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Akron / Family - S/t Ii : The Cosmic Birth And Journey...(double Vinylp + Mp3)
Akron/Family debuted their new format as a trio minus vocalist and guitarist Ryan Vanderhoof on 2009's Set 'Em Wild, Set 'Em Free. They also moved pointedly away from the trappings of post-psych acid folk into multiple directions simultaneously: from animistic avant-rock, freaky funk, and even prog. S/T II: The Cosmic Birth and Journey of Shinju TNT, issued in February of 2011, solidifies that move in a surprising manner. It is easily the most optimistic, spiritually blissed-out recording in the band's catalog. It was composed and arranged in a cabin near a live volcano in Akan National Park in Hokkaido, Japan, then recorded at Michigan Central Station, the massive abandoned train station in Detroit, as well as at various homes in Portland, OR. Teaming once more with producer Chris Koltay, the trio of Miles Seaton, Seth Olinsky, and Dana Janssen are joined on select tracks by Vanderhoof on slide guitar, vocalist Ali Beletic, trumpeter Ed Sortman, and Japanese vanguard percussion legend Tatsuya Nakatani. Tribalistic drums, distorted lo-fi efx, a screaming lead guitar -- that sounds a lot like the late Stuart Adamson's from Skids -- soaring organ, and a chorus of chanted vocals introduce "Silly Bears" and thus the album. All instruments are on stun, as the vocals chart a journey to metaphoric bliss inside a post-acid nursery rhyme. The sounds of nature -- ? la birdsongs -- permeate the less strident but ultimately more beautiful textures and ambiences of "Islands," with lilting keyboards, drifting guitars, and hypnotic tom-toms. "So It Goes" begins as a riff-laden guitar fest, but shifts gears once the melody kicks in and becomes a celebratory paean to generosity. Sonic abstraction has its place here too, on the moodier "A AAA O A WAY" and in the shimmering interior dreamscape that introduces "Fuji II (Single Pane)." The album's final cut, "Creator," uses Pharoah Sanders' lyric from "The Creator Has a Master Plan," but is far from his beautifully celebratory jazz joy. Instead there are delicate slide guitars, acoustic pianos, softly sung choruses, and a textural palette reminiscent of sun-drenched open fields. Ultimately, S/T II: The Cosmic Birth and Journey of Shinju TNT is a further step in Akron/Family's already expansive musical journey; one that will no doubt delight fans and should turn on novices in droves.
Akron/Family debuted their new format as a trio minus vocalist and guitarist Ryan Vanderhoof on 2009's Set 'Em Wild, Set 'Em Free. They also moved pointedly away from the trappings of post-psych acid folk into multiple directions simultaneously: from animistic avant-rock, freaky funk, and even prog. S/T II: The Cosmic Birth and Journey of Shinju TNT, issued in February of 2011, solidifies that move in a surprising manner. It is easily the most optimistic, spiritually blissed-out recording in the band's catalog. It was composed and arranged in a cabin near a live volcano in Akan National Park in Hokkaido, Japan, then recorded at Michigan Central Station, the massive abandoned train station in Detroit, as well as at various homes in Portland, OR. Teaming once more with producer Chris Koltay, the trio of Miles Seaton, Seth Olinsky, and Dana Janssen are joined on select tracks by Vanderhoof on slide guitar, vocalist Ali Beletic, trumpeter Ed Sortman, and Japanese vanguard percussion legend Tatsuya Nakatani. Tribalistic drums, distorted lo-fi efx, a screaming lead guitar -- that sounds a lot like the late Stuart Adamson's from Skids -- soaring organ, and a chorus of chanted vocals introduce "Silly Bears" and thus the album. All instruments are on stun, as the vocals chart a journey to metaphoric bliss inside a post-acid nursery rhyme. The sounds of nature -- ? la birdsongs -- permeate the less strident but ultimately more beautiful textures and ambiences of "Islands," with lilting keyboards, drifting guitars, and hypnotic tom-toms. "So It Goes" begins as a riff-laden guitar fest, but shifts gears once the melody kicks in and becomes a celebratory paean to generosity. Sonic abstraction has its place here too, on the moodier "A AAA O A WAY" and in the shimmering interior dreamscape that introduces "Fuji II (Single Pane)." The album's final cut, "Creator," uses Pharoah Sanders' lyric from "The Creator Has a Master Plan," but is far from his beautifully celebratory jazz joy. Instead there are delicate slide guitars, acoustic pianos, softly sung choruses, and a textural palette reminiscent of sun-drenched open fields. Ultimately, S/T II: The Cosmic Birth and Journey of Shinju TNT is a further step in Akron/Family's already expansive musical journey; one that will no doubt delight fans and should turn on novices in droves.
₪109.00
Albert King - Born Under A Bad Sign (180 Gram Vinyl Lp)
In 1967, the future of electric blues guitar answered to the name of Albert King. It's not like Albert was a green newcomer to the blues world when he strolled through the doors of Memphis-based Stax Records in 1966. After all, He had his first taste of studio action as a bandleader more that a dozen years earlier. But the massively constructed southpaw saved his best for Stax. It's virtually impossible to cite a more important or influential blues album from the latter half of the 1960's than Born Under A Bad Sign... This Sundazed 180 gram vinyl edition features the entire classic album with its gorgeous vintage artwork, two rare single sides added as bonus custom original liner notes and new annotation by Bill Dahl.
1. Born Under A Bad Sign
2. Crosscut Saw
3. Kansas City
4. Oh, Pretty Woman
5. Down Don't Bother Me
6. The Hunter
7. Funk-shun
8. I Almost Lost My Mind
9. Personal Manager
10. Laundromat Blues
11. As The Years Go Passing By
12. The Very Thought Of You
13. Overall Junction
In 1967, the future of electric blues guitar answered to the name of Albert King. It's not like Albert was a green newcomer to the blues world when he strolled through the doors of Memphis-based Stax Records in 1966. After all, He had his first taste of studio action as a bandleader more that a dozen years earlier. But the massively constructed southpaw saved his best for Stax. It's virtually impossible to cite a more important or influential blues album from the latter half of the 1960's than Born Under A Bad Sign... This Sundazed 180 gram vinyl edition features the entire classic album with its gorgeous vintage artwork, two rare single sides added as bonus custom original liner notes and new annotation by Bill Dahl.
1. Born Under A Bad Sign
2. Crosscut Saw
3. Kansas City
4. Oh, Pretty Woman
5. Down Don't Bother Me
6. The Hunter
7. Funk-shun
8. I Almost Lost My Mind
9. Personal Manager
10. Laundromat Blues
11. As The Years Go Passing By
12. The Very Thought Of You
13. Overall Junction
₪99.00
Alice Coltrane - Journey In Satchidananda (limited Edition Heavy Vinyl Lp)
Perhaps the best album Alice Coltrane recorded, "Journey in Satchidananda" is one of those records where everything comes together-- Alice Coltrane took her late husband's final bands and their spiritual sounds and eschewed the frantic extended improvisations in favor of a more tame and subtle spiritual groove. The results here are stunning.
The majority of the album is made of from a studio session recorded in November of 1970-- Coltrane, heard on harp and piano, is joined by Pharoah Sanders (heard exclusively on soprano sax), Tulsi (playing tamboura, an Indian droning instrument), Cecil McBee (bass), Rashied Ali (drums) and Majid Shabazz (percussion). The pieces are all set up in a deep spiritual groove by the rhythm section (particularly McBee, who really finds a pocket throughout), with an air added to the pieces by the presence of the tamboura. Coltrane's framing, on either piano or harp, is lovely, reminiscent of her works with John Coltrane, and her harp playing has evolved greatly even since "A Monastic Trio" (1968) to become very unique and exciting. Sanders, for his part, solos lyrically and rather restrained, and is far more melodic than he often was at that time. It's difficult to discuss highlights-- the whole thing is utterly superb.
The closing track is a less performance from July of the same year, with Coltrane on harp joined by Sanders (again on soprano) and Ali again, but also joined by Vishnu Wood (on oud) and Charlie Haden (on bass). The sound is remarkably different, with Wood providing the driving rhythmic figures and Sanders soloing even more delicately then he does on the studio track, and it makes for a fitting coda for the record.
I can't really recommend this album enough, it is one of the great spiritual jazz records. It belongs in the collection of anyone interested in this sort of music.
Perhaps the best album Alice Coltrane recorded, "Journey in Satchidananda" is one of those records where everything comes together-- Alice Coltrane took her late husband's final bands and their spiritual sounds and eschewed the frantic extended improvisations in favor of a more tame and subtle spiritual groove. The results here are stunning.
The majority of the album is made of from a studio session recorded in November of 1970-- Coltrane, heard on harp and piano, is joined by Pharoah Sanders (heard exclusively on soprano sax), Tulsi (playing tamboura, an Indian droning instrument), Cecil McBee (bass), Rashied Ali (drums) and Majid Shabazz (percussion). The pieces are all set up in a deep spiritual groove by the rhythm section (particularly McBee, who really finds a pocket throughout), with an air added to the pieces by the presence of the tamboura. Coltrane's framing, on either piano or harp, is lovely, reminiscent of her works with John Coltrane, and her harp playing has evolved greatly even since "A Monastic Trio" (1968) to become very unique and exciting. Sanders, for his part, solos lyrically and rather restrained, and is far more melodic than he often was at that time. It's difficult to discuss highlights-- the whole thing is utterly superb.
The closing track is a less performance from July of the same year, with Coltrane on harp joined by Sanders (again on soprano) and Ali again, but also joined by Vishnu Wood (on oud) and Charlie Haden (on bass). The sound is remarkably different, with Wood providing the driving rhythmic figures and Sanders soloing even more delicately then he does on the studio track, and it makes for a fitting coda for the record.
I can't really recommend this album enough, it is one of the great spiritual jazz records. It belongs in the collection of anyone interested in this sort of music.
₪129.00₪119.00
Amy Winehouse - Lioness : Hidden Treasures (2-lp Gatefold Vinyl Set)
"Lioness" consists of 12 previously unreleased archive recordings and alternate takes, compiled by long-time friends and producers including Salaam Remi and Mark Ronson, in the wake of her death this July, aged just 27.
In the wrong hands, this might have been a slapdash collection, but "Lioness" is presented with genuine tenderness and it never paints Winehouse as a tragic diva stereotype.
The focus, quite rightly, is her vocal talent - not just its soulful power but also its stylistic range. And while there's an obvious melancholy in hearing Winehouse's tones again, there's also dreamy warmth, demonstrated by the opening reggae version of "Our Day Will Come" (originally by 1960s group Ruby & The Romantics Our Day Will Come: Very Best of).
Some of these tracks predate Winehouse's 2003 debut album, "Frank": there's her jazzy teenage take on "The Girl From Ipanema" and the arguable stand-out, elegant original soul melody "Halftime" (dating back to 2002).
Her casual charm and command elevates the familiar covers, whether it's The Shirelles' "Will You Still Love Me Tomorrow?" or another reworking of The Zutons' "Valerie".
There are also curious collaborations: Like "Smoke" is infused with Nas's rap homage to his Camden 'homie', while Winehouse's final studio recording is "Body & Soul", a vintage jazz cut with 85 year old crooner Tony Bennett.
Essentially, the material on "Lioness" should have been a foundation, not a memorial, but it feels like a passionate affair.
The end notes are sweet, full of unmistakeable personality and resonance.
Following her tragic passing on July 23, 2011, some of the producers and musicians who worked closely with 5x Grammy Award winning artist Amy Winehouse, among them Salaam Remi and Mark Ronson, spent time listening over the many recordings that Amy had made, before, during, and after the release of albums Frank and Back To Black. It was said by all who worked with Amy that she never sang or played a song the same way twice. It quickly became apparent to both Salaam and Mark that they had a collection of songs that deserved to be heard, a collection of songs that were a fitting testament to Amy the artist and, as importantly, Amy their friend.
The album, Lioness: Hidden Treasures, the third album from Amy Winehouse, without question one of the most talented, original, and best loved artists to emerge in popular music for decades, will be released in the United States on December 6th through Universal Republic Records. The 12 track collection features previously unreleased tracks, alternate versions of existing classics as well as a couple of brand new Amy compositions, and has been compiled by long-time musical partners Salaam Remi and Mark Ronson in close association with Amy's family, management and UK record label Island Records. Lioness: Hidden Treasures proves a fitting tribute to the artist, the talent and the woman, and serves as a reminder of Amy's extraordinary powers as a songwriter, a singer and an interpreter of classics.
After hearing the album Amy's father Mitch Winehouse had this to say: "I spent so much time chasing after Amy, telling her off that I never realized what a true genius she was. It wasn't until I sat down with the rest of the family and listened to this album that I fully appreciated the breadth of Amy's talent, from jazz standards to hip hop songs, it really took my breath away. "Halftime", I'd never heard before, is just incredibly beautiful. If the family had felt that this album wasn't up to the standard of Frank and Back To Black we would never have agreed to release it. We believe it will stand as a fitting tribute to Amy `s musical legacy."
A portion of the proceeds from the sales of the album will go to the Amy Winehouse Foundation.
"Our Day Will Come (Reggae Version)" and "Like Smoke" featuring Nas are among the first singles featured at radio this week.
Lioness: Hidden Treasures track-listing:
"Our Day Will Come (Reggae Version)" - reggae re-working of classic 60's doo wop song produced by Salaam Remi. Recorded May 2002.
"Between The Cheats" - new Amy composition recorded in London in May 2008 for potential inclusion on album three produced by Salaam Remi.
"Tears Dry" - originally written by Amy as a ballad, this is the original version she recorded in November 2005 in Miami with Salaam. The later uptempo version appears on "Back To Black".
"Wake Up Alone" - the first song recorded for the "Back To Black" sessions. This is the one-take demo recorded in March 2006 by Paul O'Duffy.
"Will You Still Love Me Tomorrow" - Amy's beautiful reading of the Carole King written Shirelles classic. Produced by Mark Ronson and featuring the Dap Kings with string arrangements by Chris Elliott who did all the strings for Mark's tracks on "Back To Black". Recorded in September 2004.
"Valerie" - one of Amy's jukebox favorites. This is the original slower tempo version of the Mark Ronson produced post "Back To Black" single. Recorded in December 2006.
"Like Smoke" featuring NAS - Amy and Nas became really good friends after Amy name checked the New York rapper on "Back To Black's" "Me & Mr Jones". "Like Smoke" is finally Amy doing a song with one of her favorite artists. Produced by Salaam Remi. Recorded in May 2008.
"The Girl From Ipanema" - the first song the 18 year old Amy sang when she first went to Miami to record with Salaam. Salaam remarked that "the way she re-interpreted this bossa nova classic made me realise that I was dealing with a very special talent. Her approach to the song was so young and fresh, it really inspired the rest of our sessions." Recorded in May 2002.
"Halftime" - Amy had talked to Ahmir `Questlove' Thompson of the Roots about working together. "Halftime" is a song that Amy and Salaam had worked on since the Frank sessions. The result is beautiful. Recorded in August 2002.
"Best Friends" - "Frank" era live set opener produced by Salaam Remi. Probably the first song that early Amy fans would have heard live. Recorded in February 2003.
"Body & Soul" with Tony Bennett - cover of 30's jazz standard with hero Tony Bennett. Recorded at Abbey Road Studios London in March 2011 and produced by Phil Ramone. Amy's final studio recording.
"A Song For You" - heartbreaking and emotional version of the Leon Russell classic made famous by Donny Hathaway. Hathaway was Amy's all-time favorite artist and the song was recorded in one take, just Amy and her guitar, at her home in London during the spring of 2009 as she battled her demons. Produced by Salaam Remi.
"Lioness" consists of 12 previously unreleased archive recordings and alternate takes, compiled by long-time friends and producers including Salaam Remi and Mark Ronson, in the wake of her death this July, aged just 27.
In the wrong hands, this might have been a slapdash collection, but "Lioness" is presented with genuine tenderness and it never paints Winehouse as a tragic diva stereotype.
The focus, quite rightly, is her vocal talent - not just its soulful power but also its stylistic range. And while there's an obvious melancholy in hearing Winehouse's tones again, there's also dreamy warmth, demonstrated by the opening reggae version of "Our Day Will Come" (originally by 1960s group Ruby & The Romantics Our Day Will Come: Very Best of).
Some of these tracks predate Winehouse's 2003 debut album, "Frank": there's her jazzy teenage take on "The Girl From Ipanema" and the arguable stand-out, elegant original soul melody "Halftime" (dating back to 2002).
Her casual charm and command elevates the familiar covers, whether it's The Shirelles' "Will You Still Love Me Tomorrow?" or another reworking of The Zutons' "Valerie".
There are also curious collaborations: Like "Smoke" is infused with Nas's rap homage to his Camden 'homie', while Winehouse's final studio recording is "Body & Soul", a vintage jazz cut with 85 year old crooner Tony Bennett.
Essentially, the material on "Lioness" should have been a foundation, not a memorial, but it feels like a passionate affair.
The end notes are sweet, full of unmistakeable personality and resonance.
Following her tragic passing on July 23, 2011, some of the producers and musicians who worked closely with 5x Grammy Award winning artist Amy Winehouse, among them Salaam Remi and Mark Ronson, spent time listening over the many recordings that Amy had made, before, during, and after the release of albums Frank and Back To Black. It was said by all who worked with Amy that she never sang or played a song the same way twice. It quickly became apparent to both Salaam and Mark that they had a collection of songs that deserved to be heard, a collection of songs that were a fitting testament to Amy the artist and, as importantly, Amy their friend.
The album, Lioness: Hidden Treasures, the third album from Amy Winehouse, without question one of the most talented, original, and best loved artists to emerge in popular music for decades, will be released in the United States on December 6th through Universal Republic Records. The 12 track collection features previously unreleased tracks, alternate versions of existing classics as well as a couple of brand new Amy compositions, and has been compiled by long-time musical partners Salaam Remi and Mark Ronson in close association with Amy's family, management and UK record label Island Records. Lioness: Hidden Treasures proves a fitting tribute to the artist, the talent and the woman, and serves as a reminder of Amy's extraordinary powers as a songwriter, a singer and an interpreter of classics.
After hearing the album Amy's father Mitch Winehouse had this to say: "I spent so much time chasing after Amy, telling her off that I never realized what a true genius she was. It wasn't until I sat down with the rest of the family and listened to this album that I fully appreciated the breadth of Amy's talent, from jazz standards to hip hop songs, it really took my breath away. "Halftime", I'd never heard before, is just incredibly beautiful. If the family had felt that this album wasn't up to the standard of Frank and Back To Black we would never have agreed to release it. We believe it will stand as a fitting tribute to Amy `s musical legacy."
A portion of the proceeds from the sales of the album will go to the Amy Winehouse Foundation.
"Our Day Will Come (Reggae Version)" and "Like Smoke" featuring Nas are among the first singles featured at radio this week.
Lioness: Hidden Treasures track-listing:
"Our Day Will Come (Reggae Version)" - reggae re-working of classic 60's doo wop song produced by Salaam Remi. Recorded May 2002.
"Between The Cheats" - new Amy composition recorded in London in May 2008 for potential inclusion on album three produced by Salaam Remi.
"Tears Dry" - originally written by Amy as a ballad, this is the original version she recorded in November 2005 in Miami with Salaam. The later uptempo version appears on "Back To Black".
"Wake Up Alone" - the first song recorded for the "Back To Black" sessions. This is the one-take demo recorded in March 2006 by Paul O'Duffy.
"Will You Still Love Me Tomorrow" - Amy's beautiful reading of the Carole King written Shirelles classic. Produced by Mark Ronson and featuring the Dap Kings with string arrangements by Chris Elliott who did all the strings for Mark's tracks on "Back To Black". Recorded in September 2004.
"Valerie" - one of Amy's jukebox favorites. This is the original slower tempo version of the Mark Ronson produced post "Back To Black" single. Recorded in December 2006.
"Like Smoke" featuring NAS - Amy and Nas became really good friends after Amy name checked the New York rapper on "Back To Black's" "Me & Mr Jones". "Like Smoke" is finally Amy doing a song with one of her favorite artists. Produced by Salaam Remi. Recorded in May 2008.
"The Girl From Ipanema" - the first song the 18 year old Amy sang when she first went to Miami to record with Salaam. Salaam remarked that "the way she re-interpreted this bossa nova classic made me realise that I was dealing with a very special talent. Her approach to the song was so young and fresh, it really inspired the rest of our sessions." Recorded in May 2002.
"Halftime" - Amy had talked to Ahmir `Questlove' Thompson of the Roots about working together. "Halftime" is a song that Amy and Salaam had worked on since the Frank sessions. The result is beautiful. Recorded in August 2002.
"Best Friends" - "Frank" era live set opener produced by Salaam Remi. Probably the first song that early Amy fans would have heard live. Recorded in February 2003.
"Body & Soul" with Tony Bennett - cover of 30's jazz standard with hero Tony Bennett. Recorded at Abbey Road Studios London in March 2011 and produced by Phil Ramone. Amy's final studio recording.
"A Song For You" - heartbreaking and emotional version of the Leon Russell classic made famous by Donny Hathaway. Hathaway was Amy's all-time favorite artist and the song was recorded in one take, just Amy and her guitar, at her home in London during the spring of 2009 as she battled her demons. Produced by Salaam Remi.
₪199.00
Animated Egg - Guitar Freakout (2-lp
Wow, O.K., I'll step up and comment on this stunning piece of music. As the story goes, this was a studio project (not really a band.) The album upon its initial release was found in the bargain bins and went unnoticed for the most part. The guitarist featured here is a studio legend by the name of Jerry Cole. If you like fuzzy freaky sixties instrumental psych., then this is for you. It really doesn't get much better than this. Kudos to Sundazed for putting together such a fine collection. The complete album is here plus several additional tracks from various other Jerry Cole projects. I guess what is so striking about this music is that it's instrumental. It's so hip that if you're not careful you may time-warp and find yourself trapped in one of those obscure anti-drug educational films from the 60's/70's. (spaceboy)
The late L.A. session guitar genius Jerry Cole has long been worshipped for his work with everyone from the Beach Boys and the Byrds to Frank Sinatra and Elvis Presley and by surf fans as the leader of the Spacemen. But unbeknownst to many, Cole was also the driving force behind the Animated Egg, a fictitious band whose lone, self-titled 1967 LP is one of the greatest psychedelic exploitation records ever to hit the budget bins of U.S. chain stores-and eventually the want lists of big-spending DJs and collectors.
Comprised of splashy, fuzz-drenched "Now Sound" instrumental groovers, The Animated Egg easily lives up to both the eBay hype and the promise of its evocative track titles: "Sure Listic," "Sock It My Way," "Sippin' and Trippin'," and-yes indeed-"I Said, She Said, Ah Cid." In addition to the rare self-titled LP by the Animated Egg, this collection also includes cuts by other related Cole projects: the Projection Company, the Generation Gap, T. Swift & the Electric Bag, and the Stone Canyon Rock Group. Sourced from the original analog masters, Sundazed's glorious CD and high-definition double-LP vinyl editions of this hallowed prize are a must for turntablists and brain-trippers alike.
Wow, O.K., I'll step up and comment on this stunning piece of music. As the story goes, this was a studio project (not really a band.) The album upon its initial release was found in the bargain bins and went unnoticed for the most part. The guitarist featured here is a studio legend by the name of Jerry Cole. If you like fuzzy freaky sixties instrumental psych., then this is for you. It really doesn't get much better than this. Kudos to Sundazed for putting together such a fine collection. The complete album is here plus several additional tracks from various other Jerry Cole projects. I guess what is so striking about this music is that it's instrumental. It's so hip that if you're not careful you may time-warp and find yourself trapped in one of those obscure anti-drug educational films from the 60's/70's. (spaceboy)
The late L.A. session guitar genius Jerry Cole has long been worshipped for his work with everyone from the Beach Boys and the Byrds to Frank Sinatra and Elvis Presley and by surf fans as the leader of the Spacemen. But unbeknownst to many, Cole was also the driving force behind the Animated Egg, a fictitious band whose lone, self-titled 1967 LP is one of the greatest psychedelic exploitation records ever to hit the budget bins of U.S. chain stores-and eventually the want lists of big-spending DJs and collectors.
Comprised of splashy, fuzz-drenched "Now Sound" instrumental groovers, The Animated Egg easily lives up to both the eBay hype and the promise of its evocative track titles: "Sure Listic," "Sock It My Way," "Sippin' and Trippin'," and-yes indeed-"I Said, She Said, Ah Cid." In addition to the rare self-titled LP by the Animated Egg, this collection also includes cuts by other related Cole projects: the Projection Company, the Generation Gap, T. Swift & the Electric Bag, and the Stone Canyon Rock Group. Sourced from the original analog masters, Sundazed's glorious CD and high-definition double-LP vinyl editions of this hallowed prize are a must for turntablists and brain-trippers alike.
₪169.00
Antony & The Johnsons - Swanlights : Deluxe 180 Gram Vinyl LP
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This fourth album from the angel-voiced former Mercury Prize winner is the follow-up to 2009's 'The Crying Light'. While that album was hushed and minimalist, this has been calledhis most "maximal" work to date, with an expanded palette of exotic instrumentation and avant-garde elements. Includes 'Thank You For Your Love' from the EP of the same name and features a guest appearance from Bjork, returning the favour after Antony appeared on her album 'Volta'.
This fourth album from the angel-voiced former Mercury Prize winner is the follow-up to 2009's 'The Crying Light'. While that album was hushed and minimalist, this has been calledhis most "maximal" work to date, with an expanded palette of exotic instrumentation and avant-garde elements. Includes 'Thank You For Your Love' from the EP of the same name and features a guest appearance from Bjork, returning the favour after Antony appeared on her album 'Volta'.
₪99.00
Armageddon - The Maze
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The advent of ear-splitting, cortex-skewering bands like the Maze really did signal the end of the sixties. But just like that ultimate orgasmic blast during the finale of a great fireworks show, what a perfect way to go. A glittering psychedelic diamond presented here in it?s previously unheard original MONO mix!.
The advent of ear-splitting, cortex-skewering bands like the Maze really did signal the end of the sixties. But just like that ultimate orgasmic blast during the finale of a great fireworks show, what a perfect way to go. A glittering psychedelic diamond presented here in it?s previously unheard original MONO mix!.
₪99.00
Avi Buffalo - Avi Buffalo (vinyl Lp + Mp3 Coupon)
There are moments in everybody's life - moments buried deep in the blissful haze of departed childhood or misspent youth - which are always conjured up upon hearing a certain song. Whether it's one that was around at the time, or one that sums up how you felt, just hearing a few seconds are enough to transport you back to a time and place that you hadn't thought about for a long time - slices of life long gone, dreams long discarded, love long since faded, people long since dead.
Avi Buffalo is the adopted name of 19-year-old Avigdor Zahner-Isenberg, also the moniker of the band that he and three of his friends began some three years ago while in high school. Together - somehow - they've managed to create an album full of those moments, songs that evoke so precisely half-remembered summers and first loves that never existed, events and people in your life that never were, but which you can't help but remember.
It's very much a summer album, not just because of the (in)gloriously titled Summer Cum ("I got lost in your summer cum / Leave all your stains with me"), but because its songs glow with the warmth of that time of year. What's in It For? almost starts from where The Shins' New Slang left off, its surreal lyrics and falsetto vocals capturing the sense of a never-ending August night, albeit one imbued with teenage uncertainty. Then there's the lilting One Last, which captures the last vestiges of sunset, and the gentle erosion of innocence through experience on the lovely Can't I Know?
Throughout, Avi's vocals coalesce remarkably with those of keyboard player Rebecca Coleman, who was originally Avi's muse by way of an intense teenage crush. You can hear the tenderness of first love in their voices, which makes each song that much more fragile and brittle. Yet that frailty is strengthened by the band's glorious sunlit melodies and obtuse imagery, all of which combine to turn this into a truly remarkable album that's sad and wistful way beyond the band's years.
There are moments in everybody's life - moments buried deep in the blissful haze of departed childhood or misspent youth - which are always conjured up upon hearing a certain song. Whether it's one that was around at the time, or one that sums up how you felt, just hearing a few seconds are enough to transport you back to a time and place that you hadn't thought about for a long time - slices of life long gone, dreams long discarded, love long since faded, people long since dead.
Avi Buffalo is the adopted name of 19-year-old Avigdor Zahner-Isenberg, also the moniker of the band that he and three of his friends began some three years ago while in high school. Together - somehow - they've managed to create an album full of those moments, songs that evoke so precisely half-remembered summers and first loves that never existed, events and people in your life that never were, but which you can't help but remember.
It's very much a summer album, not just because of the (in)gloriously titled Summer Cum ("I got lost in your summer cum / Leave all your stains with me"), but because its songs glow with the warmth of that time of year. What's in It For? almost starts from where The Shins' New Slang left off, its surreal lyrics and falsetto vocals capturing the sense of a never-ending August night, albeit one imbued with teenage uncertainty. Then there's the lilting One Last, which captures the last vestiges of sunset, and the gentle erosion of innocence through experience on the lovely Can't I Know?
Throughout, Avi's vocals coalesce remarkably with those of keyboard player Rebecca Coleman, who was originally Avi's muse by way of an intense teenage crush. You can hear the tenderness of first love in their voices, which makes each song that much more fragile and brittle. Yet that frailty is strengthened by the band's glorious sunlit melodies and obtuse imagery, all of which combine to turn this into a truly remarkable album that's sad and wistful way beyond the band's years.
₪89.00
B.b. King - Can't Kick The Blues (2-lp 180 Gram Limited Gatefold Anthol)
This 2LP Gatefold Anthology includes 27 iconic tracks from the 'King Of The Blues'. Highlights include 'Every Day I Have The Blues', 'Sweet Little Angel', 'Troubles, Troubles, Troubles' and many more classic songs. LP 1 1) Every day I Have The Blues 2) The Woman I Love 3) Three O'Clock Blues 4) Early In The Morning 5) Bad Luck Soul 6) Treat Me Right 7) Sugar Mama 8) Please Love Me 9) That Ain't The Way To Do It 10) Sweet Thing 11) You've Been An Angel 12) The Fool 13) You Upset Me Baby 14) Please Accept My Love LP 2 1) Sweet Little Angel 2) Let's Do The Boogie 3) Why Do Things Happen To Me 4) Come By Here 5) What Can I Do 6) Tomorrow Is Another Day 7) Troubles, Troubles, Troubles 8) Blind Love 9) When My Heart Beats Like A Hammer 10) Be Careful With A Fool 11) Sweet Sixteen Part 1 12) I Love You So 13) Hold That Train
This 2LP Gatefold Anthology includes 27 iconic tracks from the 'King Of The Blues'. Highlights include 'Every Day I Have The Blues', 'Sweet Little Angel', 'Troubles, Troubles, Troubles' and many more classic songs. LP 1 1) Every day I Have The Blues 2) The Woman I Love 3) Three O'Clock Blues 4) Early In The Morning 5) Bad Luck Soul 6) Treat Me Right 7) Sugar Mama 8) Please Love Me 9) That Ain't The Way To Do It 10) Sweet Thing 11) You've Been An Angel 12) The Fool 13) You Upset Me Baby 14) Please Accept My Love LP 2 1) Sweet Little Angel 2) Let's Do The Boogie 3) Why Do Things Happen To Me 4) Come By Here 5) What Can I Do 6) Tomorrow Is Another Day 7) Troubles, Troubles, Troubles 8) Blind Love 9) When My Heart Beats Like A Hammer 10) Be Careful With A Fool 11) Sweet Sixteen Part 1 12) I Love You So 13) Hold That Train
₪169.00₪159.00
Bad Company - Bad Company (180 Gram Gatefold Lp)
Mastered by Kevin Gray and pressed at RTI!
Amazing Vinyl Sonics !
Audiophile 180g vinyl edition of the supergroup's 1974 chart-topping debut LP.
Bad Company's 1974 self-titled release featuring Paul Rodgers on vocals, stands as one of the most important and accomplished debut hard rock albums from the '70s. From the simple electric guitar lick on "Can't Get Enough" to the haunting bass line in "Bad Company" and the fast beats of "Movin' On," Bad Company exemplified raw rock!
Features:
· 180g Vinyl
· Pressed at RTI
· Mastered by Kevin Gray
· Single pocket gatefold sleeve
Musicians:
Paul Rodgers - Vocals, Piano, Guitar
Mick Ralphs - Lead Guitar
Boz Burrell - Bass Guitar
Simon Kirke - Drums
Selections:
1. Can't Get Enough
2. Rock Steady
3. Ready For Love
4. Don't Let Me Down
5. Bad Company
6. The Way I Choose
7. Movin' On
8. Seagull
Mastered by Kevin Gray and pressed at RTI!
Amazing Vinyl Sonics !
Audiophile 180g vinyl edition of the supergroup's 1974 chart-topping debut LP.
Bad Company's 1974 self-titled release featuring Paul Rodgers on vocals, stands as one of the most important and accomplished debut hard rock albums from the '70s. From the simple electric guitar lick on "Can't Get Enough" to the haunting bass line in "Bad Company" and the fast beats of "Movin' On," Bad Company exemplified raw rock!
Features:
· 180g Vinyl
· Pressed at RTI
· Mastered by Kevin Gray
· Single pocket gatefold sleeve
Musicians:
Paul Rodgers - Vocals, Piano, Guitar
Mick Ralphs - Lead Guitar
Boz Burrell - Bass Guitar
Simon Kirke - Drums
Selections:
1. Can't Get Enough
2. Rock Steady
3. Ready For Love
4. Don't Let Me Down
5. Bad Company
6. The Way I Choose
7. Movin' On
8. Seagull
₪99.00
Band Of Horses - Cease To Begin (vinyl Lp W/ Digital Download)
When Band of Horses surfaced in 2006 with Everything All the Time, the band's rugged take on rock & roll drew quick parallels to My Morning Jacket and early Neil Young. That's mighty nice company for a young band, but co-founder Mat Brooke nevertheless left the lineup that same summer, choosing to blaze his own trail with Grand Archives instead. Ben Bridwell, Brooke's musical partner for nearly a decade, was left in control of Horses -- a daunting position for the former Carissa's Weird bassist, but one that ultimately resulted in a sophisticated, mature, and altogether superior follow-up. Cease to Begin is the responsible adult to Time's reckless teenager, with Bridwell pitting his high, clear tenor against backdrops of hazy indie rock and campfire singalongs. While tracks like "Weed Party" showed the band having harmless (albeit adolescent) fun on their debut, the good times on Cease to Begin are more grown-up: a lo-fi, foot-stomping pop ditty ("The General Specific"), a brief interlude of instrumental watercolors ("Lamb on the Lam [In the City]"), a detour into twangy country ("Marry Song"). Those looking for more anthemic rock will gravitate toward kickoff track "Is There a Ghost," where the guitars are loud and Bridwell's vocals are candy-coated in reverb, but Cease to Begin shines it brightest under the twilight glow of "Detlef Schrempf." Historically, Schrempf was a German-born NBA basketball player with killer three-point accuracy -- and while that's certainly an odd choice for a song title, it's easy to forget as drums beat a lazy rhythm beneath Bridwell's falsetto. Who knows whether he's singing to a hometown, a loved one, or his favorite member of the Seattle SuperSonics? It's still a thrilling listen, and the subtle humor hints that Band of Horses isn't growing up too quickly.
When Band of Horses surfaced in 2006 with Everything All the Time, the band's rugged take on rock & roll drew quick parallels to My Morning Jacket and early Neil Young. That's mighty nice company for a young band, but co-founder Mat Brooke nevertheless left the lineup that same summer, choosing to blaze his own trail with Grand Archives instead. Ben Bridwell, Brooke's musical partner for nearly a decade, was left in control of Horses -- a daunting position for the former Carissa's Weird bassist, but one that ultimately resulted in a sophisticated, mature, and altogether superior follow-up. Cease to Begin is the responsible adult to Time's reckless teenager, with Bridwell pitting his high, clear tenor against backdrops of hazy indie rock and campfire singalongs. While tracks like "Weed Party" showed the band having harmless (albeit adolescent) fun on their debut, the good times on Cease to Begin are more grown-up: a lo-fi, foot-stomping pop ditty ("The General Specific"), a brief interlude of instrumental watercolors ("Lamb on the Lam [In the City]"), a detour into twangy country ("Marry Song"). Those looking for more anthemic rock will gravitate toward kickoff track "Is There a Ghost," where the guitars are loud and Bridwell's vocals are candy-coated in reverb, but Cease to Begin shines it brightest under the twilight glow of "Detlef Schrempf." Historically, Schrempf was a German-born NBA basketball player with killer three-point accuracy -- and while that's certainly an odd choice for a song title, it's easy to forget as drums beat a lazy rhythm beneath Bridwell's falsetto. Who knows whether he's singing to a hometown, a loved one, or his favorite member of the Seattle SuperSonics? It's still a thrilling listen, and the subtle humor hints that Band of Horses isn't growing up too quickly.
₪99.00
Betty Davis - Is It Love Or Desire (high-definition Gatefold Vinyl Lp)
Legendary '70s R&B diva Betty Davis is currently in the midst of a long-overdue resurgence, and with good reason. The charismatic funk/soul iconoclast's vintage work retains a timeless blend of sex and substance that establishes Davis as both a musical visionary and a worldclass badass. The current resurgence of interest in Davis' classic work makes Sundazed Music's vinyl release of Is It Love or Desire a timely one indeed. Recorded in 1976, following the artist's landmark albums Betty Davis, They Say I'm Different and Nasty Gal, Is It Love or Desire was unexpectedly shelved. The artist retreated from the spotlight soon after, and Is It Love or Desire remained unheard by the public for more than three decades. It has never been released- or even bootlegged-until now.
Finally available to Davis' stillgrowing fan base, Is It Love or Desire is a revelation. Recorded at Louisiana's remote Studio in the Country with Davis' skintight band Funk House, the ten-song album contains some of the most powerful and personal music of the artist's career, with such titles as "It's So Good," "Whorey Angel" and "Crashin' From Passion" ranking with Davis' most memorable work.
This first-ever vinyl edition of Is It Love or Desire maintains Sundazed's usual exacting quality standards. Mastered from the original analog tapes, the album is pressed on high quality, high-definition 180 gram vinyl, and features new cover art and previously unseen photos.
TRACK LIST:
1. Is It Love or Desire
2. It's So Good
3. Whorey Angel
4. Crashin' From Passion
5. When Romance Says Goodbye
6. Bottom of the Barrel
7. Stars Starve, You Know
8. Let's Get Personal
9. Bar Hoppin'
10. For My Man
Legendary '70s R&B diva Betty Davis is currently in the midst of a long-overdue resurgence, and with good reason. The charismatic funk/soul iconoclast's vintage work retains a timeless blend of sex and substance that establishes Davis as both a musical visionary and a worldclass badass. The current resurgence of interest in Davis' classic work makes Sundazed Music's vinyl release of Is It Love or Desire a timely one indeed. Recorded in 1976, following the artist's landmark albums Betty Davis, They Say I'm Different and Nasty Gal, Is It Love or Desire was unexpectedly shelved. The artist retreated from the spotlight soon after, and Is It Love or Desire remained unheard by the public for more than three decades. It has never been released- or even bootlegged-until now.
Finally available to Davis' stillgrowing fan base, Is It Love or Desire is a revelation. Recorded at Louisiana's remote Studio in the Country with Davis' skintight band Funk House, the ten-song album contains some of the most powerful and personal music of the artist's career, with such titles as "It's So Good," "Whorey Angel" and "Crashin' From Passion" ranking with Davis' most memorable work.
This first-ever vinyl edition of Is It Love or Desire maintains Sundazed's usual exacting quality standards. Mastered from the original analog tapes, the album is pressed on high quality, high-definition 180 gram vinyl, and features new cover art and previously unseen photos.
TRACK LIST:
1. Is It Love or Desire
2. It's So Good
3. Whorey Angel
4. Crashin' From Passion
5. When Romance Says Goodbye
6. Bottom of the Barrel
7. Stars Starve, You Know
8. Let's Get Personal
9. Bar Hoppin'
10. For My Man
₪99.00
Bill Bruford - Feels Good To Me (vinyl Lp!)
Vinyl LP pressing of this 1978 album from the drumming legend and his band. Considered a solo album, it predated the official start of the band Bruford although it features musical performances from many of the musicians who would go on to work with Bill full-time in that group. The album features a number of key tracks including the instrumental tracks 'Beelzebub' and 'Sample And Hold'. Vocalist Annette Peacock contributes vocals to four tracks and a co-writing credit on the track 'Adios a la Pasada (Goodbye To The Past)'. Elsewhere the album features performances from keyboardist Dave Stewart, bassist Jeff Berlin, guitarists Allan Holdsworth and John Goodsall (Brand X) and flugelhorn player Kenny Wheeler. Bruford. 2009.
1. Beelzebub [Instrumental]
2. Back to the Beginning
3. Seems Like a Lifetime Ago, Pt. 1
4. Seems Like a Lifetime Ago, Pt. 2
5. Sample and Hold [Instrumental]
6. Feels Good to Me [Instrumental]
7. Either End of August [Instrumental]
8. If You Can't Stand the Heat... [Instrumental]
9. Springtine in Siberia [Instrumental]
10. Adios a la Pasada [Goodbye to the Past]
Vinyl LP pressing of this 1978 album from the drumming legend and his band. Considered a solo album, it predated the official start of the band Bruford although it features musical performances from many of the musicians who would go on to work with Bill full-time in that group. The album features a number of key tracks including the instrumental tracks 'Beelzebub' and 'Sample And Hold'. Vocalist Annette Peacock contributes vocals to four tracks and a co-writing credit on the track 'Adios a la Pasada (Goodbye To The Past)'. Elsewhere the album features performances from keyboardist Dave Stewart, bassist Jeff Berlin, guitarists Allan Holdsworth and John Goodsall (Brand X) and flugelhorn player Kenny Wheeler. Bruford. 2009.
1. Beelzebub [Instrumental]
2. Back to the Beginning
3. Seems Like a Lifetime Ago, Pt. 1
4. Seems Like a Lifetime Ago, Pt. 2
5. Sample and Hold [Instrumental]
6. Feels Good to Me [Instrumental]
7. Either End of August [Instrumental]
8. If You Can't Stand the Heat... [Instrumental]
9. Springtine in Siberia [Instrumental]
10. Adios a la Pasada [Goodbye to the Past]
₪105.00₪99.00
Bill Bruford - One Of A Kind (new Vinyl Lp Pressing Of 1979 Album)
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Vinyl LP pressing of the 1979 album from the British drumming legend and his band Bruford. Bill recorded his debut album as a leader in 1978 but it wasn't until the conclusion of an 18-month spell with the band UK that his vision of a more permanent outfit bore fruit. Joining Bill and guitarist Allan Holdsworth in Bruford was bassist Jeff Berlin and keyboardist Dave Stewart. Key tracks on One of a Kind include 'Hell's Bells', 'Fainting In Coils' and 'Five G'. This re-issue includes a previously unreleased bonus track: 'Manacles'. Bruford. 2009.
1. Hell's Bells
2. One of a Kind, Pt. 1
3. One of a Kind, Pt. 2
4. Travels With Myself -- and Someone Else
5. Fainting in Coils
6. Five G
7. Abingdon Chasp
8. Forever Until Sunday
9. Sahara of Snow, Pt. 1
10. Sahara of Snow, Pt. 2
Vinyl LP pressing of the 1979 album from the British drumming legend and his band Bruford. Bill recorded his debut album as a leader in 1978 but it wasn't until the conclusion of an 18-month spell with the band UK that his vision of a more permanent outfit bore fruit. Joining Bill and guitarist Allan Holdsworth in Bruford was bassist Jeff Berlin and keyboardist Dave Stewart. Key tracks on One of a Kind include 'Hell's Bells', 'Fainting In Coils' and 'Five G'. This re-issue includes a previously unreleased bonus track: 'Manacles'. Bruford. 2009.
1. Hell's Bells
2. One of a Kind, Pt. 1
3. One of a Kind, Pt. 2
4. Travels With Myself -- and Someone Else
5. Fainting in Coils
6. Five G
7. Abingdon Chasp
8. Forever Until Sunday
9. Sahara of Snow, Pt. 1
10. Sahara of Snow, Pt. 2
₪105.00
Blues Magoos - Electric Comic Book (high Definition Vinyl Lp)
The Blues Magoos launched their recording career with the LP Psychedelic Lollipop. The equally impressive Electric Comic Book refines the band's mix of rock 'n' roll and day-glo psychedelia. That punchy yet playful approach animates such distinctive numbers as "Pipe Dream," "Rush Hour," "There's a Chance We Can Make It" and "Albert Common Is Dead." Sundazed's new vinyl edition also features a replica of the original comic book that was packaged with the album's original pressings.
This '60s garage-psych nugget is now available on Sundazed as a Limited Edition compact disc (1000 copies only!) and High Definition Vinyl, sourced from the original Mercury-label stereo masters, with the colorful original cover art meticulously reproduced.
In their '60s heyday, the Blues Magoos were one of the first garage-punk bands to achieve mainstream success, and one of the first to embrace psychedelia. Early in their existence, the Bronx-bred quintet's high-energy live sets made them a popular attraction on the Greenwich Village club scene. Once they began making records, they quickly emerged as one of one of the earliest and most inventive exponents of the psychedelic sound. The band's 1966 debut album Psychedelic Lollipop and its 1967 followup Electric Comic Book, are two of that period's most beloved and enduring albums.
The Blues Magoos launched their recording career with the LP Psychedelic Lollipop. The equally impressive Electric Comic Book refines the band's mix of rock 'n' roll and day-glo psychedelia. That punchy yet playful approach animates such distinctive numbers as "Pipe Dream," "Rush Hour," "There's a Chance We Can Make It" and "Albert Common Is Dead." Sundazed's new vinyl edition also features a replica of the original comic book that was packaged with the album's original pressings.
This '60s garage-psych nugget is now available on Sundazed as a Limited Edition compact disc (1000 copies only!) and High Definition Vinyl, sourced from the original Mercury-label stereo masters, with the colorful original cover art meticulously reproduced.
In their '60s heyday, the Blues Magoos were one of the first garage-punk bands to achieve mainstream success, and one of the first to embrace psychedelia. Early in their existence, the Bronx-bred quintet's high-energy live sets made them a popular attraction on the Greenwich Village club scene. Once they began making records, they quickly emerged as one of one of the earliest and most inventive exponents of the psychedelic sound. The band's 1966 debut album Psychedelic Lollipop and its 1967 followup Electric Comic Book, are two of that period's most beloved and enduring albums.
₪99.00
Blues Magoos - Psychedelic Lollipop (high Definition Vinyl Lp)
High Definition Vinyl LP Sourced From Original Mercury Stereo Masters!
The Blues Magoos launched their recording career with a major smash, hitting the Top Five with the brash garage-punk anthem "(We Ain't Got) Nothin' Yet." That tune is just one of the multiple pleasures of Psychedelic Lollipop, notable as one of the first albums (along with the 13th Floor Elevators' debut) to use the word "psychedelic" in its title. The band balances swaggering proto-punk attitude, a Beatlesque pop sensibility and adventurous acid-pop experimentalism on such tunes as "Gotta Get Away," "One by One" and "Love Seems Doomed." And the Magoos' high-energy workouts on James Brown's "I'll Go Crazy" and John Loudermilk's "Tobacco Road" rank with the greatest versions of those much-covered garage-band standards.
This '60s garage-psych nugget is now available on Sundazed as a High Definition Vinyl LP, sourced from the original Mercury-label stereo masters, with the colorful original cover art meticulously reproduced.
In their '60s heyday, the Blues Magoos were one of the first garage-punk bands to achieve mainstream success, and one of the first to embrace psychedelia. Early in their existence, the Bronx-bred quintet's high-energy live sets made them a popular attraction on the Greenwich Village club scene. Once they began making records, they quickly emerged as one of one of the earliest and most inventive exponents of the psychedelic sound. The band's 1966 debut album Psychedelic Lollipop and its 1967 follow up Electric Comic Book, are two of that period's most beloved and enduring albums.
Features:
· Pressed on High Definition Vinyl LP
· Mastered from the original Mercury Records stereo reels
· Original cover art meticulously reproduced
Selections:
1. (We Ain't Got) Nothin' Yet
2. Love Seems Doomed
3. Tobacco Road
4. Queen of My Nights
5. I'll Go Crazy
6. Gotta Get Away
7. Sometimes I Think About
8. One by One
9. Worried Life Blues
10. She's Coming Home
High Definition Vinyl LP Sourced From Original Mercury Stereo Masters!
The Blues Magoos launched their recording career with a major smash, hitting the Top Five with the brash garage-punk anthem "(We Ain't Got) Nothin' Yet." That tune is just one of the multiple pleasures of Psychedelic Lollipop, notable as one of the first albums (along with the 13th Floor Elevators' debut) to use the word "psychedelic" in its title. The band balances swaggering proto-punk attitude, a Beatlesque pop sensibility and adventurous acid-pop experimentalism on such tunes as "Gotta Get Away," "One by One" and "Love Seems Doomed." And the Magoos' high-energy workouts on James Brown's "I'll Go Crazy" and John Loudermilk's "Tobacco Road" rank with the greatest versions of those much-covered garage-band standards.
This '60s garage-psych nugget is now available on Sundazed as a High Definition Vinyl LP, sourced from the original Mercury-label stereo masters, with the colorful original cover art meticulously reproduced.
In their '60s heyday, the Blues Magoos were one of the first garage-punk bands to achieve mainstream success, and one of the first to embrace psychedelia. Early in their existence, the Bronx-bred quintet's high-energy live sets made them a popular attraction on the Greenwich Village club scene. Once they began making records, they quickly emerged as one of one of the earliest and most inventive exponents of the psychedelic sound. The band's 1966 debut album Psychedelic Lollipop and its 1967 follow up Electric Comic Book, are two of that period's most beloved and enduring albums.
Features:
· Pressed on High Definition Vinyl LP
· Mastered from the original Mercury Records stereo reels
· Original cover art meticulously reproduced
Selections:
1. (We Ain't Got) Nothin' Yet
2. Love Seems Doomed
3. Tobacco Road
4. Queen of My Nights
5. I'll Go Crazy
6. Gotta Get Away
7. Sometimes I Think About
8. One by One
9. Worried Life Blues
10. She's Coming Home
₪99.00
Bob Dylan - Another Side Of Bob Dylan (180 Gram Audiophile Mono Vinyl)
The other side of Bob Dylan referred to in the title is presumably his romantic, absurdist, and whimsical one -- anything that wasn't featured on the staunchly folky, protest-heavy Times They Are a-Changin', really. Because of this, Another Side of Bob Dylan is a more varied record and it's more successful, too, since it captures Dylan expanding his music, turning in imaginative, poetic performances on love songs and protest tunes alike. This has an equal number of classics to its predecessor, actually, with "All I Really Want to Do," "Chimes of Freedom," "My Back Pages," "I Don't' Believe You," and "It Ain't Me Babe" standing among his standards, but the key to the record's success is the album tracks, which are graceful, poetic, and layered. Both the lyrics and music have gotten deeper and Dylan's trying more things -- this, in its construction and attitude, is hardly strictly folk, as it encompasses far more than that. The result is one of his very best records, a lovely intimate affair.
The other side of Bob Dylan referred to in the title is presumably his romantic, absurdist, and whimsical one -- anything that wasn't featured on the staunchly folky, protest-heavy Times They Are a-Changin', really. Because of this, Another Side of Bob Dylan is a more varied record and it's more successful, too, since it captures Dylan expanding his music, turning in imaginative, poetic performances on love songs and protest tunes alike. This has an equal number of classics to its predecessor, actually, with "All I Really Want to Do," "Chimes of Freedom," "My Back Pages," "I Don't' Believe You," and "It Ain't Me Babe" standing among his standards, but the key to the record's success is the album tracks, which are graceful, poetic, and layered. Both the lyrics and music have gotten deeper and Dylan's trying more things -- this, in its construction and attitude, is hardly strictly folk, as it encompasses far more than that. The result is one of his very best records, a lovely intimate affair.
₪129.00
Bob Dylan - Blonde On Blonde (180g Audiophile 2-lp Vinyl Mono Pressing)
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Considered an unprecedented magnum opus when it arrived on two records in May of 1966 (1997's Time out of Mind is actually only about a minute shorter), Blonde on Blonde featured Dylan continuing to demonstrate remarkable powers over the course of 14 new numbers. Working in Nashville with session men and a few conscripted recruits (Al Kooper, Robbie Robertson), Dylan continued to bend minds with his warped lyrics and phrasing. Even dashed-off numbers such as "Obviously 5 Believers" and "Rainy Day Women #12 & 35" contribute to the crazed, fun-house ambience. Dylan will never be this wild again. --Steven Stolder
?Gatefold Sleeve
?180 grams audiophile vinyl
?2010 Remastered Mono Edition
:
A1 Rainy Day Women #12 & 35 (4:26)
A2 Pledging My Time (3:49)
A3 Visions Of Johanna (7:30)
A4 One Of Us Must Know (4:54)
B1 I Want You (3:01)
B2 Stuck Inside Of Mobile With The Memphis Blues Again (7:06)
B3 Leopard-Skin Pill-Box Hat (3:58)
B4 Just Like A Woman (4:53)
C1 Most Likely You Go Your Way And I'll Go Mine (3:21)
C2 Temporary Like Achilles (4:59)
C3 Absolutely Sweet Marie (4:55)
C4 4th Time Around (4:34)
C5 Obviously 5 Believers (3:31)
D1 Sad Eyed Lady Of The Lowlands (11:21)
Considered an unprecedented magnum opus when it arrived on two records in May of 1966 (1997's Time out of Mind is actually only about a minute shorter), Blonde on Blonde featured Dylan continuing to demonstrate remarkable powers over the course of 14 new numbers. Working in Nashville with session men and a few conscripted recruits (Al Kooper, Robbie Robertson), Dylan continued to bend minds with his warped lyrics and phrasing. Even dashed-off numbers such as "Obviously 5 Believers" and "Rainy Day Women #12 & 35" contribute to the crazed, fun-house ambience. Dylan will never be this wild again. --Steven Stolder
?Gatefold Sleeve
?180 grams audiophile vinyl
?2010 Remastered Mono Edition
:
A1 Rainy Day Women #12 & 35 (4:26)
A2 Pledging My Time (3:49)
A3 Visions Of Johanna (7:30)
A4 One Of Us Must Know (4:54)
B1 I Want You (3:01)
B2 Stuck Inside Of Mobile With The Memphis Blues Again (7:06)
B3 Leopard-Skin Pill-Box Hat (3:58)
B4 Just Like A Woman (4:53)
C1 Most Likely You Go Your Way And I'll Go Mine (3:21)
C2 Temporary Like Achilles (4:59)
C3 Absolutely Sweet Marie (4:55)
C4 4th Time Around (4:34)
C5 Obviously 5 Believers (3:31)
D1 Sad Eyed Lady Of The Lowlands (11:21)
₪159.00
Bob Dylan - Hard Rain (180 Gram Audiophile Vinyl Lp Pressing)
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Dylan's 'Hard Rain' is a live album, captured during the second leg of the Rolling Thunder Revue tour.
It is recorded on 2 dates in May, 1976, during a concert at Hughes Stadium in Fort Collins, Colorado.
It is the follow up of the 1974 live album 'Before The Flood' (MOVLP340) which is also released by Music on Vinyl.
Oddly enough, the album is named after one of his most famous songs, 'A Hard Rain's A-Gonna Fall' but that song happens to be missing from the album.
The fact that it poured rain for most of the concert may be the reason for the title.
· 180 grams audiophile vinyl
Tracklisting:
A1 Maggie's Farm
A2 One Too Many Mornings
A3 Stuck Inside Of Mobile With The Memphis Blues Again
A4 Oh, Sister
A5 Lay, Lady, Lay
B1 Shelter From The Storm
B2 You'Re A Big Girl Now
B3I Threw It All Away
B4 Idiot Wind
Dylan's 'Hard Rain' is a live album, captured during the second leg of the Rolling Thunder Revue tour.
It is recorded on 2 dates in May, 1976, during a concert at Hughes Stadium in Fort Collins, Colorado.
It is the follow up of the 1974 live album 'Before The Flood' (MOVLP340) which is also released by Music on Vinyl.
Oddly enough, the album is named after one of his most famous songs, 'A Hard Rain's A-Gonna Fall' but that song happens to be missing from the album.
The fact that it poured rain for most of the concert may be the reason for the title.
· 180 grams audiophile vinyl
Tracklisting:
A1 Maggie's Farm
A2 One Too Many Mornings
A3 Stuck Inside Of Mobile With The Memphis Blues Again
A4 Oh, Sister
A5 Lay, Lady, Lay
B1 Shelter From The Storm
B2 You'Re A Big Girl Now
B3I Threw It All Away
B4 Idiot Wind
₪139.00
Bob Dylan - Highway 61 Revisited (180 Gram Audiophile Vinyl Lp)
Dylan was virtually gushing great songs when this masterpiece arrived in the summer of 1965. For the epochal opening of "Like a Rolling Stone" through the absurdly apocalyptic closer, "Desolation Row", his command of surrealistic language was daring and amazing. As a vocalist, he was rewriting the rules of the game. Jimi Hendrix made note of Mr Z's technically suspect pitch and decided that he, too was a singer. And the backing, though ragged, is precisely right. Is this the essential Dylan album? It's certainly one of them. -
Dylan was virtually gushing great songs when this masterpiece arrived in the summer of 1965. For the epochal opening of "Like a Rolling Stone" through the absurdly apocalyptic closer, "Desolation Row", his command of surrealistic language was daring and amazing. As a vocalist, he was rewriting the rules of the game. Jimi Hendrix made note of Mr Z's technically suspect pitch and decided that he, too was a singer. And the backing, though ragged, is precisely right. Is this the essential Dylan album? It's certainly one of them. -
₪129.00
Bob Dylan - In Concert Brandeis University 1963-180g Audiophile Vinyl Lp
The original tape of this concert was discovered recently in the archives of the noted music writer and Rolling Stone co-founder Ralph J. Gleason, where it sat on a shelf for more than forty years. The recording of the Dylan show at Brandeis University in 1963 captures the rollicking wit, deadpan delivery and driving intensity of the young artist's on-stage persona in an assortment of end-of-the-world songs. They are performed in front of an appreciative audience two weeks prior to the release of 'The Freewheelin' Bob Dylan'.
'Bob Dylan In Concert - Brandeis University 1963' is being reissued in response to overwhelming popular demand for a wide release. As noted Bob Dylan scholar Michael Gray puts it in the liner notes of this album: 'This is the last live performance we have of Bob Dylan before he becomes a star…'
180 grams audiophile vinyl
free download card
Tracklisting:
A1. Honey, Just Allow Me One More Chance (1:58)
A2. Talkin' John Birch Paranoid Blues (4:40)
A3. Ballad Of Hollis Brown (7:10)
A4. Masters Of War (6:28)
B1. Talkin' World War III Blues (6:24)
B2. Bob Dylan's Dream (5:57)
B3. Talking Bear Mountain Picnic Massacre Blues (5:45)
The original tape of this concert was discovered recently in the archives of the noted music writer and Rolling Stone co-founder Ralph J. Gleason, where it sat on a shelf for more than forty years. The recording of the Dylan show at Brandeis University in 1963 captures the rollicking wit, deadpan delivery and driving intensity of the young artist's on-stage persona in an assortment of end-of-the-world songs. They are performed in front of an appreciative audience two weeks prior to the release of 'The Freewheelin' Bob Dylan'.
'Bob Dylan In Concert - Brandeis University 1963' is being reissued in response to overwhelming popular demand for a wide release. As noted Bob Dylan scholar Michael Gray puts it in the liner notes of this album: 'This is the last live performance we have of Bob Dylan before he becomes a star…'
180 grams audiophile vinyl
free download card
Tracklisting:
A1. Honey, Just Allow Me One More Chance (1:58)
A2. Talkin' John Birch Paranoid Blues (4:40)
A3. Ballad Of Hollis Brown (7:10)
A4. Masters Of War (6:28)
B1. Talkin' World War III Blues (6:24)
B2. Bob Dylan's Dream (5:57)
B3. Talking Bear Mountain Picnic Massacre Blues (5:45)
₪139.00