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Straight No Chaser'
Straight No ChaserA few years after recording Straight, No Chaser, Thelonious Monk disappeared from the public eye. But as the years passed, more people became aware of the seminal role he played in the development in jazz as both pianist and composer, creating a standard of excellence that many musicians after him aspire to.
Produced by Teo Macero, who was also responsible for legendary albums such as Miles Davis' Kind Of Blue and Dave Brubeck's Time Out!, Monk's Straight, No Chaser is a classic in its own right. It's the last album the talented pianist and composer recorded with his quartet consisting of Larry Gales on bass, Ben Riley on drums and his musical soul mate Charlie Rouse on tenor sax. It includes a light yet mature version of one of his standards; Straight, No Chaser is one idea played again and again, each time in a different part of the measure and with a different ending, and highlights some stellar action between Monk and Rouse.1. Locomotive
2. I Didn't Know About You
3. Straight, No Chaser
4. Japanese Folk Song
5. Between The Devil And The Deep Blue Sea
6. We See$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Echoes of Indiana AvenueWith a lot of sleuthing and a team of experts on the case, long lost tapes of Wes Montgomery have been discovered and restored. Resonance Records will release Echoes of Indiana Avenue, the first full album of previously unheard Montgomery music in over 25 years on March 6, 2012, which would have been Montgomery's 88th birthday. Over a year and a half in the making, the release will provide a rare, revealing glimpse of a bona fide guitar legend. The tapes are the earliest known recordings of Montgomery as a leader, pre-dating his auspicious 1959 debut on Riverside Records. The album showcases Montgomery in performance from 1957-1958 at nightclubs in his hometown of Indianapolis, Indiana, as well as rare studio recordings. The release is also beautifully packaged, containing previously unseen photographs and insightful essays by noted music writers and musicians alike, including guitarist Pat Martino and Montgomery's brothers Buddy and Monk.
On this scintillating discovery, Montgomery plays it strictly straight ahead, swinging with a momentum and ferocity that is positively visceral, a clear display of Montgomery's bebop side. Listening to these recordings only reaffirms how Montgomery exerted such a profound influence over generations of guitarists from George Benson, Pat Martino and Joe Pass to John Scofield, Pat Metheny, Kevin Eubanks, and Russell Malone to Kurt Rosenwinkel.
Joined by such Naptown colleagues as drummer Paul Parker and keyboardist Melvin Rhyne (who would later appear on Montgomery's first Riverside release), pianist Earl Van Riper, bassist Mingo Jones and drummer Sonny Johnson, as well as brothers Monk on acoustic bass and Buddy on piano (the brothers featured on one track), Montgomery swings with blistering abandon on a program of burners and ballads. Included here are renditions of Shorty Rogers' Diablo's Dance, Erroll Garner's Misty and Billy Strayhorn's Take The A Train as well as jazz standards Darn That Dream and Body and Soul. Montgomery also reveals some bluesy roots with an earthy improvised After Hours Blues, which has him playing with Guitar Slim-like nastiness. Elsewhere on Echoes of Indiana Avenue there's a stirring duet between Wes and organist Rhyne on a moody rendition of Thelonious Monk's 'Round Midnight and a faithful rendition of Horace Silver's Latin-tinged Nica's Dream. Montgomery and his brothers also tackle Thelonious Monk's Straight, No Chaser with bop-ish authority.
Echoes of Indiana Avenue consists of three different sessions, one studio and two live. Four of the tracks were recorded at The Hub Bub, a long-forgotten jazz club in Indianapolis. The title of the collection refers to a longstanding popular commercial strip in Indianapolis, with historical roots. As Dr. Baker remarks, In Indianapolis during the 1940s and 1950s twenty or more clubs and other performance venues were operating at any given time. Generally speaking, the important clubs lay on or near main thoroughfares in predominantly black areas. The busiest and most notable area was known as 'The Avenue,' which was the portion of Indiana Avenue.
How these long lost tapes from the early stage of Montgomery's solo career finally emerged after being on the shelf for more than 50 years is a tale of intrigue that will enthrall collectors and aficionados. Although the identity of the person who made the original recordings remains unknown, the tapes may have passed through several hands before they were eventually acquired in 1990 by a guitarist and Montgomery fan Jim Greeninger. Due to their fragile condition, he immediately made digital transfers of the original tapes and set out to make a deal with a record company. It wasn't until 2008 that Greeninger, who had tried selling the tapes on eBay, contacted Michael Cuscuna, the respected veteran producer who has had a long track record with Blue Note Records and is also the co-founder of Mosaic Records.
In the summer of 2010, Cuscuna contacted Zev Feldman of Resonance Records, who served as a producer on the project. We had no idea when we got the tapes what they were exactly, Feldman recalls. All we knew was that Wes was on them. So between 2010 and 2011, I made three trips to Indianapolis where I interviewed and discussed the recordings with scholars, musicians and friends of Wes. It was a big mystery and we had to act like gumshoes in piecing it all together. It was actually in part because of label founder and president George Klabin's support that we were able to make this project possible.
Resonance has created a hand-numbered, hand-assembled LP edition pressed by audiophile embraced Record Technology, Inc. (RTI) and with a deluxe gatefold LP jacket by Stoughton Press. The two 12 LP's were mastered by the legendary Bernie Grundman at 180g 45 RPM for the best sound.1. Diablo's Dance
2. Round Midnight
3. Straight No Chaser
4. Nica's Dream
5. Darn That Dream
6. Take the A Train
8. Body and Soul
9. After Hours Blues (Improvisation)$44.99180 Gram Audiophile Virgin Vinyl LP 45RPM - 2 LPs Sealed Buy Now
Milestones (Stereo)Milestones is Miles Davis' only original sextet recording featuring John Coltrane, Paul Chambers, Cannonball Adderley, Philly Joe Jones and Red Garland. This 1958 masterpiece captured Davis' rst modal jazz experiments in pieces like "Straight, No Chaser" and the title track. Both the song and the album proved to be actual milestones in Jazz, as the modalism Davis introduced on this record continued to inuence Jazz on a global scale.1. Dr. Jekyll
2. Sid's Ahead
3. Two Bass Hit
5. Billy Boy
6. Straight, No Chaser$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Jazz At The PlazaJazz At The Plaza is another fine live recording from 1958 by the Miles Davis Sextet (this time with the classic first Miles Davis Quintet drummer Philly Joe Jones, instead of Jimmy Cobb). Recorded at the Edwardian Room of the Plaza Hotel for a bunch of record biz execs celebrating the success of Columbia Records jazz division, the crowd may have been stiff but the group was anything but, storming through "If I Were A Bell" (yes, the Guys & Dolls tune) and "Straight, No Chaser" before settling into a beautiful rendition of "My Funny Valentine", and closing out the set with Sonny Rollins' hard-bop classic, "Oleo". Reissued on LP by Doxy.1. If I Were a Bell
2. Straight, No Chaser
3. My Funny Valentine
4. Oleo$32.99Vinyl LP - Sealed Buy Now
In ItalyFeaturing standout renditions of Straight, No Chaser, Bemsha Swing, and Rhythm-A-Ning, In Italy captures pianist/composer Thelonious Monk
flexing his trademark idiosyncratic chops on what would be his final recording for the Riverside label. Cut live in concert while on an extensive European
tour, this set from 1961 serves as a final reminder of the legendary catalog Monk built while recording for Riverside and hinted at the genius yet to be
recorded. Accompanied by tenor saxophonist Charlie Rouse, bassist John Ore, and drummer Frankie Dunlop, Monk shines here, turning in more of the
style the set him apart from his peers as an individualistic player capable of consistently expressive, stylistic and sophisticated performances.1. Jackie-ing
3. Body And Soul
4. Straight, No Chaser
5. Bemsha Swing
6. San Francisco Holiday
7. Crepuscule With Nellie
8. Rhythm-A-Ning$21.99Vinyl LP - Sealed Buy Now
MilestonesMiles Davis created just one studio album with his original sextet and he made every moment count. Joined by Cannonball Adderley, John Coltrane, Red Garland, Paul Chambers, and Philly Joe Jones, the trumpeter not only laid the groundwork for the modalism that immediately followed but created a genuine modern-jazz masterwork laden with performances that are among the most explosive of his distinguished career in the process.
Due to its position between the more famous 'Round About Midnight and epochal Kind of Blue, Milestones remains, for too many music lovers, an overlooked classic. Every song here is a highlight, whether it's the influential title track, the bravado of "No Jackle," the blues themed "Sid's Ahead," or the definitive rendition of Thelonious Monk's signature piece "Straight, No Chaser," this 1958 release is a milestone indeed!1. Dr. Jackle
2. Sid's Ahead
3. Two Bass Hit
5. Billy Boy
6. Straight, No Chaser$27.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
The Tenor ScenePart of the ultimate audiophile Prestige stereo reissues from Analogue Productions - 25 of the most collectible, rarest, most audiophile-sounding Rudy Van Gelder recordings ever made. All cut at 33 1/3.
All mastered from the original analog master tapes by mastering maestro Kevin Gray. 200-gram LPs pressed at Acoustic Sounds' state-of-the-art pressing plant, Quality Record Pressings, plated by Gary Salstrom
Deep groove label LP pressings, tip-on jackets on thick cardboard stock
During the two-year existence of their Tough Tenors quintet, Eddie Lockjaw Davis (a Prestige artist) and Johnny Griffin (under contract to Riverside/Jazzland) satisfied their contractual obligations by recording five albums for each company. This was the pair's first for Prestige, and the first of a four-album series taped over the course of an extremely productive evening at the legendary Minton's Playhouse in Harlem. The album, also known as The Breakfast Show in an earlier reissue, gives the rhythm section several opportunities to shine, with Ben Riley's drums dominant on Woody'n You, Bingo Domingo featuring Larry Gale's bass, and Junior Mance's piano solo almost stealing the show on Light and Lovely. It is the leaders, though, who consistently deliver with their complimentary brand of intensity, which is heard at the boil throughout and reaches a particular peak when they exchange ideas on Straight, No Chaser.
This title is not eligible for discount.1. Light And Lovely
2. Straight, No Chaser
3. Woody'n You
4. Bingo Domingo
5. I'll Remember April$39.99200 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Great Jazz Standards (Pure Pleasure)Great Jazz Standards was recorded when Evans was red-hot from two successes with Miles Davis, Miles Ahead and Porgy And Bess.
Evans' signature brass choir is in place - creatively voiced, spaciously arranged, a supple, multi-coloured, sonically surprising counterpoint to a succession of superb soloists. The added bonus, for Evans' projects, is the foregrounding of saxophone and clarinet soloists Steve Lacy and Budd Johnson.
Lacy and the original swing-to-bop missing link, Johnson, are the ones who will make the hair on your neck curl. Lacy's solos on Monk's Straight No Chaser and John Lewis' Django must be some of the finest pre-free improvisations he recorded, already heading from quirky to out-there. Johnson's clarinet solo on Don Redman's spooky, swing-meets-whole tone classic, Chant Of The Weed, and slow-burning, stirring tenor solo on Evans' La Nevada are some of the finest the all-but-forgotten genius ever recorded. Trumpeter Johnny Coles, has the inevitable misfortune of being compared to Miles Davis and being found to be ... different. Sunny, open and extroverted, he may not be a stylist of Davis' proportions, but he's an enjoyable alternative foil for Evans' arrangements.
A magnificent but neglected album, and still coming up fresh as daisies.
- Budd Johnson (tenor saxophone, clarinet)
- Steve Lacy (soprano saxophone)
- Al Block (woodwinds)
- Johnny Coles, Allen Smith (trumpet)
- Jimmy Cleveland (trombone)
- Bill Barber (tuba)
- Gil Evans (piano)
- Chuck Wayne (guitar)
- Dick Carter (bass)
- Elvin Jones (drums)
Recording: February 1959
Production: Richard Bock
About Pure Pleasure
At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Pure Pleasure all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.
During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s - or employed existent tools from the 80s and 90s for manufacturing.
A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.
We should like to emphasize that Pure Pleasure Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle.
We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.
To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects and that the lacquer discs are newly cut.
This title is not eligible for discount.$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Milestones (Mono)Masterwork is Oft-Overlooked Link Between Round About Midnight and Kind of Blue
Vanguard Sonics: Mobile Fidelity Reissue Presents The 1958 Standard with Unparalleled Sound Quality
In MONO You Will Not Hear a Better Analog Edition
Only Record to Feature Davis Original Sextet, Including Rhythm Section of Paul Chambers and Philly Joe Jones
Title Track Stands as First-Ever Modal Composition Even as Blues and Hard-Bop Flavors Make LP One of Davis Most Explosive Affairs
Sketches of Spain, Kind of Blue, Round About Midnight, Four & More, and In a Silent Way Also Available from Mobile Fidelity
Miles Davis created just one studio album with his original sextet. He made every moment count. Pairing with Cannonball Adderley, John Coltrane, Red Garland, Paul Chambers, and Philly Joe Jones, the trumpeter not only laid the groundwork for the modalism that immediately followed but tailored a genuine modern-jazz masterwork laden with performances among the most explosive of his distinguished career. Due to its sandwiched position between the more famous Round About Midnight and epochal Kind of Blue, Milestones remains, for too many music lovers, an overlooked classic.
Part of Mobile Fidelitys Miles Davis catalog restoration series, Milestones has been restored to mono for the first time as to expose the records standing as one of the all-time great jazz efforts.Mastered from the original master tapes and pressed at RTI, this unsurpassed 180g mono LP edition grants each musician their own space in a well-defined, broadened soundstage. Colors, shapes, and dimensions appear in the manner they do when beheld from behind a studio-control rooms window.
Davis burnished trumpet? Rendered in three-dimensional perspective, coaxing his mates out to play with unburdened zest and commotion. Coltranes trademark saxophone? Witness it in life-size proportion, his solos working in tandem with and against the driving rhythms. Garlands swaggering piano lines? Visualize the 88 keys as he hits full stride, the chords and fills slithering around skeletal frameworks.
If anything, Milestones is as famous for its title track as the players that produced it. The launching pad for many of Davis (and later, his contemporaries) improvisational flights, the singular piece invites the tessellated explorations Coltrane would forever chase as well as the headliners argyle solo work, who broaches territories that far exceed what he had done with his bop-rooted past. Every song is a highlight, whether its the bravado No Jackle, featuring a hot-foot pace and bebop strains, or Sids Ahead, which continues the albums blues theme while tossing around edgy harmonics and inside-out structures.
Then theres Straight, No Chaser, the absolutely definitive rendition of Thelonious Monks signature piece. Coltranes marbled playing pulls at the tunes lobed borders, Adderley takes liberty with solos, and Davis dances around his mates, at one point quoting When the Saints Go Marching In while demonstrating his knowledge of tradition and eye towards the future. A milestone if there ever was. And now, in resplendent mono.
This title is not eligible for discount.1. Dr. Jackle
2. Sids Ahead
3. Two Bass Hit
5. Billy Boy
6. Straight, No Chaser$34.99180 Gram Audiophile Virgin Vinyl Mono LP - Sealed Buy Now
Paris 1969Blue Note Records has announced Thelonious Monk Paris 1969, a fascinating and important late-career document of the legendary jazz pianist and composer in performance with his Quartet at the Salle Pleyel concert hall in Paris, France on December 15, 1969. Beautifully captured on B&W film, the concert also featured a surprise guest appearance from renowned drummer Philly Joe Jones. Also included is a rare on-camera interview with Monk that was conducted by the French bassist Jacques Hess after the concert.
"The 1969 Paris concert captures the power and the undiminished beauty of Monk's music, reminding us that even as his body aged his musical imagination knew no limits," writes Monk scholar Robin Kelley in his liner notes essay. However, Kelley also illuminates what a peculiar and challenging moment 1969 was for the 52-year-old pianist. Monk hadn't achieved true success until the late-50s with his legendary run at the Five Spot CafÉ in New York City with John Coltrane (a band that was brilliantly captured on the lost recording Thelonious Monk Quartet with John Coltrane at Carnegie Hall from 1957 which was discovered and released on Blue Note in 2005). By the early-60s Monk's success had peaked when he signed with Columbia Records and was eventually featured on the cover of TIME Magazine in 1964.
However, by 1969, in addition to health issues, Monk's success was beginning to wane with the emergence of rock and the resulting jazz fusion movement. His recording contract with Columbia had just come to end after an ill-advised attempt at marketing him to a younger rock audience. That disappointment was followed by the departure of drummer Ben Riley and bassist Larry Gales from his band which left Monk with two chairs to fill on short notice before his European tour.
Monk eventually found two young musicians - bassist Nate Hygelund and drummer Paris Wright - to fill out the Quartet with his longtime tenor saxophonist Charlie Rouse. Luckily the inexperienced rhythm section had some time to gel before hitting the stage in Paris with a lengthy engagement in London followed by stops in Germany and Italy. By the time they reached the Pleyel the band was in fine form, which made for a triumphant return for Monk to the very stage he had made his Parisian debut on in 1954 in front of a hostile audience who felt that Monk was too avant-garde. 15 years later the situation could not have been more different with an enthusiastic audience and the concert being broadcast on television.
In addition to rollicking Quartet versions of Monk classics such as "I Mean You," "Straight No Chaser," and "Blue Monk," the set also includes three stunning solo piano performances on "Don't Blame Me," "I Love You Sweetheart Of All My Dreams," and "Crepuscule With Nellie." However, an undeniable highlight of the concert was when the veteran drummer Philly Joe Jones who was an expat living in Paris at the time comes from backstage to borrow the sticks from the 17-year-old Wright, providing a palpable spark on Monk's "Nutty."1. I Mean You
2. Ruby My Dear
3. Straight No Chaser
4. Bright Mississippi
5. Light Blue
7. Don't Blame Me
8. I Love You Sweetheart of All My Dreams
9. Crepuscule With Nellie
10. Bright Mississippi
12. Blue Monk$19.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
Different CreaturesTwo years on from their youthfully nervy debut, Liverpool's Circa Waves are showing signs of an assured maturity on their sophomore album, 2017's confidently delivered Different Creatures. On 2015's aptly titled Young Chasers, Circa Waves lead singer/songwriter Kieran Shudall cooed and sneered his way through a wave of kinetic post-punk that seemed born as much out of teen angst and a boyish enthusiasm as his obvious love of influences like Arctic Monkeys and the Strokes.
While still clearly carrying a torch for early-2000s neo-post-punk, Shudall and his Circa Waves bandmates are now road-hardened tour vets, indie rock prodigal sons returned home to reconnect with old mates over a pint, figure out how their relationships went so awry, and contextualize the insanity of the past few years. It's a vibe perhaps best expressed on the yearning Without You, in which Shudall sings, Finally getting some, thank god for home/So, shit food and sleeping pills/Cheap drinks and cheaper thrills/Oh pour me, pour me/And I and I, I will lead this parade/And I will travel for days to get to you. It's a catchy song, as are many on Different Creatures, reminiscent of their previous efforts but with an added layer of muscular guitar fuzz that brings to mind the bombastic '90s sludge of the Pixies crossed with the passionate alt-rock swoon of The Bends-era Radiohead.
It's probably no coincidence that, prior to working with bands like the Killers and Interpol, Different Creatures producer Alan Moulder made his name working on albums by such alt-rock icons as Ride, My Bloody Valentine, Smashing Pumpkins, and Nine Inch Nails. With Moulder at the helm, Circa Waves deliver a varied set of driving anthems that do recapture much of the convergent energy of the '90s Brit-pop and alt-rock scenes. Without overwhelming you with a sense of dÉjà vu, cuts like Out on My Own, Stuck, and Goodbye are massively hooky blasts of guitar rock that subtly draw cues from both older acts like Smashing Pumpkins and similarly inclined contemporary bands like the Killers and Kings of Leon. Elsewhere, Shudall showcases his stylistic range on the John Lennon-esque acoustic ballad Love's Run Out, and leavens the Killers/Kings of Leon influence with some Lindsey Buckingham-ish, Fleetwood Mac-level pop grandeur on the uber-catchy standout Fire That Burns.
Part of what makes Circa Waves so compelling is that they are able to match the sound of their influences while still believably making the results sound their own. They've grown into an assured rock entity, but they've retained their fundamental sense of working-class Liverpudlian blues. As Shudall sings on Old Friends, I can't believe I'm still up/I can't believe this conversation is still going/I need to really grow up/I drank so much I can't see straight son/What am I doing? Ultimately, with Different Creatures, Circa Waves sound like they know exactly what they are doing.
- Matt Collar (All Music Guide)1. Wake Up
2. Fire That Burns
4. Out on My Own
5. Different Creatures
6. Cryin Shame
7. Love Runs Out
9. A Night on the Broken Tiles
10. Without You
11. Old Friends$22.99Vinyl LP - Sealed Buy Now
Straight, No Chaser (Out Of Stock)Limited To 3,000 Individually Numbered Copies
First Time On All-Analog
Features The Complete, Unedited Performances Of Thelonious Monk's Classic Sessions
Mastered From The Original Tapes By Kevin Gray And Robert Pincus At Cohearant Audio
Pressed At RTI For Superior Playback Quality
Monk's introspective 6th LP for Columbia contains some of the pianist's most mature works, including a striking re-working of the classic title track, an evocative modal twist on Japanese folk music, and the swinging bop of We See, all lensed through the transformative interplay of his quartet (also featured on Monk's Dream). Impex's deluxe all-analog 2-LP set includes the original six tracks (three of which are presented in their original uncut length on LP for the first time) and the bonus track Green Chimneys. These extensions, beautifully remastered by Kevin Gray and Robert Pincus at Cohearent Audio, give fuller, richer expression to Thelonious Monk's genius as a performer of unparalleled spiritual and technical facility.
This title is not eligible for discount1. Locomotive
2. I Didn't Know About You
3. Straight, No Chaser
4. Japanese Folk Song
5. Between The Devil And The Deep Blue Sea
6. We See
7. Green Chimneys*
*Bonus Track$59.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Temporarily out of stock
Talk Thelonious (Out Of Stock)
Plated & pressed At Quality Record Pressings!
NRBQ founder Terry Adams pays tribute to his favorite pianist/composer on his album, Talk Thelonious. Adams says it's been a lifetime in the making. I finally realized it was something I was supposed to do. The music on Talk Thelonious is physical and cerebral, simple and complex, and full of pleasant surprises. The album features all the members of NRBQ and the Whole Wheat Horns with an added guest. Both Adams arrangements and the performances stay true to the genius of Thelonious Monk while still going to some new and exciting places.
Highlights include a rollicking Hornin In, an understated but breathtaking Monks Mood, a playful, buoyant That Old Man, a pedal steel-driven, two-stepping Straight No Chaser, and Ruby, My Dear, the albums tour de force with a triplet-driven rhythm section and tremolo electric guitar embellished sparingly by horns, strings, chromatic harmonica, flutes and accordion.LP 1
2. Hornin' In
3. In Walked Bud
4. Monk's Mood
5. That Old Man
1. Think Of One
2. Ask Me Now
3. Ugly Beauty
4. Gallop's Gallop
5. Straight, No Chaser
6. Ruby, My Dear$39.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Temporarily out of stock