Vinyl Record and Rare LP Resource Ideal For Serious Collectors

Most Recent Additions to the Vinyl Records DB

Word Jazz
Used - LP - MCA-1551
1983 Pressing. In the realm of spoken word and jazz fusion, Ken Nordine's *Word Jazz* stands as a pioneering artifact that reshaped the landscape of audio storytelling. Featuring the Fred Katz Group, the album weaves together Nordine's distinctive, sonorous narration with the improvisational prowess of jazz musicians. The interplay between Nordine's voice and Katz's ensemble creates an innovative tapestry of sound, where narrative and melody are inseparably intertwined. Each track is a journey into the abstract, with Nordine's lyrical prowess painting vivid, surreal landscapes that challenge the listener's perception of both language and music. The album's unique blend of spoken word and jazz not only exemplifies Nordine's flair for linguistic exploration but also highlights the dynamic range and creativity of Katz's group, making it a timeless piece of experimental art. What makes *Word Jazz* particularly compelling is its ability to transcend the conventional boundaries of genre, offering a listening experience that is as intellectually stimulating as it is aesthetically pleasing. Nordine's voice acts as both a guide and an instrument, leading the listener through a series of vignettes that touch on themes of existence, imagination, and societal observation. The Fred Katz Group complements this narrative journey with a musical backdrop that is at once intricate and accessible, providing a perfect counterpoint to Nordine's expressive verbal art. Their music, characterized by fluid rhythms and harmonic inventiveness, serves to enhance the album's dreamlike quality, inviting listeners to immerse themselves fully in Nordine's world. *Word Jazz* remains a testament to the power of collaboration between spoken word and jazz, reflecting a creative synergy that continues to influence artists across genres. ... more
Rencontrent Quincy Jones
Used Import - OP 18
1983 repress in gatefold. Rencontrent Quincy Jones by Les Double Six is a compelling fusion of vocal jazz and sophisticated orchestration, showcasing the virtuosic talents of both the vocal ensemble and the legendary Quincy Jones. Released in 1965, this album captures the quintessence of the bebop-inspired vocalese style that Les Double Six had mastered, characterized by their ability to mimic complex instrumental solos with their voices. Throughout the record, the ensemble delivers intricate vocal harmonies with remarkable precision and fluidity, breathing new life into a selection of Jones's compositions. The collaboration between the two forces results in a vibrant tapestry of sound that is both technically impressive and deeply emotive, bridging the gap between instrumental jazz and vocal innovation. Quincy Jones's arrangements on this album are nothing short of masterful, deftly balancing the dynamic range of the vocal sextet with lush and nuanced instrumental accompaniment. His ability to weave together diverse musical elements is evident in tracks like "Stockholm Sweetnin'" and "For Lena and Lennie," where the interplay between the singers and the band creates a seamless and immersive auditory experience. Throughout the record, Les Double Six's agile vocal performances are both a testament to their skill and a tribute to Jones's pioneering vision in jazz orchestration. Rencontrent Quincy Jones stands as an exemplar of mid-20th-century jazz, offering listeners a window into the rich artistry that emerges when vocal and instrumental excellence converge under the stewardship of a genius like Quincy Jones. ... more
Back To Black
New - LP - 8994
Sealed US Repress Of This Stone Wall Classic. GZ Pressing. Winner Of Five Grammys! ... more
Now Here This
Test Pressing - Used - ABLX037LP
2012 180gm 2LP 45rpm test pressing housed in a red generic die-cut sleeve. (some shelf wear). "For anyone who's paid attention to John McLaughlin's recorded output since the turn of the century, it's obvious that he's been on a creative streak unequaled since his days as a Miles Davis sideman and his early Mahavishnu Orchestra recordings. Whether it's his two Remember Shakti sets, or the guitar-and-strings offering that was Thieves and Poets, the Indian carnatic intensity of his Floating Point band, or his forays into fiery, improvisational jazz-rock terrain on Industrial Zen, the evidence is clear. With his latest band, the 4th Dimension, McLaughlin has been on a tear. The band's first offering, To the One, is a direct jazz-rock investigation of John Coltrane's influence on McLaughlin's musical thinking. Now Here This is a knottier jazz-rock fusion offering -- with all the positive connotations of that word and none of the negative. Keyboardist Gary Husband and Cameroonian über-bassist Etienne M'Bappé are holdovers from To the One, while drummer Mark Mondesir has been replaced by Ranjit Barot, who helmed the kit on Floating Point. McLaughlin and the 4th Dimension marry propulsive prog rock to Indian modalities to serious grooves (thanks in no small part to M'Bappé's wildly funky, virtuosic bass playing and Barot's triple-timed breaks and fills). Check opener "Trancefusion" for evidence of kinetic, infectious stop-and-start fusion that keeps rock and jazz in dynamic tension. "Riff Raff" careens with funky bass and keyboard interplay and massive guitar and drum kit grooves. "Echoes from Then" showcases McLaughlin's frenetically rhythmic rock soloing on an extended bass and keyboard vamp, while "Call and Answer" allows Husband to show off his post-bop chops in fluid right-hand flourishes. For balance, there are a couple of mellower cut such as "Wonderfall" (with lovely, languid bass work from M'Bappé) and "Not Here, Not There," a more R&B-oriented, midtempo, jazz-funk vamp that features lyric, emotive playing from McLaughlin. "Guitar Love" is a more rock-based jam, while closer "Take It or Leave It" mines Indian harmony, complex syncopation, and spacey funk with intuitive guitar and keyboard exchanges. Now Here This not only continues the excellent run of albums McLaughlin's amassed in the 21st century, it also displays the 4th Dimension not as a group of sidemen, but as an exciting working band which possesses depth, breadth, and imagination." All Music Guide - Thom Jurek. ... more
Higher
Test Pressing - Used - IMP6043-45
2020 2LP 45rpm test pressing from RTI; Sides A/B & C/D housed in individual generic white outer sleeves with RTI sticker. Tiny corner dings. "Higher" by Patricia Barber is a studio album released on vinyl in 2019. It showcases Barber's jazz prowess, featuring her signature blend of innovative compositions and poetic lyricism. The album is characterized by its sophisticated arrangements and intricate musicality, with Barber's piano skills and evocative voice at the forefront. Songs like "Muse" and "Higher" illustrate her ability to weave classical influences with contemporary jazz elements, creating a rich, textured sound that appeals to both jazz aficionados and casual listeners. The vinyl format of "Higher" emphasizes the album's warm, acoustically-driven production, offering a rich listening experience that highlights the nuances of Barber's performance and the supporting musicians. The album also includes reinterpretations of a few classic pieces, allowing Barber to showcase her unique interpretative skills and inventive approach to jazz standards. Her renditions are thoughtfully arranged, adding a fresh perspective while respecting the original compositions. Throughout "Higher," Barber is supported by a talented ensemble, including guitarist Neal Alger, bassist Patrick Mulcahy, and drummer Jon Deitemyer, all of whom contribute to the album's dynamic and cohesive sound. The vinyl edition of "Higher" is appreciated not only for its auditory qualities but also for its physical presentation, making it a noteworthy addition to any jazz lover's collection. ... more
We Are The World
Used - LP - USA 40043
1985 US Gatefold Original With Custom Inner Sleeve. In Addition To The Title Track, Includes Prince's "4 The Tears In Your Eyes" And A Live Version Of Springsteen's "Trapped" Plus More. "We Are The World" is a charity single album that was released on March 7, 1985. The song was written by Michael Jackson and Lionel Richie, and produced by Quincy Jones. The song was written to raise funds for famine relief in Africa. The recording of the song was a massive undertaking involving some of the biggest names in music at the time. The recording session took place on January 28, 1985, at A&M Studios in Los Angeles. The song was sung by a supergroup of 45 of the biggest names in music, including Prince, Michael Jackson, Bruce Springsteen, Bob Dylan, and Quincy Jones, among others. The song was released as a single and became an instant hit, reaching number one on the US Billboard Hot 100 chart. The album "We Are The World" was also released and featured the "We Are The World" song along with other songs performed by the artists who participated in the recording. The success of the song and the album led to the creation of the USA for Africa foundation, which raised over $63 million for famine relief in Africa. The song and the album remain a testament to the power of music to bring people together for a good cause. ... more
Christopher Cross
Used - LP - BSK 3383
1979 US Original CRC With Custom Inner. Yacht rock gold. "Christopher Cross' Debut Was A Huge Hit And Widely Acclaimed, At Least Among Industry Professionals (Critics Didn't Give It A Second Listen), Leading To Multi-Platinum Success And Grammys. In Retrospect, It Might Seem Like The Kind Of Success That's Disproportional To The Record Itself, Especially To Hipper-Than-Thou Younger Generations, But In Truth, Christopher Cross Was A Hell Of A Record -- It Just Was A Hell Of A Soft Rock Record, Something That Doesn't Carry A Lot Of Weight Among Most Audiences. That Doesn't Erase Cross' Considerable Gifts As A Craftsman. Yes, He Does Favor Sentimentality And Can Be Very Sweet On The Ballads, But His Melodicism Is Rich And Construction Tight, So There's A Sturdy Foundation For The Classy Professional Gloss Provided By His Studio Pros And Friends, Including Indelible Backing Vocals By Michael McDonald. And While The Hits Like The Dreamy "Sailing" And The Surging "Ride Like The Wind" Deserved All The Attention, They're Hardly The Only Highlights Here -- To Borrow A Sports Metaphor, This Has A Deep Bench, And There's Not A Weak Moment Here. In Fact, Soft Rock Albums Hardly Ever Came Better Than This, And It Remains One Of The Best Mainstream Albums Of Its Time." All Music Guide - Stephen Thomas Erelwine. ... more
All Over The Place
Used - LP - C 39220
1984 Original. Glossy Vinyl, Crisp Cover. “While The Bangles Would Later Embrace A Radio-Friendly Pop Production Style (And Enjoy Attendant Commercial Success) That Separated Them From Their Early Peers, They Were The Only Figures From The L.A. Paisley Underground Scene Who Would Go On To Become Genuine Multi-Platinum Rock Stars, And While Their First Full-Length Album, 1984's All Over The Place, Showed That Some Of Their Rough Edges Were Already Being Buffed Away, Of Their Major-Label Output It's The Record That Most Openly Embraces The Folk-Rock And Garage Rock Influences That Fueled Their Earliest Music. Vicki Peterson's Lead Guitar And The Band's Stellar Harmonies Are The Vehicles That Drive These 11 Songs, And If Producer David Kahne Was Already Pushing The Group In A More Commercially Ambitious Direction, There's No Disguising The Psychedelic Guitar Figures On "Dover Beach" Or The Byrds-Meets-Raiders Jangle Of "Tell Me," And The Choice Of The Merry-Go-Round's "Live" As A Cover Is Especially Telling. All Over The Place Is Also The Bangles' Most Unified Full-Length Album; Susanna Hoffs Hadn't Yet Been Singled Out As The Star Of The Show, And The Round-Robin Lead Vocals, Stellar Harmonies, And Tight, Concise Arrangements Make Them Sound Like A Real-Deal Rock Band, And The Set's Gentle But Insistent Sway From British Invasion-Styled Rock And West Coast Pop Feels Natural, Unforced, And Effective. And When Drummer Debbie Peterson And Bassist Michael Steele Feel Like Rocking Out, The Bangles Generate A Lot More Heat Than They're Usually Given Credit For, Most Notably On "Silent Treatment." The Bangles' Second Full Album, Different Light, Would Sell A Lot More Copies, But All Over The Place Is Easily Their Best And Most Satisfying LP.” All Music Guide - Mark Deming ... more
Greatest Hits
Used - LP - M7-912R1
1978 Original CRC pressing. Includes "Brick House," "Machine Gun" And More. "Greatest Hits" by the Commodores is a quintessential collection that encapsulates the essence of one of the most dynamic bands of the late '70s and early '80s. Released in 1978, this compilation album serves as both an introduction for new listeners and a nostalgic journey for long-time fans. The album features some of their most iconic tracks, including the emotive ballad "Three Times a Lady" and the funk-infused "Brick House," both of which showcase the group's versatile range. The selection paints a vivid portrait of the Commodores' ability to blend soul, funk, and pop, driven by their impeccable musicianship and Lionel Richie's emotive vocal delivery. Each track is a testament to the band's knack for crafting memorable melodies and lyrics that resonate with themes of love, celebration, and resilience. What sets this greatest hits compilation apart is its seamless curation, capturing the vibrancy of the Commodores' career during this period. Critics often note how the album encapsulates the duality of the band's sound—from upbeat, danceable tracks to profound, soulful ballads. The transition between songs is smooth, allowing the listener to experience the full spectrum of the Commodores' artistry without feeling disjointed. As a staple in the catalog of Motown's powerhouse acts, "Greatest Hits" stands as an essential record that not only solidifies the Commodores' legacy but also highlights the enduring appeal of their music, making it an indispensable addition to any music collection. ... more
A Flock Of Seagulls
Used - LP - VA 33003
1982 Original pressing. “The Liverpool Quintet A Flock Of Seagulls First Gained Attention In The Dance Clubs With "Telecommunication," Included On This Debut Release. The Band Benefited From Heavy Play On MTV And Quickly Became Known For Their Outrageous Fashion And Lead Singer Mike Score's Waterfall-Like Haircut. However, Their Self-Titled Debut Is An Enjoyable Romp That Was Set Apart From Other Synth-Heavy Acts Of The Time By Paul Reynolds' Unique Guitar Style. The Kinetic "I Ran (So Far Away)" Became A Video Staple And A Top Ten Radio Hit. "A Space Age Love Song," With Its Synthesizer Washes And Echo-Laden Guitar, Also Managed To Score At Radio. The Rest Of The Album Consists Of Hyperactive Melodies, Synthesizer Noodlings, And Electronic Drumming. The Lyrics Are Forgettable. In Fact, They Rarely Expand On The Song Titles, But Its All Great Fun And A Wonderful Collection Of New Wave Ear Candy.” All Music Guide -Tom Demalon ... more

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