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One Flight Up'
One Flight UpOne Flight Up is an album by American jazz saxophonist Dexter Gordon recorded in 1964 in Paris and released on the Blue Note label.1. Tanya
2. Coppin' the Haven
3. Darn That Dream$19.99Vinyl LP Reissue - Sealed Buy Now
Flight of the ConchordsAcclaimed Kiwi novelty band Flight of the Conchords follow the release of their six-track Grammy Award winning CD/EP The Distant Future with their full-length record album debut, the conveniently titled Flight of the Conchords (which, not at all coincidentally is also the name of their HBO television series). Produced by Mickey Petralia (Beck Midnight Vultures, Ladytron Light & Sound) in Los Angeles, New York and Wellington, the album features fully fleshed-out and professionally recorded versions of Flight of the Conchords concert and television favorites. And its release finally renders pointless all the inexpert fan-made audio transfers (the modern day equivalent of holding a microphone up to the television speaker and shouting at your mom to be quiet), which have bloated hard drives the world over. The songs are heard here in expanded but reverent arrangements. Bret McKenzie and Jemaine Clement's trademark acoustic guitars lead the blitz, backed by a diverse array of instrumentation and production technique. And, the album sounds legitimate and musically, it's incredible, but, as Shakespeare said, Does it funny? Happily, yes. If amazing, delightful and hilarious is your idea of funny, then prepare for undisappointment! These 15 songs pay homage to Pet Shop Boys, censorship, Marvin Gaye, sexism, Shabba Ranks, and backhanded compliments. To be blunt, if you can't find a rire ou sourire in the FSL study guide of opening track, Foux du Fafa, then, please notice, vous tes malade.1. Foux du Fafa
2. Inner City Pressure
3. Hiphopopotamus vs. Rhymenoceros
4. Think About it
5. Ladies of the World
7. The Prince of Parties
8. Leggy Blonde
11. A Kiss is Not a Contract
12. The Most Beautiful Girl (in the Room)
13. Business Time
15. Au Revoir$17.99Vinyl LP - Sealed Buy Now
Parts Of Speech (Awaiting Repress)From its first track, Dessa's new full-length Parts of Speech announces itself as something different. The Doomtree veteran and inveterate wordsmith - having proved her mettle in the fields of creative non-fiction, spoken-word and hip-hop - jettisons all genre expectations on "The Man I Knew" and croons a heartbreaking lament to a disintegrating relationship at an explosively-building clip.
From this moment on Dessa - oft-described as "Mos Def plus Dorothy Parker" for the wit and flow shown off on previous solo albums A Badly Broken Code and Castor, The Twin - proves she has truly coalesced as an artist, transcending the restrictions of genre to reveal an astonishing multi-platform voice.
"I wanted to investigate the idea that a cohesive record isn't always made cohesive by having twelve songs that sound the same. I figured when you make a mixtape for a friend, you can get away with a range of genres and a lot of dynamic change. Why can't I approach an album like that? The sequence has to be just right, and we worked hard to nail it, but the thing that holds this record together is the sensibility of the lyrics, rather than a uniform theme."
Track two kicks off a stunning hat-trick of the record's standout numbers. "Call Off Your Ghost" is an admittedly haunting dirge on the "struggle for grace in the wake of a long relationship." An arena-sized chorus tucked into a melancholy lullaby, "Ghost" has that unique ability to perfectly soundtrack new love or bitter breakup at the same time.
Dessa then puts her fists up for "Warsaw." The track boasts a beat like Azealia Banks playing Pacman, which provides a background for our emcee's confident, hypnotic flow. Narrative takes a backseat to mood here, as Dessa spits impressionistic one-ups like "I sleep with both eyes open, standing up," daring you to blink first.
"Skeleton Key" contains Parts of Speech's mission statement: "I haven't met a locked door yet." An ode to female self-reliance that doesn't waste ambiance for message, the track plays like a great, lost M. Night Shyamalan movie, calling forth an era out of time in the story of a woman, a key and a bottomless reserve of courage.
"This record involves multiple narratives. It explores the same themes of love, loss, connection and communion as a lot of my work, but the angle and lens through which they're explored sets this album apart from my previous ones. The production techniques were new for me too - we spent a lot of time crafting a record that could include live players, Doomtree production, and sometimes a blend of the two."
While the album is born of Dessa's artistic vision, it benefits from the collaboration of her varied friends. Parts of Speech owes much of its impact to its diverse production. Dessa got her start as a member of Minneapolis hip-hop collective Doomtree - eventually going on to help manage the group's business affairs as they launched their own label - and members Lazerbeak and Paper Tiger lend their production to several tracks.
The players in Dessa's live ensemble all contributed to the record, as did several top-flight Minneapolis musicians working in rock, folk, and opera. She even enlisted a cellist she found on Pandora to make the gorgeously-layered foundation of penultimate track "It's Only Me."1. The Man I Knew
2. Call Off Your Ghost
4. Skeleton Key
5. Dear Marie
6. I'm Going Down
7. Fighting Fish
8. The Lamb
11. It's Only Me
12. Sound the Bells$19.99Vinyl LP - LP Sealed AWAITING REPRESS Buy Now
End Is ForeverFollowing up their breakthrough 1999 release Blue Skies, Broken Hearts...Next 12 Exits, Kris Roe and his band, the Ataris, offered up the dynamic, dangerously non-punk End Is Forever in early 2001. Along with singer/guitarist Roe, Chris Knapp (drums), Marco Pena (guitars), and bassist Mike Davenport wind their way through an expanse of post-grunge alternative and emocore more musical than anything the Ataris had previously released. Listeners familiar with the group's earlier recordings probably won't be too surprised by End Is Forever as Roe's quickly developing, gifted writing had always been the outfit's defining factor, making the transition away from punk's noisier elements predestined. Purists already dismissive of the entire emo genre will be mortified by Roe's polished heart-tugging trilogy Giving Up on Love, Summer Wind Was Always Our Song, and I.O.U. One Galaxy that opens the disc. Things degenerate further for credibility-obsessed punk fans when Roe and Co. kick out some old-fashioned big rock on tracks like Road Signs and Rock Songs. Listeners anxious about the Ataris unavoidable flight to the punk genre suburbs won't have to read between any lines to figure where the band was heading when they produced this 2001 release. After End Is Forever, all that remained to be seen is just how far the quartet's undeniable mainstream appeal would take them.
- Vincent Jeffries (All Music Guide)1. Giving Up on Love
2. Summer Wind Was Always Our Song
3. I.O.U. One Galaxy
4. Bad Case of Broken Heart
5. Up, Up, Down, Down, Left, Right, Left, Right, B, A, Start
6. Road Signs and Rock Songs
7. If You Really Wanna Hear About It
8. Fast Times at Drop-out High
9. Song for a Mix Tape
10. You Need a Hug
11. How I Spent My Summer Vacation
12. Teenage Riot
13. Song #13
14. Hello and Goodbye$19.99Vinyl LP - Sealed Buy Now
Where some artists write from the head and others from the heart, Whigs' songwriter/frontman Greg Dulli writes from the groin. His lyrics are filled with dark images of romantic obsession. Perhaps no other band can play with such restraint, letting musical tension build until it can do nothing other than explode. Dulli in his finest voice can move from desperate screams to a quiet sinister crooning at the turn of a chord. The band split up in 2001. Greg Dulli continued recording and performing as part of the Gutter Twins (with Mark Lanegan) and The Twilight Singers.
1965 is the name of their sixth and final album originally released in 1998. Its cover photograph shows astronaut Ed White on the first American space walk as part of the Gemini 4 flight which took place in, you guessed it, 1965.
Includes 7 bonus tracks and an 8 page bookletSide A:
1 Somethin' Hot
3. Uptown Again
4. Sweet Son Of A Bitch
6. Citi Soleil
1. John The Baptist
2. The Slide Song
5. The Vampire Lanois (Instrumental)
1. Somethin' Hot (12" Version) *
2. Miss World *
3. Papa Was A Rascal *
1. 66 (Radio Version #1) +
2. The Singer +
3. Somethin' Hot (Live Version) +
4. 66 (Live Version) +$39.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
Bigger and BlackererLimited Edition Vinyl LP + DVD
Bigger and Blackerer was taped during two shows, back-to-back on the same evening in Boston, MA. Only by watching the DVD will you learn of Daivid Cross unique relationship with the deaf community, share his canny insights into the editorial machinations behind the Bible, and marvel at how well a bald, middle aged white guy can fill out a pair of jeans. Yet one must listen to the LP in order to hear about gastro-intestinal misadventures with his dog Ollie Red Sox, or sing along with The Sultans Revenge, the swinging, Vegas-style opening number composed by Cross and his good friend Mark Rivers (author of the theme to Mr. Show).
Bigger and Blackerer is David Cross third album, preceded by Its Not Funny (2004) and Shut Up You Fucking Baby! (2002). The latter was actually nominated for a Grammy Award. Cross was also the first comedian signed to Sub Pop Records, paving the way for Eugene Mirman, Flight of the Conchords, and dozens of other hopeful comics.
During his illustrious career, David Cross has played recurring roles on the TV programs Arrested Development and The Colbert Report, and won an Emmy Award for his contributions to The Ben Stiller Show. He has also starred in such films as Waiting for Guffman, Eternal Sunshine of the Spotless Mind, the Bob Dylan fantasy Im Not There (in which he portrayed Allen Ginsberg), and Kung Fu Panda. He is currently working on the UK show The Increasingly Poor Decisions of Todd Margaret (broadcast on IFC in the USA).1. Opening Song (The Sultans Revenge)
2. If You Care
3. That One Show About Drugs and Stuff
4. Me and Drugs
5. Black Stuff
6. ...Or Worse
7. Where We Are Now Back in Sept. '09
8. Silly Religious Crazies
9. Really Silly Religious Crazies. I Mean, Double, Triple Crazy!
10. Random Goofabouts
11. I Can't Get Beer in Me...
12. Lesson Learned$24.99Limited Edition Vinyl LP - Sealed Buy Now
Extreme AggressionRemastered Versions By Andy Pearce And Overseen By Mille Petrozza
Featuring New Art
Packed With Rare Photos And Memorabilia And Notes By Mille And Malcolm Dome (Metal Hammer) Talking About The Creation Of The Albums
Contains A Show Recorded In Berlin In 1990 That Showcases The Band In Full Flight
The fourth album by Kreator, Extreme Aggression, was released in 1989. This album introduced many American fans to Kreator, primarily through heavy rotation of the Betrayer music video on MTV's Headbangers Ball, which was partly shot at the Acropolis in Athens, Greece. On Extreme Aggression, Kreator closes the '80s by delivering their final thrash triumph with the most hallowed Kreator line-up joining forces once again to follow up the spectacular Terrible Certainty. The results are fierce and noisy on this 1989 Epic release. Extreme Aggression quickly became their biggest seller yet, and the subsequent North American tour with Suicidal Tendencies introduced the band to many new friends. This version contains a show recorded in Berlin in 1990 that showcases the band in full flight.
Formed in Essen, Germany in 1982, Kreator is arguably the most influential and successful European thrash metal band ever, like many of their European speed metal brethren, Kreator fused Metallica's thrash innovations with Venom's proto-black metal imagery. Kreator has been referred to as one of the Big 4 of Teutonic thrash metal, and they are often credited with helping pioneer death metal and black metal by containing several elements of what was to become those genres. The band has achieved worldwide sales of over two million units for combined sales of all their albums, making them one of the best-selling German thrash metal bands of all time. Kreator's style has changed several times over the years, from a Venom-inspired speed metal sound, later moving into thrash metal, and including a period of transitioning from thrash to industrial metal and gothic metal throughout the 1990s. In the early 2000s, Kreator returned to their classic thrash sound, which has continued to the present.LP 1
1. Extreme Aggression
2. No Reason To Exist
3. Love Us Or Hate Us
4. Stream Of Consciousness
5. Some Pain Will Last (1996 Remastered Version)
7. Don't Trust
8. Bringer Of Torture
9. Fatal Energy
1. Some Pain Will Last (Live In East Berlin 1990)
2. Extreme Aggression (Live In East Berlin 1990)
3. Under The Guillotine (Live In East Berlin 1990)
4. Toxic Trace (Live In East Berlin 1990)
5. Bringer Of Torture (Live In East Berlin 1990)
6. Pleasure To Kill (Live In East Berlin 1990)
7. Flag Of Hate (Live In East Berlin 1990)$39.99Vinyl LP - 3 LPs Sealed Buy Now
Library Catalog Music Series Volume 8: Music For Dreaming And PlayingKristin Miltner is a composer, video and installation artist and sound designer from Oakland, CA. She performs with custom software, designed to scan sound files and live input, allowing her to instantly restructure and sequence these sounds. Imagine a giant octopus in an infinitely long hallway with windows on each side. It runs up and down, opening and closing windows to let in a bit of water here and there, never stopping. There is a rhythm. The ocean is the sound source, the hallway and octopus are scanners, the windows are the input device, and the octopus's rhythm is the sequencer
Kristin Miltner, composer, programmer, musician, and videographer -- and one half of the duo Miba -- is responsible for Music for Dreaming and Playing, the eighth volume in Asthmatic Kitty's Library Catalog Music Series. Miltner's brand of electronic music, while gentle, usually quiet, and inviting, is performed via a software system of her own design that scans sound files and live input, thus allowing her to instantly restructure sounds into sequenced units of varying lengths and musical groupings. This is done while creating a rhythmic component comprising a seemingly endless series of sonic textures, spaces, and ambiences. She also often employs her singing voice, broken into single syllables and nonsensical utterances (as on the opener Melody from Dream) to deepen the proceedings. These pieces are easy to listen to because of the considerable restraint that goes into their presentation. Miltner's soundworlds are ambitious; they change quickly but seamlessly, moving from idea to idea with alacrity and an expert sense of control. The remarkable thing is that it's all live, on-the-spot recording. Clocking it at just under 40 minutes, Music for Dreaming and Playing comes across as a series of electronic songs, more than it does soundscapes. Their rhythmic components aside, there are melodies at work inside these (mostly) brief pieces -- check Altamont Pass, Space Shooter: Boy Avatar, Space Shooter: Girl Avatar, and the closer, Firefly's Flight Game Music. The element of surprise inherent in each track still leaves something lyrically retentive in the listener's ear. Music for Dreaming and Playing is one of the most successful volumes the Library Catalog Sound Series thus far. ~ Thom Jurek1.Melody From Dream
3.Woke Up At 4am Electrified, Bright Moon Out the Window
5.Inchworm In Bitcrunch Garden
9.Space Shooter: Boy Avatar
10.Space Shooter: Girl Avatar
11.Main Menu Music
12.Space Dream Main Menu Music
13.Firefly's Flight Game Music$14.99Vinyl LP - Sealed Buy Now
An Evolutionary Music (Original Recordings: 1972 - 1979)An Evolutionary Music (Original Recordings: 1972 - 1979) compiles
unreleased recordings from the archives of multiversal artist Ariel Kalma.
Concerned as much with musicality as spiritual facility, Kalma's work
vibrates aside fellow travelers along the great rainbow in curved air of
the 1970s avant-garde.
Ariel Kalma's boundary-blurring electronic music is heard here in
radiant detail across a selection of work spanning his early free-jazz
and spoken word trips to his infinite modular synthesizer and primitive
drum machine meditations. Kalma's story is one of world travel, musical
discovery and ego-abandonment. Yet for an artist who often discarded
public recognition in favor of the ascetic truths in music making, An
Evolutionary Music offers the imprint of an outright auteur.
Born in France, but rarely in one place for long, Ariel Kalma's 1970s
migrations took flight through the decade's furthest spaces of musical
and spiritual invention. As a hired horn for well-known French groups,
the young musician toured as far as India, a place where Kalma would
learn circular breathing techniques enabling him to sustain notes without
pause against tape-looping harmonies configured through his homemade
Those effects evolved from Kalma's loyalty to a beloved dual ReVox
set-up- two tape machines "chained" together to form a primitive delay
unit. Over looped saxophone melodies, Kalma would mix in all shades of
polyphonic color, synthesizing fragments of poetry with ambient space or
setting modal flute melodies to rippling drum machine patterns and starlit
In France during the mid-1970s, Kalma was staffed as a technician at
Pierre Henry's legendary Institut National Audiovisuel, Groupe de Recherches
Musicales (INA GRM) studios - the same music concrÉte laboratory that
spawned masterpieces by members Luc Ferrari, Iannis Xenakis, and Bernard
Parmegiani. Like his predecessors and colleagues at INA GRM, Kalma's
relationship to sound was both formal and non-hierarchical. To Kalma, all
music existed as related universal patterns, in perfect harmony with the
people, places and environments it was created.
Kalma's recorded output of the 1970s culminated in the now scarcely-available Les Temps des Moissons (trans. The Time of Harvest) in 1975,
and a masterpiece of birdsong exploration with Osmose in 1978. Osmose
is double album featuring sculptor Richard Tinti, who had supplied Kalma
with hours of field recordings from the rainforests of Borneo.
An Evolutionary Music harvests uncatalogued music made between
Kalma's private press records and onward through the many small-batch
cassette releases Kalma would tender. With this collection of musical
hybridity and distinct genre-corrosion, Ariel Kalma's righteous bucking of
both popular music trends and the academic tenets of the avant-garde
falls squarely in the spirit of other renegades of sacred new-music such as
Terry Riley, La Monte Young, and Charlemagne Palestine.1. Almora Sunrise
2. Ecstasy Musical Mind Yoga
4. Sunset Inside
5. Chase Me Now
6. Enuej Elleiv
7. Sister Echo
8. Les Mots de Tous Les Jours (Rêves Etranges)
9. Rainy Day
10. What Would You Say
11. Les Etoiles Sont AllumÉes
12. Voltage Controlled Wave
13. Montparnasse Morocco
14. Head Noises
15. Asalam Yamarek
16. Love and Dream
17. Yogini Breath$30.99Vinyl LP - 2 LPs Sealed Buy Now
Ellington At Newport (Awaiting Repress)Numbered, Limited Edition Mono LP
Pandemonium: Historic 1956 Live Set Triggered Spontaneous Audience Outburst That Fed Directly into Feel, Outcome of Performance
Ellington's Legendary Comeback Punctuated by Paul Gonsalves' 27-Chorus Saxophone Solo
Unrivaled Analog Transparency: LP Mastered on Mobile Fidelity's World-Renowned Mastering System and Pressed at RTI
One of the Most Riveting and Important Jazz Recordings Ever Made
It spurred Duke Ellington's comeback into the mainstream. It captures a performance so energetic, wild, unexpected, and unprecedented that the music literally caused thousands of people to jump up and stand on their chairs, worrying officials that a riot might ensue. It is jazz of the highest order, played at an almost rock n' roll pace, and with an enthusiastic pep that confirms Ellington and his ensemble fed off the crowd's reaction as the collective lit into each new stanza. It is Ellington's best-selling album. It is Ellington at Newport.
Like few records before or since, the 1956 set owes as much to context and circumstance as it does instrumental execution. Years prior to his appearance in Rhode Island, Ellington had suffered lackadaisical record sales and a falling out of the public eye, as bop and hard bop supplanted tradition big bands. Yet in preparation for the event, Ellington worked on experimental ideas and a reshaping of some of his standards.
The iconic arranger/composer's foresight comes into fruition throughout the white-hot set, never more so than on "Diminuendo and Crescendo In Blue," on which tenor saxophonist Paul Gonsalves erases all rules and outlays a 27-chorus solo that left everyone in awe-and prompted them to stand on chairs, dance feverishly, and hoot and holler to an extent that caused Ellington to ultimately cool things off. The improvisational flight epitomizes boldness, freedom, risk, and, to the bandleader, an assuredly loud response to the critics that had believed his well was tapped.
The songs in advance of the climactic moment are no less exciting; Ellington and his 15-piece collective manhandle notes with ease, swinging and sliding through "Festival Junction" with a requisite balance of poise and panache, and kicking heels on Newport Up via Ellington's spry piano riffs, Jimmy Hamilton's spicy clarinet feeds, and Clark Terry's trumpet runs. In every way, Ellington at Newport is as quintessential as Kind of Blue, Giant Steps, and Way Out West.
And now, the 1956 classic can be experienced in an analog fidelity never before as authentic or transparent on any pressing. Mastered on Mobile Fidelity's world-renowned mastering system and pressed at RTI (America's best record plant), this numbered limited edition Silver Series LP of Ellington's triumph boasts tremendous separation, deeper low frequencies, clearer highs, and front-to-back dynamics. Horns blare with multi-hued color, the Duke's 88s ring out with treble finesse, and the rhythm section claims an added presence buried on previous editions. Musically and sonically, you need this LP. It's that simple.
This title is not eligible for discount.1. Festival Junction
2. Blues to Be There
3. Newport Up
4. Jeep's Blues
5. Diminuendo and Crescendo In Blue$24.99Vinyl LP Mono - Sealed AWAITING REPRESS Buy Now
Capuchin SwingAnalogue Productions' Blue Note and Nat King Cole Reissues WIN A Positive Feedback 2010 Brutus Award!
One of McLean's more underrated albums from a plethora of Blue Note releases, 1960's Capuchin Swing finds the bebop alto saxophonist in fine form on a mix of covers and originals. While McLean's future fascination with Ornette Coleman's free-form innovations can be sensed in some solos here, the majority of the album is in a classic hard bop vein. Like contemporaries Hank Mobley, Sonny Clark, and Lee Morgan, though, McLean doesn't just churn out pat jam-session fare, but comes up with consistently provocative charts and solos. Eschewing any ballad cuts, McLean focuses on mid- to fast-tempo swingers and blues. Standouts include originals like Francisco and Condition Blue and choice renditions of Just for Now and Don't Blame Me. McLean enlists a sparkling lineup of hard bop stars, including trumpeter Blue Mitchell, pianist Walter Bishop, Jr., bassist Paul Chambers, and drummer Art Taylor. Mitchell particularly impresses, matching many of McLean's own inspired flights with his supple and progressive playing. Along with other fine Blue Note titles like Jackie's Bag and Bluesnik, Capuchin Swing makes for a great introduction to McLean's extensive catalog.-- Stephen Cook
Jackie McLean: Alto Saxophone
Blue Mitchell: Trumpet
Walter Bishop, Jr.: Piano
Art Taylor: Drums
This title is not eligible for discount.1. Francisco
2. Just For Now
3. Don't Blame Me
4. Condition Blue
5. Capuchin Swing
6. On The Lion$54.99180 Gram Audiophile Virgin Vinyl 45 RPM LP - 2 LPs Sealed Buy Now
Capuchin SwingOne of McLean's more underrated albums from a plethora of Blue Note releases, 1960's Capuchin Swing finds the bebop alto saxophonist in fine form on a mix of covers and originals. While McLean's future fascination with Ornette Coleman's free-form innovations can be sensed in some solos here, the majority of the album is in a classic hard bop vein. Like contemporaries Hank Mobley, Sonny Clark, and Lee Morgan, though, McLean doesn't just churn out pat jam-session fare, but comes up with consistently provocative charts and solos. Eschewing any ballad cuts, McLean focuses on mid- to fast-tempo swingers and blues. Standouts include originals like Francisco and Condition Blue and choice renditions of Just for Now and Don't Blame Me. McLean enlists a sparkling lineup of hard bop stars, including trumpeter Blue Mitchell, pianist Walter Bishop, Jr., bassist Paul Chambers, and drummer Art Taylor. Mitchell particularly impresses, matching many of McLean's own inspired flights with his supple and progressive playing. Along with other fine Blue Note titles like Jackie's Bag and Bluesnik, Capuchin Swing makes for a great introduction to McLean's extensive catalog.1. Francisco
2. Just For Now
3. Don't Blame Me
4. Condition Blue
5. Capuchin Swing
6. On The Lion$19.99Vinyl LP Reissue - Sealed Buy Now
MaraqopaDamien Jurados newest collaboration with producer Richard Swift drops us into a brutal and benevolent landscape. The bold strokes and new turns the pair made with 2010s Saint Bartlett are taken even further. He throws open the gate on his oft insular dirges and allows them to do some real wilding out in the canyon. In Maraqopa, the vistas are miles-wide; the action is more dynamic; the close-ups sweaty and snarling.
The strummed desert blues that begins Nothing is the News quickly bursts open into an Eddie Hazel-worthy supernova shred session, all of it swirling in tinny-psych and Echoplexd howls. Weve never heard anything like this from Jurado. Fifteen years into his remarkable career, and he continues to blossom. Jurado and Swift establish themselves not only as inventive, trusting collaborators, but as one anothers spirit animals in American outsider songcraft, lone wolves in black sheeps clothing. Swift is the Ennio Morricone to Jurados Sergio Leone.
At Swifts National Freedom studios, the live-to-tape ethos allowed these songs to expand and retract like a great beasts breath. Every in-the-moment bell and whistle here is hung with a natural, casual care. And from this, each song offers up its own unique gift: the enchanting childrens choir that echoes each line of Jurados lament for innocence lost on Life Away from the Garden; the breezy bossa nova that begins This Time Next Year and rises as effortless as a smoke cloud into high-noon showdown pop; Reel to Reel's wobbly, Spector-symphony and its meta themes; and the wonderful falsetto vocal work Jurado pulls from himself on Museum of Flight.1. Nothing Is The News
2. Life Away From The Garden
4. This Time Next Year
5. Reel To Reel
6. Working Titles
7. Everyone A Star
8. So On, Nevada
9. Museum Of Flight
10. Mountains Still Asleep$16.99Vinyl LP - Sealed Buy Now
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 Buy Now
UNIM-EAG-8500xMark Collie & His Reckless Companions
Alive At Brushy Mountain State PenitentiaryUntil it closed in 2009, Tennessee's Brushy Mountain State Penitentiary was one of the most notorious penal institutions in America. Located in mountainous Petros, it was a forbidding rockpile hewn out of the rough countryside by its own inmates in 1896.
On Oct. 17, 2001, Mark Collie came to Brushy Mountain with a sheaf of newly written songs about crime and punishment and an all-star band for a pair of performances that were recorded for a live album release. Mostly, though, Collie showed up at Brushy Mountain with a mission.
God gave me the opportunity to get in there and share something that might make a difference, he says. I believed the songs could matter. I wanted to make something that people could find hope in, or redemption, or restoration, or forgiveness.
His close friendship with country icon Johnny Cash supplied the principal inspiration for his own prison recording. Collie was well aware of Cash's celebrated 1968-69 live albums recorded at California's Folsom and San Quentin penitentiaries. He also knew the impact that a 1959 performance at the latter facility had on Inmate #A-45200, better known as the legendary country star Merle Haggard. Without Johnny going to San Quentin, Collie says, there might not have been a Merle Haggard. A lot of lives were changed or made better as a result of that music. Collie began writing his own cycle of prison songs.
A top-flight crew of musicians was assembled, including guitarist Dave Grissom (John Mellencamp, Joe Ely), keyboardist Mike Utley (Jimmy Buffett, the Dixie Flyers), guitarist-mandolinist Tommy Burroughs (Memphis Riverbluff Clan), Collie's longtime accordionist Hassel Tekkle, bassist Willie Weeks (the Rolling Stones, Eric Clapton, B.B. King), drummer Chad Cromwell (Neil Young, Mark Knopfler), and guitarist-fiddler-vocalist and solo star Shawn Camp. Austin-based critics darling Kelly Willis, who takes lead vocals on two tracks, also supplied backup vocals on several numbers; the late Texas blues giant Clarence Gatemouth Brown is the album's other special guest.
Alive at Brushy Mountain embraces a breadth of American styles - country, blues, gospel, bluegrass, and rock n roll. It largely comprises striking original material, which contemplates the convict's lot with compassion, keen detail, and sometimes boisterous humor.LP 1
1. One More Second Chance
2. I Could've Gone Right
3. Maybe Mexico
4. Heaven Bound (feat. Kelly Willis)
5. Got A Felling for Ya (feat. Kelly Willis)
6. On The Day I Die
7. Dead Man Runs Before He Walks (feat. Shawn Camp)
8. Rose Covered Garden
1. Why Me Lord (feat. Kelly Willis)
2. Do As I Say
3. Someday My Luck Will Change (feat. Clarence "Gatemouth" Brown)
4. Folsom Prison Blues
5. Reckless Companions
6. Gospel Train (feat. Brushy Mountain Prison Choir)$19.99Vinyl LP - 2 LPs Sealed Buy Now
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A simple product with a simple aim: high quality sound that's portable.
- John H. Darko on digitalaudioreview.net
The Traveller sets a new standard in the league of mobile headphone amplifiers. We have designed it for a generation who is constantly on the move: no matter if at home, in the office or when travelling - this elegant companion will always give you a unique sound experience, everywhere. And the Traveller lives up to even the highest aesthetic demands.
On the go around the clock and at home wherever the pulse of life can be felt - this is you. With the pristine sound of your music in your ears the world is at your feet, and you breathe in life to the fullest. For this purpose our Traveller is just the right choice: despite its compact size, it will always elate you with excellent sound quality on all your short and long voyages. Moreover, it does not only sound phenomenal, but even cuts a fine figure.
A comfortable companion
Besides its practical size and ease of use, we also focus on outstanding sound quality in our mobile companion - anytime, anywhere. This is the result of our decades of experience in the audio sector and our infinite passion for music. First-class components and a sophisticated circuit design are self-evident.
The Traveller's intuitive handling requires only two pushbuttons. The volume control works electronically and is therefore utterly precise, even down to the lowest levels. This is due to a microprocessor-controlled passive resistor network which prevents sonic losses. The set volume levels is saved automatically when turning the unit off. With a maximum battery run-time of more than 20 hours the music won't stop playing even on the longest flights. Moreover our Traveller is compatible with all players.
The exceptionally transparent sound is provided by the discrete zero global feedback output stage. Headphones and players find contact via solid mini jack sockets from Lumberg. The voltage gain is effected by audiophile components from Analog Devices and Burr Brown.
Flexibility and superb audio quality on life's colourful roads
This fully analogue headphone amplifier will drive even demanding headphones hands down and may also double quite easily as a preamp for active loudspeakers. This is made possible by two pairs of parallel inputs and outputs plus another input and output socket on the the front and rear panel. Of course, there are no cables visible on the faceplate.
This device is also ideally suited for persons with hearing impairments: when needed, the so-called Center Adjust function of the Traveller optimises the imaging of the acoustical centre. That way every music lover can level out unevenly recorded source signals or listening differences between the right and left ear.
An audiophile mini jack cable from Audictive and a charging cable are included in the delivery, the charging socket complies with the Micro USB standard.$599.00Headphone Amplifier Buy Now
Come My Fanatics (Out Of Stock)Import
What a difference two years can make ... Between their self-titled debut and this follow-up, Electric Wizard beefed up and distorted their sound and polished their song-writing and the result has taken them light years beyond what the first album achieved. For this reason alone, anyone interested in the band's history and how a young group can progress in leaps and bounds, these two albums are worth seeking out and hearing. The most obvious improvement in the band's style is the overall sound: thick and grimy textures in slower-than-slow guitar chords and riffs, accompanied by basic drum rhythms and a washed-out wailing vocal singing lyrics of despair at the present world and conjuring avenues of escape from the social and political oppression in our society.
We dive straight into the deep end with Return Trip, a crusty doom sludge song if ever there was one, with black grime peeling off riffs to expose a raw layer that quickly changes to hard and dark and bleeds off in turn. The song sticks to the straight and narrow: even an extended instrumental passage doesn't attract a wiggly guitar solo, and it's only towards the end the song acquires layers of melody and riffing to suggest the vocalist's increasing mental derangement. Jus Oborn's singing isn't great - it's more like chanting or shouting sometimes - but his voice has a rough, anguished edge suited to the lyrical content. Real life is cold, hard, tyrannical, unjust and abusive and for many people the only way to stay sane is to escape into one's own world through the portal of hallucinogenic drugs. Wizard in Black and Doom-Mantia take up where Return Trip leaves off: these are epic tracks that extend the sludge / stoner doom trip out further into the realms of psychedelia, the latter track featuring treated vocals and multi-tracked voices (or so they sound).
Ivixor B / Phase Inducer is a wonderfully trippy mindfuck of a piece featuring a seemingly endless loop of female chanting with bubbly guitar effects and lazy bass rhythm followed by an abstract spacey tone piece that probably fell from an old pre-Autobahn Kraftwerk album and needed a home, so why not here. The atmosphere is spooky without appearing sinister. The two separate passages of the track are combined in a way that suggests a breakdown in a spaceship's communications with Earth while the astronauts are overcome by strange cosmic forces that can't be understood by rational people. Very original and quite ingenious!
The remaining tracks on the album suffer for being footnotes to the instrumental track and the strong first half of the album. Son of Nothing is hardcore melodic rock with metal trimmings in style and its post-apocalyptic / sci-fi lyrics embody both hope and fear as the remnants of humanity flee a scorched Earth to find a new home. Solarian 13 brings up the rear with a mix of gently buoyant and seesawing grime-thickened guitar rhythms around which trippy ambient effects swirl and tease.
The album draws its strength from a more streamlined musical approach in which music serves to enhance each song and its subject rather than fill out empty spaces with frills or show off individual musicians' dexterity and master of their instruments; and also from powerful lyrical themes of alienation, global destruction and flight to new worlds whether internally in one's head as a form of escape or externally for survival. Fantasy, the apocalypse and its aftermath, and science fiction elements of space travel through drugs and spaceships, and human migration to new worlds combine with doom, stoner and sludge metal to generate an original piece of work in Come My Fanatics .... It's on this album that EW find their calling.
- NausikaDalazBlindaz (The Metal Archives)1. Return Trip
2. Wizard in Black
4. Ivixor B / Phase Inducer
5. Son of Nothing
6. Solarian 13
7. Demon Lung
10. Return to the Son of Nothingness$37.99Vinyl LP - 2 LPs Sealed Temporarily out of stock
Great Chicago Fire (Out of Stock)A Chicago band known for its muddy work boots, anarchic stage shows and fondness for committing musical "pure butchery" (the New York Times' words, not ours) may seem an odd match for the stylish craft and classicism of a Nashville songwriting treasure, but that's just what came to be on the Great Chicago Fire.
Great Chicago Fire is a happy collaboration borne out of label mates, Paul Burch, a progenitor of the '90s Nashville Lower Broad scene, and the Waco Brothers, the Lenin-esque statue in the Square where the avenues of punk, country and rock 'n' roll intersect, sharing pitchers of Guerro's margaritas in Austin, TX at SXSW. Maybe it was the salt, maybe it was the heat, maybe it was the parade of cowboy boot shoppers and industry moguls passing before their eyes on South Congress Avenue, but two distinct creative energies decided to explore what music they could make together. Sharing songwriting, performing and production credits, it's the Wacos' first new material since 2005's Freedom and Weep and puts Paul's voice at the front and center of their mighty sonic assault; it's a willing collision of energy and ideas, of different voices, possibilities and permutations.
It turns out that the spit of the Waco Brothers, so at home in the blue collar and punk rock dives of Chicago, share an emotional camaraderie with the polish of the traditionally minded and archetypal stories and songs Nashville's Paul Burch has skillfully produced in his career, with both styles benefiting in surprising ways. The anthemic bluster of the Wacos, exemplified on the title song, with the whiff of T. Rex in its grooves, adds muscle to the thoughtful eloquence of the Burch penned "Monterey" and the galloping "Transfusion Blues," while the Appalachian echoes in "Up On The Mountain" move from the holler to the pub.
On the flipside, Jon Langford's jittery first-wave punk urgency on "Cannonball" is tempered by Burch's deft touch with the piano and hand jive percussion; don't even get us waxing about the tremolo guitar and those saucy sweet backing vocals by Tawney Newsome and Bethany Thomas. With Burch's inborn pop leanings as a polestar, the Wacos show they not be all fistfight energy, as with their closing time wistfulness on the gorgeous and lush "Flight to Spain." Similarly, Deano's meaty hooks and rust belt lyricism on "Give In" and "On The Sly" would fit right in at the Nashville watering hole shrine Tootsie's Orchid Lounge. Wrapping it all up with the sun's about to come up and it's time to go home giddiness of a night spent jamming with friends is a bleary and joyful singalong version of Bob Dylan's "Hard Rain's Gonna Fall."1. Great Chicago Fire
2. Give In
3. Wrong Side of Love
4. Flight to Spain
7. Someone That You Know
8. Transfusion Blues
9. On The Sly
10. Up On The Mountain
11. Hard Rain's Gonna Fall$16.99Vinyl LP - Sealed Temporarily out of stock
Live at Fillmore East (Out Of Stock)The Allman Brothers Band At Fillmore East on Numbered Limited Edition 180g Vinyl 2LP from Mobile Fidelity
Telepathically Executed Double Album At Fillmore East Among Ten-Best Live Records Ever Made
Ranks #49 on Rolling Stone's 500 Greatest Albums of All Time List: Includes Epic Takes of Whipping Post and In Memory of Elizabeth Reed
Peerless Sonics: Mobile Fidelity Analog Reissue Provides Fifth-Row Seat to Historic March 1971 Concerts
Fillmore East is synonymous with some of the greatest concerts ever staged. Yet the venue belongs to one group: The Allman Brothers Band. This groundbreaking double album is why. As the collective's breakthrough, it broadcasts to the world wowing improvisational flights and seamless musical fusion the likes of which no one had ever heard. In communion with the crowd, the band establishes an interactive blueprint for all shows that followed, while its high-wire displays of powerhouse soloing and time-stretching arrangements remain the stuff of hall-of-fame legend.
Mastered on Mobile Fidelity's world-renowned mastering system and pressed on dead-quiet vinyl RTI, Mobile Fidelity's 180g 2LP of At Fillmore East joins the unparalleled reissue imprint's other Allman titles in presenting the inimitable ensemble's music in the most lifelike, uncompromising fidelity possible. Myriad versions of the 1971 set exist, yet none possesses the audiophile sensibilities found here - sonic traits that whisk the listener to the midst of the Fillmore East for four gigs performed on March 12 and 13, 1971, plunking them down in a fifth-row seat surrounded by fervent fans and a smoke-filled atmosphere. Every slippery bottleneck note, every aching vocal moan, every soulful purr from the organ, every gritty interlocking riff comes across with unfettered clarity and realism.
While the record features multiple works the band never laid down in a studio, At Fillmore East is a meticulously conceived affair. The Allmans prepped rough sketches and layouts of the tunes, carving out spaces for each member's solos, and leaving the direction of such entirely up to the individual. As a result, the effort - anchored by iconic producer Tom Dowd's stellar production - presents a jazz-drifting rock band benefiting from both a sense of assured direction as well as opportunistic freedom.
Indeed, At Fillmore East is the rare sound of a group letting it all go, fearlessly maneuvering through bluesy shuffles, exquisite laments, graceful instrumental passages, and frenetic swamp-laden boogies. Achieved via a combination of virtuosic skill, visionary ambition, and natural chemistry, the six-piece burns white-hot with intensity and persuades via a padlock-tight rhythm section on which Duane's searing slide playing and Gregg's bottom-of-the-stomach vocals glide, each aural utterance coaxing on their respective mates to strive for new heights.
This title is not eligible for discount.1. Statesboro Blues
2. Done Somebody Wrong
3. Stormy Monday
4. You Don't Love Me
5. Hot 'Lanta
6. In Memory of Elizabeth Reed
7. Whipping Post$49.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Temporarily out of stock