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On The Beach
Used Import - K 54014
1974 UK import with custom inner jacket "Wallpaper" artwork and custom inner sleeve. The Album Features An Atmospheric Sound And Deeply Personal Lyrics That Reflect The Artist's Disillusionment With The Music Industry And Fame. The Album's Highlights Include The Haunting Title Track, The Catchy "Walk On," And The Politically Charged "Revolution Blues." "On The Beach" Would Be Considered A Deep Catalog Release But A Worthwhile Listen. The UK production of "On the Beach" is notable for its minimalist approach, which allows the emotional depth of the songs to resonate more profoundly. It's a highly recommended listen. The album's simplicity is underscored by its use of sparse arrangements and an organic sound, a contrast to some of the more polished productions of the time. This choice emphasizes the authenticity of Young's artistic expression, making the listening experience intimate and immersive. "On the Beach" has grown in stature over the years, appreciated for its honesty and artistic bravery, and remains a significant work in Neil Young's discography. ...
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Emotions
Used - 12 - DMSR8701-1
Signed 2024 12" EP, 33rpm on rare red/black swirl vinyl. Cover contains original Egyptian Lover hand drawn artwork. Includes the songs "Emotions", "Emotional" (Instrumental) & "Dirty Passionate Yell" & "Dirty Music" (Instrumental) from his 4th coming album. The songs feature his distinctive electro sound that the artist is known for. Egyptian Lover, a pioneer in the Los Angeles dance music scene, has consistently infused his tracks with a blend of hip-hop and electronic influences. "Emotions" showcases his signature use of analog synthesizers and drum machines, creating a sound that is both nostalgic and innovative for its time. T ...
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Where The Light Is: John Mayer Live In Los Angeles
Box Set - New - MOVLP444
Sealed 2012 4LP 180gm Audiophile Reissue From Music On Vinyl. Custom Black MOV Hype Sticker On Shrink. "Recorded at the Nokia Theater in Los Angeles, California, Where the Light Is: John Mayer Live in Los Angeles finds singer/songwriter and guitarist John Mayer performing in three different band settings: acoustic trio, electric trio, and large ensemble. As such, the evening works as a nice representation of Mayer's work beginning with the 2003 album Heavier Things and continuing through his creative reinvention as a modern electric blues artist with 2005's Try! John Mayer Trio Live in Concert and finally his smash Grammy-winning 2006 effort, Continuum. Essentially, the concert is designed to showcase Mayer's ability to move from melodic soft rock and pop to folky solo numbers and rockin' blues. Generally, the conceit works and the concert does shine a light, so to speak, on Mayer's virtuosic musical chops. However, segmenting this concert into such specific aesthetic sounds loses some of the diverse flow a Mayer concert usually has. It should be noted that the concert is also available on DVD and Blu-ray, where you get see each band and appreciate the diversity among the ensembles. That said, for fans of Mayer the songwriter, you really can't lose, as the guy is hard-pressed to come up with a bad song, and tracks like the fan favorite "Daughters" and the bittersweet "Stop This Train" really benefit from the acoustic reading Mayer gives them here. Similarly, by putting "'Who Do You Think I Was," "Vultures," and his inspired take on Jimi Hendrix's "Bold as Love" in the middle electric trio section, Mayer builds the energy of the concert, perfectly setting up the pop/blues cornucopia of the final large ensemble set. Beginning with the hit "'Waiting on the World to Change," Mayer's last set (on disc two) is really the set most fans will gravitate toward, as it finds Mayer and his backing group of stellar sideman diving headlong into such soulful numbers as "Why Georgia" and "I Don't Trust Myself (With Loving You)," while also making room for such bluesy nuggets as his Stevie Ray Vaughan-inspired reworking of the Ray Charles hit "I Don't Need No Doctor" (a number heard on John Scofield's That's What I Say with Mayer as guest). Admittedly sprawling and ambitious, Where the Light Is is nonetheless a dynamic showcase for Mayer, who never fails to shine." All Music Guide - Matt Collar ...
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Blind Melon
New Import - MOVLP1100
Sealed 2014 180gm audiophile reissue from Music On Vinyl. Custom black MOV hype sticker on shrink. "Managing to be equally mellow and introspective as well as rough and rocking, Blind Melon's 1992 self-titled debut remains one of the purest sounding rock albums of its era, completely devoid of '90s production tricks. While Blind Melon were never the toast of the critics, their self-titled 1992 debut has held up incredibly well over time, resembling a true rock classic. For reasons unknown, the late Shannon Hoon was, unfairly, usually the brunt of reviewers' criticisms, yet his angelic voice and talent for penning lyrics that examined the ups and downs of everyday life were an integral part of Blind Melon's sound, as well as the band's supreme jamming interplay. The most renowned song remains the uplifting hit "No Rain," but the whole album is superb -- the homesick rocker "Tones of Home," the desperate "I Wonder," the epic album closer "Time," and the gentle acoustic strum of "Change," which included lyrics that turned out to be sadly prophetic for Hoon. Other highlights are a song inspired by the homeless ("Paper Scratcher"), "Sleepyhouse," which describes the feeling of isolation the band felt recording the debut in a secluded residence, and the retro (yet refreshing) sounds of "Soak the Sin" and "Dear Ol' Dad." Although the album started out slow sales-wise, constant touring and the success of "No Rain" one year after the debut's initial release proved to be Blind Melon's breakthrough success, eventually almost topping the charts and going multi-platinum." All Music Guide - Greg Prato ...
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Safe As Milk
New Import - MOVLP343
Sealed 2017 2LP 180gm Audiophile Reissue From Music On Vinyl. Custom Black MOV Hype Sticker Affixed To Resealable Sleeve. "Beefheart's First Proper Studio Album Is A Much More Accessible, Pop-inflected Brand Of Blues-Rock Than The Efforts That Followed In The Late '60s -- Which Isn't To Say That It's Exactly Normal And Straightforward. Featuring Ry Cooder On Guitar, This Is Blues-Rock Gone Slightly Askew, With Jagged, Fractured Rhythms, Soulful, Twisting Vocals From Van Vliet, And More Doo Wop, Soul, Straight Blues, And Folk-Rock Influences Than He Would Employ On His More Avant-Garde Outings. "Zig Zag Wanderer," "Call On Me," And "Yellow Brick Road" Are Some Of His Most Enduring And Riff-Driven Songs, Although There's Plenty Of Weirdness On Tracks Like "Electricity" And "Abba Zaba". All Music Guide - Richie Unterberger ...
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Who's Next
New - LP - 4506666
Sealed 2023 Abbey Road half-speed remaster with Obi style hype strip. Custom hype sticker on shrink. "Much of Who's Next derives from Lifehouse, an ambitious sci-fi rock opera Pete Townshend abandoned after suffering a nervous breakdown, caused in part from working on the sequel to Tommy. There's no discernable theme behind these songs, yet this album is stronger than Tommy, falling just behind Who Sell Out as the finest record the Who ever cut. Townshend developed an infatuation with synthesizers during the recording of the album, and they're all over this album, adding texture where needed and amplifying the force, which is already at a fever pitch. Apart from Live at Leeds, the Who have never sounded as LOUD and unhinged as they do here, yet that's balanced by ballads, both lovely ("The Song Is Over") and scathing ("Behind Blue Eyes"). That's the key to Who's Next -- there's anger and sorrow, humor and regret, passion and tumult, all wrapped up in a blistering package where the rage is as affecting as the heartbreak. This is a retreat from the '60s, as Townshend declares the "Song Is Over," scorns the teenage wasteland, and bitterly declares that we "Won't Get Fooled Again." For all the sorrow and heartbreak that runs beneath the surface, this is an invigorating record, not just because Keith Moon runs rampant or because Roger Daltrey has never sung better or because John Entwistle spins out manic basslines that are as captivating as his "My Wife" is funny. This is invigorating because it has all of that, plus Townshend laying his soul bare in ways that are funny, painful, and utterly life-affirming. That is what the Who was about, not the rock operas, and that's why Who's Next is truer than Tommy or the abandoned Lifehouse. Those were art -- this, even with its pretensions, is rock & roll." All Music Guide - Stephen Thomas Erlewine ...
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Made Up Mind
New - LP - MOVLP902
Sealed, latest press of the 2013 180gm audiophile pressing from Music On Vinyl. Gatefold jacket, custom black MOV sticker affixed to resealable sleeve. "Made Up Mind, the second studio album from the Tedeschi Trucks Band, contrasts considerably with Revelator in that it showcases the strength of an 11-piece band willing to experiment as they assimilate inspirations -- from Stax, Muscle Shoals, Motown, Delaney & Bonnie, blues, and jazz -- and incorporate their various experiences into a new whole. Co-produced by Derek Trucks and Jim Scott, there is an increased emphasis on songwriting and more sophisticated arrangements. At the behest of Sony, Susan Tedeschi and Trucks invited other songwriters (some old friends) to contribute to these songs, adding perspective. They include Doyle Bramhall II, John Leventhal, Gary Louris, Eric Krasno, and Sonya Kitchell. Tedeschi's voice has developed into one of the most expressive in modern music; she receives outstanding choral support from Mike Mattison and Mark Rivers. Trucks' lead and slide guitar playing have evolved, creating new possibilities for the instrument; it remains the anchor of musical direction for this massive ensemble, that also boasts a horn section, keyboards, two drummers, and four alternating bassists. It always stands out, but rarely dominates. The title opener is a roaring blues-rock boogie. Tedeschi wails atop punchy gospel piano from Kofi Burbridge and a ripping slide guitar solo with horns blazing. A funky clavinet introduces the Sly Stone-inspired "Misunderstood." Trucks' silvery wah-wah guitar drives chunky horn fills, a grooving B-3, and tough vocal exchanges between the vocalists. Tedeschi and Saunders Sermons duet on the fingerpopping soul tune "Part of Me," which recalls Motown's early years; his sweet falsetto is the perfect foil for her grainy contralto. Trucks' guitar fills accent the call and response vocals in the second half, and the Northern soul melody is contrasted by a grittier Stax-style horn chart. The ballads -- the spiritually poignant "It's So Heavy" and the devastating, broken love song "Sweet and Low" -- with their subtleties and canny arrangements display a real TTB strength. It is no mean feat to deliver music this intimate and personal with such a large ensemble. On the rockers, everybody is engaged at a heightened level, as in the funky, grimy, blues-rock strut of "Whiskey Legs" and the off-the-rails roil of "The Storm." On the latter, hard rock, blues, and jazz intertwine, and Trucks gets the opportunity to spiral off into the exploratory void. Closer "Calling Out to You" is simply his National steel guitar caressing Tedeschi's voice in a tender love song. Made Up Mind is tight, though it maintains the gritty, steamy, Southern heart displayed on Revelator, though on some level it feels just a bit restrained. Everything these players have assimilated throughout their individual careers is filtered through the group consciousness. When it expresses itself fully, historical and cultural lineages are questioned and answered in their dialogue. It's a sound that is instantly recognizable, sure, but it also offers a nearly limitless set of sonic possibilities. three years in, this is the sound of a band that's just getting started. Watch out." All Music Guide - Thom Jurek ...
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Ronnie McNeir
New Import - MOVL 3650
Sealed 2024 180gm audiophile reissue from Music On Vinyl pressed on red colored vinyl limited to 750 copies worldwide! Custom gold hype sticker affixed to resealable plastic sleeve. "Studio wiz Ronnie McNeir's one and only album for RCA -- his follow-up, another self-titled set released on Motown subsidiary Prodigal, didn't come until 1975 -- was laid down when the singer was in his early twenties. McNeir's combination of keyboard flair and sweet and low-key tenor was already in effect, as was a fully developed knack for the conceptual. These 11 songs aren't just sharply conceived songs of heartache and gratitude; they flow into and out of one another as a full piece, sometimes connected by brief interludes -- romantic dialogue with Kim Weston, for instance. A surprising level of maturity is there as well, with "Daddy's Coming Home" standing out the most in that respect. Deeply regretful about having to be away in order to provide, he addresses a son who is also caught in the middle of a broken relationship: "Me and your mama, we just couldn't get along/Please don't hold it against me, 'cause I'll never do you wrong." By no means a commercial success, the album was perhaps too subtle and low-profile for its own good, lacking that one bold single with a snappy chorus to help it stick out, but it is sturdily constructed. It's a fine companion piece to the debut from another Detroit product, the first self-titled album from Leon Ware, also released in 1972. (Ware coincidentally co-wrote this album's "Trouble's a Loser.") [Dusty Groove issued the album on CD for the first time in 2009.]" All Music Guide - Andy Kellman ...
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Good
New Import - MOVLP2816
Sealed 2021 180gm Audiophile Reissue From Music On Vinyl. Custom Black MOV Hype Sticker Affixed To Resealable Plastic Sleeve. "While It May Not Be As Stellar As Their Future Releases Would Be, Morphine's Debut Album, 1992's Good, Did A Splendid Job Of Introducing The Boston Trio's Highly Original Sound. While It Was The Alternative Crowd Who Immediately Latched Onto Morphine, Their Music Was Geared More Toward The Jazz Scene -- A Wailing Saxophone, Lead Bass (Played With A Slide), And Lyrics Influenced By '50s Beat Poetry Were All-Important Ingredients. The Opening Title Track Remains One Of The Band's Darkest, While Other Selections Are A Bit More Upbeat -- "Have A Lucky Day" And The Inappropriately Titled "The Saddest Song"; All The While, The Band Excels At Creating Different Moods With Each Successive Track. Other Highlights Include The Mid-paced "Claire" And "The Only One," The Slight Salsa Feel Of "You Speak My Language," The Frantic "Test-Tube Baby/Shoot'm Down," And The More Calm And Sultry "You Look Like Rain." On Their Next Release, Cure For Pain, Morphine Would Improve Further On The Strength Of Their Songwriting And Cutting-edge Sound, But Good Still Contains More Than A Few Standouts." All MusiC Guide - Greg Prato ...
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Crosby, Stills & Nash
New Import - R1 8229
Sealed, latest press of the 2009 180gm EU reissue. Custom "Back To Vinyl" hype sticker on shrink. "The Crosby, Stills & Nash triumvirate shot to immediate superstardom with the release of its self-titled debut LP, a sparkling set immortalizing the group's amazingly close, high harmonies. While elements of the record haven't dated well -- Nash's Eastern-influenced musings on the hit "Marrakesh Express" now seem more than a little silly, while the antiwar sentiments of "Wooden Ships," though well-intentioned, are rather hokey -- the harmonies are absolutely timeless, and the best material remains rock-solid. Stills' gorgeous opener, "Suite: Judy Blue Eyes," in particular, is an epic love song remarkable in its musical and emotional intricacy, Nash's "Pre-Road Downs" is buoyant folk-pop underpinned by light psychedelic textures, and Crosby's "Long Time Gone" remains a potent indictment of the assassination of Robert Kennedy. A definitive document of its era." All Music Guide - Jason Ankeny ...
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