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The Top (Awaiting Repress)The Top is the fifth studio album by English band The Cure, originally released on April 30th, 1984 by Fiction Records, on Polydor. After recording a psychedelic album Blue Sunshine for the one-off project The Glove during the summer 1983, Robert Smith finished off the year composing and working on two other studio albums at the same time: The Top for the Cure and Hyæna for Siouxsie and the Banshees. Smith was still the official guitarist of Siouxsie and the Banshees while he wrote The Top. The album was eclectic and saw Smith using all kinds of instruments, including violin and flute. Bird Mad Girl is in a Spanish style while The Wailing Wall contains Middle-Eastern undertones.
For The Top, Smith teamed up with another Cure founding member Lol Tolhurst who had given up drums for keyboards, and new member drummer Andy Anderson who had previously performed on the UK top 10 single The Lovecats. Porl Thompson was credited for playing saxophone on Give Me It. All the songs are credited by Smith bar three tracks co-written with Tolhurst, The Caterpillar, Bird Mad Girl and Piggy in the Mirror.1. Shake Dog Shake
2. Birdmad Girl
3. Wailing Wall
4. Give Me It
5. Dressing Up
6. The Caterpillar
7. Piggy In The Mirror
8. The Empty World
10. The Top$21.99180 Gram Audiophile Virgin Vinyl LP - Sealed AWAITING REPRESS Buy Now
G.T.O.: Best Of The Mala RecordingsWa-Waaaaah, wawawa wa-wa-waaaaah! Smell that rubber burn! This is the collection you've been waiting for, roarin' straight outta the showroom to shut down all those parts cars that've spent years masquerading as the real thing! Indeed, this one-of-a-kind, ground-up restoration is the only existing production model lovingly compiled from the original lo-mileage Mala master tapes! It's all here - the hits, essential album cuts, rare singles and more, soundin' better than you ever thought possible! Shipped with deluxe trim as standard: complete group history, introductions by Bucky Wilkin (Ronny) and member Buzz Cason, plus rare photos pulled out of the glove compartment and more! Fueled by a potent blend of mighty musclecar music and superlative 60's pop. GTO is a road-tested delight - Vroooom!!1. G.T.O.
2. California Bound
3. Bucket T (prev. unissued alt. version)
4. Hot Rod City
5. Hey Little Girl
6. Little Rail Job
7. Little Scrambler
8. No Wheels
9. Beach Boy
10. Tiger-A-Go-Go (by Buzz And Bucky)
12. I'll Think Of Summer
13. If I Had My Way
14. Then The Rains Came
15. Goodbye Baby$24.99Vinyl LP - Sealed Buy Now
Jacuzzi BoysMiami FLA's always colorful, never dull, Jacuzzi Boys have created another sonic masterpiece to add to their astonishing catalogue of pop, glam, double-hubble rock!
Jacuzzi Boys lp opener Be My Prism pops and sizzles while tracks like Double Vision, Dust, and Domino Moon excite the night until you see the sunlight. Black Gloves provides a cool bedroom breeze while flowers melt when they hear the goregeous album stand out Heavy Horse. File under: RIGHTEOUS1. Be My Prism
2. Black Gloves
3. Double Vision
6. Over the Zoom
8. Heavy Horse
10. Domino Moon
11. Ultraglide$13.99Vinyl LP - Sealed Buy Now
BabyFreedom often begins from terror, and White Hinterland's third album, Baby, addresses the fear
that comes along with breaking out of established rituals, or leaving a comfortable place, and
striking out into the unknown. Four years after her profile-raising release, Kairos(2010), Casey
Dienel aka White Hinterland has taken the gloves off and knuckled down to produce a deep,
dark, heady mix of songs. After two and a half years of writing and recording material in
Montreal and Portland, OR, Dienel moved back in to her family home in Scituate, MA. There
she forged a new aesthetic, spending five months building her own studio, The Glades, in her
parents' basement - the same space where she practiced piano and vocal lessons as a child.
Determined to helm her new album, Dienel spent months studying production, poring over
YouTube tutorials about Protools, mic'ing techniques and other minutiae.
Armed with this self-taught skill and her new studio, Dienel set forth to subvert the existing
power structure of male producer as svengali and female artist as figurehead (see: Billy
Corgan/Courtney Love, Timbaland/Aaliyah, Phil Spector/The Ronettes). She created her own,
new path on Baby, which showcases her as a singer/songwriter/producer who has only become
bolder and more resolute over the past three-plus years. Calling in her friends as pinch hitters,
Dienel worked acclaimed musicians Sean Carey (Bon Iver, S. Carey), Neal Morgan (Joanna
Newsom, Bill Callahan), and Cole Kamen-Green (BeyoncÉ).
On her first four records, Dienel projected her fears and fantasies onto imaginary characters,
role play, and lush atmospherics. If Kairos was a work of atmosphere, then Baby sits at the
opposite end of that spectrum. Baby is about song craft. It is forceful, rooted in the physicality
of the voice, percussion and piano, and it is about getting straight to the point. Where her earlier
work occasionally showcased a strong Joni Mitchell influence, on new songs like "David" she
finds herself in Fiona Apple territory. Her lifelong love of R&B and gospel also comes to the fore,
these resonant styles complement and contrast the sharp dynamic shifts, booming drums, and
blasts of brass. On Metronome, Baby's centerpiece and most assertive track, she declares, All
day long I'm a boss. She's not asking for someone to serve as a steadying influence, but instead
requiring that it's necessary to keep up with her. It is the past three years of her life distilled into
song: joy, heartbreak, frustration, longing, disappointment, anger, and loss accumulated, poured
out and reborn in this new, unflinching release.1. Wait Until Dark
2. Dry Mind
3. Ring the Bell
6. White Noise
8. No Devotion
9. Sickle No Sword
10. Live With You$17.99Vinyl LP - Sealed Buy Now
Rat CityMemphis based Jack Oblivian (aka Jack Yarber) was a founding member of the garage-bands The Compulsive Gamblers and The Oblivians but he has contributed to a dizzying array of projects over the years, including Andre Williams, Jack Oblivian & the Tennessee Tearjerkers, The Cool Jerks, '68 Comeback, King Louie & His Loose Diamonds, Greg Oblivian & the Tip Tops, Jack Oblivian & The Cigarillos, The Natural Kicks and Tav Falco's Panther Burns.
Jack Yarber began his professional music career in high school, appearing alongside high school friend and future Squirrel Nut Zippers founder Jimbo Mathus in the Corinth, Mississippi, based Johnny Vomit & the Dry Heaves. Yarber played drums in the outfit, which credited him as Johnny Goopa. After moving to Memphis, his encounter with fellow musican Greg Cartwright led to the formation of the Compulsive Gamblers. The Oblivians formed in 1993 as a side project to the Compulsive Gamblers, the members of the Oblivians shared songwriting and each member supplied vocals, guitar work, and percussion on albums, switching instruments during live shows. The Oblivians lasted from 1993 until 1998, at which time Yarber and Cartwright left the band to reform the Compulsive Gamblers. The second incarnation of the Gamblers lasted from 1998 to 2003. The Oblivians returned to the stage in 2009 for a sold-out international tour with the Gories.
His collaborations with the cream of the Memphis music crop guarantee that the players on Rat City fit the bill like the proverbial glove. Jack Oblivian channels the spirit of proto punk as well as blues, country and junkyard rock; his songs evoke haunting, echo-y swamp boogie that will walk you down that dark alley without fear.1. Mad Lover - Part II
2. Put Your Love On Me
4. Milkshake Baby
5. Make Your Mind Up - Part II
6. Against The Mall - Part II$16.99Vinyl LP - Sealed Buy Now
UNIM-FAN-7614xTedeschi Trucks Band
Let Me Get ByLet Me Get By features ten new, original songs that together stand as a testament to the hard work, independent spirit, and full-on commitment of the entire Tedeschi Trucks Band. The album's artwork-a Mongolian golden eagle caught a moment after flying from its handler's glove-and even the album title itself reflect the sense of total dedication that serves as the driving force behind TTB.
Some songs you may have heard on stage in 2015, and some others that were deliberately held back for this occasion. Susan's vocals and Derek's guitar soar, tumble and glide through each song, as powerful as ever, even in the album's most understated moments. --tedeschitrucksband1. Anyhow
2. Laugh About It
3. Don't Know What It Means
4. Right On Time
5. Let Me Get By
6. Just As Strange
7. Crying Over You
9. I Want More
10. In Every Heart$34.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
Life/ThrillsActing as a respite from the celebrated strains of modern Australian
underground music, Lower Plenty manage a deconstruction of folk
music like none other: unsettled, unforgiving, unconcerned with
what came before or what's to follow. Acoustic guitars shuffle in
and out of phase with one another, double-tracked vocals hover
above in careful meter, brushed snare rattles the very frame of their
sound, and then everything shifts again, and again. Comfort's not
long here, though beauty is maintained; melodies start sweet but
turn inward, wane nostalgic and wax without resolve. Lyrics pawn
regret out of the ordinary, drifting in and out of your consciousness
like something heard in passing and reconstituted in a dream. Their
sound demands your attention, to the point where gloved, spectral
hands could very easily jump out of their music and grab you by the
sides of your head.
Life/Thrills is the Melbourne group's third full-length, and their
collective experience (members play in a host of other bands, not
limited to Total Control, The UV Race, Exhaustion, Deaf Wish and
Dick Diver) will leave you thoroughly unprepared for the beautiful
confusion suggested by these ten songs, which seem to have the
power of slowing and even stopping time. Suitable comparisons to
this music are as disparate as early Cat Power, Arab Strap, the
Shrimper roster ca. 1992, the Sun City Girls, and the late '60s/early
'70s output of the Red Crayola, but as with much truly original
music, Lower Plenty resists direct comparison and defies
expectation. Their shambling, discordant presence will relieve you
of any preconceptions - this is one best experienced alone, as the
sun fades into the horizon for the night.1. Waiting on a Tram
4. Took a Trip
5. Concrete Floor
6. On the Beach
8. Go Down
9. You Pushed Me
10. Lots of Lows$13.99Vinyl LP - Sealed Buy Now
Kind Of Blue (Box Set) (Awaiting Repress)Ranked 12/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time
Best-Selling Album in Jazz History Receives the Prestigious Mobile Fidelity Treatment: Mastered from the Original Master Tapes
Mobile Fidelity 180 gram 45RPM 2LP Box Set is Definitive Analog Version and Intended to Be Passed on to Generations
If There's a Stairway to Heaven, This is the Soundtrack: Epochal 1959 Record the Mt. Rushmore of Jazz Sessions
Dream Team of Davis, Adderley, Coltrane, Evans, Kelly, Chambers, Cobb Make History
How does one properly introduce an epochal record? Perhaps by unequivocally stating that it is the best-selling jazz album in history. Or by affirming that, every year, it sells tens of thousands of copies more than five decades after its original release. Theres also the matter of its status as the most-referenced, and arguably, most important, jazz recording of all-time. And the Dream Team lineup of Miles Davis, Cannonball Adderley, John Coltrane, Bill Evans, Wynton Kelly, Paul Chambers, and Jimmy Cobb. Yes, Kind of Blue is utterly inimitable.
Part of Mobile Fidelity's Miles Davis catalog restoration series, the landmark has been given the ultimate white-gloves treatment. Half-speed mastered from the original master tapes, and pressed on 45RPM LPs at RTI, this sumptuous box set of the often-reissued album is a must for even fans that already possess multiple versions. Such is the illuminating transparency, reference dynamics, organic warmth, and instrumental detail exposed by the thoroughly scrupulous mastering process. If there's a stairway to heaven, this is the soundtrack.
In its three-decade-plus history, Mobile Fidelity has never been prouder to have the honor of handling efforts as important as Davis key recordings. Its why the labels engineers took every available measure to transport listeners to the March and April 1959 sessions that parlayed modal jazz into mainstream language. The blueprint for melodic improvisation and vamping, Kind of Blue simplifies tonal organization and chordal progression into an eminently beautiful, introspective tapestry stitched with swinging poetry, mellifluous soloing, compositional lyricism, transcendental harmonies, and group interplay of the highest caliber.
While no one has ever completely identified the magic behind the records allure the otherworldly nature is part of its inherent charm much of the success lies with the band members. Davis intentionally handpicked these musicians to comprise this particular cast, with everyone from former foil Evans to blues maestro Kelly to percussive genius Cobb interacting and reacting with peerless skill.
An audiophile favorite from the day it was issued, Kind of Blue takes on nirvanic sonic proportions via Mobile Fidelitys reissue. The expressive warmth, imaging clarity, frequency extension, and window-on-the-world breadth afforded by this new edition places music lovers right in the studio with the sextet. Close your eyes and, no matter how many times you may have heard it before, your experience will parallel that of the players that recorded these gems. Everyone shares in the excitement of not knowing what will happen and, as the music begins to lie out in front of you, you'll feel as if you've been whisked away to a jazz holy land. Quintessential.
This title is not eligible for discount.1. So What
2. Freddie Freeloader
3. Blue in Green
4. All Blues
5. Flamenco Sketches$59.99180 Gram Audiophile Virgin Vinyl LP 45 RPM Box Set - 2 LPs Sealed AWAITING REPRESS Buy Now
Life Is GoodThe social and political awareness that drives Flogging Molly's music is never more prominent than in their upcoming new release LIFE IS GOOD - a strikingly powerful album and it arrives at a strikingly key time. The sixth studio album by the renowned Celtic-punk rockers now in their 20th year is mature, well crafted, equally polished and almost aggressively topical. It is filled with rousing songs that are timeless in their sentiment, but directly related to today's most pressing concerns: Politics, the economy, unemployment, planned boomtowns gone bust, immigration policies gone awry, and much more.
For singer and lyricist Dave King, it may be the lyrical couplet contained within the surging "Reptiles (We Woke Up") that points toward the album's central theme. "We woke up," sings King, "And we won't fall back asleep."
"The thing is, there are things changing," says King. "That's why I wrote that line, 'Like reptiles, we'll all soon be dust someday.' It's quite scary, especially for somebody who has children these days--bringing up family in this environment of who's welcome and who's not welcome. I'm talking about the cultures in America and the UK--especially American immigration.
Life Is Good thus serves as a wake-up call to those who have simply stood by while far-reaching political decisions were made that had a serious impact on them. And, significantly, it also serves as notice that the time for action is now.
And people are indeed taking action, adds King, which is a crucial point.
"I think especially with things like government--I think we all tend to fall asleep a little bit when it comes to other people that are making decisions for you. I think we should be the ones influencing the government to make these decisions. It's a great thing that we're now taking to the streets again. And it's a positive thing."
Imagery abounds on Life Is Good, and one of the most memorable images might be found in "Adamstown," the saga of a planned community west of Dublin that came to a halt in mid-construction a decade ago when the Irish economy crashed--and left little more than a ghost town in its place.
"It had a huge negative connotation to it," King says of the eerie, unfinished settlement. "But now it's starting to turn again, people are starting to move there, businesses are starting to open, and there is hope."
Thematically, hope and inspiration are a major part of "The Hand of John L. Sullivan," a rollicking track about the legendary "Boston Strong Boy" who was the first ever heavyweight champion of gloved boxing from 1882-1892. Sullivan was a hero to many, and his story has a cultural significance that fits squarely within the story Flogging Molly want to tell with Life Is Good.
"He came from an immigrant family to Boston, and they brought their family over to try to make the best possible world for them," says King. "We live in an environment right now where that doesn't seem to be what should be allowed to happen, you know?
Recorded in Ireland and produced by multiple Grammy Award-winner Joe Chiccarelli (U2, the White Stripes, Beck), Life Is Good is by any measure a formidable return from Flogging Molly, an assessment with which Dave King fully agrees.
"It's been a tough few years for a lot of us in the band. Dennis (Casey, guitarist) lost his dad, I lost my mother, and there have been certain issues, pertaining to sentiment, in a lot of the songs. But we just try to do the best we can. We've always had fun getting together and coming up with the new songs, and it's still that way.
Here we see what's uniquely distinctive about Life is Good, as the gravity and weight of these themes never overshadow the sheer fun and exuberance felt in each song. For the message is delivered and built on the backs of boisterous and barreling live touring.
"We're known for our live shows," says Dave King. Writing albums has always been a vehicle for us -- it's been a means to get people onto the dance floor. And that's kind of the way we've always approached it, no matter what."
"The one thing we are is a positive band," adds Dave King. "When people come and see our shows, it's a celebration--of life, of the good and of the bad. And we have to take the good and the bad for it to be a life."1. There's Nothing Left Pt. 1
2. The Hand Of John L. Sullivan
3. Welcome To Adamstown
4. Reptiles (We Woke Up)
5. The Days We've Yet To Meet
6. Life Is Good
7. The Last Serenade (Sailors And Fishermen)
8. The Guns Of Jericho
9. Crushed (Hostile Nations)
11. The Bride Wore Black
12. Until We Meet Again$21.99Vinyl LP - Sealed Buy Now
Live From Austin, TX (Kris Kristofferson)Kris Kristofferson has an unusual resumÉ. Brownsville, Texas-born, football star and Golden Gloves boxer in college, Rhodes scholar at Oxford, Army captain and chopper pilot, studio janitor, part-time bartender, leading man opposite Barbra Streisand and Jane Fonda. But on his passport, under occupation, it reads songwriter. And that more than anything sums up the essence of Kris Kristofferson. His songs have been recorded by at least 500 other artists, from Willie and Johnny (Cash) to Janis Joplin and Ray Charles, but only that gravelly baritone of his can truly render those songs the way they were meant to be heard, from somewhere deep down in the heart of the man himself. This performance from September 1981 captures Kris in his prime. As he put it at the time, the music's a little closer to the soul because I'm creating and controlling the whole show. Classics like Me and Bobby McGee, Loving Her Was Easier, Why Me?, and Sunday Mornin' Comin' Down take on a whole new meaning coming from the man who wrote and lived the words.
This is the show that almost wasn't. As I was about to introduce Kris, the studio descended into total darkness. Apparently an errant rodent chewed through a major power line and the result was a black-out that lasted all night. The audience was led out by flashlight singing the ACL theme and Kris hung out on the roof with the crew. Fortunately, he came back the next night, and the resulting magic is here to enjoy.
- Terry Lickona (Producer Austin City Limits)LP 1
1. Star Crossed
2. You Show Me Yours (And I'll Show You Mine) / Stranger
3. Here Comes That Rainbow Again
4. Help Me Make It Through The Night
5. Me And Bobby McGee
7. Nobody Loves Anybody Anymore
8. Darby's Castle
9. Casey's Last Ride
10. The Pilgrim
11. For The Good Times
1. Loving Her Was Easier (Than Anything I'll Ever Do Again)
2. Sunday Mornin' Comin' Down
3. Silver Tongued Devil
4. Smile At Me Again
5. Why Me$24.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
The Tigers Have Spoken (Pre-Order)Remastered From The Original Tapes
A live album
recorded over the course of three gigs in the spring of 2004, The Tigers
Have Spoken features Case backed by the Sadies, whose web of deep,
lonesome twang fits Case's repertoire like a glove, with Jon Rauhouse
sitting in on pedal steel with his usual grace and flawless feel, and Kelly
Hogan and Carolyn Mark contributing backing vocals that are little short
of glorious.1. If You Knew
2. Soulful Shade of Blue
4. Train from Kansas City
5. The Tigers Have Spoken
9. Rated X
10. This Little Light
11. Wayfaring Stranger
12. (untitled hidden track)$21.99Vinyl LP - Sealed PRE-ORDER Buy Now
Terrestrial GriefIt's apparent from the get-go: Omotai is a band that know what they want to accomplish and how to knock it out. Following two US tours and supporting slots for The Sword, Yob, Dark Castle, Thrones, Big Business and countless others, Omotai release their follow-up LP Terrestrial Grief.
The songs are brief, frenetic explosions of sound, a deft blend of grindcore, sludge, progressive noise-rock, math metal and whatever else happens to be blowing the band's skirt up at the time, all of it reaching your ears sopping with distortion and twisted to superior volume. Melissa Lonchambon Ryan's omnipresent bass rumble lines up with Sam Waters' relentless guitar riffery like a taloned fist to a shredded glove, while Anthony Vallejo's incomparable percussive bloodlust feels more like machine-gun-equipped battalions bent on sheer attrition. All three members share vocal duties seamlessly, razored shrieks punctuated by Ryan's wispy alto, the lyrics an outlandish cocktail of drunken nihilism and avant-garde sci-fi. A tough band to pigeonhole, granted, but definitely one worth seeking out.
- Daniel Rills1. Vela Hotel
2. This Is For Zora
3. Spanish Constellation
6. Terrestrial Grief
7. Lurching Away
9. Life In The Hive
10. Hollow Innards
11. Yuri$14.99Vinyl LP - Sealed Buy Now
SparksGrammy and Ivor Novello award winning recording artist Imogen Heap will release her highly anticipated 4th solo album Sparks in 2014 through RCA Records.
Sparks has been on a well traveled journey, one which Heap began at 6am 14 March 2011, with a live stream from her home studio in a small village on the outskirts of London, gathering 'sound seeds' from fans and weaving them together to form the first song (Lifeline). Fast forward, 4 continents later, a dozen related projects and 14 tracks, the album cover artwork was then completed by those who pre-ordered the limited edition, super deluxe box set by sending in their footprints! The stunning piece of artwork and packaging, designed and developed over the past three years by Imogen and her creative team with CSV (the company behind Radiohead's special packaging) it is the very first time that Imogen has released such a super deluxe package.
Says Heap, The album began with someone sending in the sound of striking a match for what became Lifeline in March 2011. I then dived into the most immense, intense creative 2 and a half years of my life that took me all over the planet, collaborating on so many projects with so many people and often totally spontaneously. The album is then in some ways for me grounded with fans' footprints bringing the finishing touch for the album art, as so many of them came along for the ride.
While working on Sparks, Heap turned songs into projects and projects into songs, to bring her out of her studio and 'let life in' rather than postponing things until her album was done. This fresh approach found Imogen collaborating with everyone from her fans to unsuspecting passers-by, gardeners to filmmakers, scientists to newspaper journalists and brings us her most diverse and daring body of work to date. From the River Thames (You Know Where To Find Me) to 5000 feet up in the Himalayas (Climb to Sakteng, Cycle Song), from her local community garden (Neglected Space) to 6 weeks in the Chinese metropolis of Hangzhou (Xizi She Knows), Heap was soaking it up, writing, developing, recording and producing. Sounds of a dishwasher door to a Bhutanese dranyen, the voice of a crumbling wall to 700 fans' becoming a spoken word chorus. Some of Heap's projects include her brilliant Mi.Mu Gloves, developed over this album period with an incredible team of scientists, engineers and artists (Me The Machine) and dabbled in generative and reactive music with music app developers RJDJ (Run-Time) connected to a jogging app. From the deeply personal love songs Propeller Seeds and Entanglement to the crowd sourced response to the Sendai earthquake (Lifeline), her trademark honesty runs through the album.LP 1
1. You Know Where to Find Me
3. The Listening Chair
4. Cycle Song
7. Neglected Space
1. Minds Without Fear
2. Me the Machine
4. Climb to Sakteng
5. The Beast
6. Xizi She Knows
7. Propeller Seeds$19.99Vinyl LP - 2 LPs Sealed Buy Now
I Left My Heart In San FranciscoCan there really be a definitive album from a singer whose voice is one of the most immediately recognized and internationally cherished, and whose command of songs is akin to the manner in which an able-bodied masseuse handles delicate muscle tissues? If so, then I Left My Heart In San Francisco is that record, the 1962 effort a turning point for the great Tony Bennett and an all-time pop standard. Winner of two Grammy Awards, the record contains Bennetts signature track as well as eleven other indelible classics.
Half-speed mastered from the original master tapes, Mobile Fidelitys numbered limited-edition 180g LP presents Bennett in the finest sound hes ever enjoyed. Amazingly, this landmark recording has lavished in the vaults over the years and longed for the restoration that meticulous engineering can bring. Gone is the veiled haze that hung over the orchestrations, artificial ceiling that held back the highs, and cloudiness that obscured the entire range of Bennetts vocals. Previously unheard levels of warmth, expressiveness, and detailing are just some of the hallmarks of this terrific audiophile delight.
At the time of the albums sessions, Bennett found himself caught between the need to sing thin uptempo numbers in order to appease the marketplace and the desire to move beyond the jazzier material he tackled in the late 50s. Unwilling to compromise his will to sing ballads and swing, Bennett, along with producer Ernest Altschuler and arranger/pianist Ralph Sharon, found the perfect combination on I Left My Heart In San Francisco, replete with expansive orchestration, period echo, anthemic ballads, and lush pop arrangements that still leave plenty of room for intimacy and delicacy.
Theres little left to say about the timeless title track, amidst the most definitive songs ever recorded. Similarly, the closing The Best Is Yet to Come ranks equally high, with Bennetts rendition coming a full two years before Frank Sinatras version. Its no wonder why The Voice deemed Bennett his favorite singer. The proof is everywhere, whether on the brassy Rules of the Road, big-band bossa nova send-up of Cole Porters Love for Sale, tender Have I Told You Lately?, or the white-gloves treatment of the Broadway tune Once Upon a Time. Bennetts charismatic personality and refined singing ring true throughout, his burnished baritone as clear as spring water.
Now, hear this triumphant performance as if Bennett is singing to you on a private stage. Witness every breath, and experience the thrill of the singer holding a note for what seems like eternity on I'm Always Chasing Rainbows without flinching. Seldom, if ever, has a vocalists singing sounded so effortlessly natural and innate. Mobile Fidelitys 180g LP is simply unmatched in terms of sonics, spaciousness, and sensation.
One of the five-best vocal albums ever made. Order your collectors copy today!
This title is not eligible for discount.1. I Left My Heart in San Francisco
2. Once Upon a Time
3. Tender Is the Night
5. Love for Sale
6. Taking a Chance on Love
7. Candy Kisses
8. Have I Told You Lately?
9. Rules of the Road
10. Marry Young
11. I'm Always Chasing Rainbows
12. The Best Is Yet to Come$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Sketches of SpainRanked 356/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.
Davis Third and Final Pairing With Arranger Gil Evans Yields Watershed Innovations
Sublime Sound: Mobile Fidelity Reissue Corrects the Dry Sound That Plagues Previous Editions
Flamenco-Themed 1960 Set Develops Synergy Between Orchestrations and Melancholic Jazz Phrasings
Urge by Davis to Develop Techniques Possessed by Forbearers Finds Him Expanding Palette, Spinning Webs of Lyrical Sound and Emotion
Kind of Blue, Milestones, Round About Midnight, Four & More, and In a Silent Way Also Available from Mobile Fidelity
Miles Davis and Gil Evans bridged styles and collaborated on high-concept projects a total of three times during their celebrated career. For their final act, they created Sketches of Spain, a peak moment in each luminarys career and a transformative album that weds Spanish themes, lush orchestrations, romantic timbres, and Davis increasingly lyrical methods in a tender ceremony that continues to resonate more than five decades after its original release.
Part of Mobile Fidelitys Miles Davis catalog restoration series, the genre-defying 1960 classic has been given the ultimate white-gloves treatment. Mastered from the original master tapes and pressed at RTI, this exquisite 180g LP significantly expands the soundstage that frames the orchestra and digs deep to eradicate a dryness that many critics have found as an anathema to its overall enjoyment. Here, at last, is the full-figured perspective long deserved by the woodwinds, strings, and percussion, all of which come alive with previously unheard definition and detail.
Indeed, in its three-decade-plus history, Mobile Fidelity has never been prouder to have the honor of handling efforts as important as Davis key recordings. Its why the labels engineers have taken every available measure to insert listeners into the space occupied by Davis, bassist Paul Chambers, drummer Jimmy Cobb, percussionist Elvin Jones, and the 18-piece orchestra. With both Evans and Davis attracted to the blues undercurrents permanently entrenched in the Spanish flamenco strains, listeners can finally wholly detect the myriad microdynamic tonalities, brooding ostinato devices, and minor pedal points that stamp the compositions with divine sensibility and goffered effect.
Multi-note motifs, brief improvisational solos, fanfare sweeps, and contrapuntal exchanges inform the flamenco-spiced pieces, but so do unconventionally voiced instruments that come into full relief on this reissue. Davis Harmon-muted trumpet is abetted by an assortment of bassoons and French horns that create pleasing contrasts and sounds (pp, mf, ppp) that get to the heart of Sketches of Spain: splashes of color. Seldom, if ever, did Davis ever so expressively and liberally paint with color. And in Evans, he has a likewise-minded partner to help draw out variegated shades, adamantine layers, and striated distinctions.
Whether its the somber mood piece of the standout Concierto de Aranjuez (Adagio), renowned forDavis flugelhorn performance, or the folktale-based Solea, Mobile Fidelitys enhanced Sketches of Spain transfixes with playing, ideas, and innovations that remain exclusive to this incomparable record.
This title is not eligible for discount.1. Concierto de Aranjuez (Adagio)
2. Will O the Wisp
3. The Pan Piper
5. Solea$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Forever Changes (45 RPM) (Awaiting Repress)Ranked 40/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.
Mastered from the Original Master Tapes for Unsurpassed Analog Sound: Mobile Fidelity's 180g 45RPM 2LP Set Opens Up Scale of Lush Orchestral Architecture and Elegant Baroque Textures
Any discussion about the finest psychedelic rock record ever recorded is incomplete if it doesn't grant consideration to Love's Forever Changes. Ranked by Rolling Stone as the 40th greatest album ever made, and named by Mojo the second-greatest psychedelic set in history, the effort is an internationally recognized seminal work of art. Transcending language and convention, its magnitude and magnificence need to be heard again and again. For here is an effort whose mind-boggling acoustic complexities and kaleidoscopic nuances are tailored for high-fidelity playback.
Mastered from the original master tapes, Mobile Fidelity's numbered limited-edition 180g 45RPM 2LP set affords the masterpiece the white-gloves treatment and golden-hued analog sonics it has always deserved. Nearly unlimited headroom, vast instrumental separation, transparent clarity, artifact-free atmospherics, and faithful balances appear out of jet-black backgrounds. The music appears to float on clouds, with the woody tones emanated by the acoustic guitars and brassy signatures of horns emerging with lifelike detail. Turn it up as loud as you want; the sole limitation will be your system's potential.
Commercially ignored upon release in November 1967, Forever Changes confronts the alienation, paranoia, violence, and strife that would soon plague the countercultural movement and send the Summer of Love into a tailspin. Apart from its lyrical themes and prescient malaise, the record's enduring nature equally owes to intertwined arrangements sewn together with Latin guitar-picked lines, finessed folk harmonies, mariachi-inspired horn charts, and subdued strings.
The seemingly opposing combination - ominous, dark reflections situated amidst lush, light melodic beds - affords Forever Changes a distinguished tension of claustrophobia and openness, dourness and ecstasy, ugliness and elegance enjoyed by no other record in the rock canon. Much of the contrast owes to leader Arthur Lee's mental state and pertinent observations. Lee, whose suppressed romanticism often surfaces even amidst the blackest shadows and most cynical moments, believed he would soon die, and hence channeled everything from lasting hopes to acid-addled decay to the chilling testimony of a Vietnam veteran in his narratives.
Alternatively sad and beautiful, the album-opening and flamenco-inspired Alone Again Or establishes the mood for what follows. Vocals overlap and soar; tempos rise and fall; surrealism trades places with reality.Forever Changes thrives both because of and in spite of a surfeit of labyrinthine chords and difficult notes that never repeat. Its ambitious construction almost forced the already fractured band to cede responsibilities to session musicians, which appear on two tracks. The quintet's resolve to not only complete the album, but to do so with such poignancy and curiosity, further enhances Forever Changes' standing.
No wonder that, in the twilight of his troubled career, Lee performed the record in its entirely during concerts met with overwhelming critical acclaim. It was, and will always be, a personal manifesto of timeless relevance and appeal.
This title is not eligible for discount.1. Alone Again Or
2. A House Is Not A Motel
4. The Daily Planet
5. Old Man
6. The Red Telephone
7. Maybe The People Would Be The Times Or Between Clark And Hilldale
8. Live And Let Live
9. The Good Humor Man He Sees Everything Like This
10. Bummer In The Summer
11. You Set The Scene$49.99180 Gram Audiophile Virgin Vinyl LP 45 RPM - 2 LPs Sealed AWAITING REPRESS Buy Now
Hatful of Hollow (Out Of Stock)Several months after releasing their first album, The Smiths issued this collection of singles and rarities, several of which are BBC versions of songs from their debut. The Smiths treated singles as individual entities, not just ways to promote an album, and therefore many of there finest songs were never issued on their studio albums. As if this wasn't enough, this compilation contains the first appearance of what may be the band's finest moment. "How Soon Is Now" encapsulates everything good about The Smiths; Morrissey's mocking lyrics, Marr's stunning vibrato guitar and a rhythm section you could set your watch to.
Contrived by Johnny Marr, The Smiths evolved when Marr unearthed Morrissey and insisted upon a collaboration. The idea was to produce songs which were always instantaneous and listenable whilst also provoking deep thought; emeshing Morrissey's words with Marr's music in a sound which, above all, would stand apart without being inaccessible or esoteric. The guitar-based songs would blend melody without havoc, as the words - born out of absolute physical necessity - would tug at the straps of cultural straightjackets.
Christened as an antidote to a prevalent idea that modern groups would near a far-reaching, multi-syllabic name to authorise their artistry, The Smiths were completed with Andy Rourke (the bass guitar) and Mike Joyce (the drums). Joyce had served time with a clump of healthily depraved groups, whilst the other three members were without any serious musical involvement. The Smiths first surfaced in September '82, and the group determined that all their moves be surefooted and worthwhile. As a live group, The Smiths believed that it was possible to replenish appetites of both the soul and the pelvis simultaneously. They were urban, but never bleak; there was a humour in tragedy, solace in unity. The voice was the collective rage of all suppressed hysterics: Morrissey popularised the creased brow.
Always Manchester-based, The Smiths contended that one has to live somewhere... and soon rewrote the history of their city. Following misdirected collisions with major record companies, the group were adopted by Rough Trade, and the first result was the single Hand in Glove / Handsome Devil. The sound attacked the depersonalised sterility of their contemporaries whose clinical synthesized rhythms, The Smiths believed, left audiences feeling non-human and petrified of emotion. Lyrically, the fundamental idea was to use phraseology which had simply never been used before.
The Smiths took firm control of any promotional images which bore their name, and naturally their artwork would always counteract accepted ingredients of popular music, without being hostile. The Smiths maintained the integrity and ethos of their manifesto across four studio albums and a live album that was issued after their split. Their legacy matches their original ambition - to produce songs which were always instantaneous and listenable whilst also provoking deep thought. And there you are.1. William, It Was Really Nothing
2. What Difference Does It Make?
3. These Things Take Time
4. This Charming Man
5. How Soon Is Now?
6. Handsome Devil
7. Hand in Glove
8. Still Ill
9. Heaven Knows I'm Miserable Now
10. This Night Has Opened My Eyes
11. You've Got Everything Now
12. Accept Yourself
13. Girl Afraid
14. Back to the Old House
15. Reel Around the Fountain
16. Please, Please, Please, Let Me Get What I Want$24.99180 Gram Audiophile Virgin Vinyl LP - Sealed Temporarily out of stock
The Smiths (Out Of Stock)Ranked 481/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.
With their eponymous 1984 debut, The Smiths began their tenure as the definitive British indie rock band as well as the torchbearers of a new musical era. Johnny Marr's inventive songwriting and Morrissey's unconventional croon made for an evocative sound that was both original and innovative. Songs about homosexuality (Hand in Glove) and child molestation and murder (Suffer Little Children) enshrouded the band in controversy and cultlike devotion, both of which would only grow from here.1. Reel Around the Fountain
2. You've Got Everything Now
3. Miserable Lie
4. Pretty Girls Make Graves
5. The Hand That Rocks the Cradle
6. Still Ill
7. Hand in Glove
8. What Difference Does It Make?
9. I Don't Owe You Anything
10. Suffer Little Children$24.99180 Gram Audiophile Virgin Vinyl LP - Sealed Temporarily out of stock