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Computer accessories. Studio equipment. Drum machines. Studio headphones. Digital recorders. Guitar accessories. Studio accessories. GBP My Language. Wishlist Log in to view your wishlist. Items in wishlist:. Items in cart:. Bestsellers: Techno. Play All. Items 1 to 50 of on page 1 of 4. Computer World CD. Tresor Germany. Nonlin CD. Ghostly International US. It was a logical move to partner up with the Ann Arbor label as it encouraged the emotional side of his regal ambient pieces to shine through in line with the sensitive tones of other Ghostly alumni Tycho, Telefon Tel Aviv, Shigeto, for example.
On his second album for the label, Hauschildt sounds more moving than ever, his winsome compositions reaching towards bigger spaces especially on rhythmically charged tracks like "Subtractive Skies". This is no drastic departure from his established identity, but rather a considered evolution towards a new space in which his muse can reside.
Bureau B Germany. The middle of the song is powerful, Densmore performs a marching tempo with military precision, then a sergeant shouts "Ready!
Present Arms! It bursts suddenly into a furious vocal and Manzarek intensifies the sound. Then there is the celebration that the war is over, as we hear crowd cheering and bells tolling. Sheer genius, capturing in one song all of the horror, sadness and glory of the Vietnam era. Other ominous atmospheres are captured on 'Not to Touch the Earth'. I also like 'Hello I love You' with its infectious hook and Morrison strong on vocals. Overall this is definitely a good album though not up to the standard of the lightning in a bottle, the debut masterpiece.
I kept thinking there was a synthesizer in this song, maybe with some help from Paul Beaver, but none at all, it probably was just the RMI keyboard I alluded to earlier. Anyways, the song bears more the a passing resemblance to the Kinks' "All Day and All of the Night" although the band allegedly had Cream's "Sunshine of Your Love" in mind, but there's no denying the Kinks resemblance.
It has that unsettling dissonance. The album does have a couple clunkers. Robbie Krieger wrote that one. What happened to the title track? I would have been happy if "Yes, the River Knows" or "Wintertime Love" was replaced by this song, it has the dark ominous tone people come to love of the Doors.
Well, we know what happened to the song: it had to wait two albums later, on Morrison Hotel. The Doors was one of those bands I started getting into in my youth, but quickly moved on to other things, and decided to go back to them. I go with popular opinion: Waiting for the Sun is not quite on par of their first two albums, but still full of great material still make it worth having.
If the first two are easy five stars, then this one is a four star album, get their first two before coming here. On light-hearted 'Love Street' Morrison sings in a Sinatra-like laid-back style, and 'Wintertime Love' is a brief, joyous song with an old-fashioned dance rhythm. These are perhaps somewhat throwaway songs on a rock album, but good examples of the band's sovereign ability to toy with various musical styles and make it sound like The Doors and nothing else.
On some later albums especially the vocals of Jim Morrison lost some of that flexibility. The ripped-down arrangement of 'My Wild Love' reaches for shamanistic levels Finnish rock band Sielun Veljet had a similar approach on 'Kanoottilaulu' in the 80's. Between these tracks is one of the finest rock songs of the era, 'Spanish Caravan' that features flamenco nuances. This is where the guitarist Robby Krieger really shines.
The music is based on -- and openly cites, for example in the electric guitar solo -- a Spanish art music piece, I think it was by Isaac Albeniz. Waiting for the Sun is perhaps my second favourite from The Doors; the debut in its innovative stylistic variety and powerful atmospheres is clearly their best album.
Also this one's very many-sided in the end, and yet it somehow feels very coherent as a whole. The production is very good. If you don't appreciate the lighter and less rocking side of The Doors, this probably feels very uneven to you.
A classic rock album with a unique identity, thus deserving four stars even if it's not progressive rock. Due to Morrison's wild antics, on stage and off, his alcoholism and bad boy behavior had become quite a headache for the rest of the band as it was escalating exponentially as the band rose to international superstardom.
Not only were the band members worn out from the maelstrom of live gigs and the pressures of instant fame but Morrison's erratic behavior made recording and the creative process almost impossible. Given that Morrison was becoming less reliable, most of the cosmic mind expanding poetic lyricism that graced the first two albums was becoming less and less prevalent and as the band became more famous, Elektra Records was taking more and more control and steering the band into more commercial arenas and thus WAITING FOR THE SUN took on a much more mainstream sound compared to its predecessors.
While more commercial in nature, THE DOORS still managed to craft a very good album for their third release with strong melodic hooks backed up by the unique instrumental sounds that accompanied Morrison's unique idiosyncrancies. The band scored yet another 1 hit with "Hello, I Love You," perhaps one of the most commercial hits the band ever recorded as well as a second top 40 hit with "The Unknown Soldier.
The most unique recording "Spanish Caravan" stands out for its bold flamenco guitar intro which demonstrated Krieger's more virtuosic moments. While "Unknown Soldier" was a minor hit and the first single released, it actually is one of the least commercial sounding tracks on the album. While displaying a more cinematic approach to songwriting, the song takes on a traditional DOORS keyboard dominated vibe before breaking into a military drum march in the middle and then some rifle shots.
It was a very dramatic tune to play live during the war torn years of the Vietnam War era and a favorite amongst fans. The second side was originally intended to contain a side long psychedelic composition titled "Celebration Of The Lizard" which found the band eschewing the pop band characteristics and joining the ranks of Pink Floyd and other truly seekers of cosmic weirdness.
The track was featured on the live album "Absolutely Live" and was popular in concert as well as having been attached as a bonus track on newer remastered versions of the album. The studio version features lyrics by Morrison where he recites poetry, sings and screams accompanied by accompanying instrumental sounds that give life to the lyrics much like some of Frank Zappa's longest rock opera moments offered.
The quality of the compositions is slightly less compelling, the lyrical content is subpar and the emphasis on the material overall reeks of record company interference but given the fact that Morrison was spiraling out of control at a breakneck speed, it's no wonder that someone had to step in and babysit.
In the end, this third album is quite essential even if it shows a more obsequious version of THE DOORS under the command of the commercial forces that had placed them in high places.
Sold out they may have done but the other choice was to disband at their prime and after all is said and done i can totally live with the remaining DOORS albums that followed the perfected beauty of the first two.
By all means, if you purchase this find a remastered version with "Celebration Of The Lizard" which totally adds an air of mystique to the era from which this album was recorded. Anyway, I picked up a copy of Waiting for the Sun a few years ago. I played it once and decided it was OK but nothing special. For some reason I gave it a spin recently and upon further reconsideration, I was surprised at how good it was.
Although the Doors' debut album is often considered their best, Waiting for the Sun is just as good, and is an improvement over Strange Days , their sophomore effort. This is a nice album of quirky, fun songs. The Doors generally went for a softer, earthier sound on many of the tracks. Jim Morrison also sounds a bit warmer and more down-to-earth, without the echoey effect on his vocals from the first two albums.
Not that there's anything wrong with that! I love This is where it all fell apart for The Doors. Before they stepped foot in a studio for the first time, the band had enough material for about three albums.
The self titled album is a near masterpiece while the second, "Strange Days", is a masterpiece of sixties psychedelic rock. The third, wh The album utilized the band's trademark dub, reggae, soul and funk influenced sound, and has been successful both in terms of sales and of critical reception. It is our distinct pleasure to present Penrose, a new imprint poised to usher in a whole new era of soulful sounds.
Founded by Daptone Records' own Bosco Mann after building a new recording studio in his hometown of Riverside, California, Penrose will showcase the most exciting acts emerging on the blossoming SoCal souldies scene today.
Gatefold edition with poster! Early Sounds in collaboration with NG Rec, presents first volume of "Napoli Segreta", the rarest and most sought after compositions of the 70's and 80's Napolitan disco and funk scene. Stefano Torossi. The original version is complemented by a great edit by Frenchman "Tonton Boom" aka "Mr. Boom" , who had already attracted attention as a digital promo some time ago. For this official release, his version got a new analog mix at "Microgroove Studio" in Toulouse to sound better than ever.
Another essential 7inch for every record collection. From then on he called himself "Nico Ooms". It's said that he was so obsessed with Cuban music that he changed his name to "Nico Gomez" - in any case, the name fit better with the Latin American music he brought to the stage. But he also conducted the "Nico Gomez Orchestra". Crystal clear vinyl Rainbow Slipmat 16 page booklet.
After their brilliant debut on Resense, SoulBrigada returns with two new cuts. The SoulBrigada-Edit focuses even more on the percussive side of the song and the extension provides a real dancefloor filler.
The song stands out because of its funkiness and the great interaction of the two singers. The rework provides the right dose of funk with additional drums, repetitive editing and expansion.
On the heels of a successful European tour and new album from his band Monophonics, Kelly Finnigan is happy to present to you this twosided banger sure to satisfy the funk and soul needs of every DJ.
Super funky drums from Monophonics' Austin Bohlman and percussion from Jungle Fire's Steve Haney make the breakbeat on this tune super tough. And after you're done sweating, you're gonna need time to cool off with the one you love. So flip the record over to burn one down with "Impressions Of You", a cut that's already been embraced by the lowrider sweet soul scene. This is a doublebarreled sure shot! Michael Kiwanuka releases his third studio album on 25th October Store exclusive special edition format includes Kiwanuka pressed onto heavyweight pink vinyl and includes a bonus 7".
Michael will tell you of his love for records that entwine their songs with incidental skits and shape-shifting spiralling outros, so the listener experience is almost that of listening to one long, dramatic song.
I can just be Michael Kiwanuka. A pair of Jim Sharp rare edits. Beneath the ethereal beauty of his productions was a genius crippled by his unbridled id.
Brought back to the surface by the supreme Swiss label High Jazz. Artwork by Luca Barcellona. LP EU Twimo. The TWIMO Records project is the result of 6 years of traveling and record collecting in the meeting points between different music cultures; North Africa, the Bosporus and the far eastern parts of Europe.
These two first two releases explores what happened when Western music styles such as modal jazz, bossa nova, fusion and funk met Arabic folk music, tone scales, instrumentation and rhythm structures in the late sixties and seventies in Turkey and Egypt. Four hundred years ago Turkey was the centre that connected Islamic, Byzantine and Persian music and even at this time Haydn and Mozart fused Persian tone scales and colour of rhytm into their compositions. Modern Turkish music history begins in , when Turkey became a republic and the leader Kemal Atatopened the doors to the western world.
Musicians in Turkey first adapted the waltz, but it was the tango from Paris that spread widely and became popular throughout the country. Youth in Istanbul, Izmir and Ankara started tuning the radio to everything that was happening in London and rock arrived in the mid 50s. The first turkish rock music came from armybands under the leadership of officers, but when The Shadows emerged on the scene, the popularity of rock exploded, since Turkish people was used to hearing instrumental music.
In the magazine Ht arranged the competition Altin Mikrofon where the contestants had to arrange a traditional turkish tune or write a turkish song and perform it in a "western style" with electrical instruments.
Modern became Crown , and so forth, up to and including , which may or may not have been actually issued on Modern. Crown was the reissue of Modern Singles on Modern and RPM continued until March, , when the singles, too, were halted in favor of the newly formed Kent label. After the first 25 issues on Crown, the label became just another budget label peddling mostly generic pop, polkas, remakes, knockoffs, and elevator music. By , Crown seemed to be doing well, and the Biharis reconsidered, and started a new series of albums on the Modern label.
Unlike the previous series, which were high quality recordings of original jazz, blues, and rock and roll, the "new" modern became a clone of Crown Records, shabby packaging and all. Even the record labels were lookalikes to the Crown labels. Beginning in , they released a short series of three albums by Otto Cesana in the Music By Cesana series featuring gold covers. By the time the third was issued, in , Modern was nearing bankruptcy, although the other Bihari labels like Crown and Kent were doing fine.
Modern started another new series in , featuring Little Richard, the Ikettes, and the Mexicali Brass a Tijuana Brass knockoff that had been selling well for Crown. On this album Lateef explores, in a painterly way, the border areas of the blues, in all their various guises and addresses both eastern and western cultures. After such a gloomy beginning the classical blues number "Like It Is" comes over like a breath of fresh air, with its superb string quartet as the foundation.
It is a milestone as a jazz album. As a blues album it is quite unique. But as a musical work of art it is a glorious and genial masterpiece. This Speakers Corner LP was remastered using pure analogue components only, from the master tapes through to the cutting head.
More information under www. All royalties and mechanical rights have been paid. Show more Go to Item. Many a musical career began in the gospel church choirs of the black communities, but that of Donny Hathaway must certainly be one of the most meteoric. Rolling Stone magazine named him the 49th greatest singer of of all time, though this might sound somewhat abstract.
But just the very first few bars of the opening number "Voices Inside" promises a programme in which the instrumental and human voices are on a par. Just listen to the impressively saturate sound and clear phrasing of the wind instruments which range from discreet to brassy. Every single arrangement profits to the full from the excellence of the musicians and each number is therefore quite unique. Why should you buy this LP?
Because of its super sound? Of course! Because Paul Desmond and Jim Hall are playing? For "Easy Living"? Surely one of the best numbers in one of the most multifaceted versions! Because you missed out on the first release in ?
Not everyone wants to purchase all Victor recordings by Paul Desmond and Jim Hall with umpteen alternate takes in a voluminous CD Box, to listen to it all, and to find it just wonderful to show off on the record shelf.
And the change from purely chordal playing and single notes from Jim Hall is more airy and more inspiring than the meaty piano clusters of his former boss. LPs are, and remain, unbeatable, both as regards sound and feel. And happily they are also a safe investment — maybe not all, but "Easy Living" with Paul Desmond and Jim Hall most definitely!
Although the hippy flower-power movement tended towards a rather different musical genre at the end of the Sixties, they were blown away by this music. The four artists attracted masses of people and ensured that every seat was taken and all standing room filled at jazz festivals such as Newport, Molde Norway , Antibes France and the Fillmore East and West.
The super group also appeared in Monterey, Km south of San Francisco, the centre of the hippy movement, on 18 September On the LP we have the almost minute-long title piece and the standard work "East Of The Sun", which were recorded at the festival. The disc is complemented by a Keith Jarrett composition and one by Cecil McBee, both of which were recorded in the studio ten days before the festival.
Of particular note is the rich interplay, the energy that is palpable throughout, the perfect harmony in each and every change of mood, and the intensity. Even 50 years later, it is quite clear that Charles Lloyd managed to break down the barriers between pop and jazz. Charles Lloyd is committed to this objective to this very day! All four musicians are still active, although they no longer appear together as a group. Such a special treat for the ears is offered by this newly mastered disc only.
Around the year , almost everything appeared to have been said about the style of music over the past two decades, which was a mix of samba and cool jazz. First and foremost among them was Carlos Antonio Jobim, whose catchy tunes such as the ticking, shuffling song "Desafinado" and the genial "One Note Samba" were heard all over the globe. Right from the very first number, where Urbie Green on the trombone 'sings' "Tereza My Love" so purely in the top register, it is clear that the late bossa with its typical rhythm is structurally far more refined than the early hot dance numbers.
The melodies are woven through, as it were, with shining gold and silver threads of rhythm, and clusters of sound are light and airy. However, here and there, the musicians let their hair down, such as in the Latin classic "Brazil".
With that magician of sound Deodato as arranger and conductor, and Rudy van Gelder as recording engineer, this LP is certainly a Bossa masterpiece. Back in the days of hard rock and surrounded by fierce competitors with such great names as the Doors, Black Sabbath and the Rolling Stones, a band had to attract attention with far more than histrionic pathos, biker boogie, an adept lead guitarist and a sharp-tongued singer. The lyrics have literary value but are certainly not intended for sensitive souls — the phrases are direct and intentionally drily articulated.
The music is as blatant and extroverted as the lyrics: the guitar sound is steely and straightforward, occasionally padded out with a see-sawing Hammond groove, and topped again and again by wonderfully rough string solos that speak the language of hard, merciless and full-bodied rock.
Now that she thinks she has found true love, she expresses her joy over her relationship to James Taylor with "The Right Thing To Do", another top ten hit. On the other hand she was just as willing to recognize her own mistakes and regretted pointing her finger at other people.
At any rate, as can be seen in a short video clip, all the seats were occupied. In addition, a really good trumpeter was there, whose name would later resound throughout Europe: Ted Curson. What is more, the legendary Bud Powell, who lived in France, was invited as a special guest for one number that required a pianist. Charles Mingus was to play in numerous concerts in the 60s and 70s; he recorded more than two-dozen official LPs, accused several concert organizers and tour managers of extortionate robbery, and trampled on illegal recording tapes.
It is now re-released after many years and is a rare document in the annals of music history. The group Toto may well have experienced such extremes as there was an enormous cleft between their amazing financial success and the crushing negative opinions voiced by the critics.
Billboard criticised the superficial lyrics as being void of any sort of emotional weight while the Los Angeles Times aimed their fire at the musicians themselves, slamming them as dubious artists with a commercialised mentality.
To this Toto struck back with their fourth album, which was an unparalleled success and brought them six Grammy awards. For a whole ten months "Africa" reigned at Number 1 on the charts and together with the super-hit "Rosanna" the two smash hits were a constant presence, backed up by a collection of impressive rock classics.
A trip to the record shop is all that is needed to prove that this is unlikely to change in the near future. A high-speed car chase between a Dodge Charger and a Ford Mustang, with super-cop Bullitt at the wheel, who forces the hitman off the road and into a petrol station, which explodes and incinerates him. Prior to that, harsh clashes of metal, hubcaps flying all over the place, and the chief character Steve McQueen, who grimly changes gears and hurtles through the streets of San Francisco, wheels screaming and rubber burning.
That was how Hollywood staged one of the longest and most dramatic car chases, long before the days of the Anti-Blocking-System and Anti-Slide-Control. Very up-to-date and just as exciting as the screenplay is the music Lalo Schifrin wrote for the film, which embeds the characters, places and events in a musical context. For example, "Bullitt": the metrically angular main theme portrays a mysterious, cool character who sums up a situation with keen alertness and then makes his attack with the speed of lightning.
Initially the music travels through easy-going Latin terrain. But gradually the rhythmic texture changes and takes a rougher path, with clicks, knocks and hammering. Legendary flute lines create a compensatory placidness with airy clouds floating above the sharp mix. A really special track is "Shifting Gears": here you can listen to Schifrin tuning the car, how he manipulates a jammed springy bossa to take on the sound of clean, smooth-running rock.
It was no wonder then that a big record company made him a lucrative offer in autumn All in all, Atlantic Records released six LPs and the very first, entitled "Backlash", is still until today the best of the bunch.
The labels gave the titles as A Collection of Popular Recordings with the volume number. Virginia December 31, at pm. In this song, he sounds like he recorded the vocals a bit "stoned". Just 24 at the time of its recording, Hancock was a rising star in the Minute Waltz - Unknown Artist - Piano Gems (Vinyl) world and was making his mark as a member of the celebrated Miles Davis Quintet along with Ron Carter and Tony Williams, who also contribute to the album. Define what you mean by a jazz album. I went to St. More information under www. Frank Rossini December 30, at pm. Pleasure Little Treasure - Depeche Mode - 101 (CD, Album)
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