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Vanished GardensAt 80 years old, NEA Jazz Master Charles Lloyd remains an intrepid musical pioneer, entering his ninth decade at a creative peak in what now stands as a mountainous and formidable career. With his newest band The Marvels-a guitar-driven group featuring Bill Frisell, Greg Leisz, Reuben Rogers, and Eric Harland-Lloyd released the 2016 album I Long To See You which NPR called "music that evokes an uncommon state of grace." Now on Vanished Gardens, The Marvels add a new dimension by collaborating with revered singer-songwriter Lucinda Williams to pioneer a new genre of Americana Jazz that draws on the musicians many influences and experiences with reimagined versions of Williams favorites, new Lloyd originals, and covers of Jimi Hendrix, Thelonious Monk, and more.LP 1
3. Vanished Gardens
1. Ballad Of The Sad Young Men
2. We've Come Too Far To Turn Around
3. Blues For Langston And LaRue
4. Unsuffer Me
5. Monk's Mood
6. Angel$35.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
No More Shall We PartNo More Shall We Part ends a four-year silence from Nick Cave & the Bad Seeds. A best-of was issued in 2000, but no new material has appeared since 1997's landmark album, The Boatman's Call. With that record Cave had finally delivered what everyone knew he was capable of: an entire album of deeply tragic and beautiful love songs without irony, sarcasm, or violent resolution. It appears that The Boatman's Call has altered the manner in which Cave writes songs, and the Bad Seeds illustrate them. Two musical directors -- the ubiquitous Mick Harvey and Dirty Three violinist Warren Ellis -- craft a sonic atmosphere whose textures deepen and widen Cave's most profound and beautiful lyrics to date. The ballads have the wide, spacious, sobering ambience one has come to expect from the Bad Seeds. There is an ethereal change in sound in the up-tempo numbers, which are, for lack of better terminology, musical novellas. They plumb the depths of blues, yet contain glissando and crescendos from the orchestral music of composers such as Fartein Valen and Olivier Messiaen. There are places, such as in Oh My Lord, where rock & roll is evoked as a device, but this isn't rock music. A listen to As I Sat Sadly By Her Side, Hallelujah, and the aforementioned track (the most rock song here) will attest that it is merely one color on a musical palette that is more expansive now than at any time in the band's history. Also in the band's musical treasure trove is the addition of the McGarrigle sisters on backing vocals - nowhere is their contribution more poignant than on the tenderly daunting, haunted house that is Love Letter. Lyrically, and as a vocalist, Cave has undergone a startling, profound metamorphosis. Gone is the angry, humorous cynic whose venom and bile touched even his lighter moments. His deep taunting ambivalence about Jesus Christ and Christianity in general is gone, vanished into a maturity that ponders spiritual things contemplatively. Humor that pokes fun churchianity remains, but not as a source of its inspiration. Over these 12 tracks, Cave has taken the broken heart--so openly exhibited on The Boatman's Call--and elevated it to the place where he has learned to live with, and speak from it as both an artist and a human being. Leonard Cohen stated in the song Anthem, that, there is a crack in everything/that's where the light gets in.No More Shall We Part is a mosaic of those cracks. If this album is about anything, it is about love's ability to survive in the world. It is examined concretely and abstractly; to the point where it meditates on this theme even cinematically. His methodology for the listener is, even though these are intimate conversations, the effect is illustrated in widescreen. In this way, Cave touches the heart in the same way Andrei Tarkovsky's films Stalker and The Sacrifice and Wim Wenders' Wings of Desire do. There is powerful emotion here, spiritual, psychological and romantic, without a hint of the sentimentality that would make it false. As both a singer and a songwriter, his work has been transformed into something so full of depth, color, and dimension, that there is simply no one except his mentors working on this level in popular music. In the opening moments of As I Sat Sadly By Her Side, a tenderly, softly sung vocal delivers: Then she drew the curtains down/And said when will you ever learn/That what happens there beyond the glass/Is simply none of your concern/God has given you but one heart/You are not a home but the hearts of your brothers/God don't care for your benevolence anymore/But he cares for the lack of it in others/Nor does he care for you to sit at/Windows in judgement of the world he created/While sorrows pile up around you/Ugly, useless and over-inflated/At which she turned her head away/Great tears leapin' from her eyes/I could not wipe a smile from my face/As I sat sadly by her side. The title track is a ballad that could have been lifted from The Boatman's Call, except it lacks the reaching tragedy. And Cave sings in a tenor no one thought him capable of -- And all the birds will sing to your beautiful heart/Up on the bell/And no more shall we part. The chaos of earlier Bad Seeds outings does kick up on The Sorrowful Wife, where violins and Blixa Bargeld's guitars duel with Jim Sclavunos's drums for domination of the sonic torrent. The record closes with two of Cave's most beautiful songs, a near country gospel waltz called Gates to the Garden with the McGarrigles sweetening an already lovely tome to redemptive love. Finally, Darker With the Day, illustrated by Harvey's striking pianistic ballad framework touched by Bill Evans' technique, is as strikingly autobiographical as Cave has ever been, highlighting the extremes of good and evils that inform and torment the protagonist's inner emotional life within in a single day. There is loss and the seeking of deliverance and, in a statement not so much of recognition that this is simply fate, he also acknowledges hope: All these streets are frozen now/I come and go/Full of a longing for something I do not know. As he calls to a lover gone seemingly forever, he comes to the conclusion that for him, redemption is in love itself, whether divine or profane; the only hope is that love, between two people or between an individual and her or his creator, depends on one's openness to receiving it. Who can argue with him? No More Shall We Part leaves listeners in awe, full of complex emotions, and pondering the notion that they've been in the presence of great redemptive art--which Henry James calls, the thing that can never be repeated.
- Thom Jurek (All Music)1. As I Sat Sadly by Her Side
2. And No More Shall We Part
4. Love Letter
5. Fifteen Feet of Pure White Snow
6. God Is in the House
7. Oh My Lord
8. Sweetheart Come
9. The Sorrowful Wife
10. We Came Along This Road
11. Gates to the Garden
12. Darker with the Day$22.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Bad Part Of Town / Wish Me Up / Love In A Summer Basket / Did He DieRare MGM Recordings In A Gatefold Double 7 Set
A group burning as white-hot as the Seeds couldn't last long and, indeed, after their initial blast of success with "Pushin' Too Hard," the original band fell apart. However, Saxon's mission was not yet complete so he and keyboardist Daryl Hooper put together a new lineup. The replanted Seeds signed with MGM Records and entered the studio, capturing some amazing performances. MGM released two singles from these sessions in 1970, but both failed to chart. Further bad luck came when label boss Mike Curb launched a "drug purge," dropping bands with perceived drug associations, the Seeds among them. Their two singles quickly vanished from MGM's catalog, making them almost impossible to find. Reaching deep into the vaults, Sundazed has rescued these elusive recordings for this double 7" release. Sourcing all four tracks from the original MGM analog tapes, these songs are reborn in amazing aural quality on this strictly limited edition. Grab one and let your psychedelic garden grow!Single 1 (Originally Issued As MGM K-14163, August 11th, 1970)
1. Bad Part Of Town
2. Wish Me Up
Single 2 (Originally Issued As MGM K-14190, November 16th, 1970)
1. Love In A Summer Basket
2. Did He Die$15.997 Vinyl Single - 2 Singles Sealed Buy Now
Stravinsky - Firebird (Speakers Corner)
Ernest Ansermet's long friendship with Igor Stravinsky enabled him to witness the birth of some of the composer's most important creations. This proved to be of incalculable worth in his interpretation of the works he premiered for Stravinsksy.
Here Ansermet directs the OSR in a performance of Stravinsky's The Firebird. It is the composer's first major ballet, brought him world fame and continues to gain in popularity to this day. The story - which combines the motifs of several Russian fairy tales with a magic Firebird, a vanishing castle, an evil magician, and a hero who saves the maiden - inspired Stravinsky to write some of his most fascinating and mysterious music.
The OSR is fully equal to its fine reputation. Ernest Ansermet's competence as an interpreter is evident throughout.
Acoustically, this pressing offers advantages over the original. Here the orchestra resonates with a full, natural and mellow sound that blossoms into a veritable garden of tonality extending around and behind the loudspeakers.
This new edition of Stravinsky's The Firebird is a true stereophonic delight.
- Orchestre de la Suisse Romande
- Ernest Ansermet (conductor)
Recording date and venue: May 1955 at Victoria Hall, Geneva by Roy Wallace
Production: James Walker
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.$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now