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Sixteen Saltines / Love Is BlindnessThe second single off Jack White's forthcoming solo album Blunderbuss. Debuted on Saturday Night Live and worlds apart from the first single "Love Interruption," the rock and roll power of "Saltines" is all the evidence needed to show that White's solo work will be as varied as it is accomplished. Coupled with a stinging cover of U2's "Love is Blindness" (from Achtung Baby), the record will metaphorically jump off your turntable. 7 vinyl release from Third Man Records/Columbia in fold over sleeve, poly bag.1. Sixteen Saltines
2. Love Is Blindness$6.99Vinyl 7 Single Buy Now
The Interrupters are the newest signing to Tim
Armstrong's Hellcat label, releasing their debut self-titled album this August. Fronted by
singer-songwriter Aimee Allen, the Los-Angeles
based ska band began working with Armstrong on
his popular Tim Timebomb series of singles. (Before that, Allen sang background vocals on the
Armstrong-produced Grammy-winning Jimmy Cliff
album Rebirth). Steeped in ska, reggae, and punk,
Allen and the Interrupters bring a sly sense of
humor to their music and lyrics on songs like
"White Noise" and "Liberty."1. Take Back The Power
2. White Noise
3. Can't Be Trusted
5. Judge Not
6. This Is The New Sound
7. Family (feat. Tim Armstrong)
8. Easy On You
9. A Friend Like Me
10. Last Call
11. Haven't Seen The Last Of Me$19.99Vinyl LP + CD - Sealed Buy Now
Love InterruptionLove Interruption (featuring a duet with Grammy-nominated Nashville singer, Ruby Amanfu) is the first taste of Jack White's debut solo album, Blunderbuss, out on Third Man Records/Columbia. Also included is the non-LP B side Machine Gun Silhouette. 7 vinyl release with fold-over sleeve in poly bag.
Produced by Jack White and recorded at his own Third Man Studio in Nashville, Blunderbuss has been described by White as an album I couldn't have released until now. I've put off making records under my own name for a long time but these songs feel like they could only be presented under my name. These songs were written from scratch, had nothing to do with anyone or anything else but my own expression, my own colors on my own canvas.A1. Love Interruption
B1. Machine Gun Silohouette*
* non-LP track, exclusive to this single$6.99Vinyl 7 Single Buy Now
Boyish Girl InterruptedBoyish Girl Interrupted is the follow up to Tig Notaro's Grammy nominated second album,
LIVE. Available through Secretly Canadian, in conjunction with Bentzen Ball Records, the
comedy imprint started and curated by Tig.
The HBO special - her first - draws highly on personal experiences, speaking frankly and
incisively about her fight with cancer, the death of her mother, while also taking stock of the
lighthearted and the silly in her every day life.1. The Rug
3. Where's Tig?
4. Searching For Santa
5. Laugh Noises
6. Mississippi Relatives
11. Private Jet
12. Emergency Exit
13. Public Pool
15. Standing O
16. When I'm 64
17. You Can't Always Get
18. What You Want$18.99Vinyl LP - Sealed Buy Now
Before We Were So Rudely Interrupted180 Gram Vinyl Issue Of The Animals 1977 Comeback Album
180 gram vinyl issue of The Animals 1977 comeback album Before We Were So Rudely Interrupted. This album is a reunion for the five original Animals from the group's first incarnation and their first recording session together since 1965!1. Brother Bill (Last Clean Shirt)
2. It's All Over Now Baby Blue
3. Fire on the Sun
4. As the Crow Flies
5. Please Send Me Someone to Love
6. Many Rivers to Cross
7. Just a Little Bit
8. Riverside County
9. Lonely Avenue
10. The Fool$19.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
The Moon Lit Our PathTEMPEL have spent the past two years pushing musical boundaries to create The Moon Lit Our Path". Featuring five impassioned tracks that command the listener's full attention, the album will be released worldwide via Prosthetic Records. "We poured ourselves into this album," says Wenzel. The new album represents a big evolution in all aspects of our work." Adds Corle, "The goal was to make sure everything was constantly moving in these songs. We didn't want anything to interrupt the forward momentum. At the same time, we wanted to work in all the different types of metal we love that we didn't feel were represented on the debut."1. Carvings In The Door
2. The Moon Lit Our Path
3. Descending Into The Labyrinth
4. Tomb Of The Ancients
5. Dawn Breaks Over The Ruins$19.99Vinyl LP - 2 LPs Sealed Buy Now
Sixteen Saltines / Love Is Blindness 12 (Awaiting Repress)12 Vinyl with playable etched B-side
The second single off Jack White's debut solo album Blunderbuss. Debuted on Saturday Night Live and worlds apart from the first single "Love Interruption," the rock and roll power of " Sixteen Saltines" is all the evidence needed to show that White's solo work will be as varied as it is accomplished. Coupled with White's stinging cover of U2's "Love is Blindness" (from Achtung Baby) and the record metaphorically jumps off turntable.
The 12 single of Jack White's "Sixteen Saltines" comes complete with a playable etching on the b-side (designed by George Ingram), a cover of U2's "Love is Blindness." Truly a sight to behold, the etching depicts Third Man's iconic logo and the grooves of the record play through the image, presenting consumers with the world's first-ever playable etched record (this is an entirely different process than your Split Enz and Styx records from 1980, this visual is all vinyl).1. Sixteen Saltines
2. Love Is Blindness*
* U2 cover song. Non-LP track. Previously only available on Q Magazine (UK) CD promo.$10.9912 Vinyl LP AWAITING REPRESS Buy Now
Blues and BalladsNonesuch Records releases the Brad Mehldau Trio's Blues and Ballads, the trio's first new release since 2012's Where Do You Start. The previous release received critical acclaim, with the Financial Times saying, "Mehldau never lets his peerless technique and meticulous timing interrupt the narrative flow of a well-told tale. Here, the pianist and his trio burrow deep into left-field pop and the American songbook, and give an adventurous sheen to modern jazz." Blues and Ballads similarly comprises interpretations of songs by other composers, this time with the focus on blues and ballads implied by the album's title. The Brad Mehldau Trio is Mehldau on piano, Larry Grenadier on bass, and Jeff Ballard on drums.1. Since I Fell for You
2. I Concentrate On You
4. And I Love Her
5. Little Person
6. My Valentine$24.99Vinyl LP - Sealed Buy Now
$16.99 $13.42 Save $3.57 (21%)
Double Star (On Sale)Limited Edition
Just ten years ago, Rick Rizzo and Tara Key put the finishing touches on their Thrill Jockey debut, Dark Edson Tiger, did a few live shows including All Tomorrow's Parties at Camber Sands, and jubilantly declared the whole affair a rousing success, vowing to ride the tsunami swell of momentum into their next project.
And now, in a Van Winkle like-daze, they are back, a new batch of instrumental collaborations ready to test the brave new decade. It would be easy to say that they simply wanted to wait out the debacle of poor government and unmitigated corporate greed, but truth be told, the seeds for Double Star were sown in early live New York City sessions with bassist Tim Harris not long after the Dark Edson dust had settled. These let-the-tape-roll sessions produced some of the guitar psychedelia that long-time observers might have expected from these two, including the epic tracks that now comprise Noisy Attic as well as the genesis of Interruptive Organ.
The DNA for this album of course lies in their respective Kentucky punk rock roots, but a lot of living has been done between then and now. Double Star is a barrel-aged kind of record, sometimes inviting small fragrant sips, but sometimes asking you to knock one back and burn the throat a little. Worth waiting a decade for.1. Interruptive Organ
2. Rizzo Starts
3. Insanity Stomp
5. Descending Comment
6. Jagged Naught
7. Roundabout Ways
8. Loop 2
9. Yes I Wait
11. BWG Stately$16.99 $13.42 Save $3.57 (21%)Vinyl LP - Sealed Buy Now
ACSO-APO-8315xDavid Abel & Julie Steinberg
Beethoven: Violin Sonata Op. 96 & Op. 25200-Gram Vinyl Plated And Pressed At Quality Record Pressings
Mastered By Kevin Gray At Cohearent Audio
Stereophile's Recording of the Month For February 1984
Imagine, if you can, a private recital in your own home by two consummate artists who play these works for their own delight as much as for yours. Imagine sound so completely and disarmingly natural that after 30 seconds you're unaware it's reproduced. That's what this record is all about. - Stereophile, February 1984
David Abel, violin, Julie Steinberg, piano. This composition occupies a special place among Beethoven's creations because it shows a unique quality: there is an Olympian elegance, a profound gentleness that pervades the entire work. Nowhere does Beethoven the earth shaker appear. Even the scherzo movement does not disturb this sustained thoughtfulness.
Violin and piano begin trading short thematic statements in quick exchange from the first notes of the first movement. Parallel arpeggios create a growing intensity. The middle section of the movement is characterized by abrupt modulations and an increased pace of exchanges. A striking procedure is the use of a seemingly interminable trill, nearly heartstopping in its intensity.
The second movement, Adagio expressivo, one of Beethoven's floating Adagios, is based on the compulsion of a slow intense bass movement. The serenity of this movement is not disturbed by elaborate decoration from both instruments. And this stillness is further emphasized by a fourteen measure repeating pedal point (nearly one fifth of the movement) which closes it. The Scherzo sustains the serious character of the entire work. The last movement begins not only with a quick alternation of themes between the violin and piano, but a soft and loud alternation, as well, which adds to the feeling of growing intensity. An interrupted rondo is the plan, but the interruptions are of a major kind: another sensuous adagio and a daring fugato lead to a presto outburst concluding the movement.
David Wilson had already recorded piano by the time he began working with world-class musicians Steinberg and Abel in the Mills College Concert Hall in Oakland, California, though it was the first time he recorded a violin. Experimenting with different microphone positions in an attempt to capture what he calls the delicious geometry of sound emanating from Abel's Guarneri and Steinberg's Hamburg Steinway D, he ended up hanging his Schoeps CMC-36 microphones from a ladder high above the instruments. Of the results, he says, I'd put the recording up against any chamber music recording. It has to be my favorite.
Reached at their home in Oakland, Steinberg and Abel, whose trio with percussionist William Winant has commissioned music from the likes of John Harbison, Lou Harrison, Paul Dresher, Somei Satoh, and Gordon Mumma (for starters), reminisced about their time with Wilson.
The session was free of the time pressure and tension that can really get in the way of the final outcome, says Abel. If we wanted to stop for a bite, or go outside to rest for a while, that was not a problem... Dave kept open to what was happening in the moment, as in a concert. He understood about not making a 'perfect' recording, and instead left the small imperfections... that make the final result sound human and real. One could not ask for better.1. Violin Sonata No.10 in G Major, Op. 96 - I. Allegro moderato play
2. Violin Sonata No.10 in G Major, Op. 96 - II. Adagio espressivo play
3. Violin Sonata No.10 in G Major, Op. 96 - III. Scherzo Allegro play
4. Violin Sonata No.10 in G Major, Op. 96 - IV. Poco allegretto play
5. Violin Sonata No. 3 in A Minor, Op. 25, "Dans le caractere populaire roumain" - I. Moderato malinconico play
6. Violin Sonata No. 3 in A Minor, Op. 25, "Dans le caractere populaire roumain" - II. Andante sostenuto e misterioso play
7. Violin Sonata No. 3 in A Minor, Op. 25, "Dans le caractere populaire roumain" - III. Allegro con brio, ma non troppo mosso$34.99200 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Flying Scroll Flight ControlHalf-handed Cloud's Flying Scroll Flight Control presents Dada interior-architectural songs, in the mode of Kurt Schwitters' Merzbau, the sound of Robert Rauschenberg's cardboard combines, interrupted by Futurist noise intoner music of collision. They're integrated with the radiant flicker of Stan Brakhage's domestic/personal 1960s art films, the mechanized music of Conlon Nancarrow, Mister Rogers' avant-garde children's operas, and the methods of grunge-era home-taping alchemists Eric's Trip, with scriptures giving voice to the unknown.
The album features a 5-person female choir, manipulated
recording tape, fuzz bass, clarinet, some piano, a child's
Magnus air organ, rhythmic zipper, trombone, a cushioned
stylophone stick, and intermittent backpacker guitar.1. Pneumatic Mystery Envelopes
2. Sensei Says
3. What Spins, By Your Hand Was Spun
4. Debtors To Greeks & Barbarians
5. Titus Three
6. We Toil and Struggle
7. He's Already On Everyone's Side
8. Psychic Failure, Utmost Patience
9. Enlightenment in the Way
10. Even if Angels Arrive With Plausible News
11. Fetus, I Am Not Out of My Mind
12. He Can't Deny Himself
13. We Speak of What We Know
14. Live As the Children of Light Inside of You
15. Secret Wisdom Intervening
16. Tablets Breathing Their Last Breath
17. Now the Veiled Faces Can Breather
18. Flying Scroll Flight Patrol$16.99Vinyl LP - Sealed Buy Now
Garden WindowCarrying the weight of the luminance and spacy textures from their 2009 EP, The Death of Day, Atlanta, Ga foursome O'Brother have grown into sounds of scorching heaviness and punctuated melodic interruptions that act as puzzles in-between the groaning feedback of Garden Window, the band's debut full length. With Garden Window displaying more density, the songs themselves bask in longer time frames and dynamic intensity the whole way out. Close friends Andy Hull and Robert McDowell of Manchester Orchestra stepped in as producers for Garden Window.1. Malum
5. Lay Down
6. Easy Talk (Open Your Mouth)
7. Machines Part-I
8. Machines Part-II
10. Cleanse Me
11. Last Breath$19.99Vinyl LP - Sealed Buy Now
With The Beatles
Ranked 420/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.
Mastered from the Original Source Material!
Pressed on 180 Gram Vinyl
Cut at Abbey Road Studios
With the Beatles is a sequel of the highest order -- one that betters the original by developing its own tone and adding depth. While it may share several similarities with its predecessor -- there is an equal ratio of covers-to-originals, a familiar blend of girl group, Motown, R&B, pop, and rock, and a show tune that interrupts the flow of the album -- With the Beatles is a better record that not only rocks harder, it's considerably more sophisticated. They could deliver rock & roll straight (I Wanna Be Your Man) or twist it around with a little Latin lilt (Little Child, one of their most underrated early rockers); Lennon and McCartney wrote sweet ballads (the achingly gorgeous All I've Got to Do) and sprightly pop/rockers (All My Loving) with equal aplomb; and the propulsive rockers (It Won't Be Long) were as richly melodic as slower songs (Not a Second Time).
-All Music Guide
A team consisting of some of the best producers and engineers in the recording industry were brought together and would spend 4 long years mixing and mastering with some of the most state of the art recording equipment. Treating these records much like a science experiment, engineers ran extensive tests before copying the analog master tapes over into a digital format using 24-bit/192 kHz resolution, and carefully removing clicks, vocal pops and poor edits. Never altering the original songs themselves, just polishing them up a bit.1. It Won't Be Long
2. All I've Got To Do
3. All My Loving
4. Don't Bother Me
5. Little Child
6. Till There Was You
7. Please Mister Postman
8. Roll Over Beethoven
9. Hold Me Tight
10. You Really Got A Hold On Me
11. I Wanna Be Your Man
12. Devil In Her Heart
13. Not A Second Time
14. Money$22.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Pieces of Eight (Awaiting Repress)The legendary rock superstars Styx continued their arena rock assault in 1978 with their multi-platinum favorite Pieces Of Eight. As a second conceptual album following the equally successful The Grand Illusion, Pieces Of Eight would go on to be one of the more defining moments in the bands extensive catalog of classic rock masterpieces.
Filled with Dennis DeYoung, Tommy Shaw and James Young compositions, the colossal 10-track album was an exciting listen for the fans and would continue to be a much heralded album for decades, truly standing the test of time.
Rockers like Tommy Shaws Renegade and Blue Collar Man, plus Dennis DeYoungs Pieces Of Eight and Lords Of The Ring enhanced their prog-rock sounds to new heights as the rock and pop music buyers were thrilled to hear these epic sounding tunes. More power tracks like Queen Of Spades, Sing For The Day and James Youngs opener Great White Hope made the Pieces Of Eight album so intriguing that rock radio programmers had no issue with playing entire sides of the album without interruption on a regular basis.
Friday Music presents another audiophile edition from the Styx catalog with their 1978 mega-classic Pieces Of Eight. Mastered impeccably from the original A&M Records tapes by Joe Reagoso at Friday Music Studios with Kevin Gray, and officially authorized by Styx, this amazing LP truly sounds incredible in the audiophile vinyl domain.
To enhance your limited edition Styx LP listening enjoyment, Friday Music has included a poly bag for the much acclaimed Hipgnosis gatefold album cover artwork, which hasnt been available for years, and a poly lined sleeve for the vinyl LP.1. Great White Hope
2. Im O.K.
3. Sing For The Day
4. The Message
5. Lords Of The Ring
6. Blue Collar Man
7. Queen Of Spades
9. Pieces Of Eight
10. Aku-Aku$29.99180 Gram Audiophile Virgin Vinyl LP AWAITING REPRESS Buy Now
UNIM-DEU-7104xRichard Reed Parry
Music For Heart And BreathMusic for Heart and Breath is Richard Reed Parry's debut as classical composer who is mostly known from the Grammy Nominated Uber Indie Rock
Band Arcade Fire Richard is a multi-instrumentalist and composer, drawing his influences from classical music, folk and electronica. This is his first core classical release
that will find his home at Deutsche Grammophon!
The album features various compositions for Heart and Breath for various ensembles, as well as small interludes (Interruptions) The concept behind Heart and Breath is that every musician involved in the piece generates his own tempo by listening to his/her pulse during the performance. Fragile and intimate, these stunningly created performance effects are the basis for this conceptual compositional approach Richard explains:
"Music for Heart and Breath is a series of compositions that use involuntarily moving organs of the human body (specifically the lungs and the heart) as performance parameters. There are no time signatures: the tempos and rhythms are always governed by either the heart rates or the breathing rates of the individual players. In the case of the latter, the performers are instructed to play directly in sync with their own or another player's individual breathing (playing at the speed of their inhalations, their exhalations or both). To enable the players to hear and play in sync with their own heartbeats, they wear stethoscopes and, naturally, generally play quietly."
The music is performed by an exciting line-up of musicians, produced by Bryce Dessner Nico Muhly (Conductor, celeste/piano), Bryce & Aaron Dessner (guitar) from The National, Kronos Quartet, the ensemble YmusicLP1
1. Quartet For Heart And Breath
2. Heart And Breath Sextet
3. I Miniature 1
4. II String Peaks
5. III Wind's Idea
6. IV Miniature 2
7. V Sticks/Tension
8. VI French Guitars
9. VII Freeform Winds/String Drones
1. For Heart, Breath And Orchestra
2. Duet For Heart And Breath
3. Quartet For Heart And Breath
4. VII Freeform Winds Only [Bonus Track]$34.99Vinyl LP - 2 LPs Sealed Buy Now
BlunderbussThe White Stripes frontman's debut solo LP features the lead single, Love Interruption, with White accompanied by Grammy-nominated singer-songwriter Ruby Amanfu. White previously described Blunderbuss as an album [he] couldn't have released until now.
I've put off making records under my own name for a long time but these songs feel like they could only be presented under my name, he said. These songs were written from scratch, had nothing to do with anyone or anything else but my own expression, my own colors on my own canvas.
Born the youngest of ten children, raised in Southwest Detroit and a resident of Nashville since 2005, White is one of the most prolific and renowned artists of the past 15 years. When the White Stripes started in 1997 no one, least of all Jack, ever expected that a red-and-white two-piece band would take hold in the mainstream world. With the release of 2001's White Blood Cells the band was thrust on magazine covers and captivating audiences through worldwide touring. "Fell in Love With a Girl" served as the band's breakthrough hit and its accompanying Michel Gondry Lego clip was chosen by Pitchfork Media as the No. 1 music video of the 2000's. The release of Elephant in 2003 not only cemented the band's reputation as a force to be reckoned with, but it also offered the hit "Seven Nation Army" which has since become appropriated as a de facto stadium chant for many sports teams the world over.1. Missing Pieces
2. Sixteen Saltines
3. Freedom at 21
4. Love Interruption
6. Hypocritical Kiss
7. Weep Themselves to Sleep
8. I'm Shakin'
9. Trash Tongue Talker
10. Hip (Eponymous) Poor Boy
11. I Guess I Should Go To Sleep
12. On and On and On
13. Take Me With You When You Go$30.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Moody CoupCo La is the primary project of musician and producer Matt Papich, whose
explorations of sample-based electronic music have culminated in Moody
The emotional palette of Moody Coup, Papich's second album and rst for
Software Recording Co., is more complex than its exuberant predecessor
Daydream Repeater (NNA Tapes 2011). Where that record's relentlessly
bucolic tone drew from the saccharine core of reggae, exotica, and 60s girl
groups, the bedrock of Moody Coup is elusive and abstract.
The various genre coinages that have been tagged to Co La's music before
- new exotica, Avant-luxury, furniture music, etc. - fail to accommodate the
brainier obsessions behind Moody Coup's genesis. A new brand of alchemy
occurs in the album, where cryptic sources are enhanced and embellished
to a point of transcendence. This departure is the brilliant process o of Co
La's unpredictable electronic music.
Highlights of Moody Coup include Remarkable Features, which
consolidates the prior seismic scope of Daydream Repeater into a dance
oor standout. Deaf Christian transforms a Neil Sedaka doo-wopper into
a mesmerizingly dark House cut, complete with synth chasms and haunting
voice chants (supplied here and throughout the record by Angel
Deradoorian). The meticulously crafted Suspicious ventures into more
calming pastures -- an extra dimensional, dubbed-out take on the Psychic
TV gem by the same name.
At the outset of Moody Coup, Sukiyaki (To Die For) melodically alludes
to the Kyu Sakamoto song Sukiyaki." The original was penned as a
mournful assessment of post-war Japan's relationship to the US, albeit
dressed by Sakamoto as a love song. Ironically, Sukiyaki became a hit
oversees in the US and was later covered by A Taste of Honey. Rather than
translating the lyrics, A Taste of Honey set new words to the original
melody. (Stranger still, the word Sukiyaki itself refers to a Japanese hot
It's important to note that the wide range of reference sources does not
serve Moody Coup as a supercial demonstration of Papich's eclectic taste.
Instead, all of the micro pieces function mosaically, creating an impression
at a macro level that is extremely potent as music as well as concept. Co
La's intellectual obsessions are rooted in questions about how music is
dilated by the cultures who created it and the power structures that shape
those cultures (see Sukiyaki), while his musical obsessions are always
rooted in the sensual, the beautiful and the immediate.
Papich describes the working Co La method on Moody Coup as
"employing the hegemony of delete." He likes to be interrupted, and is
fond of working in places where domestic concerns are on equal terms with
studio practice. Much of Moody Coup was made in the kitchen of Papich's
Baltimore home -- a place where he describes having the "best
interruptions." Assistant to Papich's production was friend Joe Williams,
who programmed and performed all synths. Tracks were additionally
consolidated from eld recordings, samples and composed in Ableton Live
and mixed in Brooklyn at Gary's Electric Studio, located at the Software HQ.1. Sukiyaki To Die For
2. Melter's Delight
3. Remarkable Features
4. Deaf Christian
6. Suspicious (Sandman Fix)
7. Baby's Breath
8. Head in Hole in Space
9. Sympathy Flinch
10. Make it Slay (Barbershop Solo)$13.99Vinyl LP - Sealed Buy Now
ACSO-TES-1024xGioconda De Vito
Brahms: Violin Sonatas No. 1 & No. 3
Features Gioconda De Vito On Violin And Edwin Fischer On Piano
Gioconda De Vito was an Italian violinist born on July 22, 1907. She began formal violin lessons with an uncle, who was a professional violinist, at the age of 8. Three years later, she entered the Pesaro Conservatory. She graduated two years after that and started her career as a soloist. By age 17, she was teaching at the Conservatory in Bari. At age 25, she won an international violin competition in Vienna. She was then hired (supposedly through the influence of Mussolini) to teach at the Academy of Santa Cecilia in Rome. Since the Second World War interrupted her solo career, her London debut, which was very successful, didn't happen until 1948. She subsequently performed frequently in the major European venues, sometimes appearing with other important artists, including Yehudi Menuhin, Isaac Stern, Rafael Kubelik, and Furtwangler. She also twice played for the Pope (Pius XII). De Vito was one of several famous female violinists of the early Twentieth Century who were quickly forgotten by the general public - Ginette Neveu and Janine Andrade were two others. In 1961, she retired from playing and virtually from the violin itself. She was then only 54 years old. Although she toured Europe and other countries (Australia, Russia, India, Israel), she never played in the U.S. A highly admired player, she was nevertheless, almost an anachronism during her career. Her repertoire was old fashioned and did not include the concertos of Stravinsky, Prokofiev, Sibelius, Elgar, Bartok, Barber, Shostakovich, Khachaturian, Korngold, Glazunov, Berg, Walton, or Szymanowski. It is said that she was such a meticulous player, that she worked on the Brahms concerto for fifteen years before she played it in public.
- Prone To ViolinsJohannes Brahms (1833 - 1897): Violin Sonata No. 1 in G, Op. 78
1. Vivace ma non troppo
3. Allegro molto moderato
Johannes Brahms (1833 - 1897): Violin Sonata No. 3 in d minor, Op. 108
6. Un poco presto e con sentimento
7. Presto agitato$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Brilliant CornersFew composers or improvisers can match the originality of pianist Thelonious Monk. Quirky yet rigorously logical, Monk's playful but always purposeful choice of skewed melodies and interrupted rhythm patterns gave the bebop movement, and jazz in total, a new sound that was totally modern. Although he created a surprisingly limited body of compositions, his impact on the vocabulary and canon of jazz is second to none, including such prolific giants as Duke Ellington. Brilliant Corners is a triumph of both performance and conception: the two small-group sessions, anchored by Monk, drummer Max Roach, and the bass work of either Oscar Pettiford or Paul Chambers, feature superb front-line performances by saxophonists Sonny Rollins and the tragically under-recorded Ernie Henry, as well as trumpeter Clark Terry. The title track, which centers the collection, is one of Monk's most unconventional pieces, skirting whole-tone, chromatic and Lydian scales; a version of Pannonica finds Monk doubling on celeste, while the band stretches out on Bemsha Swing and the blues Ba-lue Bolivar Ba-lues-are. - Fred Goodman1. Brilliant Corners
2. Ba-Lue Bolivar Ba-Lues-Are
4. I Surrender, Dear
5. Bemsha Swing$21.99Vinyl LP - Sealed Buy Now
Fillmore East 2-11-69Live at the Fillmore East 2-11-69 is a double live album by the Grateful Dead recorded during the Live/Dead tour on February 11, 1969 at the Fillmore East in New York City.
Performing two hour-long sets as the opening act to Janis Joplin's New York debut as a solo star, the Grateful Dead turned in a characteristic performance for this period in their career. In between the release of their second and third albums, they devoted much time to the songs that would turn up several months later on Aoxomoxoa, including acoustic renditions of Dupree's Diamond Blues and Mountains of the Moon. Pigpen dominated the first set, singing the blues standards Good Morning Little Schoolgirl, I'm a King Bee, and Turn on Your Lovelight. But a large part of both sets was given over to the group's extended medleys, in the first set Cryptical Envelopment/The Other One, in the second Dark Star/St. Stephen/The Eleven. These involved, largely instrumental pieces set the tone for the Dead at the end of the '60s and produced their breakthrough with Live/Dead, which was recorded within weeks of this show. There is also a game version of Hey Jude, the biggest hit of the previous year, to end the first set, and an unlisted, interrupted performance of Cosmic Charlie as a second-set encore.1. Good Morning Little School Girl
2. Cryptical Envelopment
3. The Other One
4. Cryptical Envelopment
5. Doin' That Rag
6. I'm a King Bee
7. Hey Jude
8. Turn On Your Lovelight
10. Dupree's Diamond Blues
11. Mountains of the Moon
12. Dark Star
13. St. Stephen
14. The Eleven
16. Caution (Do Not Stop on Tracks)
18. We Bid You Goodnight$109.99180 Gram Audiophile Virgin Vinyl LP - 3 LPs Buy Now
The Complete Village Vanguard Recordings, 1961
4 LP Box Set Pressed On 180 Gram Vinyl
Includes 12 Page Booklet
Ranked time after time as one of the best live jazz recording sessions in history, and yielding two of Evans' most classic albums (Waltz for Debby, Sunday
at the Village Vanguard), The Complete Village Vanguard Recordings, 1961 represents the pinnacle of spontaneous musical communication: three men
breathing as one on a tiny bandstand.
This box set is the ultimate collectible item for any jazz fan. Pressed on 180-gram vinyl, this four-LP set comes with a 12-page booklet, complete with
new liner notes by reissue producer Bill Belmont, as well as the original liner notes by the producer of the original recordings,Orrin Keepnews.
Reproductions of session notes and photographer Steve Schapiro's proof sheets from the performances add vintage context to the packaging. Also
included in the box is a stunning metallic and black poster of the famous cover - Evans, in profile, deep in concentration at his piano.
Everything Bill Evans, Scott LaFaro, and Paul Motian had been working on for the previous 18 months led to this moment on June 25, 1961. The little-known pianist and his trio performed afternoon and evening sets that Sunday to a small audience that unknowingly sat through what would become a very
famous - and final - set by the trio as a whole. The 25-year old LeFaro died tragically in a car accident just ten days later. The performances on these
LPs demonstrate a new and more interactive approach to playing as a trio, one in which all instruments carry melodic responsibilities and function as
equal voices. Contrapuntal dialogues take place between Evans's poetic piano and LaFaro's bass, with Motian's sustained riveted ride cymbal providing a
carpet of stars. These recordings provide something of a sonic time capsule: sequenced in the original order of the five sets; the audience's murmurings
and applause peppered throughout; even an interrupted take is left intact.
This box set is the definitive keepsake for audiophiles, Bill Evans fans and jazz collectors, alike, and, in its limited run, will go quickly.LP 1
1. Spoken Introduction
2. Gloria's Step (Take 1, Interrupted)
3. Alice In Wonderland (Take 1)
4. My Foolish Heart
5. All Of You (Take 1)
6. Announcement And Intermission
1. My Romance (Take 1)
2. Some Other Time
4. Gloria's Step (Take 2)
5. My Man's Gone Now
6. All Of You (Take 2)
1. Detour Ahead (Take 1)
2. Discussing Repertoire
3. Waltz For Debby (Take 1)
4. Alice In Wonderland (Take 2)
5. Porgy (I Loves You, Porgy)
6. My Romance (Take 2)
1. Detour Ahead (take 2)
2. Gloria's Step (Take 3)
3. Waltz For Debby (Take 2)
4. All Of You (Take 3)
5. Jade Visions (Take 1)
6. Jade Visions (Take 2)
7. ...A Few Final Bars$99.99180 Gram Audiophile Virgin Vinyl LP Box Set - 4 LPs Sealed Buy Now
It's Monk's Time (Speakers Corner)With its three compositions by Thelonious Monk, one might call this LP from 1964 "3 Standards and 3 Monks". The 'High Priest' of bebop had reached a further pinnacle in his career and performed with his fantastic, skilful and well-rehearsed quartet at numerous festivals and concerts. As if in a dream, the musicians penetrate the apparently simple yet rhythmically complicated themes, interrupted again and again by Monk's solo escapades on the piano. On the stage, Monk often stood up and jigged around the piano like a lumbering dancing bear, with one of his distinctive hats on his head; he plonks down on the piano stool after the Charlie Rouse solo; his enormous feet tap back and forth to the beat; he constantly fiddles with the ring on his finger; and he creates the most wonderful improvisations ever heard with his 'false' fingering.
Calling all jazz fans: Listen to Thelonious Monk, and you will have a ball - most especially if you put this super disc with the promising title "It's Monks Time" on your turntable!
- Thelonious Monk (piano)
- Charlie Rouse (tenor saxophone)
- Butch Warren (bass)
- Ben Riley (drums)
- Teo Macero (producer)
Recording: January - March 1964
Production: Teo Macero
About Speakers Corner
At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Speakers Corner all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.
During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s - or employed existant tools from the 80s and 90s for manufacturing.
A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.
We should like to emphasise that Speakers Corner Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle. We have one digital recording in our catalogue (Alan Parsons / Eye In The Sky"), but even in this particular case we used the analogue tapes for cutting.
We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.
To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects - excluding the exception above - and that the lacquer discs are newly cut.1. Lulu's Back In Town
2. Memories Of You
3. Stuffy Turkey
4. Brake's Sake
5. Nice Work If You Can Get It
6. Shuffle Soil$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
The Grind Date (Awaiting Repress)
10th Anniversay Reissue Of The Grind Date
2 LP Colored Vinyl (One LP Orange / Other LP Is Blue)
De La Soul were interrupted just before they could deliver the third volume in their AOI series -- projected to be a DJ album -- to Tommy Boy. (The label
perhaps bailed out from a 15-year relationship precisely because the group was going to release such a commercially bankrupt title, one that was planned
instead to appear on an independent label run by Maseo.) De La Soul quickly realized they couldn't go ahead with the plan after signing their AOI label to
Sanctuary, so they wrote a new record, The Grind Date. Although it may see them settling into a holding pattern, at least the pattern of 2001's AOI: Bionix
is one that any hip-hop fan won't mind hearing repeated. Better yet, it boasts productions from an excellent cast of figures -- partner in crime Supa Dave
West, author of the best tracks on their AOI series, J-Dilla, who's stretching out his patented (read: overdone) sound to embrace classic hip-hop, an only
slightly commercialized Madlib, and young phenom 9th Wonder. Madlib gets what must be the first lead single of his career, a bright, antimaterialist tale
called Shopping Bags (She Got From You) that thumps like a club tune, but lurches as only the Beat Conductor could do it. Verbal Clap finds J-Dilla
allowing some grit into his productions, and Supa Dave only continues floating the most fluidly catchy productions of any rap producer in action.
Meanwhile, De La Soul voices Posdnuos and Dave balance their time breezing easy on bumping message tracks with a few old-school shots that show
them a bit defensive about the passing of time. (Check out Come On Down, a Madlib-produced shot with Flava Flav, or Days of Our Lives featuring
Common.) Without a concept to tout, The Grind Date doesn't gel like AOI: Bionix, but it does show De La Soul keeping everything together more than 15
years after their debut. After all, you certainly wouldn't see MF Doom guesting on a Tone-Loc record. - Review By John BushLP 1
1. The Future
2. Verbal Clap
3. Much More feat. Yummy
4. Shopping Bags (She Got From You)
5. The Grind Date
7. It's LIke That feat. Carl Thomas
1. He Comes Feat. Ghostface
2. Days Of Our Lives Feat. Common
3. Come On Down Feat. Flava Flav
4. No Feat. Butta Verses
5. Rock Co.Kane Flow Feat. MF Doom
6. Shoomp Feat. Sean Paul (Bonus Track)$24.99Colored Vinyl LP - 2 LPs Sealed AWAITING REPRESS Buy Now
Manley Stingray iTube Stereo Integrated Amplifier
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.
Handcrafted in the USA
The famous Manley Stingray stereo integrated amplifier has been renewed and refreshed. New for 2009 we present to you the Stingray iTube integrated tube amplifier with iPod dock and full featured RF and IR remote control.
The STINGRAY iTube is the next evolution from our acclaimed Stingray Integrated Amplifier, legendary in the hifi world since it swam from our labs in 1997. Originally conceived with particular attention paid to optimal component placement for the purity and symmetry of the signal path layout, the Stingray quickly became one of our best-selling products. The Stingray iTube retains the same basic tube circuitry and marvelous output transformers as the original with some important improvements:
An iPod dock has been integrated into the Stingray iTube as the 4th input source. The Manley iTube has been certified by Apple and officially sanctioned as a Made for iPod product. The Stingray's Remote Control commands the iPod PLAY/PAUSE and TRACK FORWARD/BACK controls.
The iPod's video output is available at the S-Video output jack located on the left side facia.
The high voltage tube energy storage has been increased vastly resulting in even more solid and coherent bass control and impact.
A headphone jack has been added to the right side facia. This jack re-routes the output from the speaker binding posts and mutes the Subwoofer output feed.
The Remote Control works with both Radio Frequency and InfraRed technologies. Using the remote in RF mode gives freedom from having to point and shoot. The RF remote is omnidirectional and works through walls and cabinets. IR capability is included for those with Universal Learning Remote Controls for consolidated integration into existing systems. The volume control, balance adjust, input switching, and iPod interface commands are all on the RF/IR Remote Control. Additionally user can perform the MUTE, DIM, INSERT and STANDBY commands with the Remote Control.
Each INPUT can be individually level trimmed to match and to optimize system gain staging of various input devices.
The fancy blue LED displays surrounding the INPUT and VOLUME encoder knobs can be dimmed down or turned off entirely, after a user-settable time period, or a screen-saver random light sequence can be selected. Speed and intensity of the Starlight mode can be tweaked to taste.
All custom user settings are hard written into memory when the unit is put into STANDBY mode and thus retained if power is later interrupted.
Individual sealed gold contact relays deliver the selected input into the volume control system before hitting the first 12AT7 input tubes. Following the mighty 6414 driver/phase splitter, the trusty EL84 output stage can be switched between either 20 watts of TRIODE power or 40 watts of Ultra Linear mode push-pull operation. Individual bias for each tube is easily adjusted using the trimpots and test points, conveniently located on the top surface of the amplifier. The Stingray's power supply is extra-rugged and stiff, a MANLEY hallmark. It swims with the sharks: fast, agile, fluid, and with consummate authority.
Post-volume SUBWOOFER OUTPUT allows easy hookup of outboard line-level driven active powered subwoofers. This output is after the volume control so that the subwoofer will track the volume level changes of the main speakers. The SUB OUTPUT is a line level and full frequency output that is AFTER the volume control so your powered subwoofer follows the same volume as your main speakers. These are unbalanced RCA jacks, line level. They feed the line inputs of your subwoofer, NOT the speaker jacks. A switchable TAPE LOOP is standard. The TAPE SEND is the output of the selected input before the volume control. The TAPE RETURN can also be used as a 5th line input if needed.
RECORD OUT (aka Tape OUT) is BEFORE the volume control so you can record whatever input you have selected without your listening level affecting the level going to your recorder. These are unbalanced RCA's. It is UNbalanced RCA's and UNbuffered so check out the input Z to your recorder to make sure it won't load down the Stingray main input while it is plugged in. Usually with unbuffered record outs we recommend you only plug in your recorder only when you are actually recording...
Tape LOOP: Also known as an INSERT point, the SEND or Tape Out comes off the selector switch as the Record Out option does going to your outboard EQ or Merlin BAM unit or tape recorder and then the signal returns (RETURN) to the Stingray in front of of the volume control so you can play tunes. A toggle switch selects whether the Tape LOOP (and whatever is plugged into the Tape Loop) is active or the signal goes straight through the Stingray as normal. If you have the Merlin BAM system, order your Stingray with the Tape LOOP option.
Need more than four inputs? Get a SKIPJACK line switcher and run it into this LOOP RETURN: The SKIPJACK is perfect for adding more inputs to anything. So if you use a SKIPJACK's 4 stereo inputs plus the Stingray's 4 stereo inputs you'll get 8 stereo inputs total. The way to do that is to consider the TAPE LOOP: you can bring the SKIPJACK output into the LOOP RETURN, enact the LOOP ACTIVE switch and use the 4 x SKIPJACK inputs feeding the LOOP RETURN with the SKIPJACK controlling source switching for those 4 inputs. Then if you put the Stingray's LOOP switch to BYPASS you will be working with the 4 x Stingray inputs selectable on the Stingray. That gives you 8 total stereo inputs.
Or if you do not want to use the TAPE LOOP feature (because you are using it for other purposes) or if you have an older Stingray without the TAPE LOOP, you can use a SKIPJACK to get up to 7 stereo line inputs by running the SKIPJACK's output into one of the Stingray's inputs.
NOTE: The SUBWOOFER OUT, RECORD OUT, and TAPE LOOP are all passive. So are the BALANCE and VOLUME controls also passive. No active electronics or buffers are used in these circuits. The RECORD OUT comes straight off the input select switch. So whatever source is selected will show up passed through at the TAPE OUT.
iPod can play songs with the these sample rates, and with all compatible codecs
- 8 kHz
- 11.025 kHz
- 16 kHz
- 22.050 kHz
- 32 kHz
- 44.1 kHz
Most iPods (except the iPod Shuffle) will play WAV and AIFF files. The iPod will play up to 16 bit/48kHz files.
iTunes is not compatible with FLAC format files without a third party plugin.
iTunes does support 24/96 wav files. iPod won't play them, but iTunes does support them.
iTunes can in fact output 24/96 digitally, so in theory you could actually assemble a hi-rez music server based on iTunes, and use it to drive the DAC of your choice. Thus using your iPod docked on your Stingray iTube you can play WAV files which will yield similar audio quality to CD.
With the Stingray, the MANLEY team has struck a remarkably harmonious balance in design which satisfies the sonic desires of the audiophile and the rocker, the artist and the musician, the student and the master, the yin and the yang.$6,300.00Manley Stingray iTube Stereo Integrated Amplifier Buy Now