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viewing 1 To 24 of 24 items
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LSP 2533LP
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Exact repro reissue, originally released in 1962. "Bassist/composer Charles Mingus at the time said that this was his greatest recording, and it certainly ranks near the top.... It has often been said that Mingus forced and pressured his sidemen to play above their potential, and that is certainly true of this project. Altoist Shafi Hadi (who doubles on tenor) is in blazing form on 'Ysabel's Table Dance,' while trumpeter Clarence Shaw (who was praised by Mingus for his short lyrical solo on 'Flamingo') sounds quite haunting on 'Los Mariachis.' Trombonist Jimmy Knepper and drummer Dannie Richmond made other great recordings, but they are in particularly superior form throughout this session, as is the obscure pianist Bill Triglia. Completing the band is Ysabel Morel on vocals and Frankie Dunlop on castanets.... this stirring music belongs in every jazz collection, for it does represent one of Charles Mingus' finest hours." -- All Music Guide
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LSP 3988LP
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A "Dark Opera Without Words" by Carla Bley; featuring Gary Burton (vibes), Larry Coryell (guitar), Steve Swallow (bass) and Lonesome Dragon (drums). "A Genuine Tong Funeral is a dramatic musical production based on emotions towards death -- from the most irreverent to those of deepest loss. It is meant to be performed on a stage, with lights and costumes. The Funeral was written throughout the year 1967, except for 'Sient Spring,' which was commissioned by Steve Swallow as a string-bass piece and was written between January and March of 1966, and 'The Survivors' and 'The New National Anthem,' which were written in 1964. All of the pieces featuring the Quartet were written specifically for Gary Burton when in July of 1967 he expressed interest in recording the 'Funeral.' Any similarity to Chinese music or folklore, other than in the Funeral's underlying Oriental dramatic quality, was not intended." --Carla Bley
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APL 0494LP
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Exact repro of The New Birth's sixth album, originally released in 1974. Raw, big ensemble soul with tracks like "Lady Love," "Do It Again" and "Echoes Of My Mind."
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ABL 1422LP
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Original soundtrack recording of the television show starring Martin Landau and Barbara Bain. Barry Gray, "a specialist in electronic music... has created intriguing, weird sounds, using at times several electronic music instruments, to transport listeners into the world of the uncharted-unknown."
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LSP 4735LP
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Sole album from this '70s hard rock trio.. "For Love Or Money was recorded at a furious pace, played as hard as bleeding hands could allow and always at insane volumes, often causing engineer Richie Schmitt to run screaming from the control room. Beginning the proceedings with the incendiary 'Ain't Gonna Take No More', Schmitt soon found himself unable to bring the soundboard under control as what began as a kind of Uncle Tommin' Janis-meets-Garner slide blues erupted into a cacophonous jackhammer more akin to Led Zeppelin 2 played by Sir Lord Baltimore." --Head Heritage
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APL 10312LP
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Cut-out copies of Wilson Pickett's 1973 album. Includes the tracks "Soft Soul Boogie Woogie," "Never My Love," You Lay'd It On Me," "Two Women And A Wife," "Why Don't You Make Up Your Mind" and "Take The Pollution Out Your Throat."
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APL 10161LP
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Exact repro, originally released in 1973. "Like Lucien's first effort (1970's I Am Now), Rashida didn't set the world on fire commercially speaking, but it solidified Lucien's status as a purveyor of intelligent romantic ballads and poetic if not gushy lyrics. Even to fans of jazz/r&b/pop, Lucien is a love or hate proposition and Rashida was the effort that all but etched his persona in stone. Produced by Shep Meyers and Larry Rosen, Rashida, displays Lucien's soothing baritone and romantic nature with much aplomb." --All Music Guide
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LPM 1507LP
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1957 session from jazz pianist Bud Powell, featuring George Duvivier (bass) and Art Taylor (drums). Powell also recorded for Blue Note and Verve, in addition to his classic ESP-DISK recording Live at the Blue Note Café, Paris 1961 (reissued in 2007 on ESPDISK 4036CD). Exact repro reissue.
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APL 10493LP
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Exact repro, originally released in 1974. "Lucien's rich, sultry baritone carries songs like 'The Pleasure of Your Garden' and 'Adoration' with convincing ardor. His socially conscious lyrics in songs such as 'Soul Chant,' 'World of Joy,' and 'Ghetto Song' are infused with a spiritual vibe that is positively inspiring. This is contemporary soul/jazz that holds within it all that is fine and precious in popular music: lyrics that hold our attention and musical arrangements and playing that move us out of ourselves." --All Music Guide
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APL 1188LP
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New Orleands funk record from 1975, produced by Allen Toussaint and Marshall Sehorn. Hints of killer electronic expansion -- courtesy of Robert Dabon's mini moog and arp string ensemble -- around the usual tight rhythmic funk stylings. Notable for "Time Machine" (since revamped on some killer house re-edits) and "Tin Man." Exact repro.
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LPM 1767LP
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This is an exact repro reissue of an early Allen Toussaint record, originally released in 1958 and one of his earliest solo recordings. Compelling and soulful New Orleans R&B, featuring the songs "Whirlaway," "Up The Creek," "Happy Times," "Nowhere To Go" and "Nashua."
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LSP 4677LP
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Warehouse find of original cut-out copies of this 1972 album from the funk trio. Featuring the hit "Everybody Plays The Fool," this was the first album by the band after singer Donald McPherson's death.
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APL1 0211LP
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Exact repro reissue of the 1973 final album from one of Harvey Fuqua's funk productions. Tracks like opener "Serenade For A Jive Turkey" and "Excuse Me While I Do My Thing" accelerate the pulse and weaken the knees with edgy horns and heavy funk rhythms. "...an anthology from primitive funk to third world rock."
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LSP 4640LP
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Originally released in 1972. This is the sort of guitar-heavy, powerful pop soul funk that is so fun, it'll make you retarded. The title track epitomizes the breakin', b-boy mentality (and a version of it was used in the movie Flashdance), but the real classic is the hilarious "Troglodyte." Exact repro reissue.
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LPM 1423HLP
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180 gram exact repro reissue, originally released in 1957. Featuring Bud Powell (piano), George Duvivier (bass) and Art Taylor (drums). Featuring five Powell originals -- including the spontaneous improv fury of "Blues For Bessie," the boppish "Coscrane" and the beautifully melodic "Topsy Truvy" -- sessions for this record took place a whole 12 years after Powell suffered a nervous breakdown and still show his original and dynamic phrasing at its peak.
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AFL 13407LP
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Exact repro reissue of this Gregory Carmichael (Universal Robot Band) production with "the uncrowned King Of Disco" Patrick Adams (Cloud One, Inner Life), originally released in 1979. House meets space disco along solid grooves and goofy lyrics on songs like "Space Shuttle Ride," "Honey Bun" and "I Got A Big Bee."
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APL 10241LP
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Exact repro reissue, originally released in 1974. With Avram Shackman (sitar, Spanish guitar, acoustic guitar, bass) and Nadi Qamar (Mama-Likembi, Tal Viha, Madagascar harp, Guinee Kuna). Tracks: "The Pusher," "Com' By H'Yere-Good Lord," "Funkier Than A Mosquito's Tweeter," "Mr. Bojangles," "I Want A Little Sugar In My Bowl," "Dambala," "Let It Be Me" and "Obeah Woman."
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LSP 2533HLP
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180 gram exact repro reissue, originally released in 1962. "Bassist/composer Charles Mingus at the time said that this was his greatest recording, and it certainly ranks near the top.... It has often been said that Mingus forced and pressured his sidemen to play above their potential, and that is certainly true of this project. Altoist Shafi Hadi (who doubles on tenor) is in blazing form on 'Ysabel's Table Dance,' while trumpeter Clarence Shaw (who was praised by Mingus for his short lyrical solo on 'Flamingo') sounds quite haunting on 'Los Mariachis.' Trombonist Jimmy Knepper and drummer Dannie Richmond made other great recordings, but they are in particularly superior form throughout this session, as is the obscure pianist Bill Triglia. Completing the band is Ysabel Morel on vocals and Frankie Dunlop on castanets.... this stirring music belongs in every jazz collection, for it does represent one of Charles Mingus' finest hours." -- All Music Guide
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LSP 4248LP
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Exact repro reissue of this 1970 live album, recorded in 1969 at the Philharmonic Hall, New York. Includes her stunning interpretation of the traditional "Black Is The Color Of My True Love's Hair"; other songs include "Ain't Got No; I Got Life," "Westwind," "Who Knows Where The Time Goes," "The Assignment Sequence" and the Civil Rights-anthem "To Be Young, Gifted And Black."
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LSP 3603LP
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Exact repro reissue of this Kansas folk-rock group's 1966 LP. "The band started out releasing singles on independent (private) labels around 1964/65 with a strong Searchers/early Beatles flavor. Eventually they evolved into a tight folk-rock band that strongly recalled Help/Rubber Soul era Beatles. Val Stocklein wrote most of the compositions and his vocals are a world weary mixture of Gene Clark and Help-era John Lennon. They released their only self-titled album (commonly referred to as Listen & See) in 1966 and by this time, the band had already been experimenting with a psychedelic sound. The album is one of folk-rock's highlights. A single released from the album, Doll House/Man On The Street was spectacular. Both songs dealt with subjects uncommon for rock in that era (or any era), prostitution and social injustice. They are both characterized by glittering guitars, thoughtful lyrics, great harmonies, tambourine and a driving beat. There is no doubt that this was one of the defining moments of the folk-rock revolution. Other album tracks highlighted the group's influences. 'Honor The Hearse' was very Dylan-like but still effective while 'High Life,' 'I Must Be Doing Something Wrong,' 'It Ain't No Big Thing Babe' and 'Now's The Time' were also really strong, classy folk-rockers." -- The Rising Storm
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LSP 4757HLP
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2021 restock. 180 gram vinyl reissue, printed inner sleeve. "This unusual record from 1972 is Nina Simone's statement on the Vietnam War. The cover is a collage of news clippings from the conflict, and the song selection and arrangement, though dealing with matters more spiritual than political, reflect the events of the day. The entire first side consists of a powerhouse medley of George Harrison's 'My Sweet Lord' and a poem by David Nelson called 'Today Is a Killer,' set to music by Simone. The Harrison song is transformed into a sweaty gospel workout that takes its rhythm from the Capitols' 'Cool Jerk' and its call-and-response vocal arrangement from the Reverend James Cleveland. Simone artfully alternates the celebratory romp with slow, somber passages featuring her improvised lyrics and passages from the Nelson poem. Even as it passes the 18-minute mark, the medley never loses power, and it remains one of Simone's finest moments. After the triumph of the first side, the flip is only a slight letdown. "Poppies" is melodically vague, but Simone's strong delivery sells it, while George Harrison's 'Isn't It a Pity' gets an intense, drawn-out treatment, mostly featuring just Simone's piano and voice. The cover of Emergency Ward! claims it was recorded in concert, but only the first side appears to be live, and even that is riddled with sloppy edits. Though it is one of the stranger records in the Simone oeuvre, Emergency Ward! is consistently thrilling." -- All Music Guide
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LSP 4114LP
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Exact repro reissue; originally issued on RCA in 1969. This is a true classic curio in the RCD catalog, with a look signifying a shared attitude with early Jefferson Airplane -- is an experimental free-jam LP with real musique concrete zonk... Officially the group was made up of ex-members of Paul Revere & The Raiders -- Drake Levin, Phil Volk & Michael Smith -- who had formed a group called Brotherhood who released two albums for RCA. In between those two releases, the trio teamed up with a few session musicians as Friendsound, releasing Joyride. This record isn't as good as After Bathing at Baxter's -- because, frankly, nothing is. But it's got the same spirit and a lot of the same effects -- swiped a year and a half later. A tribute? Or just an annoyance to JA (who could never realistically follow up Baxter's?? If you want acid rambling about rhubarb pie, this record delivers in spades. Why it exists, or why it has been reissued -- the mystery continues.
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LSP 2015LP
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Exact repro reissue of this Middle Eastern/jazz fusion LP, originally released by RCA in 1959. Recently listed at the Lysergia.com (authors of the Acid Archives) as one of their top ten "Favorite Reissues of 2007," described as "The ultimate in cool." "The late Ahmed Abdul-Malik was best known to jazz listeners as a bassist with Thelonious Monk, Randy Weston, Coleman Hawkins, and many others. He made a few records as a leader, with this one being his most exotic and also the hardest to find. The Brooklyn native was of Sudanese descent; in addition to playing bass on this interesting blend of Middle Eastern instruments with those from the world of jazz, he also plays oud, the forerunner to the lute. The musicians on Malik's eight originals vary from track to track. On the mournful 'La Ibky (Don't Cry),' Malik's oud shares the spotlight with a tenor sax (either Benny Golson or Johnny Griffin) plus trumpeter Lee Morgan. 'Rooh (The Soul)' features the 72-string kanoon (which is sort of a brittle-sounding and much smaller harp) played by Ahmed Yetman, along with Malik's Arco bass and the droning violin of Naim Karacand. The Middle Eastern instruments are absent during 'Searchin',' which is sort of a hard bop vehicle featuring trombonist Curtis Fuller and Jerome Richardson on flute, along with the tenor sax. 'Takseem (Solo)' omits the jazz instruments; the slowness of the variations of the music and rather piercing vocal make it harder for Western ears to comprehend." --Ken Dryden/All Music Guide
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APL1 0321LP
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Exact repro of this 1973 LP on RCA. Classic early '70s hard rock LP from Ohio, in a heavily Led Zeppelin-influenced mode but with less of the pomp and circumstance. In true American fashion, the album is pretty savage and excessive at times, but with a pro production sound that somewhat exceeds the band's abilities. Probably best categorized as the middle child between the Raven/St. Anthony's Fyre school of basement jamming and the Zep/Leafhound school of big amps and mustaches, and should please fans of both.
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