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  • Sorcerer (Awaiting Repress) Sorcerer (Awaiting Repress) Quick View

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    Sorcerer (Awaiting Repress)


    1967 Post-Bop Classic the Third of Five Albums from Miles' Prized Second Quintet


    Mastered from the Original Master Tapes: Sorcerer Has Never Sounded More Dynamic, Present, Warm, or Tonally Rich


    Mood, Inflection, and Nuance Take Center Stage on Compositions Steeped in Sophisticated Expressionism


    Filled with aural magic and enchanting musical spells, Sorcerer is true to its name. The third of five albums devised by Miles Davis' legendary second quintet-and the second record in a still-unprecedented string of eight consecutive releases within a four-year period that forever changed the face of jazz-the 1967 magnum opus mesmerizes with instrumental colors, subdued musings, and subtle details. These crucial characteristics blossom with vibrant realism on Mobile Fidelity's definitive 45RPM pressing.


    Mastered from the original master tapes and pressed on 180g 45RPM vinyl at RTI, this collectable audiophile edition of Sorcerer joins the ranks of eleven other essential Davis records given supreme sonic and packaging treatment by Mobile Fidelity. Longtime listeners will immediately recognize a wealth of information and depth of tonality unavailable on prior versions. The myriad shadings, interwoven textures, and relaxed nuances that tie the post-bop set's warm compositions together are rendered with utmost realism.


    This is a reference-standard reissue. You'll hear poetic lyricism pouring out of Wayne Shorter's horn, the breadth and definition of the notes spreading across an enormous soundstage. Never before have drummer Tony Williams' rim shots ricocheted with such purpose or his light percussive work mirrored that of a feather touching skin. Similarly, Herbie Hancock's piano runs now occupy their own space, where their relationship to the central rhythms and front line becomes clearer.


    Prizing inflection and nuance more so than heady solos or uptempo flights, Sorcerer mesmerizes with cerebral properties and cascades of emotional interplay. Such beauty emerges in the mellow ballad "Pee Wee," an indelible statement of restrained authority and sophisticated expression. The swirling title track unfolds as jazz shadowplay, Hancock, Shorter, and Williams mirroring one another's moves with guile and purpose. The opening "Prince of Darkness" showcases the ensemble's reach and communication, every musician going in seemingly different directions yet ending up on the same page.


    A lasting example of Davis' visionary insight, Sorcerer is comprised entirely of pieces written by his band mates. Indeed, save for the closing "Nothing Like You"-a brief tribute to Davis' eventual wife, who also graces the cover, recorded in 1962 and adorned with vocals from Bob Dorough-the album represents a further maturation and refinement of a quintet that stands as one of the finest in jazz history. Mobile Fidelity is proud to give the record the treatment it's long deserved.


    This title is not eligible for discount.

    1. Prince of Darkness
    2. Pee Wee
    3. Masqualero
    4. The Sorcerer
    5. Limbo
    6. Vonetta
    7. Nothing Like You
    Miles Davis
    $49.99
    180 Gram Audiophile Virgin Vinyl LP 45 RPM - Sealed AWAITING REPRESS Buy Now
  • Sorcerer Sorcerer Quick View

    $17.99
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    Sorcerer

    'Sorcerer' is the first full-length studio album from Andy and Edwin White, the Florida / New York duo known as Tonstartssbandht, since 2011's 'Now I Am Become.' On 'Sorcerer,' the brothers chart a heavenly course above the storm and stress, one explored over years of touring and through a poetic language forged between performers and siblings. This is Tonstartssbandht at the height of their song and story - craft, channeling pure motion and emotion through a soulful filter at the speed of sorcery.
    1. Breathe
    2. Sorcerer

    3. Opening
    Tonstartssbandht
    $17.99
    Vinyl LP - Sealed Buy Now
  • The Sorcerer The Sorcerer Quick View

    $24.99
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    The Sorcerer

    Gabor Szabo's quintet featuring Jimmy Stewart was one of the guitarist's very best units. Live performances like this, recorded at Boston's Jazz Workshop, document some of the excitement the group stirred in 1967-1968. The playing seems inspired, and the interplay within the group is something to behold -- even when performing lightweight tunes like The Beat Goes On.
    1. The Beat Goes On
    2 .Little Boat

    3 .Lou-ise
    4. What Is This Thing Called Love?
    5. Space
    6. Stronger Than Us
    7. Mizrab
    8. Comin' Back
    Gabor Szabo
    $24.99
    Vinyl LP - Sealed Buy Now
  • Goo Goo Quick View

    $19.99
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    Goo

    Goo is the sixth studio album by American alternative rock band Sonic Youth. The album was Sonic Youth's debut release on a major record label, after the band signed to Geffen Records following the release of Daydream Nation (1988).


    Goo was recorded over a short period in early 1990 at Sorcerer Sound Recording Studios and Greene St. Recording with Daydream Nation producer Nick Sansano and additional producer Ron Saint Germain. The album's sound diverged considerably from their earlier material and is often considered their most accessible album, with elements of experimental rock, garage punk, alternative rock and hard rock.

    1. Dirty Boots
    2. Tunic (Song For Karen)
    3. Mary-Christ
    4. Kool Thing
    5. Mote
    6. My Friend Goo
    7. Disappearer
    8. Mildred Pierce
    9. Cinderella's Big Score
    10. Scooter & Jinx
    11. Titanium Expose
    Sonic Youth
    $19.99
    Vinyl LP - Sealed Buy Now
  • One Of These Nights One Of These Nights Quick View

    $24.99
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    One Of These Nights


    Certified Multi-Platinum (4 times) by the RIAA. (3/01)


    The Eagles exploded on the charts in 1975 with One of These Nights, the first of four straight albums by the band to reach No. 1. The album was their most varied to date, with the discofied title track, the stately waltz Take It To the Limit, and the tough, cynical country rocker Lyin' Eyes. The album contains a couple of unusual numbers as well, including Bernie Leadon's psychedelic banjo showcase Journey of the Sorcerer and I Wish You Peace, which Leadon wrote with his then-girlfriend, future first daughter (by virtue of her parents, Ron and Nancy Reagan) and nude model (courtesy of Playboy), Patti Davis. --Daniel Durchholz

    1. One Of These Nights
    2. Too Many Hands
    3. Hollywood Waltz
    4. Journey Of The Sorcerer
    5. Lyin' Eyes
    6. Take It To The Limit
    7. Visions
    8. After The Thrill Is Gone
    9. I Wish You Peace
    The Eagles
    $24.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • If... If... Quick View

    $19.99
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    If...

    If is the debut solo album from Bill Ryder-Jones. Written as a tribute to Italian avant-garde author Italo Calvinos postmodern novel If On A Winters Night A Traveller, If is mapped out as soundtrack inspired by the book. Grand orchestral movements sit side by side with stark, nakedly emotional vocal pieces that weave a a bleak but beautifully moving and always visceral narrative.


    The album was recorded in various locations around Ryder-Jones hometown of Liverpool, including a Scandinavian Church, the Grade II listed warehouse Elevator Studios and his mothers house. Musicians, friends, parents and even the Liverpool Philharmonic Orchestra pulled together in order for If to become a reality. The Liverpool Philharmonic joined Ryder-Jones at the friary in Everton Valley for the instrumental tracks, of which there are five out of the ten on the record.


    Taking its cue from Abel Korzeniowskis off-kilter soundtrack for Tom Fords acclaimed film A Single Man, Ifs influences are eclectic and diverse, from modern cinema composers like Michael Galasso (Seraphine) and Clint Mansell (The Wrestler, Black Swan) to psychedelic sorcerer Syd Barrett, Nick Cave and nineties Welsh indie-psych disciples Gorkys Zygotic Mynci.

    1. If...
    2. The Reader (Malbork)
    3. Leaning (Star Of Sweden)
    4. By The Church Of Apollonia
    5. Le Grand Desorde
    6. Enlace
    7. Intersect
    8. The Flowers #3 (Lotus)
    9. Give Me A Name
    10. Some Absolute End (The End)
    Bill Ryder-Jones
    $19.99
    Vinyl LP - Sealed Buy Now
  • MASSIVE ADDICTIVE (Awaiting Repress) MASSIVE ADDICTIVE (Awaiting Repress) Quick View

    $19.99
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    MASSIVE ADDICTIVE (Awaiting Repress)

    Gothenburg's finest, AMARANTHE, have completed their third strike. As per the band's custom, "MASSIVE ADDICTIVE" was tracked at Hansen Studios
    in Ribe, Denmark with the sound sorcerer Jacob Hansen (Volbeat, Epica etc.) at the helm.


    "MASSIVE ADDICTIVE" features some of the best Amaranthe material to date. In addition to the divine duality of pulsating beats and melodic pop
    choruses both of which we're accustomed to hear from them, rejuvenated Amaranthe now caters to us further advanced dynamics, a cornucopia of
    celestial choruses and of course, sheer melodic bliss. Best known for their danceable upbeat anthems, the band surely has a handful of instant
    Amaranthe classics on "MASSIVE ADDICTIVE" such as Trinity and the most contagious chorus of the album, Digital World.


    Although already in possession of winning receipt, Amaranthe won't settle for resting on their laurels. Not to tread water, the band has taken to update
    their sound so now you'll hear contemporary influences never used before in Amaranthe's songs before such as breakdowns, dubstep, voice studders
    and delays. But that's not to say that Amaranthe has forgotten where their fortes lie - as always, song is king.


    But it's the whole that has improved. Olof's surgical riffs and soaring solos, Morten's sturdy rhythmic backbone, Johan's booming low-frequency assault,
    Elize's ever more emotive singing, Jake's melodic vocal outpour and the new screamer Henrik Englund Wilhelmsson all put together combine for an
    entirely new spectrum of nuances. Yes, they've always been ear candy, but now with their MASSIVE updated sound, Amaranthe is more ADDICTIVE
    than ever.

    1. Dynamite
    2. Drop Dead Cynical
    3. Trinity
    4. MASSIVE ADDICTIVE
    5. Digital World
    6. True
    7. Unreal
    8. Over And Done
    9. Danger Zone
    10. Skyline
    11. An Ordinary Abnormality
    12. Exhale
    Amaranthe
    $19.99
    Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • Ravel - Bolero (Speakers Corner) Ravel - Bolero (Speakers Corner) Quick View

    $34.99
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    Ravel - Bolero (Speakers Corner)

    Among the innumerable recordings of Maurice Ravel's BolÉro, the present one made by DECCA with the Orchestre de la Suisse Romande under Ernest Ansermet is of particular note. The impressive mounting crescendo over an ostinato bass, leading through the work from the very first bar right up to the last note, goes hand in hand with ever increasing intensity and excitement and hardly permits the listener to draw a breath. As in the BolÉro, Ravel's La Valse, a choreographed poem for orchestra composed in 1920, is based on a single rhythmic idea, the Viennese waltz, which lends the work increasing impetus throughout the course of the music.



    Although Arthur Honegger's Pacific 231, composed in 1923 and dedicated to Ernest Ansermet, is more modern and has a more complex structure, here too a great arc of tension determines the progress of the music until shortly before the end. The orchestra accelerates in tempo and then decelerates - due to the motivic writing - towards the end thus evoking the sound of a locomotive: the Pacific 231 namely.



    The great success of the first performance of Paul Dukas's L'Apprenti sorcier (The Sorcerer's Apprentice) in 1897, a scherzo composed in 1895 and based on a ballad by Goethe, certainly comes as no surprise when one listens to this recording by the OSR under Ansermet. The composition is filled with a wealth of surprising moments which are presented here with exactitude and subtlety in even the tiniest detail.



    Musicians:



    • Orchestre de la Suisse Romande

    • Ernest Ansermet (conductor)




    Recording: February 1963 at Victoria Hall, Geneva by Roy Wallace

    Production: Michael Brenner





    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. Bolero (Ravel)
    2. Pacific 231 (Honegger)
    3. The Sorcerer's Apprentice (Dukas)

    4. La Valse (Ravel)
    Ernest Ansermet with Orchestre de la Suisse Romande
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Lunafied (Pre-Order) Lunafied (Pre-Order) Quick View

    $34.99
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    Lunafied (Pre-Order)


    Includes All Elektra-Era Cover-songs, Many Unreleased On Vinyl


    Includes Many Out Of Print And Rare Tracks


    Sourced From The Original Masters With Lacquers Cut At Sam Phillips Recording Studio


    Pressed On 180g Colored Vinyl At Record Industry In The Netherlands


    Each 2 LP Set Comes Numbered And Strictly Limited


    American indie-pop band Luna originally formed in 1991 by singer/guitarist Dean Wareham
    after the breakup of Galaxie 500. After Wareham quit Galaxie 500 he signed a demo deal
    with Elektra Records, then recruited Justin Harwood from the Chills and Stanley Demeski of
    the Feelies, and this line up recorded their debut, Lunapark. After the album's release, Sean
    Eden was recruited on guitar and the four piece recorded a number of cover versions that
    would become the Slide EP and then toured the U.S. This began the band's association with
    successfully recording and playing cover songs.


    In 1993, the band supported the reformed Velvet Underground on their European tour, after which they recorded their second album.
    Bewitched was recorded in NY, released in '94 and included Velvet Underground guitarist
    Sterling Morrison on two tracks. In 1995, the band went into Sorcerer Sound Studio with
    producer Pat McCarthy to record their third album, Penthouse. The album featured Television
    guitarist Tom Verlaine on the tracks, "Moon Palace," and "23 Minutes in Brussels." The
    album was released to critical acclaim, with Rolling Stone declaring it one of the essential
    albums of the '90s. The album featured a cover of Serge Gainsbourg's "Bonnie and Clyde"
    as a hidden track and featured Dean in a duet with Laetitia Sadier of Stereolab. "Bonnie and
    Clyde" was released as a single in the UK and named Melody Maker single of the week. Pup
    Tent followed in '97.


    In 1999, the band recorded The Days Of Our Nights for Elektra, but the
    label declined the album and dropped the band over commercial concerns. The record was
    eventually released on Jericho in the U.S. and prior to the album's release, Justin Harwood
    left to be replaced by Britta Phillips. After releasing Luna Live in 2001, Romantica in 2002
    and Rendezvous in 2004 with their new line-up, the band announced their final tour at the
    time, disbanding after a show at the Bowery Ballroom in February of 2005. Dean Wareham
    and Britta Phillips continued as the duo Dean & Britta. In 2014, Dean announced that Luna
    would reunite for a tour of Spain in 2015, to be followed by US dates.

    In 2017 they recorded
    two new releases, a new covers LP called A Sentimental Journey and a 6-song instrumental
    EP, A Place Of Greater Safety.


    This brand new ROG collection of Elektra-era cover songs includes rare and out of print tracks
    that have never been released or collected on full length vinyl. With new packaging design by
    Frank Olinsky and updated audio fidelity, it's a dream come true for Luna collectors.

    LP 1
    1. Bonnie and Clyde (Clyde Barrow version)
    2. Indian Summer
    3. Ride Into the Sun
    4. That's What You Always Say
    5. In The Flesh
    6. Dream Baby Dream
    7. Season Of The Witch
    8. Thank You For Sending Me An Angel
    9. No Regrets


    LP 2
    1. Outdoor Miner
    2. Happy New Year
    3. Everybody's Talking
    4. Fly Into The Mystery
    5. La PoupÉe Qui Fait Non
    6. Bonnie & Clyde (Bonnie Parker Version)
    7. Jealous Guy
    8. Neon Lights
    9. Sweet Child O' Mine
    10. Only Women Bleed
    11. Dance With Me

    Luna
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed PRE-ORDER Buy Now
  • The Switch The Switch Quick View

    $22.99
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    The Switch

    "Tenuously and perfectly balanced between experimental challenge and punk efficiency." - Pitchfork


    "All sorts of wild, enthralling noises with little more than a pair of guitars and some amplifiers." - The New York Times


    "Their minimalist drones evoking the tumultuous inner spaces of the heart and the mind". - SPIN


    Body/Head is the duo of Kim Gordon and Bill Nace.


    Creative alchemy doesn't just happen in the studio or in
    the practice space; so much of it is the product of solo time
    with one's instrument, learning how body and wood and
    electronics fuse, and of subconscious processes as one lives
    one's daily life-picking up the ambient noise of the world
    outside, listening to others' work, talking through ideas with
    friends. For Kim and Bill, time together these days is limited
    to live performances and recording, so they've got to bring
    all their magic to every encounter. Lucky for us, these are
    two experimental sorcerers of significant renown.


    Their debut album together as Body/Head, Coming Apart,
    from 2013, was more of a rock record-heavy, emotional,
    cathartic, spellwork in shades of black and grey. The Switch
    is their second studio full-length, and it finds the duo
    working with a more subtle palette, refining their ideas and
    identity. Some of it was sketched out live (if you've not had
    the fortune of seeing them in that natural environment
    yet, see 2016's improvisational document No Waves), but
    much of it happened purely in the moment. Working in
    the same studio and with the same producer as Coming
    Apart, here Body/Head stretch out, making spacious pieces
    that build shivering drones, dissonant interplay, Gordon's
    manipulated vocals, and scraping, haunting textures into
    something that feels both delicate and dangerous. Less
    discrete songs than one composition broken up into
    thematic movements, a slow-moving narrative that requires
    as much attention and care from the listener as it did from
    everyone involved in its creation, it is a record that sticks
    around after it's done playing.


    This is Nace's favorite of Gordon's guitar work; she's truly
    come into her own as a guitarist, having built up her
    confidence through solo shows. The way the duo work
    together, you'd never know they spend so much time apart;
    on The Switch, their vision and focus feel truly unified. If
    Coming Apart was dark magic, The Switch works with light,
    though it never forgets that these approaches are two sides
    of the same coin, and that binaries-black/white, near/
    far, emotion/analysis, body/head-are made to be broken
    open, and that the truth of things is in the energy between.

    1. Last Time
    2. You Don't Need
    3. In The Dark Room
    4. Change My Brain
    5. Reverse Hard
    Body/Head
    $22.99
    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
  • Head Hunters Head Hunters Quick View

    $34.99
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    Head Hunters


    Mastered at Sterling Sound by Ryan Smith


    Stoughton Printing Old-Style Deluxe Film-Lamination Tip-On Jacket


    Plated and Pressed at Quality Record Pressings!


    There are few artists in the music industry who have had more influence on acoustic and electronic jazz and R&B than Herbie Hancock.


    In 1963, Miles Davis invited Hancock to join the Miles Davis Quintet. During his five years with Davis, Herbie recorded many classics with the jazz legend including ESP, Nefertiti and Sorcerer, and later on he made appearances on Davis' groundbreaking In a Silent Way and Bitches Brew.


    Hancock's own solo career blossomed on Blue Note, with classic albums including Maiden Voyage, Empyrean Isles and Speak Like a Child. After leaving Davis' fold, Herbie put together a new band called The Headhunters and, in 1973, recorded Head Hunters. Head Hunters was a pivotal point in Hancock's career, bringing him into the vanguard of jazz fusion. Hancock had pushed avant-garde boundaries on his own albums and with Miles Davis, but he had never devoted himself to the groove as he did on Head Hunters. Drawing heavily from Sly Stone, Curtis Mayfield and James Brown, Hancock developed deeply funky, even gritty, rhythms over which he soloed on electric synthesizers, bringing the instrument to the forefront in jazz. It had all of the sensibilities of jazz, particularly in the way it wound off into long improvisations, but its rhythms were firmly planted in funk, soul and R&B, giving it a mass appeal that made it the biggest-selling jazz album of all time (a record which was later broken).


    Jazz purists, of course, decried the experiments at the time, but Head Hunters still sounds fresh and vital four decades after its initial release, and its genre-bending proved vastly influential on not only jazz, but funk, soul and hip-hop.


    This title is not eligible for discount.

    1. Chameleon
    2. Watermelon Man
    3. Sly
    4. Vein Melter
    Herbie Hancock
    $34.99
    200 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Head Hunters (45 RPM) Head Hunters (45 RPM) Quick View

    $54.99
    Buy Now
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    Head Hunters (45 RPM)

    Herbie Hancock's Masterpiece, Now Cut At 45 RPM!


    The Second Highest-Selling Jazz Album Of All Time!


    Mastered at Sterling Sound by Ryan Smith


    Stoughton Printing Old-Style Deluxe Film-Lamination Tip-On Jacket


    Double LP 200-Gram Discs Plated and Pressed at Quality Record Pressings!


    There are few artists in the music industry who have had more influence on acoustic and electronic jazz and R&B than Herbie Hancock.


    In 1963, Miles Davis invited Hancock to join the Miles Davis Quintet. During his five years with Davis, Herbie recorded many classics with the jazz legend including ESP, Nefertiti, and Sorcerer, and later on, he made appearances on Davis' groundbreaking In a Silent Way and Bitches Brew.


    Hancock's own solo career blossomed on Blue Note, with classic albums including Maiden Voyage, Empyrean Isles and Speak Like a Child. After leaving Davis' fold, Herbie put together a new band called The Headhunters and, in 1973 in San Francisco, recorded Head Hunters.


    Head Hunters became not only Hancock's best-selling album but also the second highest selling jazz album of all time (at last RIAA count). It was in 1973 that he gathered a new band to combine electric music with funk, perhaps best exemplified in the pop music of Sly Stone.


    Hancock took over all synthesizer duties, along with Fender Rhodes and clavinet and was backed by bass and drums. The opening bars of Watermelon Man with Bill Summers blowing into a beer bottle, along with the band's funky grooves and new electric sounds, captured the crossover fans who had otherwise avoided buying jazz records.


    Head Hunters was a pivotal point in Hancock's career, bringing him into the vanguard of jazz fusion. Hancock had pushed avant-garde boundaries on his own albums and with Miles Davis, but he had never devoted himself to the groove as he did on Head Hunters. Drawing heavily from Sly Stone, Curtis Mayfield, and James Brown, Hancock developed deeply funky, even gritty, rhythms over which he soloed on electric synthesizers, bringing the instrument to the forefront of jazz. It had all of the sensibilities of jazz, particularly in the way it wound off into long improvisations, but its rhythms were firmly planted in funk, soul, and R&B, giving it a mass appeal that made it the biggest-selling jazz album of all time (a record which was later broken).


    Jazz purists, of course, decried the experiments at the time, but Head Hunters still sounds fresh and vital four decades after its initial release, and its genre-bending proved vastly influential on not only jazz, but funk, soul, and hip-hop.


    This title is not eligible for discount.

    1. Chameleon
    2. Watermelon Man
    3. Sly
    4. Vein Melter
    Herbie Hancock
    $54.99
    200 Gram Audiophile Virgin Vinyl LP 45 RPM - 2 LPs Sealed Buy Now
  • Demons And Wizards Demons And Wizards Quick View

    $22.99
    Buy Now
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    Demons And Wizards

    Reissue of the classic 4th album from Uriah Heep. Originally released in 1972, the album reached #23 on the US Album Charts and is certified GOLD by the RIAA. Includes the classic singles "The Wizard" & "Easy Livin


    Magic spells, time-traveling futurists, sword-bearing horse riders, mountain-residing sorcerers, possessed journeyman, ominous warnings: Demons and Wizards lives up to its name as a collection of fantasy-based narratives rooted in dreamy, gothic-minded arrangements.


    Universally recognized as the finest effort of Uriah Heep's four-decade-plus career, the 1972 LP perseveres as a prog-rock landmark that influenced countless of bands ranging from Metallica to Styx to Blind Guardian. The first album on which founding members Mick Box, Ken Hensley, and David Byron are joined by staple drummer Lee Kerslake, the Top 30-charting Demons and Wizards captivates and charms by way of taut songwriting and instrumental execution.


    Rather than function as the primary attraction, and be susceptible to mockery, make-believe lyrical themes augment a formidable assembly of folk-derived melodies, sharp medleys, and powerful hooks. Acoustic guitars weave webs of finite textures through which crackling, church-like organ passages and space-conscious bass lines maneuver, allowing songs to come across with an ethereal and powerful feel.


    Glowing with old-fashioned tube-amp warmth, concise fare like "The Wizard," "Traveler In Time," and the hit "Easy Livin'" touches upon punchy garage-rock basics while epics such as "Circle of Hands" and closing "Paradise/The Spell"-a multi-part sonic excursion whose choral grace and spiritual glide evoke distant lands, misty cloud forests, and peaceful eternities-cling to a complex sensitivity underscored by deft piano notes. It's no wonder Uriah Heep would spend its lifespan trying to again capture such balance.

    1. Wizard
    2. Traveller In Time
    3. Easy Livin'
    4. Poet's Justice
    5. Circle Of Hands
    6. Rainbow Demon
    7. All My Life
    8. Paradise/The Spell
    Uriah Heep
    $22.99
    Vinyl LP Reissue - Sealed Buy Now
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