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  • Rough Guide To Blues Women Rough Guide To Blues Women Quick View

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    Rough Guide To Blues Women

    From the classic blues of Bessie Smith and Ma Rainey to female country blues pioneers Memphis Minnie and Geeshie Wiley, this Rough Guide explores the hugely significant and often overlooked role that women have played in the story of the blues.
    1. Stack O' Lee Blues - Ma Rainey
    2. Pick Poor Robin Clean - Geeshie Wiley & Elvie Thomas
    3. Careless Love Blues - Bessie Smith
    4. Down The Big Road Blues - Mattie Delaney
    5. Cocaine Habit Blues - Hattie Hart & The Memphis Jug Band
    6. 'Frisco Town - Memphis Minnie
    7. Rolling Log Blues - Lottie Kimbrough
    8. God Don't Like It (feat. Blind Willie McTell) - Kate McTell
    9. Trouble in Mind (feat. Louis Armstrong) - Bertha Chippie Hill
    10. Itching Heel (feat. Blind Blake) - Irene Scruggs
    11. Crazy Blues - Mamie Smith
    12. Mind Reader Blues (feat. Charley Patton) - Bertha Lee
    Various Artists
    $19.99
    Vinyl LP - Sealed Buy Now
  • Rough Guide To Bottleneck Blues Rough Guide To Bottleneck Blues Quick View

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    Rough Guide To Bottleneck Blues

    By imitating the cries and moans of the human voice, the haunting sound of the bottleneck has become synonymous with the blues. This Rough Guide shows how in the hands of many of the great early blues men it became the ultimate mode of musical expression
    1. It's Nobody's Fault But Mine - Blind Willie Johnson
    2. Bottleneck Blues - Weaver And Beasley
    3. Bukka's Jitterbug Swing - Bukka White
    4. No No Blues - Curley Weaver
    5. Has My Gal Been Here - Casey Bill Weldon
    6. Dry Spell Blues - Part 1 - Son House
    7. The Hula Blues - Jim And Bob (The Genial Hawaiians)
    8. John Henry (The Steel Driving Man) - Part 1 - Furry Lewis
    9. Sweet Sarah Blues - Darby And Tarleton
    10. When The Saints Go Marching In - Blind Willie Davis
    11. Poor Boy, Long Ways From Home - Gus Cannon
    12. You Gonna Need My Help Some Day - Black Ace
    13. Prayer Of Death - Part 1 - Charley Patton
    14. Lonesome Atlanta Blues - Bobby Grant
    Various Artists
    $19.99
    Vinyl LP - Sealed Buy Now
  • Rough Guide To Barbecue Bob Rough Guide To Barbecue Bob Quick View

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    Rough Guide To Barbecue Bob

    Lovingly Remastered Using Pioneering Restoration Techniques


    Very few names in the history of the blues capture the imagination quite like that of Barbecue Bob. Don't be fooled by the quirky pseudonym and gimmicky publicity photograph of him posing in his chef's whites with guitar in hand, as he was an incredibly influential figure whose records helped pave the way for many of the important bluesmen that followed.


    One of the unsung heroes of the Piedmont blues style, Robert Hicks aka Barbecue Bob recorded over sixty sides for Columbia Records and became one of the best-selling artists on their 'race series', outsold only by Bessie Smith, Ethel Waters and Blind Willie Johnson. With his original and witty compositions he was one of the real pioneers of the Atlanta blues scene of the time, but his career was tragically ended by his death from pneumonia at the age of just 29.


    Born in Walnut Grove, Georgia to a family of sharecroppers, Hicks learned to play the guitar from his brother Charley and Savannah 'Dip' Weaver, the mother of his friend Curley Weaver. He teamed up with Charley, Curley and harmonica player Eddie Mapp to perform at dances, parties and picnics in the Atlanta area. After leaving the group in 1926, Hicks became a chef in a barbecue joint where he would cook, serve and sing to the customers. He soon became something of a local celebrity and was noticed by a talent scout from Columbia Records, who gave him the opportunity to record under the catchy title of Barbecue Bob.


    Characterized by a heavy percussive guitar style, he often used a bottleneck and played with a frailing technique that is more often associated with the claw hammer banjo. His twelve string guitar gave a rich accompaniment to his warm nasal singing voice which, compared to the morbid and foreboding songs of the Delta blues, created a vibe which was jaunty and upbeat. With a huge repertoire of songs ranging from hokum to slow blues and spirituals to traditional songster tunes, his music is imbued with a special warmth typical to the East Coast blues.


    Even from the opening few measures of his very first record Barbecue Blues, Hicks signature sound of a bright and trebly twelve string guitar combined with his expressive voice is instantly accessible and almost 'pop' sounding in comparison with other blues singers of the time. His debut song was a huge success and led to a prolific recording career over the next four years when, it is said, he lived fast and enjoyed the high life. Hicks frequently recorded with his brother Charley, who was known as Laughing Charley Lincoln, and would later record several sides in 1930 with Buddy Moss and Curley Weaver as the Georgia Cotton Pickers.


    Largely due to his life being tragically cut short in 1931, his music has been sadly overlooked and has therefore not received the respect proffered to other East coast players such as Blind Willie McTell and Buddy Moss. He was however a true innovator in his time, and this compilation gives proof that his music is undoubtedly some of the most engaging early blues that you are likely to hear.

    1. Poor Boy A Long Ways From Home (1927)

    2. Barbecue Blues (1927)
    3. Honey Your Going Too Fast (1928)

    4. Motherless Chile Blues (1927)

    5. She Looks So Good (1930)
    6. Thinkin' Funny Blues (1927)

    7. Honey You Don't Know My Mind (1927)
    8. Going Up The Country (1928)

    9. Atlanta Moan (1930)

    10. It Just Won't Hay (1929)

    11. Chocolate To The Bone (1928)

    12. She's Coming Back Some Cold Rainy Day (1930)
    Barbecue Bob
    $19.99
    Vinyl LP - Sealed Buy Now
  • Rough Guide To Ethiopia Rough Guide To Ethiopia Quick View

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    Rough Guide To Ethiopia

    This Rough Guide bursts at the seams with everything from golden age Ethio-jazz to contemporary dub-club fusion. Classic tunes from Mahmoud Ahmed and Alemayehu Eshete appear alongside Krar Collective, Dub Colossus and more.
    1. Bole 2 Harlem - Ametballe
    2. Dub Colossus - Guragigna
    3. Mahmoud Ahmed - Ohoho Gedama
    4. Getachew Mekuria & The Ex & Guests - Musicawi Silt
    5. Orchestra Ethiopia - Datchene Koba (Trio of Emblitas)
    6. Krar Collective - Ende Eyerusalem
    7. Samuel Yirga - Abet Abet (Punt Mix)
    8. Zerfu Demissie - Sek'Let (Crucification)
    9. Invisible System - Ambassel
    10. Alemayehu Eshete - Ney Ney Weleba
    11. Tirudel Zenebe - Gue
    12. Mohammed Jimmy Mohammed - Mela Mela

    13. Tseque-Maryam Guebrou - Homesickness
    Various Artists
    $19.99
    Vinyl LP - Sealed Buy Now
  • Rough Guide To Samba Rough Guide To Samba Quick View

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    Rough Guide To Samba

    Samba is the dancing spirit and rhythm of life in Brazil. This Rough Guide features the best of old and new from legendary sambista Alcione and superstar vocalist Marisa Monte to the seriously funky Samba Um and the samba swing of Rogê.
    1. Alcione Duas Faces
    2. Partideiros Do Cacique Meu Bloco
    3. Velha Guarda Da Portela Feat. Marisa Monte Volta Meu Amor
    4. Rogê A Nega E O Malandro
    5. Teresa Cristina Coisas Banais
    6. Samba Urbano Deixa
    7. Moyseis Marques Samba, Ciência Da Graça
    8. Samba Um Malandro Dpdp
    9. Luísa Maita Lero-Lero
    Various Artists
    $19.99
    Vinyl LP - Sealed Buy Now
  • Rough Guide To Arabic Jazz Rough Guide To Arabic Jazz Quick View

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    Rough Guide To Arabic Jazz

    Jazz improvisation, syncopated beats and counter-culture attitudes have been swinging in the Arab world since the early twentieth century. This Rough Guide explores today's thriving scene, revealing how blending jazz and Arabic music has created the most beautiful of musical concoctions.
    1. Ibrahim Maalouf - Nomade Slang
    2. Rabih Abou-Khalil - A Better Tomorrow
    3. Daramad - Tigris Eye
    4. Omar Faruk Tekbilek - Dark Eyes
    5. Le Trio Joubran - Masâr
    6. Rima Khcheich - Harrama el-Nawma
    7. Renaud García-Fons - Sinaï
    Various Artists
    $19.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Rough Guide To Gospel Blues Rough Guide To Gospel Blues Quick View

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    Rough Guide To Gospel Blues

    The huge musical influence of the church has meant that gospel music and the blues have long been intertwined. From the true guitar evangelists such as Blind Willie Johnson and Reverend Gary Davis to blues legends Blind Lemon Jefferson and Skip James, these recordings illustrate how the line separating the Lord's song and 'devil's music' was very thin.
    1. I Am The Light - Reverend Gary Davis
    2. I Know His Blood Can Make Me Whole - Blind Willie Johnson
    3. The Promise True And Grand - Bukka White
    4. Your Enemy Cannot Harm You - Rev. Edward W. Clayborn
    5. Scandalous And A Shame - Blind Joe Taggart & Josh White
    6. Jesus Is My Air-O-Plane - Mother McCollum
    7. I Got Religion, I'm So Glad - Blind Willie & Kate McTell
    8. Be Ready When He Comes - Skip James
    9. Let Me Ride - Memphis Minnie
    10. When The Saints Go Marching In - Barbecue Bob
    11. On Revival Day - Bessie Smith
    12. All I Want Is That Pure Religion - Blind Lemon Jefferson
    Various Artists
    $19.99
    Vinyl LP - Sealed Buy Now
  • Rough Guide To Blues Legends: Muddy Waters Rough Guide To Blues Legends: Muddy Waters Quick View

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    Rough Guide To Blues Legends: Muddy Waters

    180 gram limited edition LP, featuring 12 of the best tracks from 'The Rough Guide to Muddy Waters: Country Blues'. It also includes a download card allowing you to download the entire album plus bonus disc.


    Seldom equalled and never surpassed, Muddy Waters changed the course of popular music. Beautifully remastered to capture Muddy's intoxicating power, this Rough Guide charts his early career in the Delta and pioneering time in Chicago.

    1. Country Blues, Number One
    2. You Got To Take Sick And Die Some Of These Days
    3. I Can't Be Satisfied
    4. Burying Ground Blues
    5. Louisiana Blues
    6. Rollin' Stone
    7. Rollin' And Tumblin' (Part One)
    8. Long Distance Call
    9. Walking Blues
    10. You Gonna Miss Me
    11. Screamin' and Cryin'
    12. Honey Bee
    Muddy Waters
    $27.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Rough Guide To Cuban Rare Groove Rough Guide To Cuban Rare Groove Quick View

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    Rough Guide To Cuban Rare Groove

    Quite a few compilations have mined the rich reserves of 1960s and 1970s post-revolution music from Cuba, with several concentrating on the areas of funk, jazz, disco and rare groove in general. Others have dug deep into the vaults in Miami, where a young generation of children of Cuban exiles created an exciting stew of rock, funk and Cuban styles. This collection aims to be different and digs deeper, serving as a rough guide to Cuban-flavored rarities made outside of the island in the post-Castro diaspora, by a mix of Cuban and non-Cuban musicians from yesteryear and today.


    There is a special emphasis on talented Cuban expatriates like vocalist/percussionist Willy Chirino, composer/arranger, bandleader and pianist Julio GutiÉrrez, and percussionist/vocalist 'Manteca' (Lázaro Plá). We spotlight the influential Cuban label in exile, Gema Records, with eight old-school numbers, while several come from Europe: Pantaleón PÉrez Prado working in Milan, and the Brussels-based Dutch bandleader Nico Gómez, born Joseph Van Het Groenewoud, who was so obsessed with Cuban music that he changed his name. Gómez is backed here by the stalwart Belgian studio band, Los Chakachas, of 'Jungle Fever' fame. The set is rounded out with contemporary artists based in France, New York, and Miami. In keeping with the rare groove label, most have not appeared before on other Cuban-themed compilations.

    1. Quimbombo Con Mofongo - Julio GutiÉrrez And Los Guajiros
    2. Tequila - Pantaleon PÉrez Prado
    3. Africa - Willy Chirino
    4. Chacatá, Ya Llegó (feat. Bobby CarcassÉs) - Tata GÜines Y Su Grupo Cubano
    5. Love Van - Willy Chirino
    6. Contigo Me Voy (feat. Carlos Díaz) - Los Gatos Lecheros
    7. Cosquillita - Spam Allstars
    8. Camina Con Los Codos - PALO!
    9. Amor Y Felicidad - Jose Conde
    Various Artists
    $19.99
    Vinyl LP - Sealed Buy Now
  • Rough Guide To South African Jazz Rough Guide To South African Jazz Quick View

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    Rough Guide To South African Jazz

    South African jazz is a pertinent reminder of the intrinsic link
    between music and the dismantling of oppression. This Rough
    Guide celebrates the legacy of many of the great players and
    showcases the wealth of burgeoning jazz talent emerging from
    the Rainbow Nation.
    1. Bokani Dyer Vuvuzela
    2. Allen Kwela Seven Days Ago
    3. Kippie Moeketsi Clarinet Kwela
    4. Dolly Rathebe Tlhapi Ke Noga

    5. African Jazz Pioneers Yeka Yeka
    6. Thandiswa Ntyilo Ntyilo
    7. Zim Ngqawana Ebhofolo (This Madness)
    8. Abdullah Ibrahim Soweto
    Various Artists
    $19.99
    Vinyl LP - Sealed Buy Now
  • Rough Guide To A World Of Psychedelia Rough Guide To A World Of Psychedelia Quick View

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    Rough Guide To A World Of Psychedelia

    The psychedelic movement of the 1960s imprinted a kaleidoscopic
    stamp on musical cultures from across the globe - from the Tropicália
    artists in Brazil to the Afrobeat groups in West Africa and even the
    legendary Bollywood composers. Carefully selected from albums in
    the Rough Guide Psychedelic series, these mind-bending, rebellious
    and deeply cool grooves create a heady psychedelic brew which is
    guaranteed to open up new musical doors.
    1. Ros Seresyothea Jam 10 Kai Theit (Wait Ten Months More)
    2. Ananda Shankar Dancing Drums
    3. Laranja Freak Alergico de Flores
    4. Anarkia Tropikal Feat. Los Chapillacs El Silbido Del Tunche
    5. Juaneco Y Su Combo Perdido En El Espacio
    6. Asha Bhosle And R. D. Burman Piya Tu Ab To Aaja
    7. Celestine Ukwu Obialu Be Onye Abiagbunia Okwukwe
    8. Traffic Sound La Camita
    Various Artists
    $14.99
    Vinyl LP - Sealed Buy Now
  • Rough Guide To Legends Of Indian Music Rough Guide To Legends Of Indian Music Quick View

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    Rough Guide To Legends Of Indian Music

    India's classical music is deeply bound to the country's mystical ancient traditions. Stretching back through time to the Vedic period musical historians encounter the Rigveda, an ancient collection of Sanskrit hymns, and the Sama Veda, a text which begins to discuss the origin of seven shruti (notes) from the sounds of nature. The practice of combining tones in certain sequences and the notation system that was developed during this era is connected to the development of the Indian classical raga form. 'Raga' literally translates as a 'hue' of colour and is a musical method of constructing melody through prescribed conventions. Ragas are linked to different moods and times of the day. Amjad Ali Khan's 'Raga Chhaya Nat' is in the Hindustani (North Indian) chhayanat mode and illuminates his crystalline prowess on the sarod, a stringed lute that is played with a plectrum. Uppalapu Srinivas' song 'Sankari Sankuru' is played on his mandolin in saveri raga, which is said to bring about the mood of pity and was originally composed by one of Carnatic (South Indian) music's greatest figures Syama Sastri (1762-1827). Indian Classical Legends Shivkumar Sharma, Hari Prasad Chaurasia and Brij Bhushan Kabra are heard delicately delivering a Hindustani bhairav raga on 'Ahir Bhairav'. This raga is related to Sikh tradition from northern India and appears in the Guru Granth Sahib (the central religious text of Sikhism). Ravi Shankar's radiant sitar shines bright on the fast-paced track 'Devgiri Bilawal Dhun'. Shankar's name and ascendant international career is now synonymous with Indian classical music. Widely regarded as a musical sage or pandit, his definition of raga touched upon its vast and complex nature, describing it as a 'scientific, precise, subtle and aesthetic melodic form'. Another sitar scholar, Vilayat Khan is heard on 'Dhun Punjabi Ang'. The Khan musical lineage traces all the way back to the court musicians of the Mughal Empire. Father and son duo Allah Rakha and Zakir Hussain enter into percussive playoff on the live track 'Ek Taal'. Tabla virtuouso Zakir Hussain remains grounded by the musical discipline and natural flair he inherited from his father who he regarded as 'a spirit who was created to work for music by God'. Carnatic vocalist Dr M. Balamuralikrishna's marvellously melodic instrument sparkles on 'Sadhathava Pada'. His formidable range and versatile tone mark him out as a legendary singer. He is also credited with popularising the jugulbandi concept in Indian classical music - when two soloists of equal skill perform together. Riverboat Records artist Jyotsna Srikanth contributes 'Annapoorne', a work crafted by the famous Carnatic composer, Muttuswami Dikshitar. The subject matter concerns Annapoorne, the Hindu goddess of nourishment. The raga used is sama, one that denotes peace. Uncover the mystery and beauty of India's verdant classical tradition on this excellent introduction to one of the world's most valuable musical repertoires.
    1. Ravi Shankar: Devgiri Bilawal Dhun
    2. Allah Rakha & Zakir Hussain: Ek Taal (Live)
    3. Shivkumar Sharma, Hari Prasad Chaurasia & Brij Bhushan Kabra: Ahir Bhairav
    4. Bismillah Khan & Vilayat Khan: Thumri Bhairavin
    5. U. Srinivas: Sankari Sankuru
    6. Vilayat Khan: Dhun Punjabi Ang
    Various Artists
    $19.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Rough Guide To The Blues Songsters Rough Guide To The Blues Songsters Quick View

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    Rough Guide To The Blues Songsters

    Before there was the bluesman there was the songster and it was these traveling troubadours who helped lay the foundations for the development of the blues. In the decades preceding the phonograph and radio and before the American national entertainment industry had reached into the deepest parts of the South, it was these wandering musicians who provided the musical entertainment for all manner of social events.


    In order to be able to scrape a living together, the songster had to be incredibly versatile and come up with something for everyone. Armed with a banjo or guitar they performed every form of popular music of the day from folk songs and ballads to rags and spirituals. Priding themselves on their huge repertoires, they could be described as the human jukeboxes of their time.


    Along with the many musicians shrouded in mystery, this collection boasts tracks by legendary bluesmen such as Leadbelly, Charley Patton, and Mississippi John Hurt. Aside from the blues, these great performers would have been able to play everything asked of them at local bars and rural dances, and it is said that Leadbelly could draw on a repertoire of over 500 songs from many different genres. Likewise, the 'Father of the Delta Blues', Charley Patton left glimpses into his songster roots and true musical versatility with songs such as the featured 'Mississippi Boweavil Blues'. Henry Thomas's projected birthdate of 1874 predates that of Charley Patton by a good 17 years and gives us an idea of what rural black music sounded like before the turn of the twentieth century. He was 53 years old during his first recording session in 1927 by which point much of his music was already a representation of a bygone era. The same could be said of Richard 'Rabbit' Brown from New Orleans who worked as a ferryman on lake Pontchartrain and whose recorded legacy of just five songs includes 'James Alley Blues' which has been covered by Bob Dylan. Also from New Orleans, Papa Charlie Jackson accompanied himself with a banjo guitar and became one of the first songsters to record from the mid-1920s. His unique brand of hokum, used comic, often sexually suggestive lyrics and lively, danceable rhythms.


    This selection features several variations on traditional ballads about legendary characters such as Frankie and Johnny, Stagger Lee, John Henry and Railroad Bill. These became standards in the repertoires of songsters, both black and white, who shared a similar colour-blindness when it came to the racial origins of a tune. Frank Hutchison and Dick Justice were both white performers whose styles were heavily influenced by black musicians, in particular, Luke Jordan whose featured track 'Pick Poor Robin Clean' is a gambling song masterpiece. Like Jordan, many other well-known East Coast songsters such as Blind Blake, Pink Anderson, and Peg Leg Howell worked with traveling shows, which became a major factor in the spreading of the blues. Many of these shows were operated by vendors of patent medicines who would attract crowds by putting on a performance.


    As these shows began to disappear and recorded music and dancing in juke joints became popular, so the older songster style became less fashionable. Apart from the few waxed recordings which leave a tempting glance into a world before the blues, many of the featured artists faded into obscurity, as the songsters were overtaken by blues singers whose music was heavily promoted by record companies. Those songsters who were able to embrace this new music such as Charley Patton and Leadbelly became seminal figures and the rest is history.

    1. Pick Poor Robin Clean - By Luke Jordan
    2. Don't Leave Me Here - By Henry Thomas
    3. The Spasm - By Daddy Stovepipe & Mississippi Sarah
    4. Your Baby Ain't Sweet Like Mine - By Papa Charlie Jackson
    5. John Henry (The Steel Driving Man) - Part 1 - By Furry Lewis
    6. Mississippi Boweavil Blues - By Charley Patton
    7. Cocaine - By Dick Justice
    8. Midnight Special - By Leadbelly
    9. Come On Boys Let's Do That Messin' Around - By Blind Blake
    10. Stackalee - By Frank Hutchison
    11. James Alley Blues - By Richard 'Rabbit' Brown
    12. Going To Germany - By Cannon's Jug Stompers
    13. Coal Man Blues - By Peg Leg Howell
    Various Artists
    $19.99
    Vinyl LP - Sealed Buy Now
  • Rough Guide To Blind Blake (On Sale) Rough Guide To Blind Blake (On Sale) On Sale Quick View

    $18.99 $15.00 Save $3.99 (21%)

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    Rough Guide To Blind Blake (On Sale)

    Lovingly Remastered Using Pioneering Restoration Techniques


    Famous for his 'piano-sounding' guitar, Blind Blake was one of the greatest blues guitarists that ever lived. A true pioneer of 'finger-style' guitar, he was also a zealous musical experimenter who re-defined the limitations of the guitar. Enjoy his six-string wizardry on such re-mastered classics as 'West Coast Blues', 'He's In The Jailhouse Now' and 'Diddie Wah Diddie'.

    1. Blind Arthur''s Breakdown (1929)
    2. He's In The Jailhouse Now (1927)
    3. Police Dog Blues (1929)
    4. Diddie Wah Diddie (1929)
    5. You Gonna Quit Me Blues (1927)
    6. West Coast Blues (1926)
    7. Come On Boys Let's Do That Messin' Around (1926)
    8. I Was Afraid Of That: Part 2 (1929)
    9. Southern Rag (1927)
    10. Hey Hey Daddy Blues (1927)
    11. That Will Never Happen No More (1927)
    12. Too Tight Blues No. 2 (1929)
    Blind Blake
    $18.99 $15.00 Save $3.99 (21%)
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Rough Guide To Blues Legends: Bessie Smith Rough Guide To Blues Legends: Bessie Smith Quick View

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    Rough Guide To Blues Legends: Bessie Smith

    Bessie Smith was the first superstar of the blues with one of the greatest voices of the twentieth century - dubbed 'The Empress Of The Blues', her majestic delivery and indomitable spirit were unsurpassed. Re-mastered for exceptional audio clarity, the emotional intensity and expressiveness of Bessie Smith still takes the breath away.
    1. St Louis Blues
    2. Nobody Knows You When You're Down And Out
    3. T'ain't Nobody's Bizness If I Do
    4. Careless Love
    5. Me And My Gin
    6. Empty Bed Blues (Part One)
    7. Down Hearted Blues
    8. Jazzbo Brown From Memphis Town
    9. Dirty No-Gooder's Blues
    10. After You've Gone
    11. Send Me To The 'Lectric Chair
    12. Back Water Blues
    Bessie Smith
    $19.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Rough Guide To Blind Willie Johnson (Awaiting Repress) Rough Guide To Blind Willie Johnson (Awaiting Repress) Quick View

    $18.99
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    Rough Guide To Blind Willie Johnson (Awaiting Repress)

    Blind Willie Johnson was a fire-and-brimstone guitar evangelist who played sacred songs so mean that his legacy has gone down in blues history. Revel in the mesmerizing bottleneck guitar playing of the Texas blues preacher on remastered classics as
    'Dark Was The Night, Cold Was The Ground', and 'God Moves On The Water'.
    1. God Moves On The Water
    2. Dark Was The Night, Cold Was The Ground
    3. Keep Your Lamp Trimmed And Burning
    4. Jesus Make Up My Dying Bed
    5. John The Revelator
    6. It's Nobody's Fault But Mine
    7. I Know His Blood Can Make Me Whole
    8. Mother's Children Have A Hard Time
    9. You're Gonna Need Somebody On Your Bond
    10. Lord I Just Can't Keep From Crying
    11. God Don't Never Change
    12. Bye And Bye I'm Going To See The King
    Blind Willie Johnson
    $18.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • Bringing It All Back Home (Awaiting Repress) (On Sale) Bringing It All Back Home (Awaiting Repress) (On Sale) On Sale Quick View

    $49.99 $44.99 Save $5.00 (10%)

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    Bringing It All Back Home (Awaiting Repress) (On Sale)

    Ranked 31/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.


    Dylan's 1965 Landmark Blows Up Boundaries, Styles, Practicalities: Rock Music Becomes its Own Art Form


    Wider Grooves, Superior Sound: Mobile Fidelitys 45RPM Edition The Last Word in Analog Fidelity


    Best of Both Worlds: Dylan Pairs With a Band on Side One, Goes It Alone on Astonishing Solo Thought Dream Odysseys on Side Two


    Epitome of Iconic: Everything from Cover Art to Sound to Attitude to Song Represents New Benchmark in Respective Categories


    Numbered, Limited Edition


    Bob Dylan's Bringing It All Back Home represents the moment that pop and rock music became their own art form, expressions finally treated with the same seriousness and respect as classical and jazz. Incalculably influential, the 1965 landmark established myriad benchmarks in songwriting, sound, artwork, and performance. It served the world notice that Dylan was no longer just the virtuoso visionary tuned into the wants of the folk community. Its a disarming broadcast that declares Dylan's surroundings and personality, and those of his audiences, whether they knew it or not, drastically changed.


    As part of its Bob Dylan catalog restoration series, Mobile Fidelity is thoroughly humbled to have the privilege of mastering the iconic LP from the original master tapes and pressing it on 45RPM LPs at RTI. The end result is the very finest, most transparent analog stereo edition of Bringing It All Back Home ever produced. Forever renowned for its organic sound, the albums you-are-there-presence is fantastically enhanced on this superb version, with wider and deeper grooves affording playback of previously buried information.


    The sonics are so realistic, balanced, and tonally accurate that acoustic guitars resonate with the woody decay they do as when you strum them on your lap. Equally vivid are the textures of the drum skins, amplified pitch of the electric guitars, and ambient hum of the interior space of Columbias Studio B. Both the plugged-in and acoustic sides claim a discerning level of microdynamics, spaciousness, imaging, and warmth that will send even the most rabid Dylan fan into a tizzy. And what better record to cause such enthusiastic reactions?


    More than 45 years after its release, Bringing It All Back Home continues to come on like a prophetic transmission from a savant whos privy to cerebral viewpoints, mental transferences, and thought dreams elusive to everyone but him. With the flipside of the album, Dylan strings together four of the most unflinching, forward-reaching, and boundary-breaking acoustic-based compositions ever played. In addressing liberating psychedelia, lost innocence, institutional naivetÉ, and tarnished relationships, respectively, Dylan constructs a compositional quartet/suite that functions as metaphor for his waving goodbye to political folk musics imprisoning rules and bounding restrictivenessand a rough guide to the transcendental poetry, shape-shifting vocal phrasing, and alternate tunings he now embraced.


    Side One remains one of the boldest cohesive artistic statements ever assembled. Dylan, forever throwing down the gauntlet to detractors and narrow-minded fans, plugging in with a band and kicking it all off with the in-your-face hootenanny Subterranean Homesick Blues before romping, slashing, and rolling through Maggies Farm, another fun albeit caustic indictment of homogenous thought and bohemian method. Dylans attitude undergoes a self-awakening metamorphosis, his lyrical scope broadened, his hallucinogenic interests increased, his willingness to embrace paradoxes and shake them out with mind-convulsing aptitude in line with his progression towards bizarre imagery.


    Bringing It All Back Home marks the moment when paradigms permanently shifted, preexisting standards fell, and fresh aural, poetic, and sonic dialects came to fore. Albums dont come more vetted. You deserve to experience it in the finest-possible quality.


    Given the sonic and artistic merit of this album, we anticipate huge demand.


    This title is not eligible for further discount.

    1. Subterranean Homesick Blues
    2. She Belongs To Me
    3. Maggies Farm
    4. Love Minus Zero/No Limit
    5. Outlaw Blues
    6. On the Road Again
    7. Bob Dylans 115th Dream
    8. Mr. Tambourine Man
    9. Gates of Eden
    10. Its Alright, Ma (Im Only Bleeding)
    11. Its All Over Now, Baby Blue
    Bob Dylan
    $49.99 $44.99 Save $5.00 (10%)
    180 Gram Audiophile Virgin Vinyl LP 45 RPM - 2 LPs Sealed AWAITING REPRESS Buy Now
  • Bringing It All Back Home (Mono) (On Sale) Bringing It All Back Home (Mono) (On Sale) On Sale Quick View

    $49.99 $44.99 Save $5.00 (10%)

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    Bringing It All Back Home (Mono) (On Sale)

    Ranked 31/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.


    Dylan's 1965 Landmark Blows Up Boundaries, Styles, Practicalities: Rock Music Becomes its Own Art Form


    Wider Grooves, Superior Sound, Original Mono Mix, Meticulously Mastered


    Strictly Limited to 3,000 Copies


    Best of Both Worlds: Dylan Pairs With a Band on Side One, Goes It Alone on Astonishing Solo Thought Dream Odysseys on Side Two


    Epitome of Iconic: Everything from Cover Art to Sound to Attitude to Song Represents New Benchmark in Respective Categories


    Bring it all back home - in mono. Originally designed by the artist for mono listening, Bob Dylan's Bringing It All Back Home represents the moment that pop and rock music became their own art form, expressions finally treated with the same seriousness and respect as classical and jazz. Incalculably influential, the 1965 landmark established myriad benchmarks in songwriting, sound, artwork, and performance. It served the world notice that Dylan was no longer just the virtuoso visionary tuned into the wants of the folk community. It's a disarming broadcast that declares Dylan's surroundings and personality, and those of his audiences, whether they knew it or not, drastically changed.


    As part of its Bob Dylan catalog restoration series, Mobile Fidelity is humbled to have the privilege of mastering the iconic album on its world-renowned mastering system and pressing it on 45RPM LPs at RTI in its original mono format. Strictly limited to just 3,000 copies, the end result is the very finest, most transparent analog mono edition of Bringing It All Back Home ever produced. Forever renowned for its organic sound, the album's you-are-there-presence is fantastically enhanced on this superb version, with wider and deeper grooves affording playback of previously buried information.


    Since Bringing It All Back Home features the most instrumentation Dylan implemented in arrangements at that stage of his career, the set is undoubtedly vivid in stereo - particularly the electric half. Yet the Minnesota native paid particular attention to the mono mix, which here presents Dylan with unparalleled directness. The record's second half sounds especially genuine, lifelike, and intimate in mono. It paints listeners an incredibly accurate portrait of the attention-getting mass of acoustic-based sound - and features no artificial panning or echo chamber of its stereo counterpart. Instead, you are immersed right into the music.


    Indeed, the sonics on this Mobile Fidelity reissue are so realistic, balanced, and tonally accurate that acoustic guitars resonate with the woody decay they do as when you strum them on your lap. Equally vivid are the textures of the drum skins, amplified pitch of the electric guitars, and ambient hum of the interior space of Columbia's Studio B. Both the plugged-in and acoustic sides claim a discerning level of microdynamics, spaciousness, imaging, and warmth that will send even the most rabid Dylan fans into a tizzy.


    More than 50 years after its release, Bringing It All Back Home continues to come on like a prophetic transmission from a savant who's privy to cerebral viewpoints, mental transferences, and thought dreams elusive to everyone but him. With the flipside of the album, Dylan strings together four of the most unflinching, forward-reaching, and boundary-breaking acoustic-based compositions ever played. In addressing liberating psychedelia, lost innocence, institutional naivetÉ, and tarnished relationships, respectively, Dylan constructs a compositional quartet/suite that functions as metaphor for his waving goodbye to political folk music's imprisoning rules and bounding restrictiveness - and a rough guide to the transcendental poetry, shape-shifting vocal phrasing, and alternate tunings he now embraced.


    Side One remains one of the boldest cohesive artistic statements ever made. Dylan, forever throwing down the gauntlet to detractors and narrow-minded fans, plugging in with a band and kicking it all off with the in-your-face hootenanny Subterranean Homesick Blues before romping, slashing, and rolling through Maggie's Farm, another fun albeit caustic indictment of homogenous thought and bohemian method. Dylan's attitude undergoes a self-awakening metamorphosis, his lyrical scope broadened, his hallucinogenic interests increased, his willingness to embrace paradoxes and shake them out with mind-convulsing aptitude in line with his progression towards bizarre imagery.


    Ranked 31 on Rolling Stone's list of the 500 Greatest Albums of All Time, Bringing It All Back Home marks the moment when paradigms permanently shifted, preexisting standards fell, and fresh aural, poetic, and sonic dialects came to fore. Albums don't come more vetted. You deserve to experience the mono edition in the finest-possible quality, just as Dylan intended.


    This title is not eligible for further discount.

    1. Subterranean Homesick Blues
    2. She Belongs To Me
    3. Maggies Farm
    4. Love Minus Zero/No Limit
    5. Outlaw Blues
    6. On the Road Again
    7. Bob Dylans 115th Dream
    8. Mr. Tambourine Man
    9. Gates of Eden
    10. Its Alright, Ma (Im Only Bleeding)
    11. Its All Over Now, Baby Blue
    Bob Dylan
    $49.99 $44.99 Save $5.00 (10%)
    180 Gram Audiophile Virgin Vinyl LP Mono 45 RPM - 2 LPs Sealed Buy Now
  • Melt Melt Quick View

    $14.99
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    Melt

    Although now firmly settled in New York City, Young Magics three members came together through equal helpings of openness and fortuity. In 2010, singer and producer Isaac Emmanuel had left his home continent of Australia to travel across Europe, over to New York, and down through Mexico, all the while creating and recording music with whatever instruments he found along the way. While in Mexico, Emmanuel kept a tight correspondence with fellow Australian expat Michael Italia, who for months had been similarly traveling across Europe and South America with portable recording gear in tow.


    They decided to meet up in New York, where their good friend from a few years prior, Indonesian-born vocalist Melati Malay, had been living and making her own recordings. In early 2011, the three friends, who had initially bonded over their broad musical palettes, began recording together and contributing songs to the record, culling influences and finding their own footing among them.


    The immediately fruitful collaboration brought forth singles Sparkly, You With Air and Night In The Ocean, all of which were fitting indicators of the bands chameleonic sound, heavily informed by West African rhythms, Brainfeeder hip-hop, UK bass, and '60s psychedelic soul. Young Magics full-length debut, Melt, comprises both of these tracks, as well as their B-sides, and expands on their varied aesthetic, at once electronically sequenced and completely organic. Containing recordings from 10 different countries, the album flaunts new facets at each turn, letting as on Watch For Our Lights rough samples from distant lands coalesce with drum machines and distorted synths.


    Night In The Ocean and Jam Karet put soaring synth pads around the higher frequencies while deep kicks keep the songs grounded, allowing Isaac and Melatis vocals to float in synchronicity between. And with its shifting rhythm, open structure, and layers of echoed vocals, closer and highlight, Drawing Down The Moon, hints at crystalline take on UK garage: a last dance from a collection of short stories from around the world. With a sonic mÉlange of vibes on a debut that remains cohesive and distinctly their own, it will be exciting to see where the trios tastes will guide them next.

    1. Sparkly
    2. Slip Time
    3. You With Air
    4. Yalam
    5. Jam Karet
    6. Night In The Ocean
    7. Watch For Our Lights
    8. The Dancer
    9. Cavalry
    10. Sanctuary
    11. Drawing Down The Moon
    Young Magic
    $14.99
    Vinyl LP - Sealed Buy Now
  • Black Celebration (Awaiting Repress) Black Celebration (Awaiting Repress) Quick View

    $19.99
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    Black Celebration (Awaiting Repress)

    Whether the band felt it was simply the time to move on from its most explicit industrial-pop fusion days, or whether increased success and concurrently larger venues pushed the music into different avenues, Depeche Mode's fifth studio album, Black Celebration, saw the group embarking on a path that in many ways defined their sound to the present: emotionally extreme lyrics matched with amped-up tunes, as much anthemic rock as they are compelling dance, along with stark, low-key ballads. The slow, sneaky build of the opening title track, with a strange distorted vocal sample providing a curious opening hook, sets the tone as David Gahan sings of making it through another black day while powerful drums and echoing metallic pings carry the song. Black Celebration is actually heavier on the ballads throughout, many sung by Martin Gore -- the most per album he has yet taken lead on -- with notable dramatic beauties including Sometimes, with its surprise gospel choir start and rough piano sonics, and the hyper-nihilistic World Full of Nothing. The various singles from the album remain definite highlights, such as A Question of Time, a brawling, aggressive number with a solid Gahan vocal, and the romantic/physical politics of Stripped, featuring particularly sharp arrangements from Alan Wilder. However, with such comparatively lesser-known but equally impressive numbers as the quietly intense romance of Here Is the House to boast, Black Celebration is solid through and through.


    - Ned Raggett (All Music Guide)

    1. Black Celebration
    2. Fly On The Windscreen - Final
    3. A Question Of Lust
    4. Sometimes
    5. It Doesn't Matter Two
    6. A Question Of Time
    7. Stripped
    8. Here Is The House
    9. World Full Of Nothing
    10. Dressed In Black
    11. New Dress
    Depeche Mode
    $19.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • Privilege Of Evil Privilege Of Evil Quick View

    $17.99
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    Privilege Of Evil

    A collection of demo material from Amorphis' early career, Privilege of Evil is a surprisingly good collection of first-wave Euro death metal. All the patented genre stylings are present, most importantly the extra-low aggro grunting and the shifting double-kick arrangements. The tempos and guitar riffs mutate appropriately, as this 1993 Relapse offering plays out like a death metal tutorial.


    When a formula is followed so closely, it is often difficult to pinpoint exactly what (if anything) makes a record unique or even interesting. With music like this, the riffs are what matters, and guitarist/vocalist Tomi Koivusaari and fellow axeman Esa Holopainen came up with some excellent progressions that they both execute with abandon on Privilege of Evil.


    Highlights include the opening track, Pilgrimage From Darkness, and Misery Path, but death discs are usually taken as a whole. And while Privilege of Evil might be a little rough around the edges, it's also a testament to the pronounced abilities of Amorphis.


    - Jason Anderson (All Music Guide)

    1. Pilgrimage from Darkness
    2. Black Embrace
    3. Privilege of Evil
    4. Misery Path
    5. Vulgar Necrolatry (Abhorrence cover)
    6. Excursing from Existence
    Amorphis
    $17.99
    Vinyl LP - Sealed Buy Now
  • Garage Rock! A Collection Of Lost Songs From 1996-1998 Garage Rock! A Collection Of Lost Songs From 1996-1998 Quick View

    $17.99
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    Garage Rock! A Collection Of Lost Songs From 1996-1998

    One day I'm gonna write a book and let everybody know how to do it; seems there's a lot of people around who want to see if I can prove it! I've been a rock prodigy since the age of 20 and my proof, my proof is RIGHT NOW! Danko Jones have never been a band that sounded the least bit short on confidence, and those lines from Make You Mine confirm these guys had the sweat and the attitude years before they landed a record deal. Garage Rock! A Collection of Lost Songs from 1996-1998 consists of rough demos Danko Jones cut during their first two years of existence, before making their debut album, Born a Lion, in 1999. If this stuff sounds raw and scrappy -- especially the nine tunes from a four-track session somewhere in Toronto -- the trio already feels tight and boasts attitude to spare, with namesake guitarist and vocalist Jones spitting fire and laying out a potent array of downstrokes, while bassist John Calabrese and drummer Atom Willard hold down the beats while keeping the songs in fourth gear at all times. Ultimately, Garage Rock! sounds like a less precise version of Danko Jones as we know them today, but despite the lower fidelity and relatively simpler attack (which is still pretty furious by the standards of most bands), it sounds like they knew what they wanted and how to do it on day one, and the real task was getting their skills on par with their ambitions. Danko Jones are as tough and forceful as they want to be in 2014, but Garage Rock! confirms they could write great songs and raise hell long before that, and they were a blast right out of the gate.


    - Mark Deming (All Music Guide)

    1. Who Got It?
    2. Make You Mine
    3. I'm Your Man
    4. She's Got A Bomb
    5. Rock And Roll Is Black And Blue
    6. Dirty Mind Too
    7. I'm Drinking Alcohol?
    8. Love Travel Demo
    9. Bounce Demo
    10. Sexual Interlude
    11. I Stand Accused
    12. Best Good Looking Girl In Town
    13. Payback
    14. Lowdown
    15. One Night Stand
    16. Instrumental
    17. Move On
    Danko Jones
    $17.99
    Vinyl LP - Sealed Buy Now
  • Here Comes The Indian Here Comes The Indian Quick View

    $24.99
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    Here Comes The Indian

    Informed in equal parts by acid-fried psychosis, crop-circle field recordings, and an elephants-on-the-loose circus thrash aesthetic, Animal Collective's fourth full-length album rests roughly at the meeting point between psychedelic, noise, and folk music. Here Comes the Indian begins gently enough with Native Belle, a moody set piece that belies the album's clatter with 12 minutes of constrained rhythmic builds, drones, and squeaks. Things quickly explode with the searing Hey Light, a lightning bolt of electrocuted brass and human wails that sends the album careening into psychoactive delirium. Since everything that follows -- from the shrieking brattle of Two Sails on a Sound to the enchanted tribal vocal exercises of Slippi to the slow-building celebratory scuttle of Too Soon -- feels similarly crazed, drug-induced, and apparitional, Here Comes the Indian makes for particularly lucid listening. Brash, crass, and texturally magnificent, this is well worth seeking out.


    - Mark Pytlik (All Music Guide)

    1. Native Belle
    2. Hey Light
    3. Infant Dressing Table
    4. Panic
    5. Two Sails on a Sound
    6. Slippi
    7. Too Soon
    Animal Collective
    $24.99
    Vinyl LP - Sealed Buy Now
  • NDR 60 Years Jazz Edition No. 3 - Stephane Grappelli Ensemble NDR 60 Years Jazz Edition No. 3 - Stephane Grappelli Ensemble Quick View

    $37.99
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    NDR 60 Years Jazz Edition No. 3 - Stephane Grappelli Ensemble

    Mono


    On the 17th of May 1957 StÉphane Grappelli came to Hamburg for a recording session with a quartet in Studio 1 of the Norddeutscher Rundfunk radio broadcaster. From today's perspective the trip was a rare event for the then 49-year-old jazz musician, because from the end of the 1940s until the mid-1960s he was rarely to be found in a recording studio anywhere, even though he was already one of the world's best jazz violinists. His studio absence is particularly puzzling given that up to his death on the 1st of December 1997 he was probably one of the most recorded violinists in the history of music of the 20th century. But from this roughly 15-year period there is actually just a handful of released recordings by and with StÉphane Grappelli.


    For the jazz violinist the years before making his trip to Hamburg in 1957 were a time of upheaval and change which left a "gap" in Grappelli's CV and discography. There are several reasons for this. One of them lies in the technical developments of the time. Music became louder. Electric guitars, improved microphones and the voluminous sound, in particular of the brass section, also led to a broadening of the dynamic spectrum in jazz. With its delicate acoustics it was difficult for a violin to assert itself against the other instruments without amplification. Before coming to Hamburg, Grappelli had already started experimenting with various pick-up systems. But he was generally dissatisfied with the results because the electrification of his instrument had an excessively alienating effect on the unique timbre of the violin and the ambience was lost. This is why he often preferred a chamber music setting in the recording studio, as this gave him the best acoustic results with just a simple microphone.


    Another reason was of a personal nature. On the 16th of May 1953 the Manouche guitarist "Django" Reinhardt died. The death of his long-time friend and musical companion had deeply wounded StÉphane Grappelli. He rarely spoke about this loss. When he did, then he spoke about the years between 1934 and 1939, when they both fronted the now legendary Quintette du Hot Club de France. It was the countless recordings with this band that earned Grappelli and Reinhardt their reputation as "legends" of early European jazz. Here and in the USA: with the then so popular Hot Jazz which the pair mixed from the very beginning of their percussionless band with the Musette waltzes typical of French dance music and the music of the Manouches, the French Gypsies.


    When the Second World War broke out on the 1st of September 1939, the Quintette du Hot Club de France was on tour in England. While one, Reinhardt, returned to his homeland of France, the other, Grappelli, remained in London. In his English exile the violinist became acquainted with George Shearing. An encounter with consequences. Because Grappelli - who had taught himself to play the violin as a youth before going to study classical violin at the venerable Conservatoire de Paris, after which, like many musicians of the time, he earned his livelihood playing with dance orchestras in the French capital - was always interested in being part of new musical developments. With the blind pianist who was more than ten years younger and his concept of block chords, Grappelli was given the opportunity to learn what was for him an unknown harmonic language in jazz.


    But above all, up to the late 1950s Grappelli was still working on perfecting his instrumental skills. While his solo choruses on the violin with the Quintette du Hot Club de France mainly involved intensifying ornamentations, tension-escalating vibrati, glissandi and tremoli, short fill-ups and improvised melodic phrases, in the years after the end of the war he expanded the range of forms of expression on his instrument. He was inspired, for example, by the "Bel Canto" playing of the classical violin virtuosos, taught himself different type of bow strokes, and learned an unusual grip technique for the violin in order to be able to fly over the strings with the minimum of pressure. But above all he emotionalised his sound using a technique with which he preceded the played notes with a glissando from below.


    StÉphane Grappelli's visit to Studio 1 at the Norddeutscher Rundfunk in Hamburg in 1957 was then indeed a stroke of luck. Because on this day he had for the first time the complete repertoire of forms of expression on the violin which made him the style-forming jazz musician who earned the admiration even of instrumentalists in other genres such as the great classical violinist Yehudi Menuhin. At the same time, his tone and phrasing still had the vitality and virility of his younger years with the Quintette du Hot de France in the 1930s. And even more: In 1957 he was able to build a bridge with his violin between the swinging grandezza of the US jazz musicians and the great tradition of European music.


    A major factor in making the recording session in Studio 1 of the NDR a field of experimentation for Grappelli was his rhythm group. This included his twenty-years-younger compatriot, the pianist Maurice Vander, and the two Germans Hans Last on the contra bass (yes, you've read it correctly: years later "Hans" was to become "James" Last) and Rolf Ahrens on percussion. With delicate harmony and colourful melody the three musicians cleared the ground for their leader to experiment with his violin: with his soft and broad legato bowing technique, for example, which allowed him to achieve such naturally swinging phrasing, particularly in the ballads and mid-tempo numbers, as the great US saxophonists at the time, with his sharp pizzicato which gave his solo choruses a dynamically differentiated energy level, or with his sensational flageolet tones in preparation for the climaxes of his improvisations.


    Even though at first glance the repertoire recorded in Hamburg with its mixture of songs from the "Great American Songbook" ("St. Louis Blues" for example, or "Lady Be Good" and "The Lady Is A Tramp") and pieces, for example, by Django Reinhardt (in particular "Manoir De Mes Rêves" and "Nuages") appeared to offer little spectacular, in its natural and self-evident way this studio session was an illustration of what was to be Grappelli's life-long guiding principle: "Jazz is all about feeling: It is a matter of the heart", as he once summarised it in simple words "It is only when you have the feeling that the music happens as if by itself."

    LP1
    1. Autumn In New York
    2. Jeepers Creepers
    3. These Foolish Things
    4. She's Funny That Way
    5. Nuages/Swing
    6. It Might As Well Be Spring
    7. Hambourg Souvenir
    8. Vours qui passez sans me voir
    9. Lady Be Good
    10. A Flower Is A Love-Some Thing


    LP2
    1. I Can't Believe That You're In Love With Me
    2. Manoir de mes reves
    3. How About You?
    4. The Lady Is A Tramp
    5. St. Louis Blues
    6. A Girl In Calico
    7. I'll Remember April
    8. Blue Moon
    9. How High The Moon
    10. Pennies From Heaven

    Stephane Grappelli
    $37.99
    Vinyl LP Mono - 2 LPs Sealed Buy Now
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