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Shades Of Two Worlds

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  • Shades Of Two Worlds Shades Of Two Worlds Quick View

    $31.99
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    Shades Of Two Worlds

    180 Gram Audiophile Vinyl & Gatefold Jacket


    Mastered by Joe Reagoso at Friday Music Studios and Capitol Records


    The group's follow-up to their comeback album is a major step forward, with more mature songs, more improvisation than the group had featured in their work since the early 1970s, and more confidence than they'd shown since Brothers and Sisters. It's all here, from acoustic bottleneck playing (Come On In My Kitchen) to jazz improvisation (Kind of Bird), with the most reflective songwriting (Nobody Knows) in their history.

    1. End of the Line
    2. Bad Rain
    3. Nobody Knows
    4. Desert Blues
    5. Get On with Your Life
    6. Midnight Man
    7. Kind of Bird
    8. Come On in My Kitchen
    The Allman Brothers Band
    $31.99
    180 Gram Audiophile Virgin Vinyl LP Buy Now
  • I Become A Shade I Become A Shade Quick View

    $17.99
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    I Become A Shade

    Seoul have never been in a rush. Despite the overwhelming praise that met the Montreal trio's first two online releases - "Stay With Us" and "White Morning" - and despite the industry chatter that surrounded their first live performance at Pop Montreal 2013, kindergarten classmates Nigel Ward and Julian Flavin, and art school transplant Dexter Garcia remained resolute in fine tuning the dozen songs that would become their official debut: I Become A Shade.


    "We're just very intent on trying to get our musical ideas to exist as the definitive versions of themselves," says Ward. "Granted, each idea has limits, but its a question of discovering the borders of an idea and then putting its essence on display - so much of that has to do with the slow sculptural nature of studio work. Playing around in a studio invites elements of chance, collage, and trial-and-error into the process, which feels essential to having a song really reveal itself to you. Its a process of organizing our intuitions into cohesive moments and seeing where it takes us."


    Where their intuitions took them is a very special place indeed. From the lush ache and bouyance of "Stay With Us" to the sculpted synths and angular sincerity of "The Line," I Become A Shade is the sort of record whose every detail, whether panoramic or microscopic, is on glorious, deliberate display. A work separated into three distinct suites, the record is equal parts gauzy dream-pop, reverberant R&B, and speculative ambient - a world where sentences are often left unfinished and meaning rears its head in the intervals. The propulsive "Real June" and "Silencer" both hurtle through space like rain-drenched athletes, while "I Negate" and "White Morning" shimmer with a hushed honesty, growing and pirouetting with dreamy eventuality into a thick focus.


    Set for release on Grand Jury in the US and Last Gang in Canada, every element of Shade is a testament to Seoul's painstaking attention to detail, whether in the stark black & white art that accompanies the album, or the serene videos the band set to its music.


    "We do all our own art stuff and collaborate as closely as possible with video people," says Flavin. "We engineer and mix our recordings too, so it's very hands on."


    And in Seoul all hands are created equal. "It's rare that a song doesn't change hands quite a few times prior to us finishing it," says Garcia. "And most of this elaboration on an idea is done rotating through a computer and reacting to each other's contributions in relation to the direction things are going in." Take lead single "The Line" as an example. "Nigel added a soft vocal that pillowed up above the angularity of the synths," Garcia continues, "And you get a really nice contrast between the two, where the core feeling of the song is revealed by its being expressed in two hauntingly different ways."


    And that's what I Become A Shade is meant to be - an examination of poles - a debut that rains with the melancholy of sidelong glances and rented rooms, while frequently transcending its own desperateness in moments of breathless self-discovery. While one might think something labored over for so long would come with a prescribed understanding, Seoul would rather fans meet and interpret the record at their own personal junctures. "We're interested in presenting different versions of the self, the endless shift from self-loathing and loneliness to vibrancy and connectedness and back," says Flavin. "All states are valid, and we've tried to collect and display the beauty and necessity of both spectrums of experience - how it can feel both awful and cathartic to liquify into your surrounding and disappear."


    All the while, the rain continues to fall.

    1. I Become a Shade
    2. The Line
    3. Haunt / A Light
    4. Real June
    5. Fields
    6. White Morning
    7. Stay With Us
    8. Thought You Were
    9. I Negate
    10. Carrying Home Food In Winter
    11. Silencer
    12. Galway
    Seoul
    $17.99
    Vinyl LP - Sealed Buy Now
  • 90 Degrees Of Shade - Vol 2 90 Degrees Of Shade - Vol 2 Quick View

    $29.99
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    90 Degrees Of Shade - Vol 2

    Soul Jazz Records' new album 90 Degrees of Shade features the music of the Caribbean - Mambo, Calypso, Mento, Merengue, Latin Jazz and much more. The music of Cuba, Jamaica, Haiti, Puerto Rico, Dominican Republic and more all feature in this lightning journey through the many island sounds. This is the sound of independence, righteous and hot jump-up sounds from the 1950s and 60s, an exciting period of endless new musical styles that would travel across the world - Mento, the Jamaican precursor to reggae; mambos and descargas from Cuba, Dominican merengue, Haitian compas - it's all here! This album coincides with the release of Soul Jazz Records' massive new deluxe large format hardback book 90 Degrees of Shade: 100 Years of Photography In The Caribbean (with foreword by Paul Gilroy) featuring hundreds of fascinating and unique photographs spanning one hundred years of Caribbean history. This limited edition heavyweight double LP vinyl edition is housed in a gatefold sleeve complete with insert and full text.
    Count Lasha And His Calypsonians - Perseverance
    Tito Puente - Swingin' Mambo
    The Duke Of Iron - Fifty Cents
    Katherine Dunham Presents The Singing Gods - Maiz
    Fajardo Y Sus Estrellas - El Aguardiente
    The Eloise Trio - Anna Macao
    Lord Fly And The Dan Williams Orchestra - Whai, Whai, Whai
    Gina Martin - Omo Belli
    Billo's Caracas Boys - Bombele
    King Scratch - Liza See Me Here
    Cortijo Y Su Combo - Con La Punta Del Pie Teresa
    The Calypso Steel-O-Rama Band - Java
    Super Ensemble Nemours Jean-Baptiste - Rinmin Ce Folie
    Lord Lebby And The Jamaican Calypsonians - Dr. Kinsey Report
    Celia Cruz With Sonora Matancera - Yembe Laroco
    Various Artists
    $29.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • 90 Degrees Of Shade - Vol 1 90 Degrees Of Shade - Vol 1 Quick View

    $29.99
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    90 Degrees Of Shade - Vol 1

    Soul Jazz Records' new album 90 Degrees of Shade features the music of the Caribbean - Mambo, Calypso, Mento, Merengue, Latin Jazz and much more. The music of Cuba, Jamaica, Haiti, Puerto Rico, Dominican Republic and more all feature in this lightning journey through the many island sounds. This is the sound of independence, righteous and hot jump-up sounds from the 1950s and 60s, an exciting period of endless new musical styles that would travel across the world - Mento, the Jamaican precursor to reggae; mambos and descargas from Cuba, Dominican merengue, Haitian compas - it's all here! This album coincides with the release of Soul Jazz Records' massive new deluxe large format hardback book 90 Degrees of Shade: 100 Years of Photography In The Caribbean (with foreword by Paul Gilroy) featuring hundreds of fascinating and unique photographs spanning one hundred years of Caribbean history. This limited edition heavyweight double LP vinyl edition is housed in a gatefold sleeve complete with insert and full text.
    The Eloise Trio - Come To The Caribbean
    Cachao Y Su Ritmo Caliente - Trombon Criollo
    Duke Of Iron - Bambouche
    Lucho Azcarraga Y Su Conjunto - Tamboritos
    Panamenos
    Alfredito - Timbales
    King Scratch - Christmas Time In Nassau
    Guy Du Rosier Orchestra - Panono M'tombe
    Noro Morales Orchestra - Mississippi Mambo
    Peanuts Taylor - Nassau Blues
    Katherine Dunham Ensemble - Nago
    Hubert Porter And The Jamaican Calypsonians - Rum And Coconut Water
    The Bay Street Boys - Donkey Wants Water
    Guy Du Rosier Orchestra - Anatole
    Sonny Burke And His Orchestra - West Indies
    Dioris Valladares And His Conjunto Tipico - Los Dos Merengues
    Julio Gutierrez - Theme For Conga
    Hubert Porter And The Jamaica Calypso Funmakers - Mary's Lam
    Various Artists
    $29.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Won't Let You Down Won't Let You Down Quick View

    $17.99
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    Won't Let You Down

    In the 12 years she has toured the world as a member of the soul-pop sensation Lake Street Dive, Bridget Kearney has fine-tuned many things -- voracious collaborating, acclaimed bass playing, and harmonizing to name a few. But the skill she has honed most obsessively is songwriting. While still a student at The New England Conservatory of Music, Kearney won the grand prize in the John Lennon Songwriting Contest, a harbinger of things to come. Now, Kearney steps into the spotlight with her first solo effort, a wry, bighearted pop album entitled Won't Let You Down. The record, like its title, promises not to disappoint. Shades of The Beatles, Wilco, Fleetwood Mac and even Nick Cave can be detected, as the album swerves from '60s pop to modern indie-rock.
    1. Won't Let You Down
    2. What Happened Today
    3. Serenity
    4. Wash Up
    5. Who Are We Kidding
    6. Living in a Cave
    7. Love Doctor
    8. Nothing Does It
    9. Daniel
    10. So Long
    Bridget Kearney
    $17.99
    Vinyl LP - Sealed Buy Now
  • Blues of Desperation Blues of Desperation Quick View

    $34.99
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    Blues of Desperation

    GRAMMY-nominated blues-rock guitar icon Joe Bonamassa announces his 20160solo album, Blues of Desperation (J&R Adventures). Like his previous solo disc, 2014's Top 10 Billboard hit Different Shades of Blue, this record features all-original material, and it sees the maverick superstar guitarist, singer and songwriter tossing away the rule book as he continues to reinvent and redefine the blues-rock genre like no other artist working today.


    I want people to hear my evolution as a blues-rock musician, says Bonamassa, somebody who isn't resting on accomplishments and who is always pushing forward and thinking about how music can evolve and stay relevant.


    The writing sessions for Blues of Desperation took Bonamassa back to Nashville, where he'd composed Different Shades of Blue, to work with some of Music City's top tunesmiths, people like James House, Tom Hambridge, Jeffrey Steele, Jerry Flowers and Gary Nicholson.


    These are some of the best guys in the business, Bonamassa raves. Lyrically, you'll hear the proverbial trains, mountains, valleys and other blues references about heartbreak and loneliness but there are also some poignant moments about getting away from the stressful, crazy demands of life and losing yourself with your special someone. I think anybody will be able to relate.


    Bonamassa and his longtime producer Kevin Shirley (Led Zeppelin, Iron Maiden, Journey) convened at Nashville's Grand Victor Sound Studios (formerly known as RCA Studio A), and during an intense, five-day period they recorded 11 galvanizing songs with a crack group of musicians including drummers Anton Fig and Greg Morrow, bassist Michael Rhodes, keyboardist Reese Wynans, horn players Lee Thornburg, Paulie Cerra and Mark Douthit, and background singers Mahalia Barnes, Jade McRae and Juanita Tippins.


    Of his decade-long collaboration with Shirley, Bonamassa says, I can explain our relationship with one word - 'trust.' I completely trust in Kevin and his musical promptings. He pushes my musical ability by challenging me to not just rest on my laurels or settle for 'good.' He expects more out of the other musicians as well and will not hold back when he sees us falling back into our usual routine.


    Which sometimes calls for unorthodox measures, says Shirley, who admits that his idea of augmenting Bonamassa's usual recording band with second drummer Morrow was engineered to ruffle Joe's feathers.


    I wanted him to work a little harder, like in his early years, he says, so I brought in an additional drummer, just to throw the cat amongst the pigeons. Of the results, Shirley raves, Recording 'Blues of Desperation' is one of the most exciting recording projects I've done. What a joyful noise we made!


    Blues of Desperation is Bonamassa's most powerfully diverse and boldly realized album yet, with the material ranging from the gutsy, gritty blues call to arms of This Train (Joe's guitar is set to rude throughout) to the elegant yet emotionally shattering ballad What I've Known for a Very Long Time to the soul-nourishing, acoustic-based Americana of The Valley Runs Low, on which Bonamassa's voice rises up majestically to meet Barnes, McRae and Tippins in gospel-like rapture. And then there's the bleary, tequila-soaked Drive, dripping with the kind of raw, wicked and unsettling sensuality that could make David Lynch green with envy.


    Throughout the record, Bonamassa's epic guitar playing conjures up stirring benedictions and explosive exorcisms of sound. No Good Place For the Lonely features some of the guitarist's most cauterizing licks yet, and the walloping title track is a white-knuckled, six-string thrill ride guaranteed to jolt the senses. Guitar fans everywhere (like those who recently voted Bonamassa Best Blues Guitarist in Guitar World magazine by an overwhelming margin) will consider Blues of Desperation a treasure trove of axe riches.


    There are some long solos on this record and even some mini-jams in the middle of a track where the band would just jive and crank it out, he says. [During those jams], we do a tip of the hat to Beck and Clapton from the '70s. I think guitar nerds and music fans like myself will love it.


    Packed with unparalleled musicianship and teeming with the most enthralling collection of songs in Bonamassa's career, Blues of Desperation is guaranteed to knock out critics and fans alike. By exceeding his own vertiginously high artistic goals, Bonamassa is bound to shatter all other expectations with this record and reach new audiences - no mean feat when you continue his astonishing track record of hits now includes 15 #1 Billboard Blues Albums (more than any other artist in history). 2014's Different Shades of Blue debuted at #8 on Billboard's Top 200 Chart, making it his highest charting album, his first top 10 and accounting for his biggest sales week ever. In 2014, the guitarist received his first-ever Grammy nomination (for Best Blues Album) for the album Seesaw, his second collaboration with blues singing star Beth Hart, and was named 2014's Billboard Blues Artist of the Year.

    1. This Train
    2. Mountain Climbing
    3. Drive
    4. No Good Place For The Lonely
    5. Blues Of Desperation
    6. The Valley Runs Low
    7. You Left Me Nothin' But The Bill And The Blues
    8. Distant Lonesome Train
    9. How Deep This River Runs
    10. Livin' Easy
    11. What I've Known For A Very Long Time
    Joe Bonamassa
    $34.99
    180 Gram Audiopbhile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • An Evolutionary Music (Original Recordings: 1972 - 1979) An Evolutionary Music (Original Recordings: 1972 - 1979) Quick View

    $30.99
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    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
    effects units.


    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
    field recordings.


    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
    3. Echorgan
    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
    Ariel Kalma
    $30.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • 409 409 Quick View

    $22.99
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    409

    Purple play pop music. Messy, dirty, raucous, grit-spitting, tequila-glugging pop music. They do not apologise for this. They have a big streak of it running skunk-like up their backs and through urgent tunes full of indie-punk snarl and piss and vinegar, but driven by grooves deep enough to rival any hop-hop classics. They are wrestling pop away from the world of vocoders, slick dance routines and coquettish airheads and bringing back to where it belongs: to the beach, to the house party, dancing on the table in that bar you need a fake ID to get into. They like to bare flesh and play until they bleed. Good things followed: a huge local following, two managers and endless touring.


    '(409)' is the name of the area code for their East Texas neighbour and the name of Purple's debut album produced by Chris 'Frenchie' Smith (...Trail Of Dead, Jet ). Recorded in El Paso, '(409)' is an album that's borne out of endless jams and no shortage of live shows where Purple offer a combination of the explosive and the celebratory. Instruments are abused and crowds are surfed; their shows are somewhere between the wild, fleshy abandonment of early White Stripes. "We're positive people," shrugs Busby. "We're always looking for the party somewhere. Or maybe we are the party."


    Pop is there in the 60s garage-influenced brilliance of 'Beach Buddy', a song propelled by a dual girl/boy vocal and the same endless summer joie de vivre of Ramones, Black Lips and Weezer . The chorus is an earworm that burrows deep. It's there too in 'Wallflower', a joyously uplifting song that flips the usual script and sees a girl ardently - some might say aggressively - pursuing an admirer through the upended bottles, overflowing ashtrays and tangled limbs of a party: "I'm a girl - you're supposed to be chasing me!" With definite shades of Bikini Kill and No Doubt it's the best femme-punk song we've heard in an aeon. 'Head On The Floor' meanwhile is a proto-grunge song that swings like early Hole and has a whole of soul.


    '(409)' is certainly an album with sand in its shoes and a rocket up its ass. It transports you to a better place. Listening to Purple quickens your pulse. Gives you the sweats. Has you reaching for a cold one. And then another. And then ten more. They make you feel alive. They are good for you.

    1. Wallflower
    2. Double Nickels
    3. Leche Loco
    4. Beach Buddy
    5. Thirteen
    6. Target
    7. Head On The Floor
    8. Liquor
    9. New Born
    10. DMT
    Purple
    $22.99
    Vinyl LP - Sealed Buy Now
  • Turn Out The Lights Turn Out The Lights Quick View

    $22.99
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    Turn Out The Lights

    Julien Baker's solo debut, Sprained Ankle, was one of the most widely hailed works of 2015. The album, recorded by an 18-year old and her friend in only a few days, was a bleak yet hopeful, intimate document of staggering experiences and grace, centered entirely around Baker's voice, guitar, and unblinking honesty. The album appeared on year-end lists everywhere from NPR Music to New York Magazine's Vulture. With Turn Out the Lights, Baker returns to a much bigger stage, but with the same core of breathtaking vulnerability and resilience. From its opening moments - when her chiming, evocative melody is accompanied by swells of strings - Turn Out the Lights throws open the doors to the world without sacrificing the intimacy that has become a hallmark of her songs. The album was recorded at the legendary Ardent Studios in her hometown of Memphis, TN, and mixed by Craig Silvey (The National, Arcade Fire). This evolution from 'Sprained Ankle's intentionally spare production allows Baker - who is still the album's sole producer and writer - greater scope and freedom. Strings and woodwinds now shade the corners of her compositions, and Baker takes to piano rather than guitar on several tracks, pushing the 21-year old Baker's work to cinematic heights of intensity.
    1. Over
    2. Appointments
    3. Turn Out the Lights
    4. Shadowboxing
    5. Sour Breath
    6. Televangelist
    7. Everything That Helps You Sleep
    8. Happy to Be Here
    9. Hurt Less
    10. Even
    11. Claws in Your Back
    Julien Baker
    $22.99
    Vinyl LP - Sealed Buy Now
  • Undercurrent Undercurrent Quick View

    $24.99
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    Undercurrent

    Undercurrent on Numbered Limited Edition LP from Mobile Fidelity Silver Label


    Introspective, Almost-Hallucinogenic 1962 Album a Pinnacle for Both Jazz Icons


    Guitarist Hall Aids Pianist Evans in Rebounding from Tragedy


    Diverse Set Encompasses Ballads, Waltzes, Hard-Swinging Bop


    Divine Sonics: LP Mastered on Mobile Fidelity's World-Renowned Mastering System and Pressed at RTI


    Bill Evans catapulted to the top of the jazz world in June 1961 after reeling off three straight masterpiece sessions at New York's Village Vanguard with his trio. Yet the emotional highs came to a screeching halt shortly thereafter when bassist Scott LaFaro died in a car accident. Devastated, Evans refrained from playing for nearly a year. If not for an inspirational collaboration of tremendous creative outpouring, one wonders what fate may have befallen Evans. Undercurrent, the outcome of two studio sessions with guitarist Jim Hall, is that project.


    Mastered on Mobile Fidelity's world-renowned mastering system and pressed at RTI, this Silver Label LP edition bursts forth with brilliant textures, you-are-there realism, and extraordinary tonalities. No other version outside of this analog copy brings you face-to-face with these two jazz giants' sonic communion, a kind of spiritual musical summit on which Evans' deft keyboard touches and Hall's reliably subtle phrasings seamlessly mesh and wonderfully dance, the compositions streaked with natural instrumental decay, full-frequency extensions, and poignant emotionalism that, on this LP, you can feel.


    While Evans managed to sit down for a few one-off takes between LaFaro's passing and these April-May 1962 dates, he largely remained on hiatus and abstained from recording. Whether it owes to the intimate pairing, he and Hall's brotherly chemistry, or the exquisite selection of program material, the results consistently come across as the equivalent of a private meditation-such is the level of introspective depth and quietly shaded interplay throughout. For Evans, the duet clearly functions as therapy, a healing episode in which his partner patiently lays back, shadowing moves and suggesting others, neither musician interested in the spotlight but each striving for (and achieving) transcendent beauty.


    In tackling standards such as Rodgers and Hart's "My Funny Valentine" and the Broadway classic "Darn That Dream," as well as the Hall original "Romain," the pair traverses complex harmonies with the astute elegance of a figure skater. At times, Evans and Hall go for broke on a hard-swinging romps, yet it's their implied melancholy and drifting, softly struck melodic refrains on waltzes and ballads that bestows Undercurrent with a nuanced romanticism and whispered atmosphere befitting the record's title.


    Indeed, even the album's cover-an iconic photograph by Toni Frissell-exhibits the surreal, almost-hallucinogenic properties of the fare contained within.


    This title is not eligible for discount.

    1. My Funny Valentine
    2. I Hear a Rhapsody
    3. Dream Gypsy
    4. Romain
    5. Skating in Central Park
    6. Darn That Dream
    Bill Evans & Jim Hall
    $24.99
    Vinyl LP - Sealed Buy Now
  • Zephyr MIMC Star Cartridge Zephyr MIMC Star Cartridge Quick View

    $1,999.95
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    Zephyr MIMC Star Cartridge

    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.


    Responding to the demand for a lower priced, low output design for those who own high gain preamps, the Soundsmith recently developed the Zephyr MIMC, which follows in the footsteps of the highly successful high-output Zephyr II. The handcrafted Zephyr MIMC (Moving Iron for Moving Coil Preamps) is based on the world-famous Sussurro cartridge and captures the gist of the latter's sonic signature at a much more reasonable price. The Zephyr MIMC has been specifically designed to complement both unipivot arms and gimbaled bearing arms. Its sonic attributes include evenly balanced frequency response, dynamic shadings and remarkable detail retrieval; its slam will leave even the most die-hard analog buffs.


    Phono Cartridge Rebuilding and Stylus Retipping Services Available - Please inquire.

    Sound-Smith
    $1,999.95
    Zephyr MIMC Star Cartridge Buy Now
  • Headquarters Stack-O-Tracks Headquarters Stack-O-Tracks Quick View

    $33.99
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    Headquarters Stack-O-Tracks

    First Time 180 Gram Audiophile Clear Vinyl Release

    Mastered Impeccably By Monkees Fan & Friend Joe Reagoso At Friday Music Studios & Capitol Mastering, Hollywood, CA From The Colgems Record Tapes

    The Summer Of Love's First Album .... Re-Visited.... Re-Imagined...

    The Monkees Headquarters/ Stack-O-Tracks

    The Original Instrumental Backing Tracks To Their Most Celebrated Album

    First Time Authorized Alternate Artwork

    Yes... The Monkees Could Play Guitars, Bass, Drums, Piano, Steel Guitar, Organ, Banjo, Tambourine, Percussion..... and Play Them Well!!!

    In 1967 after two number one albums, a plethora of hit singles and a smash television show, The Monkees were on top and knew they each had true musical talents not championed by their label executives. Michael Nesmith spearheaded a change in direction before sessions began on their legendary Headquarters album. This action resulted in the much-covered dissolution with music mogul Don Kirshner, as Chip Douglas (The Turtles) was now recruited by Nesmith to work with the band.

    In rapid succession, things began to fall into place in February 1967. With initial tracks like country rocker Sunny Girlfriend, the band set the stage for what would become one of the most loved works in their catalog and one of the finest rock albums of a generation. A definite album opener, You Told Me begins Headquarters. The track features a brilliant 12 string guitar of Nesmith, as Tork's incredible banjo fills the track alongside Dolenz's driving drum work. With Jones' percussion, it became the very first song that many of us remember as we opened up our new copies back in the summer of '67. Not straying too far from previous success, the band scored a few more of Boyce and Hart compositions like Micky Dolenz's folk rock ballad I'll Spend My Life With You. The solid steel guitar work of Mike Nesmith became somewhat of a precursor to his groundbreaking Nashville sessions in the late sixties. Davy Jones has several watershed moments here with both Forget That Girl and Early Morning Blues and Greens Forget That Girl employs a unique English northern soul vibe, while the latter shares a wonderful rhythm presentation making it one of the more psychedelic infused and standout tracks on the LP. Michael Nesmith's handiwork is radiant on the entire album. You May Just Be The One rocks the album into full gear and makes it one of his and the bands' definitive landmark tracks. Headquarters also brought rightful acclaim to Peter Tork, as his first recorded Monkees' song For Pete's Sake soon became a prolific standard. The song transcended with the times and became one of the more insightful tunes from the quartet. It also replaced the familiar Monkees Theme at the end of season two, giving the song more TV exposure over the years. And as always, you can count on Micky Dolenz to deliver - whether it's his hard rock driving drum work on rockers like Randy Scouse Git & No Time, or his prog-rock feel on Mr. Webster, the album was definitely a great showcase for the artist.

    The Monkees' Headquarters was one of 4 albums of The Monkees that topped the charts in 1967. This fact alone is enough to warrant the importance of this album in musical history. But there are other amazing feats that Headquarters managed to deliver to millions of fans on its eventful release back in May of 1967. The album hit the stores before Sgt. Pepper's Lonely Hearts Club Band by The Beatles. Friendly rivals as they were, Headquarters rose to number one and also opened the door to The Summer of Love. It remained in the upper rung of the retail charts until their fourth platter Pisces, Aquarius, Capricorn & Jones Ltd. became a number one album to close out the year. Wow! Most notably, Headquarters showed the real world the transition of four talented guys on a hit TV show evolving into a self-produced, self-reliant, and one of the most loved bands in musical history, and yes, they could actually play their instruments .and they did it well!

    As another installment in our extensive Monkees catalog, Friday Music is pleased to announce a unique revisit to their third masterwork as we've now gone back to the original backing tracks and have assembled a fun and exciting instrumental Lp with The Monkees Headquarters Stack-O-Tracks. For this limited edition Friday Music release, we are pleased to offer for the first time on vinyl, the rare backing instrumental backing tracks, newly and impeccably mastered by Joe Reagoso (The Monkees/Brian Wilson) from the original Colgems Records masterwork.

    Joe Reagoso notes You've never heard 'Shades Of Gray' until you hear the strings up front like you will on this new vinyl release. Michael Nesmith's work on 'You May Just Be The One' is beyond thrilling, you feel like you are in the studio with the band as they knock out this and other Monkees classics. From beginning to end, song after song, we always knew how special Headquarter was, and now this further showcases the artistry and musical acumen each man brought to the sessions. Truly a crowning achievement. To further enhance your Monkees listening enjoyment, we are also pressing the limited edition album on clear 180 Gram audiophile vinyl, as well as including a revisit to the original album cover artwork, now with the rare Monkees beard photo not issued on vinyl in many years, and first time authorized colorization effects to the original artwork to celebrate fifty years of this classic rock album for the fans. 1967 ..The Summer Of Love A very hip time in our American culture you can now relive with these newly impeccably mastered recordings from the much-loved band that broke a lot of ground in a very short time and made the world a much better place for it The Monkees Headquarters Stack-O- Tracks Only From Your Friends At Friday Music!

    1. You Told Me (Instrumental Backing Track)
    2. I'll Spend My Life With You (Instrumental Backing Track)
    3. Forget That Girl (Instrumental Backing Track)
    4. Band 6
    5. You Just May Be The One (Instrumental Backing Track)
    6. Shades Of Gray (Instrumental Backing Track)
    7. I Can't Get Her Off My Mind (Instrumental Backing Track)
    8. For Pete's Sake (Instrumental Backing Track)
    9. Mr. Webster (Instrumental Backing Track)
    10. Sunny Girlfriend (Instrumental Backing Track)
    11. Zilch- Peter
    12. Zilch -Davy
    13. Zilch- Micky
    14. Zilch- Michael
    15. No Time (Instrumental Backing Track)
    16. Early Morning Blues And Green (Instrumental Backing Track)
    17. Randy Scouse Git (Instrumental Backing Track)
    The Monkees
    $33.99
    180 Gram Audiophile Virgin Vinyl LP Buy Now
  • Ravel Debussy - Ma  Mere Nocturnos (Speakers Corner) Ravel Debussy - Ma Mere Nocturnos (Speakers Corner) Quick View

    $34.99
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    Ravel Debussy - Ma Mere Nocturnos (Speakers Corner)

    Ravel's ballet music Ma Mère l'Oye, originally written for piano, four hands, was inspired by Charles Perrault's fairy tale. Ravel mostly wrote music for small forms which is reflected by the short movements of the suite. The world renowned Orchestre de la Suisse Romande, led by the conductor best suited to this kind of music, Ernest Ansermet, bring out the vivacious and colourful elements of the work. The orchestra's timbre is well suited to the gentle shading of the music, as is shown in the final Jardin fÉerique.



    Completed by Debussy in 1899, the three Nocturnes reveal the aesthetics of a composer who put Nature above Art. Debussy endeavoured to achieve a natural flow and consistency in his music without slavishly copying the sounds of nature. Although Nuages (Clouds), Fêtes (Festivals) and Sirènes (Sirents) are night pieces, they are seen with a view to light and shadow: two optic conditions that influence the music.



    The artists give an amazingly transparent and differentiated performance of the music. The present recording should not be missed by any lover of Impressionist music.





    Musicians:



    • Orchestre de la Suisse Romande

    • Ernest Ansermet




    Recording: November 1957 at Victoria Hall, Geneva by Roy Wallace

    Production: James Walker




    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.



    This title is not eligible for discount.

    1. PrÉlude et Danse du Rouet (Ravel)
    2. Pavane da la Belle au bois dormant (Ravel)
    3. Petit Poucet (Ravel)
    4. Laideronnette ImpÉratrice des Pagodes (Ravel)
    5. Les entretiens de la Belle et de la Bête (Ravel)
    6. La jardin fÉrique (Ravel)
    7. Nuages (Debussy)
    8. Fêtes (Debussy)
    9. Sirènes (Debussy)
    Ernest Ansermet with Orchestre de la Suisse Romande
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Grieg: Peer Gynt (Speakers Corner) Grieg: Peer Gynt (Speakers Corner) Quick View

    $34.99
    Buy Now
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    Grieg: Peer Gynt (Speakers Corner)

    No matter how often one hears it, who can ever fail to enjoy "Morning Mood" from Peer Gynt, the incidental music which Grieg wrote for Henrik Ibsen's play of the same name. And who can fail to want to accompany the hero on his musical journey through the uncanny world of gnomes and trolls and the seductive exoticism of the Orient, and to return to the stillness of the North after a long sea voyage? And who better to capture the magic of romantic Scandinavian music than Grieg's compatriot, the unforgettable Øivin Fjeldstad, under whose baton the London Symphony Orchestra conjures up the highly changeable moods with a rare forceful presence.



    The velvet-smooth, highly sonorous strings play with delicately shaded dynamics and impressive spatiality, while the wonderfully gentle winds transport the listener to the atmosphere of the concert hall. There's no escaping this music; once you have sat down to listen to it, it will hold you enraptured right up to the very last note.



    This excellent DECCA recording, now available in a limited edition, will surely be sold out within no time!





    Musicians:



    • London Symphony Orchestra

    • Øivin Fjeldstad (conductor)




    Recording: Februar 1958 at Kingsway Hall, London by Cyril Windeback

    Production: Christopher Raeburn




    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.




    This title is not eligible for discount.

    1. Prelude, Op. 23, No. 1

    2. Morning Mood, op. 23, No. 13
    3. The Death of Ase, Op. 23, No. 12
    4. Anitra's Dance, Op. 23, No. 16
    5. In the Hall of the Mountain King, Op. 23, No. 7
    6. Ingrid's Abduction and Lament, Op. 23, No. 4
    7. Arab's Dance, Op. 23, No. 15
    8. Peer Gynt's Home-Coming, Op. 23, No. 19
    9. Solvejg's Song, Op. 23, No. 11
    10. Dance of the MOuntain King's Daughter, Op. 23, No. 8

    Oivin Fjeldstad
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Part II: The New December Part II: The New December Quick View

    $16.99
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    Part II: The New December

    For its second album, Highland Park sextet Fol Chen presents Part II: The New December, songs of malaise and miscommunication set to dark pop and glitch-riddled chamber funk. Since the band's inception, Fol Chen has remained a mysterious entity, its membership disguised by masks and aliases, its lyrics appearing as transmissions from a fictional world. Fol Chen's wildly eclectic 2009 debut, Part I: John Shade, Your Fortune's Made, spawned some healthy praise (from NPR, no less), a remix album (featuring No Kids and Junior Vasquez, among others), a BBC session, and a video collaboration with the Laker Girls. Fol Chen's bent, blackened takes on the pop eccentrics of yore provided fresh context for its own kaleidoscopic songs, and The New December shores up the group's slippery identity further still. This is Fol Chen's most focused work, as consistent as it is consuming, as enjoyable as it is unusual.

    1.  The Holograms

    2.  In Ruins

    3.  Your Curtain Call

    4.  This is Where the Road Belongs

    5.  Men, Beasts or Houses

    6.  C/U

    7.  Adeline (You Always Look So Bored)

    8.  The Holes

    9.  They Came to Me

    10. The New December
    Fol Chen
    $16.99
    Vinyl LP - Sealed Buy Now
  • The Divine Miss M The Divine Miss M Quick View

    $24.99
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    The Divine Miss M

    Numbered Limited Edition



    Midler's Grammy-Winning 1972 Debut Announces the Birth of a Superstar



    Record Overflows With Energy and Personality: Torch Songs, Girl-Group Classics, Campy Remakes, Theatrical Pieces Delivered With Supreme Emotion

    Mastered on Mobile Fidelity's World-Renowned Mastering System and Pressed at RTI (Best Plant in North America): Midler's Voice Upfront and Centered, Every Nuance of Her Phrasing Laid Bare



    Oh, behave! Bette Midler's sparkling, energy-pulsing 1972 debut features the singer honing her trademark brassy personality as well as showing off an intimate, raw edge that fell by the wayside later in her career. Witness her forlorn, melancholic, and heartbroken moods, all conveyed with supreme emotion on several riveting ballads. But this LP is no downer. Midler offsets any bleakness with playfully campy songs laced with unadulterated enthusiasm and joyous defiance. This is a diva lover's delight. The music is astonishingly alive. A superstar is born!



    Mastered on Mobile Fidelity's world-renowned mastering system and pressed at RTI (the best record plant in North America), Silver Label numbered limited edition LP presents The Divine Miss M with the warmly cozy and front-row perspective that the music demands. Midler's voice is transparent and full, the timbrel shadings colorfully outlined, the vocal images appearing as if she's singing just a few feet away. Similarly, her cast of back-up vocalists (the Harlettes) receives ample face time on songs that come across as if performed by a girl-group revue. Midler has cut many records in her career but none are this entertaining, diversified, and, now, sonically spectacular.



    There's always risk associated with interpreting other artists' classics and hits, but Midler makes every song here her own. She injects Chapel of Love with extra swagger and feminine gusto. In her hands, the Carpenters' Superstar becomes more heartbreaking, filled with desolate sentiment and lonesome ache. John Prine's ballad Hello In There echoes, as if sung to an empty room, with forlorn emotion. The 50s smash Leader of the Pack positively stomps and declares, her band in tow, that she's not going to be stopped. Indeed, Midler's interpretations of these staples surpass the previous versions, mostly due to her impeccable strong vocals and contagious passion. She doesn't quit. And don't you dare decline her offer on Do You Want to Dance!



    What else can be said of her trademark Boogie Woogie Bugle Boy, her update of the Andrews Sisters' jazzy hit landing in the Top 10, featuring a scat vocal (!), and smartly walking the line between campy fun and serious reverence. Similarly, Midler's two takes of Friends--the first off-the-cuff, wild, snappy, and humorous; the second slightly cooler and infused with gorgeous harmonies--remain modern marvels. There's not a bad note on this incredible record.



    The Divine Miss M has always been prized for its clear, clean production. Mobile Fidelity's Silver Series LP further improves the sound, which, in combination with Midler's performances, make this collectible reissue an absolute no-brainer!


    This title is not eligible for discount.

    1. Do You Want to Dance? (Bobby Freeman)
    2. Chapel of Love (Jeff Barry, Ellie Greenwich, Phil Spector)
    3. Superstar (Bonnie Bramlett, Leon Russell)
    4. Daytime Hustler (Jeff Kent)
    5. Am I Blue (Jarry Akst, Grant Clark)
    6. Friends (Mark Klingman, Buzzy Linhart)
    7. Hello In There (John Prine)
    8. Leader of the Pack (Jeff Barry, Ellie Greenwich, George Morton)
    9. Delta Dawn (Larry Collins, Alex Harvey)
    10. Boogie Woogie Bugle Boy (Don Raye, Hughie Prince)
    11. Friends (Reprise) (Mark Klingman, Buzzy Linhart)
    Bette Midler
    $24.99
    Vinyl LP - Sealed Buy Now
  • The Photo Album The Photo Album Quick View

    $19.99
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    The Photo Album


    Newly Reissued 180 Gram Version


    Released in 2000, We Have the Facts and We're Voting Yes delivered on the promise of You Can Play These Songs with Chords and Something About Airplanes. For once, a band's popularity grew commensurate with its maturation. Despite the heightened attention, singer/songwriter/guitarist Ben Gibbard next let loose Death Cab for Cutie's finest moment, Photobooth, the lead track on the sparkling Forbidden Love EP. New fans worldwide swooned under its beguiling romantic rise 'n' fall and its lingering, bittersweet, wallet-sized artifact. And though it wouldn't have killed them to include Photobooth here -- for its spotless greatness and thematic likeness -- The Photo Album's ten tracks are of the EP's heightened caliber. Gibbard's words screen intriguing mini-films of the mind, stoked by corresponding daydreamy music. An exquisite liaison of the British penchant for ringing, knelling, subconscious guitars and direct/grittier American drive, the band is tight, evocative, and inventive. Bassist Nick Harmer and drummer Michael Schorr lock in creative rhythmic bases, while Gibbard and Chris Walla's guitar work gives the band climactic, cinematic coloring shades. And, in the end, it's Gibbard's remarkable abilities as a writer and singer that are on display most. Each word draws you in via his sweet, thoughtful guy voice. The solo 1:47 opener, Steadier Footing, is merely a starter course, but it feels like an entrÉe: And this is the chance I never got/To make a move, but we just talk is only one measure of the chances/plans/dreams/connections and relationships that have eluded him or fizzled. Reeled in, one is left to look back over one's own smoldering wreckage, of opportunities or attachments lost -- much as A Movie Script Ending's abrupt turn Passing through unconscious states/When I awoke I was on the highway somehow segues into the couplet With your hands on my shoulders/A meaningless movement, a movie script ending. Like Photobooth, it's a typically sobering, adverse assessment of how unromantic the romanticized can become. That it's a great pop song, arresting in its jerky wobble, is just another point in its, and this LP's, favor. The world needs more superb pop with brains and heart and emotional complexity.

    - Jack Rabid (All Music)

    1. Steadier Footing
    2. A Movie Script Ending
    3. We Laugh Indoors
    4. Information Travels Faster
    5. Why You'd Want To Live Here
    6. Blacking Out The Friction
    7. I Was A Kaleidoscope
    8. Styrofoam Plates
    9. Coney Island
    10. Debate Exposes Doubt
    Death Cab For Cutie
    $19.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Nefertiti Nefertiti Quick View

    $49.99
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    Nefertiti


    Final All-Acoustic Outing from Davis' Classic Second Quintet


    Mastered from the Original Master Tapes: Record's Tonal Shadings, Gradations, and Textures Come Alive


    Confident 1967 Effort Steeped in Inquisitive Interplay and Subconscious Impressionism


    Nefertiti will always be known as the final all-acoustic record made by Miles Davis' classic second quintet. A thematic bookend to the preceding Sorcerer, the 1967 set shares much in common with its equally nuanced predecessor yet deviates by way of its focus on rhythm and exploratory soundscapes. The low-key music blooms with colorful bouquets of shadings, gradations, and overtones that on Mobile Fidelity's analog edition bring listeners to closer to the creative passions than ever before.


    Mastered from the original master tapes and pressed on 180g 45RPM vinyl at RTI, this collectable audiophile version of Nefertiti joins the ranks of eleven other essential Davis records given supreme sonic and packaging treatment by Mobile Fidelity. Afforded supreme dynamics and full-range extension, cyclical melodies resonate with a moody character and ambience normally only heard in small jazz clubs. Instrumental pitch, too, is spot-on accurate, a measuring stick for how all acoustic-based passages should be experienced.


    As he does on Sorcerer, Davis again cedes all compositional duties to his all-star band mates and focuses on his trumpet. Familiar albeit slightly dissonant, rooted in hard bop yet signaling the onset of fusion, the songs are grounded in inquisitive interplay and subconscious impressionism. Nefertiti reveals fresh devices and new directions every time you visit its cerebral worlds. And while each musician is given ample room to solo, the effort stands as an example of groupthink in that no individual stands out or shows off. The groundbreaking title track-during which the horn section recurrently repeats the melody as drummer Tony Williams and bassist Ron Carter improvise, thus inverting the conventional sense of a rhythm section-shines as a textbook example of such chemistry and unity.


    Throughout, the players' confidence, and Davis' trust in them, stamps every piece with rare self-assurance and authoritativeness. In particular, Williams and Carter bring rhythms to the forefront as the horns hypnotize and Herbie Hancock's piano points in several different directions like a compass gone crazy. Responsible for "Madness" and "Riot," Hancock contributes brief bursts of speed and slight aggression, but on a record on which complexity and introspection take precedent over blowing hot, the aural steam ultimately becomes opportunity for burrowing into unpredictable turns and deep grooves.


    Indeed, the thrilling sense of interplay and inclination of the ensemble to keep searching, moving forward in a concerted manner to uncover then-unheard jazz discoveries, marks Nefertiti as one of Davis' quintessential efforts. For historians, it's the signpost to the pioneering fusion the leader would begin to pursue with greater commitment on the record's follow-up, Miles in the Sky. For the rest of us, the album is music and music-making at its intriguing best.


    This title is not eligible for discount.

    1. Nefertiti
    2. Fall
    3. Hand Jive
    4. Madness
    5. Riot
    6. Pinocchio
    Miles Davis
    $49.99
    180 Gram Audiophile Virgin Vinyl LP 45 RPM - 2 LPs Sealed Buy Now
  • River Of Dreams (Out Of Stock) River Of Dreams (Out Of Stock) Quick View

    $29.99
    x

    River Of Dreams (Out Of Stock)


    The Billy Joel/Friday Music 180 Gram Audiophile Vinyl Continues!


    First Time 180 Gram Audiophile Vinyl & Gatefold Cover Presentation


    Featuring: Danny Kortchmar, Leslie West, Will Downing, Ira Newborn, Liberty Devitto, Richie Cannata


    Mastered By Joe Reagoso At Friday Music And Capitol Mastering, Hollywood, Ca. Manufactured At R.T.I.


    Billy Joel's last studio album River of Dreams wound up becoming one of his most successful albums
    of his amazing career. Released in 1993, he was at the top of the charts with a number one album and
    a number one single with The River of Dreams. The Doo-Wop influenced pop record thrilled audiences
    worldwide as he toured all over the world promoting the great album that it was.


    Two decades later, these tunes still resonate with his fans as Billy Joel is currently embarking on
    a very successful concert tour, and Friday Music is proud to be a part of the celebration with one of his
    greatest achievements River of Dreams.


    As another installment in our exclusive Billy Joel/Friday Music 180 Gram Audiophile Vinyl Series, this
    impeccably mastered first time audiophile LP features some of his greatest songs like the brilliant album
    opener No Man's Land, the R&B infused All About Soul, the hard rock nod to Cream with Shades of Grey
    and the stellar album closer Famous Last Words.


    The masterwork contains even more of his most loved classics like the stunning ballad Lullabye
    (Goodnight, My Angel) and the acid rock tinged flavor of The Great Wall of China.


    Impeccably mastered by Joe Reagoso at Friday Music Studios and Capitol Mastering in Hollywood,
    Billy Joel's River of Dreams will be one of the most definitive classic rock releases in the audiophile vinyl
    domain in some time.


    For a very limited time, we are also enhancing your listening enjoyment with a first time gatefold
    cover artwork presentation, which features the first time LP sized cover art, as well as lyrics to all of these
    great Billy Joel songs, making this a keepsake for years to come.


    Billy Joel River of Dreams Celebrate 2 Decades of the voice, the songs, the musicianship and the
    memories 1st Time Audiophile Vinyl An exclusive Only from your friends at Friday Music.


    In the middle of the night

    1. No Man's Land
    2. The Great Wall of China
    3. Blonde Over Blue
    4. A Minor Variation
    5. Shades of Grey
    6. All About Soul
    7. Lullabye (Goodnight, My Angel)
    8. The River of Dreams
    9. Two Thousand Years
    10. Famous Last Words
    Billy Joel
    $29.99
    180 Gram Audiophile Virgin Vinyl LP Temporarily out of stock
  • The Cars (Out Of Stock) The Cars (Out Of Stock) Quick View

    $34.99
    x

    The Cars (Out Of Stock)

    Ranked 282/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.


    Let the Good Times Roll: Half-Speed Mastered LP Sounds Amazing!


    The Cars Classic 1978 Debut a Veritable Greatest Hits Album: Nearly Every Song a Radio Staple


    My Best Friend's Girl, Just What I Needed, You're All I've Got Tonight Among the Tunes on the Hit Parade


    One of the most successful and enjoyable debuts in history, The Cars self-titled album doubles as a greatest-hits collection. Thats because not one song here is unrecognized or unknown. A huge reason why the Boston quintet became Americas most popular new-wave band, The Cars launched eight tracks still regularly heard on radio stations everywhere. Consider the hit list: Youre All Ive Got Tonight. Good Times Roll. Just What I Needed. Moving in Stereo. My Best Friends Girl. Dont Cha Stop. If youre a fan of pop music, this album is mandatory. Just call it the best new-wave rock album ever made.


    Led by Ric Ocasek and Benjamin Orr, the Cars managed to unite then-disparate styles: bubblegum pop melodies, angular art rock, progressive arrangements, and terse minimalism. Orrs low, understated singing and Ocaseks cool, detached vocals lend shades of doubt and double meaning to the lyrics, which are further counterbalanced by orchestral keyboard flourishes and electronic beats. The brilliant arrangements also benefit from a laidback cool and understated irony that remain uncommon in the over-the-top world of mainstream music. Obsessed with incorporating the latest technologies and sounds into its palette, the band spiced its tunes with delightfully quirky accentscountry-tinged guitar fills, echoing Syndrums, reggae splashes, hard-rock tones, robotic pulses.


    The results are the sounds of a creative landmark. At once accessible and eccentric, edgy and catchy, The Cars explodes with emotion, energy, and hooks. Its impossible not to get caught up humming and singing along to every song, an appeal that comes courtesy of Roy Thomas Bakers stellar production. The legendary producer, best known for his work with Queen, ensured that the record seamlessly packed a smooth midrange, spacious imaging, and call-and-answer choruses in one tight package. Bakers trademark touches with harmony vocals abound.


    And now, The Cars sounds better than it has in any previous incarnation. Half-speed mastered from the original analog tapes, Mobile Fidelitys numbered limited-edition LP allows the musics oscillating rhythms, futuristic keyboard passages, panned stereo images, and rippling textures to be experienced like never before. The songs take on a surreal quality, the Cars manipulating the vibrant music at will to mesmerize the listeners senses and hold them at bay. Mobile Fidelitys unparalleled pressing epitomizes the sensation of moving in stereo!


    This title is not eligible for discount.

    1. Good Times Roll
    2. My Best Friend's Girl
    3. Just What I Needed
    4. I'm in Touch With Your World

    5. Don't Cha Stop
    6. You're All I've Got Tonight
    7. Bye Bye Love
    8. Moving in Stereo

    9. All Mixed Up
    The Cars
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Temporarily out of stock
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