Mini Lp - Product Search

Equal parts Coltrane, Miles, Cream, and Hendrix, The Inner Mounting Flame was a shot across the bow of pop, a stunning instrumental mix of modern jazz, psychedelic blues, and Indian mysticism. From the opening bell of the title tune, with it's roiling intro, bold cross-rhythms and soaring guitar-violin unisons over a churning 6/4 pulse, this is clearly not your father's Oldsmobile. On furious arrangements such as "The Noonward Race" and "Vital Transformation, " you can hear guitarist John Mclaughlin and violinist Jerry Goodman toying with the round-robin, rhythmic/melodic dialogs that defined their live performances, keyed by drummer Billy Cobham's remarkable backbeats swing and keyboardist Jan Hammer's harmonically expanding yet simple vamps. Rick Laird keeps everyone grounded with simple, rocksteady basslines, giving the tricky odd meters and complex blues variations of arrangements such as "Dance of the Maya" a strong rhythmic anchor. Yet the band was also capable of great subtlety, from the supple rhythmic cycles of "You Know, You Know" to the acoustic folk airs of "A Lotus On Irish Streams." --Chip Stern

Japanese 24-bit remastered reissue features a 10 track bonus CD.Long before they became The Band, these four Canadians and one southern rebel rocked the rooftops off Canada as The Hawks, Ronnie Hawkins's fierce back-up band. Their non-stop performing took them through nearly every bar in the region, and the group developed into a tightly wound rock unit. It is therefore interesting that, as The Band, the group was known more for its reluctance in the live arena than for its live prowess. This was in part due to leader Robbie Robertson's stage jitters, which seemed to worsen as The Band's status swelled. ROCK OF AGES provides a telling account of what glorious heights The Band was capable of when it tore loose onstage.Here the five members function as one shifting, interlocking force, summoning Americana, phantom soul, and barroom rockers with ease and freedom. Garth Hudson conjures pure organ voodoo with an impromptu instrumental, "The Genetic Method, " before the band launches into the otherworldly "Chest Fev

Equal parts Coltrane, Miles, Cream, and Hendrix, The Inner Mounting Flame was a shot across the bow of pop, a stunning instrumental mix of modern jazz, psychedelic blues, and Indian mysticism. From the opening bell of the title tune, with it's roiling intro, bold cross-rhythms and soaring guitar-violin unisons over a churning 6/4 pulse, this is clearly not your father's Oldsmobile. On furious arrangements such as "The Noonward Race" and "Vital Transformation, " you can hear guitarist John Mclaughlin and violinist Jerry Goodman toying with the round-robin, rhythmic/melodic dialogs that defined their live performances, keyed by drummer Billy Cobham's remarkable backbeats swing and keyboardist Jan Hammer's harmonically expanding yet simple vamps. Rick Laird keeps everyone grounded with simple, rocksteady basslines, giving the tricky odd meters and complex blues variations of arrangements such as "Dance of the Maya" a strong rhythmic anchor. Yet the band was also capable of great subtlety, from the supple rhythmic cycles of "You Know, You Know" to the acoustic folk airs of "A Lotus On Irish Streams." --Chip Stern

If pure sound had the capability to project images on a blank wall, MiniMansions would be worthy projectionists. On a break from Queens ofthe Stone Age, Michael Shuman melded heads and locked arms withlongtime friends Tyler Parkford and Zach Dawes in a dusty room in theSan Fernando Valley. Here, they began a collaborative séance out ofwhich birthed Mini Mansions in January of 2009. Though their triangleis usually confined to piano, bass, and a cocktail drum kit, the LAbasedtrio generates a Technicolor spectrum of sound drawn from thebaroque, gothic, psychedelic, and cinematic realms. Their debut selftitledrelease, due out this fall via Rekords Rekords, curtseys to thepast, bows to the present, and foreshadows a progressively moreabstract future.Released in conjunction between Ipecac Records and Homme sown Rekords Rekords, Shuman considers Mini Mansions tosound completely different than anything that s coming out rightnow, and it s something special. The ingenuity of the MiniMansions sound is not a teaser-trailer or a sizzle reel, but thegrainy film, vintage color, and flickering light make for a whollyoriginal experience.

Limited edition Japanese pressing of this album comes housed in a miniature LP sleeve. VIvid. 2006.

If pure sound had the capability to project images on a blank wall, MiniMansions would be worthy projectionists. On a break from Queens ofthe Stone Age, Michael Shuman melded heads and locked arms withlongtime friends Tyler Parkford and Zach Dawes in a dusty room in theSan Fernando Valley. Here, they began a collaborative séance out ofwhich birthed Mini Mansions in January of 2009. Though their triangleis usually confined to piano, bass, and a cocktail drum kit, the LAbasedtrio generates a Technicolor spectrum of sound drawn from thebaroque, gothic, psychedelic, and cinematic realms. Their debut selftitledrelease, due out this fall via Rekords Rekords, curtseys to thepast, bows to the present, and foreshadows a progressively moreabstract future.Released in conjunction between Ipecac Records and Homme sown Rekords Rekords, Shuman considers Mini Mansions tosound completely different than anything that s coming out rightnow, and it s something special. The ingenuity of the MiniMansions sound is not a teaser-trailer or a sizzle reel, but thegrainy film, vintage color, and flickering light make for a whollyoriginal experience.

Personnel: Steve Arrington (vocals, drums); Curt Jones, Starlena Young (vocals).Audio Mixer: Jimmy Douglass.Audio Remixer: Jimmy Douglass.Recording information: Atlantic Studios, New York, NY; House Of Music, West Orange, NJ; Power Station, New York, NY.Photographer: Anthony Barboza.Arrangers: Slave; Steve Washington .In 1977, Slave's self-titled debut album (which boasted the number one R&B smash "Slide") earned the Dayton outfit a reputation for playing sweaty, aggressive, in-your-face funk. But when Slave provided its fourth album, Just a Touch of Love, in 1979, it was clear that the Midwesterners were determined to soften their approach. "Funky Lady (Foxy Lady), " "Roots, " and the hit title song (all of which boast Steve Arrington on lead vocals) are definitely the work of a smoother, sleeker Slave -- and yet, the band still had plenty of grit. This excellent album left no doubt that Slave was still a funk band, although it wasn't as in-your-face as the Slave that gave listeners "Slide" and "Screw Your Wig

Title: RE TOUCH Format: CD Primary Artist: John stevens- allan holdsworth- jeff young- ron mathewson- barry guy LABEL: BELLE BELLE 081459 1977 REMASTERED JAPANESE MINI LP

Blue Cheer: Dick Peterson (vocals, bass); Leigh Stephens (guitar); Paul Whaley (drums).Recorded at Amigo Studios, North Hollywood, California.2 LP's on 1 CD: VINCEBUS ERUPTUM (1968)/OUTSIDEINSIDE (1968).This is an Emhanced CD, which contains both regular audio tracks and multimedia computer files.Blue Cheer: Dick Peterson (vocals, bass); Leigh Stephens (guitar); Paul Whaley (drums).Includes bonus tracks.Blue Cheer: Dickie Peterson (vocals, bass); Leigh Stephens (guitar); Paul Whaley (drums).Recorded at Amigo Studios, North Hollywood, California.Personnel: Dickie Peterson (vocals, guitar); Bruce Stephens, Leigh Stephens (guitar); Paul Whaley (drums).Recording information: Amigo Studios, Los Angeles, CA.Photographer: John Van Hamersveld.The thing to remember about Blue Cheer is that when VINCEBUS ERUPTUM came out in 1968, it seemed the height of effrontery until the Stooges showed up and took things even further. Who did these three guys think they were, harshing everyone's mellow with the loudest, noisiest, he

Release Date: 2007-04-30, Audio CD, Frontiers Italy

The Lester Young Story is a masterly, four-disc box set of classic recordings that follows Lester Young's career from his very first session, a small band date with Count Basie in 1936, to a star-studded live concert with, among others, Charlie Parker, Roy Eldridge, and Buddy Rich in 1949. This isn't the whole story, of course, because Young lived and worked for another 10 years, but it covers the period when he was at the height of his Powers, and it is packed with glorious music. To pick out just a few gems: the amazing "Lady Be Good, " the record that first announced Young's arrival to an astonished jazz world, and five numbers in which he partners the young Billie Holiday with exquisite delicacy and taste. Elsewhere, there are most of his show-stopping solos with Basie's band, in numbers like "Tickle Toe" and "Taxi War Dance, " and a generous selection from his informal small-band sessions with players such as Buck Clayton, Dickie Wells, and Charlie Christian, including a rare extract from the soundtrack of the 1944 movie Jammin' the Blues. The last disc consists of tracks from Young's early post-war career, when, unlike many of his contemporaries, he was enjoying the stimulus provided by the younger generation of bebop musicians. Because the tracks are arranged in chronological order, it is fascinating to follow him through his life during these 13 years and hear him responding to the rapidly changing world around him. The 15 months he spent in the U.S. Army affected him badly, but they certainly did not destroy his talent, as some commentators have claimed. The final, joyful rendition of "Lester Leaps In" with Charlie Parker and the Jazz at the Philharmonic team proves that beyond a doubt. --Dave Gelly

This CD gathers all of Dexter Gordon's recordings as a leader for Savoy, with one session each from 1945 and 1946 and two from December 1947. Gordon had already worked in the bands of Lionel Hampton, Louis Armstrong, and Billy Eckstine, and he was among the very first players to adapt the innovations of Charlie Parker to the tenor saxophone, creating his own voice out of an amalgam of Parker and Lester Young. Gordon's sound was already his own, a harder-edged tenor sound with very little vibrato, and there's evidence as well of the striking harmonic imagination that would later influence John Coltrane. Ballads like "I Can't Escape from You" and "Dexter's Mood" show Gordon's romantic side, but it's the bop tunes that most clearly chart his rapid evolution. Two of bop's most brilliant--and doomed--players make substantial appearances here. Pianist Bud Powell is present on the eight takes from 1946, adding Tatum-esque filigree to the ballad and driving, incandescent play to the other tracks, prodding, testing, and usually exceeding the horns. Trumpeter Fats Navarro appears on the final session, along with composer-pianist Tadd Dameron, and it's once again apparent that he was Dizzy Gillespie's only serious rival among bop trumpeters. Whether it's the presence of a working band or growing maturity, Gordon is at his best on "Index" and "Dextivity, " with a relaxed drive and full command of his substantial ideas. While most of the tracks are around three minutes--the compressed jolts of bop energy dictated by the limited playing time of the 78--"Settin' the Pace, " originally divided over two sides, is nearly six minutes. It's a saxophone chase with baritonist Leo Parker, in the same vein that Gordon explored to great acclaim with Wardell Grey. The wealth of alternates includes several issued for the first time, among them tracks with Powell and Navarro. --Stuart Broomer

Captain & Tennille dominated in 1976, with this brilliant follow-up to their debut. Another top-10 album, SONG OF JOY was the duos’ best-selling LP and garnered three top 5 singles on the Billboard Hot 100 (all of which went to #1 on the adult contemporary charts.) These were "Lonely Night (Angel Face), " "Shop Around" and that little song about Suzie & Sam, "Muskrat Love." Deluxe packaging, including new 2005 liner notes by Toni Tennille and digitally remastered under the supervision of the Captain himself!

King Crimson: Gordon Haskell (vocals, bass); Robert Fripp (guitar, Mellotron, electric keyboards); Mel Collins (flute, saxophone); Andy McCulloch (drums); Peter Sinfield.Additional personnel: Jon Anderson (vocals); Robin Miller (oboe); Mark Charig (cornet); Nick Evans (trombone); Kevin Tippet (piano).LIZARD can be seen as the third album in the trilogy that makes up Crimson's first phase, which began with IN THE COURT OF THE CRIMSON KING. The musical and lyrical concepts are more complex than on the first two albums, the arrangements more elaborate. Pete Sinfield's lyrics, already full of surreal mystical imagery, changed by turns more inaccessible and slightly psychedelic. Horns play a much larger role on LIZARD, the horn section injecting some punch into the production, and Mel Collins' flute and sax emerging as an important solo voice.Things turn slightly harsher on tracks like "Indoor Games, " a catalogue of people's private indiscretions, and "Happy Family" an allegory obviously about the then-current bre

24 TRACKS: 1) The Heptones - Hypocrite 2) Nicky Thomas - Have A Little Faith 3) Prince Williams - Channel 7 (With Nicky Thomas) 4) Earth And Stone - Ring Craft 5) Snuffy And Wallie - Dreader Mafia 6) Jackie Brown - People Of Today 7) Keith Blake - Wooh Oh Oh 8) Delroy Wilson - Baby I Need Your Loving 9) Scotty - We're Gonna Fight 10) Alton Ellis - Knock On Wood 11) Nicky Thomas - Mamas Song 12) The Heptones - Freedom To The People 13) U Roy - Freedom Train (With The Heptones) 14) Little Joe - Dreadlocks Party (With Dennis Brown) 15) Joe Gibbs & The Professionals - Dreadlocks Affair 16) Michael Campbell - Friend And Money (With Dennis Brown) 17) Big Youth - A So We Stay (With Dennis Brown) 18) Lizzy - Sounds Called Aquarius 19) Errol Scorcher - Dj Spirit 20) Prince Francis - Rockin Down Old York Way 21) The Versatiles - Warricka Hill 22) The Inspirations - Sweet Senssations 23) Court Matchuki - It Is (Matchuki's Cooking) 24) The Happs - In Heaven There Is No Beer

This CD gathers all of Dexter Gordon's recordings as a leader for Savoy, with one session each from 1945 and 1946 and two from December 1947. Gordon had already worked in the bands of Lionel Hampton, Louis Armstrong, and Billy Eckstine, and he was among the very first players to adapt the innovations of Charlie Parker to the tenor saxophone, creating his own voice out of an amalgam of Parker and Lester Young. Gordon's sound was already his own, a harder-edged tenor sound with very little vibrato, and there's evidence as well of the striking harmonic imagination that would later influence John Coltrane. Ballads like "I Can't Escape from You" and "Dexter's Mood" show Gordon's romantic side, but it's the bop tunes that most clearly chart his rapid evolution. Two of bop's most brilliant--and doomed--players make substantial appearances here. Pianist Bud Powell is present on the eight takes from 1946, adding Tatum-esque filigree to the ballad and driving, incandescent play to the other tracks, prodding, testing, and usually exceeding the horns. Trumpeter Fats Navarro appears on the final session, along with composer-pianist Tadd Dameron, and it's once again apparent that he was Dizzy Gillespie's only serious rival among bop trumpeters. Whether it's the presence of a working band or growing maturity, Gordon is at his best on "Index" and "Dextivity, " with a relaxed drive and full command of his substantial ideas. While most of the tracks are around three minutes--the compressed jolts of bop energy dictated by the limited playing time of the 78--"Settin' the Pace, " originally divided over two sides, is nearly six minutes. It's a saxophone chase with baritonist Leo Parker, in the same vein that Gordon explored to great acclaim with Wardell Grey. The wealth of alternates includes several issued for the first time, among them tracks with Powell and Navarro. --Stuart Broomer

On its debut album, Kansas leavened its progressive rock complexity, with relatively concise hard-rock tunes. The follow-up, SONG FOR AMERICA, finds both elements still in play, but prog rock definitely dominates. Like its predecessor, SONG FOR AMERICA opens up with a simple, heavy rocker, but then wastes no time leaping into the Yes-influenced breach with the 10-minute epic title track. Aside from the anomalous "The Devil Game, " which sounds like a Bad Company outtake, the rest of the album finds Kansas headed straight for art-rock glory, as tricky syncopation, swirling synthesizers, and fiery fiddle dart in and out of willfully dense arrangements, often following classical-inspired structure. The album's final song (followed here by a couple of bonus cuts) is one of Kansas's most accomplished pieces, a strikingly complicated suite endearingly titled "Incomudro - Hymn to the Atman" that sounds pretty European for a bunch of boys from Midwestern farm country.

In January 1971, Elvis was well and truly back and on top of his game. During 1970, he chalked up no less than 4 Platinum and 3 Gold album awards and 5 Gold singles. As if this sales achievement wasn't enough, on January 16, he was given the award as one of the "Top Ten Young Men of The Year" by the United States Jaycees. His new album Elvis Country released that same month received critical acclaim. In an outstanding review for Rolling Stone, biographer Peter Guralnick said: "... Elvis Presley has come out with a record which gives us some of the very finest and most affecting music since he first recorded for Sun almost 17 years ago."Elvis Country is, obviously, a return to roots. But it's the singing, the passion and engagement most of all which mark this album as something truly exceptional. All thefamiliar virtues are there. The intensity. That peculiar combination of hypertension and soul. There is even, for those who care to recall, a frenzied recollection of what the rock era once was, as Elvis takes on Jerry Lee Lewis' masterful "Whole Lot-ta Shakin' Goin' On" and comes out relatively unscathed. He has never sung better.Elvis Country received an RIAA Gold certification and spent 21 weeks on the Billboard album chart. The single "I Really Don t Want To Know" c/w "There Goes My Everything" reached #9 and #21 on the Billboard country and pop charts respectively. The June 1971 follow-up studio album Love Letters From Elvis also contains songs recorded during the historic four-day Nashville session that spawned Elvis Country, including "Got My Mojo Working" and "Life" (Billboard #53).This new 2-CD Legacy Edition features both these classic original albums plus 6 bonus tracks, including the full version of "I Was Born About Ten Thousand Years Ago, " the studio jam "A Hundred Years From Now" and the single "Where Did They Go, Lord" c/w "Rags To Riches, " which reached #33 on the Billboard chart.

The Beatles: John Lennon (vocals, acoustic & electric guitars, harmonica, piano, harpsichord, organ, clavioline, Mellotron, maracas, tambourine, tape loops); George Harrison (vocals, guitar, violin, harmonica, Hammond organ, timpani, congas, firebell, tambourine, tabla); Paul McCartney (vocals, guitar, flute, recorder, piano, acoustic & electric basses, bongos, congas); Ringo Starr (vocals, drums, maracas, tambourine, finger cymbals, tape loops).Additional personnel includes: Dave Mason (piccolo, trumpet); Philip Jones (trumpet); George Martin (piano); Mal Evans (tambourine); Mick Jagger, Gary Leeds, Keith Richards, Marianne Faithfull, Jane Asher, Patti Harrison, Keith Moon, Graham Nash (background vocals).Recorded at Abbey Road Studios, Olympic Sound Studios, De Lane Lea and Chappell Recording Studios, London, England between November 24, 1966 and November 7, 1967.The first six songs on MAGICAL MYSTERY TOUR were the soundtrack to the Beatles' TV movie of the same name. The film was an experimental mess, but