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10 Years After'
Undead - DeluxeEtched D-side
Expanded Vinyl Edition: Contains Material Previously Unissued On Vinyl
Notes By Ric Lee Of Ten Years After
Undead is a live album by Ten Years After, recorded live at the small jazz club, Klooks Kleek, in London on May 14th 1968, The show combined Blues, Boogie and Jazz playing that merged more traditional Rock and Roll with 50s-style Jump Blues. Alvin Lee, Leo Lyons, Chick Churchill and Ric Lee together became one of the biggest club attractions in England. Their music knows no compromise - it's straight down the line. It's loud and tough - but honest. Undead captures the excitement and raw energy of the band's live performances.
When originally released in 1968, the album was only 38 minutes long, due to the timing constraints of vinyl. As the band's tunes were all pretty long, there were only five tracks on the original issue. The expanded edition of Undead contains 4 additional tracks of the performance and is available on vinyl for the very first time. The remastered audio is pressed on 180 gram audiophile vinyl and Side D is beautifully etched.LP1
1. Rock Your Mama*
3. I May Be Wrong, But I Won't Be Wrong Always
1. Summertime Shantung Cabbage
2. Spider In Your Web
3. Woodchopper's Ball
4. Standing At The Crossroads*
1. I Can't Keep From Crying, Sometimes*
2. Extension On One Chord*
3. I Can't Keep From Crying, Sometimes*
4. I'm Going Home
*Previously Unissued On Original Vinyl Release$42.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
REDD-SUN-6717xTen Years After
UndeadA Premium RTI Pressing, From The Original U.K. Mono Masters
Immortalized on the silver screen, Ten Years After's landmark performance of "I'm Going Home" at Woodstock galvanized their reputation as road warriors capable of rousing large crowds - such as the 400,000 festival-goers mesmerized by Alvin Lee's white lightning on his bright red Gibson ES-335."I'm Going Home" could also light up a room as small as Klooks Kleek in London, as heard on their second album, 1968's Undead. But while it was the first recording of the song (with wires running from Decca Studios next door to capture it), it hardly came from nowhere. Alvin Lee and bassist Leo Lyons learned the value of extended jamming as far back as 1962 while playing Hamburg in the Jaybirds, and not long after they began covering Gene Vincent's "I'm Going Home (To See My Baby)" in Ten Years After - it was reworked into something entirely original. Or more specifically: stripped down, repainted, rebuilt and retooled into a drag racer that would scorch crowds for years to come. Undead was the first recorded evidence of that live legacy. Condensed to the best five of the May 14, 1968, set, the album sees the band do further long bluesy jamming with "I May Be Wrong, But I Won't Be Wrong Always," "Spider in My Web," and pound Gershwin into submission (courtesy drummer Ric Lee) on "Summertime/Shantung Cabbage." And on a killer cover of "(At the) Woodchopper's Ball," the band's jazzy blues is hot enough to turn Woody Herman's classic into sawdust - replete with Alvin Lee and organist Chick Churchill trading solos. Rightly regarded as one of the best live albums of its era, Undead is reissued here in its rare mono mix, which has been out of print everywhere for nearly 50 years.It's very much alive on this vinyl edition, which features primo sound and the beautiful negative-image original cover.
Now Sundazed proudly presents the searing guitar of Alvin Lee & Chick Churchill's haunting organ textures as they were meant to be heard, from the original U.K. MONO masters and pressed on premium RTI vinyl!1. I May Be Wrong, But I Won't Be Wrong Always
2. Woodchopper's Ball
3. Spider In My Web
4. Summertime/Shantung Cabbage
5. I'm Going Home$24.99Vinyl LP Mono - Sealed Buy Now
OVSE-MOV-1533xTen Years After
Rock N Roll Music To The WorldTen Years After was founded in 1966 by keyboardist Chick Churchill, drummer Ric Lee, guitarist Alvin Lee and bassist Leo Lyons. The band experimented with a psychedelic sound during the late sixties through the early seventies along with their career making performance at Woodstock which introduced themselves to music fans in America.
During that era, Ten Years After charted several albums in the United States such as "Watt," "Cricklewood Green" and "A Space in Time." They also managed to chart two Top Forty singles "Love Like a Man" and "I'd Love to Change the World."
Rock & Roll Music to the World is the seventh album by the English Blues Rock band Ten Years After, released in 1972. Here, Ten Years After expanded on their boogie base and continued the hits. The title cut was the hit, and they continued to groove along in the boogie atmosphere.1. You Give Me Loving
2. Convention Prevention
3. Turned Off T.V. Blues
4. Standing At The Station
5. You Can't Win Them All
7. Choo Choo Mama
8. Tomorrow I'll Be Out Of Town
9. Rock & Roll Music To The World$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
REDD-SUN-6618xTen Years After
Ten Years After (Awaiting Repress)A Premium RTI Pressing, From The Original U.K. Mono Masters
Ten Years After's self-titled debut hit the British blues scene with the subtlety and precision of a wrecking ball in 1967, serving notice that what had once been confined to steamy haunts in London was now there for the world to hear. And by the time the band electrified half a million hippies at Woodstock two years later, the world was roaring its approval. Cut live with vocals overdubbed later, Ten Years After is an impressive debut, showing off a tight band steeped not only in blues, but rockabilly, jazz, folk and even occasionally psychedelia. They rival Cream on a powerful cover of "Spoonful," which sports a heavy rhythm drive also evident on their extended jam version of "Help Me" that builds and builds to stratospheric heights. The latter allows Alvin Lee to cut loose with the fast licks for which he would become best known, but he was also capable of subtler, more impressionistic soloing on a stellar remake of the Blues Project's "I Can't Keep From Crying, Sometimes." If those three aren't enough evidence of the band's ability, then a spruced-up "I Want to Know," first done by Eric Clapton and the Powerhouse on the legendary What's Shakin' comp (also reissued by Sundazed), certainly seals the deal. But even at this early stage, Ten Years After was no cover act - throwing originals like the Robert Johnson-inspired "Love Until I Die," the country acoustic blues of "Don't Want You Woman" and the swingin' boogie of "Feel It for Me" into the mix. It was no one-man show, either - as organist Chick Churchill takes the lead on "Adventures of a Young Organ" and buttresses "Losing the Dogs" with some rollicking Jerry Lee Lewis piano. And beneath it all, there was the metronomic telepathy of the Ric Lee/Leo Lyons rhythm section. The best way to hear this classic album is in its punchier mono mix, available on vinyl for the first time in 50 years and faithfully packaged with all of the original iridescent psychedelic cover art intact.
Now Sundazed proudly presents the searing guitar of Alvin Lee & Chick Churchill's haunting organ textures as they were meant to be heard, from the original U.K. MONO masters and pressed on premium RTI vinyl!1. I Want To Know
2. I Can't Keep From Crying, Sometimes
3. Adventures Of A Young Organ
5. Losing The Dogs
6. Feel It For Me
7. Love Until I Die
8. Don't Want You, Woman
9. Help Me$24.99Vinyl LP Mono - Sealed AWAITING REPRESS Buy Now
Early YearsSierra Records presents their most ambitious project ever, literally in the works for decades, with the Gram Parsons The Early Years Box Set. This exclusive, collectors edition is packaged in a 12 x 12 high gloss full color, rigid deluxe, presentation box, containing 4 distinct discs: CD1: Gram Parsons The Early Years Vol. 1 & 2; CD2: Big Mouth Blues - A Conversation with Gram Parsons; DVD: rare and only performance of Gram Parsons and the Fallen Angels; and Gram Parsons The Early Years Volume 1 picture disc vinyl. The set also includes a new 24 page color booklet/pictorial and posters!
CD1 is the first ever release on compact disc of the now classic and ground breaking, Gram Parsons The Early Years Volume 1 (1963-65) folk recordings of Gram Parsons and the Shilos with all original tracks from the 1979 LP. Added to these original ten tracks, will be the never released in any format, Volume 2 of lost early recordings focusing on Gram's solo efforts recorded by Dick Weissman including several never before heard Parsons' compositions! Continuing on this expanded compact disc are recordings by Gram Parsons & The Like, his experimental band from his brief stay in late 1965 at Harvard University. This includes a rare performance with the late actor, turned singer, Brandon deWilde. Closing out this disc is the holy grail of lost Gram Parsons recordings; Brandon deWilde singing lead, with Gram on Do Right Woman and Hickory Wind.
CD2 features Big Mouth Blues: A Conversation with Gram Parsons, a full color digipak packaged release of a 76 minute interview with Gram Parsons conducted in 1972. He speaks about his musical influences, his formation of the eclectic, International Submarine Band, his part in creating and encouraging the Byrds' Sweetheart of the Rodeo album, his hopes for and disappointments with, the iconoclast Flying Burrito Brothers, his plans for a solo career and his enduring musical vision. Hearing his story in his own words and voice will give you a better glimpse of Gram Parsons, the man.
The accompanying DVD features the official release of the original video tape of the rare and only performance of Gram Parsons and the Fallen Angels. Though the video quality was not very good to begin with, the aging video tape has been enhanced utilizing today's newest digital video technology. Additional never seen before, non-performance footage from the show has been added which includes longer introductions by Gram on stage. As an added bonus, a very rare video performance closes the DVD with Gram performing a lip sync version of Hot Burrito #1.
The long lost, recently discovered 1979 picture disc vinyl LP features Gram Parsons The Early Years, Volume 1 with a color picture of Gram on Side 1 and on Side 2 the original full color Sierra-Briar Records orange crate' logo. Originally conceived in April of 1979, only one test pressing of the disc existed until now! The disc is playable on any phonograph turntable, recorded and pressed in magnificent Mono. But there is more! This collector's vinyl disc is even more unique as the disc was pressed on 180g pure virgin vinyl, highly sought after today by audiophiles everywhere! It is packaged in it's own clear plastic sleeve.
Booklet: A new 24 page booklet/pictorial with additional accompanying notes and featuring photographs by noted Life Magazine photographer Ted Polumbaum. Entitled Gram Parsons at Harvard - Fall 1965 with commentary by Harvard grad (Class of 1968) and fellow Gram classmate, David Johnson, these never before seen, let alone published, photographs capture Gram's brief stay as an incoming freshman at Harvard University in the Fall of 1965. See Gram at his desk studying, going to class, hanging out with teachers and students, playing his guitar, composing new songs plus photos of Gram Parsons and the Like (John Nuese, Ian Dunlap, Mickey Gauvin, Tom Scott). Commissioned by Life/Look Magazine for a proposed pictorial on the incoming college freshmen of 1965, these photos are incredible and Gram never looked better. These were photographs were shot just days before he would leave Harvard to head for New York moving in with new found music contemporary, Brandon deWilde, famed actor and now budding country singer!
Posters: Folded posters of Gram Parsons at the Chateau Marmont 1969 (24 x 36 poster) and two versions of the Pete Frame's Gram Parsons Rock Family Tree The Grievous Angel and Gram & Emmylou (both posters are 18x 24).CD1: Gram Parsons The Early Years Volume 1 & 2
1. I May Be Right
2. Big Country
3. Zah's Blues
4. Mary Don't You Weep
5. Bells of Rhymney
6. Goin' Away, Don't You Want To Go
7. They Still Go Down
8. On My Journey Home
10. Oh, Didn't They Crucify My Lord
11. The Great Silkie
12. Race With The Wind
13. The Rains Come Down
14. Hand Within The Glove
15. Rolling Stone
16. Darkest Years
17. That Kind of Livin'
18. A River Is Made Out of Raindrops
19. I Can't Take It Any More (Gram Parsons & the Like)
21. Together Again (Brandon deWilde with Gram Parsons & the Like)
CD2: Big Mouth Blues - A Conversation with Gram Parsons
DVD: Gram Parsons and the Fallen Angels
1. Big Mouth Blues
2. New Soft Shoe
3. Streets Of Baltimore
4. Six Dasy On The Road
5. Hot Burrito #1 (bonus)
Picture Disc Vinyl LP
1. I May Be Right
2. Big Country
3. Zah's Blues
4. Mary Don't You Weep
5. Bells of Rhymney
6. Goin' Away, Don't You Want To Go
7. They Still Go Down
8. On My Journey Home
10. Oh, Didn't They Crucify My Lord$64.99Vinyl LP Picture Disc + 2 CDs + DVD - Sealed Buy Now
$24.99 $18.99 Save $6.00 (24%)
Still Crazy After All These Years (On Sale)The third new studio album of Paul Simon's post-Simon & Garfunkel career was a musical and lyrical change of pace from his first two, Paul Simon and There Goes Rhymin' Simon. Where Simon had taken an eclectic approach before, delving into a variety of musical styles and recording all over the world, Still Crazy found him working for the most part with a group of jazz-pop New York session players, though he did do a couple of tracks (My Little Town and Still Crazy After All These Years) with the Muscle Shoals rhythm section that had appeared on Rhymin' Simon and another (Gone at Last) returned to the gospel style of earlier songs like Loves Me Like a Rock. Of course, My Little Town also marked a return to working with Art Garfunkel, and another Top Ten entry for S&G. But the overall feel of Still Crazy was of a jazzy style subtly augmented with strings and horns. Perhaps more striking, however, was Simon's lyrical approach. Where Rhymin' Simon was the work of a confident family man, Still Crazy came off as a post-divorce album, its songs reeking of smug self-satisfaction and romantic disillusionment. At their best, such sentiments were undercut by humor and made palatable by musical hooks, as on 50 Ways to Leave Your Lover, which became the biggest solo hit of Simon's career. But elsewhere, as on Have a Good Time, the singer's cynicism seemed unearned. Still, as out of sorts as Simon may have been, he was never more in tune with his audience: Still Crazy topped the charts, spawned four Top 40 hits, and won Grammys for Song of the Year and Best Vocal Performance.
- William Ruhlmann (All Music Guide)
This title is not eligible for further discount.1. Still Crazy After All These Years
2. My Little Town
3. I'd Do It for Your Love
4. 50 Ways to Leave Your Lover
5. Night Game
6. Gone at Last
7. Some Folks' Lives Roll Easy
8. Have a Good Time
9. You're Kind
10. Silent Eyes$24.99 $18.99 Save $6.00 (24%)180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Bad YearAfter the release of their 2014 debut EP The World Is A Terrible Place And I Hate Myself And Want To Die, The Weaks went to work on creating the best rock and roll record of the decade. Bad Year, the first full length record from The Weaks, is filled with more guitars than all of the songs you've heard on the radio in the last ten years combined. Slowly making their way towards superstardom, The Weaks have taken everything you love about Weezer, Superchunk and Cheap Trick and squeezed them Together in eleven tracks of purified rock.
The Weaks keep the same tongue in cheek Tomfoolery that earned them their cult following With The World Is A Terrible Place And I Hate Myself And Want To Die (see Bad Year tracks 2, 9 & 11), and just like on that EP, Bad Year's cheeky titling is backed up by well-crafted, beautifully recorded, brilliantly catchy songs. The songwritingduo of Evan Bernard and Chris Baglivo may be silly, but they are no joke. Alternating between shredding rockers and pop-y sing-alongs, The Weaks have put their back into delivering you your new favorite record.1. Kick It
3. Still Courting
4. Bad Year
7. Black Box
9. I Don't Want To Be An Anarchist (Anymore)
10. Welcome To Earth
11. Frances Quinlan Will Have Her Revenge On Philadelphia$17.99Vinyl LP - Sealed Buy Now
NDR 60 Years Jazz Edition No. 1 - Dizzy GillespieOriginal Remastered
The story behind the bent trumpet
It is just a few days since the accident that gave the career of the trumpeter Dizzy Gillespie a new boost and made the main figure of this captivating Jazz history appear that bit crazier, that bit more "Dizzier". At the end of the year 1953, according to the legend, Lorraine Gillespie, Dizzy's wife, was celebrating her birthday in Manhattan; there were a lot of musicians, dancers and actors present and, after performing for the birthday girl, Dizzy's trumpet was left lying unattended on the stage while the trumpeter was outside in front of the club giving an interview. The two dancing comedians "Stump & Stumpy" (Jimmy Cross and Eddie Hartman) were capering around the stage and one of them fell on the instrument and damaged it so that the bell was bent upwards at an angle of 45 degrees. Dizzy, the story continues, tried to play the mutilated instrument and noticed just how near to his ear his own sound suddenly was, nearer at least than with a normal trumpet. He had the damaged instrument repaired, but ordered a new trumpet from a manufacturer with exactly the same kink as the accident had caused.
If all of that is true, the first jazz recording in the archive of today's NDR was played either with the repaired trumpet or with a substitute instrument -Mister Gillespie, who came on the 9th of March 1953 with his quintet for a studio recording to Hamburg's studio 10(which at the time was merged with the Cologne broadcaster under the name of "Nordwestdeutscher Rundfunk" - NWDR), is not only wearing - even though there is no audience - a decorative Tyrolean hat like the popular singing comedian and EX-GI Billy Mo; the ornately decorated trumpet he plays has no kink, it is absolutely straight (as verified in the photos by Susanne Schapowalow). The "old" Dizzy, so to speak, becomes a prominent guest on this remarkable day in Hamburg, and the "new" Dizzy has just ordered his future trade mark from the trumpet manufacturer. "60 Years Jazz in the NDR" could hardly have kicked off more auspiciously.
In 1953 John Birks Gillespie is 36 years old and a world star in Jazz. Born in 1917 in the small town of Cheraw/South Carolina, the youngest of nine children, he is known in the scene as "Dizzy" because, alongside the inventors of bebop Charlie Parker and Bud Powell, he likes to play the mad intellectual with goatee beard, Basque beret and round sunglasses. He cultivates the role of provocateur, in 1964 he even stands for election as president of the USA. However, the history of bebop has already been written when he comes to Hamburg in the spring of 1953; now the time has come for Dizzy, the spirited oddball, to reinvent himself - until in 1968 with a grandiose big band at the Berlin Jazz Festival and from then on, again and again, he sets important milestones in a great career, including NDR concerts of course. He never switches styles and sounds as drastically as, for example, Miles Davis - Dizzy was always Dizzy - but ever new musical formations led up to the "United Nations Orchestra" with whom he guested in the last years before his death on 6 January 1993 all over the world including on northern German festival stages. As often as possible, the recording vans of NDR were always there.
In March 1953, Gillespie is accompanied by the baritone saxophonist Bill Graham, a musician who in the years beforehand had been part of the "Dee Gee Days", the "Savoy Sessions" (the album of this title became a classic of modern Jazz). Graham contributed not only magnificent solos in the sessions such as now in Hamburg; he also wrote "Oh-sho-be-do-be" a light-hearted ditty about the whispered conversations of young lovers which became a genuine classic in Gillespie's repertoire. At the piano in the Hamburg studio sits Wade Legge, barely thirty years old at the time, and one of the greatest but highly underestimated and unfortunately almost forgotten talents of the time. Legge's partner of many years, Lou Hackney, plays bass, and Al Jones is on percussion.
Among other places, this European tour also brought the band to Paris; they recorded five tracks on a stop at the Hamburg studio. Gershwin's "They Can't Take That Away From Me" and "Alone Together" by Arthur Schwartz and Howard Dietz are followed by two of those compositions laced with Latino rhythms that Dizzy had developed with the percussionist Chano Pozo and the arranger Gil Fuller: "Manteca" and "Tin-Tin-Deo". The short but extremely sweet program ends with "I Can't Get Started", a masterpiece for posterity written by Vernon Duke and Ira Gershwin.
The power of imagination is really not sufficient to conceive of the interaction of Gillespie's quintet with the other band in this studio session - or how on this 9th of March what was probably the most important modern quintet in the German-speaking world performed alongside Dizzy. Hans Koller had formed the band around himself. Koller was born in 1921 in Vienna. After time spent as an American prisoner of war, in 1946 he returned to his home city to found a Jazz club, and the saxophone sound he made his own influenced at least a generation. The trombonist Albert Mangelsdorff was not even 25 years old in March 1953, and it is not so long since he swapped the guitar for the trombone as a professional musician. Jutta Hipp is the pianist. Born in Leipzig in 1935, she was regarded as the greatest piano talent of her time; her career took off vertically, but ended abruptly and tragically shortly after she moved to the USA. She never played piano again and she never returned to Germany. She died in 2003 in New York, almost completely forgotten. Shorty Roeder on bass and the percussionist Karl Sanner are the top rhythmists of their age - and this band of twenty-somethings (Koller is the oldest at 32, and with a certain amount of bravado he christened them the "New Jazz Stars") is showing quite clearly that Jazz in Europe wants to and will take other paths than Dizzy in the motherland of the genre.
Koller selected some quite standard fare; "The Way You Look Tonight" is followed by "Indian Summer", "You Go to My Head" is followed by "All the Things You Are". Old friends, all very familiar - but the interpretation that the quintet gives these tracks is cooler than anything considered cool or fashionable up to then in the USA. What would have been going through Mr. Gillespie's keen mind when he heard just how uncompromisingly these young Krauts and Koller were advancing the renewal of music which had begun to develop further and beyond the Dizzy standard at home in the USA ?
Anyone in the NWDR studio in Hamburg on the 9th of March 1953 who could read minds would probably have witnessed an international dialogue, which has ever since repeatedly influenced the Jazz world. "60 years Jazz in the NDR" - and what an event stands at the very beginning!Side A - Dizzy Gillespie Quartet
1. They Can't Take That Away From Me
2. Alone Together
4. Tin Tin Deo
5. I Can't Get Started
Side B - Hans Koller New Jazz Stars
6. The Way You Look Tonight
7. Indian Summer
8. You Go To My Head
9. All The Things You Are$32.99Vinyl LP - Sealed Buy Now
NDR 60 Years Jazz Edition No. 3 - Stephane Grappelli EnsembleMono
On the 17th of May 1957 StÉphane Grappelli came to Hamburg for a recording session with a quartet in Studio 1 of the Norddeutscher Rundfunk radio broadcaster. From today's perspective the trip was a rare event for the then 49-year-old jazz musician, because from the end of the 1940s until the mid-1960s he was rarely to be found in a recording studio anywhere, even though he was already one of the world's best jazz violinists. His studio absence is particularly puzzling given that up to his death on the 1st of December 1997 he was probably one of the most recorded violinists in the history of music of the 20th century. But from this roughly 15-year period there is actually just a handful of released recordings by and with StÉphane Grappelli.
For the jazz violinist the years before making his trip to Hamburg in 1957 were a time of upheaval and change which left a "gap" in Grappelli's CV and discography. There are several reasons for this. One of them lies in the technical developments of the time. Music became louder. Electric guitars, improved microphones and the voluminous sound, in particular of the brass section, also led to a broadening of the dynamic spectrum in jazz. With its delicate acoustics it was difficult for a violin to assert itself against the other instruments without amplification. Before coming to Hamburg, Grappelli had already started experimenting with various pick-up systems. But he was generally dissatisfied with the results because the electrification of his instrument had an excessively alienating effect on the unique timbre of the violin and the ambience was lost. This is why he often preferred a chamber music setting in the recording studio, as this gave him the best acoustic results with just a simple microphone.
Another reason was of a personal nature. On the 16th of May 1953 the Manouche guitarist "Django" Reinhardt died. The death of his long-time friend and musical companion had deeply wounded StÉphane Grappelli. He rarely spoke about this loss. When he did, then he spoke about the years between 1934 and 1939, when they both fronted the now legendary Quintette du Hot Club de France. It was the countless recordings with this band that earned Grappelli and Reinhardt their reputation as "legends" of early European jazz. Here and in the USA: with the then so popular Hot Jazz which the pair mixed from the very beginning of their percussionless band with the Musette waltzes typical of French dance music and the music of the Manouches, the French Gypsies.
When the Second World War broke out on the 1st of September 1939, the Quintette du Hot Club de France was on tour in England. While one, Reinhardt, returned to his homeland of France, the other, Grappelli, remained in London. In his English exile the violinist became acquainted with George Shearing. An encounter with consequences. Because Grappelli - who had taught himself to play the violin as a youth before going to study classical violin at the venerable Conservatoire de Paris, after which, like many musicians of the time, he earned his livelihood playing with dance orchestras in the French capital - was always interested in being part of new musical developments. With the blind pianist who was more than ten years younger and his concept of block chords, Grappelli was given the opportunity to learn what was for him an unknown harmonic language in jazz.
But above all, up to the late 1950s Grappelli was still working on perfecting his instrumental skills. While his solo choruses on the violin with the Quintette du Hot Club de France mainly involved intensifying ornamentations, tension-escalating vibrati, glissandi and tremoli, short fill-ups and improvised melodic phrases, in the years after the end of the war he expanded the range of forms of expression on his instrument. He was inspired, for example, by the "Bel Canto" playing of the classical violin virtuosos, taught himself different type of bow strokes, and learned an unusual grip technique for the violin in order to be able to fly over the strings with the minimum of pressure. But above all he emotionalised his sound using a technique with which he preceded the played notes with a glissando from below.
StÉphane Grappelli's visit to Studio 1 at the Norddeutscher Rundfunk in Hamburg in 1957 was then indeed a stroke of luck. Because on this day he had for the first time the complete repertoire of forms of expression on the violin which made him the style-forming jazz musician who earned the admiration even of instrumentalists in other genres such as the great classical violinist Yehudi Menuhin. At the same time, his tone and phrasing still had the vitality and virility of his younger years with the Quintette du Hot de France in the 1930s. And even more: In 1957 he was able to build a bridge with his violin between the swinging grandezza of the US jazz musicians and the great tradition of European music.
A major factor in making the recording session in Studio 1 of the NDR a field of experimentation for Grappelli was his rhythm group. This included his twenty-years-younger compatriot, the pianist Maurice Vander, and the two Germans Hans Last on the contra bass (yes, you've read it correctly: years later "Hans" was to become "James" Last) and Rolf Ahrens on percussion. With delicate harmony and colourful melody the three musicians cleared the ground for their leader to experiment with his violin: with his soft and broad legato bowing technique, for example, which allowed him to achieve such naturally swinging phrasing, particularly in the ballads and mid-tempo numbers, as the great US saxophonists at the time, with his sharp pizzicato which gave his solo choruses a dynamically differentiated energy level, or with his sensational flageolet tones in preparation for the climaxes of his improvisations.
Even though at first glance the repertoire recorded in Hamburg with its mixture of songs from the "Great American Songbook" ("St. Louis Blues" for example, or "Lady Be Good" and "The Lady Is A Tramp") and pieces, for example, by Django Reinhardt (in particular "Manoir De Mes Rêves" and "Nuages") appeared to offer little spectacular, in its natural and self-evident way this studio session was an illustration of what was to be Grappelli's life-long guiding principle: "Jazz is all about feeling: It is a matter of the heart", as he once summarised it in simple words "It is only when you have the feeling that the music happens as if by itself."LP1
1. Autumn In New York
2. Jeepers Creepers
3. These Foolish Things
4. She's Funny That Way
6. It Might As Well Be Spring
7. Hambourg Souvenir
8. Vours qui passez sans me voir
9. Lady Be Good
10. A Flower Is A Love-Some Thing
1. I Can't Believe That You're In Love With Me
2. Manoir de mes reves
3. How About You?
4. The Lady Is A Tramp
5. St. Louis Blues
6. A Girl In Calico
7. I'll Remember April
8. Blue Moon
9. How High The Moon
10. Pennies From Heaven$37.99Vinyl LP Mono - 2 LPs Sealed Buy Now
You Can't Imagine How Much Fun We're Having (10 Year Anniversary Edition)
Red & Green Vinyl
Includes an 8-page LP Lyric Booklet
With a career built on eight albums, dozens of side projects and over 18 years of touring, Atmosphere's classic album, You Can't Imagine How Much Fun We're Having, is back after being out of print on vinyl for several years. This limited 10 year anniversary edition, four piece vinyl comes newly packaged in a custom quad-fold LP jacket including two transparent green color vinyl containing the original album and two transparent red color vinyl containing the never before released instrumentals.$42.99Colored Vinyl LP - 4 LPs Sealed Buy Now
SPCO-SPE-139020xHerbert Von Karajan
Shostakovich: Symphony No. 10 (Speakers Corner)
Russia in the year 1953. After the October Revolution this was probably one of the most eventful epochs in the whole of the 20th century as far as social development and Art were concerned. When Stalin's reign of terror at last came to an end Shostakovich was able to realize his artistic ideas without fear of political persecution. And this is precisely the reason for regarding the premiere performance of his Tenth Symphony, in December 1953, as a gesture of freedom after years of discrimination. Shostakovich wanted his music to reflect human feelings and passions - and indeed the rugged first movement is filled with melancholy. Many biographers have identified a brutal portrait of the dictator Stalin in the strained mechanism and whip-lash rhythm of the following Allegro. The third and fourth movements take on a brighter character and are filled with song-like melody which leads to a splendid Finale.
Herbert von Karajan and his Berlin orchestra made the present recording just a few years after the work's composition; even today it is still considered one of the very best performances of this unique work.
Recording: November 1966 at Jesus-Christus-Kirche, Berlin, by GÜnter Hermanns and Hans Weber
Production: Otto Gerdes
About Speakers Corner
At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Speakers Corner all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.
During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s - or employed existant tools from the 80s and 90s for manufacturing.
A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.
We should like to emphasise that Speakers Corner Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle. We have one digital recording in our catalogue (Alan Parsons / Eye In The Sky"), but even in this particular case we used the analogue tapes for cutting.
We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.
To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects - excluding the exception above - and that the lacquer discs are newly cut.Dmitri Shostakovich (1906-1975)
Symphony No. 10 in E minor, Op. 93
4. Andante - Allegro$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
TenRanked 207/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.
Ten, the debut album that sold 12 million copies and introduced the world to Pearl Jam in 1991, is now being reissued in four new and expanded editions. The reissue of Ten serves as the launch of a planned two-year catalog re-release campaign leading up to the bands 20th anniversary in 2011.
This edition of Ten is packaged on two vinyl LPs and includes two versions of the album: the remastered version of the original album plus an accompanying remixed version done by the bands long-time producer, Brendan OBrien (Bruce Springsteen, AC/DC, Audioslave).
The band loved the original mix of Ten, but were also interested in what it would sound like if I were to deconstruct and remix it, says producer Brendan OBrien. The original Ten sound is what millions of people bought, dug and loved, so I was initially hesitant to mess around with that. After years of persistent nudging from the band, I was able to wrap my head around the idea of offering it as a companion piece to the original, giving a fresh take on it, a more direct sound.
Pearl Jam bassist Jeff Ament, who served as the art director for the original Ten packaging, reprised his role for the reissues collaborating with designer, Andy Fischer, of Cameron Crowes Vinyl Films (Into the Wild soundtrack LP, Vanilla Sky soundtrack LP, Harold and Maude anniversary edition soundtrack LP). The goal was to assemble the ultimate fan-piece, explains Fischer. Something Pearl Jam lovers could pore over as they experience an indelible record all over again, in an entirely new way.
Pearl Jam originally released Ten on August 27, 1991. The album reached #2 on the Billboard 200 chart, sold over 12 million copies and became one of the cultural touchstones of the '90s. Songs such as Alive, Black, Even Flow and Jeremy became staples of rock radio, and still make frequent appearances on the bands ever-changing concert setlists. The album was produced by Rick Parasher. Pearl Jams 1991 lineup was Jeff Ament (bass), Stone Gossard (guitar), Dave Krusen (drums), Mike McCready (guitar) and Eddie Vedder (vocals).LP 1: Original Ten Tracklisting Remastered for Vinyl
2. Even Flow
4. Why Go
LP 2: Original Ten Tracklisting Remastered for Vinyl and Remixed by Brendan OBrien
2. Even Flow
4. Why Go
11. Release$34.99Vinyl LP - 2 LPs Sealed Buy Now
REDD-SUN-6816xTen Years After
Stonedhenge (Awaiting Repress)A Premium RTI Pressing, From The Original U.K. Mono Masters
Ten Years After's eponymous debut hit the door with a loud thud. Undead cracked it. And with 1969's Stonedhenge, they knocked it down with authority, stormed the palace and showed the world that they were indeed a major act. Stonedhenge was where Ten Years After really came into their own with originals. "Hear Me Calling" is brilliant modern blues on par with the best of early Fleetwood Mac, rising from a restrained beginning to all-out rocking before repeating the cycle one last time. "Going to Try" explores similar territory, even venturing into a Middle-Eastern inspired section underscored by randomized percussion overdubs and Chick Churchill's psychedelic organ. "Woman Trouble" is stirring jazzy blues, and on "No Title," the band really cuts loose - kicking off with a standard blues lament before unleashing a series of solos that are almost songs unto themselves: Alvin Lee's power-chord solo making way for Churchill's spooky organ making way for a badass jam between drummer Ric Lee and bassist Leo Lyons. The band was running like a freight train - and in fact, train noises grace the beginning of album finale "Speed Kills," a bluesy boogie that pushes the meter straight into the red before the thrill-ride literally comes to a screeching halt. But not before the album fully displays the band's world-class musicianship and songwriting, which made Stonedhenge a hit in the UK and gave Ten Years After their first-ever Billboard Top 100 entry, at a respectable #61 in April 1969. In turn, it paved the way for the band's acclaimed performance at Woodstock, which ensured regular placement on the album charts for years to come.
For now, dig the first vinyl reissue of the ultra-rare mono mix of Stonedhenge, housed in its original gatefold cover artwork and meticulously mastered for the most discerning listener.
Now Sundazed proudly presents the searing guitar of Alvin Lee & Chick Churchill's haunting organ textures as they were meant to be heard, from the original U.K. MONO masters and pressed on premium RTI vinyl!1. Going To Try
2. I Can't Live Without Lydia
3. Woman Trouble
5. Hear Me Calling
6. A Sad Song
7. Three Blind Mice
8. No Title
10. Speed Kills$24.99Vinyl LP Mono - Sealed AWAITING REPRESS Buy Now
Friday Night Rock Show SessionsBBC Friday Night Rock Show Session, Recorded Prior To Their Reading Rock Festival Gig
Now In Its Entirety As A 2LP SetLP1
1. Love Like A Man
2. Good Morning Little Schoolgirl
3. Slow Blues In "C"
4. Suzie Q
2. I May Be Wrong
3. But I Won't Be Wrong Always
4. I Can't Keep From Cryin' Sometimes/ Extension On One Chord
5. Going Home$39.99Vinyl LP - 2 LPs Sealed Buy Now
UNIM-BLU-5717xRobert Glasper Experiment
Covered: The Robert Glasper Trio Recorded Live At Capitol Studios10 years after making his Blue Note debut & following 2 GRAMMY-winning volumes of his R&B-oriented Black
Radio albums, Robert Glasper returns to his acclaimed acoustic jazz trio for his new album, Covered (The Robert
Glasper Trio recorded live at Capitol Studios). The album will be released on Blue Note Records & consists
mainly of covers, including Glasper's favorite songs by Radiohead, Joni Mitchell, JhenÉ Aiko, John Legend,
Kendrick Lamar & more, as well as several Glasper originals.LP1
2. I Don't Even Care
5. In Case You Forgot
1. So Beautiful
2. The Worst
3. Good Morning
4. Stella By Starlight
6. Got Over
7. I'm Dying Of Thirst$24.99Vinyl LP - 2 LPs Sealed Buy Now
10 years after their first release, Trapped Under Ice brings you Heatwave. This phat LP is short, fast and hardcore; the way Straight Ahead intended, but played more like Fury of Five and Breakdown at a backyard party. For punks who've considered throwing a spin kick in jean shorts. Rhythmically, Heatwave is like a trailer park Sepultura. Check it out if you fuck with what TUI has been doing for the last decade. The same, but different.1. Backstabbed
3. No Relief
4. Do It
5. Throw It Away
6. Pressure Is On
8. Slow Death
10. Other Side
11. Move$17.99Colored Vinyl LP - Sealed Buy Now
The Miseducation Of Lauryn HillRanked 312/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.
'The Miseducation of Lauryn Hill' is the critically and commercially acclaimed solo album by female Fugee Lauryn Hill. Originally released on August 25th, 1998, it has been widely praised for its seamless fusion of R&B, Hip Hop, Reggae, Gospel, and Neo-Soul. The songs vary in style, but make for a cohesive album. In 1999, the album garnered 10 Grammy nominations at the 41st Grammy Awards. When Hill won 5 Grammies that night, her achievement made her the first female to receive that many in one night. The album includes collaborations with soul singer D'Angelo on Nothing Even Matters; guitarist Carlos Santana on To Zion; singer Mary J. Blige on I Used to Love Him and well as then little-known John Legend playing the piano on Everything is Everything.
Over 10 years after its original release Hill's debut solo album has proven to stand the test of time easily.1. Intro
2. Lost Ones
4. To Zion
5. Doo Wop (That Thing)
7. Final Hour
8. When It Hurts So Bad
9. I Used To Love Him
10. Forgive Them Father
11. Every Ghetto, Every City
12. Nothing Even Matters
13. Everything Is Everything
14. The Miseducation Of Lauryn Hill
15. Can't Take My Eyes Off Of You
16. Tell Him$29.99Vinyl LP - 2 LPs Sealed Buy Now
Transatlanticism: 10th Anniversary Edition
Reissued For Its 10th Anniversary After Being Out Of Print For Years.
Comes With 12-page Full-color Booklet
As musical lunacy goes, things have gotten as crazy as it gets for Death Cab for Cutie since 2002's You Can Play These Songs with Chords compilation. A wildly successful tour with Dismemberment Plan, a collaboration for singer Ben Gibbard with emo-electronic guru Dntel under the Postal Service moniker, and a whole new legion of fans swooning to Gibbard's lyrics as if he were a modern day answer to Kiss Me-era Robert Smith have all amassed considerable hype around Transatlanticism.
But the group proves themselves more than equal to the task, answering the call and proving the cynics wrong with their most focused and most mature work in their entire catalog. Transatlanticism wastes absolutely no time and dives in head first with The New Year, one of the most melodramatic openings to an album since the Smashing Pumpkins' Tonight, Tonight from Mellon Collie and the Infinite Sadness. The mellow, mixed-meter percussion and dense atmosphere of Lightness is a brilliant lead into the pop-happy Expo '86 and The Sound of Settling before setting up the climatic and intensely dramatic title track. Unconsciously taking a page from Blur's Sing, the hypnotic drumming and guitar call and responses through the eight-minute climax of the album are backed with a singalong finale that unquestionably will have every audience on the next tour singing along and holding up their lighters.
And while most albums would be left exhausted after such a track, the group keeps things moving, albeit at a much slower pace than compared to the anthems that packed the first half. Gibbard seamlessly makes the transition between songs that full out rock to songs that are comparable to Elliott Smith's finest hour with great ease. But it's Gibbard's poetic lyrics and signature introspection that remain a bench mark for Death Cab; and it's the group's maturity as musicians as well as songwriters that make Transatlanticism such a decadently good listen from start to finish. The band has never sounded more cohesive, the track sequencing is brilliant, and it caps off a triumphant year for not only Gibbard, but a band whose time and greater recognition is finally due.
- Rob Theakston (All Music Guide)LP 1
1. The New Year
3. Title And Registration
4. Expo '86
5. The Sound Of Settling
6. Tiny Vessels
2. Passenger Seat
3. Death Of An Interior Decorator
4. We Looked Like Giants
5. A Lack Of Color$27.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
Cult Favorite, Back In Print After 10+ Years
"Some of the most exciting rock songs of the last decade" -Pitchfork
"Probably weren't the first mid-90s band to have their knotty guitar textures and algebraic time signtures called "math rock," but they might have been the best" -Entertainment Weekly
Chavez debut album from 1995.1. Nailed To The Blank Spot
2. Break Up Your Band
3. Laugh Track
4. The Ghost By The Sea
5. Pentagram Ring
6. Peeled Out Too Late
7. The Flaming Gong
8. Wakeman's Air
9. Relaxed Fit$19.99Vinyl LP - Sealed Buy Now
Ride The Fader
Cult Favorite, Back In Print After 10+ Years
"Some of the most exciting rock songs of the last decade" -Pitchfork
"Probably weren't the first mid-90s band to have their knotty guitar textures and algebraic time signtures called "math rock," but they might have been the best" -Entertainment Weekly
The second album from Chavez, originally released in 19961. Top Pocket Man
2. The Guard Attacks
3. Unreal Is Here
4. New Room
5. Tight Around The Jaws
7. Our Boys Will Shine Tonight
8. Memorize This Face
9. Cold Joys
10. Flight '96
11. Ever Overpsyched
12. You Must Be Stopped$19.99Vinyl LP - Sealed Buy Now
Fuck World TradeLEFTOVER CRACK are a rare band in that they managed to master a genre of music and eventually completely redefine it. Born out of the ashes of ska/punk/crust legends Choking Victim, LEFTOVER CRACK
elevated the level of expectation and popularity of the genre. Infusing elements of metal, hardcore, classical, and even some as yet undefined ingredients, LOC created a truly unique sound which they dubbed "squat-core". Coupled with fiercely overt/controversial political and socio-economic messages and it became the recipe for some of the most volatile material the punk genre has seen in a long time. Originally released in 2004, their second album Fuck World Trade is viewed as LOC's hallmark release. Built on the foundation of
high-speed ska and thrash punk, Fuck World Trade saw the band take a freer approach both musically and lyrically, including longer songs, more varied details, and contributions from members of Anti-Flag, The Dwarves, and World/Inferno Friendship Society. Of course, the band's anti-racist, anti-sexist, anti-capitalist, and anarcho-communist message is on full display as well.
Over 10 years after its release, Fuck World Trade still stands as genre defining album in both musical content and message. To mark the anniversary of the album Fat will be releasing a deluxe reissue. The reissue includes five previously unreleased bonus tracks (all originally from the Fuck World Trade session), enhanced artwork, and gatefold double-vinyl version.1. Intro
2. Clear Channel (Fuck Off!)
3. Life Is Pain
4. Burn Them Prisons
5. Gang Control
6. Super Tuesday
7. Via Sin Dios
8. Feed the Children (Books of Lies)
9. One Dead Cop
10. Ya Can't Go Home
11. Rock the 40 oz.
12. Soon We'll Be Dead
13. Gringos Son Puercos Feos
14. Operation: M.O.V.E.
16. Banned In P.C.*
17. The Christ*
18. Apple Pie and Police State*
19. Infested (The Lindane Conspiracy Part I)*
20. Fuck World Trade*
*BONUS TRACK$24.99Vinyl LP - 2 LPs Sealed Buy Now
Disarm The Descent (Colored Vinyl)Gold Colored Vinyl
Disarm The Descent marks the return of original singer Jesse Leach to Killswitch Engage. Leach was the voice behind the genre defining release Alive Or Just Breathing. This new album has been hailed as one of the most anticipated releases of 2013 by magazines, blogs and most importantly the fans who are eagerly welcoming Jesse back into the band after 10 years away.1. The Hell In Me
2. Beyond The Flames
3. New Awakening
4. In Due Time
5. A Tribute To The Fallen
6. The Turning Point
7. All That We Have
8. You Don t Bleed For Me
9. The Call
10. No End In Sight
12. Time Will Not Remain$29.99Colored Vinyl LP - Sealed Buy Now
$15.99 $12.63 Save $3.36 (21%)
These Ghosts Have Bones (On Sale)Miles Zuniga is the singer, guitarist in Fastball. He's written several songs with other artists including Spoon, The Dandy Warhols and Vince Gill. These Ghosts Have Bones is Miles Zuniga's debut solo album. After a 10 year relationship ended, Miles decided to use the recording studio as a giant therapy session. Miles raised $27,000 on Kickstarter to pay for the record. Bob Clearmountain mixed the album.1. Marfa Moonlight
2. Rock Paper Scissors
3. Feel It In Your Kiss
4. The Weatherman
7. Now She's Just A Shadow
8. One Day Closer To You
9. Working On A Love Song
10. Junkie Hands
11. You Can't Break My Heart$15.99 $12.63 Save $3.36 (21%)Vinyl LP - Sealed Buy Now
Deluxe 2 LP 180g Color Vinyl With Souvenir Patch
4 Bonus Tracks
After 10 years, 4 albums and countless global tours as headliners and as participants on can't-miss rock festival bills, and sales of hundreds of thousands of albums, HELLYEAH will be making their biggest and boldest statement yet with their upcoming fifth album, Unden!able.
The momentum has been building with each album since the members of Pantera, Mudvayne, and Nothingface first joined forces. They have now had mass radio and video airplay that weekly reaches 2 million fans across multiple platforms.
Unden!able was produced by Kevin Churko (Ozzy Osbourne, Five Finger Death Punch, Papa Roach to name a few).1. !
3. Scratch a Lie
4. Be Unden!able
6. Leap of Faith
7. Blood Plague
8. I Don't Care Anymore
9. Live or Die
10. Love Falls
14. Demons in the Dirt (Live in Australia 2015) - BONUS
15. Moth (Live in Australia 2015) - BONUS
16. Cross to Bier (Live in Australia 2015) - BONUS
17. Hush (Live in Australia 2015) - BONUS$30.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now