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  • The Prog Collective (On Sale) The Prog Collective (On Sale) On Sale Quick View

    $26.99 $20.24 Save $6.75 (25%)

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    The Prog Collective (On Sale)

    The biggest super group of Progressive Rock players
    ever assembled and one of the most talked about releases of 2012 finally arrives on vinyl!


    Features performances by John Wetton (Asia), Tony
    Levin (King Crimson), Jerry Goodman (Mahavishnu Orchestra), Richard Page (Mr. Mister), Geoff Downes (Yes/Asia), Alan Parsons (Alan Parsons Project), Chris Squire (Yes), Rick Wakeman (Yes), Gary Green (Gentle Giant), Annie Haslam (Renaissance), Steve Hillage (Gong), John Wesley (Porcupine Tree), Tony Kaye (Yes), Colin Moulding (xTC) and more!

    LP1
    1. The Laws of Nature
    2. Over Again
    3. The Technical Divide
    4. Social Circles
    5. Buried Beneath
    6. Follow the Signs


    LP 2
    1. Check Point Karma
    2. The Laws of Nature (Instrumental)
    3. The Technical Divide (Instrumental)
    4. Social Circles (Instrumental)
    5. Check Point Karma (Instrumental)
    6. Over Again (Single Edit)
    7. BONUS TRACK: Let the World Revolve

    The Prog Collective
    $26.99 $20.24 Save $6.75 (25%)
    Vinyl LP - 2 LPs Sealed Buy Now
  • The Royal Philharmonic Orchestra Plays Prog Rock Classics The Royal Philharmonic Orchestra Plays Prog Rock Classics Quick View

    $25.99
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    The Royal Philharmonic Orchestra Plays Prog Rock Classics

    The ambitious new project from one of the world's leading orchestras recording fully orchestrated progressive rock masterpieces with guest appearances by members of iconic prog rock bands!


    Features scintillating symphonic versions of Pink Floyd's "Comfortably Numb" with Alan Parsons Project multi-instrumentalist Ian Bairnson, King Crimson's "21st Century Schizoid Man" featuring King Crimson and Porcupine Tree drummer Gavin Harrison, Gentle Giant's "Think Of Me With Kindness" featuring Yes and Moody Blues
    keyboardist Patrick Moraz and many more!

    1. ELP Suite: Tarkus / From The Beginning / Tarkus (Reprise)
    2. Comfortably Numb feat. Ian Bairnson
    3. Thick As A Brick feat. Richard Harvey
    4. 21st Century Schizoid Man feat. Gavin Harrison and Guthrie Govan
    5. Focus II feat. Thijs Van Leer
    6. Nights In White Satin feat. Mark Feltham
    7. Think Of Me With Kindness feat. Patrick Moraz
    8. Roundabout feat. Jimmy Greenspoon
    Royal Philharmonic Orchestra
    $25.99
    Vinyl LP - Sealed Buy Now
  • Plays Metallica By Four Cellos (Awaiting Repress) Plays Metallica By Four Cellos (Awaiting Repress) Quick View

    $27.99
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    Plays Metallica By Four Cellos (Awaiting Repress)

    Includes 3 Bonus Tracks Never Before Available


    Take four cellos, mix with a quartet of Finnish classical-music students who possess a note-for-note knowledge of metal giants Metallica, and beat gently. Viola! You have a truly stirring album that provides tangible evidence of the dramatic passages and intricate arrangements that classical music and heavy metal share.


    On Enter Sandman and Creeping Death, the exquisite playing of the cellists intensifies the darkness and emotion of Metallica. In the process the strength and versatility of the group's songwriting is given more credence.


    Perhaps the most remarkable element of the album is the faithfulness that's shown to the original songs, right down to faultlessly following the vocal melodies. With Plays Metallica by Four Cellos, Apocalyptica have proved that the universal language of good music is unbound by genre. Here is a clever concept brilliantly realized.


    --Steffan Chirazi

    1. Enter Sandman
    2. Master Of Puppets
    3. Harvester Of Sorrow
    4. The Unforgiven
    5. Sad But True
    6. Creeping Death
    7. Wherever I May Roam
    8. Welcome Home (Sanitarium)
    9. Battery (Bonus Track)
    10. Nothing Else Matters (Bonus Track)
    11. Seek And Destroy (Bonus Track)
    Apocalyptica
    $27.99
    Vinyl LP - 2 LPs Sealed AWAITING REPRESS Buy Now
  • Gentle Ben (45 RPM) Gentle Ben (45 RPM) Quick View

    $54.99
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    Gentle Ben (45 RPM)

    That Rich, Humid, Giant Sax Tone Blooms Like On Few Other Webster Recordings


    Mastered By Kevin Gray At Cohearent Audio


    200-Gram Gatefold 45 RPM Double LP Pressed At Quality Record Pressings


    ...Webster's trademark sensual sound is on full display and, of course, he's backed by Montoliu, an outstanding Spanish piano veteran who accompanied all the great jazz artists passing through Europe...This is one of the first releases by Analogue Productions pressed at their new in-house pressing plant Quality Record Pressings, and the record bears a close resemblance in appearance to records from Pallas - beautiful looking and perfectly quiet...The superb 200-gram LP comes in a rice paper sleeve and jacket of heavy cardboard...Highest Recommendation. Recording = 10/10; Music = 8.5/10 - Dennis D. Davis, Hi-Fi+, Issue 81


    This recording was made 10 months before Ben Webster's death in 1972. Webster, who had left the United States in 1965 to settle in Europe - first in Copenhagen and then in Amsterdam - was visiting fellow musician and friend Tete Montoliu in Barcelona. Webster and pianist Montoliu went back a ways, having played together regularly in Webster's Copenhagen days. In fact, Montoliu cited Webster and Don Byas as his two chief musical influences. Webster and Montoliu understood each other deeply, and their comfort with on another is palpable in this recording. Their accompaniment of one another is seamless. On board with these two is Montoliu's regular working trio-mates, Eric Peter on bass and Peer Wyboris on drums.


    There's no shortage of Webster's trademark breathy, fat tenor tone here. In fact, given the sparse arrangement, that rich, humid, giant sax blooms like on few other recordings. Highlights include Ben's Blues, Sweet Georgia Brown, The Man I Love and Don't Blame Me.


    This title is not eligible for discount.


    LP 1
    1. Ben's Blues

    2. The Man I Love

    3. My Nephew Bent

    4. How Long This Has Been Going On


    LP 2
    1. Sweet Georgia Brown
    2. Don't Blame Me
    3. Did You Call
    4. Barcelona Shout

    Ben Webster
    $54.99
    200 Gram Audiophile Virgin Vinyl 45 RPM LP - 2 LPs Sealed Buy Now
  • Reflections Reflections Quick View

    $21.99
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    Reflections

    Country music's "Gentle Giant" re-teams with award-winning producer Garth Fundis for Reflections, the follow up to 2012's well-received comeback album
    And So It Goes. Don Williams, a Country Music Hall of Fame member, dominated for decades as a country hit maker and was dubbed "the Gentle Giant"
    because of his unique blend of commanding presence and that laid-back, easy style-cutting across national and genre boundaries. Those personal and
    musical qualities that stood out strongly across the 1970s, '80s and '90s, came full circle both in 2012, as Williams delivered the masterful And So It Goes,
    and today, as he readies the release of Reflections.


    Now, digging deeper into his winning, self-assured ease and revered musical style, Williams delivers a new collection of songs on Reflections that are
    sure to become instant classics. Included are numbers penned by legends Townes Van Zandt, Merle Haggard, Jesse Winchester and others, setting the
    bar high and requiring the talents of only someone of Williams' caliber to deliver them as intended.

    1. I'll Be Here In The Morning
    2. Talk Is Cheap
    3. I Won't Give Up On You
    4. Sing Me Back Home
    5. Working Man's Son
    6. Healing Hands
    7. If I Were Free
    8. Stronger Back
    9. Back To The Simple Things
    10. The Answer

    Don Williams
    $21.99
    Vinyl LP - Sealed Buy Now
  • In Hearing Of In Hearing Of Quick View

    $39.99
    Buy Now
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    In Hearing Of

    After the success of Death Walks Behind You, an appearance on Top of the Pops, a successful tour, it was time for emerging stars Atomic Rooster to record their third album. The album is a perfect example of a band evolving and in constant transition, such as they show with this little-known gem of the 70s British rock.

    Much less bombastic than the band's earlier releases, In Hearing Of is almost funky at times.

    The lyrics are doom-laden in the spirit of much of this genre of British hard rock at the time, and pseudo-classical references crop up from time to time, but Vincent Crane's keyboards are generally tasty, and the melodies are often downright memorable.

    The album's genre is not-quite-metal, not-quite-progressive, but evocative and very well executed. Although not up to the 'classic' status that its predecessor attained, In Hearing of by Atomic Rooster is a very enjoyable album for both prog and hard rock fans, and probably the last Atomic Rooster album to make an impact on the emerging heavy prog scene; up-and-coming bands like Uriah Heep, Hawkwind and Gentle Giant would soon command more attention. However, the influence of In Hearing Of can be heard in those band's music, as well as millennial bands such as Wolfmother.

    1. Breakthrough
    2. Break The Ice
    3. Decision / Indecision
    4. A Spoonfull Of Bromide Helps The Pulse Rate Go Down
    5. Black Snake
    6. Head In The Sky
    7. The Rock
    8. The Price
    Atomic Rooster
    $39.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Pleading The Blues (Pure Pleasure) (Awaiting Repress) Pleading The Blues (Pure Pleasure) (Awaiting Repress) Quick View

    $34.99
    Buy Now
    x

    Pleading The Blues (Pure Pleasure) (Awaiting Repress)

    The year was 1959. The occasion was a 'Battle of the Blues' at the Blue Flame Club in Chicago. A young harmonica player Junior Wells - who got his start as Little Walter Jacobs' replacement in Muddy Waters' band back in '52 - probably didn't imagine he would come in second. After all, he had already put down both Otis Rush and Magic Sam. Still to come, though, was this fleet-fingered, skinny young Louisiana cat - Buddy Guy, who came first. As the climax to his blistering solo, Guy tossed his guitar in the air, then caught it by the neck one handed. As it slid through his fingers, Buddy created this high levee moan. Crowd gone wild. It was the beginning of a beautiful friendship.



    That chance meeting set in motion more than a relationship. This early, and profound, respect translated into a partnership that somehow superceded Wells' early work with one of the most important people in the blues. Wells and Guy would produce some of the most unabashed and deeply cool West Side blues recordings.
    This album recorded for the French Isabel label, in 1979 is a companion piece to Guy's "Blues Giant" recording of the same year. There's the gentle blues shuffle of "It Hurts Me Too", made famous by Elmore James. There's the electric-blues muscle of the title tune. Finally, as a bonus track, there's the funky, clearly James Brown-influenced "I Smell Something". This is a fine recording - and certainly one of Junior's best little-known releases.



    Musicians:



    • Buddy Guy (guitar, vocals)

    • Phil Guy (guitar)

    • J. Williams (bass)

    • Ray Allison (drums)




    Recording: October 1979 at Condorcet Studio, Toulouse (France), by Francois Porterie

    Production: Didier Tricard




    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. Pleading The Blues
    2. It Hurts Me Too
    3. Cut Out The Lights
    4. Just For My Baby
    5. Quit Teasing My Baby
    6. I'll Take Care Of You
    7. Take Your Time Baby
    Junior Wells
    $34.99
    180 Gram Audiophile Virgin Vinyl - Sealed AWAITING REPRESS Buy Now
  • The Knox Phillips Sessions: The Unreleased Recordings The Knox Phillips Sessions: The Unreleased Recordings Quick View

    $24.99
    Buy Now
    x

    The Knox Phillips Sessions: The Unreleased Recordings


    11 Never-Before-Released Tracks By The Killer, Including A Special Bonus Track!


    Liner Notes Written By Critically Acclaimed Author And Sun Records Expert Colin Escott


    Jerry Lee Lewis was one of rock 'n' roll's brightest stars - and one of its first casualties. Ten years after his career imploded, he spectacularly remade himself in country music. Altogether, he scored more than 40 country hits, in addition to era-defining rock classics like "Whole Lotta Shakin' Goin' On" and "Great Balls of Fire." Those early rock 'n' roll hits were produced by Sam Phillips at Sun Records in Memphis.


    Jerry Lee left Sun in 1963, but, like Elvis, returned often. By the mid-1970s, the studio was run by Sam Phillips' son, Knox, who produced one of the era's biggest hits: the Amazing Rhythm Aces' "Third Rate Romance." Like his father, Knox intuitively understood how to produce Jerry Lee Lewis, allowing him free rein to plunder his subconscious for half-forgotten songs and reimagine them as Jerry Lee Lewis songs, just as he'd done with "Whole Lotta Shakin'" twenty years earlier.


    Over the course of several late nights in the 1970s, Knox recorded Jerry Lee Lewis as he crossed the breadth of American music from Stephen Foster to Jim Croce's still-current hit "Bad, Bad Leroy Brown." Alongside a nineteenth century gospel standard, "Pass Me Not, O Gentle Savior," Jerry drawled his way imperiously through pop classics like "Harbor Lights," and timeless country hits like "Room Full of Roses." Although he wrote none of the songs, Jerry Lee imprints himself forcefully upon them all, perhaps never more so than on the bitterly regretful "That Kind of Fool."


    THE KNOX PHILLIPS SESSIONS: THE UNRELEASED RECORDINGS features eleven songs that capture one of the true, enduring giants of American music at his best. Lewis played the music that he wanted to record and made every song into a unique expression of his wild, eclectic soul. There have been plenty of Jerry Lee Lewis records, but none like this!

    1. Bad, Bad Leroy Brown
    2. Ragged But Right
    3. Room Full Of Roses
    4. Johnny B. Goode / Carol
    5. That Kind Of Fool
    6. Harbor Lights
    7. Pass Me Not, O Gentle Savior
    8. Music! Music! Music! / Canadian Sunset
    9. Lovin' Cajun Style
    10. Beautiful Dreamer
    11. That Kind Of Fool (Full Band Version)
    Jerry Lee Lewis
    $24.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Parallel Memories Parallel Memories Quick View

    $24.99
    Buy Now
    x

    Parallel Memories

    Mr. Mitch is one of a small group of producers who in the last few years have been re-imagining the decade-old genre of Grime. Miles Mitchell, a 26 year-old South East Londoner, started his own Gobstopper label back in 2010 after having his debut release on Butterz. Last year he started the flourishing Boxed 'Instrumental Grime' night alongside producers Slackk, Logos and Oil Gang. For Mr. Mitch, Grime has always been an experimental and progressive genre, taking elements of what came before it and pushing those boundaries to create something new. His debut album is called 'Parallel Memories' and Miles has an intriguing story that explains that title. When listening to his tracks, he sees the same vivid scenes in his head each time he replays the music, often repeated snapshots of his life in various impossible scenarios or distorted situations. This made him think What if the images I'm seeing are memories from an alternative version of me in a parallel dimension? A question which reflects his vision of Grime too, as his instrumentals are informed by a quite personal and emotive alter-life, where Grime's famous minimalism gives way to a gentle subtlety and is imbued with a very different feeling to the brash aggression associated with the genre. The album intro 'Afternoon After' is the bleary-eyed sound of the club the night before, broken down into swirling child-like synth melodies, coiling over flattened, but airy kick drums. 'The Night' follows, sounding like something Boards Of Canada might do if they came from S.E. London, its gorgeous flute melodies opening up gracefully over minimal rhythms and shifting static tones. 'Intense Faces' marks a shift in the energy to bassline, synth swoops and sharp claps, a child-like bleep tune playing out over the top. 'Don't Leave' switches the mood to one of sadness, its rising chords evolving over a repeated, slowed-down acapella. Elsewhere 'Sweet Boy Code', a collaboration with fellow Gobstopper artist Dark0, lets spacey kicks propel its gentle relaxed melodies over airy sampled vocals. The midpoint track 'Wandering Glaciers' twists Grime into what sounds like a tense piece of early electronica. Meanwhile 'Bullion' chops up a lumbering sample that sound like a marauding giant. The album finishes on 'Hot Air', with its drum pattern sounding like a slow heart beat and strange, backwards synths, it feels like a voyage around a body.This is an album that deserves to find an audience who are willing to go on a journey into new areas with Grime.
    LP1
    1. Afternoon After

    2. The Night
    3. Intense Faces
    4. Don't Leave
    5. It Takes Hold Of You
    6. Sweet Boy Code feat. Dark0


    LP2
    1. Wandering Glaciers
    2. Feel (Don't Ask)
    3. Bullion
    4. Denial
    5. Fly Soup
    6. Hot Air

    Mr. Mitch
    $24.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Konitz Meets Mulligan (Pure Pleasure) Konitz Meets Mulligan (Pure Pleasure) Quick View

    $34.99
    Buy Now
    x

    Konitz Meets Mulligan (Pure Pleasure)

    O.K., so it's mono. And, for much of the recording, Mulligan's quartet seems simply to be backing Konitz. But hang on, this is a marvelous little gem. Mulligan on the bariton, Konitz on alto, and - yes - Chet Baker on trumpet. How can you pass this up?



    But this is more than an artifact. This is jazz at its spontaneous and inventive best. Konitz, freed from Stan Kenton, has all sorts of new ideas about these old standards. And, for many of the cuts, as Lee explores the possibilities, you can hear Mulligan purring far in the background (mono, remember), and, every once in a while, moving to the foreground to make a few statements of his own. These two jazz minds talk to each other, tease each other,support and - in a gentle way - challenge each other.



    And, of course, in a few cuts, Baker's sweet trumpet announces itself and joins the two sax players in their explorations. The now-unheralded but extremely deft Carson Smith takes on most of the bass responsibilities, and provides - along with Larry Bunker on drums - a solid stage for Baker, Mulligan, and Konitz to swing on.



    Mulligan, Konitz, and Baker, of course, went their separate ways, Konitz and Mulligan to long and brilliant careers, Baker to a briefer, tragic, but still shining career. This, then, was a moment in time, and is now your chance to catch these giants sharing a stage, playing for and with one another, showing admiration and affection for each other's talents and ideas.
    Mono - so what? This is a treasure from the vaults of Pacific Jazz.



    Musicians:



    • Lee Konitz (alto saxophone)

    • Gerry Mulligan (bassoon)

    • Chet Baker (trumpet)

    • Carson Smith (bass)

    • Joe Mandragon (bass)

    • Larry Bunker (drums)



    Recording: January 1953 at The Haig, Los Angeles, by Richard Bock

    Production: Richard Bock



    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.



    Side One


    1. I Can't Believe That You're In Love With Me
    2. Broadway
    3. Almost Like Being In Love
    4. Sextet
    5. Oh, Lady Be Good
    6. Bernie's Tune
    7. Oh, Lady Be Good (alternative version)


    Side Two


    1. Too Marvelous For Words
    2. Lover Man
    3. I'll Remember April
    4. These Foolish Things
    5. All The Things You Are

    Lee Konitz & Gerry Mulligan
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Library Catalog Music Series Volume 8: Music For Dreaming And Playing (On Sale) Library Catalog Music Series Volume 8: Music For Dreaming And Playing (On Sale) On Sale Quick View

    $14.99 $11.24 Save $3.75 (25%)

    Buy Now
    x

    Library Catalog Music Series Volume 8: Music For Dreaming And Playing (On Sale)

    Kristin Miltner is a composer, video and installation artist and sound designer from Oakland, CA. She performs with custom software, designed to scan sound files and live input, allowing her to instantly restructure and sequence these sounds. Imagine a giant octopus in an infinitely long hallway with windows on each side. It runs up and down, opening and closing windows to let in a bit of water here and there, never stopping. There is a rhythm. The ocean is the sound source, the hallway and octopus are scanners, the windows are the input device, and the octopus's rhythm is the sequencer


    Kristin Miltner, composer, programmer, musician, and videographer -- and one half of the duo Miba -- is responsible for Music for Dreaming and Playing, the eighth volume in Asthmatic Kitty's Library Catalog Music Series. Miltner's brand of electronic music, while gentle, usually quiet, and inviting, is performed via a software system of her own design that scans sound files and live input, thus allowing her to instantly restructure sounds into sequenced units of varying lengths and musical groupings. This is done while creating a rhythmic component comprising a seemingly endless series of sonic textures, spaces, and ambiences. She also often employs her singing voice, broken into single syllables and nonsensical utterances (as on the opener Melody from Dream) to deepen the proceedings. These pieces are easy to listen to because of the considerable restraint that goes into their presentation. Miltner's soundworlds are ambitious; they change quickly but seamlessly, moving from idea to idea with alacrity and an expert sense of control. The remarkable thing is that it's all live, on-the-spot recording. Clocking it at just under 40 minutes, Music for Dreaming and Playing comes across as a series of electronic songs, more than it does soundscapes. Their rhythmic components aside, there are melodies at work inside these (mostly) brief pieces -- check Altamont Pass, Space Shooter: Boy Avatar, Space Shooter: Girl Avatar, and the closer, Firefly's Flight Game Music. The element of surprise inherent in each track still leaves something lyrically retentive in the listener's ear. Music for Dreaming and Playing is one of the most successful volumes the Library Catalog Sound Series thus far. ~ Thom Jurek

    1.Melody From Dream
    2.Altamont Pass
    3.Woke Up At 4am Electrified, Bright Moon Out the Window
    4.Dreaming Longing
    5.Inchworm In Bitcrunch Garden
    6.Adventure Platformer
    7.Aquarium
    8.Dirty Aquarium
    9.Space Shooter: Boy Avatar
    10.Space Shooter: Girl Avatar
    11.Main Menu Music
    12.Space Dream Main Menu Music
    13.Firefly's Flight Game Music
    Kristin Miltner
    $14.99 $11.24 Save $3.75 (25%)
    Vinyl LP - Sealed Buy Now
  • You Are Always On Our Minds (On Sale) You Are Always On Our Minds (On Sale) On Sale Quick View

    $16.99 $12.74 Save $4.25 (25%)

    Buy Now
    x

    You Are Always On Our Minds (On Sale)

    Colored Vinyl


    Features legendary Mike Watt (Minutemen, firehose, Stooges) on bass, Thollem McDonas (Nels Cline, Tsigoti, etc ad infinitum) on keyboards/piano, John Dieterich (Deerhoof, Natural Dreamers) on guitar, and Tim Barnes (Silver Jews, Jim O'Rourke) on Drums. Veering between the tightly woven and the completely unhinged, trading deep gulfs of ponderous melancholy with gentle, fractured pop fairytales, this release keeps the listener guessing without ever abandoning their own special brand of earthy hall-of-mirrors music. Cover artwork by Rachel Carns (The Need, King Cobra, Kicking Giant).

    1. Forces Conspiring
    2. Before Our Eyes Arrived
    3. We Learned The Unreasoning
    4. Thinks This
    5. Buoy Buoy
    6. They Pretty Right
    7. First Shallows
    8. Occasional Cracker
    9. All Us Conked
    10. Forces Perspiring
    11. Semina System
    12. The Down Moveables
    13. Voice Thrower
    14. Be The Same
    15. Thin Incision Split Decision
    16. Slow Choirds
    17. We've Got A Long Ways To Go, We're Almost There
    The Hand To Man Band
    $16.99 $12.74 Save $4.25 (25%)
    Colored Vinyl LP - Sealed Buy Now
  • Gentle Ben (Out Of Stock) Gentle Ben (Out Of Stock) Quick View

    $34.99
    x

    Gentle Ben (Out Of Stock)

    That rich, humid, giant sax tone blooms like on few other Webster recordings.


    ...Webster's trademark sensual sound is on full display and, of course, he's backed by Montoliu, an outstanding Spanish piano veteran who accompanied all the great jazz artists passing through Europe...This is one of the first releases by Analogue Productions pressed at their new in-house pressing plant Quality Record Pressings, and the record bears a close resemblance in appearance to records from Pallas - beautiful looking and perfectly quiet...The superb 200-gram LP comes in a rice paper sleeve and jacket of heavy cardboard...Highest Recommendation. Recording = 10/10; Music = 8.5/10 - Dennis D. Davis, Hi-Fi+, Issue 81


    This recording was made 10 months before Ben Webster's death in 1972. Webster, who had left the United States in 1965 to settle in Europe - first in Copenhagen and then in Amsterdam - was visiting fellow musician and friend Tete Montoliu in Barcelona. Webster and pianist Montoliu went back a ways, having played together regularly in Webster's Copenhagen days. In fact, Montoliu cited Webster and Don Byas as his two chief musical influences. Webster and Montoliu understood each other deeply, and their comfort with on another is palpable in this recording. Their accompaniment of one another is seamless. On board with these two is Montoliu's regular working trio-mates, Eric Peter on bass and Peer Wyboris on drums.


    There's no shortage of Webster's trademark breathy, fat tenor tone here. In fact, given the sparse arrangement, that rich, humid, giant sax blooms like on few other recordings. Highlights include Ben's Blues, Sweet Georgia Brown, The Man I Love and Don't Blame Me.



    This title is not eligible for discount.

    1. Ben's Blues

    2. The Man I Love

    3. My Nephew Bent

    4. How Long This Has Been Going On

    5. Sweet Georgia Brown
    6. Don't Blame Me
    7. Did You Call
    8. Barcelona Shout

    Ben Webster
    $34.99
    200 Gram Audiophile Virgin Vinyl LP - Sealed Temporarily out of stock
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