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viewing 1 To 11 of 11 items
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CS 9217C-LP
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2023 repress. Color vinyl reissue of the first album of Delta blues legend Son House on the Columbia label, originally released in 1965. Canned Heat founding member Al Wilson appears. Includes the 9+ minute closing track "Levee Camp Moan."
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LP
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CS 34396CLP
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2024 restock; reissue -- originally released in 1976. Color vinyl, 180 gram. "Water Babies is a compilation album by American jazz trumpeter Miles Davis. It compiled music Davis recorded in studio sessions with his quintet in 1967 and 1968, including outtakes from his 1968 album Nefertiti and recordings that foreshadowed his direction on In a Silent Way (1969), while covering styles such as jazz fusion and post-bop. Water Babies was released by Columbia Records in 1976 after Davis had (temporarily) retired." Personnel: Miles Davis, Trumpet; Wayne Shorter, Soprano Saxophone; Herbie Hancock, Piano; Ron Carter, Bass; Tony Williams, Drums; Chick Corea, Electric Piano; Dave Holland, Bass; Teo Macero, Producer
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LP
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MS 7317HLP
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2024 repress. "A student of electronic music, experimental composition, acoustics, psychology, Indian music and more in the 60s, Joe Byrd blended electronics with psychedelic rock in a purely entrancing style. 180 gram reissue, originally released in 1969."
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LP
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COL 30131HLP
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2022 restock. Terry Riley (piano, organ, soprano saxophone) & John Cale (bass, harpsichord, piano, guitar, viola, organ) collaborated on this one-off album, released in 1970. At this time, rock music was a serious movement, removed from the joke it once was, quite unaware of the joke it would eventually become, and things like this sometimes happened. Cale, classically trained on the viola, must have been pretty pleased to get a shot to record with the '60s king of minimalist pulse, Terry Riley. The album features 4 collaborative tracks between the two; while maybe not earth-shattering, they are quite fine for horizontal home listening pleasure at just about any hour of the day. Instrumental jams, mixing the styles of the two players pretty evenly (if you're vaguely awake, you can imagine this easily). The fifth track is a psychedelic pop masterpiece by Cale, "The Soul of Patrick Lee." Exactly why this track is included here has never been adequately explained, but it is about as beautiful as music in song form can get. 180 gram exact repro reissue.
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LP
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CS 8882LP
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Exact repro of this 1963 release from Hammond organist Bill Doggett. Tracks: "Soul Zone," "Without Love," "The Love Of My Man," "Memphis," "The Worm," "One Fine Day," "Monkey".... by the time you reach the end of this piece, you're hearing "Hot Fudge."
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LP
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CS 9987HLP
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2022 restock. 180 gram reissue, originally released in 1970. "Entire genres of music would look and sound vastly different if not for the contributions of Vicksburg, Mississippi's Willie Dixon. A writer of songs such as 'Hoochie Coochie Man', 'Spoonful', and 'My Babe', among so many others, Dixon's songs have gone on to become standards of blues music, after being covered by legends such as Muddy Waters, Howlin' Wolf, and Little Walter, while these same songs served as inspirational templates for the evolution of rock and roll music. Along with Muddy Waters, Dixon is to this day considered one of the most influential figures to the development of the post-World War II music scene.
Dixon originally began as a performer, but as his career as a songwriter and session musician took off he performed less and less, working behind the scenes more frequently. In 1970 however, he entered the studios to record a selection of his own tunes. The end result was titled I Am The Blues, and consisted of songs written during his time as a staff-writer with Chess Records, previously performed by the likes of Waters, Howlin' Wolf, Otis Rush, and Willie Mabon. Dixon was joined by a solid lineup of seasoned session veterans, many of whom had performed as sidemen for the same singers he'd written for. A remarkable collection of new renditions of classic songs, straight from the original source."
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LP
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P 757675HLP
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2023 restock; 180 gram reissue, originally released in 1964. Featuring Charlie Rouse (tenor sax), Butch Warren (bass), Ben Riley (drums) and Thelonious Monk (piano). "It's Monk's Time (1964) contains some of the best -- if not arguably the best -- studio sides that the pianist cut during his final years as a recording musician.... From four sessions in early 1964, It's Monk's Time gathers four quartet and two solo sides, presenting the pinnacle of what these musicians offered stylistically as well as from the standpoint of presentation. There is sense of mischievous playfulness in Monk's nimble keyboard work, especially notable on the beautifully off-kilter unaccompanied opening to 'Lulu's Back in Town,' and the same practically impish quality also drives the solo performance on 'Nice Work if You Can Get It.' Both pop standards are prime examples of the bop pioneer's inimitable approach to arranging, and also provide an uncanny insight to his influences." -- All Music Guide
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LP
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P 757674HLP
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180 gram reissue, originally released in 1969. Arranged and conducted by Oliver Nelson. "Monk's genius shines through on some of the more sensible and sensitive arrangements, such as 'Reflections,' 'Monk's Point,' and the surprisingly tasteful 'Brilliant Corners.'" -- All Music Guide
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LP
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P 751492HLP
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2024 restock; recent 9.0 rating from Pitchfork; 180 gram exact repro reissue, originally released in 1969. "The World of Harry Partch collects three of his best short pieces. 'Daphne of the Dunes' (1967) is a side-long update of 'Windsong' written for dance. The melodic segments are given more emphasis than usual for a Partch piece, and harmonically this is one of his best with arpeggiated glides/cries of the Harmonic Canons evoking our sympathies. Meter changes almost measure by measure, with one section in 31/16 meter; another (polymetric) section consists of 4/4-7/4 over 4/8-7/8! Needless to say, while being very physical, Partch's music isn't something you can easily tap your foot to. What's most important is that it works. Partch was not one to introduce musical complexity merely for its own sake, another factor that separated him from his contemporaries. Not only are the rhythms complex, but they are performed at a frantic pace unequaled by any music I've hard (save perhaps the inhumanly fast player piano pieces of Conlon Nancarrow!). This is characteristic of most of Partch's works, though I think 'Daphne' is one of the most successful and exhilarating. 'Barstow -- Eight Hitchhiker Inscriptions from a Highway Railing at Barstow, California' was composed in 1941 as part of 'The Wayward.' It offers such statements as 'Go to 538 East Lemon Avenue for an easy handout' and 'Looking for millionaire wife...' This charismatic piece is successful due to the contrasting of Partch's intoning voice with others in the ensemble and to increased instrumental emphasis. Last is 'Castor and Pollux' in a more modern performance than From the Music of Harry Partch, with greater vigor and fidelity. The World of Harry Partch is an excellent introduction to his works that comes highly recommended." -- Surface Noise
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2LP
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P 749311HLP
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2023 restock; Gatefold 180 gram vinyl reissue, originally released in 1971. "In this long-awaited masterwork, Harry Partch rises above all attempts at descriptive containment and becomes quite simply heroic. Delusions Of The Fury, proceeding from tragedy to comedy, is nothing less than the full, ritualistic expression, in vocal instrumental and corporeal terms, of the reconciliation by the living both with death and with life. It is a total Partch statement, incorporating voices, mime, his celebrated instruments, dance, lighting and staging, all working to express this philosophical concept. Delusion Of The Fury, as is to be expected, is not cast in the common dramatic/musical mold." -- Eugene Paul
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LP
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P 749408HLP
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2024 restock. 180 gram exact repro reissue of this minimalist masterpiece, originally released in 1969. "All the music on this recording is played by Terry. In 'A Rainbow' he plays electric organ, electric harpsichord, rocksichord, dumbec and tambourine. 'Poppy Nogood' is for soprano saxophone and electric organ. The spatially separated mirror images were adapted for studio recording by Glen Kolotkin and resemble the sound Terry gets in his all-night concerts."
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