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Tony Toni Tone'
UNIM-MOT-9049xTony Toni Tone
Sons Of SoulSons of Soul is the 1993 third studio album by American R&B group Tony! Toni! TonÉ! The band originally recorded for the album at several studios in California, including Westlake Recording Studios and Paradise Recording Studio. When they became jaded with the various people frequenting those studios, Tony! Toni! TonÉ! moved their sessions to Caribbean Sound Basin in Trinidad, where they ultimately wrote and recorded most of the album.
Sons of Soul was produced entirely by the group, who worked with various session musicians and utilized both vintage and contemporary recording equipment. They intended to pay homage to their musical influences-classic soul artists of the 1960s and 1970s-and incorporated live instrumentation, funk, and hip-hop elements such as samples and scratches. Lead singer and bassist Raphael Wiggins handled most of the songwriting, which featured quirky, flirtatious lyrics.
Sons of Soul was originally released by Wing Records and Mercury Records on June 22, 1993, to widespread critical acclaim. The record's commercial success included a 43-week chart run on the Billboard 200 and a double platinum certification from the Recording Industry Association of America (RIAA), for sales of at least two million copies. With its success, Tony! Toni! TonÉ! became one of the most popular R&B acts during the genre's commercial resurgence in the early 1990s. However, after an ill-fated tour, the band went on hiatus and pursued individual projects before reuniting in 1995.1. If I Had No Loot
2. What Goes Around Comes Around
3. My Ex-Girlfriend
4. Tell Me Mama
6. Slow Wine
7. (Lay Your Head On My) Pillow
8. I Couldn't Keep It To Myself
9. Gangsta Groove
10. Tonyies! In The Wrong Key
11. Dance Hall
12. Times Square 2:30 A.M. (Segue)
15. Castleers$24.99Vinyl LP - 2 LPs Sealed Buy Now
Can't Fight The Feeling
Limited Edition Pressing
Features Instrumental B-Side
Presented by Soulside Productions
Mississippi born, Los Angeles-based singer and
songwriter Maurice Smith has a feel for classic soul,
and he fed that love through his work with artists like Sy
Smith, Tony Toni Tone, Seal and Beyonce.
While Maurice claims artists like Bill Withers and Marvin
Gaye as influences, one can hear an awful lot of Curtis
Mayfield meets James Brown in his music. And that goes
for his brand new single, the hot, horn-filled "Can't Fight
The Feeling." If you are a lover of Southern & Northern
Soul with a Chicago Funk twist, you're going to love this
cut. " I really think Maurice Nailed this record and gives
a great funky soul punch that can be heard on the dance
floors nationwide," says by Marvyn Mack. President of
Soulside Productions.1. Can't Fight the Feeling
2. Can't Fight the Feeling$8.997 Vinyl Single - Sealed Buy Now
Please email our audio advisor or call 1-877-929-8729 with any questions or concerns regarding your equipment purchase.
Like the first tone of a scale, the Tonik interconnect provides the foundation of truly accurate performance and value. Through the use of Kimber Kable's legendary tri-braid field geometry, VariStrand™, Ultrapure copper conductors and our special recipe PE dielectric, the Tonik allows music to flow with power, smoothness and harmonic richness. Tonik single-ended uses our Ultratike™ RCA type connector. Tonik balanced features studio grade XLR connectors with silver plated contacts.$74.00Tonik Interconnect - Multiple Options Available Buy Now
Cinema, Circus & Spaghetti17 years strong, Sexmob are a venerable New York City music institution. The band's four founding members-Steven Bernstein, Briggan Krauss, Tony Scherr and Kenny Wollesen-defy genre, instead replacing it with their own inimitable musical language. It's fitting then that for their first new album in over seven years, Sexmob would choose to re-imagine the music of Nino Rota. It was Rota's imaginative compositions that set the tone for the surrealist films of the legendary director Federico Fellini. The Italian filmmaker once said, My films, like my life, are summed up in circus, spaghetti, sex, and cinema. Thus accordingly Sexmob have dubbed their tribute, Cinema, Circus & Spaghetti. The 13-track collection is a welcome return to form by these giants of the NYC downtown scene as they dive headlong into Rota's iconic Fellini film melodies. The quartet fearlessly blows apart musical parameters whether steering the arrangements through gutbucket swing or igniting them with New Orleans brass band second-line fervor; dubbing them out into ether or blasting them with punk jazz abandon. These classic themes are the perfect foil for Sexmob's improvisational psychedelia, old world beauty and hypnotic groove.1. Amacord
2. Il Teatrino Delle Suore (Juliet of the Spirits)
3. La Strada
4. Volpina (Amacord)
5. Paparazzo (La Dolce Vita)
6. Toby Dammit's Last Act (Spirits of the Dead)
7. La Dolce Vita
8. Zamparo (La Strada)
9. Nadia Gray (La Dolce Vita)
10. The Grand Hotel (Amacord)
11. Gelsomina (La Strada)
12. I Vitelloni$16.99Vinyl LP - Sealed Buy Now
Modern NatureTHE CHARLATANS:- Tim Burgess, Mark Collins, Martin Blunt and Tony Rogers - release their twelfth album, MODERN NATURE on BMG Chrysalis. The album comes after a brutally difficult year for the band following the death from brain cancer of their old friend and drummer Jon Brookes last year. Rogers says that they were determined to carry on, to honour Brookes' memory - Jon was adamant that there was going to be another Charlatans record, and you have to put that into your own thoughts. The band went into their studio Big Mushroom in January 2014 and as Tim recalls We were aching for the summer when we wrote it. It was freezing and we were trying to write songs that made us happy. " The result is Modern Nature. Featuring eleven new tracks, including the recent limited edition 7" single and 6 Music A List record 'Talking In Tones', the album was produced by The Charlatans and Jim Spencer and mixed by Craig Silvey (Arcade Fire, Portishead). The album features a cacophony of contributors from their three temporary drummers - Pete Salisbury of The Verve, Stephen Morris of New Order and Gabriel Gurnsey of DFA's avant-disco group Factory Floor, to Kate Bushs' backing singers Melanie Marshall and Sandra Marvin, strings by Sean O' Hagan and brass courtesy of Dexys' Big Jim Paterson. Q have already described the album as "one the finest of their career."1. Talking In Tones
2. So Oh
3. Come Home Baby
4. Keep Enough
5. Tall Grass
7. Let The Good Times Be Never Ending
8. Need You To Know
9. Lean In
10. Trouble Understanding
11. Lot To Say$26.99Vinyl LP + CD - Sealed Buy Now
DreamcarIn the summer of 2014, No Doubt s Tony Kanal [bass], Tom Dumont [guitar], and Adrian Young [drums] and singer Davey Havok [AFI, Blakq Audio] began writing and demoing music together. Without telling a soul outside of their significant others, the four musicians clandestinely moved into a cramped downtown Los Angeles rehearsal spot and revved up what would become DREAMCAR. The result of this collaboration is their self-titled debut album, DREAMCAR, produced by Tim Pagnotta [Neon Trees], with whom the band found a kindred spirit.
The band's name actually reflects their ambitions. DREAMCAR speaks to a nostalgia, but as much as it speaks to the past, it also speaks to the present and the future, singer Davey Havok says. It mirrors hopes, aspirations, and attaining the unattainable. I would hope the songs do the same thing. Rife with shimmering guitar tones, percussive slap bass, bombastic drums, and a neon-lit dancefloor dreaminess, DREAMCAR gleefully nods to the decade of Boy George and Back to the Future through a kaleidoscope of wisdom earned from three decades creating and connecting with fans worldwide.
The first single Kill For Candy instantly enchants with its upbeat energy and sweet, saccharine chant punctuated by a twisting and turning guitar and driving rhythms. The album swings between the Frankie Goes To Hollywood-style risquÉ spoken narrative of On The Charts to the delicate longing of the synth-washed Slip On The Moon where Havok pleads, Just look for me, I will look for you. Born To Lie builds from a breathy verse into an expansive refrain, while the opener After I Confess sees his hypnotic and haunting vocal soar over airy and open soundscapes. Ultimately, it's that combination of delectable and dangerous which will leave listeners everywhere satisfied. This is a big moment for us, Kanal leaves off. It's a new beginning. We can't wait to perform the songs live.1. After I Confess
2. Kill For Candy
3. Born to Lie
4. On The Charts
5. All Of the Dead Girls
6. Ever Lonely
7. The Assailant
8. The Preferred
9. Slip on the Moon
10. Don't Let Me Love
11. Do Nothing
12. Show Me Mercy$24.99Vinyl LP - Sealed Buy Now
Born With StripesSan Diegos The Donkeys strike a balance of smiling, surfer mysticism and winking, slacker mystique. They reanimate the charming hallmarks of sunshine-rock past without being sepia-toned retro or bubblegum-cloying. There is an innate playfulness and honesty to the music they make. Its a dynamic that has made public champions of keen-eared musicians like John Darnielle (Mountain Goats) and Craig Finn (The Hold Steady). It was Darnielle who claimed The Donkeys were benevolent keepers of what he called The Antidote to an unnamed sickness plaguing indie rock.
Born With Stripes is an altogether less twangy affair than the bands 2008 Dead Oceans debut, Living On The Other Side. The nods to Grateful Dead and Buffalo Springfield are better balanced with echoes of other Cali arists, notably Pavement and Beck. The country-rock flairs are often overtaken by powerpop hooks. What some might call a lazy melody is really just a melody on its own clock. Nice and relaxed.
Ceiling Tan, feels like a lost weekend in Tijuana with Mutations and Crooked Rain, and may well be the bands mission statement. I Like The Way You Walk also cops a 90s alt-rock lick, but ditches any esoterica for earnest yearnings and sweet nothings.
What makes the Donkeys so potent is not their ability to rehash the past, its that their records embody a pureness, an authenticity that is unmatched in contemporary music. We were not the only ones to feel this undeniable connection. The Donkeys had a brush with Hollywood when Lost producer Eddy Kitsis heard the band, and cast them as Geronimo Jackson, a band he had written into the Lost story as an obscure San Francisco band from the 70s, who were peers of the Grateful Dead. Kitsis heard the Donkeys and felt they so embodied this fictitious band, that he actually had the band re-record their song Excelsior Lady as Dharma Lady and weaved it into the TV show.
The album was mixed by Pernice Brothers Thom Monahan, whose involvement not only gives us the crispest, warmest Donkeys recordings to date, it also serves to remind us of the bands loose connections to an array of psych-dappled kindred spirits: Vetiver, Papercuts, BrightblackMorning Light, Devendra Banhart. Monahan was not the only outsider the band collaborated with on Born With Stripes. The playful album artwork was created by California illustrator and cartoonist Tony Millionaire, best known for his comics Maakies and Sock Monkey, and as the creator of the Adult Swim show Drinky Crow.1. Don't Know Who We Are
2. I Like The Way You Walk
4. Born With Stripes
6. West Coast Raga
7. New Blue Stockings
8. Ceiling Tan
10. Bullfrog Blues
12. East Coast Raga$16.99Vinyl LP - Sealed Buy Now
Bus StopNo rest for the Hollies in 1966! Hot on the heels of Beat Group!, Bus Stop rolled into U.S. record shops, right on schedule. Written by Gouldman, the title track became the bands first Top Ten U.S. single, peaking at #5, and featuring their bell-tone harmonies to perfection. In addition to the sparkling single, the album is packed with their renditions of contemporary hits like Simon and Garfunkel's I Am A Rock, Smokey Robinson and the Miracles' Mickey's Monkey' and the Fred Neil/Roy Orbison chestnut Candy Man. Self-penned songs We're Through, Don't Run and Hide and You Know He Did also shine brightly and prove there was no danger of covering up the band members writing skills. With this disc, the Hollies put the rock world on notice that they were the British Invasions most beat-filled battalion!
Out of print for decades, this classic album is FINALLY available again. Sourced from the aurally awesome original U.K. mono master, this LP is pressed on pristine 180-gram vinyl per your turntables request. Get in the queue!
Perhaps the most undervalued band of the original British Invasion, The Hollies hits are well known in the U.S. but their early albums are almost impossible to find! Taking their name from Buddy Holly and modeling their harmonies on the Everly Brothers, the Hollies gathered these American musical ingredients and whipped them into a wholly-UKnique concoction. Forging their sound to the east of their Liverpool brothers-in-beat, this Manchester quintet had it all: the soaring vocals of Allan Clarke, Graham Nash and Tony Hicks; Hicks cascading, arpeggio-laden licks on guitar and a hard-hitting rhythm section driven by drummer extraordinaire Bobby Elliot. On top of that, their keen ears for top quality songs, written by the premier songsmiths of the day like teenage wunderkind Graham Gouldman, Chip Wild Thing Taylor and the stellar in-house writing team of Clarke/Hicks/Nash, ensured that their albums were extraordinary from start to finish. In short, they were a band that exuded greatness on all fronts. Now, as that greatness has been acknowledged by their induction into the Rock and Roll Hall of Fame, Sundazed Music is proud to present meticulously restored vinyl editions of the rare U.S. mono versions of the Hollies third and fourth Imperial label albums, from 1966.1. Bus Stop
2. Candy Man
3. Baby Thats All
4. I Am A Rock
5. Sweet Little Sixteen
6. Were Through
7. Dont Run And Hide
8. Oriental Sadness
9. Mickeys Monkey
10. Little Lover
11. You Know He Did
12. Whatcha Gonna Do Bout It$24.99180 Gram Audiophile Virgin Vinyl Mono LP - Sealed Buy Now
Love SwingsNumbered Limited Edition
1961 Album of Standards Established Darin As A Sophisticated Singer
Concept Effort Divided Into Halves That Explore the Emotional Gamut of Romance: One Side Upbeat, the Other Heartbreaking
Mastered on Mobile Fidelitys World-Renowned Mastering System and Pressed at RTI (Best Record Plant in America): Darins Voice, Torrie Zitos Orchestral Arrangements Set Up Shop In Your Listening Room
Bobby Darin didnt want to be simply known as the singer that scored the novelty hit Splish Splash. Determined to be recognized as a top-tier vocalist on par with the likes of Frank Sinatra and Tony Bennett, the Bronx native set out to put an authoritative stamp on pop standards. And did just that with Love Swings. Divided into two conceptual halves, the 1961 masterpiece is the singers defining statement, a splendidly effective and smartly performed record that addresses the wild emotional fluctuations associated with romance and finds Darin nailing every note.
Mastered on Mobile Fidelitys world-renowned mastering system and pressed at RTI (the best record plant in North America), Silver Label numbered limited edition LP presents Darins buoyant album with all the brassiness, boldness, and lushness any fan of vocal pop music would ever want. His voice is transparent and immediate, the diversified instrumental arrangements are placed in sharp relief, the songs replete with airiness, warmth, and the sough-after breath of life. The sound is so good that this somewhat-forgotten LP should now finally gain the recognition its long deserved.
Yes, love swings, but like a pendulum: back and forth, state the records liner notes, explaining the concept behind a set that is split into two thematically connected halves. On the first side, Darin delves into the giddy feelings and incredible happiness associated with romances first bloom. Infatuation, devotion, and gaiety take hold, Darin conveying every ounce of joy and pleasure tied to gliding, uptempo staples such as Rodgers and Harts I Didnt Know What Time It Was and the lounge-bound sway of Long Ago (And Far Away). Darins voice, and his ebullient support band (conducted by Torrie Zito), epitomize glee, delight, and bliss.
On the flip side, Darin, ever the realist and proving himself capable of sophisticated material, probes loves disillusions and heartache with incredible panache. The pace slows, the mood darkens, and the lights dim. Zitos orchestrations embrace denser, more poignant tones, and Darin delivers sad, aching tunes like In Love In Vain and Something to Remember You By with stunning realism and haunting impact. Its as cohesive of a vocal performance as youll hear from the era, a journey that takes you from the highs to the lows, and everything in between.
Yes, the human voice is the most difficult element to accurately reproduce on record. Yet Mobile Fidelitys Silver Label LP does wonders with this Darin classic, opening up the highs, clearing out a previously foggy midrange, and, as importantly, restoring to print in analog a vocal tour de force. Unavailable on vinyl for eons, Love Swings demands to be heard on this sumptuously remastered LP, which runs circles around its digital brethren.
About Silver Series: New from Mobile Fidelity Sound Lab, the MoFi Silver Label Vinyl Series will feature an eclectic mix of recordings. This series is mastered and cut on the famous Mobile Fidelity Sound Lab state-of-the-art Tim de Paravacini-designed mastering system. Vinyl will be pressed at RTI on audiophile-grade standard vinyl and will be numbered limited-editions. Future releases will continue to stretch stylistic boundaries, as the MoFi Silver Label continues to explore music from many different genres. Expand your musical horizons with the Silver Label!
This title is not eligible for discount.1. Long Ago and Far Away
2. I Didn't Know What Time It Was
3. How About You
4. The More I See You
5. It Had To Be You
6. No Greater Love
7. In Love Vain
8. Just Friends
9. Something To Remember You By
11. Spring Is Here
12. I Guess I'll Have To Change My Plan$24.99Vinyl LP - Sealed Buy Now
My Funny ValentineNumbered, Limited Edition
Historic Recording Captures Elegant Ballads Performed at February 1964 Concert
Audiophile Reference-Standard Sound: Album Boasts Lifelike Tones, Balances, Images, and Ambience
Davis Taps Divine Inspiration: Compositions Marked by Deep Emotions, Spontaneous Brilliance, Sensitive Beauty, and Sublime Poignancy
Miles Davis' My Funny Valentine marks several historic turning points. For Davis, the live album represents the final time on record he'd perform standards rather than original compositions. It also stands as one of the last documents made by the same band that created Seven Steps of Heaven. As such, the work teems with bebop melodicism yet steers clear of Davis' oft-controversial avant-garde leanings. Most significantly, however, the set captures the ballads performed at a benefit concert from New York's then-new Philharmonic Hall just months after President Kennedy's assassination. Tapping into a seemingly divine inspiration, Davis never sounded so elegant or poetic.
Boasting gorgeous sound and pressed on 180g LP at RTI, Mobile Fidelity's choice reissue of the trumpeter's scintillating work bookends the label's release of Four & More from the same show and features similar enhancements relating to depth, presence, dynamics, clarity, and ambience. Presented in reference-standard fidelity, the record boasts balances, tonalities, and airiness that duplicate the experience of witnessing live jazz in an acoustically ideal hall. The images of each individual instrument, the decay of the notes, the inner reaches of the piano, and symmetry of the horns-all are rendered with palpable detail. This is the very definition of reach-out-and-touch-it realism.
Staged as a benefit to support voter registration in the South, the February concert came amidst the height of the Civil Rights movement, a cause dear to Davis' heart. Yet unforeseen circumstances raised the stakes. Having professed his admiration for Kennedy years prior, Davis appears to approach the compositions on My Funny Valentine (and, in particular, the title track) as homage to the fallen leader, a collective soliloquy comprised of pieces shot through with deeply emotional passages, spontaneous brilliance, sensitive beauty, and sublime poignancy. Elegiac moods permeate the performances; Davis and his Harmon mute paint with intricate brushstrokes.
Pianist Herbie Hancock, bassist Ron Carter, and drummer Tony Williams are their leader's equal, and would continue with Davis until later in the decade, helping form what's now known as the "second great quintet." But the secret weapon on both My Funny Valentine and its sister Four & More arrives in the form of tenor saxophonist George Coleman, whom jazz experts Brian Morton and Richard Cook deem "one of the unsung heroes of modern jazz." His lines are subtle and sophisticated, straight ahead but capable of unanticipated direction, and here, he comes into his own. As does the entire band.
Indeed, the combination of introspective chemistry, lyrical reach, and telepathic communication demonstrated by the quintet on My Funny Valentine arguably exceeds that on any of Davis' myriad other live efforts. One listen confirms something special transpiring, and on this Mobile Fidelity reissue, those properties are rendered in a manner that's as transparent to the source as humanly possible. Do not miss this.
This title is not eligible for discount.1. My Funny Valentine
2. All of You
3. Stella By Starlight
4. All Blues
5. I Thought About You$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Miles In The SkyNumbered, Limited Edition
1968 Record Marks First Time Davis Uses Electric Piano, Bass, and Guitar: Second Half is Acoustic
Mastered from the Original Master Tapes: Seminal Proto-Fusion Effort Explodes With Color and Vibrancy
Final Effort With Davis' Classic Second Quintet Finds the Leader Looking to the Past and the Future
Miles in the Sky reflects the intriguing curiosities and rainbow possibilities suggested by the album cover. Miles Davis' fifth and final album with his classic second quintet is kaleidoscopic in sound, forward-looking in structure, and contextually grounded in approach. As the legendary leader's first venture into what would become fusion, it's historical for containing the premier appearances of electric piano, bass, and guitar on a Davis effort. Laden with rich textures and style-bridging elements, Mobile Fidelity's 45RPM pressing brings the aural magic into focus.
Mastered from the original master tapes and pressed on 180g vinyl at RTI, this collectable audiophile version of Miles in the Sky joins the ranks of eleven other essential Davis sets given supreme sonic and packaging treatment by Mobile Fidelity. Afforded the benefits provided by the record's wider grooves, Davis' burnished trumpet resounds with utmost clarity, and the soundstage seems to extend for days. Reference-caliber separation and imaging give each musician their own space, allowing every passage to come across without any sonic limitations.
The album's wide-open soundscapes soar. As do the fluid contributions of Davis' mates. Tony Williams' percussion, central to every composition here, transpires before your eyes. Herbie Hancock's piano hovers and fades with sublime purity. And George Benson, who sits on Paraphernalia, blows the equivalent of smoke rings with his bluesy guitar, which here takes on brilliant tonality and definition. The acoustic material that occupies the second half of the record is equally transparent and full-bodied.
Granted enhanced production and a greater field of audible information, Miles in the Sky can finally be perceived as belonging to the same upper echelon as Davis' ubiquitously acclaimed Nefertiti and Filles de Kilimanjaro--the albums that precede and follow, respectively, this watershed title. Commonly branded a transitional work, Miles in the Sky showcases Davis already at ease with electric instruments and eager to venture into uncharted territories. Doubling as organized jams and bridges between jazz and rock, both the rhythmically challenging Stuff and frisky Paraphernalia glancing toward the future while keeping solid footing in the past.
Similarly, so do Country Boy and Black Comedy. In his original review for jazz authority DownBeat, Larry Kart observes: Davis takes material from his earlier days and darkens its emotional tone. His opening phrase on 'Country Boy' recalls a fragment from his Summertime solo on the Porgy and Bess album, but here it is delivered with a vehemence that rejects the poignancy of the earlier performance. Even on 'Black Comedy,' his most straight ahead solo here, the orderly pattern of the past is displaced and fragmented.
Flavored with humor, bossa nova, country, and even ballroom phrases, the compositions on Miles in the Sky explodes with creativity, purpose, and color.
This title is not eligible for discount.1. Stuff
3. Black Comedy
4. Country Son$49.99180 Gram Audiophile Virgin Vinyl LP 45RPM - 2 LPs Sealed Buy Now
Is That All There Is?Peggy Lee was 49 years old when Capitol Records released Is That All There Is? in 1969. It was her 42nd album, and it had been over 10 years since the singer born Norma Deloris Egstrom, in 1920, had last graced the US Top 40 with her presence; her sultry take on Little Willie John's 'Fever' scaled the upper echelons of the American hit parade in 1958.
But Lee, a country girl with Scandinavian ancestry who hailed from the plains of North Dakota, had more in the tank. The haunting and idiosyncratic 'Is That All There Is?' (inspired by a short story called Disillusionment from German writer Thomas Mann) captured the public imagination when it was released as a single in the States and started climbing the pop charts, where it peaked at No.11. Such was the song's impact that it won Lee a Grammy Award in the category of Best Contemporary Female Vocal Performance in 1970. Its success was a surprise to Capitol, who thought the song was too odd and esoteric to be a hit.
The song opens Lee's album of the same name and, even today, remains a profoundly potent piece of music. It has the ability to simultaneously provoke conflicting emotions, eliciting both laughter and pathos. Combining a spoken narrative with a plaintive refrain sung over a jaunty rhythm, it evokes the Berlin cabaret scene of the 1920s and the spirit of German composer Kurt Weill. The song was penned and produced by noted hitmakers Jerry Leiber and Mike Stoller, and it's unlike anything else they wrote: a philosophical rumination that questions the meaning of things.
Arranged and conducted by a young Randy Newman, 'Is That All There Is?' is beautifully delivered by Lee in plangent tones, mixing a droll, ironic humour with a poignant reflection on the absurdity and, indeed, disappointments of life. Despite the song's somber mood and theme of disillusionment, the chorus is gloriously carefree: "Let's keep dancing/Let's break out the booze and have a ball," Lee sings, and she sounds like she means it. (Understandably, the song - which was originally written for, and turned down by, Marlene Dietrich - has inspired many covers over the years, including notable versions by Tony Bennett and PJ Harvey with John Parish.)
Though it was the undoubted cornerstone of Lee's 1969 album, there was much more to enjoy besides the title song. Another Leiber and Stoller composition, 'Whistle For Happiness', is stylistically similar to 'Is That All There Is?' while their 'I'm A Woman' is a swaggering, sassy blues that was first cut by Lee on her 1963 album of the same name and was a minor US chart hit at the time.
Peggy Lee Is Love Story Single Label - 300Elsewhere, Lee deconstructs the Al Jolson-associated 'Me And My Shadow' and imbues it with a languorous sensuality, while the Nancy and Frank Sinatra duet 'Something Stupid' is reconfigured into a breezy bossa nova. Another highlight is her take on Randy Newman's 'Love Story (You And Me)', the opening cut on the singer-songwriter's 1968 debut album for Reprise, which is arranged and conducted by the composer himself. Newman's 'Johnny (Linda)' is also included and has an arrangement that recalls the vaudevillian quirkiness of the album's title track.
Lee also embraced the rock music zeitgeist by tackling The Beatles' George Harrison-penned 'Something' and Neil Diamond's gospel-flavoured 'Brother Love's Travelling Salvation Show', though she does them in her own inimitable way.
Is That All There Is? dared to be different and showed that, though Peggy Lee was often typecast as a stereotypical jazz chanteuse, she was a much more versatile performer than had hitherto been revealed. Though its title song is an ode to coping with disappointment, that particular emotion is the last thing that you feel when listening to this classic album, which is a life-affirming delight from beginning to end.1. Is That All There Is?
2. Love Story
3. Me And My Shadow
4. My Old Flame
5. I'm A Woman
6. Brother Love's Travelling Salvation Show
8. Whistle For Happiness
9. Johnny (Linda)
10. Don't Smoke In Bed$24.99Vinyl LP - Sealed Buy Now
Ghost On Ghost (Out Of Stock)Iron and Wine makes its Nonesuch Records debut with Ghost on Ghost. Ghost on Ghost is the fifth release from singer-songwriter Sam Beam, using the pen name Iron and Wine. The album was produced by Beam's longtime associate Brian Deck (Modest Mouse, Califone, Fruit Bats) and follows 2011's Kiss Each Other Clean, which debuted at #2 on the Billboard chart to critical acclaim.
Rolling Stone said of Kiss Each Other Clean that "pop music hadn't seen anything like it since the heyday of Cat Stevens," while Pitchfork said it "more closely resembles the lush, gold-toned singer songwriter records of the late 60s and early 70s-Astral Weeks, Goodbye Yellow Brick Road."
For Ghost on Ghost, Beam sought to move from what he called the "anxious tension" of his two previous records. "This record felt like a reward to myself after the way I went about making the last few," he says.
Helping achieve Beam's vision was a group of stellar musicians including Rob Burger, Steve Bernstein, Brian Blade, Curtis Fowlkes, Tony Garnier, Marika Hughes, Briggan Kraus, Maxim Moston, Tony Scherr, Doug Wieselman, Kenny Wolleson, and Anja Wood. Burger (Tin Hat Trio) has worked with Beam intermittently through the years and handled arrangements for strings and horns on Ghost on Ghost. For the album's cover, Beam, who is also a visual artist, chose an image from the series "Private Views" by noted photographer Barbara Crane.
This LP also includes a bonus CD.1. Caught in the Briars
2. The Desert Babbler
4. Low Light Buddy of Mine
5. Graces for Saints and Ramblers
6. Grass Windows
7. Singers and the Endless Song
8. Sundown (Back in the Briars)
9. Winter Prayers
10. New Mexico's No Breeze
11. Lovers' Revolution
12. Baby Center Stage$22.99Vinyl LP - Sealed Temporarily out of stock
Workbook 25 (Out Of Stock)
Debut Solo Album From Bob Mould!
25th Anniversary 2-LP Edition
Includes The B-Side, Bonus Track, "All Those People Know."
Available On Vinyl For The First Time Since Its Original Release
"Bob Mould's Workbook, a plaintive, sepia-toned, glimmering, acid-scratched, coal-black masterpiece of disgust, dissolution and redemption. Its
meditative acoustics and electric feedback squall proceeded and even predicted the sonics of several albums by Mould's contemporaries. Workbook
haunted my Walkman in 1989. So glad it's back for the 21st century."
-Scott Devendorf, The National
"Bob Mould has been one of my favourite artists for the last 30 years, and Workbook is a great album"
Alt-rock superstars HÜsker DÜ called it a day in 1987, but the band's Bob Mould would reappear two years later with his first solo album-the incredibly
impassioned and personal Workbook.
In addition to writing and producing the entire album, Mould sang all the vocals and played many of the instruments, sharing duties with The Golden
Palominos' Anton Fier on drums, Pere Ubu's Tony Maimone (bass) and cellist Jane Scarpantoni from Tiny Lights. While always recognized as an
astonishing guitarist, Mould's fretwork on Workbook traveled to levels yet unheard or imagined.
The album has since taken on iconic status, and Omnivore is proud to present Workbook 25
The album will be available on vinyl for the first time since its original release and will be pressed on 2 LPs for sonic superiority. The vinyl edition will also
include the B-side, bonus track, "All Those People Know."
As innovative as HÜsker DÜ was, fans had to wonder if Bob Mould could take them on another journey as rewarding. Workbook not only proved he could,
but did.LP 1
2. Wishing Well
3. Heartbreak A Stranger
4. See A Little Light
5. Poison Years
6. Sinners And Their Repentances
1. Brasilia Crossed With Trenton
2. Compositions For The Young And Old
3. Lonely Afternoon
4. Dreaming, I Am
5. Whichever Way The Wind Blows
6. All Those People Know *Bonus Track$34.99Vinyl LP - 2 LPs Sealed Temporarily out of stock
Complete Discography (Out Of Stock)In the mid-to-late 1980s, Moss Icon pioneered a progressive, highly emotive sound that stood in stark contrast to just about everything even remotely considered punk-rock at the time. In retrospect, they more resembled an inspired marriage of the bleak post-punk leanings of Joy Division with the raucous riffage of the Wipers, albeit considerably less accessible thanks to Moss Icon's more sinister tone, Tonie Joy's exploratory arrangements, and frontman Jonathan Vance's almost stream-of-conscious sociopolitical rampages.
In the decades since Moss Icon's disbandment, bootlegged t-shirts and patches have been easier to come by than actual recordings, and the Internet is filled with misconceptions and misinformation, incidentally lending an enigmatic, almost mythical status to the band. Rather than attempt to pull back the curtain, this collection, compiling the group's entire official catalog, serves to permanently document the very important contributions of one very important group from a very formative era of underground music. 19-song, 3LP set with download coupon from Temporary Residence.LP1
2. I'm Back Sleeping, Or Fucking, Or Something
3. Divinity Cove
5. As Afterwards The Words Still Ring
6. Lyburnum - Wit's End (Liberation Fly)
7. Cricketty Rise (Haverton Roads - Browns and Greens)
8. Happy (Unbounded Glory)
5. As Afterwards The Words Still Ring
6. Familiar Presides
1. The Life
2. Kick The Can
3. Hate in Me
4. What They Lack
5. Kiss The Girls And Make Them Die$39.99Vinyl LP - 3 LPs Sealed Temporarily out of stock