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  • Betty Davis Betty Davis Quick View

    $18.99
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    Betty Davis

    One can hardly imagine the genre-busting, culture-crossing musical magic of Outkast, Prince, Erykah Badu, Rick James, The Roots, or even the early Red Hot Chili Peppers without the influence of R&B pioneer Betty Davis. Her style of raw and revelatory punk-funk defies any notions that women can't be visionaries in the worlds of rock and pop. In recent years, rappers from Ice Cube to Talib Kweli to Ludacris have rhymed over her intensely strong but sensual music.


    There is one testimonial about Betty Davis that is universal: she was a woman ahead of her time. In our contemporary moment, this may not be as self-evident as it was thirty years ago - we live in an age that's been profoundly changed by flamboyant flaunting of female sexuality: from Parlet to Madonna, Lil Kim to Kelis. Yet, back in 1973 when Betty Davis first showed up in her silver go-go boots, dazzling smile and towering Afro, who could you possibly have compared her to? Marva Whitney had the voice but not the independence. Labelle wouldn't get sexy with their "Lady Marmalade" for another year while Millie Jackson wasn't "Feelin' Bitchy" until 1977. Even Tina Turner, the most obvious predecessor to Betty's fierce style wasn't completely out of Ike's shadow until later in the decade.


    Ms. Davis's unique story, still sadly mostly unknown, is unlike any other in popular music. Betty wrote the song "Uptown" for the Chambers Brothers before marrying Miles Davis in the late '60s, influencing him with psychedelic rock, and introducing him to Jimi Hendrix - personally inspiring the classic album 'Bitches Brew.'


    But her songwriting ability was way ahead of its time as well. Betty not only wrote every song she ever recorded and produced every album after her first, but the young woman penned the tunes that got The Commodores signed to Motown. The Detroit label soon came calling, pitching a Motown songwriting deal, which Betty turned down. Motown wanted to own everything. Heading to the UK, Marc Bolan of T. Rex urged the creative dynamo to start writing for herself. A common thread throughout Betty's career would be her unbending Do-It-Yourself ethic, which made her quickly turn down anyone who didn't fit with the vision. She would eventually say no to Eric Clapton as her album producer, seeing him as too banal.


    In 1973, Davis would finally kick off her cosmic career with an amazingly progressive hard funk and sweet soul self-titled debut. Davis showcased her fiercely unique talent and features such gems as "If I'm In Luck I Might Get Picked Up" and "Game Is My Middle Name." The album Betty Davis was recorded with Sly & The Family Stone's rhythm section, sharply produced by Sly Stone drummer Greg Errico, and featured backing vocals from Sylvester and the Pointer Sisters.

    1. If I'm In Luck I Might Get Picked Up
    2. Walkin Up The Road
    3. Anti Love Song
    4. Your Man My Man
    5. Ooh Yeah
    6. Steppin In Her I. Miller Shoes
    7. Game Is My Middle Name
    8. In The Meantime
    Betty Davis
    $18.99
    Vinyl LP - Sealed Buy Now
  • Someday My Prince Will Come Someday My Prince Will Come Quick View

    $32.99
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    Someday My Prince Will Come

    Remastered on 180 Gram Audiophile Vinyl!


    After John Coltrane and Cannonball Adderly left the 'quintet', Miles Davis was forced to search for new qualified musicians. He found them in Hank Mobley, Wynton Kelly, Jimmy Cobb and Paul Chambers. In 1961, just two years after recording Kind Of Blue, Miles and his new line up started recording energetically and finished Someday My Prince Will Come after only three days.


    This album is a cross-over from Kind Of Blue, which is known for the typical Miles Davis-tunes, to traditional pop-standards such as the eponymous title track from Snow White And The Seven Dwarfs.

    1. Someday My Prince Will Come
    2. Old Folks
    3. Pfrancing
    4. Drad-Dog
    5. Teo
    6. I Thought About You
    Miles Davis
    $32.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Someday My Prince Will Come Someday My Prince Will Come Quick View

    $24.99
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    Someday My Prince Will Come

    Remastered on 180 Gram Audiophile Vinyl!


    After John Coltrane and Cannonball Adderly left the 'quintet', Miles Davis was forced to search for new qualified musicians. He found them in Hank Mobley, Wynton Kelly, Jimmy Cobb and Paul Chambers. In 1961, just two years after recording Kind Of Blue, Miles and his new line up started recording energetically and finished Someday My Prince Will Come after only three days.


    This album is a cross-over from Kind Of Blue, which is known for the typical Miles Davis-tunes, to traditional pop-standards such as the eponymous title track from Snow White And The Seven Dwarfs.

    1. Someday My Prince Will Come
    2. Old Folks
    3. Pfrancing
    4. Drad-Dog
    5. Teo
    6. I Thought About You
    Miles Davis
    $24.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Someday My Prince Will Come Someday My Prince Will Come Quick View

    $27.99
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    Someday My Prince Will Come

    180 gram vinyl of the 1961 album includes an alternate take of 'Someday My Prince Will Come' as a bonus track.
    1. Someday My Prince Will Come
    2. Old Folks
    3. Pfrancing (aka No Blues)
    4. Drad Dog
    5. Teo (aka Neo)
    6. I Thought About You
    7. Someday My Prince Will Come (alt take)*


    *Bonus Track

    Miles Davis
    $27.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Someday My Prince Will Come (200 Gram) Someday My Prince Will Come (200 Gram) Quick View

    $34.99
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    Someday My Prince Will Come (200 Gram)

    200-Gram Vinyl Pressed At Quality Record Pressings


    Mastered From The Original Analog Master Tapes By Ryan K. Smith At Sterling Sound


    Deluxe Tip-On Jacket From Stoughton Printing


    A beautiful addition to the Davis canon. Recorded over the course of three days in April 1961, Someday My Prince Will Come showcases Miles' second great rhythm section, here at the absolute peak of their telepathic interplay. Wynton Kelly, Paul Chambers and Jimmy Cobb were as tight a unit as any ever formed, grooving so successfully that they went on to leave Miles and form the Wynton Kelly trio. Someday My Prince Will Come also includes some positively blistering solos from guest John Coltrane in his final recording with Miles. And Hank Mobley offers up some beautiful bluesy solos.

    1. Someday My Prince Will Come
    2. Old Folks
    3. Pfrancing
    4. Drad Dog
    5. Teo
    6. I Thought About You
    Miles Davis
    $34.99
    200 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Sorcerer (On Sale) Sorcerer (On Sale) On Sale Quick View

    $49.99 $44.99 Save $5.00 (10%)

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    Sorcerer (On Sale)


    1967 Post-Bop Classic the Third of Five Albums from Miles' Prized Second Quintet


    Mastered from the Original Master Tapes: Sorcerer Has Never Sounded More Dynamic, Present, Warm, or Tonally Rich


    Mood, Inflection, and Nuance Take Center Stage on Compositions Steeped in Sophisticated Expressionism


    Filled with aural magic and enchanting musical spells, Sorcerer is true to its name. The third of five albums devised by Miles Davis' legendary second quintet-and the second record in a still-unprecedented string of eight consecutive releases within a four-year period that forever changed the face of jazz-the 1967 magnum opus mesmerizes with instrumental colors, subdued musings, and subtle details. These crucial characteristics blossom with vibrant realism on Mobile Fidelity's definitive 45RPM pressing.


    Mastered from the original master tapes and pressed on 180g 45RPM vinyl at RTI, this collectable audiophile edition of Sorcerer joins the ranks of eleven other essential Davis records given supreme sonic and packaging treatment by Mobile Fidelity. Longtime listeners will immediately recognize a wealth of information and depth of tonality unavailable on prior versions. The myriad shadings, interwoven textures, and relaxed nuances that tie the post-bop set's warm compositions together are rendered with utmost realism.


    This is a reference-standard reissue. You'll hear poetic lyricism pouring out of Wayne Shorter's horn, the breadth and definition of the notes spreading across an enormous soundstage. Never before have drummer Tony Williams' rim shots ricocheted with such purpose or his light percussive work mirrored that of a feather touching skin. Similarly, Herbie Hancock's piano runs now occupy their own space, where their relationship to the central rhythms and front line becomes clearer.


    Prizing inflection and nuance more so than heady solos or uptempo flights, Sorcerer mesmerizes with cerebral properties and cascades of emotional interplay. Such beauty emerges in the mellow ballad "Pee Wee," an indelible statement of restrained authority and sophisticated expression. The swirling title track unfolds as jazz shadowplay, Hancock, Shorter, and Williams mirroring one another's moves with guile and purpose. The opening "Prince of Darkness" showcases the ensemble's reach and communication, every musician going in seemingly different directions yet ending up on the same page.


    A lasting example of Davis' visionary insight, Sorcerer is comprised entirely of pieces written by his band mates. Indeed, save for the closing "Nothing Like You"-a brief tribute to Davis' eventual wife, who also graces the cover, recorded in 1962 and adorned with vocals from Bob Dorough-the album represents a further maturation and refinement of a quintet that stands as one of the finest in jazz history. Mobile Fidelity is proud to give the record the treatment it's long deserved.


    This title is not eligible for further discount.

    1. Prince of Darkness
    2. Pee Wee
    3. Masqualero
    4. The Sorcerer
    5. Limbo
    6. Vonetta
    7. Nothing Like You
    Miles Davis
    $49.99 $44.99 Save $5.00 (10%)
    180 Gram Audiophile Virgin Vinyl LP 45 RPM - Sealed Buy Now
  • The Columbia Years 1968-1969 The Columbia Years 1968-1969 Quick View

    $25.99
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    The Columbia Years 1968-1969

    All Tracks Previously Unreleased (Except Track B5/8)


    Production By Miles Davis & Teo Macero


    Featuring Performances From Hugh Masekela, Mitch Mitchell (Jimi Hendrix Experience), John Mclaughlin, Herbie Hancock, Harvey Brooks, Wayne Shorter, Billy Cox (Band Of Gypsys), Larry Young, And Members Of The Jazz Crusaders


    Remastered From The Original Analog Master Tapes


    New Interviews, Rare Photos, And Unseen Historical Documents From The Teo Macero Archive


    One can hardly imagine Prince, Erykah Badu, or Outkast without the influence of Betty Davis. Her style of raw and revelatory punk-funk defies any notions that women can't be visionaries in the worlds of rock and pop. In recent years, rappers from Ice Cube to Talib Kweli have rhymed over her intensely strong but sensual music. Betty penned the song ''Uptown'' for The Chambers Brothers and wrote the tunes that got The Commodores signed to Motown. The Detroit label soon came calling, pitching a Motown songwriting deal, which Betty turned down. Motown wanted to own everything. Heading to the UK, Marc Bolan of T. Rex urged the creative dynamo to start writing for herself. A common thread throughout Betty's career would be her unbending DIY ethic, which made her quickly turn down anyone who didn't fit with the vision. She would eventually say no to Eric Clapton as her album producer, seeing him as too banal. In 1968, she married Miles Davis and quickly influenced him on the magic of psychedelic rock along with introducing him to Jimi Hendrix-personally inspiring the classic album, Bitches Brew.


    Miles and Betty fans have long debated the truth of a near mythological session recorded in Studios B and E at Columbia's 52nd Street Studios on May 14th and 20th, 1969. The landmark session was produced by Miles and Teo Macero and featured Betty on vocals, accompanied by Jimi Hendrix Experience drummer Mitch Mitchell, guitarist John McLaughlin, Herbie Hancock on keys, and Dylan/Miles session bassist Harvey Brooks. Other players included bassist Billy Cox (Band of Gypsys), saxophonist Wayne Shorter, and organist Larry Young. Now, Light In The Attic, with full support from Betty herself, presents these recordings to the public for the very first time. These historic sessions-never heard, never bootlegged-predate Miles' revolutionary album, Bitches Brew, and are the true birth of Miles' jazz-rock explorations, along with the roots for Betty's groundbreaking funk that came years later, starting with her self-titled debut in 1973. While, ultimately, these recordings would go unreleased for nearly half a century, they would greatly shape each of their careers.


    The vibe is intrinsically unique, fresh, and futuristic-jazz heavyweights playing psychedelia, rock, and jazz-fusion long before the term became commonplace. The songs include Betty originals and covers of classics by Creedence and Cream. The concepts explored on these previously unheard sessions fueled concepts that wouldn't be fully realized until years later with Miles' seminal On The Corner.


    Additionally, included here is the first time rerelease of a 1968 Columbia single, recorded in October 1968 at Columbia Studios in Los Angeles. The session was produced by Jerry Fuller and featured South African maverick Hugh Masekela on trumpet and arrangements, plus members of jazz-funk pioneers The Crusaders-including trombonist Wayne Henderson and pianist Joe Sample. Two of the three tracks included here from this session are previously unreleased.


    This deluxe package is a treasure trove for both Betty and Miles fans, including rare documents from the pen of co-producer Teo Macero, rarely seen photos from legendary photographer Baron Wolman, and new interviews with Mrs. Davis herself, Harvey Brooks, and Hugh Masekela-the entire project overseen with Betty's full blessing.

    1. Hangin' Out
    2. Politician Man

    3. Down Home Girl

    4. Born On The Bayou

    5. I'm Ready, Willing & Able (Take 1)

    6. I'm Ready, Willing & Able (Take 9)

    7. It's My Life (Alternate Take)

    8. Live, Love, Learn

    9. My Soul Is Tired
    Betty Davis
    $25.99
    Vinyl LP - Sealed Buy Now
  • There's A Riot Goin' On (45 RPM) There's A Riot Goin' On (45 RPM) Quick View

    $49.99
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    There's A Riot Goin' On (45 RPM)

    Ranked 99/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.

    Sly And The Family Stone There's A Riot Goin' On 180 gram 45RPM 2LP from ORG Music


    Inducted into the Grammy Hall Of Fame in 1999 & Ranked #99 on Rolling Stone's 500 Greatest Albums Of All Time!


    More than four decades after they first stormed the Pop and R&B charts in the winter of 1968 with "Dance To the Music" - a groundbreaking jam that has the distinction of being chosen for the Grammy Hall Of Fame, the Rock And Roll Hall Of Fame's 500 Songs That Shaped Rock, and Rolling Stone magazine's 500 Greatest Songs Of All Time - the music of Sly and the Family Stone is more vital than ever.


    The band's catalog (every single composition penned by Sylvester Stewart aka Sly Stone) includes their three career-defining RIAA gold Billboard #1 Pop/ #1 R&B smashes, "Everyday People," "Thank You (Falletinme Be Mice Elf Again)" and "Family Affair," and their signature Top 40 hits that began with "Dance To the Music" and went on to include "Stand!," "Hot Fun In the Summertime," "Runnin' Away," "If You Want Me To Stay," "Time For Livin', and more.


    Those songs not only inspired an era of youthful rebellion and independence, but also had a potent effect on the course of modern music in general. A dazzling fusion of psychedelic rock, soul, gospel, jazz, and Latin flavors, Sly's music brought the next step - funk - to a disparate populace of hip artists. From Miles Davis and Herbie Hancock, to the halls of Motown and George Clinton's P-Funk, from Michael Jackson and Curtis Mayfield, down the line to Bob Marley, the Isley Brothers, Prince, Public Enemy, Red Hot Chili Peppers, Arrested Development, the Black Eyed Peas, the Roots, OutKast and on and on, Sly's DNA is traceable to every cell of the musical stratosphere.


    Since it took almost two years to make, the fifth album by bonafide superstars Sly and the Family Stone had everyone salivating in anticipation. Needless to say, Sly did not disappoint! 1971's There's A Riot Goin' On finds the Bay Area-based genius getting funkier than ever before, even as his artistic vision becomes progressively darker. Some may have been disappointed that Sly didn't simply re-create the chart successes of earlier singles, but who can argue with the flat-out brilliance of turning recent big hit Thank You (Falettinme Be Mice Elf Agin) on its head to create the mind-boggling Thank You For Talkin' To Me Africa.


    Two of this hypnotic album's best tunes Family Affair and Runnin' Away were gigantic chart hits, and There's A Riot Goin' On hit #1 Pop/ #1 R&B within a few weeks of its release in November, proving beyond any shadow of a doubt that Sly Stone could totally deliver the goods! A transformative masterpiece, There's A Riot Goin' On was inducted into the Grammy Hall Of Fame in 1999, and is ranked #99 on Rolling Stone magazine's '500 Greatest Albums Of All Time.'

    Luv N' Haight

    Just Like A Baby

    Poet

    Family Affair

    Africa Talks To You The Asphalt Jungle

    There's A Riot Goin' On
    Brave & Strong

    (You Caught Me) Smilin'

    Time

    Spaced Cowboy

    Runnin' Away

    Thank You For Talking To Me Africa
    Sly & The Family Stone
    $49.99
    180 Gram Audiophile Virgin Vinyl 45 RPM LP- 2 LPs Sealed Buy Now
  • Coming Of Age Coming Of Age Quick View

    $21.99
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    Coming Of Age

    Call it a generous fluency, an affable virtuosity. Call it a true band spirit. The best bands have all had something that can't be forced: A refined mastery of music and a willingness to converse through music. That's what you hear, above all, on bassist Ben Williams' sophomore recording, Coming of Age: The sound of a musician who's cultivated an authentic rapport with some of the best young players in New York City.


    We have these group texts that we send to each other all the time," Williams says of his band, Sound Effect. "We're just as entertaining to each other off stage as on. If there were ever a reality show about jazz, we'd be good candidates for it!"


    Coming of Age for the 30-year-old Williams means playing a lively role among his peers and a vital part in the music world at large. After winning the prestigious Monk Institute Competition in 2009, Williams got busy turning his youthful promise into real achievement. "My career as a bandleader and composer started from the moment I won," he says. "I had this opportunity to say something-and an obligation, too." In 2011 Williams delivered a debut album, State Of Art, to great critical acclaim and toured widely as a bandleader with Sound Effect. He became a sought after and beloved sideman, playing so many sets at one year's Winter Jazzfest that he rarely left the stage. Most impressively, he assumed a highly-coveted place in guitarist Pat Metheny's Unity Band. "Ben has a fearless and open-minded approach to what music can be," Metheny has said. "A wonderful combination of skills."


    For all his strides in bandleading and performing, on the track Coming of Age Williams shows his greatest growth as a composer. "Composing seems like a nebulous thing," he says. "But the ability to translate a feeling into actual music, takes a lot of doing it, a lot of practice. Which chord is going to invoke this feeling? What's the best key for this idea?" And Williams has some big ideas and feelings to convey, necessitating heavy skill in musical translation and storytelling. On "Toy Soldiers," for example, a martial rhythm and chantlike riff send a message about the sacrifices of war. He wrote the uplifting "Strength And Beauty" on the day of the 2012 Newtown school shooting.


    "The tragic news hit me hard, and this tune came to me as a way of feeling my way through the tragedy. The title was inspired later, when I saw how [jazz saxophonist] Jimmy Greene and his family responded to losing their daughter at Newtown. Their pain is something most of us can't even imagine, but the way Jimmy held it together and became a beacon of light and true strength was an inspiration to everyone."


    Williams takes a page from the Miles Davis school of bandleading by encouraging his band members to compose in the studio, too. For the R&B tribute anthem "Voice of Freedom (for Mandela)," Williams enlisted the smooth soulfulness of singer-songwriter Goapele-and then headed in to record the song with a characteristically open mind. In the studio, saxophonist Marcus Strickland contributed an on-the-spot horn arrangement with the sunny harmony of a South African choir.


    As much as Williams writes in response to politics and current events, his compositions are a respectful celebration of the musical past, too. The driving samba rhythms of "Forecast" are an homage to the jazz fusion group Weather Report, with the tune's melody inspired by Wayne Shorter's "Over Shadow Hill Way." Williams's fluid fretless grooves on "Half Steppin'" recall Jaco Pastorius's "Teen Town."


    Williams sees covers of pop tunes as a bestowal to the jazz canon. "I always like to contribute new repertoire to the jazz songbook," says Williams. "For me it's very important to shout out all the young, new songs coming out." His gift on this album is a moving instrumental version of Lianne La Havas' breakup ballad "Lost & Found." Guest trumpeter Christian Scott communicates the contained heartache of La Havas's song lyrics, with a lightly arranged string quartet adding the right amount of solace.


    Coming of Age concludes with the sweeping title tune, a showcase for Williams's broad stylistic range. "I wanted 'Coming of Age' to feel big," he says. "I was thinking of it in movements, as a kind of mini-symphony." In the final section of "Coming of Age," Williams picks up a bow for the only time on the record, filtering the sound to other worldly but soulful effect. "The vibe I was going for at the end was Prince," Williams says. "I wanted it to feel sonically transformed, tripped out." It's an auspicious end to an accomplished sophomore recording, with Williams' bowed strings sauntering off into the stars to explore for the next album.


    Whatever comes next for Ben Williams, it's sure to be as engaging as it is virtuosic. As an artist who's come of age, Williams' raw talent has evolved into musical grace, conviction, and power. He's a musician in meaningful dialogue with his band Sound Effect, with current events, with musical styles past and present, and finally, with his listeners.


    "My favorite thing is when someone comes up to me who's heard my music and they're singing one of my tunes," Williams enthuses. "Humming a melody! That's the best feeling in the world, when one of my tunes has stuck in someone's head."

    1. Black Villain Music
    2. Voice of Freedom (for Mandela) featuring Goapele
    3. Toy Soldiers
    4. Lost & Found
    5. Half Steppin'
    6. Smells Like Teen Spirit
    7. Toy Soldiers (Reprise)
    8. Coming of Age
    Ben Williams
    $21.99
    Vinyl LP - Sealed Buy Now
  • Someday My Prince Will Come (Out Of Stock) Someday My Prince Will Come (Out Of Stock) Quick View

    $54.99
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    Someday My Prince Will Come (Out Of Stock)

    1961 Miles Davis Gem with an Amazing Band


    Cut by George Marino at Sterling Sound and Pressed at RTI


    When this album was originally released in 1961, the press praised Miles Davis' precision playing and expansive lyricism. Someday My Prince Will Come showcases Miles' second great rhythm section, which is heard here at the absolute peak of its telepathic interplay. The recording features the incredible lineup of musicians John Coltrane, Hank Mobley, Wynton Kelly, Paul Chambers and Jimmy Cobb. They were as tight as any unit Miles ever formed.


    Someday My Prince Will Come includes positively blistering solos from guest Coltrane, who, as fate would have it, was making his final recording with Miles. That alone deems this a must-hear recording. But then there's the sound. Wow! Trust us when we tell you that this is absolutely the very best this album has ever sounded in any format. The details in the grooves, the width of the soundstage, the presence of air; everything is simply incredible. Our highest recommendation!


    Musicians:

    Miles Davis, trumpet

    Hank Mobley, tenor saxophone

    John Coltrane, tenor saxophone (1,5)

    Wynton Kelly, piano

    Paul Chamber, double bass

    Jimmy Cobb, drums

    1. Someday My Prince Will Come
    2. Old Folks
    3. Pfrancing
    4. Drad - Dog
    5. Teo
    6. I Thought About You
    Miles Davis
    $54.99
    200 Gram Audiophile Virgin Vinyl 45 RPM - 2 LP Sealed Temporarily out of stock
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