Alongside titles reduced down in our sales, we also try to seek out less expensive titles in the wider back catalogues we have access to. Other than the price, nothing else changes - they are all new, all sealed and sound great!
222 products
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Too many people sleep on Tougher Than Leather, Run-DMC’s fourth album. But hear us out as we plead the case for this amazing LP. By 1988 there was a lot more competition in the rap game –Public Enemy, Boogie Down Productions, Eric B. and Rakim, Ice-T and many more had given Hollis, Queens’ prodigal sons lots of competition. But Joe, Darryl and Jay were still at the top of their game.
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Fôrça Bruta is the seventh studio album by Brazilian singer-songwriter and guitarist Jorge Ben. It was recorded with the Trio Mocotó band and released by Philips Records in September 1970. Conceived at a time of political tension in dictatorial Brazil, its title comes from the Portuguese term meaning "brute force" and has been interpreted ironically due to the music's relatively relaxed style.
The complete classic album + 2 bonus tracks - limited edition 180g audiophile pressing. Recorded at Capitol Studios in Los Angeles in August 1954, this was the first Emarcy recording of the legendary Clifford Brown & Max Roach Quintet featuring the great Harold Land on tenor sax, Richie Powell on piano and George Morrow on bass.
Remastered for vinyl and expanded with new incarnations - live cuts from NPR's Tiny Desk and the band’s landmark Royal Albert Hall performance - Ezra Collective’s ‘Chapter 7 (10th Anniversary Edition)’ reissue presents ‘Chapter 7’ not simply as an early document, but a living manifesto: rhythm as ritual, youth culture as sanctuary and jazz as an open invitation.
Two years after the Dave Brubeck Quartet’s ground- and time-signature breaking Time Out (1959), this classic quartet (Brubeck, piano, Paul Desmond, alto sax, Eugene Wright, bass, and Joe Morello, drums) would continue its jazz experiments in a series that was often inspired by abstract paintings. Time Further Out: Miró Reflections was the group’s attempt at a “jazz interpretation” of Miró’s 1925, a visually kinetic work featuring a prominent string of numerals descending from the upper edge of the canvas.
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What We Say / What We Do is nothing short of a triumph, it will make you dance, you will play it on repeat, and after every couple of listens your favourite song will change, just like a good record should, right? And this is a great record. The synths on The Unknown dance around a creeping rhyth...
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List of Demands, Damon Locks' first foray into creating an entire album from spoken and text-based work, finds the Chicago-based musician and educator collecting cultural abstractions and reorganizing them into a firm truth. The album lays out a vision of Black liberation and transmits it outward as a song cycle of bite-sized.
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Deep Nyabinghi drumming and chanting on a version of the Ethiopian national anthem gets things underway on Slave Call, a majestic journey through the spiritual roots of reggae. Later songs add guitars, bass, keyboards, and horns to build a more standard reggae sound on that foundation, but there’s always a dignified restraint and the profundity of the nyabinghi beat. the entire album revolves around Leonard Dillon’s Rastafarian beliefs, with even the cover of the Beatles’ “Let It Be” rewritten to a religious end.
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The Pink Panther (1963) soundtrack, composed by Henry Mancini, is one of the most iconic film scores in cinematic history. Its title theme, “The Pink Panther Theme,” was nominated for the Academy Award for Best Original Score and features a memorable tenor saxophone solo by Plas Johnson. The tune, composed in E minor, was specifically timed to match the animated antics of the Pink Panther character in the film’s opening credits
Lady Sings the Blues is an album by the American jazz vocalist Billie Holiday, released in December 1956. It was Holiday's last album released on Clef Records; the following year, the label would be absorbed by Verve Records. Lady Sings the Blues was taken from sessions taped during 1954 and 1956. It was released simultaneously with her ghostwritten autobiography of the same name.
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Acid Jazz presents the next instalment of the ‘Spring Revisited’ series, in collaboration with Ace Records. Continuing the theme of top dance DJ and producer talent exploring the Spring Records catalogue, NYC’s ‘45 Queen’ Natasha Diggs takes on Millie Jackson’s ‘What Went Wrong Last Night’ over two sides.
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