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  • Piano In The Background (Speakers Corner) Piano In The Background (Speakers Corner) Quick View

    $34.99
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    Piano In The Background (Speakers Corner)

    Big band fans, take note! These nine numbers, in precisely this version, belong in every collection. We are talking about the year 1960, and the 17 musicians involved have probably performed this very repertoire every night in a different venue all over the globe. But in the studio it all sounds fresh and new, well practised but never dull, cool, groovy and intoxicating. The difference to a great number of other Ellington LPs is that here not a single wind soloist stands in the foreground but the whole body of musicians.


    The arrangements are all new and some of them are even quite unusual, but Sam Woodyard on the drums has everything well under control - sometimes not at all 'Ellington-like'.
    Snapping the fingers is automatic, and tapping your foot is also not to be frowned on; however this recording demands careful listening! If you have the first version of these numbers in your collection then it would be a good idea to compare them with this recording. The Duke Ellington Orchestra remains young, dynamic and varied thanks to a continually changing ensemble. And the 'Piano Man', as the best 'pause-filling' pianist ironically called himself, sat full of vigour before the 88 keys of the keyboard at the age of 60.


    Not only jazz fans will be saying a big thank you that this recording - made in the early days of stereophony - is available once again on virgin vinyl with superb sound.


    Musicians:


    • Duke Ellington (piano)
    • Johnny Hodges, Harry Carney, Russell Procope (saxophone)
    • Ray Nance, Willie Cook (trumpet)
    • Lawrence Brown, 'Booty' Wood (trombone)
    • Aaron Bell (bass)
    • Sam Woodyard (drums)



    Recording: May and June 1960 at Radio Recorders, Los Angeles

    Production: Henri Renaud


    About Speakers Corner


    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, Speakers Corner 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 existant 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 emphasise that Speakers Corner 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 have one digital recording in our catalogue (Alan Parsons / Eye In The Sky"), but even in this particular case we used the analogue tapes for cutting.



    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 - excluding the exception above - and that the lacquer discs are newly cut.


    1. Happy Go Lucky Local
    2. What Am I Here For
    3. Kinda Dukish / Rockin' In Rhythm
    4. Perdido
    5. I'm Beginning To See The Light
    6. Midriff
    7. It Don't Mean A Thing
    8. Main Stem
    9. Take The A Train
    Duke Ellington
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Piano In The Background Piano In The Background Quick View

    $27.99
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    Piano In The Background

    Import
    1. Happy Go Lucky Local
    2. What Am I Here For
    3. Kinda Dukish
    4. Rockin' in Rhythm
    5. Perdido
    6. I'm Beginning to See the Light
    7. Mid-Riff
    8. It Don't Mean a Thing (If It Ain't Got That Swing)
    9. Main Stem
    10. Take the ''A'' Train
    11. Lullaby of Birdland*


    *Bonus Track

    Duke Ellington
    $27.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • African Piano African Piano Quick View

    $25.99
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    African Piano

    South African pianist-composer Abdullah Ibrahim, still performing at the time of this 1969 live album under the pseudonym Dollar Brand, unleashed a mastery so enticing on African Piano, it's a wonder that any of the folks at the club where it was recorded had the resolve to treat it as background to their dining. By the same token, reinforcement of that fact by constant ambient noises renders Ibrahim's performance all the more sacred by contrast.


    Amid a sea of chatter, cleared throats, and sudden intakes of breath, he breaks the surf with the gentle yet hip ostinato of "Bra Joe From Kilimanjaro," working meditative tendrils into the bar light. Over this his right hand brings about an explosive sort of thinking that spins webs in a flash and connects them to larger others. With clarion fortitude, he drops bluesy accents along the way: a trail of crumbs leading to "Selby That The Eternal Spirit Is The Only Reality." Ironically (or not), this is the most solemn blip on the album's radar and blends into the ivory tickling of "The Moon." Here Ibrahim's heartfelt, dedicatory spirit comes to the fore, proving that, while technically proficient, he possesses a descriptive virtuosity that indeed evokes a pockmarked surface lit in various phases, harnessing sunlight as if it were skin in dense, vibrating harvest. The kinesis of this tune is diffused in the tailwind of "Xaba," which then flows into "Sunset In Blue," in which Ibrahim's ancestral awareness is clearest. The level of respect evoked here for both the dead and the living lends a ritualistic quality by virtue of its tight structuring, which despite hooks at the margins flies freely in its magic circle. "Kippy" is a smoother reverie with flickers of flame. A beautiful amalgam of measures and means, it slips an opiate of reflection into its own drink. After this, the intense two minutes of gospel and downward spirals that is "Jabulani-Easter Joy" takes us into "Tintinyana," thereby crystallizing the album's flowing energies. Tracks bleed into one another: they runneth from the same cup, their spiritual resonance deep and true.


    African Piano is a gorgeous, thickly settled album, but one that is always transparent when it comes to origins. Such is the tenderness of Ibrahim's craft, which speaks with a respect that transcends the sinews, muscles, and eardrums required to bring it to life. It finds joy in history, connecting to it like an Avatar's tail to steed.

    1. Bra Joe From Kilimanjaro
    2. Selby That The Eternal Spirit Is The Only Reality
    3. The Moon
    4. Xaba
    5. Sunset In Blue
    6. Kippy
    7. Jabulani Easter Joy
    8. Tintiyana
    Abdullah Ibrahim
    $25.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Mozart: Concerto For Piano And Orchestra No. 19 & 27 (Speakers Corner) Mozart: Concerto For Piano And Orchestra No. 19 & 27 (Speakers Corner) Quick View

    $34.99
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    Mozart: Concerto For Piano And Orchestra No. 19 & 27 (Speakers Corner)

    In spite of the varying degrees of popularity of Mozart's numerous piano concertos, no one would seriously consider ranking them by quality. It would certainly prove an impossible task, for each and every one of these intense yet often playful compositions could be considered the most perfect of its genre. In view of this, one should concentrate on each work's highly individual character and this can hardly be more contrasting than in the present two pieces. Thanks to the joyous, energetic disposition of No. 19 in F major, K. 259, it appears to be filled with the exuberant spirit of Mozart's Viennese period - a time when he amazed audiences with his dexterity at the keyboard. As a contrast, the mood of the late No. 27 in B flat major, K. 595, which was performed in a small circle, is introvert and mellow. The old adage that Mozart's final concerto was a gesture of farewell and filled with a premonition of death is certainly not substantiated by Haskil and Fricsay's performance. Through the subtle and flowing clarity of her piano part under the tense and elastic opposition of the orchestra, the soloist banishes the question of the end of time into the background and so pays hommage to the relaxed and self-assured mastery of the Salzburg composer.





    Musicians:



    • Clara Haskil (piano)

    • Bayerisches Staatsorchester

    • Ferenc Fricsay (conductor)




    Recording: September 1955 at Jesus-Christus-Kirche, Berlin, by Harald Baudis and May 1957 at Herkules Saal, Munich by Werner Wolf

    Production: Wolfgang Lohse / Otto Gerdes




    About Speakers Corner



    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, Speakers Corner 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 existant 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 emphasise that Speakers Corner 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 have one digital recording in our catalogue (Alan Parsons / Eye In The Sky"), but even in this particular case we used the analogue tapes for cutting.



    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 - excluding the exception above - and that the lacquer discs are newly cut.



    1. Concerto for Piano and Orchestra No. 19 F major, K. 459
    2. Concerto for Piano and Orchestra No. 27 B flat major, K. 595
    Wolfgang Amadeus Mozart
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • In A New Setting (Speakers Corner) In A New Setting (Speakers Corner) Quick View

    $34.99
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    In A New Setting (Speakers Corner)

    The vibraphonist presents himself in a new setting in this recording from 1964. Clearly Milt Jackson wanted to free himself occasionally from the straightjacket of the Modern Jazz Quartet. Sonny's Blues is proof of this: it is percussive and swinging, and without the eagle eyes of John Lewis in the background. This time the young McCoy Tyner, who had worked with John Coltrane (A Love Supreme was recorded in the same month), was at the piano. Jimmy Heath, responsible for the drive not only as a composer but also as instrumentalist, and Bob Cranshaw on the bass, contribute important impetus to the short blues, ballad-like and bop themes. None of the twelve numbers became a real jazz hit, but each has kept its own individual charm to this day.
    If you set value on an excellent product being excellently packaged then you are well advised to purchase this LP. Unlike the CD version in its jewel case, this album is now being re-released with its original gatefold cover from the truly beautiful Limelight series, for which the designer alone should have received a Grammy.



    Musicians:



    • Jimmy Heath (tenor saxophone)

    • Milt Jackson (vibraphone (vibes))

    • McCoy Tyner (piano)

    • Bob Cranshaw (bass)

    • Connie Kay (drums)



    Recording: December 1964

    Production: Luchi De Jesus



    About Speakers Corner



    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, Speakers Corner 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 existant 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 emphasise that Speakers Corner 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 have one digital recording in our catalogue (Alan Parsons / Eye In The Sky"), but even in this particular case we used the analogue tapes for cutting.



    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 - excluding the exception above - and that the lacquer discs are newly cut.

    1. Sonny's Blues
    2. I'm Gonna Laugh You Out Of My Life
    3. Spanish Fly
    4. No Moon At All
    5. Slow Death
    6. Clay's Blues
    7. Lazy Melody
    8. Project-S
    9. Ev-ry Time We Say Goodbye
    10. That's In
    11. Ineffable
    Milt Jackson
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Hi Infidelity (Awaiting Repress) Hi Infidelity (Awaiting Repress) Quick View

    $32.99
    Buy Now
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    Hi Infidelity (Awaiting Repress)

    Pressed On 180-Gram Platinum Colored Vinyl


    Housed In A Gatefold Cover


    Hi Infidelity is the ninth studio album by the band REO Speedwagon, it was released on November 21, 1980 (see 1980 in music). The album became a big hit in the United States peaking at number one on the Billboard 200. It went on to become the biggest selling rock albums of 1981, eventually being certified nine times platinum by the Recording Industry Association of America. From the singles released, the band got their first of two number one hits on the Billboard Hot 100, Keep On Loving You.


    From the album six songs charted Billboard charts, including Keep On Loving You which was the band's first Number 1 hit, and Take It on the Run, which reached No. 5 on the charts. The song Tough Guys uses an audio clip from the 1938 Our Gang episode Hearts Are Thumps.


    Tough Guys was one of two songs from the album that charted on the Billboard Mainstream Rock chart despite not being released as singles. Music critic Robert Christgau called Tough Guys his favorite song from the album but suggested that the line They think they're full of fire/She thinks they're full of shit would prevent the song from reaching the pop Top 40.


    Kevin Cronin - lead vocals, rhythm guitar, acoustic guitar, piano Gary Richrath - lead guitar Neal Doughty - keyboards Bruce Hall - bass, background vocals Alan Gratzer - drums, percussion, background vocals

    1. Don't Let Him Go
    2. Keep on Loving You
    3. Follow My Heart
    4. In Your Letter
    5. Take It on the Run
    6. Tough Guys
    7. Out of Season
    8. Shakin' It Loose
    9. Someone Tonight
    10. I Wish You Were There
    REO Speedwagon
    $32.99
    180 Gram Audiophile Virgin Vinyl LP AWAITING REPRESS Buy Now
  • Salvation Salvation Quick View

    $18.99
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    Salvation

    Michael Grubbs performed in bar bands and musical theater productions before launching Wakey!Wakey!, a pop/rock group that put his piano background and vocal skills to good use. Grubbs' childhood had been filled with piano lessons - his mother, a longtime piano teacher, made sure her children practiced the instrument daily - and he built Wakey!Wakey!'s sound upon the influence of Billy Joel, Elton John, Gershwin, and other ivory-pounding songwriters. Signing with Family Records, his group released several buzz-worthy recordings before piquing the curiosity of Mark Schawhn, creator of the long-running TV series One Tree Hill. Schawhn picked one of the band's songs, "War Sweater," to appear during the season six finale, and Grubbs was also recruited to play a recurring role in the show's seventh season. Meanwhile, Wakey!Wakey! continued playing shows in their native New York City while putting the finishing touches on Almost Everything I Wish I'd Said the Last Time I Saw You, which marked the band's full-length debut in early 2010.
    1. All It Takes Is a Little Love
    2. Through the Night
    3. Stop the World
    4. Wake Up (Lily, I Love You...)
    5. I Like You
    6. Nothing's Cool
    7. Anhedonia
    8. Waste Away
    9. Always and Forever
    10. Salvation
    11. Homeland
    Wakey!Wakey!
    $18.99
    Vinyl LP - Sealed Buy Now
  • Smack Up Smack Up Quick View

    $21.99
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    Smack Up

    Art Pepper left a legacy of innumerable appearances on records, but his sessions for Contemporary always seemed to find him in the best company and in the best shape. Here his impassioned alto sax is appropriately applied to the compositions of six saxophonists, among them Benny Carter, Ornette Coleman, and Pepper himself. The presence of Jack Sheldon in a rare performance as a small-group trumpeter was another important factor in the album's success.


    The soundstage is spacious and the imaging precise. Pepper is almost in the room (separated by only the thinnest of curtains); you can practically see the air swirling through his alto sax. Pete Jolly's piano is a bit closed-off (as if the lid were shut), but Jimmy Bond's bass thumps and Frank Butler's drumset smacks and sizzles. -- Fred Kaplan, The Absolute Sound, March 2006


    Art Pepper's 'Las Cuevas De Mario' is a wonderfully subtle and convoluted track, built entirely on a subtly insistent rhythm motif that's set up by the bass and piano, before the drums start to add accent and prompts. Against the background foundation Pepper's sax and Jack Sheldon's trumpet play beautiful chorus and call and response melodies. Superbly understated, there's a lot going at once yet the instrumentation stays sparse. A longtime collectible record -- Roy Gregory, Hi-Fi+, Issue 45

    1. Smack Up
    2. Las Cuevas De Mario
    3. A Bit Of Basie
    4. How Can You Lose
    5. Maybe Next Year
    6. Tears Inside
    Art Pepper Quintet
    $21.99
    Vinyl LP - Sealed Buy Now
  • lullaby and... The Ceaseless Roar lullaby and... The Ceaseless Roar Quick View

    $39.99
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    lullaby and... The Ceaseless Roar

    Robert Plant's new album, lullaby and The Ceaseless Roar, will be released on Nonesuch/Warner Bros. Records. Produced by Plant, the album is his label debut and features 11 new recordings, nine of which are original songs written by Plant with his band, The Sensational Space Shifters-Justin Adams: bendirs, djembe, guitars, tehardant, background vocals; John Baggott: keyboards, loops, moog bass, piano, tabal, background vocals; Juldeh Camara: kologo, ritti, Fulani vocals; Billy Fuller: bass, drum programming, omnichord, upright bass; Dave Smith: drum set; and Liam "Skin" Tyson: banjo, guitar, background vocals.


    lullaby and The Ceaseless Roar is Plant's first record since 2010's Band of Joy, which followed 2007's six-time Grammy Award-winning collaboration with Alison Krauss, Raising Sand. Justin Adams and John Baggott of The Sensational Space Shifters appeared on Plant's 2002 release Dreamland, while all but Camara and Smith appeared on 2005's Mighty Rearranger. The new-album line-up recently toured the world before recording lullaby and The Ceaseless Roar at Helium Studios in Wiltshire and Real World Studios in Bath, UK. The track "Rainbow" was recorded in Contino Rooms in London. Tchad Blake mixed all but three tracks on the album.


    "It's really a celebratory record, powerful, gritty, African, Trance meets Zep," Plant says. "The whole impetus of my life as a singer has to be driven by a good brotherhood. I am very lucky to work with The Sensational Space Shifters. They come from exciting areas of contemporary music I have been around awhile and I ask myself, do I have anything to say? Is there a song still inside me? In my heart? I see life and what's happening to me. Along the trail there are expectations, disappointments, happiness, questions and strong relationships," Plant explains, "... and now I'm able to express my feelings through melody, power and trance; together in a kaleidoscope of sound, colour, and friendship."

    1. Little Maggie

    2. Rainbow

    3. Pocketful of Golden

    4. Embrace Another Fall

    5. Turn It Up

    6. A Stolen Kiss

    7. Somebody There

    8. Poor Howard

    9. House of Love

    10. Up on the Hollow Hill (Understanding Arthur)

    11. Arbaden (Maggie's Babby)
    Robert Plant
    $39.99
    180 Gram Audiophile Virgin Vinyl LP + CD - 2 LPs Sealed Buy Now
  • Big Sky Country Big Sky Country Quick View

    $19.99
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    Big Sky Country

    From the opening strums of Big Sky Country, the newest album - 6th, overall - from Sweden's Sofia Talvik, you know you're in for an aural pleasure experience. Her sweet, rich and enveloping voice immediately draws you in and the fullness of the songs captures your attention, enhanced by the just-right production. Acoustic-based, melody-built - a fine, fine work. Even though this young lady is from Sweden, I'd place her at the forefront of the American vanguard. One listen will tell you why and how.


    "Aha Aha" opens the album and straps you in for the ride down this dusty, sun-setting musical highway; "Big Sky Country" is a melodic and melancholic, near Irish-folk-feel singalong while "Dusty Heart, Empty Hand" is pure Nashville with its pedal steel runs and banjo. "Lullaby" is a sweet, gentle piano based track with interestingly contradictory lyrics (" everything's beautiful - still you wish you were dead "); "A Matter Of The Hearts" is a vocal showcase - you can hear the natural skill in her singing and the feeling she conveys; "Bonfire" is a uptempo acoustic piece (without percussion) that builds with dramatic (yet not overboard) flair. "Fairground" is an acoustic shuffle with beautiful background harmonies and one of the album's standouts; "So" closes out the album in a subdued yet emotional manner.

    - Rob Ross (Pop Dose)

    Sofia Talvik
    $19.99
    Vinyl LP - Sealed Buy Now
  • Lukas Nelson & Promise Of The Real (Awaiting Repress) Lukas Nelson & Promise Of The Real (Awaiting Repress) Quick View

    $34.99
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    Lukas Nelson & Promise Of The Real (Awaiting Repress)

    Since their formation as teenagers 10 years ago, Lukas Nelson & Promise of the Real have quietly developed into one of America's most dazzling new live acts, playing hundreds of shows and major festivals all over the world, attracting a deeply devoted underground following.

    Still, with a bounty of invaluable experience under their belts, nothing foretold the artistic leap of Lukas Nelson & Promise of the Real their new, self-titled album, a mesmerizing, emotionally genuine, endlessly rewarding work of cosmic country soul set for release via Fantasy Records.

    Recorded at The Village Studios in West Los Angeles Lukas Nelson & Promise of the Real was produced by John Alagia (Dave Matthews Band, John Mayer) and features the band's new six-piece line-up: Lukas Nelson (guitar, vocals), Tato Melgar (percussion), Anthony LoGerfo (drums), Corey McCormick (bass, vocals) along with new members Jesse Siebenberg (steel guitars, Farfisa organ, vocals) and Alberto Bof (piano, Wurlitzer, B3). Jess Wolfe and Holly Lessig of the indie-pop group Lucius contribute background vocals on five tracks evoking Exile on Main St.'s ecstatic, gospel-rooted harmonies, and Lady Gaga added stirring background vocals to Carolina and Find Yourself. Elsewhere, the lilting, Glen Campbell inspired gem, Just Outside of Austin features a guitar solo from Lukas' dad, country music icon Willie Nelson, and piano from his 86-year-old Aunt Bobbi.

    The new album includes 12 Lukas Nelson originals that draw on his country and rock lineage including literate Texas songsmiths like his father and 'uncles' Kris Kristofferson and Waylon Jennings, along with the enduring influence of J.J. Cale, The Band, Clapton-era Delaney & Bonnie and of course, his mentor Neil Young.

    Young, an essential member of the POTR family, met the band after he caught them at Farm Aid several years back. Neil got in touch after that, and we started talking by email, Lukas recounts. Eventually, he asked us to record with him. We fell in love with each other musically, one thing led to another and we became Neil's band.

    I knew I had a lot of good songs that transcended the cultural boundaries between rock & roll and country, Lukas says of his vision for the album. We owe a lot to Neil; we made this record after coming off the road with him for two years. Neil's been mentoring us, and we've been absorbing that energy, and I think it shows. We got acclimated to a different level of artistic expression. I wanted to get the songs as pure as they could be. We've grown.

    Set Me Down on a Cloud, the soulful, country-rock epic that opens the album features Lucious' angelic background vocals and Lukas' lovely, lyrical guitar solo as the band stretches out behind him. Forget About Georgia unfolds to a Layla-like outpouring of yearning, as it vividly retraces the turbulent, bittersweet final stages of a doomed love affair. Lukas delivers a full-throttle vocal on the closing track, If I Started Over, a Roy Orbison-inspired rumination of tender devotion. The R&B grind of Find Yourself is a particular triumph as Lukas and Lady Gaga weave an impassioned, romantic ultimatum.

    1. Set Me Down On A Cloud
    2. Die Alone
    3. Fool Me Once
    4. Just Outside Of Austin
    5. Carolina
    6. Runnin' Shine
    7. Find Yourself
    8. Four Letter Word
    9. High Times
    10. Breath Of My Baby
    11. Forget About Georgia
    12. If I Started Over
    Lukas Nelson & The Promise of the Real
    $34.99
    Vinyl LP - 2 LPs Sealed AWAITING REPRESS Buy Now
  • One From The Heart One From The Heart Quick View

    $34.99
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    One From The Heart

    Numbered, Limited Edition


    Tom Waits and Crystal Gale Create Magic Together on Waits' Most Accessible Outing


    Small Combo Band Provides Jazzy and Bluesy Support


    Stupendous Sonics: Music Largely Recorded Live on Studio Floor


    One From the Heart ranks among the best soundtracks in history. Essential for any Tom Waits or Crystal Gayle devotee, it sets an example of what's not only possible, but should be expected and demanded, when two likeminded artists collaborate. Heartstrings are tugged, passions kindled and lost, sentiments exchanged, skeletons dragged out of closets, seasons changed, romantic truisms cited. And its wide-open sound is supreme, the result of most tracks being recorded live in the studio, free of after-effects and interference.


    Mastered from the original master tapes and pressed at RTI, Mobile Fidelity's 180g LP presents the Academy Award-nominated One From the Heart in stunning sonic relief. You'll be able to gauge the signature tones of the guitars and hear inside the cavity of Waits' piano. Perhaps most importantly, Gayle and Waits' voices now sound just feet away, with your room converted into the world's coolest late-night lounge. Spatial cues, background accents, and studio dimensions emerge with striking realism.


    Inspired by a track Waits cut with Bette Midler on his Foreign Affairs effort, One From the Heart overflows with simpatico chemistry, poignant contrast, elegant atmospherics, and awestruck intimacy. On their four vocal duets, Gayle and Waits inhabit the personas of a man and woman breaking apart yet sharing common bonds. Their singing plumbs emotional depths that traverse melancholy, sensuality, and understanding. Made before Waits' baritone turned into a deep, gravel-laden instrument, the songs are more smoke than whiskey, more piano-man empathy than hipster growler.


    Written by Waits, the music occupies a common ground between laidback small-combo jazz, lounge pop, and downbeat blues. Classy string orchestrations abet a crack ensemble comprised of saxophonist Terry Edwards, drummer Shelly Manne, pianist Pete Jolly, bassist Greg Cohen, and others. The arrangements seamlessly melt into both vocalists' leads, allowing every note-every piano clink, acoustic bass ripple, brushed snare drum-to register with utmost magnitude.


    Experienced on stunning soliloquy pieces such as Gayle's mournful ballad "Is There Any Way Out of This Dream?" and back-and-forth collaborative efforts like the breakup take "Picking Up After You," beautiful instrumentation, spacious production, and flawless vocal phrasing take hold. You can picture the broken dreams exiting out the side doors of the dim bars and abandoned houses that pepper the narratives. Renowned for his sad songs, Waits has never been in better form, the goodbye fare clicking with unflinching honesty and personality.


    This title is not eligible for discount.

    1. Opening Montage: Tom's Piano Intro/Once Upon a Town
    2. Is There Any Way Out of This Dream?
    3. Picking Up After You
    4. Old Boyfriends
    5. Broken Bicycles
    6. I Beg Your Pardon
    7. Little Boy Blue
    8. Instrumental Montage: The Tango/Circus Girl
    9. You Can't Unring a Bell
    10. This One's From the Heart
    11. Take Me Home
    12. Presents
    Tom Waits
    $34.99
    Vinyl LP - Sealed Buy Now
  • McCartney McCartney Quick View

    $34.99
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    McCartney

    Mastered from the Original Tapes at Abbey Road by Guy Massey and Co.: Same Team Responsible for Superb Beatles Reissues


    Audiophile-Grade Gatefold-Packaged 180g 2LP Set Includes Seven Rare and Previously Unreleased Tracks, Download of Entire Record


    Macca's 1970 Solo Debut Stands As One of Most Acclaimed Debuts in Music History


    McCartney Personally Supervised the Reissue: McCartney II Also Available on 180g 2LP


    Originally released in 1970 and instantly heralded as one of the most beloved solo debuts of all time, McCartney announced to the world that Paul McCartney was more than ready for a career outside of the Beatles. Hitting #1 on the charts, the record yielded the timeless tracks Every Night and That Would Be Something along with the immortal classic Maybe I'm Amazed.


    Recorded at the multi-instrumentalist's home studio, McCartney performed nearly every note himself and also handled production duties. While Macca handles the standard bass, drums, guitar, piano and organ, he also works xylophone, Mellotron, and organ into the mix. The material here is a blend of white soul, hummable pop, and lightly rocking numbers that succeed via their modest charm and ageless melodies. He also calls on then-wife Linda McCartney to supply background vocals.


    Part of the icon's ongoing Archive Collection, McCartney has been remastered at Abbey Road from the original master tapes by the same engineering team responsible for the internationally acclaimed Beatles reissues. We assure you that this 1970 masterwork has never sounded better, and the gatefold packaging looks stunning. In addition, McCartney has unlocked the vault and supplied seven rare and previously unreleased tracks to add to the album's overall enjoyment and context. Not surprisingly, Macca himself oversaw the entire reissue.


    Pop fans and music connoisseurs, this is what is deemed essential. Grab McCartney and its natural bookend McCartney II on audiophile vinyl and immerse yourself in the sounds of the artist who's the mot successful musician and composer in history.

    LP 1

    1. The Lovely Linda
    2. That Would Be Something
    3. Valentine Day
    4. Every Night
    5. Hot As Sun / Glasses
    6. Junk
    7. Man We Was Lonely
    8. Oo You
    9. Momma Miss America
    10. Teddy Boy
    11. Singalong Junk
    12. Maybe I'm Amazed
    13. Kreen-Akrore


    LP 2 - Bonus Tracks
    1. Suicide (outtake)
    2. Maybe I'm Amazed (from One Hand Clapping)
    3. Every Night (Live at Glasgow, 1979)
    4. Hot As Sun (Live at Glasgow, 1979)
    5. Maybe I'm Amazed (Live at Glasgow, 1979)
    6. Don't Cry Baby (outtake)
    7. Women Kind (demo) (mono)

    Paul McCartney
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Timeline Timeline Quick View

    $27.99
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    Timeline

    Available For The First Time On 180 Gram 2-Disc Vinyl.


    Timeline is the Yellowjackets' 21st official recording, not including special side projects and guest spots. The band's background gleams with various honors, including 17 Grammy® nominations and 2 Grammy® awards to show for their efforts-so far.


    Nearly two generations of fans have enjoyed the lasting influence and jazz tradition of Yellowjackets - 30 years of continuous service to America's native art form have made them unique in a business known for faddishness, and important in that ever-changing world of music.


    Russell Ferrante - Jimmy Haslip - Will Kennedy - Bob Mintzer. All universally recognized innovators on their own and part of jazz history collectively as Yellowjackets mark this occasion with the appropriately titled Timeline. This is an essential chapter of a story that continues to be written.


    Russell Ferrante - piano, keyboards

    Jimmy Haslip - bass

    Bob Mintzer - tenor, soprano saxophones, bass clarinet

    Will Kennedy - drums, keyboards

    LP 1
    1. Why Is It
    2. Tenacity
    3. Rosemary
    4. Timeline
    5. Magnolia
    6. A Single Step


    LP 2
    1. Indivisible
    2. Like Elvin
    3. My Soliloquy
    4. Numerology
    5. I Do

    Yellowjackets
    $27.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • MMF 11.1 Turntable MMF 11.1 Turntable Quick View

    $4,495.00
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    MMF 11.1 Turntable


    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.


    We had the MMF-11 balanced and playing in less than an hour (this includes setting up its fishline-mounted antiskating weight). Even with headphones, it's the most sparkling, accurate turntable we've ever used. And vibrations in our wood-floored testing space never fazed the 39.5-pound unit. This is audiophile bliss.

    - Victor Krummenacher, Wired


    The Music Hall mmf-11.1 turntable, our latest flagship, is a 2-speed belt-driven audiophile turntable, featuring the unique quadruple-plinth construction originated by Music Hall.


    The distinctive design isolates the critical sound reproducing components, each on their own plinth. The tonearm is mounted to the upper plinth and the inverted ceramic main bearing is mounted to the second plinth allowing the partially sunken 1 1/2 acrylic platter to spin freely.


    Moving the main bearing to the second plinth improved cartridge tracking and significantly lowered background noise. The adjustable magnetic-levitation isolation feet, microprocessor speed control, motors, flywheel, and wiring are all mounted to the bottom plinth. The motors, flywheel, and speed control are further isolated on their own vibration damped dual-plinth platform, which is separately isolated from the upper three main plinths.


    Sorbothane hemispheres separate each of the three main plinths and provide additional vibration damping. The bottom plinth functions as a mass-loaded resonant sink for the entire turntable. Two motors and a flywheel are used to increase torque and speed stability. The mmf-11.1 comes in a high-gloss piano black lacquer finish and ships without cartridge. A large encapsulating acrylic dustcover is included.


    Music Hall
    $4,495.00
    MMF 11.1 Turntable Buy Now
  • A Distortion Of Love (Awaiting Repress) A Distortion Of Love (Awaiting Repress) Quick View

    $49.99
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    A Distortion Of Love (Awaiting Repress)

    A Distortion of Love on Numbered Limited Edition 180 Gram LP from Mobile Fidelity


    Acclaimed Pianist/Singer's Oft-Neglected 1992 Sophomore Effort Teems With Poetic Enterprise and Intrepid Originality


    Smooth, Transparent Sonics Worthy of an Intimate Venue: One of Only Two Barber Albums to Never Have Been Reissued-Until Now


    Audiophile Favorite Steams Up Mirrors With Enchanting Melodies, Breathy Vocals, Daring Originality


    Patricia Barber's origins are commonly associated with 1994's CafÉ Blue and the follow-up, 1998's Modern Cool. Both quickly established the singer/pianist as an immediate audiophile favorite whose rare combination of astute instrumental performance, daring originality, poetic enterprise, intrepid vocals, and sculpted production announced her as an artist that both takes immense care in her music as well as in her sound. While largely unknown to many, 1992's diverse A Distortion of Love signaled the beginning of Barber's unfettered creativity.


    Half-speed mastered from the original master tapes and pressed at RTI, Mobile Fidelity's numbered, limited-edition 180 gram LP of the Chicagoan's sophomore album features the similar wowing detail and perspective-altering clarity offered on the reissue label's celebrated versions of Mythologies, The Cole Porter Mix, and the now out-of-print and extremely sought-after CafÉ Blue, Modern Cool, Companion, and Nightclub.


    Such is the attention brought to Barber's tastefully reverb-assisted singing, the quartet's stripped-down arrangements, the grand piano's resonance, the background finger snaps, and the astounding transparency of every note and breath uttered in the studio. Smoothness, balance, and neutrality abound. Through and through, this is an audiophile delight.


    While national acclaim wouldn't come to Barber until the mid-90s, it wasn't because she didn't provide notice of her monumental talent and MacArthur Grant-worthy inventiveness. On A Distortion of Love, her individuality manifests on a surprisingly eerie rendition of the standard "Summertime" and subsequent "Subway Station No. 5," a lengthy piece adorned with atmospheric nervousness, tonal shifts, and contrapuntal movements that ultimately lead into a swinging theme.


    Barber, guitarist Wolfgang Muthspiel, bassist Marc Johnson, and percussionist Adam Nussbaum achieve like-minded heights on an improvised and clever read of the Temptations' "My Girl." Here, and again especially on the aptly titled "You Stepped Out of a Dream," Barber's textured vocals seemingly float on a jet-black plain, emanating as if her lips and mouth are just feet away, the slap of the acoustic bass and patter of the drums responding in kind to her expressiveness. Whether you're familiar with this album, a longtime Barber fan, or just coming to her for the first time, Mobile Fidelity's pressing of this record will please even the sternest critics of vocal jazz.


    This title is not eligible for discount.

    1. Summertime
    2. Subway Station No. 5
    3. You Stepped Out of a Dream
    4. Parts Parallels
    5. Or Not To Be
    6. Yellow Car
    7. Yet Another In a Long Series of Yellow Cars
    8. I Never Went Away
    9. My Girl
    10. Be Myself
    Patricia Barber
    $49.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed AWAITING REPRESS Buy Now
  • New Morning New Morning Quick View

    $34.99
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    New Morning

    Sublime 1970 Album Among Loosest, Jovial of Dylan's Career


    Includes Hit Single If Not for You and The Man In Me, Featured in the Film The Big Lebowski


    Dylan's Phrasing and Piano Playing Parallel Efforts of His Crack Backing Band


    Stunning Reissue Boasts Phenomenally Open Sound: New Morning Has Never Enjoyed Better Fidelity


    The album might have saved Bob Dylan's career. At the least, it proved the icon still relevant, and his wits still in tact. And it immediately followed what remains the artist's biggest disaster, the yet-unexplained and forever puzzling Self Portrait, a nearly unlistenable attempt that caused many to wonder whether Dylan had lost his mind. If intended as a joke, it bombed, making the sublime New Morning all the more important to restore faith in the singer's creativity and songwriting prowess. It did all this and more, and stands as his finest studio effort during a five-year span.


    Mastered on Mobile Fidelity's world-renowned mastering system and pressed at RTI, this restored analog version spotlights the open, woozy sound that welcomes wholeheartedly Dylan's piano, several eager guitars, female background singers, Al Kooper's organ, and snappy drumming into a world of their own. New Morning remains one of Dylan's loosest and jovial affairs, the instruments retaining an off-the-cuff sensibility relating to a nightclub atmosphere or live stage feel. On this reissue, notes naturally dangle and fade, allowing the playful vibes and humor to come through like never before. Consequently, the album can be experienced with a new perspective. Wider grooves mean more information reaches your ears.


    "Many of the songs seem to have been made up on the spot, with confidence in the ability of first-rate musicians to move in any direction at any time," wrote Dylan expert and cultural critic Greil Marcus in his original review for the New York Times. "The riffs, inventions, and studio jams of New Morning have their own personality the full joy of anticipating the right move and the exhilaration of hitting it square and bouncing off a chord into a new lyric."


    These observations hold true today, for the 1970 effort claims a daring flair Dylan rarely exhibited on albums before or since. Enthusiasm and excitement surround his singing, and his work on the 88s underlines the liberating arrangements. Offbeat and eclectic, the record frolics and swings, with the Bard and his crack band pursuing jazzy steps ("Sign on the Window"), shuffling spoken-word experiments ("If Dogs Run Free"), and soulful rock ("The Man In Me," used to wonderful and prominent effect in the Coen Brothers film The Big Lebowski).


    Throughout, Dylan's phrasing communicates joyousness and simplicity seemingly carried over from the stripped-down John Wesley Harding and Nashville Skyline. The record's dominant sentiments trace to the lead track, "If Not For You," one of the singer's all-time greatest singles, stitched with country threads and warmth that pervades everything that follows. Yes, New Morning may lack the iconic status of some of Dylan's better-known records. Yet the underdog stature makes repeat listens all the more rewarding.


    This title is not eligible for discount.

    1. If Not for You
    2. Day of the Locusts
    3. Time Passes Slowly
    4. Went to See the Gypsy
    5. Winterlude
    6. If Dogs Run Free
    7. New Morning
    8. Sign on the Window
    9. One More Weekend
    10. The Man In Me
    11. Three Angels
    12. Father of Night
    Bob Dylan
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Punch The Clock Punch The Clock Quick View

    $34.99
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    Punch The Clock

    Punch the Clock on Numbered Limited Edition 180 Gram LP from Mobile Fidelity


    Costello & the Attractions Return to Mainstream Pop on Slick-Sounding 1983 Album


    Half-Speed Mastered from the Original Tapes: Mobile Fidelity LP Digs Into Smooth Tones, Brassy Effects, Limber Bass Lines, Multiple Layers of Production


    Includes Sparkling Top 40 Hit "Everyday I Write the Book" As Well as Timeless Political Songs "Shipbuilding" and "Pills and Soap"


    Razor-Sharp Wit, Concise Melodies on Display Throughout; Jazz Legend Chet Baker Guests


    Punch the Clock is Elvis Costello & the Attractions' most British record, a return to mainstream pop craft loaded with clever barbs and insightful social commentary that nearly landed the headliner in serious trouble with government representatives. Produced by the English hit-making team of Clive Langer and Alan Winstanley, the jumpy and horn-accompanied 1983 effort includes Costello's first-ever American Top 40 hit ("Everyday I Write the Book") and a smooth sheen that reinforces the material's commercial intent and catchy appeal.


    Half-speed mastered from the original master tapes, Mobile Fidelity's numbered limited edition 1980g LP presents the hyper-literate fidelity and refined melodies in astonishing sonics, navigating the multiple layers of information, brassy effects, and background vocals to present a unified whole replete with stellar front-to-back depth. Akin to the reissue label's previous acclaimed Costello reissues, Punch the Clock is vastly improved, the opened-up perspective, pronounced instrumental separation, and textural clarity enhancing all the details within the grooves.


    Fresh from making a country tribute album and a large-scale set flush with complex arrangements, Costello and Co. return to straight-ahead pop given a decidedly British accent and soulful backing vocals. Conscious of the Merseybeat sound and success of Dexy's Midnight Runners, Costello tints songs with new-wave characteristics, splashy horns, and spontaneous vocal-response support courtesy of female duo Afrodiziak, one member of which later attained fame with Soul II Soul. Steve Nieve's bounding piano lines dance throughout the arrangements, adding witty pizzazz and delicate allure to already-tuneful fare like "The Element Within Her" and "Mouth Almighty."


    The more direct, hook-ready approach also manifests on numbers such as "Let Them All Talk" and "Charm School," tunes that also illustrate the contrasts in romantic theme. While remaining deeply cynical, as was his longtime hallmark, Costello unfurls two compositions on which love and marriage are viewed in a positive light. Yet he spares no one, nothing, and minces no words with "Shipbuilding" and "Pills and Soap," fare that remains revered in his native country as well as abroad.


    For "Shipbuilding," a brilliantly disguised 88s-clinking protest against war influenced by the Falkan Conflict, Costello enlists jazz legend Chet Baker to deliver a masterfully poignant, bluesy trumpet solo that echoes throughout the coda. On the hip-hop-inspired "Pills and Soap," a thinly veiled metaphor addressing Britain's abusive sociopolitical state and royal officials, the bespectacled bandleader invents a thoroughly unique quasi-rap draped over a drum-machine beat and Nieve's bold piano chords. Bracing.


    This title is not eligible for discount.

    1. Let Them All Talk
    2. Everyday I Write the Book
    3. The Greatest Thing
    4. The Element Within Her
    5. Love Went Mad
    6. Shipbuilding
    7. The World and His Wife
    8. TKO (Boxing Day)
    9. Charm School
    10. The Invisible Man
    11. Mouth Almighty
    12. King of Thieves
    13. Pills and Soap
    Elvis Costello
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • The Long Sleep The Long Sleep Quick View

    $14.99
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    The Long Sleep

    The follow-up to Jenny Hval's acclaimed 2016 album Blood Bitch is The Long Sleep, an adventurous new EP that sees the Norwegian multidisciplinary artist embracing an instinctive, even subconscious, approach to creating meaning. In contrast to Hval's more explicitly conceptual work, The Long Sleep foregrounds the act of composition itself, letting the melodies and structures reveal the other elements of the songs. All of the songs on the EP recycle the same compositional motives, but manipulate them into very different shapes that take them further and further out of their original, life-like context. Hval recorded The Long Sleep with longtime collaborator Havard Volden and producer Lasse Marhaug, along with an ace new supporting cast of talented players from the jazz world - Kyrre Laastad on percussion, Anja Lauvdal on piano, Espen Reinertsen on saxophone, and Eivind Lonning on trumpet. Hval calls them some of her favorite contemporary musicians, and their musical background helps to give the songs on The Long Sleep their intuitive, improvised feel.
    1. Spells
    2. The Dreamer Is Everyone in Her Dream
    3. The Long Sleep
    4. I Want to Tell You Something
    Jenny Hval
    $14.99
    12 Vinyl EP - Sealed Buy Now
  • Marigolden Marigolden Quick View

    $16.99
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    Marigolden

    "The body remembers what the mind forgets," Chris Porterfield reminisces on his acclaimed band Field Report's sophomore record, Marigolden. The record is strewn with references to the inevitable tolls taken by the passage of time, and prolonged distance from home and loved ones.


    The past couple of years have flashed by for Porterfield, who was thrust into the spotlight after years of musical reclusion. His Milwaukee-based band, Field Report (an anagram of his surname), was culled together in the studio while recording their 2012 self-titled debut. They suddenly found themselves championed by their former idols: offered support tours by Counting Crows and Aimee Mann, lauded by the likes of Mark Eitzel and Richard Thompson, and covered by Blind Boys Of Alabama.


    The band honed itself from a septet to a quartet in the year that followed, focusing its sound and tightening the screws. With a heavy batch of songs under their arms, they retreated to snowy Ontario in December 2013 to record their sophomore album, Marigolden, with the help of producer Robbie Lackritz (Feist).


    Spending two years roaming around the country playing tiny venues and sold-out amphitheaters alike, Porterfield was uncertain whether he was leading the charge toward an artistic epiphany or headed down a misguided path of self-destruction. Marigolden reflects this, as he ruminates across homesick tension and an un-grounded anxiety. But rather than wallow in melancholy, Porterfield finds solace and inspiration through his songs, which reveal themselves as uplifting and celebratory. The album is brighter than their 2012 debut, but somehow remains just as elegantly ominous.


    Marigolden's second track, the surprisingly catchy radio single "Home," finds Porterfield on the road, hoping the home, wife, dog, and life he left behind in Milwaukee will still be there upon his return. "Leave the lights on," he asks, "it might be nighttime when I get there, but I'm on my way home." While the song contemplates lonesomeness, there is an undeniable sense of hope driving it. In "Summons," the penultimate track, he recalls this thought, repeating, "I'll be coming home to you" like a mantra. This sense of balance and symmetry across the album helps provide stability to the otherwise volatile themes. Case in point: the album starts with a sunrise in "Decision Day" and ends full circle with another in "Enchantment."


    Whether reconsidering sobriety in "Pale Rider," sticking to tonic water in the bars of "Summons," or cashing in a 30-day chip for a kiss in "Enchantment," Porterfield's relationship with alcohol runs through the current of nearly every song. Most notably in "Ambrosia," where he find himself face to face with the reality of where his drinking is destined to lead.


    The album runs the musical gamut, from the Traveling Wilburys-esque pop of "Home," to the Neil Young-inspired piano ballad "Ambrosia," to the electronic sonic landscape of "Wings." While the compositions express a wide range in terms of genre, they find unity in themselves within the limits of self-imposed minimalism. In the studio, the songs were stripped down to the bones and built back up using only their essential elements.


    Sequestered in a seemingly never-ending Ontario blizzard, the band only broke from this musical process to add logs to the stove, with the snow and the fire providing a proper background for music so rooted in the elemental. The effect that this fundamentals-based approach achieves is universal: the sparse arrangements and common themes speak to everyone, but somehow feel tailored to each listener. The title itself reflects this, a portmanteau of two common images (marigold and golden) to create something that feels both idiosyncratic and familiar: Marigolden.

    1. Decision Day
    2. Home (Leave The Lights On)
    3. Pale Rider
    4. Cups and Cups
    5. Ambrosia
    6. Wings
    7. Marigolden
    8. Michelle
    9. Summons
    10. Enchantment
    Field Report
    $16.99
    Vinyl LP - Sealed Buy Now
  • Passage (Awaiting Repress) Passage (Awaiting Repress) Quick View

    $16.99
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    Passage (Awaiting Repress)

    Brooklyn, NY's Exitmusic, comprised of Devon Church and Aleksa Palladino, present their debut album, Passage. The 10-song set is a collection of newly-written songs and some of their older tunes that received some new coats of paint. Here, the two tethers that make up Exitmusic's sound, one stirring atmospherics, one of grandioise and thoughtful pop, are let to bow further out than ever before. They are, however, also pulled into a tighter, sharper knot at the center. There are big, emotional dynamic shifts, and a wave-crashing momentum across the set without ever breaking a sustained feeling of tenderness. It's dream-pop for those of us whose dreams are Lawrence of Arabia-epic in scope: lulling, apocalyptic, celestial, triumphant.


    Recorded at Rare Book Room in Brooklyn with mixer Nicholas Vernhes (Dirty Projectors, Deerhunter), Church and Palladino, along with the assistance of new bandmates drummer Dru Prentiss and live electronics by Nicholas Shelestak, built on the chilling, beautiful aesthetic they had created as a duo when recording at home. The result is a sound that is more powerful and more nuanced, covering broad oceans of emotional terrain. Opener and title track "Passage" is like watching a great shifting of tides through rapid time-lapse photography, introducing new dynamics in one magnificent breath. It is a statement of intent that tears down the Victorian boudoir gauze found on previous efforts. The ghosts are still piercing the veil, but now they're throwing chairs. The song begins gently, with candlelight piano plucks, distant explosions on the horizon, aching breaths and moans. But in moments, the oceans swell and lurch as it detonates into a shower of brilliant shrapnel.


    Elsewhere, on album standout "The Night," Exitmusic's gaze moves upwards with chiming, blurry guitars, the heavenly sighs of Palladino in the background and one of the album's finest choruses in the foreground. And "Storms" sounds like Peng-era Stereolab as seen through a fun house carnival mirror. The album has a bona fide, fist-pumping anthem "The Modern Age" and closes elegantly with the starkly devastating "Sparks of Light. Simply put: This is arena goth.


    Passage is a longtime in the making, and certainly worth the wait. Church and Palladino started writing together several years ago, when the Canadian-born Church moved to New York City, Palladino's home, following a year teaching English in Taiwan and India. Their collective sonic interests: layers, textures, churning, spacious guitars (Palladino had been playing hers since age 12), blinking electronics, shimmering vocals, created a fruitful writing partnership immediately. Their songs began to take on new dimensions when the pair moved to Los Angeles a year later, finally committing their compositions to the recording process. A few twists and turns, and a move back to New York City, later, Exitmusic found a home with Secretly Canadian who released their first EP, From Silence, in the Fall of 2011. Critical raves for the four song collection poured in globally, with everyone from New York Magazine to The Guardian heralding the band's arrival. With the new live line-up, Exitmusic will have toured with artists such as Phantogram, School of Seven Bells, The Joy Formidable and A Place To Bury Strangers.

    1. Passage
    2. The Night
    3. The City
    4. White Noise
    5. Storms
    6. The Wanting
    7. Stars
    8. The Modern Age
    9. The Cold
    10. Sparks of Light
    Exitmusic
    $16.99
    Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • The Cost Of Living The Cost Of Living Quick View

    $16.99
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    The Cost Of Living

    For The Revelations, their latest offering, The Cost Of Living (Decision/Sony RED), is a labor of love years in the making. Since they first came on the scene in 2008 with their Deep Soul EP(Decision), Brooklyn, NY's The Revelations have represented a twenty-first-century take on classic soul-one which shows reverence for the masters, but with a uniquely modern sensibility-a sound The New York Times' Jon Pareles calls "revivalism without poses or quotation marks".


    On The Cost Of Living, Rell Gaddis assumes the lead vocal duties previously provided by Tre Williams. This is by no means Rell's debut with The Revelations, however. Rell has been part of the group's writing team from their onset, and performed with the band for years, even contributing lead vocals to "It's Too Late" from their 2009 album The Bleeding Edge (Decision). Since being signed to Jay-Z's Roc-a-fella Records back in 1997, Rell has had a prolific singing and writing career, creating his own records, as well as penning and lending vocals to songs featuring artists Usher (Rell wrote Usher's #1 RnB Hit Here I Stand), Jay-Z, Kanye West, Mary J Blige, and many more.


    This workman-like mentality is pervasive throughout the band as well. The Revelations feature Wes Mingus on guitar, Gintas Janusonis on drums, and newcomer Ben Zwerin on bass. Each accomplished performing and session musicians in their own right, The Revelations have combined to provide music for icons such as the Wu-Tang Clan and Lee "Scratch" Perry, as well as soul royalty Otis Clay, Willie Clayton, Benny Latimore, and Swamp Dogg.


    The distinctive blues/rock/soul sound of The Cost Of Living was recorded at soul mecca Royal Studios in Memphis, TN, produced by Bob Perry with Lawrence "Boo" Mitchell, as well as The Revelations themselves. For this project, the band is joined by Stax and Hi Records session legends Bobby Manuel (guitar), Lester Snell (keyboards), and Charles Hodges (organ). Lyrically, The Cost Of Living weaves tales of perseverance despite hardship. From the opening track, "Mama", about a single mother scrounging to raise her children, to the jaded optimism of "It's Ok", the pragmatism of "Money Makes The World Go 'Round", and the heart-broken disillusionment of the soul classic "Got To Use My Imagination", The Revelations continue their tradition of presenting blues topics with soul music's urgency.


    The Revelations' engaging and energetic live performances continue to win over audiences from Brooklyn to the Mississippi Delta to California and beyond, creating fans such as A-listers B.B. King, Bobby Womack and Stevie Wonder in the process. This is new, true soul music with a sharp, modern edge.


    Album Credits:

    Rell Gaddis - Lead Vocals

    Wes Mingus - Guitar and Vocals

    Ben Zwerin - Bass

    Gintas Janusonis - Drums, Percussion and Vocals


    -with-

    Bobby Manuel - Guitar

    Charles Hodges - Organ

    Lester Snell - Piano and Keyboards

    Meah Pace & Halley Hiatt - Background Vocals


    -and-

    The Royal Horns


    Produced by Bob Perry, Lawrence Boo Mitchell and The Revelations

    Recorded at Royal Studios, Memphis TN

    Mixed and Mastered by Arnold Mischkulnig

    1. Mama
    2. Why When Love Is Gone
    3. Higher
    4. It's Okay
    5. Money Makes The World Go 'Round
    6. The Game of Love
    7. This Time
    8. Got To Use My Imagination
    The Revelations
    $16.99
    Vinyl LP - Sealed Buy Now
  • The Genius Sings the Blues The Genius Sings the Blues Quick View

    $34.99
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    The Genius Sings the Blues

    Numbered Limited-Edition 180g LP from Mobile Fidelity



    1961 Collection Gathers 12 Must-Have Songs from Charles' Peak Era



    Mobile Fidelity Has Righted the Sonic Wrongs That Plagued Earlier Versions - You Won't Find a Better-Sounding Ray Charles LP



    Genius doesnt even begin to describe the greatness of The Genius Sings the Blues. Comprised of a dozen songs Ray Charles made between 1952 and 1960, the collection was released in 1961 by Atlantic Records to counter the singers migration to rival ABC Paramount. What Atlantic originally underestimated is that the album contained many of Charles greatest works, all unified by their bluesy emotions and stirring arrangements. A classic of the soul and R&B canon, The Genius Sings the Blues is a snapshot of the evolution of timeless American music captured by the pianists indelible rhythmic pace, gospel roots, jazz backgrounds, and Southern-styled accents. And its never sounded so good.



    From the iconic cover art (a photo of Charles taken by legendary photographer Lee Friedlander) to the distinguished music within, everything about the thematic record is iconic. Now, nearly 50 years later, it can be heard in pristine fidelity sourced from the original mono master tapes. Mobile Fidelitys engineers have taken great pains to ensure that every clink of the piano keys, ache of Charles rolling voice, and rush of the backing arrangements sounds better than they have since first being recorded in the studio. This 180g LP simply lays waste to the competition.



    Previous editions of The Genius Sings the Blues, including a remastered digital edition from Rhino, suffered from varying levels, distracting static and noise, and inconsistent vocal balances. Mobile Fidelity has gone back to the original mono master tapes to correct these problems, giving music lovers what is now unquestionably the best-sounding Charles album to stem from his peak era. And these performances are simply on fire.



    Whether inhabiting the sadness in Night Time (Is the Right Time) or personifying the loss of Hard Times, Charles invests each song with supreme emotion and undeniable conviction that makes the lyrics ring true and the blues resonate with cathartic pathos. Uptempo country blues numbers (Im Movin On, Early in the Mornin) balance the mournful slow fare, and again prove Charles a master composer, interpreter, and musician who could make any style his own. The Genius Sings the Blues also speaks to legendary jazz pianist Billy Taylors initial impressions of Charles upon hearing him in a way in which few other Charles recordings do.



    Taylor recalled: While playing through some new music for a projected Ruth Brown record date, I was asked to listen to an original song played and sung by a young composer and pianist from Seattle, Washington. I can still remember how surprised I was to hear this kind of music from a Northwesterner. He reminded me of Charles Brown, another pianist-singer who was very popular in the Forties, but he had a very personal sound and there was something different about his rhythmic approach. In his handling of melody he seemed to be using devices similar to those used by Dinah Washington and a small group of popular singers who allowed their gospel singing backgrounds to influence their interpretation of popular songs... I was intrigued by the emotional quality projected by both his piano playing and his unusual voice and was not surprised when Ahmet ErtegÜn said that he wanted to let the young musician record some of his own material. He communicates just like the old blues singers, Ahmet said.



    Indeed, that innate blues aesthetic dominates this collection, as does Charles distinctive rhythmic mannerisms. Finally, hear them as theyve always been intended to be experienced.


    This title is not eligible for discount.

    1.Early in the Mornin'
    2.Hard Times (No One Knows Better Than I)
    3.The Midnight Hour
    4.(Night Time Is) the Right Time
    5.Feelin' Sad
    6.Ray's Blues
    7.I'm Movin' On
    8.I Believe to My Soul
    9.Nobody Cares
    10.Mr. Charles' Blues
    11.Some Day Baby
    12.I Wonder Who
    Ray Charles
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Enter The Wu-Tang Clan (36 Chambers) Enter The Wu-Tang Clan (36 Chambers) Quick View

    $19.99
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    Enter The Wu-Tang Clan (36 Chambers)

    Ranked 386/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.


    Along with Dr. Dre's The Chronic, the Wu-Tang Clan's debut, Enter the Wu-Tang (36 Chambers), was one of the most influential rap albums of the '90s. Its spare yet atmospheric production -- courtesy of RZA -- mapped out the sonic blueprint that countless other hardcore rappers would follow for years to come. It laid the groundwork for the rebirth of New York hip-hop in the hardcore age, paving the way for everybody from Biggie and Jay-Z to Nas and Mobb Deep. Moreover, it introduced a colorful cast of hugely talented MCs, some of whom ranked among the best and most unique individual rappers of the decade. Some were outsized, theatrical personalities, others were cerebral storytellers and lyrical technicians, but each had his own distinctive style, which made for an album of tremendous variety and consistency. Every track on Enter the Wu-Tang is packed with fresh, inventive rhymes, which are filled with martial arts metaphors, pop culture references (everything from Voltron to Lucky Charms cereal commercials to Barbra Streisand's The Way We Were), bizarre threats of violence, and a truly twisted sense of humor. Their off-kilter menace is really brought to life, however, by the eerie, lo-fi production, which helped bring the raw sound of the underground into mainstream hip-hop. Starting with a foundation of hard, gritty beats and dialogue samples from kung fu movies, RZA kept things minimalistic, but added just enough minor-key piano, strings, or muted horns to create a background ambience that works like the soundtrack to a surreal nightmare. There was nothing like it in the hip-hop world at the time, and even after years of imitation, Enter the Wu-Tang still sounds fresh and original. Subsequent group and solo projects would refine and deepen this template, but collectively, the Wu have never been quite this tight again. ~ Steve Huey, All Music Guide

    1. Bring Da Ruckus
    2. Shame On A Nigga
    3. Clan In Da Front
    4. Wu-Tang: 7th Chamber
    5. Can It Be All So Simple/Intermission
    6. Mystery Of Chessboxin'
    7. Wu-Tang Clan Ain't Nuthing Ta F' Wit

    8. C.R.E.A.M.

    9. Method Man

    10. Protect Ya Neck
    11. Tearz
    12. Wu-Tang: 7th Chamber, Pt. 2
    13. Conclusion
    Wu-Tang Clan
    $19.99
    Vinyl LP - Sealed Buy Now
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