Time
Santana's self-titled debut album announces the arrival of a new Guitar God. Made during the legendary bandleader's most fruitful and creative period, the classic 1969 set functions as an accessible entry point into the tangy worlds of Latin music by way of an intoxicating blend of Afro-Cuban percussion, jazzy tempos, exotic leads, bluesy riffs, and psychedelic accents. Befitting such a classic, Mobile Fidelity's 45RPM 2LP version of this epic work presents the music in the richest, most dynamic and realistic sound it's ever enjoyed.
Improving upon the label's critically acclaimed 180g LP pressing, this deluxe 45RPM set is mastered from the original master tapes and overflows with the information, textures, and colors afforded by wider grooves. The result: Spacious, airy, and you-are-there sonics that trump all prior versions. In addition to correcting the imaging, Mobile Fidelity's collectable version captures the full tonal range of Santana's guitar and nuances of his distinctive touch. It all brings you closer to the music and enhances your emotional connection to this stellar album.
Indeed, separation between Carlos Santana's fluid fills, spicy solos, and broiling grooves and pianist Gregg Rolie's soulful Hammond organ runs allows the music to come alive with a newfound freshness and radiance. Songs simmer, with each passage bursting forth with vibrant color. Just like the equally essential follow-up Abraxas, Santana also lays claim to one of the biggest (and unfortunate) production gaffes in music history. Until Mobile Fidelity fixed the error with its 180g LP and 24K Gold releases, Santana had never been heard correctly.
For nearly four decades, copies were produced with the left and right channels reversed, meaning that everything was placed in a backwards manner. This even extended to compilations on which individual songs from Santana were included. Rest assured that, in addition to boasting reference audiophile sonics, this 180g 45RPM 2LP set gets all the specifications exactly right. And with a record of this magnitude, you want everything to be perfect.
Bound by natural chemistry and earthy spirituality, the record's innovative synthesis of myriad styles goes beyond anything that came before-as well as nearly everything that's followed. Playing with the finest band that the iconic guitarist ever had, Santana doesn't water down any exotic roots or simply incorporate mainstream Western styles into a Latin framework. This is a true hybrid, responsible for opening up borders, transcending cultural divides, and, most importantly, exhilarating the senses.
Released weeks before the band blew minds at Woodstock, the groundbreaking record stands alongside Miles Davis' Bitches Brew and Jeff Beck's Beck-Ola as a pillar of rock fusion. Featuring the Top Ten radio smash "Evil Ways" and jam favorite "Soul Sacrifice," it hasn't aged a day. Hear like never before why Rolling Stone says Santana is #149 on its list of the Greatest Albums of All Time.
This title is not eligible for discount.1. Waiting
2. Evil Ways
3. Shades Of Time
8. You Just Don't Care
9. Soul Sacrifice$49.99180 Gram Audiophile Virgin Vinyl LP 45 RPM - 2 LPs Sealed AWAITING REPRESS Buy Now
Bitches Brew (Awaiting Repress)Monumental 1970 Double Album is Signpost for Jazz Fusion: Psychedelic Record Still Sounds Ahead of Its Time More Than 40 Years Later
Otherworldly Sonics: Mobile Fidelity Delivers the Consummate Pressing of the Uncompromising Work Ranked by Rolling Stone as Among the Greatest 100 Albums of All Time
Grammy Award-Winning Set Ignores Convention, Pursues Funk and Rock Directions Via Innovative Rhythms and Groundbreaking Ensemble Configurations
A Dozen Five-Star Miles Davis Albums Spanning 1958-1971 Available from Mobile Fidelity on Definitive-Sounding LP
"Listen to This." As the original working title for Bitches Brew, the invitation resonates as the best way to approach a record that shattered conventions, altered music history, and still sounds far ahead of its time. The aural Mount Rushmore of jazz fusion, Bitches Brew is rightly ranked by virtually every significant press outlet among the 100 greatest albums ever made in any genre.
Sewn together with vibrant colors, voodoo textures, and ethereal moods, the 1970 landmark emerges with supreme detail and nonpareil feeling on Mobile Fidelity's definitive 180g 2LP. Mastered from the original master tapes, these audiophile editions join the ranks of eleven other essential Davis sets given supreme sonic treatment by Mobile Fidelity.
Davis conceived Bitches Brew by having the musicians stand in a semi-circle, where he pointed at them with vague directions for tempo, solos, and cues. The collective improvisation and interplay spawned a galaxy of melodies and grooves later spliced together by producer Ted Macero. Here, these distinct creations take shape with utmost realism.
Mobile Fidelity's reissues envelop you in expansive warm tonal blankets.
Gathering a Hall of Fame-worthy lineup of musicians, Davis follows through on his idea to "put together the greatest rock and roll band you ever heard" on Bitches Brew. The vast psychedelic expanses of warped echoes, liquid reverb, and tape loops speak to the leader's ambitious contrasts of light and dark, fear and hope. Yet the most absolute characteristic of this watershed effort lies in how it encourages free thought-the very principle with which Davis
conceived the everlasting beauty that is Bitches Brew.
This title is not eligible for discount.1. Pharaoh's Dance
2. Bitches Brew
3. Spanish Key
4. John McLaughlin
5. Miles Runs the Voodoo Down
6. Sanctuary$49.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed AWAITING REPRESS Buy Now
Miles In The SkyNumbered, Limited Edition
1968 Record Marks First Time Davis Uses Electric Piano, Bass, and Guitar: Second Half is Acoustic
Mastered from the Original Master Tapes: Seminal Proto-Fusion Effort Explodes With Color and Vibrancy
Final Effort With Davis' Classic Second Quintet Finds the Leader Looking to the Past and the Future
Miles in the Sky reflects the intriguing curiosities and rainbow possibilities suggested by the album cover. Miles Davis' fifth and final album with his classic second quintet is kaleidoscopic in sound, forward-looking in structure, and contextually grounded in approach. As the legendary leader's first venture into what would become fusion, it's historical for containing the premier appearances of electric piano, bass, and guitar on a Davis effort. Laden with rich textures and style-bridging elements, Mobile Fidelity's 45RPM pressing brings the aural magic into focus.
Mastered from the original master tapes and pressed on 180g vinyl at RTI, this collectable audiophile version of Miles in the Sky joins the ranks of eleven other essential Davis sets given supreme sonic and packaging treatment by Mobile Fidelity. Afforded the benefits provided by the record's wider grooves, Davis' burnished trumpet resounds with utmost clarity, and the soundstage seems to extend for days. Reference-caliber separation and imaging give each musician their own space, allowing every passage to come across without any sonic limitations.
The album's wide-open soundscapes soar. As do the fluid contributions of Davis' mates. Tony Williams' percussion, central to every composition here, transpires before your eyes. Herbie Hancock's piano hovers and fades with sublime purity. And George Benson, who sits on Paraphernalia, blows the equivalent of smoke rings with his bluesy guitar, which here takes on brilliant tonality and definition. The acoustic material that occupies the second half of the record is equally transparent and full-bodied.
Granted enhanced production and a greater field of audible information, Miles in the Sky can finally be perceived as belonging to the same upper echelon as Davis' ubiquitously acclaimed Nefertiti and Filles de Kilimanjaro--the albums that precede and follow, respectively, this watershed title. Commonly branded a transitional work, Miles in the Sky showcases Davis already at ease with electric instruments and eager to venture into uncharted territories. Doubling as organized jams and bridges between jazz and rock, both the rhythmically challenging Stuff and frisky Paraphernalia glancing toward the future while keeping solid footing in the past.
Similarly, so do Country Boy and Black Comedy. In his original review for jazz authority DownBeat, Larry Kart observes: Davis takes material from his earlier days and darkens its emotional tone. His opening phrase on 'Country Boy' recalls a fragment from his Summertime solo on the Porgy and Bess album, but here it is delivered with a vehemence that rejects the poignancy of the earlier performance. Even on 'Black Comedy,' his most straight ahead solo here, the orderly pattern of the past is displaced and fragmented.
Flavored with humor, bossa nova, country, and even ballroom phrases, the compositions on Miles in the Sky explodes with creativity, purpose, and color.
This title is not eligible for discount.1. Stuff
3. Black Comedy
4. Country Son$49.99180 Gram Audiophile Virgin Vinyl LP 45RPM - 2 LPs Sealed Buy Now
Color Changes (Pure Pleasure)Possessor of the happiest sound in jazz, flÜgelhornist Clark Terry always plays music that is exuberant, swinging, and fun. A brilliant (and very distinctive) soloist, he gained early experience playing trumpet in the viable St. Louis jazz scene of the early '40s (where he was an inspiration for Miles Davis) and, after performing in a Navy band during World War II, he gained a strong reputation playing with the big band of Charlie Barnet (1947-1948), the orchestra and small groups of Count Basie (1948-1951), and particularly with Duke Ellington (1951-1959). Terry, a versatile swing/bop soloist who started specializing on flÜgelhorn in the mid-'50s, had many features with Ellington (including Perdido) and started leading his own record dates during that era. He recorded regularly in the 1960s including a classic set with the Oscar Peterson Trio and several dates with the quintet he co-led with valve trombonist Bob Brookmeyer.
This is one of flÜgelhornist Clark Terry's finest albums. Terry had complete control over the music and, rather than have the usual jam session, he utilized an octet and arrangements by Yusef Lateef, Budd Johnson, and Al Cohn. The lineup of musicians lives up to its potential, and the charts make good use of the sounds of these very individual stylists. The material, which consists of originals by Terry, Duke Jordan, Lateef, and Bob Wilber, is both rare and fresh, and the interpretations always swing.
- Clark Terry (trumpet, fluegel horn)
- Jimmy Knepper (trombone)
- Julius Watkins (french horn)
- Yusef Lateef (tenor saxophone, flute; english horn, oboe)
- Seldon Powell (tenor saxophone, flute)
- Tommy Flanagan, Budd Johnson (piano)
- Joe Benjamin (bass)
- Ed Shaughnessy (drums)
Recording: November 1960 at Nola Penthouse Studios, New York City, by Bob d'Orleans
Production: Nat Hentoff
About Pure Pleasure
At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Pure Pleasure all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.
During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s - or employed existent tools from the 80s and 90s for manufacturing.
A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.
We should like to emphasize that Pure Pleasure Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle.
We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.
To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects and that the lacquer discs are newly cut.
and that the lacquer discs are newly cut.1. Blue Waltz (la Valse Bleue)
2. Brother Terry
3. Flutin and Fluglin
4. No Problem
5. La Rive Gauche
6. Nahstye Blues
7. Chat Qui Peche (A Cat That Fishes)$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Kind Of Blue: 50th Anniversary Collector's EditionRanked 12/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.
The Best Selling Jazz Album of All-Time Gets the Super Deluxe Treatment for its 50th Anniversary!
Includes the Original Remastered CD, a CD of Bonus Material, a DVD of the Making of Kind of Blue, an Incredible Full-Color Book, Photos from the Sessions, Miles' Notes and the LP of the Original Album Pressed on Blue Vinyl!
In 1958, after a string of critically acclaimed and successful albums, Miles Davis was searching for a new direction to take the music, and signs were pointing him off the chordal highway into a new jazz style: modal. His innovations would open up the world for improvisers. He recruited key players with the potential to solidify his new approach, forming his famed sextet with rising jazz giants John Coltrane, Cannonball Adderley, Bill Evans & Wynton Kelly, Paul Chambers and Jimmy Cobb. Miles hired the little-known Evans because he needed a pianist who was into the modal thing. Davis and Evans both had developed personal voices characterized by a melodic flow that suggested, rather than defined, musical structure. It was his relationship with Evans that created the spark that resulted in the album Kind of Blue.
In only two impromptu sessions in March and April of 1959, Miles Daviss sextet created a tour de force 5 original tunes built on simple scales. Davis is committed to getting something spontaneous out of his musicians. The entire album was composed as a series of modal sketches and was conceived only hours before the recording dates. The outcome? Pure inspiration, and the stuff of legend an album made up of the first full take of each tune, captured at the historic Columbia 30th Street Studio. The album was originally released on Columbia Records in 1959, stunning the jazz world by practically creating a new language of music. Its influence goes far beyond jazz. Kind of Blue is universally considered to be one of the best albums of all time, of any genre. Fifty years later, Kind of Blue the epitome of spontaneous inventionis still the best selling jazz album ever.
This Collectors Edition marks the 50th Anniversary with an unprecedented presentation of music, images, insight and history to celebrate the album that is essential to any music collection, the ideal gift item for any jazz lover, especially fans of Miles Davis a true collectors set.
Do Not Miss this Limited-Edition Collector's Edition!Blue Colored Vinyl LP:
1. So What
2. Freddie The Freeloader
3. Blue In Green
4. All Blues
5. Flamenco Sketches
Disc 1 - CD:
1. So What (9:22)
2. Freddie Freeloader (9:46)
3. Blue In Green (5:36)
4. All Blues (11:32)
5. Flamenco Sketches (9:25)
6. Flamenco Sketches (alternate take) (9:31)
7. Freddie Freeloader - studio sequence 1 (0:51)
8. Freddie Freeloader - false start (1:26)
9. Freddie Freeloader - studio sequence 2 (1:34) (*)
10. So What - studio sequence 1 (1:55) (*)
11. So What - studio sequence 2 (0:12) (*)
12. Blue In Green - studio sequence (1:57) (*)
13. Flamenco Sketches - studio sequence 1 (0:43)
14. Flamenco Sketches - studio sequence 2 (1:10) (*)
15. All Blues - studio sequence (0:19) (*)
(*) previously unreleased
Disc 2 - CD:
1. On Green Dolphin Street (9:48)
2. Fran-Dance (5:48)
3. Stella By Starlight (4:43)
4. Love For Sale (11:46)
5. Fran-Dance (alternate take) (5:51)
6. So What (17:28) (**)
(**) previously released in unauthorized form
• Rare musical material including the first session by the Miles Davis sextet, May 26, 1958
• Over 30 minutes of studio material
• First authorized release of two extended live performances from April 9, 1960 Den Haag Concert and The Zurich Concert.
• Documentary - Story Behind Kind of Blue
• April 2, 1959 TV program, Robert Herridge Theater: The Sound of Miles Davis$109.99Colored Vinyl LP + 2 CDs + DVD - Sealed Buy Now
Bitches Brew: 40th Anniversary Collector's EditionThis 40th Anniversary Collector's Edition of Miles Davis Bitches Brew is housed in a 12 x 12 slipcase box, contains an audiophile 180g vinyl double-LP gatefold replication of the original album; two CDs with the original 94-plus minutes of music plus six bonus tracks and a third CD of a previously unissued performance at Tanglewood in August of 1970, with Keith Jarrett, Chick Corea, Dave Holland, Jack DeJohnette, Airto Moreira and Gary Barts; and a DVD of a previously unissued performance in Copenhagen in November of 1969, with Wayne Shorter, Corea, Holland and DeJohnette.
Also included is a 52 page full-color 12x12 book with a 500 word essay by journalist/author/producer/musician Greg Tate; producer's notes by Michael Cuscuna and Richard Seidel (the box's co-producers); and a Lenny White interview by author Ashley Kahn. The book features Mati Klarwein's painting Zonked (a psychedelic portrait of Miles Davis' wife, Betty, which also encodes a profile of Miles) on its cover, plus dozens of rare, unpublished photographs and record label memos.
In addition, a memorabilia envelope is also included containing a reproduction of the Miles Davis Rolling Stone cover story from December of 1969, a previously unseen correspondence from Teo Macero's archives, reproductions of three Fillmore West concert tickets from April of 1970, high quality photograph prints, and a foldout poster.LP 1:
1. Pharaoh's Dance
2. Bitches Brew
1. Spanish Key
2. John McLaughlin
3. Miles Runs the Voodoo Down
1. Pharaoh's Dance
2. Bitches Brew
3. Spanish Key
4. John McLaughlin
1. Miles Runs the Voodoo Down
3. Spanish Key (alternate take)
4. John McLaughlin (alternate take)
5. Miles Runs the Voodoo Down (single edit)
6. Spanish Key (single edit)
7. Great Expectations (single edit)
8. Little Blue Frog (single edit)
CD 3 - Tanglewood Live 1970:
1. Bill Graham Intro
3. Bitches Brew
4. The Mask
5. It's About That Time
7. Spanish Key/The Theme
8. Miles Runs the Voodoo Down
9. Bill Graham Outro
DVD - Copenhagen Live 1969:
2. Miles Runs the Voodoo Down
3. Bitches Brew
5. I Fall In Love Too Easily
7. It's About That Time/The Theme$124.99180 Gram Audiophile Virgin Vinyl LP + 3 CD + DVD - 2 LPs Sealed Buy Now
On The CornerMiles Davis On the Corner on Numbered Limited Edition 180g LP from Mobile Fidelity
Get Down and Make It Funky: Miles Davis' Groundbreaking On the Corner Focuses on the Groove and Bottom End
Mastered From the Original Master Tapes: Mobile Fidelity 180g LP Reveals Multiple Levels of Rhythm, Visceral Bass, and Pioneering Production Techniques In Transparent Fashion
Exotic, Bold, Streetwise: Spirited 1972 Album Embraces Davis' Jungle Sound With Percussive Foundations, Trance Loops, and Transformational Arrangements
Miles Davis' boundlessly influential On the Corner was so far ahead of its time upon release in 1972, the jazz cognoscenti rejected its groundbreaking concoction as middling in nature. Yet time has a way of righting wrongs and shifting views by adding needed context and perspective to visionary ideas, music, and approaches - the likes of which fill Davis' boldest and most controversial - undertaking. Designed to bring the focus back on the groove and bottom-end frequencies, the funk-loaded On the Corner revolutionized jazz. It also set new standards for record production, presaging remixing and electronica by more than a decade. And the work has never sounded more thrilling.
Mastered from the original master tapes and pressed at RTI, Mobile Fidelity's numbered limited-edition 180g LP of On the Corner exposes the internal mechanisms, free-associated playing, and then-unmatched studio techniques in vivid audiophile-grade sonics. The low end, crucial to every composition here, is both heard and felt, with locked-in bass lines and low-range percussion conveyed as taut, solid, and visceral passages. You can even discern the multiple levels of rhythm Davis employed on complex tracks such as Black Satin, as On the Corner stands as his first effort to use overdubbing and multiple tape machines.
New degrees of spaciousness and airiness - equally important to the musique concrete arrangements - give the impression Davis and Co.'s creations float in space. Instruments are portrayed in three-dimensional manners, rhythmic loops retain tonal purity, and horn solos skitter across an extra-wide soundstage that takes listeners into Columbia's Studio E. Mobile Fidelity's analog version captures Teo Macero's innovative production - and the trumpeter's cutting-edge aural collages - in definitive fashion.
Heavily inspired by Sly and the Family Stone, On the Corner portrays street vibes and remains Davis' blackest-sounding record. The conscious attempt to connect with youthful audiences tapped into rock and funk is evident not only on the colorful cartoon cover art depicting hot-pants and zoot-suit revelers, but in the music's emphasis of recurring drum and bass grooves. Distinct from Davis' earlier fusion experiments, the record's long-misunderstood set dials back improvisation in favor of beats, loops, and atmospherics that generate trance-like effects. While Davis utilizes his band for core duties - Chick Corea and Herbie Hancock prominently figure - he also relies on an all-star cast of sidemen for concentrated soloing and additional support.
With rhythm providing the basic foundation, other notes fall into place, with their positioning steered by Macero and Davis' editing-room techniques. Looking to the manipulation-based work of Karlheinze Stockhausen and teaming with Stockhausen disciple Paul Buckmaster, Davis re-imagines what grooves constituted and could accomplish throughout On the Corner. The shapes of the songs become completely transformed as they progress. Faint melodies, spacey chords, chunky riffs, wah-wah fills, and repeated motifs bounce in and out of a sonic funhouse that wouldn't be out of place at a Harlem block party. Exotic, intrepid, and filled with Davis' jungle sound, On the Corner remains daringly hip more than four decades later.
This title is not eligible for discount.1. On the Corner/New York Girl/Thinkin' One Thing and Doin' Another/Vote for Miles
2. Black Satin
3. One and One
4. Helen Butte/Mr. Freedom X$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Final All-Acoustic Outing from Davis' Classic Second Quintet
Mastered from the Original Master Tapes: Record's Tonal Shadings, Gradations, and Textures Come Alive
Confident 1967 Effort Steeped in Inquisitive Interplay and Subconscious Impressionism
Nefertiti will always be known as the final all-acoustic record made by Miles Davis' classic second quintet. A thematic bookend to the preceding Sorcerer, the 1967 set shares much in common with its equally nuanced predecessor yet deviates by way of its focus on rhythm and exploratory soundscapes. The low-key music blooms with colorful bouquets of shadings, gradations, and overtones that on Mobile Fidelity's analog edition bring listeners to closer to the creative passions than ever before.
Mastered from the original master tapes and pressed on 180g 45RPM vinyl at RTI, this collectable audiophile version of Nefertiti joins the ranks of eleven other essential Davis records given supreme sonic and packaging treatment by Mobile Fidelity. Afforded supreme dynamics and full-range extension, cyclical melodies resonate with a moody character and ambience normally only heard in small jazz clubs. Instrumental pitch, too, is spot-on accurate, a measuring stick for how all acoustic-based passages should be experienced.
As he does on Sorcerer, Davis again cedes all compositional duties to his all-star band mates and focuses on his trumpet. Familiar albeit slightly dissonant, rooted in hard bop yet signaling the onset of fusion, the songs are grounded in inquisitive interplay and subconscious impressionism. Nefertiti reveals fresh devices and new directions every time you visit its cerebral worlds. And while each musician is given ample room to solo, the effort stands as an example of groupthink in that no individual stands out or shows off. The groundbreaking title track-during which the horn section recurrently repeats the melody as drummer Tony Williams and bassist Ron Carter improvise, thus inverting the conventional sense of a rhythm section-shines as a textbook example of such chemistry and unity.
Throughout, the players' confidence, and Davis' trust in them, stamps every piece with rare self-assurance and authoritativeness. In particular, Williams and Carter bring rhythms to the forefront as the horns hypnotize and Herbie Hancock's piano points in several different directions like a compass gone crazy. Responsible for "Madness" and "Riot," Hancock contributes brief bursts of speed and slight aggression, but on a record on which complexity and introspection take precedent over blowing hot, the aural steam ultimately becomes opportunity for burrowing into unpredictable turns and deep grooves.
Indeed, the thrilling sense of interplay and inclination of the ensemble to keep searching, moving forward in a concerted manner to uncover then-unheard jazz discoveries, marks Nefertiti as one of Davis' quintessential efforts. For historians, it's the signpost to the pioneering fusion the leader would begin to pursue with greater commitment on the record's follow-up, Miles in the Sky. For the rest of us, the album is music and music-making at its intriguing best.
This title is not eligible for discount.1. Nefertiti
3. Hand Jive
6. Pinocchio$49.99180 Gram Audiophile Virgin Vinyl LP 45 RPM - 2 LPs Sealed Buy Now
In A Silent Way (Awaiting Repress)Float Into the Ether: Gorgeous 1969 Experimental Treasure Among the Most Atmospheric Jazz Albums Ever Recorded
Delicate, Immersing, Dynamic: Mobile Fidelity Reissue Magnifies the Bold Textures, Soothing Ambience, and Transcendent Moods
Davis First Fusion Album Features John McLaughlin, Chick Corea, Herbie Hancock, Joe Zawinul, Wayne Shorter, Dave Holland, and Tony Williams
Sketches of Spain, Kind of Blue, Milestones, Round About Midnight, and Four & More Also Available from Mobile Fidelity
Shhh. The command to be quiet is no just part of the title of one of the two sprawling compositions on this pioneering album. Its also an apt metaphor for the relaxed hypnotism and spaced-out atmosphere that define In a Silent Way, a record that pushes the boundaries of studio possibilities, artist-producer relationships, and rock-jazz chasms. Recognized as Miles Davis first full-on fusion effort and part of his electric era, the 1969 landmark claims a Whos Who lineup that sends the music into an ethereal stratosphere.
Part of Mobile Fidelitys Miles Davis catalog restoration series, In a Silent Way now immerses the listener in linoleate landscapes starlit by the intuition, suspension, and paradoxes wrought by a once-in-a-lifetime collective. Half-speed mastered from the original master tapes and pressed at RTI, this unsurpassed 180g LP edition lifts the veil on the cutting-edge assembly process that created the pair of lengthy suites. Helmed by three electric instruments, the beveled compositions melt away all preconceived notions of jazz, rock, and ambience, following a loose theory Davis dubbed New Directions.
Few albums are so delicately textured. And on Mobile Fidelitys meticulous analog reissue, such sulcate elements pour over ink-black backgrounds on a canyon-wide soundstage. In particular, Tony Williams inventive percussive touch he causes the cymbals to shimmer as a pieces of silver tend to do when exposed to sunlight is broadcast with lifelike three-dimensional qualities, the panoramic view extending to Davis nocturnal trumpet, Wayne Shorter's ribbon-unfurling saxophone, Dave Hollands extrapolative bass, and the mosaic of keys.
If the records only accomplishment is its introduction of guitarist John McLaughlin to the world, it alone would be enough. Yet In a Silent Way continues to bedazzle, puzzle, and inspire for myriad reasons not the least of which is the seemingly telepathic communicative methods employed by the groups members. The lineup is great on paper, but, if its even possible, the octet sounds even better in practice, with the instruments and tonalities conjoining in avant-garde communion like hyper-sensitive tentacles exploring the stippled landscapes of an undiscovered planet.
Diverting from expectation, tubular grooves twist, turn, and spin, sometimes piling atop of each other, always shying away from structure and melody. Ellipsoidal solos provide hesitant guidance, ranging from Chick Corea's Fender Rhodes phrases to Davis decorative spirals. And as color is the primary unit of currency on Davis Sketches of Spain, laidback episodes, geometric spaces, and quiet sensuality reign here, with the sets maverick reputation attained via musings on solitude rather than explosions of noise.
Controversial for the period, the heavily edited production of In a Silent Way blew open the once-locked doors on what producers could attempt and how artists could assist them. Knitted together as one would construct a cross-hatched quilt, songs contain grafts of repeat passages that provide unifying structure and experimental continuity. What a statement.
This title is not eligible for discount.1. Shhh/Peaceful
2. In a Silent Way/Its About That Time$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed AWAITING REPRESS Buy Now
Filles De KilimanjaroNumbered, Limited Edition
Davis' Self-Proclaimed "Directions in Music" March Begins Here
Mastered from the Original Master Tapes: Abundant Jazz, Funk, and Rock Textures Rotate Around a Luscious Tonal Center
Landmark 1968 Effort Recognized as Davis' Prelude Into Full-On Fusion: Exotic Suite-Like Album Beautiful, Intense, Adventurous
Miles Davis' move into full-on fusion starts here. Abandoning his bebop roots and chasing electric dreams, rock-based rhythms, and ostinato pulses, the icon gives life to new music forms on Filles de Kilimanjaro, a titanic release prized for its historical significance and lasting beauty. Grounded and focused, the five compositions unfold like a unified suite. Such peak lyricism, flourishes, and phrases are experienced in the highest-possible fidelity on Mobile Fidelity's 45RPM 2LP set.
Mastered from the original master tapes and pressed on 180g vinyl at RTI, this collectable audiophile version of Filles de Kilimanjaro joins the ranks of eleven other essential Davis sets given supreme sonic and packaging treatment by Mobile Fidelity. Loaded with revealing signatures, the record takes on even greater import when heard the way Davis and his mates discerned it in the studio. Backgrounds are squid-ink black, pianissimo lines shimmer, and the electric piano emerges with tube-amp warmth.
Indeed, the exotic sound, touch, and feel of the songs on Filles de Kilimanjaro are as crucial as the melodies. To that extent, listeners can now enjoy the expressive tonalities and lush colors from each instrument in full-range glory. Voicings, harmonics, and pitches are rendered with exquisite detail. The manners in which the textures and phrases rotate what seems like a unified tonal center places you at the original recording sessions, executed in July and September 1968.
The final appearance of Davis' classic second quintet bears fruit on three of the record's cuts, including the title track and R&B-tinted "Frelon Brun." Sparked with restrained funk, driving grooves, and bluesy accents, Filles de Kilimanjaro maintains an instinctive flow and controlled fredom that permit Davis to oversee an innovative blending of alterations, improvisation, and cycles. Comprised of multiple sections, "Petits Machins" is a lesson in perfectly played melodic complexity, with chromatic riffs, dominant chords, syncopated progressions, and switching meters forming a singular mosaic.
Filles de Kilimanjaro also represents a jumping-off point for Davis' lineup. For the September sessions, Chick Corea replaced Herbie Hancock while Dave Holland relieved Ron Carter. The new additions speak a different albeit common language, fitting in with Davis' desire to draw from rock and weave funk into open-minded excursions filled with exoticism, soulfulness, and wonder.
More than 40 years ago, this record epitomized the future of jazz. Davis even announced such aspirations with the tagline "Directions in Music." With the jazz world still trying to wrap its collective mind around its genius, it still does.
This title is not eligible for discount.1. Frelon Brun
2. Tout de Suite
3. Petits Machins
4. Filles de Kilimanjaro
5. Mademoiselle Mary$49.99180 Gram Audiophile Virgin Vinyl LP 45RPM - 2 LPs Sealed Buy Now
Sorcerer (Awaiting Repress)
1967 Post-Bop Classic the Third of Five Albums from Miles' Prized Second Quintet
Mastered from the Original Master Tapes: Sorcerer Has Never Sounded More Dynamic, Present, Warm, or Tonally Rich
Mood, Inflection, and Nuance Take Center Stage on Compositions Steeped in Sophisticated Expressionism
Filled with aural magic and enchanting musical spells, Sorcerer is true to its name. The third of five albums devised by Miles Davis' legendary second quintet-and the second record in a still-unprecedented string of eight consecutive releases within a four-year period that forever changed the face of jazz-the 1967 magnum opus mesmerizes with instrumental colors, subdued musings, and subtle details. These crucial characteristics blossom with vibrant realism on Mobile Fidelity's definitive 45RPM pressing.
Mastered from the original master tapes and pressed on 180g 45RPM vinyl at RTI, this collectable audiophile edition of Sorcerer joins the ranks of eleven other essential Davis records given supreme sonic and packaging treatment by Mobile Fidelity. Longtime listeners will immediately recognize a wealth of information and depth of tonality unavailable on prior versions. The myriad shadings, interwoven textures, and relaxed nuances that tie the post-bop set's warm compositions together are rendered with utmost realism.
This is a reference-standard reissue. You'll hear poetic lyricism pouring out of Wayne Shorter's horn, the breadth and definition of the notes spreading across an enormous soundstage. Never before have drummer Tony Williams' rim shots ricocheted with such purpose or his light percussive work mirrored that of a feather touching skin. Similarly, Herbie Hancock's piano runs now occupy their own space, where their relationship to the central rhythms and front line becomes clearer.
Prizing inflection and nuance more so than heady solos or uptempo flights, Sorcerer mesmerizes with cerebral properties and cascades of emotional interplay. Such beauty emerges in the mellow ballad "Pee Wee," an indelible statement of restrained authority and sophisticated expression. The swirling title track unfolds as jazz shadowplay, Hancock, Shorter, and Williams mirroring one another's moves with guile and purpose. The opening "Prince of Darkness" showcases the ensemble's reach and communication, every musician going in seemingly different directions yet ending up on the same page.
A lasting example of Davis' visionary insight, Sorcerer is comprised entirely of pieces written by his band mates. Indeed, save for the closing "Nothing Like You"-a brief tribute to Davis' eventual wife, who also graces the cover, recorded in 1962 and adorned with vocals from Bob Dorough-the album represents a further maturation and refinement of a quintet that stands as one of the finest in jazz history. Mobile Fidelity is proud to give the record the treatment it's long deserved.
This title is not eligible for discount.1. Prince of Darkness
2. Pee Wee
4. The Sorcerer
7. Nothing Like You$49.99180 Gram Audiophile Virgin Vinyl LP 45 RPM - Sealed AWAITING REPRESS Buy Now
Sketches of SpainRanked 356/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.
Davis Third and Final Pairing With Arranger Gil Evans Yields Watershed Innovations
Sublime Sound: Mobile Fidelity Reissue Corrects the Dry Sound That Plagues Previous Editions
Flamenco-Themed 1960 Set Develops Synergy Between Orchestrations and Melancholic Jazz Phrasings
Urge by Davis to Develop Techniques Possessed by Forbearers Finds Him Expanding Palette, Spinning Webs of Lyrical Sound and Emotion
Kind of Blue, Milestones, Round About Midnight, Four & More, and In a Silent Way Also Available from Mobile Fidelity
Miles Davis and Gil Evans bridged styles and collaborated on high-concept projects a total of three times during their celebrated career. For their final act, they created Sketches of Spain, a peak moment in each luminarys career and a transformative album that weds Spanish themes, lush orchestrations, romantic timbres, and Davis increasingly lyrical methods in a tender ceremony that continues to resonate more than five decades after its original release.
Part of Mobile Fidelitys Miles Davis catalog restoration series, the genre-defying 1960 classic has been given the ultimate white-gloves treatment. Mastered from the original master tapes and pressed at RTI, this exquisite 180g LP significantly expands the soundstage that frames the orchestra and digs deep to eradicate a dryness that many critics have found as an anathema to its overall enjoyment. Here, at last, is the full-figured perspective long deserved by the woodwinds, strings, and percussion, all of which come alive with previously unheard definition and detail.
Indeed, in its three-decade-plus history, Mobile Fidelity has never been prouder to have the honor of handling efforts as important as Davis key recordings. Its why the labels engineers have taken every available measure to insert listeners into the space occupied by Davis, bassist Paul Chambers, drummer Jimmy Cobb, percussionist Elvin Jones, and the 18-piece orchestra. With both Evans and Davis attracted to the blues undercurrents permanently entrenched in the Spanish flamenco strains, listeners can finally wholly detect the myriad microdynamic tonalities, brooding ostinato devices, and minor pedal points that stamp the compositions with divine sensibility and goffered effect.
Multi-note motifs, brief improvisational solos, fanfare sweeps, and contrapuntal exchanges inform the flamenco-spiced pieces, but so do unconventionally voiced instruments that come into full relief on this reissue. Davis Harmon-muted trumpet is abetted by an assortment of bassoons and French horns that create pleasing contrasts and sounds (pp, mf, ppp) that get to the heart of Sketches of Spain: splashes of color. Seldom, if ever, did Davis ever so expressively and liberally paint with color. And in Evans, he has a likewise-minded partner to help draw out variegated shades, adamantine layers, and striated distinctions.
Whether its the somber mood piece of the standout Concierto de Aranjuez (Adagio), renowned forDavis flugelhorn performance, or the folktale-based Solea, Mobile Fidelitys enhanced Sketches of Spain transfixes with playing, ideas, and innovations that remain exclusive to this incomparable record.
This title is not eligible for discount.1. Concierto de Aranjuez (Adagio)
2. Will O the Wisp
3. The Pan Piper
5. Solea$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
E.S.P.Numbered, Limited Edition
Pressed At RTI
A landmark recording and masterful symphony of performance, composition, and execution, Miles Davis' E.S.P. established the template jazz would follow for the following decade. The 1965 record splits the gap between accessible hard-bop and the cutting-edge approach Davis increasingly pursued into the 1970s. Adventurous, sophisticated, and yet altogether cohesive, E.S.P. stands out not only due to its elastic compositions but via its chemistry, interplay, and feeling attained by the instrumentalists. The first album Davis' classic second quintet made together, it's also very arguably the group's best. Never before has the effort been experienced in such transformational sound.
Pressed at RTI, Mobile Fidelity's 180g 45RPM 2LP set of E.S.P. treats each phrase and every note as sacred communication. This meticulously restored audiophile version renders the music's dynamics, pitch, colors, and textures with lifelike realism and proper scale. Reference-caliber separation, wall-to-wall soundstages, and distinct images magnify the intensity and beauty of Davis and Co.'s creations. Whether it's the distinctive snap of Tony Williams' drum sticks against the snare head, air moving through Davis' trumpet, acoustic thrum of Ron Carter's bass, or upper register of Herbie Hancock's piano, the sound is better than you'd even hear in the most intimate jazz clubs. Prepare to be swayed on every level.
For many, E.S.P. looms among the decade's best albums if only because of the significance of Davis' lineup. While Hancock, Williams, and Carter are holdovers that began playing with one another on 1963's Seven Steps to Heaven, Wayne Shorter functions as the secret weapon and key addition responsible for this ensemble hitting a new peak. Indeed, the saxophonist helped pen two of the seven compositions here - notably, E.S.P. is entirely comprised originals and clocked in as one of the longest-running jazz LPs issued at the time - and, more importantly, grants Davis the confidence and leeway necessary for the eruption of enigma, steadiness, and tension.
As he did with John Coltrane year earlier, Davis hangs back and picks his moments to solo, with Shorter stepping up to supply the churn. Their bandmates respond in kind, itching to take off into new stratospheres all the while keeping their improvisations grounded and connected to the piece at hand. Guided by Davis' visions and inspired by current boundary-pushing works by the likes of Ornette Coleman, Cecil Taylor, and Coltrane, the magnificent results spark with variation, harmony, emotion, energy, and brilliant movement.
Interlocking lines drive Little One, alternating rhythms pulse through the funky Eighty-One, melodies soar on the balladic Iris, the aptly titled Mood broods over minor-key structures, and Agitation - goosed by a two-minute percussive introduction by Williams - delivers on its promise. No record - and no group of musicians - have ever balanced coherent themes and exploratory playing in better fashion than Davis' quintet on E.S.P. It's the avant-garde record even jazz traditionalists love, and essential on every level.
This title is not eligible for discount.1. E.S.P.
3. Little One
7. Mood$49.99180 Gram Audiophile Virgin Vinyl LP 45RPM - 2 LPs Sealed Buy Now
Milestones (Mono)Masterwork is Oft-Overlooked Link Between Round About Midnight and Kind of Blue
Vanguard Sonics: Mobile Fidelity Reissue Presents The 1958 Standard with Unparalleled Sound Quality
In MONO You Will Not Hear a Better Analog Edition
Only Record to Feature Davis Original Sextet, Including Rhythm Section of Paul Chambers and Philly Joe Jones
Title Track Stands as First-Ever Modal Composition Even as Blues and Hard-Bop Flavors Make LP One of Davis Most Explosive Affairs
Sketches of Spain, Kind of Blue, Round About Midnight, Four & More, and In a Silent Way Also Available from Mobile Fidelity
Miles Davis created just one studio album with his original sextet. He made every moment count. Pairing with Cannonball Adderley, John Coltrane, Red Garland, Paul Chambers, and Philly Joe Jones, the trumpeter not only laid the groundwork for the modalism that immediately followed but tailored a genuine modern-jazz masterwork laden with performances among the most explosive of his distinguished career. Due to its sandwiched position between the more famous Round About Midnight and epochal Kind of Blue, Milestones remains, for too many music lovers, an overlooked classic.
Part of Mobile Fidelitys Miles Davis catalog restoration series, Milestones has been restored to mono for the first time as to expose the records standing as one of the all-time great jazz efforts.Mastered from the original master tapes and pressed at RTI, this unsurpassed 180g mono LP edition grants each musician their own space in a well-defined, broadened soundstage. Colors, shapes, and dimensions appear in the manner they do when beheld from behind a studio-control rooms window.
Davis burnished trumpet? Rendered in three-dimensional perspective, coaxing his mates out to play with unburdened zest and commotion. Coltranes trademark saxophone? Witness it in life-size proportion, his solos working in tandem with and against the driving rhythms. Garlands swaggering piano lines? Visualize the 88 keys as he hits full stride, the chords and fills slithering around skeletal frameworks.
If anything, Milestones is as famous for its title track as the players that produced it. The launching pad for many of Davis (and later, his contemporaries) improvisational flights, the singular piece invites the tessellated explorations Coltrane would forever chase as well as the headliners argyle solo work, who broaches territories that far exceed what he had done with his bop-rooted past. Every song is a highlight, whether its the bravado No Jackle, featuring a hot-foot pace and bebop strains, or Sids Ahead, which continues the albums blues theme while tossing around edgy harmonics and inside-out structures.
Then theres Straight, No Chaser, the absolutely definitive rendition of Thelonious Monks signature piece. Coltranes marbled playing pulls at the tunes lobed borders, Adderley takes liberty with solos, and Davis dances around his mates, at one point quoting When the Saints Go Marching In while demonstrating his knowledge of tradition and eye towards the future. A milestone if there ever was. And now, in resplendent mono.
This title is not eligible for discount.1. Dr. Jackle
2. Sids Ahead
3. Two Bass Hit
5. Billy Boy
6. Straight, No Chaser$34.99180 Gram Audiophile Virgin Vinyl Mono LP - Sealed Buy Now
White Colored Vinyl
It should come as no surprise that after years of touring with his band Monotonix,
once hailed by SPIN as the "most exciting live rock band in rock 'n' roll, that Yonatan
Gat would carry that same intensity in his own act. After five successful years of
playing 1000 shows spanning 40 countries and 5 continents and releasing three
records on Drag City with his co-founded band, the New York-by-way-of-Tel-Aviv
guitarist took some time to himself in Portugal. While there, he set out to create a
solo album of a different sort of beat.
Inspired by African ensembles such as Orchestra Baobab, and the early work of
Brazilian psychedelic experimentalists Os Mutantes - Gat's truly amazing talents
shine out on Iberian Passage, blending his punk influences with the wild improvisational spirit of Miles Davis and Charles Mingus. Gat produced the album himself;
joining forces with Portuguese drummer Igor Domingues. The raw and unique nature
of the recording is augmented by the incredible versatility of the shredded guitar riffs melted between pulsing African-inspired drums. A masterful guitarist, Gat recently
won Village Voice's Best Guitarist of 2013 with a sound he describes as homeless
between the Middle East and New York.1. Escorpião
2. Broken Caravan
4. Conga Manteca
5. Seven to Seven
6. Bordeo$22.99Colored Vinyl LP - Sealed Buy Now
Live at the Paradiso
Limited To 600 Copies On Soft Purple Vinyl
Soft Machine was one of the first prog-rock bands, but if your vision of prog-rock consists of musicians wreathed in pot smoke airily singing of fairies and wizards, it will be summarily dispelled by this fantastic "authorized bootleg," which captures the band in March 1969 at the Paradiso in Amsterdam, playing material that was to be released six months later on Soft Machine: Volume Two.
The trio of Robert Wyatt on drums and vocals, Mike Ratledge on organ and Hugh Hopper on bass launch what can only be called a high-decibel, jazz-rock sonic assault; "Like vindaloo for the ears" is how Hopper puts it on the accompanying notes on the inner sleeve, adding, "I do remember playing incredibly loud, Mike on fuzz organ and me on fuzz bass, both through hundred-watt Marshall stacks." Some of the frenzied instrumental passages might recall Miles Davis' Agharta-era band, but remember, this is a trio making all this racket (in 1969, no less); Soft Machine at this point in time were on a journey all their own. This is the first-ever vinyl release of this notorious concert, and it comes on "soft" purple vinyl limited to 600 copies. Anybody interested in just how far out rock got in the late '60s will want to give this repeated listens.1. Dada Was Here
3. Thank You Pierrot Lunaire
4. Have You Ever Bean Green?
5. Pataphysical Introduction, Pt. 2
6. As Long as He Lies Perfectly Still
7. Fire Engine Passing with Bells Clanging
8. Hibou, Anemone and Bear
9. Fire Engine Passing with Bells Clanging (Reprise)
11. Orange Skin Food
12. A Door Opens and Closes
13. 10:30 Returns to the Bedroom$24.99Colored Vinyl LP - Sealed Buy Now
The MugicianGrammy Award winner, Keyon Harrold, one of the world's most sought-after genre-bending trumpeters, will release The Mugician via Legacy Recordings/Mass Appeal Records.
Long known as the artist's artist - he has worked with Maxwell, Common, BeyoncÉ, Jay-Z, Rihanna, Eminem and a long list of the world's top musical icons - The New York-based musician now takes center stage with a captivating LP that ponders the fears and frustrations of a divided country while yearning for justice and peace.
As the word "Mugician" is an impromptu hybrid of words, this album is an accumulation of Keyon's eclectic tastes, with stylistic twists and turns everywhere taking cues from jazz, hip-hop, blues, rock, reggae, and rap. The new LP features an all-star list of collaborators, including Gary Clark Jr., Big K.R.I.T., Bilal, Pharoahe Monch and Robert Glasper. From spiritual chants and soulful singing to bombastic expressions of frustration and melodic pleas for understanding, Keyon's arrangements color the different ways to hear the world in 2017.
If there are echoes of Miles Davis in Keyon's style and sound, it's no mere coincidence; Keyon played the trumpet sound of Don Cheadle playing Davis in his 2015 biopic Miles Ahead and on its Grammy-winning soundtrack. Don reflects on this and the birth of The Mugician, the nickname that came from that project, in the liner notes, which he contributed to the album.
Ferguson holds a large presence throughout The Mugician. The instrumental "MB Lament" is a tribute to Michael Brown as strings echo a smoking gun while the bass line repeats over and over, reminiscent of the frequency of gun violence and systemic police brutality. "When Will It Stop" answers the calling of "MB Lament" as actor and comedian Guy Torry, also from the St. Louis area, uses humor to confront bigotry, sexism, racism, and more while Keyon leads a driving groove. And on "Circus Show," Keyon and Gary Clark Jr. trade verses and hooks while trying to make sense of America's "Broken" newscast over the repeated phrase "What's going on?"
Themes of home and family loom large on The Mugician. With nine brothers and seven sisters, several of whom are also accomplished musicians, Keyon considers family essential; the album opener "Voicemail" features Keyon's own mother encouraging her son to stay true to himself and to never give up in the face of trials and tribulations. The Mugician is Keyon upholding his mother's wisdom.
Keyon Harrold has become one of the most sought-after trumpeters in the world having been featured on nearly 100 albums spanning jazz, R&B, pop, gospel, blues, and hip-hop. Harrold has recorded with the world's leading artists from Maxwell to Keith Richards and has toured with music's most bold-faced names including BeyoncÉ, Jay-Z, Rihanna, Common, Maxwell, Mary J. Blige, Eminem, D'Angelo and the Vanguard, and more. In 2016, Keyon released "Running (Refugee Song)" in collaboration with songwriting partner Andrea Pizziconi as part of their initiative Compositions for a Cause. The song, also featuring Grammy Award-winning rapper Common and Grammy Award-winning singer Gregory Porter was included on Billboard's list of "6 Songs Offering Hope & Perspective During Immigration Ban" this past January.
Legacy Recordings and Mass Appeal Records have combined their creative and marketing resources in a first-of-its-kind collaboration on behalf of Keyon Harrold's, The Mugician. "We couldn't be more proud of signing Keyon Harrold and of the album he's made," said Adam Block, President of Legacy Recordings."We're especially excited by the record's range of repertoire and the broadness of Keyon's appeal. Working with Mass Appeal, who've long been champions of Keyon's, exponentially expands our ability to reach fans with Key's music and the creativity and channels with which we'll do that."1. Voicemail (feat. Shirley Harrold)
2. The Mugician (feat. Josh David Barrett)
3. MB Lament
4. When Will It Stop? (feat. Guy Torry)
5. Wayfaring Traveler (feat. Jermaine Holmes, Georgia Anne Muldrow, and Robert Glasper)
6. Stay This Way (feat. Bilal and Big K.R.I.T.)
8. Her Beauty Through My Eyes (feat. Pharoahe Monch)
9. Ethereal Souls
10. Broken News (feat. Andrea Pizziconi)
11. Circus Show (feat. Gary Clark Jr.)
12. Bubba Rides Again$19.99Vinyl LP - Sealed Buy Now
Rocks The HouseFirst Time On Vinyl Including Bonus Tracks
Pressed On Blue Vinyl At Rainbo
Mastered By Kevin Gray (Miles Davis, Aretha Franklin, Ray Charles)
Best known for the lush 1961 rendition of the ballad ''At Last'' - a slow-dance staple at wedding celebrations everywhere, she is also celebrated for having recorded one of the best live albums of all time, ''Rocks the House.'' Recorded in 1963 at the New Era Club in Nashville, James is captured at her performance peak. The foundation for her reputation as a fiery no-holds-barred performer was firmly established in this recording.
Blues, soul, jazz, R&B, and rock vocalist Etta James, needs no introduction. An icon from early rock'n'roll's pantheon of divas, she has inspired 5 decades of listeners and fellow artists with her vocal stylings. From Janis Joplin to Beyonce, her expressive and guttural style has been imitated but never quite matched.
Jackpot Records is honored to release this momentous record on stellar blue vinyl, with the original album artwork and including 3 bonus tracks which have only ever been released previously on CD. Her powerful version of ''Something's Got a Hold on Me'' will shake you. Her impassioned version of ''All I Could Do Is Cry,'' will break you.1. Something's Got A Hold On Me
2. Baby What You Want Me To Do
3. What'd I Say
4. Money (That's What I Want)
5. Seven Day Fool
6. Sweet Little Angel
7. Ooh Poo Pah Doo
8. Woke Up This Morning
9. Ain't That Lovin' You Baby
10. All I Could Do Is Cry
11. I Just Want To Make Love To You$24.99Colored Vinyl LP - Sealed Buy Now