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  • Autumn Leaves Autumn Leaves Quick View

    $34.99
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    Autumn Leaves

    The album is a collection of twelve songs from Johnny Mercer. Autumn Leaves finds Jacintha in excellent form and, once again, delivering several strong performances on many of the songs. One of the highlights of the album is the title track which finds Jacintha singing in the original French intro and first verse as well as the later Johnny Mercer English lyrics.

    1. And The Angels Sing

    2. Skylark

    3. One For My Baby

    4. Midnight Sun

    5. Autumn Leaves

    6. Days of Wine & Roses

    7. I Remember You

    8. Trav'lin Light

    9. Something's Gotta Give

    10. Moon River



    Bonus 45rpm LP:

    1. Here's To Life - soundtrack mix

    2. Here's To Life - opening title

    3. Autumn Leaves

    4. I Remember You 


     

    Jacintha
    $34.99
    180 Gram Audiophile Virgin Vinyl 45 RPM LP - 2 LPs Sealed Buy Now
  • Five Leaves Left Five Leaves Left Quick View

    $24.99
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    Five Leaves Left

    Nick Drake's bucolic autumnal shades in his debut album of a similar name, heralded a new signing for Island Records: not traditional enough to be folk,
    not weird enough to be psychedelic, Drake avoided the pitfalls of what was expected and collaborated with producer Joe Boyd, orchestrator Robert Kirby
    and recording engineer John Wood to make a singular and almost unique record released to a largely indifferent media.
    A few leaves fell in the right place and Nick's reputation grew, despite his early death at 24 in 1976, escalating into the world-wide fame he enjoys today.


    Released initially only on vinyl and cassette, these formats became redundant with the dawning of CD and downloads - leaving a gaping hole that was
    filled by high collectors prices for original pressings and the inevitable poor quality bootlegs.

    1. Time Has Told Me
    2. River Man
    3. Three Hours
    4. Way to Blue
    5. Day Is Done
    6. Cello Song
    7. The Thoughts of Mary Jane
    8. Man in a Shed
    9. Fruit Tree
    10, Saturday Sun
    Nick Drake
    $24.99
    Vinyl LP - Sealed Buy Now
  • Crow Autumn (On Sale) Crow Autumn (On Sale) On Sale Quick View

    $15.99 $12.63 Save $3.36 (21%)

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    Crow Autumn (On Sale)

    Crow Autumn is the latest album by English composer Richard Skelton, who releases haunting and evocative music under a variety of guises through his own much-acclaimed Sustain-Release Private Press. From Clouwbeck to Heidika, Carousell to Riftmusic, his recordings brim with intensity and stark beauty, redolent of the landscapes that inspire them.


    Recording here as A Broken Consort, his most prolific and successful pseudonym, Skelton expertly builds on the achievements of last year's Box Of Birch, creating a dense-yet-delicate weave of textures from a broad palette of acoustic instruments, including guitar, mandolin, piano, violin and accordion. The result is a stunning sequence of swells and eddies, culminating in the orchestral intensity of The River, with its torrent of interleaved violin melodies and seething undertow.


    Originally released in two installments on the artist's own label, this special edition for Tompkins Square distills the essence of those recordings into a coherent whole, and augments them with new material, including the beautifully elegiac Like Rain, and the brooding coda of Leaves. With Crow Autumn, Skelton has created a work of enduring beauty that should firmly establish him as one of England's most uniquely talented contemporary artists, capable of rendering with a fine brush the visceral majesty of the natural landscape.

    1. Day Reveals
    2. A Mercy Kill
    3. Like Rain
    4. Mountains Ash
    5. The River
    6. Beneath
    7. Leaves
    A Broken Consort
    $15.99 $12.63 Save $3.36 (21%)
    Vinyl LP - Sealed Buy Now
  • Indigos Indigos Quick View

    $32.99
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    Indigos

    Impex Records makes your nights a little bit cooler with this Limited Edition, 180gram all-analog shot of pure Duke at his most soulfully nocturnal. From the cats who brought you Time Further Out and Friday and Saturday Nights At the Blackhawk. Mastered by Kevin Gray and limited to only 2500 pressings!


    Indigos features performances of jazz standards such as Mood Indigo, Autumn Leaves, Prelude To a Kiss and more!


    Recorded in 1957 with a line-up that included Johnny Hodges and Paul Gonsalves among the saxophones and a trumpet section of Clark Terry, Willie Cook, Cat Anderson and Harold Baker. An exceptional record with arrangements full of new twists, innovative voices and improvisations.

    1. Solitude
    2. Where or When
    3. Mood Indigo
    4. Autumn Leaves
    5. The Sky Fell Down
    6. Prelude To a Kiss
    7. Willow Weep For Me
    8. Tenderly
    9. Dancing In the Dark
    Duke Ellington
    $32.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • The Ornament The Ornament Quick View

    $13.99
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    The Ornament

    Nothing gold can stay. Even as he tried to capture it in verse, Robert Frost appreciated the ephemeral nature of beauty. And so does Grant Olsen. Yet a nod to the Pulitzer Prize-winning poet is only one of the reasons the Seattle-based songwriter, best known as half of the duo Arthur & Yu, christened his new project Gold Leaves. An autumnal character imbues these nine originals. Just as foliage buds, changes color, and eventually falls from the branches every season, so too do themes of birth, death and regeneration permeate The Ornament.


    Like most creative types, Olsen's muse is always in transition. The album went through myriad permutations between inception and completion. Although he began work on it nearly four years ago, he scrapped the bulk of those early efforts after a bag containing his laptop and notebooks was stolen. The theft seemed a sign. Perhaps he was writing a second Arthur & Yu album? No. In the space of composing and refining The Ornament, Olsen had married, traveled through Central and South America, seen the birth of new family members, and watched a dear one pass. This transitional period was coupled with observations of his nation in flux, all of which informs the universe of this record. While he hoped to open these subjects up in a manner that would permit a broad range of listeners to relate to the sentiments, he recognized that their inciting intimacy precluded turning these songs into Arthur & Yu tunes.


    Although he wrote all the songs, calling Gold Leaves a solo project is a misnomer. Olsen had a great deal of help making The Ornament. Jason Quever of Papercuts was by his side through most of the recording process, serving as co-producer, engineer, and multiinstrumentalist. Quever helped guide editorial choices, keeping scratch vocals when Olsen wanted to go back into the vocal booth and try again, and laid down the four-in-the-morning cello part that haunts Hanging Window. With a resume that encompasses tutelage under Motown veterans and credits with Beach House and Brightblack Morning Light, Ben McConnell was an ideal percussionist to anchor Olsen's amorphous musical ideas. Thao Ngyuen (Thao and the Get Down Stay Down, Thao & Mirah), Amy Blaschke, and members of the Moondoggies all contributed backing vocals.

    1. The Silver Lining

    2. The Ornament
    3. Endless Dope
    4. Hanging Window
    5. Cruel & Kind
    6. Honeymoon
    7. Hard Feelings
    8. The Companion

    9. Futures
    Gold Leaves
    $13.99
    Vinyl LP - Sealed Buy Now
  • Somethin' Else (Bonus Tracks) Somethin' Else (Bonus Tracks) Quick View

    $32.99
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    Somethin' Else (Bonus Tracks)

    Import

    Original Album + Bonus Tracks

    Julian Edwin "Cannonball" Adderley (September 15, 1928 - August 8, 1975) was a jazz alto saxophonist of the hard bop era of the 1950s and 1960s. Adderley is remembered for his work with trumpeter Miles Davis, including the album "Somethin' Else" (1958). This was recorded during Adderley's membership in the Miles Davis Sextet and is one of the few post 1955 appearances of Miles Davis as a sideman. Indeed, Davis plays several of the first solos, composed the bluesy title track and, according to the liner notes, chose most of the material. "Autumn Leaves" would remain in the Davis book, and "Love for Sale" would be recorded by the Davis Sextet a little over two months later.

    1. Autumn Leaves
    2. Love For Sale
    3. Straight Life*
    4. Somethin' Else
    5. One For Daddy
    6. Dancing In The Dark
    7. A Little Taste*


    *Bonus Track

    Cannonball Adderley
    $32.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Somethin' Else (Stereo) Somethin' Else (Stereo) Quick View

    $49.99
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    Somethin' Else (Stereo)

    Blue Note Reissue



    As much as I'd love to relay all kinds of anecdotes about the challenges Steve Hoffman and Kevin Gray encounter during the mastering sessions, I witness none. These boys know the sound of the facility and the Van Gelder masters like the backs of their handsBack home a month later, I unpack some test pressings Chad Kassem has sent meI hear the most realistic-sounding drums ever reproduced by my system. It's as though I'm sitting at the point of creation, experiencing the same high that brought such gifted musicians together as one. Steve Hoffman, Kevin Gray, Chad Kassem, and Don MacInnis have done Rudy Van Gelder and his Blue Note artists proud. Jason Victor Serinus, Stereophile, April 2008


    One of the best known record dates in the history of modern jazz, the chemistry among Adderley, Miles Davis, Hank Jones, Sam Jones and Art Blakey is amazing. Their reworkings of Autumn Leaves and Love For Sale are masterpieces. Miles' title tune and Nat Adderley's One For Daddy-O are classics.


    Autumn Leaves
    Love For Sale
    Somethin' Else
    One For Daddy-O
    Dancing In the Dark
    Cannonball Adderley
    $49.99
    200 Gram Audiophile Virgin Vinyl LP 45 RPM - 2 LPs Sealed Buy Now
  • Tchaikovsky - Nutcracker (Speakers Corner) Tchaikovsky - Nutcracker (Speakers Corner) Quick View

    $69.99
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    Tchaikovsky - Nutcracker (Speakers Corner)

    When the evenings grow longer, the autumn leaves begin to fall and Jack Frost calls during the night, then it is time to conjure up the magic world of Tchaikovsky's Nutcracker while relaxing in front of a crackling fire.



    In this double album you will hear the delightfully varied ballet music in its entirety and not just the usual highlights. Each and every one of the highly individual numbers, be it a dance, a march or a waltz, is enchanting with its ever varying orchestral colouring, here merry and impudent and tripping along lightly without a care in the world, there sturdy and vigourous, even coarse.



    The Orchestre de la Suisse Romande, led by its conductor of many years standing, Ernest Ansermet, is very much at home in Russian repertoire and masters the occasional immense difficulties of the score with bravado. The DECCA team has once again proved its worth and leaves any nuts which still need to be cracked to the hi-fi equipment - the airy strings, the delicate triangles, the thrill of cymbals clashing, and the wooden clack of the castanets. And if, by an amazing coincidence, the heating should fail when you are listening to this record, there is no reason to worry - this music is guaranteed to warm the cockels of your heart and keep Jack Frost from the door.





    Musicians:



    • Orchestre de la Suisse Romande

    • Ernest Ansermet (conductor)




    Recording: October / November 1958 at Victoria Hall, Geneva by Roy Wallace
    Production: James Walker




    About Speakers Corner



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



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



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



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



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



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



    Pyotr Ilich Tchaikovsky
    $69.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Where Are You? (Awaiting Repress) (On Sale) Where Are You? (Awaiting Repress) (On Sale) On Sale Quick View

    $34.99 $31.49 Save $3.50 (10%)

    Buy Now
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    Where Are You? (Awaiting Repress) (On Sale)

    Mastered from the Original Master Tapes


    Where Are You? is perfect in every sense. Recorded when Frank Sinatra was 42, the torch album finds him in impeccable voice and spirit. The dozen tracks fit together as a unified whole; it's difficult to imagine one song missing, or another added. Arranger Gordon Jenkins reads Sinatra's mind, affording him with lush arrangements that break hearts and underscore deliberation. Topping it off, Sinatra's interpretive skills utterly astonish. Genres aside, this 1957 Capitol classic is inarguably one of the ten-best vocal pop efforts made in the 1950s.


    The record's splendid beauty and unparalleled emotionalism surface like never before on Mobile Fidelity's numbered, limited edition 180g mono LP. Mastered from the original master tapes, this mono version focuses the instrumentalists, images, vocals, and ambience in a transparent manner that exceeds the detail on the more-common stereo version. In addition, this reissue marks the first time this gem has been made available in mono in several decades. Akin to Mobile Fidelity's previous Sinatra titles, the sound and clarity on this LP takes the Voice into your room, puts him on an imaginary studio stage, and gives you your own private concert.


    While not as known as Only the Lonely, Where Are You? is its creative equivalent, a poignant masterwork on which Sinatra reflects on what could have been, ponders life's deep questions, elicits sympathy via romantic distress, and does whatever it takes to get through the night. It is one of Sinatra's alone-at-the-bar statements, his fedora pulled slightly over his eyes, his face fixated on his drink, his only friend the understanding bartender that will keep pouring until last call. Throughout, Sinatra delves into sorrow and desolation. Yet unlike the stark gloom and bleak bitterness on In the Wee Small Hours, this solitary statement echoes with an accepting wistfulness and maturity that parallels a change of seasons-or situations.


    Jenkins' warm, classically informed arrangements grant Sinatra the sentiments and support he needs. The sumptuous melodies and burnished strings complement the singer's completely natural delivery; seldom has Sinatra sounded so relaxed, dramatic, warm, cello-like, and in a zone. His lyrical phrasing and rhythmic time-keeping are spot-on; his soulfulness and sensitivity of another world. Sinatra's renditions of "Laura," "Autumn Leaves," and "Lonely Town" are the reference-bearing performances of these famous standards. If you are a fan of vocal music, consider this album mandatory.


    This title is not eligible for further discount.

    1. Where Are You?
    2. The Night We Called It A Day
    3. I Cover the Waterfront
    4. Maybe You'll Be There
    5. Laura
    6. Lonely Town
    7. Autumn Leaves
    8. I'm a Fool to Want You
    9. I Think of You
    10. Where Is the One?
    11. There's No You
    12. Baby Won't You Please Come Home
    Frank Sinatra
    $34.99 $31.49 Save $3.50 (10%)
    180 Gram Audiophile Virgin Vinyl LP Mono - Sealed AWAITING REPRESS Buy Now
  • Atmosphere For Lovers and Thieves (Pure Pleasure) Atmosphere For Lovers and Thieves (Pure Pleasure) Quick View

    $34.99
    Buy Now
    x

    Atmosphere For Lovers and Thieves (Pure Pleasure)

    Ben Webster is still a whale of a tenor player, his approach for the ballads being as poignant and lyrical as ever. On such romantic tunes as My Romance and What's New that breathy tone and broad-beamed phrasing are well in evidence, whilst the underlying humour and swing are more to the fore in the more muscular Easy To Love. Autumn Leaves is great Webster. The tempo is exactly right and Ben is in the groove from the start. The pianist is a long way away from Ben's beloved stride men, but he swings gently and forms nice background patterns for the tenor player's improvisations. The bass has been somewhat heavily recorded, but his drive is admirable nevertheless.



    Stardust, a lovely tune but sometime a drag for jazz improvisation, shows that Ben is a real master of flowing, keenly phrased ballad construction. Yesterdays is played so close to the microphone that momentarily I suspected a gas leak. But Ben always has that aerated vibrato well under control, and never overdoes what has throughout the years become something of a mannerism in his playing.



    Musicians:



    • Ben Webster (tenor saxophone)

    • Ole Kongsted (tenor saxophone)

    • Arnved Meyer (trumpet)

    • John Darville (trombone)

    • Kenny Drew (piano)

    • Niels Jorgen Stein (piano)

    • Niels-Henning Ørsted Pederson (bass)

    • Hugo Rasmussen (bass))

    • Alex Riel (drums)

    • Hans Nymand (drums)



    About Pure Pleasure



    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, Pure Pleasure 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 existent 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 emphasize that Pure Pleasure 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 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 and that the lacquer discs are newly cut.



    1. Blue Light
    2. Stardust
    3. Whats New
    4. Autumn Leaves
    5. Easy To Love
    6. My Romance
    7. Yesterdays
    8. Days of Wine and Roses
    Ben Webster
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Daddy Plays The Horn Daddy Plays The Horn Quick View

    $19.99
    Buy Now
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    Daddy Plays The Horn

    The lengthy, swinging tenor and rhythm formula that Dexter Gordon perfected coined him a major force in the emergence of modern tenor saxophone styles. The logical improvisations Gordon uses on Daddy Plays The Horn are no exception to this formula.


    During a period of Dexter Gordon's (tenor sax) life -- when he was deep in the throws of chronic drug addiction -- the artist was miraculously able to reignite his career during the latter part of 1955. After several years of being out of the spotlight, Gordon resurfaced on the Big Apple-based indie Bethlehem imprint with the half-dozen sides that comprise Daddy Plays The Horn (1956).


    While the support team provides Gordon top-notch contributions throughout, it is unquestionably Drew who offers the most in terms of active interaction and his prominence can not be overstated. Nowhere is that as noticeable as the good-natured interaction heard on the disc's opener, the Gordon-penned title composition Daddy Plays The Horn. In fact it could be argued that Drew enhances the tenor to the point of practically being a co-leader. The update of Charlie 'Bird' Parker's bop standard Confirmation is taken at a steady mid-tempo pace, allowing plenty of room for the participants to have their say and not get in the way of the melody. Gordon seems considerably more relaxed and comfortable as he spreads line upon line of inspired improvisation. Drew is once again a real treat to hear briefly taking charge of the rhythm section. The pair of ballads on Daddy Plays The Horn are nothing short of stellar and stand as simple, emotive expressions unto themselves. Darn That Dream embraces the warmth of Gordon's tenor as his sensual phrasing leaves just enough space for Drew to sonically bridge the gap with his own unhurried and stylish chords. The generically monikered Number Four is anything but ordinary. The Gordon original jumps right from the opening and the ensemble lets loose with equally solid licks beneath his cool tone. Drew gets in the driver's seat missing nary a measure to reveal what could easily be his most tasteful contributions to date. The same can be said of bassist Vinnegar, who is briefly spotlighted on an efficient (if not somewhat sparse) solo. Autumn in New York -- the album's other essential ballad -- is proof that despite Gordon's addiction, he had retained his singular and precious sense of lyricism. Indeed, the Great American Songbook entry has rarely been permeated in such a meaningful way. The seamless transitions between Gordon and Drew are further evidence of their undeniable bond. Saving what may be the best example of the gathered instrumentalists flexing their respective be-bop muscle, You Can Depend On Me rounds out the platter with a bang.

    1. Daddy Plays The Horn
    2. Confirmation
    3. Darn That Dream
    4. Number Four
    5. Autumn In New York
    6. You Can Depend On Me
    Dexter Gordon
    $19.99
    Vinyl LP Reissue - Sealed Buy Now
  • The Trials Of Van Occupanther (10th Anniversary Edition) (Awaiting Repress) The Trials Of Van Occupanther (10th Anniversary Edition) (Awaiting Repress) Quick View

    $27.99
    Buy Now
    x

    The Trials Of Van Occupanther (10th Anniversary Edition) (Awaiting Repress)

    10th Anniversary Edition On 180-Gram Gold Vinyl


    Includes A B2 Pull-Out Poster, Handwritten Lyrics & Previously Unseen Photos


    Comes With A Special Bonus 7 With 2 Unreleased Songs


    Limited To Only 1000 Copies For North America


    This Autumn Midlake will celebrate the 10th anniversary of The Trials of Van Occupanther with a deluxe reissue via Bella Union on 180g gold vinyl, complete with a B2 pull-out poster, handwritten lyrics and previously unseen photos. The cover artwork has been reimagined in a fittingly flushed, hallucinatory painting by neo-impressionist (and pavement-scorching skateboarder) Brian Lotti. The original album will be accompanied by a special bonus 7" featuring two previously unreleased tracks, the plaintive rolling lament of "The Fairest Way" and the revelatory psychedelic swirl of "Festival," two tracks recorded before original vocalist Tim Smith departed the band.


    In 2006, Van Occupanther was hailed as an instant classic and over the course of the next year proved to be the band's commercial breakthrough. While their debut, 2004's Bamnan and Slivercork, had drawn acclaim alongside comparisons to Grandaddy and Radiohead, Midlake looked further afield and deeper within for the follow-up. Suffused with a romantic yearning for the simpler life, this was a record pitched between 1871, 1971 and somewhere out of time: between Henry David Thoreau and Neil Young's After the Gold Rush, between 1970s Laurel Canyon thinking and a longing for something more mysterious. Rich reserves of wistful melody, dreamy horns, rolling guitars and plaintive pianos reflect its elusive, idiosyncratic narratives: a couple long to be robbed by bandits so they can start anew, an outcast scientist ponders his pariah status, a woman chases a frisky deer, a river leads who knows where yet leaves you little choice but to follow


    Famous admirers included Thom Yorke, Beck, The Flaming Lips, Paul Weller, James Dean Bradfield, St Vincent, actor/skateboarder Jason Lee and The Chemical Brothers, and the album went on to secure high placings in the end-of-year polls. Since then, their influence has perhaps been felt in the breakthrough of many a band or singer at one with the stuff of beards, bucolic yearning and blissful West Coast harmonies, from Fleet Foxes to Band of Horses, The Low Anthem, Jonathan Wilson, Matthew E White and beyond.


    Not that Midlake stood still to lap up the praise: a band acutely attuned to nature's shifts, they embraced change. In 2010 they ventured into darker psych-folk thickets for The Courage of Others and backed John Grant on his celebrated breakthrough album, Queen of Denmark. When Tim Smith subsequently departed, guitarist/singer Eric Pulido stepped up to the lead vocal role for 2013's freshly exploratory Antiphon. Since then, Pulido and various Midlake members have embarked on a new musical project with a cast of all-stars including members of Grandaddy, Franz Ferdinand, Band of Horses and Travis, for an album due for release next year. All of this serves to remind us what fertile seeds were sown with The Trials of Van Occupanther: a modern classic, made of vintage craft and timeless magic.

    1. Roscoe
    2. Bandits
    3. Head Home
    4. Van Occupanther
    5. Young Bride
    6. Branches
    7. In This Camp
    8. We Gathered In Spring
    9. It Covers The Hillsides
    10. Chasing After Deer
    11. You Never Arrived


    Bonus 7" Single
    1. Festival
    2. The Fairest Way

    Midlake
    $27.99
    180 Gram Audiophile Virgin Vinyl LP + 7 Single - 2 LPs Sealed AWAITING REPRESS Buy Now
  • Daddy Plays The Horn (Pure Pleasure) Daddy Plays The Horn (Pure Pleasure) Quick View

    $34.99
    Buy Now
    x

    Daddy Plays The Horn (Pure Pleasure)

    During a period of Dexter Gordon's (tenor sax) life -- when he was deep in the throws of chronic drug addiction -- the artist was miraculously able to reignite his career during the latter part of 1955. After several years of being out of the spotlight, Gordon resurfaced on the Big Apple-based indie Bethlehem imprint with the half-dozen sides that comprise Daddy Plays The Horn (1956).


    While the support team provides Gordon top-notch contributions throughout, it is unquestionably Drew who offers the most in terms of active interaction and his prominence can not be overstated. Nowhere is that as noticeable as the good-natured interaction heard on the disc's opener, the Gordon-penned title composition Daddy Plays The Horn. In fact it could be argued that Drew enhances the tenor to the point of practically being a co-leader. The update of Charlie 'Bird' Parker's bop standard Confirmation is taken at a steady mid-tempo pace, allowing plenty of room for the participants to have their say and not get in the way of the melody. Gordon seems considerably more relaxed and comfortable as he spreads line upon line of inspired improvisation. Drew is once again a real treat to hear briefly taking charge of the rhythm section. The pair of ballads on Daddy Plays The Horn are nothing short of stellar and stand as simple, emotive expressions unto themselves. Darn That Dream embraces the warmth of Gordon's tenor as his sensual phrasing leaves just enough space for Drew to sonically bridge the gap with his own unhurried and stylish chords. The generically monikered Number Four is anything but ordinary. The Gordon original jumps right from the opening and the ensemble lets loose with equally solid licks beneath his cool tone. Drew gets in the driver's seat missing nary a measure to reveal what could easily be his most tasteful contributions to date. The same can be said of bassist Vinnegar, who is briefly spotlighted on an efficient (if not somewhat sparse) solo. Autumn in New York -- the album's other essential ballad -- is proof that despite Gordon's addiction, he had retained his singular and precious sense of lyricism. Indeed, the Great American Songbook entry has rarely been permeated in such a meaningful way. The seamless transitions between Gordon and Drew are further evidence of their undeniable bond. Saving what may be the best example of the gathered instrumentalists flexing their respective be-bop muscle, You Can Depend On Me rounds out the platter with a bang.

    Musicians:



    • Dexter Gordon (tenor saxophone)

    • Kenny Drew (piano)

    • Leroy Vinnegar (bass)

    • Larry Marable (drums)



    Recording: September 1955 in Hollywood, CA.



    About Pure Pleasure



    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, Pure Pleasure 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 existent 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 emphasize that Pure Pleasure 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 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 and that the lacquer discs are newly cut.


    1. Number Four
    2. Autumn In New York
    3. You Can Depend On Me
    4. Daddy Plays The Horn
    5. Confirmation
    6. Darn That Dream
    Dexter Gordon
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Hug Of Thunder Hug Of Thunder Quick View

    $25.99
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    Hug Of Thunder

    "I don't want to go out there being presumptuous," Kevin Drew says, "because, I've worn those presumptuous shoes before, and you don't want it to feel like, 'Oh, what a let-down.'" That's the fear when you bring back one of music's most beloved names seven years after their last album. But with Hug of Thunder, the fifth Broken Social Scene album, Drew and his bandmates have a right to feel presumptuous.

    They have that right because they have created one of 2017's most sparkling, multi-faceted albums. On Hug of Thunder the 15 members of Broken Social Scene - well, the 15 who play on the record, including returnees Leslie Feist and Emily Haines - refract their varying emotions, methods, and techniques into something that doesn't just equal their other albums, but surpasses them. It is righteous but warm, angry but loving, melodic but uncompromising. The title track on its own might just be the best thing you will hear all year - a song that will become as beloved as "Anthems For a Seventeen-Year-Old Girl" from their breakthrough album, You Forgot It In People.

    Its title, Drew says, captured what he wanted people to feel about the group's comeback, and how they sound playing together again: "It's just such a wonderful sentiment about us, coming in like a hug of thunder."

    Broken Social Scene had reconvened, in varying forms, several times over the past four years - the odd festival show here and there, preferably ones that involved the least possible traveling. But the idea that they might turn their hand to something more than greatest-hits sets had been stirring since November 2014, when producer Joe Chiccarelli told Drew the group needed to make a new album.

    "He started showing up at our label, asking if we were going to make an album," Drew recalls. "He just didn't give up; he just kept saying, 'You've got to strike, you've got to do this, the time is now,' and so finally we agreed."

    As might be expected to be the case with a many-headed hydra of a group, getting all the principals to agree wasn't easy. Drew's co-founder Brendan Canning was keen, but Drew and fellow BSS lifer Charles Spearin took more persuading. A turning point for Drew came with the Paris terror attacks of November 2015, which made him feel the world needed an injection of positivity: "It just sort of made us want to go out there and play. Because I think we've always been a band that's been a celebration."

    Canning picks up the story: "By autumn of 2015 we had started getting together and trying some ideas out, just getting back in that jam space, in Charles' garage. Then we set up shop in my living room and we were starting to come together in a very familiar kind of way, jamming in the living room, eating meals in the kitchen together, because that's what the band is about: 'Hey, let's all get on the same page and get the energies flowing in the same direction.'"

    Recording finally began in April 2016 at The Bathouse studio on the shores of Lake Ontario, with later sessions in Toronto and Montreal, before the group went right back to basics. "It was very beautiful the way that it ended in Charlie's little rehearsal garage space," Drew says, "after going to all these studios. We just worked there, doing backup vocals and handclaps and all the shit we used to do when we were younger." And then it was to Los Angeles, where the album was mixed.

    The result is a panoramic, expansive album, 53 minutes that manages to be both epic and intimate. In troubled times it offers a serotonin rush of positivity: "Stay Happy" lives up to its title, with huge surges of brass that sound like sunshine bursting through clouds. "Gonna Get Better" makes a promise that the album is determined to deliver. That's not to say it's an escapist record: Broken Social Scene is completely engaged, wholly focussed, and not ignoring the darkness that lurks outside. But there is no hectoring, no lecturing, but a recognition of the confusion and ambiguity of the world. As the title track closes with Leslie Feist murmuring "There was a military base across the street," the listener is caught in the division between the national security provided by national defense, and the menace of the same thing.

    The gestation of Hug of Thunder was no idyll. When You Forgot It in People made their name, Broken Social Scene were young men and women. Fifteen years on, they were adults in or on the cusp of middle age, and - as Drew puts it - "all the adult problems in the world were happening around us individually, whether it was divorce or cancer". Three members of the band lost their fathers while the album was being recorded, "and it seemed like the days of going in the studio, getting stoned, drinking five beers and saying, 'Who gives a fuck?' were over".

    Then there's the fact of the size of the ensemble, and the number of competing voices. "You don't always get the final say with Broken Social Scene," Canning says, with a certain degree of understatement. He compares the process of getting everyone to agree on a song to party politics: "It's like you're trying to get a bill passed through the House - you have to be really committed to wanting to win."

    But, still, if they were to return, it had to be with everybody, no matter if that meant things might get unwieldy. "I'd like to believe that Broken Social Scene can be whatever it can be," Canning says, "but I think the fact we'd gone away for so long meant we really, we really couldn't have done the same thing without everyone involved, you know?" The story of Broken Social Scene, he insists, was built on the involvement of everyone, and so if the story was to be continued, those same people had to return.

    "The thing that has changed is that the relationships between us are established," Drew suggests. "And in a family, you ebb and flow and you come and you go and you're in love and then you're annoyed - but it's established now, the relationships aren't going anywhere, you know? And I think through time, because we've been through so much together, personally and professionally, when we're all on stage, everybody knows what they're doing, everybody has a melody to back up someone else, you feel supported, you're a crew, there's nothing but protection all around you."

    Canning picks up the theme: "Before we were making this record, I said to everyone: 'We all basically want the same thing, we might just have slightly different roadmaps on how to get there. So how do we stray off on certain country roads but get back onto the main thoroughfare?'"

    That Broken Social Scene was a family again, driving along the same main road, became apparent to UK fans in September 2016, when the group - with Ariel Engle the latest woman to assume the role of co-lead vocalist - came over for less than a handful of festival shows, to test the waters. Their Sunday teatime appearance at End Of The Road - an ecstatic hour of maximalist music, physically and emotionally overwhelming - ended up being one of the biggest hits of the festival. It achieved what Drew has always felt music needed to do: it created transcendence, a pocket of time where everyone present was living only in the moment.

    "My 11-year-old nephew asked me, 'Uncle Kev, why do adults get drunk?' and I looked at him and thought, 'OK, brilliant question, I'm going to give a brilliant answer,'" Drew recalls. "And I looked at him for about 10 seconds and I said, 'Because they want to feel like you. Because they want to feel like a kid again, they want to forget everything, they want to be innocent.' We are built in a way now where you can't do that because you're walking around with the anti-transcendence box in your pocket, and in your hand, and in your home, and on your bedside table: it's the anti-transcendence. It's called your phone! And we're getting killed, we're getting killed!"

    So what do Broken Social Scene want listeners to take from Hug of Thunder? Canning wants it to make them "pause for the cause and maybe just leave things in your life alone for 53 minutes". For Drew, it's about what it's always been about: making the connection. "I just hope they understand that there's others out there, that they're not alone," he says. "I know that's silly! But you'd be surprised how many times I've had to tell people, 'Hey, you're not alone on this, you're not alone thinking these things.' I mean, with the title Hug of Thunder, I want to hold people. I want to fucking hold them. And when we do shows, I'm not: 'Look at me, I'm elevated up on the stage,' It's: 'We're here with you, this is us together.' Broken Social Scene is about the people, and it's always been about the people."

    1. Sol Luna
    2. Halfway Home
    3. Protest Song
    4. Skyline
    5. Stay Happy
    6. Vanity Pail Kids
    7. Hug of Thunder
    8. Towers and Masons
    9. Victim Lover
    10. Please Take Me With You
    11. Gonna Get Better
    12. Mouth Guards of the Apocalypse
    Broken Social Scene
    $25.99
    Vinyl LP - Sealed Buy Now
  • Songbird (Out Of Stock) Songbird (Out Of Stock) Quick View

    $42.99
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    Songbird (Out Of Stock)

    Songbird is a compilation album of songs by the late American singer Eva Cassidy, released in 1998, two years after her death in 1996.


    Five tracks (Wade in the Water, Wayfaring Stranger, Songbird, Time is a Healer and I Know You by Heart) are from Cassidy's album, Eva by Heart. Four tracks (Fields Of Gold, Autumn Leaves, People Get Ready and Oh Had I a Golden Thread) are from her album, Live at Blues Alley. The remaining track, Over the Rainbow, is from the album The Other Side. The compilation album was certified Gold by the CRIA (50,000 units) in 2003. It was certified Gold by the RIAA in 2001 and Platinum in 2008 for shipments in excess of one million copies.


    Musicians:

    Eva Cassidy guitar, keyboards, vocals

    Chris Biondo bass, guitar

    Dan Cassidy violin

    Hilton Felton organ

    John Gillespie organ

    Keith Grimes guitar

    Raice McLeod drums

    Larry Melton upright bass

    Mike Stein violin

    Chris Walker trumpet

    Lenny Williams piano

    Kent Wood organ

    1. Fields of Gold
    2. Wade in the Water
    3. Autumn Leaves
    4. Wayfaring Stranger
    5. Songbird
    6. Time Is A Healer
    7. People Get Ready
    8. I Know You By Heart
    9. Oh, Had I A Golden Thread
    10. Over the Rainbow
    Eva Cassidy
    $42.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Temporarily out of stock
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