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Most Recent Additions to the Vinyl Records DB

Hits From Oh Captain!
Used - 7 - B 2145
1956 US 45rpm 7 inch. Beautiful VG+/++ player in a pristine vibrant picture cover; Tiny lift in paste on art at top edge but likely a manufacturing imperfection. Overall, stellar condition for its age. Pressed on the Red Columbia label with gold lettering. Lyrics By Ray Evans; Music By Jay Livingston. Rear cover of sleeve shows catalogue list of Columbia extended players. ... more
The Collection
Audiophile - Used - BC-1
1982 Limited Edition Half-Speed Mastered, 14LP Box Set. This Is Number 17,752 of 25,000. Includes Full Color Book Featuring Artwork Of Each Of The Original Covers Plus Notes About The Mastering Sessions. Records appear glossy. Definitive collection highly recommended. ... more
Sinatra
Box Set - Used - SC-1
1983 16LP remastered LE box set on Translucent vinyl. #4528, right in the Hot Stamper sweet spot. Very strong box with only light marks on one side. Sinatra is often regarded as one of the greatest singers of the 20th century, and his self-titled album, "Sinatra," serves as a testament to his incredible talent. This box set features some of Sinatra's most iconic tracks like "I've Got You Under My Skin" and "In the Wee Small Hours of the Morning." This is considered Sinatra's definitive collection for both audio quality and song titles. Whether you're a lifelong Sinatra fan or just discovering his music, "Sinatra" is an essential album that showcases the incredible talent of one of the most influential singers of all time. ... more
Untitled Unmastered.
New - LP - B0024922-01
Sealed, latest run of the 2016 release. "Made In Czech Republic" sticker on back shrink. "Issued without advance notice 17 days after Kendrick Lamar's riveting 2016 Grammy Awards performance, untitled unmastered. consists of eight demos that are simply numbered and dated. Apart from segments previewed at the Grammys and late-night television appearances, there was no formal promotion. A postscript, it's (artfully) artless in presentation -- not even basic credits appear on the Army green liner card in the compact disc edition -- yet it's almost as lyrically and musically rich as To Pimp a Butterfly. The dates indicate that the majority of the material was made during the sessions for that album, and the presence of many of its players and vocalists is unmistakable. This was assembled with a high level of care that is immediately evident, its components sequenced to foster an easy listen. Track-to-track flow, however, is about the only aspect of this release that can be called smooth. After an intimate spoken intro from Bilal, the set segues into an urgent judgment-day scenario with squealing strings and a resounding bassline as Lamar confronts mortality and extinction with urgent exasperation. He observes terrifying scenes all the while sensing possible relief ("No more running from world wars," "No more discriminating the poor"). untitled unmastered. offers this and other variations on the connected themes of societal ills, faith, and survival that drove the output it follows, with Lamar at his best when countering proudly materialistic boasts with ever-striking acknowledgments of the odds perilously weighted against his people. Remarkably, this hits its stride in the second half. The stretch involves a rolling, ornamented retro-contemporary production from Adrian Younge and Ali Shaheed Muhammad (with vocal assists from Bilal and Cee Lo Green), a stitched suite that is alternately stern and humorously off the cuff (featuring Egypt, five-year-old son of Alicia Keys and Swizz Beatz, as co-producer and vocalist), and a finale of Thundercat-propelled funk. Even while coasting over the latter's breezy and smacking groove, Lamar fills the space with meaning, detailing a confrontation with sharp quips and stinging reprimands. While Lamar referred to these tracks as demos, and not one of them has the pop-soul appeal of "These Walls" or the Black Lives Matter protest-anthem potential of "Alright," untitled unmastered. is no mere offcut dump. It's as vital as anything else its maker has released." All Music Guide - Andy Kellman ... more
Marrakesh Express
New - LP - B0037993-01
Sealed 2023 Verve By Request reissue. Custom hype sticker on shrink. Pressed on 180gm vinyl at Third Man Records in Detroit. Marrakesh Express is a classic jazz record made by the legendary saxophonist Stan Getz. This album was released in 1969 and is a mix of jazz, funk, and rock elements. The album consists of nine tracks and features some of the most talented musicians of the time. The record has a unique sound that blends different genres together to create a new and refreshing listening experience. ... more
Rage Against The Machine
New - LP - 88725470451
Sealed, Latest Run Of The 2012 Reissue. XX Anniversary Hype Sticker On Shrink. "Probably The First Album To Successfully Merge The Seemingly Disparate Sounds Of Rap And Heavy Metal, Rage Against The Machine's Self-Titled Debut Was Groundbreaking Enough When Released In 1992, But Many Would Argue That It Has Yet To Be Surpassed In Terms Of Influence And Sheer Brilliance -- Though Countless Bands Have Certainly Tried. This Is Probably Because The Uniquely Combustible Creative Relationship Between Guitar Wizard Tom Morello And Literate Rebel Vocalist Zack De La Rocha Could Only Burn This Bright, This Once. While The Former's Roots In '80s Heavy Metal Shredding Gave Rise To An Inimitable Array Of Six-String Acrobatics And Rhythmic Special Effects (Few Of Which Anyone Else Has Managed To Replicate), The Latter Delivered Meaningful Rhymes With An Emotionally Charged Conviction That Suburban White Boys Of The Ensuing Nu-metal Generation Could Never Hope To Touch. As A Result, Syncopated Slabs Of Hard Rock Insurrection Like "Bombtrack," "Take The Power Back," And "Know Your Enemy" Were As Instantly Unforgettable As They Were Astonishing. Yet Even They Paled In Comparison To Veritable Clinics In The Art Of Slowly Mounting Tension Such As "Settle For Nothing," "Bullet In The Head," And The Particularly Venomous "Wake Up" (Where Morello Revises Led Zeppelin's "Kashmir" Riff For His Own Needs) -- All Of Which Finally Exploded With Awesome Power And Fury. And Even Listeners Who Were Unable (Or Unwilling) To Fully Process The Band's Unique Clash Of Muscle And Intellect Were Catered To, As Ratm Were Able To Convey Their Messages Through Stubborn Repetition Via The Fundamental Challenge Of "Freedom" And Their Signature Track, "Killing In The Name," Which Would Become A Rallying Cry Of Disenfranchisement, Thanks To Its Relentlessly Rebellious Mantra Of "Fuck You, I Won't Do What You Tell Me!" Ultimately, If There's Any Disappointment To Be Had With This Near-Perfect Album, It's That It Still Towers Above Subsequent Efforts As The Unequivocal Climax Of Rage Against The Machine's Vision. As Such, It Remains Absolutely Essential." All Music Guide - Eduardo Rivadavia. ... more
After Laughter
Colored Vinyl - New - 561588-1
Sealed, latest reissue pressed on black & white marbled vinyl. Custom hype sticker on shrink. No download code. "We know, we know, Paramore isn't just Hayley Williams. Paramore is a band. But when every roiling, addictive album is directly fueled by the discord of yet another lineup change, you start to wonder: Should the hole left by the most recently departing bandmate be considered an official member of the band? It's a thought you can't help but mull over listening to Paramore's crackling fifth full-length album, 2017's After Laughter. The lineup this time features Williams, guitarist Taylor York (a member since their 2007 sophomore effort Riot!) and original drummer Zac Farro, returning after an estrangement since 2010. Notably not present here is bassist Jeremy Davis, who left for the second time in a huff of legal disturbances in 2015. The first time Davis left was immediately preceding the band's 2006 debut, All We Know Is Falling -- an album ultimately devoted to the struggle and strife of his departure (though he ultimately rejoined for Riot!). Paramore also famously came close to disbanding after Riot!'s breakthrough success, with Farro and his brother, guitarist Josh Farro, disliking, apparently, the intense focus on Williams. That conflict directly informed 2010's Brand New Eyes, with the Farro brothers leaving in a dust cloud of public smack-talk afterward. The sturm und drang of the Farros departure became the theme of the band's massively successful 2013 eponymous album, which found Williams, Davis, and York playing as a trio. But Davis eventually became unhappy with that record's royalty split and left the group to sue them. Which brings us to the "Never Say Die" theme of After Laughter, an album that proves one thing above all else: Paramore thrive amid conflict. Again working with producer Justin Meldal-Johnsen, Paramore churn out anthem after infectious anthem, each euphorically designed to grab you where it counts -- melodically and emotionally. Where 2013's Paramore found the group tentatively transitioning from their pop-punk roots toward a multi-layered '80s synth-pop sound, After Laughter reveals them having beautifully completed the transformation. Much credit here goes to York, who co-wrote all of the songs and whose deft guitar and keyboard make up much of the album's distinct aural character. But of course, Williams still beats at the center of everything, her voice providing the album's warm, exuberant core. Tracks like the lead-off disco-tinged "Hard Times" and crisply attenuated "Told You So" are earworms rife with DayGlo marimba and icy adult-contempo synths. Elsewhere, Williams weaves in the arpeggiated warmth of the Cure's "Friday I'm in Love," on "Grudges," and evinces Diva-era Annie Lennox on "Forgiveness.” Despite the album's buoyantly pastel new wave tones, it unsurprisingly contains a truckload of hard-won maturity and a growing sense of battle fatigue. You hear it on virtually every track, particularly on the yearning closer "Tell Me How" ("I'm getting sick of the beginnings"). Ultimately, each Paramore album thus far has been more or less another triumphant battle cry of a band having fought and survived a breakup. But After Laughter intersects this with transcendence: the realization that life is an ongoing series of new beginnings." All Music Guide - Matt Collar ... more
Robert Johnson Songbook
New - LP - SMALP1073
Sealed 2018 20th Anniversary Edition, On Vinyl For The First Time Ever. Ex Fleetwood-Blues Man Green Does 1/2 Of Everything Robert Johnson Ever Recorded On This Album. Pure Brilliance! ... more
Jungle
New - LP - XLLP647
Sealed, latest reissue of the 2014 pressing. Gold embossed gatefold jacket. "The lead-up to U.K. indie/neo-funk act Jungle's self-titled debut album was one of highly calculated mystery. The band came out of the ether first in the form of several videos featuring mostly dancers but no bandmembers. Stills from these videos were subsequently used as press photos and the membership of the band was kept almost entirely anonymous. The public was informed only that the band's core centered around collaborative efforts by two producers known simply as "J" and "T." Underneath these layers of intrigue and obscurity were several singles of immensely atmospheric neo-soul, floating and haunted falsetto vocals riding rhythmic waves made up of greasy throwback basslines, vintage drum machine clicks, and understated samples, all skillfully arranged into a perfect pop package. Leadoff track "The Heat" is one of the best examples of this formula, with the song's various hooks glued together with barely audible samples of police sirens and various electronic textures giving more weight to the song's interlocking melodies. Other singles like "Busy Earnin'" and "Platoon" follow a similar framework, building on pseudo-disco rhythms and complementing strange synth outbursts with crooning, breathless vocals sounding lifted right from a Marvin Gaye album. The singles are catchy and remarkably strong, melding hooky songwriting with odd production that perfectly evokes some dreamlike vision of rainy London back alleys where these songs' characters may live. For a moment, Jungle seems like it may be coasting on the strength of its four or five standout singles, but tracks like the minimal, James Blake-esque "Drops," the '80s-tinged synth pop of "Julia," and the driving groove of "Accelerate" all prove to be equally impressive, even if not as immediate as more detailed productions like "Time." Jungle is to be taken as a complete statement, and one that seems to reveal its nuances with repeat listens. The details of bandmember identities and backgrounds quickly become extraneous in light of the wealth of intriguing sounds presented on this incredibly well-constructed debut." All Music Guide - Fred Thomas ... more
Harmony Of Difference
New - LP - YT171
Sealed 2017 original. Custom hype sticker on shrink. "It's tempting to hear Kamasi Washington's six-track Harmony of Difference suite as a follow-up to his sprawling, justifiably acclaimed three-hour debut The Epic. But this EP, at just over half-an-hour, is, in many ways, a standalone work. It was performed in New York at The Whitney Biennial as part of a show that included a film by director A.G. Rojas and paintings by Washington's sister Amani. According to the artist, it was composed to explore "the philosophical possibilities of the musical technique known as 'counterpoint.'" Washington defines it as "the art of balancing similarity and difference to create harmony between separate melodies." That description is, at least in this setting, akin to metaphor in the current socio-political-cultural era where flash point battles over issues of race, gender, sexual orientation, and cultural appropriation are being waged afresh. These six tunes reveal Washington's compositional and arrangement mastery. Five relatively short themes are all standalone tunes but are all embodied in the 13-minute climax "Truth," which embodies tenets from all of the preceding tunes but is an entirely new holistic rainbow of sound. Washington draws heavily on numerous influences from '70s jazz here, as well as the modal influence of John Coltrane. "Desire" introduces a melodic theme that emerges from spiritual soul-jazz, but with Matt Haze's electric guitar and a wordless vocal chorus, it touches on everything from Billy Harper's Capra Black (second side) to Santana's Caravanserai and Norman Connors' first three albums -- in four-and-a-half minutes! It opens onto the progressive big band -- à la Gerald Wilson -- of "Humility," which sports a fleet, knotty piano solo from Cameron Graves, a soulful trumpet break from Dontae Winslow, and Washington's squalling solo above a B-3, and the interplay between two drummers (Tony Austin and Ronald Bruner, Jr.) and bassist Miles Mosely. "Knowledge" and "Perspective" make full use of CTI's illustrious palette for arrangement with an expansive horn chart. Ryan Porter's trombone solo comes right out of Los Angeles soul (the former) while Kamasi's honk and groove in the latter suggests the fleet funk of Grover Washington, Jr. and adds Thundercat on electric bass. The smooth switch gets flipped on in "Integrity," whose theme and rhythms actively engage Brazilian, Latin jazz, and West African jazz. The sprawling "Truth" adds a choir, vibes, and a full string section as it embraces the themes of its predecessors and stretches them to the breaking point, where they seamlessly meld into a wonder of color, tempo, improvisation, and lush exotic form. Harmony of Difference reveals a gentler, more economical, but no less adventurous Washington. It's chock-full of refreshing, sophisticated ideas, all balanced by an empathic, emphatic inclusiveness that engages the listener at both musical and emotional levels." All Music Guide - Thom Jurek ... more

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