Mr. Blue Sky: The Very Best Of (on Sale)

Import

Here Lynne has artfully revisited and re-recorded the greatest hits of Electric Light Orchestra, and actually improved on some of the most classic and beloved recordings ever.

The result is, in effect, a kind of showdown between Jeff Lynne today and his extremely illustrious past, and thanks to improved technology and recording artistry, wouldn't you know Lynne somehow comes out on top again.

So too do all of us who get another fresh chance to hear these extraordinary songs sounding quite literally better than they ever have before.

Cut At Abbey Road Studios

The Very Best is a greatest hits album originally released by Australian band INXS in 2011. It initially peaked at #39.

Following the screening of INXS: Never Tear Us Apart, an Australian miniseries about INXS that commenced on February 9, 2014, on the Seven Network, the album re-entered the charts, peaking at #1. When the miniseries screened in New Zealand in August 2014, the album also charted, similarly peaking at #1.

The album peaked at number 32 on the UK Albums Chart and number 55 on the Billboard 200 in the United States. It spent a total of 56 weeks at number one on the Billboard New Age Albums chart. In a departure from her previous releases, Enya did not promote the album with interviews, appearances, or live performances.

It's been a while since the last offering from Jeff Tweedy and Co, but three years of slavering from fans is about to be rewarded with this seventh studio album. Well... Sky Blue Sky was well worth the wait! Though Wilco are known as purveyors of alt country rock, Sky Blue Sky is an astounding demonstration of their ability to move between soulful acoustic folk, jazzy blues, country skank and pumping rock. Tweedy has the vocal range of three people, from country lilt to blues ache to folk sweetness - all this often in the space of one song. And what songs they are. 'You Are My Face' is a classic Wilco segue, as a sleepy 'Beatles-esque' ditty is suddenly interrupted with a jazz guitar explosion twinned with Tweedy's achy blues voice before returning seamlessly to piano tinkle and smooth vocals. There are stories of love lost and found, told with originality, humour and sweetness. 'How can I warn you my tongue turns to dust? Lack of disgust doesn't mean that I don't care. It means I'm partially there,' sings Tweedy on the delicately beautiful 'Please Be Patient With Me'. The instrumentation is a mini-rock opera in itself. Glorious riffs, thumping piano and virtuoso guitar solos from Nels Cline are orchestrated with skill, complementing the intricately composed and woven melodies. Simple and soothing, yet rich and rewarding, this is an album you unknowingly yearn for, like a cool hand on a hot forehead. A great album from a band in their prime. Our highest recommedation!

Wilcos first studio album in three years, Sky Blue Sky, has been perhaps the most ardently awaited release of 07. Eager fans had taken to shouting out pleas for information to bandleader Jeff Tweedy during his recent solo acoustic tour, and the web chatter has been virtually deafening. Critic Katie Toms of Londons The Observer addressed fan speculation in an advance review, declaring, with unalloyed delight: Boy, was it worth the wait.... Simple and soothing, yet rich and rewarding, this is an album you unknowingly yearn for, like a cool hand on a hot forehead. A great album from a band in their prime.

Sky Blue Sky is as eloquently straightforward as Wilcos last studio recording, the Grammy-winning A Ghost Is Born, was daringly experimental. Tweedys lyrics deal forthrightly with romantic separation and reconciliation, their bittersweet quality giving way, as the album progresses, to a more uplifting, redemptive mood. Tweedy quite literally banishes the darkness on the penultimate track, the inspiring, gospel-tinged What Lightthe albums first singleand concludes with a deeply affecting, til-death-do-us-part lullaby, On and On and On.

There are hints of early-seventies Southern California folk-rock sweetness in the harmonies throughout the band-produced Sky Blue Sky, a bluesy Allman Brothers feel to the guitar /keyboard interplay, and plenty of brash guitar solos that take songs like You Are My Face and Shake It Off in thrilling, unexpected directions. This is especially good news for the crowds that will fill the Bonnaroo Festival in Manchester, Tennessee, this June, where the band plays the first U.S. date of its 2007 world tour in support of Sky Blue Sky. Principal songwriter Tweedy cut these tracks in the bands Chicago studio with members John Stirratt (bass, vocals), Glenn Kotche (drums), Mike Jorgensen (keyboards), Nels Cline (guitars) and Pat Sansone (guitars, keyboards, vocals)all of whom are also becoming notable performers in their own right. A Ghost Is Born co-producer Jim ORourke returns as music contributor.

Limited quadruple vinyl LP pressing. 2017 collection from the British merry music makers. Madness continue to cement their position as the UK's favorite band, with their House Of Common and House Of Fun events becoming annual fixtures in every fan's calendar. Madness are national treasures, with a huge following. Their shows consistently sell out and sales of their current album confirm that, after nearly 40 years, they are still as relevant as they ever were. The last Madness best-of, Total Madness, was released in 2012 and comprised 23 singles. Since then the band have released two more studio albums: Oui Oui, Si Si, Ja Ja, Da Da and their current record, Can't Touch Us Now, each spawning three or four singles.

Full House is a best-of and then some, featuring 42 of the band's very best songs, including the hit singles from all of their records (including the above), plus a few of the band's favorite album tracks. It is a joy to listen to; in mostly chronological order, the set charts the highlights of their career, from 1979's 'The Prince' to 2017's 'Another Version Of Me', with smash hit singles like 'Our House' and 'It Must Be Love' nestling in between.

The undisputed King of Cool, Dean Martin was a superstar comedian, actor, and swinging hit singer. This collection contains his biggest pop hits alongside his most beloved Italian songs and is pressed on audiophile-grade 180 gram vinyl, with brand new full-color graphics. Contains the hits That's Amore, Volare, Ain't That A Kick In The Head, and Mambo Italiano and more.

180 Gram Audiophile Vinyl

Insert

Etched D-side

Produced by John Zorn, Mr. Bungle is the eponymous debut studio album album by American band Mr. Bungle, released in 1991. The album contains many genre shifts which are typical of the band, and helped increase the band's popularity, gaining them a reasonable following and fanbase.

Critics deem the album a 'dizzying, disconcerting, schizophrenic tour through just about any rock style the group can think of, hopping from genre to genre without any apparent rhyme or reason, and sometimes doing so several times in the same song.' Mike Patton's lyrics are even more bizarrely humorous than those he used in Faith No More, and they're also less self-censored, as titles like Squeeze Me Macaroni, My Ass Is on Fire, and The Girls of Porn indicate. This is a difficult, not very accessible record, and the band wouldn't have it any other way.

Incredibly, the original vinyl version of Mr. Bungle was pressed on a single LP, which - with an album duration of 75 minutes - had a rather dull dynamic sound as a result. For the Music On Vinyl version, we've added another LP side to give the music more space to breathe. To top it off, it boasts a unique etch on the D-side!

Mr. Wonderful, the second album of Fleetwood Mac with Peter Green in its ranks, followed up on their massive same-titled debut album. Delivering hard edged, psychedelic and raw Blues, the album counts as a staple from the late sixties. Adding to the rowdy energy of the album is the fact that the band recorded these tracks live in the studio, without using a sound board.

The album introduced Christine Perfect (later McVie) of Chicken Shack on keyboards and a horn section. Great songs on this album include Love That Burns, Coming Home and Elmore James' Dust My Broom.

Their political outlook was similar to the group Brand Nubian, who guested on Hood; however, the style was
more comical and included a great deal of clips from old children's recordings, mostly
notably a sample of the Seaseme Street character Bert on the single ''Who Me?''
This is the official Elektra Records/Traffic Entertainment Group re-release with original
artwork and track listing in it's entirety. Cutting edge, ahead of it's time production and
skits from KMD and Stimulated Dummies (John Gamble and Mr. Dante Ross). Features
the singles ''Peachfuzz'', ''Who Me?'' and ''Nitty Gritty'' (feat. Brand Nubian). This is one
Rap album that is not to be missed.

This title is not eligible for discount.

It's fitting that sky swimming, their debut full length release is a seductive, night time delight of an album. After all, it was in the twilight hours of a may morning three years ago that Pontefract native Amelia Rivas and Bristolian Christian Pinchbeck met at a house party and in alcohol-soaked all-nighter sessions that sky swimming was written.

A fibrous collection of songs about relationships - their own included, which broke down during the making of the album - hazy memories, twisted dreams, the metaphysical bleeding in to the physical - sky swimming - all trilling keyboards, swooping melodies, broken hip hop beats, looped strings and Amelia's uniquely curvy vocals - that makes you want to clamp your headphones tighter on your ears, letting you swim in its every detail and emotion. Influenced by everything from Toro y Moi to composer Angelo Badalamenti, everything but the girl to rap originators arrested development and Joe Meek's productions, it's an intensely varied listen.

"the first time we worked together, I went round to his house in Peckham and didn't leave for 3 days. I barely knew him," Amelia remembers. "She turned up with some £10 casio she bought from a charity shop in France and the whole demo EP was made on that," recalls Christian. Elephant have grown beyond their lo-fi roots since then, with Andy Dragazis being drafted in on co-production duties, while retaining the emotional rawness of those early songs. Tracks vary from psyche-delving ballads about growing up - torn tongues and skyscraper ("I want to understand what's wrong with my brain," Rivas laughs), to the thrilling pop of elusive youth, a eulogy to a friend who "wears a city crown", to the everyday trials of being young and poor in London (see ants about Amelia's crumbling tooting bedsit and TV dinner, a paean to rubbish telly and cheap booze) and the heartbreaking title track sky swimming written in the eye storm of their relationship meltdown with the refrain "do your eyes turn blue before you cry, I see the blue in you".

With winning appearances at Primavera and Eurosonic festivals behind them, not to mention support slots with cult hero Matthew E. White, under their belts, Elephant have in Sky Swimming one of the year's most seductive sounds. . "I flew to the moon to mirror you" sings Amelia on album closer Shapeshifter, with the sort raw melancholy that could only be cribbed from a blue valentine romance. "I saw the future." It should be a very bright future ahead for Elephant indeed.

Have a question about this product? Please email our audio advisor or call 1-877-929-8729 with any questions or concerns regarding your equipment purchase.

Ultra High quality laminations, lower inductance and superior sound. These transformers were especially designed and tested with several low-output moving coil cartridges. These are very difficult transformers to construct and require a precision manufacturing process that can only be done by David Geren at CineMag. The same construction techniques are used as in the 1131, except that the inductance of the SKY 30 is even lower due to the lower step up ratios.

Hand Crafted, Moving Coil (MC) Cartridge Step-up Transformer (SUT) built with new CineMag SKY 30 (Blue Version) Transformers and gold plated hardware in a hand polished black powder coated cast-aluminum enclosure. All lettering is laser etched. Included are 2 switches: high/low gain and ground/lift.

Includes premium construction with C&K Brand Silver contact toggle switches, and Deluxe Gold Plated RCA jacks.

These specially designed transformers are wired to connect a moving coil cartridge (on a turntable) to a phono preamplifier, phono input of a receiver, or your preamp's phono input.

Switchable for 1:15 (24 dB gain) or 1:30 (30 dB gain).

Into a standard 47k phono preamp, the effective input impedance of the low gain (1:15 ratio) is 209 ohms. At 1:30, the effective input impedance is 52 ohms.

The 1:30 ratio is perfect for most low output cartridges.

Construction Techniques:

All connections are Resistance soldered using the American Beauty system which avoids heat damage to the delicate insulation on the hair-like wires of the transformers. Test equipment is very low current to avoid saturating the transformer cores. You can count on a premier product that is state-of-the-art.

This unit includes a grounding post that can be used to connect your turntable ground and your preamplifier ground. It also includes a ground lift switch. In all modes, the transformer cases and faraday shield internal to the transformers are connected to the ground screw. In the ground mode, the phono system minus sides (negative sides) are connected to the grounding lug. This configuration works well for those systems where the turntable ground is connected to the negative leads coming from the phono cartridge or where the negative inputs to the preamp are internally connected to ground. In the lift mode, none of the conductors in the RCA jacks are connected to the case, ground, or shield and there is no electrical connection between channels. This design allows you much flexibility to mitigate for ground loops regardless of the configuration of your other equipment.

This item is not eligible for discount.

BAND:

Eric Clapton, lead guitar, lead vocals

Andy Fairweather Low, guitar

Doyle Bramhall II, guitar

Billy Preston, keyboards

Jerry Portnoy, harmonica

Nathan East, bass

Steve Gadd, drums

PRODUCERS:

Eric Clapton

Simon Climie

Mastered By Joe Reagoso And Pressed At R.T.I.

The Byrds were truly a gift to rock music fans all over the world. There will never be another
collective of superstar talent like The Byrds. Their amazing sound and membership is of legendary
proportion, and it all started 50 years ago with their brilliant debut album Mr. Tambourine Man.
Jam packed with 12 classic rock champions like I'll Feel a Whole Lot Better, Chimes of Freedom,
All I Really Want to Do and of course the smash title track, Mr. Tambourine Man became one of the
more important albums ever in classic rock.

With the lead vocals and unmistakable 12 string guitar work of Roger McGuinn, the musicianship
and lead vocal work of the legendary David Crosby, the solid bass playing and lead vocal work
of Chris Hillman, along with the stellar lead vocals of Gene Clark and the hipster Michael Clarke on
drums, all of these ingredients made The Byrds a force to reckon with like no other. They turned Bob
Dylan folk classics into psychedelic electric treasures and their own brilliant tunes into rock manna
which will forever stand the test of time.

Friday Music is no stranger to the legendary sound of The Byrds. That is why we are so very
honored to announce the first time 180 Gram Audiophile Clear Vinyl 50th Anniversary Edition of their
debut classic Mr. Tambourine Man.

Mastered impeccably by Joe Reagoso (The Byrds/Jefferson Airplane) for the first time on audiophile
vinyl, The Byrds' Mr. Tambourine Man will truly become one of the most important and historical
180 Gram Audiophile Vinyl titles in quite some time.

To celebrate The Byrds 50th Anniversary, we further enhance this limited anniversary edition
with a stunning gatefold cover featuring the original artwork and newly found photos from the lens
of Don Hunstein,as well as being pressed by R.T.I on clear vinyl.

Hey Mr. Tambourine Man!

Musicians:

• Budd Johnson (tenor saxophone, soprano saxophone)


• Earl Hines (piano)


• Jimmy Leary (bass)


• Panama Francis (drums)

Recording: July 1974 at the Seed Studio in Vallauris, France, by Gerhard Lehner

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.

Mastered Impeccably By Joe Reagoso At Capitol Records And Manufactured At R.T.I.

The Allman Brothers Band continue to be known as one of the original rock super groups of
the late sixties who have a knack of mastering rock and blues grooves drenched in gospel, soul
and country rock. With a plethora of amazing albums over their almost five decade career, The
Allman Brothers Band have truly created some of the finest music ever waxed for the classic
rock era.

In 1980, The Allman Brothers Band greeted the new decade with a smokin' new line-up,
a new label and a great new recording with Reach For The Sky. This stunning Arista Records
release featured a good amount of AOR radio classics like Dickey Betts' Hell & High Water,
Gregg Allman's stellar Mystery Woman, the magnificent instrumental From The Madness Of The
West, plus a surprise hit single with their southern rock classic Angeline. Augmented with two
new band members the late great "Dangerous" Dan Toler on guitar and David Goldflies on bass,
this top selling rock classic hasn't been available on vinyl for many decades that is until now!

Friday Music is very proud to announce for the first time ever the stunning 180 Gram
Audiophile Vinyl and gatefold cover presentation of Reach For The Sky by The Allman Brothers
Band. Mastered impeccably by Joe Reagoso at Friday Music Studios and Capitol Mastering in
Hollywood and manufactured at R.T.I., this original Arista Records classic truly reaches sonic
heights in the audiophile vinyl domain. We have also included the original artwork elements and
photos not seen in LP cover form in years!

Angeline

In three years on the label, Hazlewood delivered three albums and sundry odds and ends, beginning with 1966 album The Very Special World Of Lee Hazlewood. The LP found Hazlewood gunning-in as much as he ever did-for commercial success, blending country, pop, novelty, mariachi, and lounge music into something unusually of-the-moment.

Lushly orchestrated and-like the album that preceded it-half-sung, half-spoken in a way that Hazlewood made all his own, the album collected solo versions of songs made famous by Sinatra and others ("Sand," "Boots," "So Long Babe," "Summer Wine"-included as a bonus duet with Suzi Jane Hokom) alongside some of his career-best solo compositions, among them the Morricone-like opener, "For One Moment." It's a record of extremes: "When A Fool Loves A Fool" is as light and throwaway as anything he ever laid down, while the wistful "My Autumn's Done Come" (sample lyric: "Let those I-don't-care days come in, I'm tired of holding my stomach in") is as raw and honest.

And even though J tries to trip us up by smearing Don't Pretend You Didn't Know with keyboards, it's clear from the moment he starts his vocals that this is the one and only Dinosaur Jr., long reigning kings of Amherst, Massachusetts (and anywhere else they choose to hang their toques).

I Bet on Sky is the third Dinosaur Jr. album since the original trio - J Mascis, Lou Barlow and Murph - reformed in 2005. And, crazily, it marks the band's 10th studio album since their debut on Homestead Records in 1985.

Back in the '80s, if anyone has suggested that these guys would be performing and recording at such a high level 27 years later, they would have been laughed out of the tree fort. The trio's early shows were so full of sonic chaos, such a weird blend of aggression and catatonia that we all assumed they would flame out fast. But the joke was on us.

The trio has taken everything they've learned from the various projects they tackled over the years, and poured it directly into their current mix. J's guitar approaches some of its most unhinged playing here, but there's a sense of instrumental control that matches the sweet murk of his vocals (not that he always remembers to exercise control on stage, but that's another milieu). This is head-bobbing riff-romance at the apex. Lou's basswork shows a lot more melodicism now as well, although his two songs on I Bet on Sky retain the jagged rhythmic edge that has so often marked his work. And Murph...well, he still pounds the drums as hard and as strong as a pro wrestler, with deceptively simple structures that manage to interweave themselves perfectly with his bandmates' melodic explosions!