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Tony Allen has long been acknowledged as Africa's finest drummer and one of the continent's most influential musicians. Together with Fela Kuti (with whom he played for 15 years) Allen co-created Afrobeat - the hard-driving, horns-rich, funk-infused, politically insurrectionary style which became such a dominant force in African music and such an influence worldwide. His iconic drumming has since underpinned an extensive catalogue of solo works as well as collaborations with the likes of Damon Albarn (as part of The Good, The Bad and The Queen), Charlotte Gainsbourg, Sebastien Tellier, Grace Jones, Malian superstar Oumou Sangaré, Jeff Mills and Hugh Masekela.
Tony Allen - Secret Agent
$37.99
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Limited 180gm vinyl LP pressing. Jazz is the seventh album by Ry Cooder, produced by Joseph Byrd and Ry Cooder and originally released on the Warner Bros. Records label.
Ry Cooder - Jazz [180 Gram]
$38.99
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Horace Tapscott's Pan-Afrikan Peoples Arkestra (P.A.P.A.) was one of the most transformative, forward-thinking and straight-up heavy big bands to have played jazz in the 1960s and 1970s. If P.A.P.A. doesn't have the interstellar rep of that other famous Arkestra, and if the name Tapscott doesn't ring bells like Monk or Tyner, there's a reason why: in an industry dominated by record labels, a band that doesn't record doesn't count. And the Pan-Afrikan Peoples Arkestra didn't record for nearly twenty years. But recording success was never their concern - they weren't about that. First formed as the Underground Musicians Association in the early 1960s, Tapscott always wanted his group to be a community project.From their base in Watts, UGMA got down at the grassroots. The group was renamed the Pan-Afrikan Peoples Arkestra in 1971, and soon after they established a monthly residency at the Immanuel United Church of Christ which ran for over a decade, while still playing all over LA and beyond. But they never released a note of music. It was the intervention of fan Tom Albach that finally got them on wax. Determined that their work should be documented, Albach founded Nimbus Records specifically to release the music of Tapscott, the Arkestra, and the individuals that comprised it. The first recording sessions in early 1978 yielded enough material for two albums, and the first release was Flight 17. The album commences with the magnificent title track. It is effectively in three parts. It begins with unaccompanied pianos. Then the ensemble embark on a dense, circular and mechanical movement, a platform for horns and pianos to swoop and dive. We return to Earth with a beautiful solitary flute. The second track, the piano-centric, 'Breeze' is different to 'Flight 17' in intensity and also brevity but it is quietly as daring as the title track. It concludes with a moving lush wash from the full Arkestra, which sound almost like strings only more substantial. These first two tracks take full advantage of the texture of the unusual mix of the various instruments. Next though, it's a significant change with 'Horacio', which is an exuberant Latin infused jingle. It's unlike anything else on the album. I like to think it was named after the conductor's Cuban alter-ego! 'Clarisse' gracefully switches between slow blues and bop and is bookended with a grand vaguely East Asian theme. The busy bass line introduces 'Maui'. As with the previous track, it moves between a number of contrasting melody lines and rhythms but there's still space for a tuneful sax solo.This is a must-have album. I think the first two tracks on their own make this release essential.
Horace Tapscott - Flight 17
$48.99
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It seems that every major jazz artist has a one-off sort of record in their discography, be it with strings, voices, spoken word, or - as in this case - a foray into the funkier side of jazz. Charlie Rouse (going here as Charles Rouse) gets his chance on Two Is One, a funky soul-jazz excursion on Strata-East, the artist-run label where creativity and pushing boundaries were at the forefront. Playing mostly with a group of session musicians, Rouse put together an album that may stray a bit from his hard bop roots but is nonetheless an enjoyable and at times inventive record. The style of music played here - sophisticated soul jazz with some post-bop and spiritual jazz thrown in for good measure - is very much a product of it's time. 1974 saw a whole slew of artists stretching the boundaries of what jazz music could be, combining elements from the past two decades into electric jazz adventures. The piano-less group that Rouse put together is a funky one, with lots of rhythmic playing behind either the searching solos of Rouse on the tenor or some inventive electric guitar work from either George Davis or Paul Metzke who appear together on all but a couple of tracks. Cal Scott gets plenty of time to shine throughout on what sounds like an electrified cello, an unusual instrument for modern jazz to be sure, but one that manages to fit in just fine here.The first side of the album is all slow-burning soul-jazz, highlighted by the opening track 'Bitchin' where Rouse shows off that he is more than capable of setting down soulful lines over a funky backbeat. The second side is where the group gets a whole lot more inventive, particularly on the title track where they mix some post-bop madness with the soul-jazz sound. 'Two Is One' features different tempos throughout: in the 'first section' the bass plays in 9/8 time, the drums in 6/8 time and the cello and tenor are in 3/4 time. For the 'second section,' the rhythm section switches to 7/8 time while the cello and tenor move to 4/4 time. Stanley Clarke is on bass here and his deep and twisty electric bass line is placed prominently upfront.'Two Is One' is certainly the highlight of the album from a pure jazz standpoint, and it lives up to it's title, which according to Gene Lewis' liner notes is taken from a Thelonious Monk phrase meaning two people so in tune with one another that they become one. The album finishes off with 'In His Presence Searching,' a spiritually informed jazz number that is reminiscent of the work being done during this period by the likes of Pharoah Sanders and Gary Bartz, (while not being quite as out there as their best work). The tune is all rhythmic glory, with Rouse and Scott playing introspective and penetrating solos throughout. It's a nice album closer, and a good reminder that while Two Is One may be best known for it's funkier excursions, Rouse had a few tricks up his sleeve, and the album, when taken as a whole, is a complete statement from a legendary jazz musician.
Charles Rouse - Two is One
$48.99
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Linda Hill recorded this LP for Nimbus West in 1981 with fellow Arkestra members, including flautist Adele Sebastian. And it's Sebastian's vocal duet with Hill on the spiritual jazz epic "Leland's Song" that opens this stunning LP. Hill's ensemble also included the serious horn player Sabir Matteen, as well as bassist Roberto Miranda and drummer Everett Brown Jr., who would all go on to record LPs for Nimbus. The Arkestra first started rehearsing at pianist Linda Hill's house in the early '60s. "In a few months, we'd built up from seven or eight to about 18 cats, musicians started living there," Tapscott wrote in his autobiography. "People got involved with the Arkestra like it was their life's work." Hill took the role seriously, earning her the name of "the Ark's matriarch" by Tapscott.
Linda Hill - Lullaby For Linda [Remastered]
$36.99
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Horace Tapscott

Call

Vinyl: $48.99 Buy

Through his dedication to the Los Angeles grassroots projects that gave so much stability and focus to many younger musicians, artists and the community, Horace Tapscott became a neighbourhood hero at a time when the world wanted his presence. He stayed in Los Angeles and focused instead on building a community, rarely giving interviews and instead focusing on passing on the message from his mentors. He shaped a unique sound with his arkestra and community minded musicians. It was a close-knit family that emanated a sound that was deep and unique, flowing with a creative spirit that definitely comes through on this album.In 1961 he founded the Pan-African Peoples Arkestra, which aimed to preserve, develop and publicise African-American music through the ever-growing family that emanated within many of the deprived areas of Los Angeles. Through his subsequent collaboration with Bruce Albach, a producer and founder of Nimbus West Records, they sought to document the importance of this music alongside many artists who were energetically linked to the ethos and understanding which came from the collective dialogue.Here the composer leads four extensive arrangements through his 16 piece orchestra, featuring many of the Nimbus West artists including Adele Sebastian, Jesse Sharps and Linda Hill. The music weaves the sound of afro-futuristic music through changing tempos and a relentless dynamic expressive sound that is complex and beguiling with a deep spiritual sound throughout all four tracks.The ceremonial 'Peyete Song no. III' is a great swirling evocative piece from the large collective, with amazing solos from especially Horace Tapscott who seems to find a sound from the piano that is from another dimension. The arrangement airs an important message of a people and their rituals.Horace Tapscott gives Cal Massey's composition 'Nakatini Suite' a splendid futuristic big band interpretation. The composition had been earlier illuminated by both Lee Morgan on his 'Lee-Way' album and John Coltrane on his 'Believer' album titled 'Nakatini Serenade'. Through the more expansive soundscape, the interpretation allows for some great interplay between saxophonist Jesse Sharps and drummer Everett Brown Jr. With the whole orchestra led by Horace Tapscott capturing the essence of Cal Massey's message.Vocalist Adele Sebastian opens up the free probing arrangement 'Quagmire Manor at 5am' composition with a similar delivery as with her 'Day Dream' from the classic 'Desert Fairy Princess' album before the music takes off onto the mothership adding a sense of what time and space within the manner was about amongst many great musicians and artists. Their journey and moments encapsulated within the music.There are certain albums you hear something new every time you revisit the music and this is one of those albums. An important part of Afro-American history; the politics and art which surrounded the album. If you get a chance check out the film 'Horace Tapscott, Musical Griot', by filmmaker Barbara McCullough, or buy the book 'Songs Of The Unsung': The Musical & Social Journey of Horace Tapscott'.
Horace Tapscott - Call
$48.99
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The best of pianist Horace Tapscott's recordings for the tiny Nimbus label is this 1981 LP which features him in a sextet with trumpeter Reggie Bullen, altoist Gary Bias, tenor saxophonist Sabir Matteen, bassist Roberto Miranda and drummer Everett Brown, Jr. The group stretches out on a couple of Tapscott's originals plus a 19-and-a-half-minute version of Linda Hill's 'Dem Folks.' Although the music could be called avant-garde, it's use of rhythms and repetition keep the results from being forbidding and the performances have a momentum of their own. A great group recording from pianist Horace Tapscott - recorded in LA in the early 80s, but done with all the righteousness and spirituality of his earlier albums! Tracks are long and exploratory, but also relatively lyrical too - stretching out with a style that's never too 'outside', and which has Horace and the group really soaring to the heavens on the best moments!
Horace Tapscott - Dial 'b' For Barbra (Gate) [180 Gram]
$64.99
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Turner, who appeared on stage with Goodman, Ellington, Tatum and - in later years - with Gillespie and Eldridge, offers his listeners many facets of the blues. The opening number, "Switchin' In The Kitchen", is a fairly fast boogie-woogie where the vocal swings freely with sharp blasts in the background. Other swinging numbers, in which jazz champions such as Coleman Hawkins and Ernie Royal perform solos, include several ballad-like evergreens ("Pennies From Heaven"), which Turner and his band elaborate to become an imposing aria ("Until The Real Thing Comes Along").
Joe Turner - Big Joe Rides Again [180 Gram]
$40.99
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Recording with a sextet at the New York jazz club Sweet Basil in August 1977, McBee's band included Chico Freeman on reeds, Dennis Moorman on piano, Joe Gardner on trumpet, Steve McCall on drums, and Famoudou Don Moye on percussion. Two complete albums of music were released by Enja Records from this engagement, the ground breaking recordings Music From the Source [1978] and Compassion [1979]."Few groups today sound as fresh, generate as high an emotional charge, or leave as lasting an impression as McBee's sextet," Chris Albertson wrote upon the release of these recordings. "It is as if each member were a unique piece of a puzzle, carefully placed to complete precisely the breath taking picture intended. The music is adventurous enough to satisfy any aural daredevil who has not completely lost his or her sense of beauty, yet all the basic jazz values have been preserved with due reverence." - Chris Albertson
Cecil Mcbee Sextet - Music From The Source
$49.99
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When Janis Joplin died in October 1970 at the early age of 27, thus involuntarily confirming the beatnik adage -live fast, love hard, die youngr, it was only a matter of time before she was crowned the "Queen of Rock". Of greater importance than this posthumous entry into rock 'n' roll's hall of fame is the recognition during her lifetime of her explosive vocal style, which - so Vogue - -turned the whole history of singing upside down. Janis Joplin's discography is just as short and changeable as her life. After two LP releases with the standard 'cast' of rock musicians in the band Big Brother And The Holding Company, with whose excellent musical support she obtained her first recording contract with Columbia Records in 1968, the company provided her with a group augmented with organ and winds. Their intention was to broaden her vocal expression with blues and funk elements, which, however, her most loyal fans regarded as betrayal of the ideals of rock music. Rock fans in the Old World were less critical, especially since Joplin and her Kozmic Blues Band went on a two-month tour of Europe. For those Woodstock fans whose ears are still ringing with the band's full, meaty wind sound and Janis's bluesy soul singing, this album is an absolute must.." Recording: June - August 1969 by Sy Mitchell, Jerry Hochman, and Alex KazanegrasProduction: Gabriel Mekler." "I Got Dem Ol' Kozmic Blues Again Mama!" - Janis Joplin (voc); Cornelius "Snooky" Flowers, Terry Clements (sax); Luis Gasca (tr); Richard Kermode, Gabriel Mekler (org); Sam Andrew (g); Brad Campbell (b); Maury Baker, Lonnie Castille (dr), a.o.." standard sleeve
Janis Joplin - I Got Dem Ol'kozmic Blues Again Mama
$38.99
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A musical cross-section through the spectacular recordings of the Telarc label, which is known for it's creative recording philosophy and sound quality par excellence and has collected more than 50 Grammy Awards. DMM, 180 Gr. Virgin Vinyl.
Spectacular Sound Experience 2 / Various (Frpm) - Spectacular Sound Experience 2 / Various (Frpm)
$39.99
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Many a musical career began in the gospel church choirs of the black communities, but that of Donny Hathaway must certainly be one of the most meteoric. Rolling Stone magazine named him the 49th greatest singer (of 100) of all time, though this might sound somewhat abstract. But just the very first few bars of the opening number "Voices Inside" promises a programme in which the instrumental and human voices are on a par. Just listen to the impressively saturate sound and clear phrasing of the wind instruments which range from discreet to brassy. Spiced with peppery volleys on the clavinet, Hathaway's soul sound breaks into new ground with harmonically fresh blues ("I Believe To My Soul"), soars passionately upwards ("Misty") and ploughs through a percussive, dry and cheerful confusion in the number entitled "Sugar Lee". Every single arrangement profits to the full from the excellence of the musicians and each number is therefore quite unique. Softly cushioned, melodious togetherness ("Trying' Times") seems just as natural as prayer-like gospel song ("Thank You Master For My Soul"), which ventures into the realms of free jazz harmonies to the glory of God. To round off the album we once again hear Hathaway's voice, smooth and soaring, right up into the top register, in the short number "A Dream" - an apt description of the whole album. Recording: September 1969 - April 1970 by Murray Allen and Roger S. Anfinsen Production: Donny Hathaway and Ric Powell
Donny Hathaway - Everything Is Everything [180 Gram]
$44.99
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A Bold Celebration of Romantics, Escapists, and Dreamers: Electric Light Orchestra's Eldorado Marries Rock and Symphonic Elements, Includes the Aptly Titled Hit 'Can't Get It Out of My Head'. Mastered from the Original Analog Master Tapes for Audiophile Quality: Mobile Fidelity 180g Vinyl LP and Hybrid SACD Reissues Play with Previously Unheard Dynamics, Rich Tones, and Bountiful Colors. Melodic, Beatles-Inspired Tour de Force Features Full Orchestra and Choral Section: Arrangements and Lyrics Transport the Listener to Faraway Horizons. Electric Light Orchestra leader Jeff Lynne did more than figuratively reach for the sky on Eldorado. Daring to be bold, and creating imaginative worlds that invite the listener to escape the mundane, the visionary composer-musician achieved a multidisciplinary fantasia and, in the process, a prog-rock landmark. Beautiful yet fun, ambitious yet consistent, the concept album celebrates romantics and escapists. A Technicolor escapade marked by lush melodies, fluid crescendos, and an intoxicating blend of energetic rock and orchestral elements, the album weds rich imagery and sweeping sounds in manners that make the two inseparable. Nearly 50 years later, the work's brilliance can be experienced like never before in cinematic fashion. Mastered from the original analog master tapes and pressed on MoFi SuperVinyl at RTI, Mobile Fidelity's 180g LP and complementary hybrid SACD allow the longtime audiophile staple to resonate with incredible dynamics, tones, and colors. Conjuring the feeling of journeying to different horizons, the record's songs teem with layer upon layer of details, which can now be heard as the producers intended. Distinguished with in-the-moment presence, grand-scale soundstaging, and instrumental balance, MoFi's Eldorado reissues also benefit from superb separation and immersive atmospherics. Like the man says, you won't be able to get it out of your head.
Electric Light Orchestra - Eldorado: A Symphony By The Electric Light Orchest
$65.99
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Herbie Mann ?- Herbie Mann At The Village Gate Herbie Mann at the Village Gate is a 1961 live album by jazz flutist Herbie Mann which was his third album for Atlantic Records, the main label for much of his career. The album was recorded at legendary club The Village Gate. Herbie Mann - flutes, Hagood Hardy - vibraharp, Ahmed Abdul-Malik - bass, Ray Mantilla - conga and percussion, Chief Bey - African drum and percussion, Rudy Collins - drums, Ben Tucker - additional bass.
Herbie Mann - Herbie Mann At The Village Gate [180 Gram]
$45.99
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Saxophonist Wendell Harrison has lived by a standard philosophy for his 50-plus-year career: One must have complete self-autonomy. Both his music and business dealings reflect this. Besides being a legend on the Detroit jazz scene and mentoring up-and-coming musicians through his non-profit organization Rebirth Inc., he co-founded the Tribe Records label in the 1970s, which produced a magazine and many classic albums.Harrison is continuing Tribe's legacy-this time around with a group of rising jazz musicians from the Motor City such as drummer Louis M. Jones III, trumpeter Trunino Lowe, and guitarist Jacob Schwantz-on his new recording Get Up Off Your Knees.There's a lot to digest here because the original compositions encompass R&B, soul, spoken word, and "world" music, all seen through the lens of jazz. Harrison tends to weave elements of African music into many of his compositions. On "Siera" and "Samoulén Khalé Yi," both written by vocalist and bassist Pathe Jassi, he pays tribute to Guinea-Bissau and Senegalese culture. "Educators" also has African nuances in it's hardcore drumming and Harrison's sublime blowing on bass clarinet and clarinet.Any discriminating jazz listener will be consumed by Get Up Off Your Knees, but it seems Harrison's primary purpose for making this album is to encourage the current generation to put education first and build social awareness. On the title track, vocalist Miche Braden pushes the self-determination angle, which is again highlighted on "Revolution," a reimagined take on Gil Scott-Heron's "The Revolution Will Not Be Televised" delivered with an adherence to contemporary events by the poet Rev. Mbiyu Chui. By Veronica Johnson from Jazz Times.
Wendell Harrison Tribe - Get Up Off Your Knees
$64.99
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It's easy to imagine that both the Jazz and the Rhythm'n Blues fans have eagerly awaited this Atlantic LP. The Ertegun brothers, highly praised producers for the early LP phase of these styles, were the catalysts of his creativity for Ray Charles, the 'King of Soul' as he was later called. In his band was already on the first live record, recorded in Newport 1958, the head of the hot wind group just David 'Fathead' Newman. The eight tracks on the LP with the early, green stereo label all originate from the repertoire of the Ray Charles Band, but gain through the long improvisations without vocals of sharpness and jazz feeling. Luckily, commercial pressure is missing. So Ray Charles can concentrate on the piano game and offers outstanding solos. Also, the blues is not too short: 'Fathead' played in minor. The writer of the liner-notes can only agree, if he defines for himself "Hard Times" as the highlight of the LP. However, the other titles are by no means less good. Therefore, one must express an urgent buy recommendation for this re-release from the early Atlantic-LP-time.
David Newman / Fathead - Fathead (Ray Charles Presents David Newman)
$40.99
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General opinion has it that Sonny Stitt always stood in Charlie Parker's shadow. That, however, is unjustifiable. The legendary jazz critic Nat Hentoff wrote, for example: 'Sonny has been one of the wholly involved players, well known and admired for his soul and the earthiness of his message only by musicians who feel and play like he does and by that part of the jazz audience that is most moved by naked, open emotion. He has made his mark with them as an honest yea-sayer who can't help but play what he knows and feels.' The present recording is proof of this - a session which shouldn't really have worked out so well. Sonny Stitt's alto saxophone presides over a seven-man-strong brass group, and although the prospect of a Sonny Stitt big band does not sound too promising initially, this rendezvous is really enjoyable, thanks in part to Stitt's superb solos. At this time he was on the top of his form and he plays freely over the basis provided by the brass section consisting of Blue Mitchell, Jimmy Cleveland and Willie Ruff. The arrangements by Tadd Dameron and Jimmy Mundy are closely-knit yet offer enough room for swing and a generous pinch of soul. Special highlights are contributed by the unknown, female organist Perri Lee -, little groovy additions that are really successful and infuse the arrangements with a slender sound and sparkle. Although 'Sonny Stitt & The Top Brass' may not stand in the limelight like 'Boss Tenors' or 'Salt And Pepper', it is certainly on a par with these from an artistic point of view.
Sonny Stitt / The Top Brass - Sonny Stitt & The Top Brass [180 Gram]
$39.99
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'Janis Joplin wouldn't be denied on Pearl. The powerhouse vocalist had kicked her addictions, teamed with a crack band, and partnered with a producer who knew how to best showcase her voice on record. She came to the sessions with an armload of astonishing songs, and a burst of creative energy that mirrored her rejuvenated emotional state and undeniable spirit. You can hear it on every note of the 1971 record. While Joplin's electrifying vocal prowess is universally lauded, her mix of compassion, confidence, and charm play as large a role. And on Pearl, she burrows into deeper stylistic veins, teasing out sides of her persona and craft she'd never previously displayed. Her signature desperation, sadness, and vulnerability remain, yet Joplin also reveals a sense of humor and beatnik innocence. Strictly limited to 7,500 numbered copies, pressed on MoFi SuperVinyl at RTI, and released in celebration of the album's 50th anniversary, Mobile Fidelity's UltraDisc One-Step 180g 45RPM 2LP box set takes Joplin and Co.'s stupendous performance to newly transcendent levels. Boasting a fidelity that further magnifies the singer's passion and Paul A. Rothchild's clear production, it benefits from increased spaciousness, dynamics, and openness-and a practically nonexistent noise floor. Joplin's strong, penetrating singing has never sounded so vibrant or made more intense connections. Warm, organic, and free of artificial ceilings, this collectible UD1S set let's you step into Sunset Sound Recorders with the musicians. Get it while you can.
Janis Joplin - Pearl (Box) [Limited Edition] [180 Gram]
$139.99
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MASTERED FROM THE ORIGINAL MASTER TAPES AND LIMITED TO 10,000 NUMBERED COPIESMuddy Waters' Folk Singer remains rightly revered as the greatest-sounding blues album ever released-and, to date, one of the only bonafide audiophile records in the genre. Originally issued in 1964 by Chess Records, the all-acoustic work has made the rounds as a demonstration disc and benefitted from myriad reissues, all of which sought to improve upon Willie Dixon and Ralph Bass' legendary, subtlety-abundant production while bringing the musicians into your room. More than five decades after Waters, Buddy Guy, and company initially gathered in a Chicago studio in September 1963, those feats (and more) are finally accomplished in definitive, unsurpassed fashion courtesy of Mobile Fidelity.Limited to 10,000 numbered copies, pressed on dead-quiet MoFi SuperVinyl at RTI, and mastered from the original master tapes, Mobile Fidelity's ultra-hi-fi UltraDisc One-Step 180g 45RPM 2LP collector's edition pays tribute to the album's merit and enhances the intimate program for generations to come. Playing with reference-setting sonics that more than justify it's existence in a field filled with prior audiophile reissues of Folk Singer, this spectacular collector's version provides a clear, transparent, ultra-dynamic, and up-close view of a set that inspired Rolling Stone to deem it the 282nd Greatest Album of All Time and proclaim it 'a pioneering 'unplugged' set beloved by blues and folk fans alike.'The premium packaging and beautiful presentation of the UD1S Folk Singer pressing befit it's extremely select status. Housed in a deluxe box, it features special foil-stamped jackets and faithful-to-the-original graphics that illuminate the splendor of the recording. No expense has been spared. Aurally and visually, this UD1S reissue exists as a curatorial artifact meant to be preserved, touched, and examined. It is made for discerning listeners that prize sound quality and production, and who desire to fully immerse themselves in the art-and everything involved with the album, from the iconic photos to the gorgeous finishes.Such potency reveals itself explicitly on a vinyl set afforded uncanny reproduction of Waters' tobacco-stained singing, booming reach, robust acoustic guitar, and instrumental accompanists-a Hall of Fame group that comprises a very young Guy, stand-up bassist Dixon, and drummer Francis Clay. Accurately portraying the scale of a human voice remains one of the most difficult tasks to accomplish on a recording. And yet the timbre, richness, and realism of Waters' singing here convey the authority of it's inner cavity and considerable depth, allowing notes to individually register all the while pairing with succeeding rhythmic passages in seamless fashion. The presence, feel, and contributions of Waters' esteemed colleagues register, too, with the lifelike nature rivaled only by sitting in a small venue. Indeed, few albums of any style resonate with the reference levels of spaciousness, openness, and 'room as an instrument' qualities to the extent of Folk Singer.
Muddy Waters - Folk Singer [Indie Exclusive] [Limited Edition] [180 Gram] [Indie Exclusive]
$139.99
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Bob Dylan

Blonde On Blonde

Vinyl: $114.99 Buy

MP3 Album: $9.99 Download

Blonde on Blonde is the seventh studio album by American singer-songwriter Bob Dylan, released on May 16, 1966, on Columbia Records. Recording sessions began in New York in October 1965 with numerous backing musicians, including members of Dylan's live backing band, the Hawks. Though sessions continued until January 1966, they yielded only one track that made it onto the final album - "One of Us Must Know (Sooner or Later)". At producer Bob Johnston's suggestion, Dylan, keyboardist Al Kooper, and guitarist Robbie Robertson moved to the CBS studios in Nashville, Tennessee. These sessions, augmented by some of Nashville's top session musicians, were more fruitful, and in February and March all the remaining songs for the album were recorded. Blonde on Blonde completed the trilogy of rock albums that Dylan recorded in 1965 and 1966, starting with Bringing It All Back Home and Highway 61 Revisited. Critics often rank Blonde on Blonde as one of the greatest albums of all time. Combining the expertise of Nashville session musicians with a modernist literary sensibility, the album's songs have been described as operating on a grand scale musically, while featuring lyrics one critic called "a unique blend of the visionary and the colloquial". It was one of the first double albums in rock music. The album peaked at No. 9 on the Billboard 200 chart in the U.S., where it eventually went double-platinum, and reached No. 3 in the UK. Blonde on Blonde spawned two singles that were top twenty hits in the U.S. "Rainy Day Women #12 & 35" and "I Want You". Two additional songs, "Just Like a Woman" and "Visions of Johanna", have been named as among Dylan's greatest compositions and were featured in Rolling Stone??'?s 500 Greatest Songs of All Time list.
Bob Dylan - Blonde On Blonde
$114.99
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Limited 180gm vinyl LP pressing. The Flowering is a live album by jazz saxophonist Charles Lloyd performed in France and Norway by the Charles Lloyd Quartet featuring Keith Jarrett, Cecil McBee and Jack DeJohnette.
Charles Lloyd - Flowering [180 Gram]
$38.99
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The Alan Parsons Project's Most Commercially Accessible, Successful, and Cohesive Album: Eye in the Sky Features Exquisite Arrangements, Orchestral Scope, and Pop Melodies. Mastered from the Original Master Tapes: Mobile Fidelity 180g 45RPM 2LP Set Present the Music's Smoothness, Lushness, Detail, and Balance in Reference Sound. 1982 Set Recorded at Abbey Road Studios: Spotlights the Renowned Cosmic-Inspired Instrumental 'Sirius' and Several Guest Vocalists, Including Former Zombie Colin Blunstone. The opening track to the Alan Parsons Project's Eye in the Sky remains the most recognized instrumental in sports-fanfare inseparably tied with introducing NBA legend Michael Jordan and his six-time world-champion Chicago Bulls mates before games, and still used by many teams as an energy-raising prelude. Indeed, the subdued grandiosity, cosmic bluster, and lights-out wonder of 'Sirius' sets the table for the band's smash 1982 album, whose hallmark smoothness, lushness, and balance extend to the music's exquisite songwriting, dreamy emotions, and underlying orchestral scope. Credit for the record's craft, cohesiveness, and accessibility also falls to Alan Parsons and creative partner Eric Woolfson's knack for recruiting session pros that translate their visions with unquestioned feeling-particularly, vocalists who include former Zombie leader Colin Blunstone and soul singer Lenny Zakatek. Mastered from the original master tapes, Mobile Fidelity's RTI-pressed 180g 45RPM 2LP version of Eye in the Sky feature succulent warmth, magnificent balance, low-end heft, and see-through transparency that take you into the studio with Parsons at Abbey Road Studios. Each note seems perfectly placed, every sequence painstakingly considered. Boasting front-to-back depth, concert-hall-level separation, realistic presence, and bang-on accuracy, the reissues illustrate the lasting importance of perfectionist-minded engineering and recording techniques. These releases will test the capabilities of the world's finest stereo systems. There's more information, more texture, more nuance - more of everything to be experienced. British progressive rock would never again sound so sophisticated, suave, or steady.
Alan Parsons Project - Eye In The Sky [180 Gram]
$69.99
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Simultaneously elevated and bypassed by the artistically prolific year in which it was released, the Young Rascals' Groovin' remains the high-water mark of a collective Rolling Stone boldly proclaimed 'the blackest white group of all' in 1970. Home to three Top 10 singles and a diverse array of pop music in step with the era's exploratory creativity, the set belongs alongside the Beatles' Sgt. Peppers' Lonely Hearts Club Band, Love's Forever Changes, Jefferson Airplane's Surrealistic Pillow, and 1967's other pioneering recordings. Look no further than 'A Girl Like You,' commandeered by confident singing and skated along by peppy jazz-rock architecture marked by exuberant horns, lilting piano lines, and splashing rhythms. Or 'How Can I Be Sure,' on which Eddie Brigati takes the vocal lead over a waltzing pattern that conveys hopefulness, rumination, and the rollercoaster ups/downs that accompany the initial stages of a relationship.Mastered from the original monaural master tapes, Mobile Fidelity's 180g 45RPM mono 2LP set (limited to 5,000 numbered copies) captures the deep-seated personality and effortless melodies that seemingly occupy every passage. Reflecting the playfulness of the cover art, the members demonstrate a cohesiveness, chemistry, and charm made apparent via the newly uncovered detail, airiness, and tonalities. The painstakingly produced restoration also includes 'A Beautiful Morning,' a million-selling hit that reached the third spot on the Billboard Hot 100 chart in 1968 and debuted as the first release under the band's then-newly truncated Rascals name. Blue-eyed soul and innocuous optimism have rarely sounded more contagious than on this audiophile-grade reissue.
Young Rascals - Groovin' [Indie Exclusive] [180 Gram]
$69.99
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?In 1965, just one year after Paul Butterfield had formed his blues band - named after himself - and launched one of the very best groups among the white Chicago blues community, the band produced this dynamic and visionary album. The group presents a wide range of contrasting numbers, both eastern and western, which reflect the LP's title - something totally new and innovative. In the first few titles, traditional standard numbers come over rather enigmatically while supporting original and rhythmic compactness, but this soon gives over to tactically well-formed instrumentation and lengthy solo interludes. The all-embracing motto 'blues' is taken up by the band in Nat Adderley's 'Work Song' at the very latest, with mind-expanding ways of playing and varying sounds. Catapulted by Mike Bloomfield's artistry on the guitar into the world of rock, all the musicians celebrate these well-known jazz standards and each man contributes his personal skill into forging a perfectly balanced team effort. The title number 'East-West' ultimately demolishes the world of the blues. In the tonal mixture of confidently prepared rock ingredients and borrowings from Indian music (raga rock), we have an amalgamation of rock, blues, jazz and oriental melodies which result in an emotional, unheard-of sound that is well worth the hearing.
Butterfield Blues Band - East-West (Blk) [Remastered]
$49.99
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Dire Straits

Love Over Gold [Limited Edition] [180 Gram]

Vinyl: $72.99 UNAVAILABLE

MP3 Album: $9.99 Download

Mobile Fidelity 45RPM 2LP Set of Love Over Gold Touts Unsurpassed Spaciousness, Imaging, and Transparency: Mastered from the Original Tapes, Music Emerges With New Details and Tones. Love Over Gold Includes the Epic 'Telegraph Road' and Aching 'Private Investigations': Heartfelt Narrative Songs Steeped in Patience, Drama, Sadness, and Romance. Love Over Gold is all about contrast, tension, and crafty composition. Dire Straits' fourth album finds the band continuing to evolve by welcoming increasingly bold arrangements and exploring moody variations. Parts edgy and sharp, and part seductive and relaxed, the five lengthy songs on Love Over Gold sprawl out like a long, winding road cutting through a pastoral landscape. The addition of a new rhythm guitarist, Hal Lindes, encourages deeper atmospheric interplay while the presence of engineer Neil Dorfsman - his first appearance in what would be a long string of collaborations with Mark Knopfler - ensures stunning sonic properties that now come to life like never before. Mastered from the original master tapes and pressed at RTI, Mobile Fidelity's 180g 45RPM 2LP version of Love Over Gold teems with superb balances, front-to-back soundstages, and crystalline purity. The dead-quiet surfaces and extra-wide grooves bring forward previously obscured details, extra information, and mastering-studio-quality transients. The distinctive textures of a host of instruments - marimbas, acoustic and electric guitars, vibes, synthesizers - further enhance the ambitiousness of the 1982 album. On this audiophile pressing, everything Knopfler does seemingly turn to gold. Gearheads will hear the unique characteristics afforded by his use of a Mesa Boogie Mark II guitar amplifier (soon again employed on Brothers in Arms) and carefully chosen selection of Schecter Stratocasters, 1937 National steel guitar, and Ovation six- and twelve-string models. Reference-level separation and lifelike imaging place Knopfler and company in your room, while tube-like warmth, spaciousness, and airiness causes the music to breathe anew. This LP will be in your rotation for months. It doesn't take long to realize Love Over Gold is like no other Dire Straits album - and a staunch proclamation of independence from a band that continued to take longer creative strides with each successive project. Fearlessly extending over metaphoric hills, valleys, and plains for nearly 14-and-a-half minutes, the opening 'Telegraph Road' is a guitar hero's dream and exhilarating showcase for Lindes' give-and-take capabilities. In tandem with keyboardist Alan Clark, Lindes provides the ideal foil for not only Knopfler but the long-time rhythm section of bassist John Illsley and drummer Pick Withers. Taking it's time to arrive at destinations, the quintet paints evocative musical and lyrical portraits steeped in patience, drama, and, often times, sadness. Desolate emotions color the sweeping 'Telegraph Road' and barren 'Private Investigations,' which finds Knopfler in the role of a tired private eye contemplating the emptiness and scars of his profession. Vocally, the Dire Straits leader remains in top form throughout, his whiskey-coated rasp conveying romantic ache, ongoing frustration, and what Rolling Stone beautifully deemed 'wracking schizophrenia between the heart and the heartless, the loving and the pain.'
Dire Straits - Love Over Gold [Limited Edition] [180 Gram]
$72.99
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Nimbus West spirit jazz essential: the Creative Arts Ensemble's classic debut One Step Out. One of the most sought after and highly-regarded titles to have appeared on Tom Albach's celebrated Nimbus West imprint, One Step Out is a timeless work of spiritualized jazz. A true gem from the Los Angeles jazz underground, the album was pianist and composer Kaeef Ruzadun Ali's first recording as leader of the Creative Arts Ensemble, the only large ensemble group that emerged directly from Horace Tapscott's legendary Pan Afrikan Peoples Arkestra community jazz group. A Los Angeles native, Kaeef was introduced to the Tapscott circle in the late 1970s. His first experience of the Arkestra's ethos was through PAPA tenorist Michael Session, who took him to the famous 'Great House' at 2412 South Western Ave., LA - a large mansion house which members of the Arkestra had taken over as a space for communal living. Life in the Great House was a continuous stream of music, dance and community events. 'When I walked in there,' recalled Kaeef, 'it was like this whole rush came over me, just from going in the front door - It was like a very, very warm feeling of love. I went and I came out with 'Flashback Of Time', and that was my first arrangement.' Kaeef quickly became a significant contributor of compositions to the Arkestra's songbook - his piece 'New Horizon' would be recorded by Horace Tapscott for the latter's Tapscott Sessions series. But 'Flashback Of Time' would eventually appear on One Step Out, played by the new group he had put together from stalwart Arkestra members. Inspired by both Tapscott's example and by the Art Ensemble of Chicago, Kaeef had wanted to follow their lead by assembling a larger unit. Featuring seasoned Arkestra regulars including reedsman Dadisi Komolafe, drummer Woody 'Sonship' Theus and altoist Gary Bias, with veterans Henry 'The Skipper' Franklin on bass and George Bohannon on trombone, One Step Out is a key document of the Los Angeles radical jazz underground. Featuring the sanctified vocals of Kaeef's sister, B. J. Crowley, the album is a tour de force of spiritually energized independent jazz music.
Creative Arts Ensemble - One Step Out [Remastered]
$48.99
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Horace Tapscott

Live At Lobero [Remastered]

Vinyl: $36.99 UNAVAILABLE
This is a reissue of a now out-of-print album from live trio date by the legendary LA-based pianist, composer and multi-bandleader, Horace Tapscott. Pianist Horace Tapscott is always at his best when he is leading a trio. 'Sketches of Drunken Mary' features some sparkling piano revolving around a most lyrical bass part that is absolutely touching. The piece ends with a long, monstrous drum solo has to be heard to be believed. I recall hearing/seeing the mighty Sonship with John McLaughlin's One Truth band live at Central Park way back in 1979 and being knocked out by his drumming. 'Raisha's New Hip Dance' is a lovely piece that starts with some amazingly powerful and somewhat dark solo piano, with some strong two handed playing going in different directions and then winding down to somber conclusion, then building back up once again. The final piece is called 'Dark Tree' which is a great work that features a colossal, McCoy-like repeating line that is most hypnotic. The trio explodes in waves together, an immensely propulsive circular current at the center of the storm. Roberto Miranda takes an astonishing, fleet-fingered contrabass solo and then Sonship again provides a cosmic gong, cymbals and drum solo. This is a momentous offering from start to finish. It doesn't get any better than this.
Horace Tapscott - Live At Lobero [Remastered]
$36.99
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The Cars

Candy-O

Vinyl: $48.99 UNAVAILABLE

MP3 Album: $9.99 Download

The Cars - Candy-O
$48.99
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Re-mastering by: Ray Staff at Air Mastering, Lyndhurst Hall, London. Double live album. 180 gram LP x 2 in gatefold sleeve.
Piano Choir - Handscapes (Gate) [180 Gram]
$49.99
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Patti Smith

Horses

Vinyl: $45.99 Buy

180 gram LP pressing. Speakers Corner. 2006.
Patti Smith - Horses
$45.99
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Electric blues guitarist Melvin Taylor had been sporadically recording solo albums for 20 years when Dirty Pool arrived - and was somehow just beginning to find fame. Already a hit in Europe, it had taken a steady run of performing in Chicago's famed blues clubs to slowly earn Taylor a well-deserved reputation as an equal talent among the giants before him, such as Otis Rush, Albert King and Stevie Ray Vaughan. While early records like Melvin Taylor Plays the Blues For You show off an equally amazing jazz side, Taylor traded away his Wes Montgomery-inspired runs for more Luther Allison/Jimi Hendrix attacks with the formation of the trio Melvin Taylor and the Slack Band in the mid-'90s. The title song of the second album by that outfit, "Dirty Pool," is actually more the balls-to-the-wall, no-compromise, hard-rockin' electric Texas blues of Vaughan and Johnny Winter than the sweet Chicago soul of Buddy Guy. Indeed, three tracks on this 1997 release, including "Dirty Pool," were SRV tunes. Other standards, like "Kansas City" and "Floodin' in California" also have more of a Lone Star State approach to them. But the Jackson, Miss.-born Taylor's guitar is cleaner than his forebears and technically, he even surpasses them, yet the anger and sorrow of the blues is readily evident in his playing. This rare combination of qualities really comes out in a slow blues tune like his solo in "Dirty Pool," which after repeated listens, still makes my head shake in disbelief when I hear it. "Too Sorry" is a good example of how well Taylor fares when he treads in Jimi Hendrix territory, whereas his rhythm work is the best I've heard from a lead guitarist since Vaughan; listen to "I Ain't Superstitious," "Born Under A Bad Sign" and the funky "Telephone Song" for your proof. It also helps that Taylor's drummer James Knowles is well in synch with him, while Ethan Farmer completely owns the low end of the sound. Farmer's peppering bass lines and "Floodin' in California" are the textbook way electric blues bass should be. Overall, a tight little band. Taylor's vocals certainly won't draw any comparisons to the Wide-Brimmed-Hatted One but he holds his own just fine until it's cuttin' time. This is right at the top of my list of best blues guitar playing on record over the last couple of decades. If you decide to give this one a listen, prepare to be blown away.
Melvin Taylor & The Slack Band - Dirty Pool
$48.99
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Son of Schmilsson Endures as a Work of Defiant Genius, Ego-Grounding Facetiousness, and Raucous Fun: Madcap Harry Nilsson Record Bridges Humor and Seriousness, Includes 'You're Breakin' My Heart' and 'Remember (Christmas)'. Mastered from the Original Analog Master Tapes for Premium Sound: Numbered-Edition Mobile Fidelity 180g 45RPM Vinyl 2LP Set Presents the Music with Full-Range Dynamics and Astute Clarity. 1972 Album Features Contributions from George Harrison, Ringo Starr, Peter Frampton, Lowell George, Nicky Hopkins, Bobby Keys, and More. 'I sang my balls off for you baby.' Harry Nilsson's bold proclamation on the opening cut of Son of Schmilsson immediately makes it evident the singer had no intention to repeat the approach of his commercial breakout, the preceding Nilsson Schmilsson-and harbored no desire to hold back on any front or advance any traditional notion of a career. The madcap album goes all out, delivering a wild ride infused with horror-movie effects, crass jokes, then-shocking profanity, snoring, and even a belch-strangeness that belies the fact it went gold and landed a Top 40 single in the form of 'Spaceman.' Hindsight further shows the gonzo work endures as a stroke of defiant genius, ego-grounding facetiousness, and raucous fun-all the way down to the iconic artwork depicting Nilsson as a vampire. Encompassing rock, torch, country, pop, blues, and old-world European-styled sing-a-longs, the music serves a singer-songwriter whose multifaceted aims, daring versatility, inimitable personality, and unique vision reach epic proportions on the 1972 set. Mastered from the original analog master tapes, Mobile Fidelity's numbered-edition 180g 45RPM vinyl 2LP set of Son of Schmilsson play with full range dynamics and astute clarity. Working with producer Richard Perry and at London's Trident Studios for the second time-and collaborating with guests such as George Harrison, Ringo Starr, and Peter Frampton as well as choirs and orchestras-the singer captures a natural sound marked by lively tonalities, generous air, and stellar presence. All these aspects come to the fore with unprecedented degrees on these first-ever audiophile reissues of Nilsson's most controversial (and self-sabotaging) turn. The versatile array of instruments have room to breathe, while notes emerge with palpable immediacy and fade with realistic decay. And Nilsson's elastic voice projects with you-are-there resolution and transparency. Make no mistake: You'll hear exactly why this unique album continues to spark debate and remains a fan favorite.
Harry Nilsson - Son Of Schmilsson
$57.99
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Mal Waldron's first tribute to Billie Holiday, titled Left Alone, was recorded in 1959, mere months before the singer's death. He returned to salute the legendary vocalist on several occasions since then, with this recording likely being his final tribute, recorded less than a year before his own death. Waldron, who worked with Holiday during her last years, is intimately familiar with her takes of the six standards heard on this disc, along with her own 'Lady Sings the Blues.' Archie Shepp's often gritty tenor sax is reminiscent of the texture of Holiday's voice, yet he perfectly complements Waldron's lush piano. They also pack a punch with their stark performance of 'Left Alone' (Shepp's occasional reed squeaks seem deliberate, as if to imitate breaks in her voice). Waldron also recites Holiday's lyrics set to his composition at the conclusion of the LP. Shepp switches to soprano sax for an emotional take of 'Everything Happens to Me' and 'I Only Have Eyes for You,' with the latter song sounding as if the unheard singer is being ignored by her love interest. Shepp's 'Blues for 52nd Street' is both sassy and swinging. This instrumental salute to Billie Holiday is one of the best albums ever to honour her memory.
Archie Shepp  / Waldron,Mal - Left Alone Revisited
$64.99
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It's 1964 and the first Berlin Jazz Festival is about to reach it's absolute peak: the final concert on the night of Friday, 25th September by Miles Davis. And the European subsidiary of Columbia Records, CBS, couldn't wait to release this legendary event on LP. The new quintet, for the first time with Wayne Shorter on the tenor sax (and not yet as composer), thrilled and roused the audience in the Philharmonie from the first minute to the very end. The classics "Miles (tones)", "So What" and "Walkin'" were performed at an astonishingly fast pace, the ballads were tender and dreamy. Such a magical atmosphere was rarely evoked at later concerts, which was probably due to the excellent acoustics of the large concert hall.
Miles Davis - Miles In Berlin
$39.99
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An amazing session of spiritual soul jazz - and one of the rarest albums on Strata East! Shamek Farrah's soulful alto is matched with the free spiritual piano of Sonelius Smith, for a totally memorable session that virtually defines the essence of the Strata-East sound! The music is free, but not too free; lyrical, but never indulgent; and always turning over with a fresh sense of imagination, and a soaring groove that's very much in the classic Strata-East mode!
Shamek Farrah / Smith,Sonelius - The World of the Children
$48.99

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