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Miles Jack Johnson'
Miles Davis - A Tribute To Jack Johnson (Awaiting Repress)Audiophile Reference Sonics: Mobile Fidelity LP Presents Lean, Stripped-Back, and Open Sound With Startling Immediacy and Realism
Soundtrack Merges Electric Fusion, Slashing Rock, and Aggressive Funk Via Astounding Lineup: Guitarist John McLaughlin and Trumpeter Davis Turn In Blistering Performances
Powerhouse 1971 Album the Greatest Jazz-Rock Record Ever Made
The album cover to Trust speaks volumes: Elvis Costello, bathed in shadows, his eyes nervously peering out from behind his sunglasses, his face conveying a combination of edgy noir purpose and guilt-ridden anxiety. Indeed, the tension-rich songs within largely convey the opposite meanings of the record's title, with the British icon musing on what lies beyond arrogant youth and immediate success with a jaundiced, scarred perspective informed by his country's political climate and his own experiences.
Miles Davis' A Tribune to Jack Johnson is the best jazz-record ever made. Equally inspired by the leader's desire to assemble the "greatest rock and roll band you have ever heard" as well as his adoration of Johnson, Davis created a hard-hitting set that spills over with excitement, intensity, majesty, and power. Bridging the electric fusion he'd pursued on earlier efforts with a funkier, dirtier rhythmic approach, Davis zeroes in on concepts of spontaneity, freedom, and identity seldom achieved in the studio. Mobile Fidelity's sterling reissue brings it all to fore with unsurpassed realism.
Mastered from the original master tapes and pressed at RTI, this collectable audiophile vinyl version of A Tribute to Jack Johnson joins the ranks of eleven other essential Davis sets given supreme sonic and packaging treatment by Mobile Fidelity. The most prominent difference longtime fans will notice is how much more aggressive and immediate the music sounds, aspects central to the composer's desires. Amazing degrees of instrumental separation and imaging allow you to focus on singular musicians and the roles they play.
Indeed, utilizing wah-wah and distortion, guitarist John McLaughlin comes on here with a nasty edge, slashing style, and vicious streak that allows A Tribute to Jack Johnson finally cross the divide between rock and jazz. Davis puts both feet in the former camp and permanently erasing any gap. In addition to highlighting McLaughlin's ripping performances, Mobile Fidelity's 180g LP showcases the headliner's white-hot trumpet solos like never before. Bristling with exuberance, Davis' high-register passages explode with authority and commanding presence. Around him, a barrage of urgent backbeats, knifing riffs, and three-dimension bass lines emerge amidst an ink-black background.
This title is not eligible for discount.1. Right Off
2. Yesternow$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed AWAITING REPRESS Buy Now
180 Gram Audiophile Vinyl
Featuring Herbie Hancock, John Mclaughlin, Lonnie Listen Smith, Chick Corea, Wayyne Shorter, Joe Zawinul And Many Others
Originally released in 1974, Big Fun presents music from three different phases of Miles Davis's early-seventies electric period.
Sides one and four (Great Expectations and Lonely Fire) were recorded three months after the Bitches Brew sessions and incorporate sitar, tambura, tabla, and other Indian instruments. They also mark the first time since the beginning of Miles Davis's electric period that he played his trumpet with the Harmon mute which had been one of his hallmarks, making it sound much like the sitar. This contributed to creating a very clear and lean sound, highlighting both the high and low registers, as opposed to the busier sound of Bitches Brew which placed more emphasis on the middle and low registers.
Ife was recorded after the 1972 On the Corner sessions, and the framework is similar to tracks from that record. It has a drum and electric bass groove and a plethora of musicians improvising individually and in combinations over variations on the hypnotic bassline.
Recorded in March 1970, Go Ahead John is an outtake from Davis's Jack Johnson sessions. The recording is a riff and groove-based, with a relatively sparser line-up of Steve Grossman on soprano saxophone, Dave Holland on bass, Jack DeJohnette on drums, and John McLaughlin on guitar with wah-wah pedal.LP 1
1. Great Expectations
1. Go Ahead John
2. Lonely Fire$39.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
The Ghost Who Walks/Stolen RosesKaren Elson's The Ghost Who Walks marks the debut solo release from the British singer/songwriter. Her transformation from fashion's favorite redheaded ingÉnue to beguiling chanteuse has been something of a slow burn. In 2003 she provided vocals for a version of Robert Plant's ''Last Time I Saw Her'' and in 2006 she recorded an English language version of ''Je T'Aime..Moi Non Plus'' (''I Love You... Me Neither'') with Cat Power for a Serge Gainsbourg tribute album, but her main musical outlet has been as a founding member of New York City cabaret The Citizens Band, a downtown collective of musicians, performers, artists and acrobats whose lively Weimar-esque performances have enjoyed successful theatrical runs of their politically thematic shows.
Writing almost exclusively in the sanctuary of a closet in her bedroom, Karen's songwriting blossomed. A fledgling songwriter might naturally be nervous to play their work for a spouse but for Karen the trepidation was exacerbated by her husband's own talent. It took many months of cajoling for Karen to play Jack White her songs but his reaction was immediate: let's get into the studio.
Karen has already won accolades for her stunning voice, but The Ghost Who Walks is still bound to surprise those who've never seen her perform with her cabaret troupe. The songwriting is especially impressive and, as something of a music obsessive since an early age, Karen sites a long list of influences and inspirations, including Nick Cave, PJ Harvey, Sandy Denny, Opal and Rain Parade. The track The Ghost Who Walks, also the title of her forthcoming album, is a haunting murder ballad but the title came from a high school nickname which Karen endured before embarking on her fashion career. It's an apt title for an elegant and haunting album.
Artwork By - Miles Johnson , Rob Jones
Mastered By - Andrew Mendelson
Mixed By - Jack White III , Vance Powell
Photography - David Swanson
Producer - Jack White III
Recorded By - Joshua V. Smith (tracks: B)
Vance Powell (tracks: A)
Written-By - Karen Elson
The Ghost Who Walks
Bass - Daniel Lloyd
Drums - Jack White III
Organ, Electric Guitar - Dean Fertita
Vocals, Acoustic Guitar - Karen Elson
Accordion, Backing Vocals - Rachelle Garniez
Acoustic Guitar - Jackson Smith
Bass - Olivia Jean
Drums - Marc Fellis
Guitar - Carl Broemel
Vocals, Acoustic Guitar - Karen Elson$6.99Vinyl LP 7'' Single - Sealed Buy Now