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In A Silent Way'
In A Silent Way (On Sale)Float Into the Ether: Gorgeous 1969 Experimental Treasure Among the Most Atmospheric Jazz Albums Ever Recorded
Delicate, Immersing, Dynamic: Mobile Fidelity Reissue Magnifies the Bold Textures, Soothing Ambience, and Transcendent Moods
Davis First Fusion Album Features John McLaughlin, Chick Corea, Herbie Hancock, Joe Zawinul, Wayne Shorter, Dave Holland, and Tony Williams
Sketches of Spain, Kind of Blue, Milestones, Round About Midnight, and Four & More Also Available from Mobile Fidelity
Shhh. The command to be quiet is no just part of the title of one of the two sprawling compositions on this pioneering album. Its also an apt metaphor for the relaxed hypnotism and spaced-out atmosphere that define In a Silent Way, a record that pushes the boundaries of studio possibilities, artist-producer relationships, and rock-jazz chasms. Recognized as Miles Davis first full-on fusion effort and part of his electric era, the 1969 landmark claims a Whos Who lineup that sends the music into an ethereal stratosphere.
Part of Mobile Fidelitys Miles Davis catalog restoration series, In a Silent Way now immerses the listener in linoleate landscapes starlit by the intuition, suspension, and paradoxes wrought by a once-in-a-lifetime collective. Half-speed mastered from the original master tapes and pressed at RTI, this unsurpassed 180g LP edition lifts the veil on the cutting-edge assembly process that created the pair of lengthy suites. Helmed by three electric instruments, the beveled compositions melt away all preconceived notions of jazz, rock, and ambience, following a loose theory Davis dubbed New Directions.
Few albums are so delicately textured. And on Mobile Fidelitys meticulous analog reissue, such sulcate elements pour over ink-black backgrounds on a canyon-wide soundstage. In particular, Tony Williams inventive percussive touch he causes the cymbals to shimmer as a pieces of silver tend to do when exposed to sunlight is broadcast with lifelike three-dimensional qualities, the panoramic view extending to Davis nocturnal trumpet, Wayne Shorter's ribbon-unfurling saxophone, Dave Hollands extrapolative bass, and the mosaic of keys.
If the records only accomplishment is its introduction of guitarist John McLaughlin to the world, it alone would be enough. Yet In a Silent Way continues to bedazzle, puzzle, and inspire for myriad reasons not the least of which is the seemingly telepathic communicative methods employed by the groups members. The lineup is great on paper, but, if its even possible, the octet sounds even better in practice, with the instruments and tonalities conjoining in avant-garde communion like hyper-sensitive tentacles exploring the stippled landscapes of an undiscovered planet.
Diverting from expectation, tubular grooves twist, turn, and spin, sometimes piling atop of each other, always shying away from structure and melody. Ellipsoidal solos provide hesitant guidance, ranging from Chick Corea's Fender Rhodes phrases to Davis decorative spirals. And as color is the primary unit of currency on Davis Sketches of Spain, laidback episodes, geometric spaces, and quiet sensuality reign here, with the sets maverick reputation attained via musings on solitude rather than explosions of noise.
Controversial for the period, the heavily edited production of In a Silent Way blew open the once-locked doors on what producers could attempt and how artists could assist them. Knitted together as one would construct a cross-hatched quilt, songs contain grafts of repeat passages that provide unifying structure and experimental continuity. What a statement.
This title is not eligible for further discount.1. Shhh/Peaceful
2. In a Silent Way/Its About That Time$34.99 $31.49 Save $3.50 (10%)180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
In A Silent WayIn A Silent Way is regarded as the first of Miles' fusion albums which was only the highway to deliver one of the Jazz History masterpieces, Bitches Brew. In A Silent Way featured a full-blown electric approach: An album which ís kicking categories of music to the curb and owes much of its essence to rock improvisers like John McLaughlin a newcomer at the time- and to pianists Chick Corea and Herbie Hancock.
'Space Music' some said, but Miles only was just going his way as always. Free jams with hardly any no structure but still so sustained that they speak volumes about the sensitivity of the musicians involved.Shhh / Peaceful
In A Silent Way / It's About That Time$19.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Sketches of Spain (On Sale)Ranked 356/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.
Davis Third and Final Pairing With Arranger Gil Evans Yields Watershed Innovations
Sublime Sound: Mobile Fidelity Reissue Corrects the Dry Sound That Plagues Previous Editions
Flamenco-Themed 1960 Set Develops Synergy Between Orchestrations and Melancholic Jazz Phrasings
Urge by Davis to Develop Techniques Possessed by Forbearers Finds Him Expanding Palette, Spinning Webs of Lyrical Sound and Emotion
Kind of Blue, Milestones, Round About Midnight, Four & More, and In a Silent Way Also Available from Mobile Fidelity
Miles Davis and Gil Evans bridged styles and collaborated on high-concept projects a total of three times during their celebrated career. For their final act, they created Sketches of Spain, a peak moment in each luminarys career and a transformative album that weds Spanish themes, lush orchestrations, romantic timbres, and Davis increasingly lyrical methods in a tender ceremony that continues to resonate more than five decades after its original release.
Part of Mobile Fidelitys Miles Davis catalog restoration series, the genre-defying 1960 classic has been given the ultimate white-gloves treatment. Mastered from the original master tapes and pressed at RTI, this exquisite 180g LP significantly expands the soundstage that frames the orchestra and digs deep to eradicate a dryness that many critics have found as an anathema to its overall enjoyment. Here, at last, is the full-figured perspective long deserved by the woodwinds, strings, and percussion, all of which come alive with previously unheard definition and detail.
Indeed, in its three-decade-plus history, Mobile Fidelity has never been prouder to have the honor of handling efforts as important as Davis key recordings. Its why the labels engineers have taken every available measure to insert listeners into the space occupied by Davis, bassist Paul Chambers, drummer Jimmy Cobb, percussionist Elvin Jones, and the 18-piece orchestra. With both Evans and Davis attracted to the blues undercurrents permanently entrenched in the Spanish flamenco strains, listeners can finally wholly detect the myriad microdynamic tonalities, brooding ostinato devices, and minor pedal points that stamp the compositions with divine sensibility and goffered effect.
Multi-note motifs, brief improvisational solos, fanfare sweeps, and contrapuntal exchanges inform the flamenco-spiced pieces, but so do unconventionally voiced instruments that come into full relief on this reissue. Davis Harmon-muted trumpet is abetted by an assortment of bassoons and French horns that create pleasing contrasts and sounds (pp, mf, ppp) that get to the heart of Sketches of Spain: splashes of color. Seldom, if ever, did Davis ever so expressively and liberally paint with color. And in Evans, he has a likewise-minded partner to help draw out variegated shades, adamantine layers, and striated distinctions.
Whether its the somber mood piece of the standout Concierto de Aranjuez (Adagio), renowned forDavis flugelhorn performance, or the folktale-based Solea, Mobile Fidelitys enhanced Sketches of Spain transfixes with playing, ideas, and innovations that remain exclusive to this incomparable record.
This title is not eligible for further discount.1. Concierto de Aranjuez (Adagio)
2. Will O the Wisp
3. The Pan Piper
5. Solea$34.99 $31.49 Save $3.50 (10%)180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
In Keeping Secrets Of Silent Earth: 3
Remastered From The Original Analog Master Tapes
The long awaited vinyl reissue of the landmark second studio album from Coheed and Cambria, In Keeping Secrets of Silent Earth: 3, will be released by Equal Vision Records/Columbia Records/Legacy Recordings.
Originally released in 2003, In Keeping Secrets of Silent Earth: 3 immediately affirmed Coheed and Cambria as the era's leading purveyors of imaginative modern rock, fusing elements of hardcore punk, indie, pop, metal, and prog with Sanchez's indelible voice and vision to create their own groundbreaking sonic universe. Driven by the breakthrough with MTV and radio success of the singles A Favor House Atlantic and Blood Red Summer, IKSSE: 3 ascended the upper half of the SoundScan/Billboard 200 on its way towards RIAA gold certification for US sales in excess of 500,000 (not to mention total worldwide sales now well over 1 million).LP 1
1. The Ring In Return
2. In Keeping Secrets of Silent Earth: 3
3. Cuts Marked In the March of Men
4. Three Evils (Embodied In Love and Shadow)
5. The Crowing
6. Blood Red Summer
7. The Camper Velourium I: Faint of Hearts
8. The Camper Velourium II: Backend of Forever
1. The Camper Velourium III: Al the Killer
2. A Favor House Atlantic
3. The Light & the Glass
4. 21:13$39.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
Blues In OrbitRemastered By Bernie Grundman From The Original Analog Tapes
Gatefold Old-school Tip-On On Jacket By Stoughton Printing
Plated And Pressed At Quality Record Pressings
It's tempting for Blues in Orbit to be overlooked when Duke Ellington's best albums are discussed, but truly it's an undisputed gem. There are 14 tracks, none of them is longer than 4:50 and it is all good stuff. There are some familiar favorites such as In a Mellotone and C Jam Blues as well as less often heard gems like Blues in Blueprint and Sweet and Pungent. It is also in stereo, and the arrangements are superb.
The featured performers include Ellington stalwarts Johnnie Hodges, Ray Nance, Harry Carney and Jimmy Hamilton, as well as the less familiar Booty Wood and Matthew Gee. Johnnie, in particular is well showcased here, taking the lead not only in slow pieces like Brown Penny and Sentimental Lady, but also in the rousing, Smada.
The full Analogue Productions reissue treatment is at work on this smashing LP - famed mastering engineer Bernie Grundman handled the remastering from the original analog tapes. The lacquers were plated and pressed at Quality Record Pressings, maker of the world's finest-sounding LPs. Lastly we've stashed each super-silent 200-gram disc in a premium Stoughton Printing gatefold jacket.
All of the takes were recorded during after midnight sessions recorded over two nights starting on December 2, 1959 in New York at Columbia Record's studio on East 30th Street. Each night Duke's late dinner arrived at 2 a.m. - a sizzling steak, a pot of coffee with lemons in it, portions of American cheese, and grapefruits. After dinner, and a breather for the band, the sessions finished around dawn in a swinging fashion.
If you're just getting into jazz, this album is highly recommended as a great way to initiate your collection. The sound is incredible, with packaging to match. Another audiophile home run.1. Three J's Blues
3. Pie Eye's Blues
4. Sweet and Pungent
5. C Jam Blues
6. In A Mellow Tone
7. Blues In Blueprint
8. The Swinger's Get The Blues Too
9. The Swinger's Jump
10. Blues In Orbit
11. Villes Ville Is The Place, Man$34.99200 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Water BabiesWater Babies is a studio album by Miles Davis. Released during Miles Davis's retirement in the second half of the seventies, it is a collection of stylistically diverse leftovers spanning eighteen months, from the Nefertiti sessions with the Miles Davis Quintet (1967) to the experimental, transitional period between Filles de Kilimanjaro and In a Silent Way (late 1968).Water Babies
Dual Mr. Anthony$19.99Vinyl LP - Sealed Buy Now
NefertitiRecorded in two days in the summer of 1967 Nefertiti is Miles Davis' last fully acoustic album, with no compositions from Miles himself. Most tracks are written by Wayne Shorter & Herbie Hancock.
Best known for its unusual title track, where the horns keep repeating the melody and the rhythm section improvises (in stead of the other way around).
Whilst an acoustic album, it does signals Miles' transition from bop to jazz fusion; a hint at the next albums Miles in the Sky and the critically acclaimed In A Silent Way.
Rhythm section: Tony Williams & Ron CarterSide A
3 Hand Jive
3 Pinocchio$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
NoumenaSan Francisco's The Drift create music that Tortoise should have made. Taking their name to heart, The Drift do just that - from ambient noise and elegant guitar rock to mournful jazz ballads and stunted, down-tempo hip-hop - all with the subtle grace that's to be expected from veterans of the sound. Existing somewhere between Miles Davis's In A Silent Way and Tarentel's From Bone To Satellite, The Drift compose predestined soundtracks for everyday life - not only perfect for a night on the beach, but just as suitable for the long drive getting there. Their music is inescapably passionate, executed with just enough wide-eyed improvisation to sound eternally fresh.1.Gardening, Not Architecture
3.Hearts Are Flowers
5.Noumena - (vinyl only bonus track)
7.For Grace and Stars - (vinyl only bonus track)
8.Fractured Then Gathered (Reprise)$16.99Vinyl LP - 2 LPs Sealed Buy Now
Black MarketWeather Report was one of the most influential jazz-fusion groups of their era, and outlasted many of its contemporaries such as Herbie Hancock's Headhunters and The Mahavishnu Orchestra.
Despite many personnel changes over its 16 year lifespan, they continued to create groundbreaking music under the guidance of Joe Zawinul.
Bandmembers Zawinul, Shorter and Moreira all played the bands of Miles Davis and at first Weather Report was a direct extension of Miles' 'In A Silent Way'/ 'Bitches Brew' period.
But when bassist Jaco Pastorius became a bandmember in 1976, Weather Report entered their most popular phase including the release of 'Black Market'.
This sixth album is influenced greatly by African music. Combined with jazz we could describe this genre as world fusion.1. BLACK MARKET 06:30
2. CANNON BALL 04:35
3. GIBRALTAR 07:45
1. ELEGANT PEOPLE 05:02
2. THREE CLOWNS 03:14
3. BARBARY COAST 03:05
4. HERANDNU 06:35$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Bitches Brew: LiveIt has been said that jazz stopped evolving when Davis wasn't there to push it forward.
Even if that isn't true, Miles Davis certainly was one of the greatest music innovators of the 20th century, pioneering Cool Jazz (with the 1949 recording of Birth Of The Cool), Modal Jazz (with 1959's Kind Of Blue) and Fusion with 1970's Bitches Brew.
Bitches Brew Live contains recordings from two performances: the first three songs were recorded at his Newport Jazz performance in July 1969 - a couple of weeks before the Bitches Brew Sessions in August of that year - and have remained unissued till this day.
Miles performs with Chick Corea on electric piano, Dave Holland on acoustic bass and Jack DeJohnette on drums; musicians who all went on to become leaders of the Fusion movement. (Wayne Shorter unfortunately missed this date because he was stuck in traffic.) The A1 track 'Miles Runs The Voodoo Down' is the first professionally live recorded version of this song.
The other six songs were recorded at the Isle Of Wight festival in 1970,and contain 'Directions' and 'It's About That Time' from the In A Silent Way sessions.
Included in this exclusive release is a 12 page booklet with a liner note essay by renowned music journalist Michael Azzerad, and a special etch on the D side.Side 1
1. Miles Runs The Voodoo Down
3. It's About That Time/The Theme
2. Bitches Brew
1. It's About That Time
3. Spanish Key
4. The Theme
D-Side is etched$44.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
Mastered at Sterling Sound by Ryan Smith
Stoughton Printing Old-Style Deluxe Film-Lamination Tip-On Jacket
Plated and Pressed at Quality Record Pressings!
There are few artists in the music industry who have had more influence on acoustic and electronic jazz and R&B than Herbie Hancock.
In 1963, Miles Davis invited Hancock to join the Miles Davis Quintet. During his five years with Davis, Herbie recorded many classics with the jazz legend including ESP, Nefertiti and Sorcerer, and later on he made appearances on Davis' groundbreaking In a Silent Way and Bitches Brew.
Hancock's own solo career blossomed on Blue Note, with classic albums including Maiden Voyage, Empyrean Isles and Speak Like a Child. After leaving Davis' fold, Herbie put together a new band called The Headhunters and, in 1973, recorded Head Hunters. Head Hunters was a pivotal point in Hancock's career, bringing him into the vanguard of jazz fusion. Hancock had pushed avant-garde boundaries on his own albums and with Miles Davis, but he had never devoted himself to the groove as he did on Head Hunters. Drawing heavily from Sly Stone, Curtis Mayfield and James Brown, Hancock developed deeply funky, even gritty, rhythms over which he soloed on electric synthesizers, bringing the instrument to the forefront in jazz. It had all of the sensibilities of jazz, particularly in the way it wound off into long improvisations, but its rhythms were firmly planted in funk, soul and R&B, giving it a mass appeal that made it the biggest-selling jazz album of all time (a record which was later broken).
Jazz purists, of course, decried the experiments at the time, but Head Hunters still sounds fresh and vital four decades after its initial release, and its genre-bending proved vastly influential on not only jazz, but funk, soul and hip-hop.1. Chameleon
2. Watermelon Man
4. Vein Melter$34.99200 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Head Hunters (45 RPM)Herbie Hancock's Masterpiece, Now Cut At 45 RPM!
The Second Highest-Selling Jazz Album Of All Time!
Mastered at Sterling Sound by Ryan Smith
Stoughton Printing Old-Style Deluxe Film-Lamination Tip-On Jacket
Double LP 200-Gram Discs Plated and Pressed at Quality Record Pressings!
There are few artists in the music industry who have had more influence on acoustic and electronic jazz and R&B than Herbie Hancock.
In 1963, Miles Davis invited Hancock to join the Miles Davis Quintet. During his five years with Davis, Herbie recorded many classics with the jazz legend including ESP, Nefertiti, and Sorcerer, and later on, he made appearances on Davis' groundbreaking In a Silent Way and Bitches Brew.
Hancock's own solo career blossomed on Blue Note, with classic albums including Maiden Voyage, Empyrean Isles and Speak Like a Child. After leaving Davis' fold, Herbie put together a new band called The Headhunters and, in 1973 in San Francisco, recorded Head Hunters.
Head Hunters became not only Hancock's best-selling album but also the second highest selling jazz album of all time (at last RIAA count). It was in 1973 that he gathered a new band to combine electric music with funk, perhaps best exemplified in the pop music of Sly Stone.
Hancock took over all synthesizer duties, along with Fender Rhodes and clavinet and was backed by bass and drums. The opening bars of Watermelon Man with Bill Summers blowing into a beer bottle, along with the band's funky grooves and new electric sounds, captured the crossover fans who had otherwise avoided buying jazz records.
Head Hunters was a pivotal point in Hancock's career, bringing him into the vanguard of jazz fusion. Hancock had pushed avant-garde boundaries on his own albums and with Miles Davis, but he had never devoted himself to the groove as he did on Head Hunters. Drawing heavily from Sly Stone, Curtis Mayfield, and James Brown, Hancock developed deeply funky, even gritty, rhythms over which he soloed on electric synthesizers, bringing the instrument to the forefront of jazz. It had all of the sensibilities of jazz, particularly in the way it wound off into long improvisations, but its rhythms were firmly planted in funk, soul, and R&B, giving it a mass appeal that made it the biggest-selling jazz album of all time (a record which was later broken).
Jazz purists, of course, decried the experiments at the time, but Head Hunters still sounds fresh and vital four decades after its initial release, and its genre-bending proved vastly influential on not only jazz, but funk, soul, and hip-hop.1. Chameleon
2. Watermelon Man
4. Vein Melter$54.99200 Gram Audiophile Virgin Vinyl LP 45 RPM - 2 LPs Sealed Buy Now
Four & More (On Sale)Exhilarating and Immediate: Live Set Documents One of Davis Final Excursions With a Program of Standards
Hear the Interior of Philharmonic Hall at New Yorks Lincoln Center Come Alive: Mobile Fidelitys Fastidious Reissue Illuminates Venue Acoustics, Musicians Phrasings
Whirlwind Uptempo Pace Prodded by Tenor Saxophonist George Coleman and Drummer Tony Williams
Sketches of Spain, Kind of Blue, Milestones, Round About Midnight, and In a Silent Way Also Available from Mobile Fidelity
Given his gargantuan recorded output, Miles Davis seldom abandoned a conceptual vision in the studio, particularly after the turn of the 1960s. Which makes a live document such as Four & More all the more valuable for the manner in which it portrays the legendary trumpeter removed from thematic demands and interior confines, and instead letting loose onstage with a program of stellar material that hed soon abandon in favor of experimentalism.
Part of Mobile Fidelitys Miles Davis catalog restoration series, Four & More engages with electrifying speed and palpable punch, the effort now claiming vastly improved imaging, deeper soundstaging, and startling clarity. Half-speed mastered from the original master tapes and pressed at RTI, this unsurpassed analog edition teems with the urgency demonstrated by Davis and his band notes flooding the listener with an attack only possible from sound featuring full frequency extension, tremendous spacing, and you-are-there immediacy.
Recorded on February 12, 1964 in Philharmonic Hall at New Yorks Lincoln Center, Four & More bookends My Funny Valentine. Whereas the latter spotlights ballads, this thrilling souvenir is all about quick tempos, rushing solos, left-hook rhythms, and hard-bop grooves. Drawing largely on mid- and late-1950s material, Davis accompanied by bassist Ron Carter, drummer Tony Williams, saxophonist George Coleman, and pianist Herbie Hancock approaches standards such as So What, Seven Steps to Heaven, and Four with biting tenacity and furious passion, the individual themes racing by as the collective barges in to take rapid, punctuation-asserting solos.
Few, if any, live Davis performances match the hurricane-generating intensity and dynamic aggressiveness captured here. One reason for the vigor? Davis waived he and his musicians fees for the concert, taking place under the auspices of a political benefit, a decision that angered some of his sidemen. Whatever the cause, Hancock swings, Coleman flexes muscles, Carter bows instructive passages, and the 19-year-old phenom Williams throws down with breathtaking agility. Amidst the melodic tangents and galloping exchanges, the quintet retains gripping control, with eight-bar dialogues between the instrumentalists and positive vamps supplying cues and endings.
At last, these historic recordings are afforded the breathing room and acoustic perspective they've always deserved. For listeners that may be unfamiliar with this title, prepare to be blown away literally and figuratively. Aficionados know what to expect on the music front, but Mobile Fidelitys 180g LP reissue ratchets up the thrills by several levels. Don't miss this gem.
This title is not eligible for further discount.1. So What
6. Seven Steps to Heaven
7. There Is No Greater Love
8. Go-Go$34.99 $31.49 Save $3.50 (10%)180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Round About Midnight (Awaiting Repress) (On Sale)Hipness Personified: Davis Columbia Records Debut Highlights His Diverse Palette and Famed Quintet
Lifelike Sonics: Mobile Fidelity Presents This Standard with a Dynamic Sound That Allows You to Picture Davis Mouth as He Blows Harmon-Muted Trumpet
Blowing Cool and Hot Jazz: Quintet Plays Reflective Ballads, Pop Standards, and Fervent Bop on One of Eras Only Complete Start-to-Finish Full-Length LPs
Sketches of Spain, Milestones, Kind of Blue, Four & More, and In a Silent Way Also Available from Mobile Fidelity
Miles Davis first album for Columbia, Round About Midnight, represents both the beginning of a three-plus-decade relationship with the famed label as well as the start of an extended collaboration with then-unknown saxophonist John Coltrane. As one of the eras only complete start-to-finish full-length LPs, the 1957 set stands as a hard-bop benchmarka summation of the styles that came before its creation, an immersion into the periods cutting-edge strains, and a hint of the rivoluse modalism that would follow.
Part of Mobile Fidelitys Miles Davis catalog restoration series, Round About Midnight now resonates with a physical palpability and emotional heft never before experienced. Mastered from the original master tapes and pressed at RTI, this unsurpassed 180g LP edition traces the individual paths each musician takes in contributing to the whole, whether its pianist Red Garlands left hand spinning actinoid chords or Coltrane infusing a tune with harmony-defying fills that suggest arabesque patterns. Recorded at three separate sessions, the music has never sounded so cohesive, immediate, or involving.
Historically, few jazz records claim the significance boasted by Round About Midnight. The albums creationand the assembly of Davis quintet, which also includes Paul Chambers and Philly Joe Jonesstems from the headliners rousing rendition of the title-inspired track, Round Midnight, a Thelonious Monk standard, at the 1955 Newport Jazz Festival. Stunning the audience with an interpretation that witnessed him personalize the composition with a brooding tone made possible via employment of his soon-to-be-trademark Harmon mute, Davis redefined perspective and possibility, taking ownership of the ballad as his own, and further improving upon its reach in the studio. It wasnt the composers only surprise.
'Round About Midnight thrives due to diversity and consistency, a rare combination epitomized by the first-rate selection and astonishing performance of pensive ballads, bebop classics, pop standards, and folk pieces. Witness the counterpoint exchanges during Ah-Leu-Cha and its Dixieland shades. Soak up the progressive drama and swinging tempos on All of You and Bye Bye Blackbird. Delight in the mÉlange of latticed textures and schematic moods throughout the sequence, here presented in gorgeous fidelity, zeroing in on Davis warm, plush, rich, and close-up trumpet timbres and how, by playing his instrument right near the microphone, he infuses the arrangements with the sort of daring intimacy embraced by two lovers.
Tension, suggestiveness, calm, mystery, nostalgia: All here. Gather now, Round About Midnight. Slip on a pair of shades, draw the curtains, slouch into a chair, and light a cigarette. This is Miles and Co. at their best. Hipness personified.
This title is not eligible for further discount.1. Round Midnight
3. All of You
4. Bye Bye Blackbird
5. Tadds Delight
6. Dear Old Stockholm$34.99 $31.49 Save $3.50 (10%)180 Gram Audiophile Virgin Vinyl LP - Sealed AWAITING REPRESS Buy Now
Flow 15 AC In-Line Power Filter
Have a question about this product? Please email our audio advisor or call 1-877-929-8729 with any questions or concerns regarding your equipment purchase.
AC Power Can Make or Break Your System! The audio you hear from your home entertainment system is essentially the incoming electricity itself, and the typically violent storms riding the AC line and its ground is very detrimental to the performance of your components. The Flow-15 is a superbly engineered and finished inline power filtering unit that eliminates many common problems caused by contaminated electrical power lines. It protects against distortion caused by ground noise, voltage spikes and sags, high frequency power supply noise from other components in your own system, and finally high-frequency digital noise emanating from processors and digital interconnects. Plus you're never alone when you take your listening seat; the residential AC supply is shared with other apartments, homes, and businesses on the same utility transformer explaining why many enthusiasts find their systems perform to a higher standard late at night and over weekends. And while the Flow-15 is a star performer at eliminating common AC problems, it does it all without restricting current draw in any way. Furutech, known for its world-class Pure Transmission engineering, build and finish, have done the tests and the Flow-15 does not interfere with current draw. The AC-1001G EMI-filtering IEC input perfectly complements the remarkably effective Flow-15's ability to eliminate distortion. The FI-15EG IEC connector finishes off the package. The Flow-15 Inline AC Filter lowers noise on every component on which it's used resulting in very natural and extremely fine resolution down and through the utterly silent noise floor. It improves soundstaging and imaging while creating nuanced high frequencies, an attractive, engaging midrange, tight and controlled bass, with power and dynamics to spare.$270.00Flow 15 AC In-Line Power Filter Buy Now
Crouching Tiger, Hidden Dragon: Sword Of Destiny Soundtrack
First Pressing Of 750 Numbered Copies On 180 Gram Silver Coloured Vinyl, Black Vinyl Thereafter
Includes 4-Page Insert With Photos And Production Info From The Netflix Original Film
PVC Protective Sleeve
Crouching Tiger, Hidden Dragon: Sword Of Destiny is the action/adventure drama developed and exclusively produced by Netflix for television and streaming in 2016. The score is produced by Shigeru Umebayashi, renowned composer for over 40 Japanese and Chinese film scores.
This martial action packed drama focusing on redemption, honor, a legendary sword and love. The film is a follow up to the 2000 movie Crouching Tiger: Hidden Dragon and features a.o. Michelle Yeoh as Yu Shu Lien and Donnie Yen as Silent Wolf.
The music includes Eternal Breath in English and Chinese versions featuring the Chinese concert pianist Lang Lang and vocals performed by Coco Lee & Jam Hsiao.
The story: still mourning the death of Li Mu Bai, Yu Shu Lien returns to safeguard his sword, the Green Destiny. Hades Dai, an underground warlord, sends his lieutenants to steal the sword , with plans to dominate the martial world. A young mysterious swords-woman and the hero with a past, Silent Wolf, come to Shu Lien's aid, together with a disparate band of warriors who still believe in the iron way of honor.LP 1
1. The Edge Of The Empire Lies The Martial World
2. Snow Vase Attacks Hades Dai
3. Silent Wolf Theme
4. Back To Beijing
5. Wild Bunch Theme
6. Tea House Fight
7. West Lotus Soldiers In Lingao Village
8. Fue - Snow Vase
9. This Is Our Story - Your Mother Is My Teacher
10. Taiko - Wei Fang
11. Silent Wolf And Yu Fend Off
12. Snow Vase Attacks Mantis
13. Deja Vu Moment
14. Lying In The Cage
15. Snow Vase Theme
16. Plum Wine
17. Banter Waltz
18. Silent Wolf Maid His Way To Wudang Mountain
1. Protect The Sword With Your Life
2. Paper Lantern
3. Yu Shu Line's Theme
4. Yu And Snow
5. Yu Still Watching Silent Wolf
6. The Last Of The Mourner
7. Silver Dart Dies
8. Wei Fang Stole The Green Destiny
9. Frozen Lake
10. It's Over - The Sword Wins
11. A Swordsman Of Honor
12. Theme For Sword Of Destiny
13. Eternal Breath - English Version - Featuring Lang Lang
14. Eternal Breath - Chinese Version - Featuring Lang Lang
15. Theme For Sword Of Destiny - Revised$42.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
Mastered From The Original Master Tapes By Bernie Grundman
Pressed On 180gram Audiophile-grade Vinyl At Pallas In Germany
Winner Of The Swing Journal Grand Prix Award And Jazz Album Of The Year From Downbeat Magazine
"One of the most impressive debuts of all time by a jazz group." - AllMusic.com
Here we have the free-floating, abstract beginnings of
Weather Report, which would define the state of the
electronic jazz/rock art from its first note almost to its
last. Their first album is a direct extension of the Miles
Davis In a Silent Way/Bitches Brew period, more fluid
in sound and more volatile in interplay. All Music calls
it one of the most impressive debuts of all time by a
jazz group. Weather Report is getting new life with
this incredible pressing. Mastered from original tapes
at 45rpm, and pressed on two 180 gram audiophile-grade vinyl. This is the essential edition of this album.1. Milky Way
3. Seventh Arrow
4. Orange Lady
5. Morning Lake
8. Eurydice$49.99180 Gram Audiophile Virgin Vinyl 45 RPM LP - 2 LPS Sealed Buy Now
Old FearsThe new School Of Language album is called Old Fears and it's set for release on Memphis Industries on 7 April 2014. Old Fears. It's a pop record. A place of clipped falsetto, melancholic funk, iridescent electro, shimmering post-punk, futurist prog. A self-contained sphere of strange sensations. Beguiling textures. Lengthening shadows. At times it is both liminal and minimal, at others emotive and external. Ambiguous and ambient. Tantalising and tempered. Modern. Unique. And funny too. "I wrote a lot of notes and they seemed to distinctly split into things to do with love and things to do with fear," says David Brewis. "A lot of it has ended up with me looking back at when I was 19, 20 - my formative years. So though I wouldn't want to call it a concept album it's definitely themed." Old Fears. Here each song has been honed and polished into something pure, like a vast block of marble chiselled down into a perfectly tiny delicate egg of FabergÉ-esque perfection. Recorded throughout 2013 in Field Music's studio on the banks of the River Wear in Sunderland, synth flourishes sit alongside the staccato jarring guitars of 'A Smile Cracks' and the metronomic rhythms of 'Dress Up'. Like a Ballard novel or a George Shaw painting, 'Between The Suburbs' offers perhaps the most lyrical and poetic moment, where "Dogs chase patterns, play to attention / Bulbs glare on greasy roads...". The title track meanwhile is reminiscent of the haunting giallo film scores of Goblin or kosmische music at its most moving while 'Moment Of Doubt' displays shades of Brian Eno and Robert Wyatt. Other oblique influences come in the form of early Justin Timberlake and N*E*R*D albums, "a bunch of disco records", Canadian experimentalist Sandro Perri, Dr John, Fela Kuti and Shalamar. Old Fears. A haunted collection that occupies a strange, hazy hinterland of permanent gloaming. One where snatched melodies pass each one another like cars gliding by at night on their way back to the silent suburbs. These are polished pieces composed without contrivance. Old Fears. An album that is neither retrogressive or futurist, but simply anchored in the moment. Pure. By beautiful album closer 'You Kept Yourself' one is left with the sensation of seeing, smelling and tasting the world anew.1. Distance Between
2. A Smile Cracks
3. Suits Us Better
4. Between The Suburbs
5. Old Fears
6. Dress Up
7. Moment Of Doubt
8. Small Words
9. So Much Time
10. You Kept Yourself$17.99Vinyl LP - Sealed Buy Now
We The PeopleHard rock icons Adrenaline Mob have had their fair share of challenges in the past but have risen to each & every one continuing to march forward yet again & again! Formed by guitarist Mike Orlando & vocalist Russell Allen they joined forces with drummer Mike Portnoy & bassist John Moyer to launch the band's debut. The band eventually parted ways with drummer Mike Portnoy due to scheduling conflicts & brought drum legend AJ Pero into the fold. Only two years after the debut was released, the group was involved in a major vehicle accident while on the road with Avenged Sevenfold and Hellyeah. Then, in 2015, Adrenaline Mob lost drummer and long-time friend drum legend A.J. Pero to a heart attack while on tour with Drowning Pool. In 2017, Adrenaline Mob have now replenished the ranks with newcomers David Zablidowsky on bass and Jordan Cannata on drums for work on their latest effort, 'We The People'.
Recorded once again at Sonic Stomp Studios over a year-plus period, We the People sounds huge. Each riff is massive, every drum hit a chest-thumping pound, and each line Russell vocalizes exudes unbelievable power and heart. Life-changing events may've halted Adrenaline Mob, but the group's third full-length is proof positive they're stronger now than they've ever been. Tracks like the raging 'Blind Leading the Blind', the big-hitting 'King of the Ring', the rhythmically wicked 'What Do You Really Want', and the rock radio-tailored title track evince purpose and authority. In every way, We the People puts the hard in hard rock. And the metal in heavy. Orlando was responsible for composing the music, engineering, recording, co-producing, mixing, and mastering and that all says one thing: the dude's a beast. Along with the incredible talents & amazing voice of his co-producing partner Allen who is by far one of rocks greatest voices, the two seem unstoppable on We The People.
As the title, We the People, indicates there's a political side to Adrenaline Mob. Throughout their years as a musicians and songwriters, they hadn't stayed silent on matters significant. Whether they were masked in metaphor or flatly conspicuous, they've always poured their feelings into song. It was, as Orlando puts it, a form of catharsis. So, as they were watching the presidential campaigns, feeling the negativity-the constant bickering and finger pointing-they knew Adrenaline Mob's next venture would be impacted. In fact, the first song Orlando began writing for We the People was the politically-charged rocker 'Blind Leading the Blind'. "The title track is very much inspired by the past election year," confirms Allen. "It touches on our society, here in America. The album title is a reflection of our times. The songs have certain particular stories that stand on their own. Many of them are also driven by the climate we live in today & some are about having a good time, being free & loving rock n roll. All the tracks have a personality and character to them."
Undoubtedly, the re-energized Adrenaline Mob will face adversity with We the People. But the strong always rise. Adrenaline Mob have proven they have the fortitude and music to prevail over anything. We the People, folks. It's time to rise up with Adrenaline Mob!LP 1
1. King Of The Ring
2. We The People
3. The Killer's Inside
4. Bleeding Hands
5. Chasing Dragons
6. Til The Head Explodes
7. What You're Made Of
8. Raise Em Up
1. Ignorance & Greed
2. Blind Leading The Blind
3. Violent State Of Mind
4. Lords Of Thunder
5. Rebel Yell
6. Devil Went Down To Georgia
7. Snortin' Whiskey
8. Tie Your Mother Down$26.99Vinyl LP - 2 LPs Sealed Buy Now
Beyond The BloodhoundsAdia Victoria spent the last few years writing, recording, touring and performing, while entrenched in the infamous artist R&R world - restaurants and retail work. Day jobs at a laundry list of Nashville it and not so it spots gave the musician lots of people watching time as well as the mental and emotional space to marinate in her art.
Adia blows the social hush-hush lid off the mental and emotional state of a young black woman growing up under the poverty line in the Deep South and all the implications of such. No pretense. No jive. But also, like the writing of Eudora Welty and Tennessee Williams, there is plenty of Southern Gothic styled, marrow deep joy.
In a recent feature story, Fader encouraged us to, Meet Adia Victoria, A Poet Making Country Music a Little Creepier. She is found in album cuts like Sea of Sand and Stuck in the South, revealing some of her place-based aha moments. In the latter, she notes, I don't know nothin' about Southern belles/ But I can tell you something about Southern hell. As songs like Head Rot, and first single Dead Eyes show us, Adia says, it's an album of falling in love, dealing with loss, confusion, anger, love, and loving myself.
Produced by Roger Moutenot (Yo La Tengo, Sleater Kinney) and the artist herself, recorded at Nashville, Tennessee's Haptown Studios, Beyond the Bloodhounds features the indelible lyrics, voice, and guitar solos of Adia Victoria along with a band of talented musicians including Tiffany Minton (Drums), Alex Caress (keys), Mason Hickman (guitar), and Jason Harris (bass). She recalls, the studio is a Music City treasure. It used to be a car repair shop. You walk in and there are no windows. It's dark and moody. It feels like walking into the mind.
The result of a lifetime of introspection and a younger self marked by silent observation, Adia Victoria's Beyond the Bloodhounds was three active, recording years in the making. The title pays homage to a line in Harriet Jacobs' Narrative in the Life of a Slave Girl.
Ultimately, Victoria's debut album is more both/and, than either/or. The complexity of her Southern, barrel-aged roots and world traveling, bookworm woman ways will lure you out of the status quo.
Publications like American Songwriter, Rookie, and NPR are taking notice.
Now on the brink of her 30s, fluent in the language of her own self, Adia Victoria stands poised to take her place in a line of true artists. Her mother warned that she feels too much and would be torn up by the world. Adia will tell you that proved to be true. I've felt shredded, but I'm now blessed to embrace the intense feelings as part of my job. That's what I do. It's my bread and butter. My art depends on me feeling and experiencing. I show up, live, and come back and say, oooooh Honey, it was like this...1. I'm With You
2. Borderlines And Aliens
4. Ways To Go
5. Shark Attack
6. Sit Still
7. Hippy Hill
8. What I Know
9. Didn't Have To Go
10. Bitin' The Bullet
11. News To Me
13. Save The Party For Me$19.99Vinyl LP - Sealed Buy Now
Freddie Mercury: Messenger Of The Gods - The Singles (Box Set)Box Set Features 13 x 7" Singles On Colored Vinyl
Includes Booklet Featuring Previously Unpublished Photos
Freddie Mercury was a man of many talents and many different sides. The songs he wrote for and with Queen filled stadiums around the globe and have rightly gone down in history, but he also embarked on a solo career that took him from the clubs of Munich and New York to the great opera houses of the world.
He was the ultimate showman, but he kept his private life away from the prying eyes of the media; a larger than life rock star who loved disco, classical music and ballet. He was a restless spirit, a true chameleon who reveled in his own contradictions.
All the different sides of this iconic musician can be found on Freddie Mercury: Messenger Of The Gods - The Singles. Fittingly released on Mercury Records for the world outside North America, and on Hollywood Records in North America, this box set brings together all 13 of Freddie's solo singles on individually coloured vinyl.
From his debut solo single I Can Hear Music, released under the name Larry Lurex, through the dance floor-influenced solo anthems of the 80s and up to his collaborations with legendary Spanish opera singer Montserrat CaballÉ including the timeless Barcelona, this is a journey through the career of a unique talent.
Born Farrokh Bulsara on the East African island of Zanzibar on September 5, 1946, the rechristened Freddie Mercury was already a star in his own mind by the time he formed Queen with Brian May and Roger Taylor in 1970. Where his band mates had studied astrophysics, dentistry and electronics at college, Freddie majored in stardom.
His first solo single actually emerged a week before Queen's own debut 7". Released in 1973 and credited to Larry Lurex in a nod to the fashionably flamboyant noms de rock of the glam era, the Beach Boys cover I Can Hear Music and its B-side, Goin' Back, were recorded as a favour towards a musical project by Trident Studios' house engineer Robin Geoffrey Cable, in 1972.
As Queen's career rocketed towards the heavens, Freddie poured his energies into the band. It would be more than a decade before he released his second solo single, the pulsating, electronic Love Kills. Originally released in 1984, Love Kills was a collaboration with famed Italian disco producer Giorgio Moroder for the soundtrack to Moroder's update of the groundbreaking 1927 silent movie Metropolis. A Top 10 UK hit, it found Freddie moving away from Queen's traditional sound, paving the way for what he would do next.
Released in 1985, Freddie's debut solo album, Mr Bad Guy, fully explored the music he had fallen in love with in the dance clubs of Munich and New York. The four hit singles released from that album - I Was Born To Love You, Made In Heaven, Living On My Own and Love Me Like There's No Tomorrow, all of which are included in the Messenger Of The Gods box set - crackled with playfully hedonistic energy, but they also hid a more serious side to Freddie. Here was a man who craved the good times but wanted something deeper as well.
Within two years, he had abandoned the sound of the clubs for the music of the opera house - though not before releasing both the epic single Time, the theme to the lavish stage musical of the same name produced by Dave Clark, and his outrageous (and strangely revealing) Top 5 cover of The Platters' 1965 hit, The Great Pretender.
In 1987, he dived headlong into the world of opera and classical music with the towering single, Barcelona. A duet with legendary Spanish soprano Montserrat CaballÉ, an idol of Freddie's, it came about after the opera star asked him to write a song about her home town.
Barcelona remains one of the most momentous hit singles not just of Freddie's career but in pop history. Not only did it lead to an album of collaborations between these two huge talents, but the title track was also chosen as the official anthem of the 1992 Olympics. That song, together with the two other singles taken from the album, The Golden Boy and How Can I Go On, are all included as part of Messenger Of The Gods with their original B-sides.
In October 1988 Freddie and Montserrat were invited by the King and Queen of Spain to perform Barcelona on the steps of Barcelona's National Palace of Montjuic at the open air La Nit festival which was staged to mark the arrival of the Olympic Flag from Seoul.
But sadly, Freddie would not live to see the fruits of his collaboration with Montserrat CaballÉ showcased at the Barcelona Olympics. He passed away on November 24, 1991, just seven months before the Games took place. The grand opening ceremony was a fitting tribute to a man who thrived on spectacle.
Messenger Of The Gods is completed by two posthumous singles, In My Defence and Living On My Own (No More Brothers Radio Mix), the latter of which became Freddie's first solo number 1 and was the biggest selling European single of the year in 1993.
Had he lived, it is anyone's guess where this most restless and protean of singer's muses would have taken him. But Messenger Of The Gods - The Singles is a towering legacy, a collection of songs which will never lose their stature of classics and will live on forever.Disc 1 - Blue Colored Vinyl
(a) I Can Hear Music - Larry Lurex (1973)
(b) Goin' Back - Larry Lurex
Disc 2 - Orange Colored Vinyl
(a) Love Kills (1984)
Disc 3 - Yellow Colored Vinyl
(a) I Was Born To Love You (1985)
(b) Stop All The Fighting
Disc 4 - Red Colored Vinyl
(a) Made In Heaven [Single Remix] (1985)
(b) She Blows Hot And Cold
Disc 5 - White Colored Vinyl
(a) Living On My Own [Single Edit] (1985)
(b) My Love Is Dangerous
Disc 6 - Red Colored Vinyl
(a) Love Me Like There's No Tomorrow (1985)
(b) Let's Turn It On
Disc 7 - Cyan Colored Vinyl
(a) Time (1986)
(b) Time [Instrumental]
Disc 8 - Orange Colored Vinyl
(a) The Great Pretender (1987)
(b) Exercises In Free Love [Freddie's Vocal]
Disc 9 - Clear Colored Vinyl
(a) Barcelona [Single Version] (1987)
(b) Exercises In Free Love [Montserrat's Vocal]
Disc 10 - Gold Colored Vinyl
(a) The Golden Boy [Single Edit] (1988)
(b) The Fallen Priest [B-Side Edit]
Disc 11 - Green Colored Vinyl
(a) How Can I Go On [Single Version] (1989)
(b) Overture Piccante
Disc 12 - Neon Pink Colored Vinyl
(a) In My Defence (1992)
(b) Love Kills [Wolf Euro Mix]
Disc 13 - Yellow Colored Vinyl
(a) Living On My Own [No More Brothers Radio Mix] (1993)
(b) Living On My Own [Julian Raymond Album Mix]$139.997 Inch Colored Vinyl Box Set - 13 Singles Sealed Buy Now
The Ultimate Analogue Test LP
Analogue Productions set out to produce the ultimate test record.
We've consulted many experts in the field, including mastering engineers, audio experts, turntable experts and audiophile listeners, to create a test record that's never been made before. When Barry Wolifson from Sterling Sound in New York City called us with the same idea we had been thinking about - that being to create the ultimate test record - he and our audio expert Clark Williams began to brainstorm and research ideas until they were both completely satisfied with what should go on the record.
Most of the test records in the past have been made to test a variety of equipment. This test record excludes silly cannon shots, typewriters, voices on one channel and other useless fluff. This one specifically addresses your turntable and cartridge. It's designed to provide the basic test signals necessary to calibrate a turntable or cutting lathe as simply as possible. Most of the signals have specific implications, but it is certainly possible to use them in any number of novel ways.
This record was mastered and cut on a Neumann VMS 80 lathe at Sterling Sound and pressed at Record Technology, Inc. on high-quality, 180-gram virgin vinyl.
General Reference Level
This 1 kHz reference tone will allow you to establish a "base level" for all measurements.
Track 1 1Khz reference tone 7cm/s Mono, in phase (Lateral)
Basic reference for all measurements, adjust meter for maximum convenience (in the studio 0VU).
Adjust preamp channel balance for equal output.
Also used to check the offset angle of the photo cartridge; L&R signals should be exactly in phase as displayed on an oscilloscope.
Track 2 1kHz reference level Left channel only
Measure Right channel output.
Track 3 1kHz reference level Right channel only
Measure Left channel output.
The object is to sit the stylus exactly perpendicular in the groove.
Twist cartridge about its radial axis until the measurements from Track 2 and Track 3 are equal or very close to equal for both channels.
High Frequency Adjustment
Tracks 4, 5 and 6 are used to calibrate the RIAA high frequency equalizer of a phono preamp. This will be used to calibrate a mastering lathe's phono preamplifier or any phono preamplifier that has these adjustments.
Track 4 1 kHz tone at -20 below reference level, Lateral
Reference for High Frequency test.
Track 5 10 kHz reference tone at -20dbu, Lateral
Adjust the high frequency until the output level equals that of Track 4.
Track 6 1 kHz to 20 kHz sweep at -20dbu, Mono (Lateral)
The AC millivoltmeter reading should stay constant across all frequencies. There are a number of factors which can affect frequency response, including cable capacitance, cartridge loading, tracking force and worn parts. Because of this, it can be difficult to achieve perfectly flat frequency response. Sometimes by making small compromises in the 10 kHz adjustment, a better overall frequency response can be achieved.
Low Frequency Adjustment
Tracks 7 & 8 are used to calibrate the RIAA low frequency equalizer of a phono preamp.
Track 7 1 kHz to 20 Hz sweep at 0 VU (Lateral)
Play Track 7 and measure the output with your AC millivolt meter.
Ideally, the output will be flat across all frequencies. When viewed on an oscilloscope, the amplitude would remain constant during the frequency downsweep.
Track 8 100 Hz reference tone at 0 vu (Lateral)
Adjust LF Eq to reference (which is your reading from Track 1).
Track 9 VTA adjust
This is an IEC intermodulation distortion (IMD) test signal; 60Hz & 4kHz 4:1 ratio.
Using an IMD tester, adjust VTA by raising or lowering the tonearm for minimum distortion.
Track 10 Standard Wow & Flutter test signal; 3150Hz
The Wow & Flutter meter will give dynamic speed variations as a percentage deviation from nominal.
Also, the frequency counter should read exactly 3150 Hz for nominal speed. You can use the Hz function on your multi-meter (if so equipped) to verify speed here as well. You can also use to find the measurements at 45RPM. The correct reading at 45RPM would be 4253 Hz (45/33.33) x 3150.
Track 1 Anti-skating test; 315Hz amplitude sweep to +12dbu (Lateral)
Signal should remain clean in both channels up to the highest level, both audibly and as viewed on an oscilloscope. In case of distortion, increase anti-skating force or decrease anti-skate until breakup occurs equally in both channels. The left channel information is inscribed on the inner groove wall, the right channel information, on the outer groove wall. Because of the offset angle of a pivoted tonearm, a constantly varying vector force biases the arm towards the center of the record causing the stylus to lose contact with the outer (i.e. right channel) groove wall. Both linear and modulated groove velocity, tracking force, stylus profile, and vinyl composition are contributing factors. The anti skating force attempts to ameliorate this by applying an opposing similar force.
It is also accepted that the overall force vector increases as the tonearm approaches closer to the spindle or end of the record.
Track 2 Pink noise lateral
Track 3 Pink noise vertical
Used for cartridge "demagnetizing"
You can also use this track to loosen up the cantilever's suspension to help break in a new cartridge. Play these tracks five to ten times after every 300 hours of normal LP playback.
Track 4 1kHz @ reference level, vertical
This out-of-phase signal should cancel to nothing when summed to mono.
Any signals still present are distortion artifacts, lack of channel balance, or timing (phase) anomalies. This test can be a second confirmation of anti-skate adjustment.
Track 5 1kHz to 10Hz sweep @ -20 below
reference level, vertical
Resonance anomalies in the tonearm / cartridge interface will show up as amplitude peaks and dips as the frequency sweeps down.
Once again, by listening in 'Mono' it is easier to hear the distortion artifacts.
Track 6 Silent groove for bearing rumble and table isolation
During playback of this track, nothing should be transmitted from the turntable to the speakers. Replay the track and gently tap on the rack or base that the turntable is resting on. There should be little or no thump transferred to the speakers. This track will help you experiment with turntable isolation methods and products to be able to get the most out of your playback system. You may want to use a closed or sealed headphone for best listening results, or a stethoscope on the plinth.$39.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Freedom & SurrenderFreedom and Surrender
The circuitous dance between the beginning and the end.
Something amazing and terrifying happened to me as I entered into my 30s. I realized that I had run far off the course of my scripted plans, my projections for who I'd be, what I'd be doing, and how it would feel at this point. Then, the realization the mapped trail couldn't be recovered. A hound without a hunt, I was captured by unfamiliar woods far from earshot of the original game and players. Untethered by marriage with a scrap pile of maternal designs that never took root, I found myself forced, thank goodness, to let go.
The pageantry of over-identifying with past experiences and old ideals had ended. In review, I found that life's unfolding had exceeded my most elaborate visions while other hopes had slipped into ruin in the clasp of my determined hands. Meanwhile, a new meekness and curiosity made all of my experiences sacred and overwhelming, something akin to a reverent depression. Desire was quieted in my heart, and I was uneasy in the cool of my newness, wondering what I really wanted to do next.
When the label suggested that I consider working with Larry Klein, my entire focus shifted with a warm shrug, Why not? He's produced some of my favorite records. Within a few conversations I had found plenty of reasons to trust the voice on the other end of the line. I knew that I was respected for my potential and achievements, and he wasn't new to dealing with strong women. Another shrug, Why not? I had plenty to sing about now, a heart cracked open by disappointment, a will broken by the truth. I was ready for a new project, the kind of baby that I knew how to make.
It was suggested to me initially that I make a record of covers. It was the very moment my hard head became bent on writing my way out of my valley, no matter how hard or long I'd have to work for it. I'd count my steps and tell stories until I met the ridge line without borrowing anyone else's view. This was not my hour to cover, but to uncover, and hopefully, the reveal would be worth something. I trembled in the wait for my own revelation.
I scurried around the country (Nashville, New York and LA) to have collaborative conversations with old and new friends. I remembered how to just sit with people and talk, even though I was on a schedule and budget. We all spoke like we were on Grandma's porch, but the work got done. To my delighted surprise, much of this record was written with Larry himself.
My average day of preproduction with him looked like: A sunrise run and swim at Santa Monica pier, showing up to his studio sandy, salty, and red faced, talking through beautiful rambles with him and David Batteau while high on espresso. Then we'd get snagged by a soulful riff from Larry's acoustic bass guitar as he noodled along (seemingly) aimlessly. Often a story would present a hook and we'd return the next day with responses. This felt like an old and dignified pace of work, but also kind of risky. However, I looked up after a few months of these weeklong neighborly sits and real songs were following us, a train getting longer, each car intact and connected as we rolled on.
In the evenings I listened to demos of the budding songs on my phone as the sun set over the Pacific. I could see them, unmade movies. The tide of communion would pull back and the shining pieces left could be made into anything. This is when I knew that I had, in these mosaic sessions, stumbled upon a new page of my life.
I remembered the feeling of being found. One of the most moving songs from it's inception was, Somewhere Down the Mystic. Playing on the simple wonders of my rustic Appalachian life, we imagined a love lost to death and the feeling of it's lasting warmth, a nod to love's reach across life's threshold.
Months later, on February 20th, I had a near death experience, sliding across 300 yards of ice coated mountain curve. I softened my body and rested my hands in my lap. The heavy car floated silently towards a 75 foot ravine that ended with a wide band of frozen creek. Ok was the only thing I could get out in a sigh. I was stopped by a young bellwood tree that grew out of the bank like a hook. I slowed my breathing and meditated in suspension. About 20 minutes later, a young neighbor pulled the door open, reaching in with a strong arm to guide my climb out. Now when I sing the chorus, I see the gracious hole and the sweet sapling that grows over it. It threw me back, a fish returned to the river with a cut lip.
The pink bells of the tree can be seen on my homepage, and I want to keep such simple things close from now on. Why not? They were strong enough to save me. In surrender I experience freedom. The gift of an end is a beginning. I greet the sun with the only reason I've ever needed, why not?
-Lizz Wright1. Freedom
2. The Game
3. The New Game
4. Lean In
5. Right Where You Are
6. River Man
7. Somewhere Down The Mystic
8. Real Life Painting
9. To Love Somebody
10. Here And Now
12. Blessed The Brave
13. Surrender$24.99Vinyl LP - 2 LPs Sealed Buy Now
Chicken Skin Music (Pre-Order) (On Sale)
Give Yourself Goosebumps: Ry Cooder's Cross-Cultural Chicken Skin Music Mixes Hawaiian, Gospel, Conjunto, Folk, and Blues Styles into a Visionary Roots-Music Tapestry
Mastered from the Original Master Tapes, Pressed at RTI, and Strictly Limited to 3000 Numbered Copies: Natural-Sounding 180g Vinyl LP Features Defined Textures, Intricate Details, Ample Airiness
The title of Ry Cooder's Chicken Skin Music - Hawaiian slang for goosebumps - serves as a direct, simple description of the album's emotional appeal. But it barely scratches the surface of a 1976 effort that triggered an interest in world music a decade before the term became commonplace and a genre into and of itself. Part of a series of inimitable mid-1970s records on which Cooder ignored traditional boundaries and instigated lasting cross-cultural communication, Chicken Skin Music blends gospel, Hawaiian, folk, blues, and Tex-Mex styles into a brilliant roots stew distinguished with virtuosic playing and inspired contextual surprises.
Mastered from the original master tapes, pressed at RTI, and strictly limited to 3000 numbered copies, Mobile Fidelity's 180g vinyl LP of Chicken Skin Music brings the brilliant instrumental textures and lively tonalities to the fore like no prior analog edition. Graced with silent, black backgrounds and generous soundstages, this reissue particularly underscores the depth of Flaco Jimenez's accordion contributions. You'll hear the air flowing through the reeds, pressure resonating from the bellows, and the wide-spanning timbres emanating from the register stops.
Equally transfixing are the lifelike manners in which the rich assortment of guitars come alive, with each note occupying its own space and portraying a character unique to the individual instrument, be it a slack-key, steel, or acoustic guitar. The result is a multi-detailed, organic-sounding musical tapestry that dazzles by way of beautiful interplay, unexpected dialogue, and connective eclecticism that proves music is indeed a common language when executed with a collaborative mindset, innovative exploration, and respectful authenticity - no easy feats, but achievements fully on display on Chicken Skin Music.
Jimenez, now a legend that's performed with everyone from the Rolling Stones to Dr. John, remains one of the keys to Cooder being able to successfully carry out what the latter deemed a mutuality in music vision. Cooder first heard conjunto accordion fare on a Mexican radio station in his car and proceeded to teach himself the instrument while committing himself to embracing the then-local, regionalized style for the set that became Chicken Skin Music. Jimenez graces three tracks, including a ravishing interpretation of Ben E. King's Stand by Me transformed into a spiritual grounded by a norteno structure and a romantic take on Jim Reeves' He'll Have to Go recast with a bolero rhythm and saxophone-accordion duet.
Chicken Skin Music isn't limited to South of the Border geography and tradition. Steel-guitarist and vocalist Gabby Pahinui and slack-key guitar great Atta Isaacs represent the 50th state on stripped-down renditions of Hank Snow's smash Yellow Roses and the wordless Chloe. Elsewhere, gospel singers team with Cooder on the Appalachian-tinted Always Lift Them Up, the midsection of which features the Hawaiian standard Kanaka Wai Wai.
Cooder bookends everything with a pair of Leadbelly numbers - The Bourgeois Blues and Goodnight Irene - chosen after the headliner witnessed Jimenez and his band perform at a local dance. Given their ordering on the album, techniques they employ, and themes, the songs also further tighten the thematic connection the headliner makes with the standout guests. In many ways, Chicken Skin Music is the equivalent of Buena Vista Social Club more than 20 years before the latter emerged. Experience it the way Cooder and company meant it to be heard - in unparalleled fidelity.
This title is not eligible for further discount.1. The Bourgeois Blues
2. I Got Mine
3. Always Lift Him Up/Kanaka Wai Wai
4. He'll Have to Go
5. Smack Dab in the Middle
6. Stand by Me
7. Yellow Roses
9. Goodnight Irene$34.99 $31.49 Save $3.50 (10%)180 Gram Audiophile Virgin Vinyl LP - Sealed PRE-ORDER Buy Now