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  • Point Of Departure Point Of Departure Quick View

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    Point Of Departure

    Point Of Departure is not only one of the greatest jazz recordings of 1964, but of all time. The stellar lineup (Eric Dolphy, Kenny Dorham, Joe Henderson, Richard Davis and a teen aged Tony Williams) was given a set of challenging compositions by the brilliant pianist and composer Andrew Hill. This group created the album known as Point of Departure, an acknowledged modern day classic and one of Blue Notes most extraordinary recordings. Andrew Hill was a quiet revolutionary, but he was every bit as original in his conception as Thelonious Monk. Hill extended, twisted and turned hard bop into his own very fresh and personal music. Like Eric Dolphy, Hill spawned few imitators. His conception was so pure, and so unique, both as a player and as an arranger-composer that nearly a half century later, Point Of Departure remains a brilliant touchstone of modern jazz.
    1.Refuge
    2.New Monastery

    3.Spectrum

    4.Flight 19

    5.Dedication
    Andrew Hill
    $19.99
    Vinyl LP Reissue - Sealed Buy Now
  • Fuchsia Swing Song Fuchsia Swing Song Quick View

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    Fuchsia Swing Song

    During the Blue Note 75th anniversary celebration the label released 100 essential Blue Note LPs and asked New York Times readers what titles they'd like to see make the list. This album is one of five new reissues that were hand-selected by Blue Note President, Don Was, based on New York Times reader recommendations.


    Recorded in 1964 immediately after leaving the Miles Davis Quintet, Sam Rivers' Fuchsia Swing Song is one of the more auspicious debuts the label released in the mid-'60s. Rivers was a seasoned session player (his excellent work on Larry Young's Into Somethin' is a case in point) and a former member of Herb Pomeroy's Big Band before he went out with Davis. By the time of his debut, Rivers had been deep under the influence of Coltrane and Coleman, but wasn't willing to give up the blues just yet. Hence the sound on Fuchsia Swing Song is one of an artist who is at once very self-assured, and in transition.


    Using a rhythm section that included Tony Williams (whose Life Time he had guested on), pianist Jaki Byard, and bassist Ron Carter, Rivers took the hard bop and blues of his roots and poured them through the avant-garde colander. Today, players like Joshua Redman, Branford Marsalis, and James Carter do it all the time, but in 1964 it was unheard of. You either played hard bop or free; Davis' entire modal thing hadn't even completely blasted off yet. The title and opening track is a case in point.


    Rivers opens with an angular figure that is quickly translated by the band into sweeping, bopping blues. Rivers legato is lightning quick and his phrasing touches upon Coleman Hawkins, Sonny Rollins, Coleman, and Coltrane, but his embouchure is all his. He strikes the balance and then takes off on both sides of the aisle. Byard's comping is actually far more than that, building in rhythmic figures in striated minors just behind the tenor. Downstairs Blues Upstairs sounds, initially anyway, like it might have come out of the Davis book so deep is its blue root. But courtesy of Byard and Williams, Rivers goes to the left after only four choruses, moving onto the ledge a bit at a time, running knotty arpeggios through the center of the melody and increasingly bending his notes into succeeding intervals while shifting keys and times signatures


    He never goes completely over the edge as he would on his later Blue Note dates. The most difficult cut on the date is Luminous Monolith, with its swing-like figure introducing the melody. Eight bars in, the syncopation of the rhythm sections begins a stutter stem around the time and then the harmony with Byard building dense chords for Rivers to jump off of. On the Connoisseur Series CD (shame on Blue Note once again for making some of its best outside records limited editions; titles like this should be as readily available as Horace Silver's Song for My Father, but the label had been playing it ever so safe for a while and making fans buy the limited number of titles over and again) there are alternate takes of Luminous Monolith and three more of Downstairs Blues Upstairs, making it a very worthwhile look at the entire session.


    This is a highly recommended date. Rivers never played quite like this again.


    - Thom Jurek

    1. Fuchsia Swing Song

    2. Downstairs Blues Upstairs

    3. Cyclic Episode
    4. Luminous Monolith

    5. Beatrice
    6. Ellipsis
    Sam Rivers
    $19.99
    Vinyl LP - Sealed Buy Now
  • Sorcerer (Awaiting Repress) Sorcerer (Awaiting Repress) Quick View

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    Sorcerer (Awaiting Repress)


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


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


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


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


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


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


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


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


    This title is not eligible for discount.

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

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    Miles In The Sky

    Numbered, 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
    2. Paraphernalia
    3. Black Comedy
    4. Country Son
    Miles Davis
    $49.99
    180 Gram Audiophile Virgin Vinyl LP 45RPM - 2 LPs Sealed Buy Now
  • Blues For Salvador Blues For Salvador Quick View

    $39.99
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    Blues For Salvador

    Import

    Blues For Salvador was released in 1989. Dedicated to his wife, Deborah Santana, the record was released as a solo project, without the Santana band. It won the 1989 Grammy Award for Best Rock Instrumental Performance, his first Grammy ever.


    On previous solo albums, Santana had made noticeable stylistic changes and worked with Jazz, Pop, and even Country musicians. On this, his fourth Carlos Santana release, the line between a "solo" and a "group" project is blurred; this record is really a catchall of Santana band outtakes and stray tracks.


    Included are an instrumental version of "Deeper, Dig Deeper" from Freedom, and an alternate take of "Hannibal" from Zebop!, as well as "Now That You Know" from the group's 1985 tour. "Trane" features jazz drummer Tony Williams on drums.

    1a. Bailando
    1b. Aquatic Park
    2. Bella
    3. I'm Gone
    4. 'Trane
    5. Deeper, Dig Deeper
    6. Mingus
    7. Now That You Know
    8. Hannibal
    9. Blues For Salvador
    Carlos Santana
    $39.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Harmon Gymnasium, University of California, Berkeley CA, April 7th 1967 (Awaiting Repress) Harmon Gymnasium, University of California, Berkeley CA, April 7th 1967 (Awaiting Repress) Quick View

    $24.99
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    Harmon Gymnasium, University of California, Berkeley CA, April 7th 1967 (Awaiting Repress)

    Digitally Remastered


    This remarkable 1967 concert finds Miles Davis playing with his second quintet: Wayne Shorter (tenor saxophone), Herbie Hancock (piano), Albert Stinson (bass), and Tony Williams (drums). Recorded for broadcast on KALX radio, it features the only live recording of ''Dolores'' by this group, and their last known recording of ''Stella By Starlight.'' An incendiary document of a great artist at the peak of his powers, it's presented here with background notes and images.

    1. Gingerbread Boy
    2. Stella By Starlight
    3. Dolores
    4. Round Midnight
    5. So What
    6. Walkin'
    Miles Davis
    $24.99
    Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • Nefertiti Nefertiti Quick View

    $34.99
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    Nefertiti

    Import


    Recorded in two days in the summer of 1967 Nefertiti is Miles Davis' last fully acoustic album, with no compositions from Miles himself. Most tracks are written by Wayne Shorter & Herbie Hancock.


    Best known for its unusual title track, where the horns keep repeating the melody and the rhythm section improvises (in stead of the other way around).


    Whilst an acoustic album, it does signals Miles' transition from bop to jazz fusion; a hint at the next albums Miles in the Sky and the critically acclaimed In A Silent Way.


    Rhythm section: Tony Williams & Ron Carter

    Side A

    1 Nefertiti

    2 Fall

    3 Hand Jive


     


    Side B

    1 Madness

    2 Riot

    3 Pinocchio

    Miles Davis
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Spectrum Road Spectrum Road Quick View

    $16.99
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    Spectrum Road

    Spectrum Road is a groundbreaking collaboration between four giants of modern music: Jack Bruce, Vernon Reid, John Medeski and Cindy Blackman Santana. Named after one of the incendiary tracks on the original Tony Williams Lifetime album, Spectrum Road demonstrates on their self-titled debut, however, that they are in no way a tribute band.


    After making rock history with Eric Clapton and Ginger Baker in Cream, legendary British bassist Jack Bruce joined the Lifetime for two records thus serving as Spectrum Road's direct connection to their muse. The group is artfully rounded out by famed guitarist Vernon Reid, of Living Colour, and multi-keyboardist John Medeski, one-third of the juggernaut Medeski, Martin & Wood.


    Made famous by her ten plus years backing Lenny Kravitz, Cindy Blackman Santana has distinguished herself as an impressively versatile player who's as comfortable on post-bop sessions with Joe Henderson and Wallace Roney as she is touring with pop stars like Kravitz and husband Carlos Santana. The formidable line-up of Spectrum Road assures the legacy of Tony Williams lives on, and clearly qualifies as a major 2012 music event.

    1. Vuelta Abajo
    2. There Comes A Time
    3. Coming Back Home
    4. Where
    5. An t-Eilean Muileach
    6. Vashkar
    7. One Word
    8. Blues for Tillmon
    9. Allah Be Praised
    10. Wild Life
    Spectrum Road
    $16.99
    Vinyl LP - Sealed Buy Now
  • Freedom Jazz Dance: The Bootleg Series, Vol. 5 Freedom Jazz Dance: The Bootleg Series, Vol. 5 Quick View

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    Freedom Jazz Dance: The Bootleg Series, Vol. 5

    2 hours of previously unreleased studio recordings from 1966-1968 newly mixed and remastered in high resolution audio.


    A 3LP collection chronicling Miles' musical evolution in the studio from 1966-1968 working with his second great quintet, the latest edition in Columbia/Legacy's acclaimed Miles Davis Bootleg Series provides an unprecedented look into the artist's creative process, drawing on full session reels including all rehearsals, partial and alternate takes, studio conversation and more.


    Celebrating the 50th anniversary of Miles Smiles, the groundbreaking second studio album from the Miles Davis Quintet--Miles Davis (trumpet), Wayne Shorter (tenor saxophone), Herbie Hancock (piano), Ron Carter (bass) and Tony Williams (drums)--this definitive new collection includes the master takes of performances which would eventually appear on the Miles Smiles (1967), Nefertiti (1968) and Water Babies (1976) albums alongside more than two hours worth of previously unreleased studio recordings from original sessions produced by Teo Macero (with the exception of Fall, produced by Howard A. Roberts).

    LP 1
    1. Freedom Jazz Dance (Session Reel)
    2. Circle (Session Reel)
    3. Circle (Take 5 - Section Not Used in Master)
    4. Circle (Take 6 - Section Not Used in Master)
    5. Dolores (Session Reel)


    LP 2
    1. Orbits (Session Reel)
    2. Footprints (Session Reel)
    3. Gingerbread Boy (Session Reel)
    4. Fall (Session Reel)


    LP 3
    1. Nefertiti (Session Reel)
    2. Water Babies (Session Reel)
    3. Masqualero (Alternate Take / Take 3)
    4. Country Son (Rhythm Section Rehearsal)
    5. Blues in F (My Ding)
    6. Play Your Eight (Miles Speaks)

    Miles Davis Quintet
    $49.99
    Vinyl LP - 3 LPs Sealed Buy Now
  • Seven Steps To Heaven (200 Gram) Seven Steps To Heaven (200 Gram) Quick View

    $34.99
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    Seven Steps To Heaven (200 Gram)

    200-Gram Vinyl Pressed At Quality Record Pressings


    Mastered From The Original Analog Master Tapes By Ryan K. Smith At Sterling Sound


    Deluxe Tip-On Gatefold Jacket From Stoughton Printing


    In 1963, Miles Davis was at a transitional point in his career, without a regular group and wondering what his future musical direction would be. At the time he recorded the music heard on this disc, he was in the process of forming a new band, as can be seen from the personnel: tenor saxophonist George Coleman, Victor Feldman (who turned down the job) and Herbie Hancock on pianos, bassist Ron Carter, and Frank Butler and Tony Williams on drums. Recorded at two separate sessions, this set is highlighted by the classic Seven Steps To Heaven, Joshua and slow passionate versions of Basin Street Blues and Baby Won't You Please Come Home.


    This title is not eligible for discount.

    1. Basin Street Blues
    2. Seven Steps To Heaven
    3. I Fall in Love Too Easily
    4. So Near So Far
    5. Baby Won't You Please Come Home
    6. Joshua
    Miles Davis
    $34.99
    200 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Life Coach Life Coach Quick View

    $16.99
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    Life Coach

    Phil Manley, founding member of the pioneering DC-trio Trans Am, and in-demand recording engineer (The Alps, Arp, Mi Ami, Moon Duo, Wooden Shjips) has recorded his debut solo album. Life Coach, a title inspired by Tony Williams Lifetime and Charles Bullen's Lifetones project, is a dynamic collection of instrumental songs composed, performed, and recorded entirely by Phil.



    While there are reflections of Phil's work in Trans Am, Oneida, The Fucking Champs, and Jonas Reinhardt that a listener familiar with those bands will notice, Life Coach is more minimal and adheres to the structures of German rock of the mid 70's that has long inspired Phil, specifically the free-spirited and loose arrangements, the propulsive motorik pulse, and the sonic textures or klangfarben (translated sound colors).



    German analog recording technology had reached its zenith in the late 70's. This coincided nicely with the careers of such artists as Neu!, Kraftwerk, Harmonia, Cluster and Popol Vuh. German recording engineer Conny Plank, a hero of Phil's, was responsible for most of the greatest recordings of each of these bands. Life Coach pays homage to the klangfarben of Conny Plank's recordings.

    1. FT2 Theme
    2. Commercial Potential
    3. Lawrence, KS
    4. Forest Opening Theme
    5. Work It Out
    6. Make Good Choices
    7. Gay Bathers
    8. Night Visions
    9. Life Coach
    Phil Manley
    $16.99
    Vinyl LP - Sealed Buy Now
  • Steep Formations Steep Formations Quick View

    $19.99
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    Steep Formations

    Started by Kid Millions and Bobby Matador of Oneida, People of the North is another voice emanating from that inscrutable Brooklyn collective. The group has always included Kid and Bobby, and usually other members of Oneida as well. In 2010, People of the North released its first full-length album, titled Deep Tissue. This recording was hailed by cognoscenti of contemporary psychedelia as an essential component of the recent Oneida canon.


    Steep Formations, a double LP consisting of two long-form pieces, was recorded at the Ocropolis in 2010 and 2011, with the participation of Shahin Motia and Barry London of Oneida. Here, the drumming of Kid Millions has ascended to a profound and utterly unique level: muscular African-derived fluidity and relentless motorik drive have been alchemized into an indescribable brew that surges and pounds among the distorted tides of Border Waves; and the stony, brutal glaze of the title track displays a far more severe commitment to minimalism and noise than prior work offered.


    While much that has been written about People of the North before remains relevant here, newly apt touchstones and contextual clues might include Kevin Drumm, Giusto Pio, Terry Riley, Tony Williams, Conrad Schnitzler, Throbbing Gristle, Pelt.

    1. Border Waves (pts 1 & 2)
    2. Steep Formations (pts 1 & 2)
    People Of The North
    $19.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • async async Quick View

    $30.99
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    async

    As one-third of Yellow Magic Orchestra and an Academy Award-winning composer for his work on the soundtrack for The Last Emperor, synth pop innovator Ryuichi Sakamoto is among the most groundbreaking artists to have emerged since the late 70s. A musician's musician, Ryuichi Sakamoto has created intriguing musical unions with artists such as David Sylvian, Iggy Pop, Tony Williams, Bootsy Collins, Jacques Morelenbaum and many others.

    async is Ryuichi Sakamoto's first studio album in eight years. This is his most personal release as it follows a long fight against cancer from which Ryuichi Sakamoto emerged with a renewed and passionate creative energy.

    What kind of sounds/music do I want to listen to?

    async is the answer to this question Ryuichi has asked himself for the past several years. This is the album he is the most proud of which synthesizes all of his musical and sound interests. This is a journey through analog synth, the sounds of things and of places, an imaginary soundtrack to an Andrei Tarkovsky film and many others musical surprises.

    LP 1
    1. andata
    2. disintegration
    3. solari
    4. ZURE
    5. walker
    6. stakra
    7. ubi
    8. fullmoon


    LP 2
    1. async
    2. tri
    3. LIFE, LIFE
    4. honj
    5. ff
    6. garden
    7. water state 2

    Ryuichi Sakamoto
    $30.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • async remodels async remodels Quick View

    $30.99
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    async remodels

    As one-third of Yellow Magic Orchestra and an Academy Award-winning composer for his work on the soundtrack for The Last Emperor, synth pop innovator Ryuichi Sakamoto is among the most groundbreaking artists to have emerged since the late 70s. A musician's musician, Ryuichi Sakamoto has created intriguing musical unions with artists such as David Sylvian, Iggy Pop, Tony Williams, Bootsy Collins, Jacques Morelenbaum and many others.


    Following the massively successful release of the electronic masterpiece async in 2017, Ryuichi Sakamoto's first studio album in eight years, Milan is proud to announce the remix compilation async remodels. async remodels features a dozen remixes of async's tracks by a who's-who of experimental giants - everyone from Icelandic composer Jóhann Jóhannsson (Arrival, Sicario) to Oneohtrix Point Never (composer of Good Times) to Arca (producer of Bjork's numerous releases) have gotten their hands dirty remixing Sakamoto's work. Even reworks by the Canadian synthpop duo Electric Youth and Austin-based synthwave legends S U R V I V E are included.


    async remodels is also getting the vinyl treatment. Pressed on a pair of 180g black LPs for superior audio quality and housed in a matte coated gatefold jacket, this is one vinyl release Sakamoto fans can't afford to miss.

    LP 1
    1. andata (Oneohtrix Point Never Remix)
    2. andata (Electric Youth Remix)
    3. disintegration (Alva Noto Remodel)
    4. async (ARCA Remix)
    5. fullmoon (Motion Graphics Remix)
    6. solari (Fennesz Remix)


    LP 2
    1. solari (Jóhann Jóhannsson Rework)
    2. ZURE (Yves Tumor Obsession Edit)
    3. fullmoon (S U R V I V E Version)
    4. ZURE (Cornelius Remix)
    5. Life, Life (Andy Stott Remodel)

    Ryuichi Sakamoto
    $30.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Four & More Four & More Quick View

    $34.99
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    Four & More

    Exhilarating and Immediate: Live Set Documents One of Davis Final Excursions With a Program of Standards


    Hear the Interior of Philharmonic Hall at New Yorks Lincoln Center Come Alive: Mobile Fidelitys Fastidious Reissue Illuminates Venue Acoustics, Musicians Phrasings


    Whirlwind Uptempo Pace Prodded by Tenor Saxophonist George Coleman and Drummer Tony Williams


    Sketches of Spain, Kind of Blue, Milestones, Round About Midnight, and In a Silent Way Also Available from Mobile Fidelity


    Given his gargantuan recorded output, Miles Davis seldom abandoned a conceptual vision in the studio, particularly after the turn of the 1960s. Which makes a live document such as Four & More all the more valuable for the manner in which it portrays the legendary trumpeter removed from thematic demands and interior confines, and instead letting loose onstage with a program of stellar material that hed soon abandon in favor of experimentalism.


    Part of Mobile Fidelitys Miles Davis catalog restoration series, Four & More engages with electrifying speed and palpable punch, the effort now claiming vastly improved imaging, deeper soundstaging, and startling clarity. Half-speed mastered from the original master tapes and pressed at RTI, this unsurpassed analog edition teems with the urgency demonstrated by Davis and his band notes flooding the listener with an attack only possible from sound featuring full frequency extension, tremendous spacing, and you-are-there immediacy.


    Recorded on February 12, 1964 in Philharmonic Hall at New Yorks Lincoln Center, Four & More bookends My Funny Valentine. Whereas the latter spotlights ballads, this thrilling souvenir is all about quick tempos, rushing solos, left-hook rhythms, and hard-bop grooves. Drawing largely on mid- and late-1950s material, Davis accompanied by bassist Ron Carter, drummer Tony Williams, saxophonist George Coleman, and pianist Herbie Hancock approaches standards such as So What, Seven Steps to Heaven, and Four with biting tenacity and furious passion, the individual themes racing by as the collective barges in to take rapid, punctuation-asserting solos.


    Few, if any, live Davis performances match the hurricane-generating intensity and dynamic aggressiveness captured here. One reason for the vigor? Davis waived he and his musicians fees for the concert, taking place under the auspices of a political benefit, a decision that angered some of his sidemen. Whatever the cause, Hancock swings, Coleman flexes muscles, Carter bows instructive passages, and the 19-year-old phenom Williams throws down with breathtaking agility. Amidst the melodic tangents and galloping exchanges, the quintet retains gripping control, with eight-bar dialogues between the instrumentalists and positive vamps supplying cues and endings.


    At last, these historic recordings are afforded the breathing room and acoustic perspective they've always deserved. For listeners that may be unfamiliar with this title, prepare to be blown away literally and figuratively. Aficionados know what to expect on the music front, but Mobile Fidelitys 180g LP reissue ratchets up the thrills by several levels. Don't miss this gem.


    This title is not eligible for discount.

    1. So What
    2. Walkin
    3. Joshua
    4. Go-Go
    5. Four
    6. Seven Steps to Heaven
    7. There Is No Greater Love
    8. Go-Go
    Miles Davis
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Miles Smiles (Speakers Corner) Miles Smiles (Speakers Corner) Quick View

    $34.99
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    Miles Smiles (Speakers Corner)

    Except for the taping of a live performance at the Portland Festival, Miles Davis's discography for 1966 only lists the recordings made for the LP Miles Smiles! How strange when one considers the usual large output of Miles and his ensembles for Columbia Records in the Sixties.



    The bass player Ron Carter was best suited for the complicated rhythm part and remained Miles's 'number one' in a quintet which gave a new interpretation to compositions by Wayne Shorter and jazz hits such as Freedom Jazz Dance by Eddie Harris and Jimmy Heath's Gingerbread Boy.



    Every second of the nine-minute-long Footprints by Shorter is an absolute highlight, while the drumming of the young Tony Williams in Freedom Jazz Dance is full of vitality, with a quick pulse, and even described as threatening in the liner notes. This music is neither 'new stream' nor 'old guard' but good modern jazz according to Anthony Tuttle. That's exactly what Miles Smiles was upon its release 40 years ago - and that's what it is to this day! And that Miles Davis smiled for once thanks to the great musical relationship between the five individualists is certainly no mere rumour.



    Musicians:



    • Miles Davis

    • Wayne Shorter (tenor saxophone)

    • Herbie Hancock (piano)

    • Ron Carter (bass)

    • Tony Williams (drums)




    Recording: October 1966 at Columbia RecordsStudios, New York, by Frank Laico

    Production: Teo Macero




    About Speakers Corner



    At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Speakers Corner all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.



    During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s - or employed existant tools from the 80s and 90s for manufacturing.



    A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.



    We should like to emphasise that Speakers Corner Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle. We have one digital recording in our catalogue (Alan Parsons / Eye In The Sky"), but even in this particular case we used the analogue tapes for cutting.



    We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.



    To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects - excluding the exception above - and that the lacquer discs are newly cut.



    1. Orbits
    2. Circle
    3. Footprints
    4. Dolores
    5. Freedom Jazz Dance
    6. Ginger Bread Boy
    Miles Davis
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • In A Silent Way (Awaiting Repress) In A Silent Way (Awaiting Repress) Quick View

    $34.99
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    In A Silent Way (Awaiting Repress)

    Float Into the Ether: Gorgeous 1969 Experimental Treasure Among the Most Atmospheric Jazz Albums Ever Recorded


    Delicate, Immersing, Dynamic: Mobile Fidelity Reissue Magnifies the Bold Textures, Soothing Ambience, and Transcendent Moods


    Davis First Fusion Album Features John McLaughlin, Chick Corea, Herbie Hancock, Joe Zawinul, Wayne Shorter, Dave Holland, and Tony Williams


    Sketches of Spain, Kind of Blue, Milestones, Round About Midnight, and Four & More Also Available from Mobile Fidelity


    Shhh. The command to be quiet is no just part of the title of one of the two sprawling compositions on this pioneering album. Its also an apt metaphor for the relaxed hypnotism and spaced-out atmosphere that define In a Silent Way, a record that pushes the boundaries of studio possibilities, artist-producer relationships, and rock-jazz chasms. Recognized as Miles Davis first full-on fusion effort and part of his electric era, the 1969 landmark claims a Whos Who lineup that sends the music into an ethereal stratosphere.


    Part of Mobile Fidelitys Miles Davis catalog restoration series, In a Silent Way now immerses the listener in linoleate landscapes starlit by the intuition, suspension, and paradoxes wrought by a once-in-a-lifetime collective. Half-speed mastered from the original master tapes and pressed at RTI, this unsurpassed 180g LP edition lifts the veil on the cutting-edge assembly process that created the pair of lengthy suites. Helmed by three electric instruments, the beveled compositions melt away all preconceived notions of jazz, rock, and ambience, following a loose theory Davis dubbed New Directions.


    Few albums are so delicately textured. And on Mobile Fidelitys meticulous analog reissue, such sulcate elements pour over ink-black backgrounds on a canyon-wide soundstage. In particular, Tony Williams inventive percussive touch he causes the cymbals to shimmer as a pieces of silver tend to do when exposed to sunlight is broadcast with lifelike three-dimensional qualities, the panoramic view extending to Davis nocturnal trumpet, Wayne Shorter's ribbon-unfurling saxophone, Dave Hollands extrapolative bass, and the mosaic of keys.


    If the records only accomplishment is its introduction of guitarist John McLaughlin to the world, it alone would be enough. Yet In a Silent Way continues to bedazzle, puzzle, and inspire for myriad reasons not the least of which is the seemingly telepathic communicative methods employed by the groups members. The lineup is great on paper, but, if its even possible, the octet sounds even better in practice, with the instruments and tonalities conjoining in avant-garde communion like hyper-sensitive tentacles exploring the stippled landscapes of an undiscovered planet.


    Diverting from expectation, tubular grooves twist, turn, and spin, sometimes piling atop of each other, always shying away from structure and melody. Ellipsoidal solos provide hesitant guidance, ranging from Chick Corea's Fender Rhodes phrases to Davis decorative spirals. And as color is the primary unit of currency on Davis Sketches of Spain, laidback episodes, geometric spaces, and quiet sensuality reign here, with the sets maverick reputation attained via musings on solitude rather than explosions of noise.


    Controversial for the period, the heavily edited production of In a Silent Way blew open the once-locked doors on what producers could attempt and how artists could assist them. Knitted together as one would construct a cross-hatched quilt, songs contain grafts of repeat passages that provide unifying structure and experimental continuity. What a statement.


    This title is not eligible for discount.

    1. Shhh/Peaceful
    2. In a Silent Way/Its About That Time
    Miles Davis
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • E.S.P. E.S.P. Quick View

    $49.99
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    E.S.P.

    Numbered, Limited Edition


    Pressed At RTI


    A landmark recording and masterful symphony of performance, composition, and execution, Miles Davis' E.S.P. established the template jazz would follow for the following decade. The 1965 record splits the gap between accessible hard-bop and the cutting-edge approach Davis increasingly pursued into the 1970s. Adventurous, sophisticated, and yet altogether cohesive, E.S.P. stands out not only due to its elastic compositions but via its chemistry, interplay, and feeling attained by the instrumentalists. The first album Davis' classic second quintet made together, it's also very arguably the group's best. Never before has the effort been experienced in such transformational sound.


    Pressed at RTI, Mobile Fidelity's 180g 45RPM 2LP set of E.S.P. treats each phrase and every note as sacred communication. This meticulously restored audiophile version renders the music's dynamics, pitch, colors, and textures with lifelike realism and proper scale. Reference-caliber separation, wall-to-wall soundstages, and distinct images magnify the intensity and beauty of Davis and Co.'s creations. Whether it's the distinctive snap of Tony Williams' drum sticks against the snare head, air moving through Davis' trumpet, acoustic thrum of Ron Carter's bass, or upper register of Herbie Hancock's piano, the sound is better than you'd even hear in the most intimate jazz clubs. Prepare to be swayed on every level.


    For many, E.S.P. looms among the decade's best albums if only because of the significance of Davis' lineup. While Hancock, Williams, and Carter are holdovers that began playing with one another on 1963's Seven Steps to Heaven, Wayne Shorter functions as the secret weapon and key addition responsible for this ensemble hitting a new peak. Indeed, the saxophonist helped pen two of the seven compositions here - notably, E.S.P. is entirely comprised originals and clocked in as one of the longest-running jazz LPs issued at the time - and, more importantly, grants Davis the confidence and leeway necessary for the eruption of enigma, steadiness, and tension.


    As he did with John Coltrane year earlier, Davis hangs back and picks his moments to solo, with Shorter stepping up to supply the churn. Their bandmates respond in kind, itching to take off into new stratospheres all the while keeping their improvisations grounded and connected to the piece at hand. Guided by Davis' visions and inspired by current boundary-pushing works by the likes of Ornette Coleman, Cecil Taylor, and Coltrane, the magnificent results spark with variation, harmony, emotion, energy, and brilliant movement.


    Interlocking lines drive Little One, alternating rhythms pulse through the funky Eighty-One, melodies soar on the balladic Iris, the aptly titled Mood broods over minor-key structures, and Agitation - goosed by a two-minute percussive introduction by Williams - delivers on its promise. No record - and no group of musicians - have ever balanced coherent themes and exploratory playing in better fashion than Davis' quintet on E.S.P. It's the avant-garde record even jazz traditionalists love, and essential on every level.


    This title is not eligible for discount.

    1. E.S.P.
    2. Eighty-One
    3. Little One
    4. R.J.
    5. Agitation
    6. Iris
    7. Mood
    Miles Davis
    $49.99
    180 Gram Audiophile Virgin Vinyl LP 45RPM - 2 LPs Sealed Buy Now
  • Nefertiti Nefertiti Quick View

    $49.99
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    Nefertiti


    Final All-Acoustic Outing from Davis' Classic Second Quintet


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


    Confident 1967 Effort Steeped in Inquisitive Interplay and Subconscious Impressionism


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


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


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


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


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


    This title is not eligible for discount.

    1. Nefertiti
    2. Fall
    3. Hand Jive
    4. Madness
    5. Riot
    6. Pinocchio
    Miles Davis
    $49.99
    180 Gram Audiophile Virgin Vinyl LP 45 RPM - 2 LPs Sealed Buy Now
  • My Funny Valentine (Awaiting Repress) My Funny Valentine (Awaiting Repress) Quick View

    $34.99
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    My Funny Valentine (Awaiting Repress)

    Numbered, 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
    Miles Davis
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • Beyond The Blue Horizon: George Benson (Speakers Corner) Beyond The Blue Horizon: George Benson (Speakers Corner) Quick View

    $34.99
    Buy Now
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    Beyond The Blue Horizon: George Benson (Speakers Corner)

    George Benson was the pupil, Wes Montgomery his teacher! And the sound of the great maestro, who played without the use of a plectrum, is quite unmistakable in this recording produced by CTI Records with George Benson in 1971. Producer Creed Taylor showed good judgement when he teamed Benson up with a small yet supremely talented group of musicians: Jack De Johnette on the drums takes Ron Carter's bass and Clarence Palmer's organ on a superb ride. Carter and Benson had met one another briefly during a Miles Davis recording session, but there the drummer was Tony Williams. Here, with Jack DeJohnette participating, the numbers on this LP gain real soul. But the lyrical side doesn't come too short either: Ode To A Kudu demonstrates this particular attribute of Benson's to perfection. And Somewhere To The East proves that he isn't afraid to experiment. All in all, this is a top album from George Benson's long and commercially successful career.



    Musicians:



    • George Benson (guitar)

    • Clarence Palmer (organ)

    • Ron Carter (bass)

    • Jack DeJohnette (drums)

    • Michael Cameron, Albert Nicholson (percussion)



    Recording: February 1971 at Van Gelder Studios, Englewood Cliffs, NJ (USA), by Rudy Van Gelder

    Production: Creed Taylor



    About Speakers Corner



    At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Speakers Corner all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.



    During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s - or employed existant tools from the 80s and 90s for manufacturing.



    A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.



    We should like to emphasise that Speakers Corner Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle. We have one digital recording in our catalogue (Alan Parsons / Eye In The Sky"), but even in this particular case we used the analogue tapes for cutting.



    We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.



    To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects - excluding the exception above - and that the lacquer discs are newly cut.



    1. So What
    2. The Gentle Rain
    3. All Clear
    4. Ode To a Kudu
    5. Somewhere In the East
    George Benson
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Iconic Groove Iconic Groove Quick View

    $33.99
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    Iconic Groove

    Ben Liebrand's new artist album Iconic Groove captures those bass lines, riffs and rhythms that move the dance floor. The album covers every aspect of your weekend, from getting ready to go out, the trip to the venue in the limo, the people you meet, the artists you see, the moves you make all the way till you see the sunrise after closing time.


    Using the latest technology 'Iconic Groove' was nevertheless recorded the oldskool way starting with real bass guitars & rhythm guitars sessions, adding horns and live rhythm elements. Overlaying with Iconic synthesizer sounds from Moog, Korg, Roland, and many more capturing the early years of electronic music with captivating sequence patterns and sweeping modulating pad sounds.


    Iconic Groove is produced, arranged, engineered and mixed by Ben Liebrand. Ben's inspiration is clearly audible with collaborations of icons like Cerrone and James D-Train Williams, Tonys Scott and more. With a broad selection of dance ranging from super Funky through Disco to throbbing sequencers!

    LP 1
    1. Weekend (feat. James ''D-Train'' Williams)
    2. We Are the Night (feat. James ''D-Train'' Williams)
    3. Get On Up (feat. Caroline Dest)
    4. Don't Stop
    5. Boogie (feat. Barbara Tucker)
    6. VIP Pass (Limo Included) (feat. Joel ''Spanky'' Gray)
    7. Sunrise
    8. To the Venue


    LP 2
    1. Into the Light
    2. Dancer
    3. Mister DJ (feat. James ''D-Train'' Williams)
    4. Discotheque (feat. Tony Scott)
    5. All the Way (feat. Tony Scott)
    6. Love (feat. Caroline Dest)
    7. On and On
    8. Can You Hear Me (feat. Erica Young)
    9. Closing Time

    Ben Liebrand
    $33.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • About Last Night About Last Night Quick View

    $15.99
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    About Last Night

    Sleeper Agent today announced their highly anticipated second album, entitled About Last Night, will be released on RCA Records / Mom & Pop.


    "About Last Night is the product of countless hours spent writing, rewriting, recording, hoping, toiling, questioning, and ultimately pushing ourselves as a band as far as we could go," said Sleeper Agent's Alex Kandel. "It's a record that I can hear our band's history in every heartbreak, every victory, every night spent in the van, every audience we've been in front of are woven into the melodies and fabric of the songs."


    About Last Night was born after principal songwriter Tony Smith started scribbling together song skeletons on tour. The group fleshed out those compositions after decamping their tour bus and shacking up together in a log cabin in Middle of Nowhere, East Kentucky. Instead of killing each other in their secluded camp, they watched The Godfather, cooked family dinners, and emerged five days later with 10 solid tracks. The songs were recorded in Nashville and Charleston with producers Jay Joyce and Eric Bass. About Last Night is the follow up to their 2011 debut Celabrasion.


    About Last Night will follow up Sleeper Agent's heralded debut album Celabrasion, which was released by Mom + Pop in 2011 and immediately garnered the affectionate attention of the blogosphere straight to the top of the national music media - leading to prominent features on the pages on SPIN, Rolling Stone, Alternative Press, Guitar World, Los Angeles Times, and many more. Rolling Stone hailed them as a Band To Watch and the group was named the #2 Best New Band in the annual Rolling Stone Reader's Poll. Sleeper Agent also won MTVu's Freshman Award in February 2012 and singer Alex Kandel was one of six artists to be nominated for Rolling Stone's Women Who Rock contest in 2012. The band toured nonstop throughout 2012, sharing the stage with Weezer, Fun., Grouplove, Young The Giant, Ben Kweller, The Joy Formidable, Manchester Orchestra, Circa Survive, Company of Thieves, and more.


    Sleeper Agent is Alex Kandel (vocals), Tony Smith (guitar, vocals), Justin Wilson (drums), Lee Williams (bass), Scott Gardner (keys), and Josh Martin (guitar).

    1. Be Brave
    2. Waves
    3. Take It Off
    4. Haunting Me
    5. Lorena
    6. Bad News
    7. Me On You
    8. Shut
    9. Impressed
    10. Good Job
    11. Eat You Up
    12. Sweetheart
    Sleeper Agent
    $15.99
    Vinyl LP - Sealed Buy Now
  • Continued Continued Quick View

    $34.99
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    Continued

    Import

    Continued is the second album released by swamprocker Tony Joe White. Recorded at Monument Studios, Nashville and Lyn-Lou Studios, Memphis in 1969 and released the same year, the album contained the single Roosevelt And Ira Lee. It was produced by Billy Swan and engineered by Tommy Strong and Mort Thomasson.


    The album contains the track Rainy Night In Georgia popularized by R&B vocalist Brook Benton in 1970. It reached #4 on the Pop Singles and #2 on the Adult Contemporary charts, respectively. The RIAA certified the single Gold for sales of one million copies. In 2004, it was ranked #498 on the List of Rolling Stone's 500 Greatest Songs of All Time. David Ruffin recorded a cover version of the song the same year as Benton, however, Motown for unknown reasons did not release the album.


    The song has been covered by a number of musicians, including Ray Charles, Otis Rush, Randy Crawford, Tennessee Ernie Ford, Amos Garrett, Hank Williams, Jr., Shelby Lynne, John Holt, Nicky Thomas, by the duet of Conway Twitty and Sam Moore, Aaron Neville, and reggae band The Gladiators.

    1. Elements And Things
    2. Roosevelt And Ira Lee (Night Of The Mossacin)
    3. Woodpecker
    4. Rainy Night In Georgia
    5. For Le Ann
    6. Old Man Willis
    7. Woman With Soul
    8. I Want You
    9. I Thought I Knew You Well
    10. The Migrant
    Tony Joe White
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
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