We have aquired a very large lot of used and new, unopened LPs and CDs. There are around 10,000 LPs and 1000 CDs in this lot. Come in and browse the collection for your missing gem!

The undeniably erratic early career of Chet Baker involved roller-coaster extremes and musical paradoxes. In the Fifties, his sound and approach were often compared to Miles Davis, although his greatest successes came in a West Coast setting with Gerry Mulligan's cool, piano-less quartet and often emphasized ballads and soft-toned vocals. But this album shows Baker in a unique direct assault in Davis territory, including a couple of tunes associated with Miles; and above all with a driving East Coast supporting cast made up of tough-tenor Johnny Griffin, bebop veteran Al Haig and frequent Davis colleagues Paul Chambers and Philly Joe Jones.

Albeniz's Suite Espanola are, like many of his piano pieces, miniature tone pictures of different geographical regions and musical idioms of Spain.

This timeless gem is performed by L'Orchestre de la Suisse Romande, conducted by Ernest Ansermet. This is a performance to be known as "one of the greats." The composition, Three-Cornered Hat, was premiered by Ansermet, and with its lively rhythms, subtle narratives, dynamic development and vivid contrast and tone colors, this version is a masterly performance that none other appears able to exceed. The performance illustrates the ethnic taste that is rich in wild beauty in a truly vivid and dynamic way, while highlighting the lyricism of Falla's music in a sophisticated, uncompromising manner. The solo singing by the young Berganza is also worth a listen.

1963 vocal set is trademark Bennett: Calm, cool, collected, charming.

Recorded during his peak era, Tony Bennett's I Wanna Be Around continues the crooner's upward trajectory as he nestles into a superb batch of heartfelt ballads, softly swinging pop and frisky bossa nova with the kind of charm, control and coolness reserved for a legend. The follow-up to the singer's breakthrough I Left My Heart In San Francisco, this 1963 set is every bit its predecessor's equal. Read: A bonafide vocal classic. Half-speed mastered from the original master tapes, Mobile Fidelity's numbered limited-edition 180-gram LP presents Bennett in to-die-for sound. Amazingly, this landmark recording has lavished in the vaults over the years and longed for the restoration that meticulous engineering can bring. Gone is the veiled haze that hung over the orchestrations, artificial ceiling that held back the highs, the cloudiness that obscured the entire range of Bennett's vocals.

The record that set the standard for fidelity. Often imitated, never surpassed. Now ready to set a new standard. Ready for new imitators. Gary Karr's beloved Adagio d'Albinoni in all-new, all-analog 45-RPM glory, mastered by Kevin Gray. Produced in limited numbers and stamped for collection. Prepared to be amazed all over again.

We Get Requests is a perfect example of Oscar Peterson's remarkable two-sided appeal. Technically, the album is filled with above average melodic development and solid rhythmic blend, while the repertoire is a crowd-pleaser. On this LP, the listener is treated to a tasteful mixing of current pop tunes, standards and originals. In We Get Requests, the Oscar Peterson Trio shows again why it is consistently at the top of polls taken among fans and musicians alike. Oscar, Ray and Ed have that rare ability to please the public with music that is of the highest quality. You can't do much better than that.rom the original master tapes & pressed at RTI.

Available for the first time on 180-gram 45 rpm double vinyl! 2,500 numbered deluxe limited edition in a laminated gatefold jacket

(2-LP set) One of Diana's most sought after albums. The first-ever live concert recording from Grammy-winning vocalist/pianist Diana Krall was recorded at the Paris Olympia Theater. Here finally, captured in amazing audio quality, is an album showcasing the magic of Krall's concert performances. Krall and her band perform some of the tunes from Krall's studio recordings, such as "East of the Sun (West of the Moon)" and "Devil May Care." They are joined by special guests John Pisano (acoustic guitar) and Paulinho DaCosta (percussion) for several tracks, including the Gershwins' "S'wonderful." The Orchestre Symphonique Europeen, conducted by Alan Broadbent with special guest conductor Claus Ogerman, is featured on the upbeat "Let's Fall in Love" and a haunting interpretation of "I've Got You Under My Skin." Mastered by Bernie Grundman from the original master tapes & pressed at RTI.

2,500 numbered deluxe limited edition in a laminated gatefold jacket. 45 rpm, 180-gram vinyl

(2-LP set) Weather Report's biggest-selling album is that ideal thing, a popular and artistic success and for the same reasons. Released just as the jazz-rock movement began to run out of steam, this landmark album proved that there was plenty of creative life left in the idiom. This powerhouse super group, comprised of Joe Zawinul, Jaco Pastorius, Wayne Shorter, Alex Acuna and Manolo Badrena, delivered their only certified-Platinum release with this killer cut. The album features the jazz standard "Birdland" and was Columbia's best-selling jazz album. Mastered by Bernie Grundman from the original master tapes & pressed at RTI.

"He could well have been the most nearly perfect violinist of his time." – Harold Schonberg

After the success of their Dvorak Violin Concerto, Cisco's been itching to do another LP featuring their favorite violinist. They finally got their chance with Tchaikovsky's emotionally enigmatic and structurally sophisticated concerto. Written during a period of great personal turmoil, every memorable melody and sharply dynamic contrast teems with yearning, purpose and subtext. It's also easy on the ears. Milstein's silvery tone and respectful phrasing illuminates the rich orchestral detailing and majestic themes Tchaikovsky labored over in 1878. Milstein's Capitol Records partner William Steinberg and the Pittsburgh Symphony Orchestra provide typically outstanding support. Cisco's all-analog mastering rewards listeners with powerful dynamic variation, rich sound stage and that inimitable Milstein tone.

180-gram vinyl limited edition

Johnny Cash's 1958 debut for Columbia Records is now available as a remastered 180-gram limited edition of 1,500 copies from Impex Records. Includes some great songs from Cash such as "Don't Take Your Guns to Town", "Frankie's Man, Johnny" to "Pickin' Time" and "The Troubadour".

"The numbers heard on Chet Baker & Crew were among a prolific flurry of recordings Baker was involved in during the last week of July 1956 - fresh from an extended European stay. The crew on these sides includes Phil Urso (tenor sax), Bobby Timmons (piano), Jimmy Bond (bass), Peter Littman (drums) and of course Baker (trumpet/vocals). Joining the combo on both the original as well as the alternate take of "To Mickey's Memory" and "Pawnee Junction" is Bill Loughbrough (chromatic tympani). His unmistakable percussive accents and tuned drum solos give these West Coast bop tracks uniquely Polynesian intonations. This LP reissue of Chet Baker & Crew increases the original eight-song Pacific Jazz collection to include all 14 tracks complete during three sessions in late July 1956 at the Forum Theater in Los Angeles.

"EXQUISITE! Your new Martzy LPs are the best I've ever heard her...More musical and engaging...superior in every way to the original EMIs or any reissue." - Richard S. Foster

Coup d' Archet's 2011 celebration of the renowned Hungarian violinist Johanna Martzy begins with the first true analog reissue of her celebrated EMI recordings from 1954-55. Using advance head cutting to lacquer at Abbey Road Studios from the original tapes and pressed at Pallas in Germany, these LPs represent the best vinyl presentation yet of these landmark recordings.

The original over-long sides of the Bach Partita 2 and the Mendelssohn/Beethoven coupling have been split over two. At 14 minutes, the Chaconne has a side to itself, as do the Beethoven Romances, once jammed onto the end of side two of the original release.

Coup d'Archet has long had a Martzy fixation, and with this release has made these fabulous recordings live like never before.

Each title comes with an insert reproducing the original artwork and notes (at near true scale) with additional details of the recording sessions. Eight titles, 10 discs, all housed in a cloth bound foil blocked slipcase. A gift from Coup to you.

The fifth studio album from modern electric blues guitarist features 15 tracks including duets with friends and musicians such as Taj Mahal, Odetta, Charlie Musselwhite, Guy Davis, Mamadou Diabate & Djelimady Toukara, Harry Manx and Kristina Olsen. Includes the live favorite "Needed Time."

Boz Scaggs is a unique and marvelous singer. His soulful voice can be, in turn, silky-smooth and sensual or funky and upbeat, depending on the material, but it is always compelling. This voice comes through superbly on the 10 great tunes featured on Silk Degrees. Scaggs, a solid composer in his own right, wrote three tracks on his own, co-wrote five more with David Paich. Paich contributed the delightful "Love Me Tomorrow" by himself while the remaining tune is a cover of Allen Toussaint's excellent "What Do You Want The Girl To Do." Stylistically, the compositions are a nice blend of Philly soul influenced pop and rock. A classic of elegant, well crafted music.

"...an enchanting example of artistry beyond category." - Los Angeles Times

"Maybe the year's best bossa nova album...The pairing of vocalist Passos and legendary bassist Carter (plus a backing band) is heavenly." - The Boston Globe

"...sure to stand out as one of the year's best." - AllAboutJazz.com

"Rosa Passos, a guitarist and singer from Brazil, is one of the best current practioners of bossa nova." - The New York Times

53rd Annual Grammy Awards
Best New Artist

Centuries ago, long before the advent of radio or recording technology, chamber music was the music for the masses - the music in which people from nearly every segment of society could find meaning and relevance. A decade into the 21st century, Esperanza Spalding - the bassist, vocalist and composer who first appeared on the jazz scene in 2008 - takes a contemporary approach tot his once universal form of entertainment with Chamber Music Society. Backed by drummer Terri Lyne Carrington and pianist Leo Genovese - and inspired by the classical training of her younger years - Esperanza creates a modern chamber music group that combines the spontaneity and intrigue of improvisation with sweet and angular string trio arrangements. The result is a sound that weaves the innovative elements of jazz, folk and world music into the enduring foundations of classical music.

Riding the wave of renewed artistic vitality that came with his collaboration with Alison Krauss on Raising Sand, Robert Plant returns with a solid solo album that's named after the band he led before he joined Led Zeppelin. Just as Led Zeppelin's III brought the band's folk interests to the surface, Band Of Joy is a clear moment of Plant playing the music he dearly loves. Los Lobos' "Angel Dance" is sent into the U.K.'s Black Country. Richard Thompson's "House Of Cards" is given an elegant Thompson-like treatment. "Silver Rider" and "Monkey" from Minnesota slo-core veterans Low are given a sweet, majestic interpretation. Townes Van Zandt's "Harm's Swift Way" was the last song he ever finished writing and Plant, with Patty Griffin harmonizing, brings its wondrous sorrow to a heart-stirring finale. Buddy Miller's co-production is subtle and unobtrusive, catering to the many styles featured here. While much has been made of Plant's vocal power, his vocal timing and phrasing are every bit as important.

With the Bar-Kays and Isaac Hayes' Movement alternately supplying the funky rhythms and the Memphis Horns contributing the riveting riffs, I'll Play The Blues For You stands out as the definitive Albert King soul-blues fusion album of the Seventies. King, in the words of the late Michael Bloomfield, "was the only (blues) singer who had clever, modern arrangements that would fit in with the black radio market and with the white market and in no way compromised his style."

David 'Fathead' Newman’s warm tone, occasionally terse phrasing, and always heartfelt delivery placed him in high demand by artists as diverse as B.B. King, Herbie Mann, Jane Monheit, and Gregg Allman. With over twenty recordings to his name, I Remember Brother Ray stands as an understated highlight, a record that doesn't so much jump out at you as it does gently sidle up beside you and ingratiates itself with its warmth and affability

Sonny Rollins made some excellent recordings for Impulse! in the mid-1960s, a time when his unassailable skills and acrobatic approach made him a leading saxophonist, and one of the few to rival John Coltrane. Each of the five tracks collected here tell the complex, glorious story of Rollins's talent, especially in the stretched-out solos where his knack for inventively de- and re-constructing melodies is evident. Highlights include "On Green Dolphin Street," "Everything Happens to Me" and "Three Little Words."

John Hammond's blues career has spanned the better part of the last five decades. From coffeehouses to concert halls, to festivals and beyond, Hammond emerged the ever-consummate blues man out of the great blues renaissance of the '60s. And while the 60's renaissance was largely an electric affair, Hammond has managed to keep vital the embodiment of the quintessential acoustic blues troubadour with brilliant acoustic guitar and rack harmonica playing and an impassioned voice. A Grammy Award winner and four-time nominee, Hammond is also a multiple W.C. Handy Award winner and has shared the stage and/or recorded with many of the masters, including Muddy Waters, Willie Dixon, John Lee Hooker and Howlin' Wolf.

The Union marks the culmination of a mutual musical adoration that began in the late 1960s, ahead of Elton's debut U.S. performance in 1970 at The Troubadour Club in Los Angeles. The album is a collaboration between Elton and Leon Russell, with songs by Elton and Bernie Taupin, by Elton, Bernie and Leon; by Elton and Leon and by Leon alone. The Union was recorded in Los Angeles and produced by T Bone Burnett, with guest musicians including Brian Wilson, Booker T, Don Was and Neil Young.

Great songs and intimate moments with Peggy Lee in this extremely enjoyable album. Recorded and released in 1959, I Like Men is one of Peggy Lee's most fun albums. With hits from Gus Kahn, Eubie Blake and Cole Porter, Peggy Lee is at her best.

More than seven years before Stan Getz and Charlie Byrd introduced the bossa nova of Antonio Carlos Jobim to American audiences, guitarist Laurindo Almeida and altoist Bud Shank (in a quartet with bassist Harry Babasin and drummer Roy Harte) recorded the intriguing music heard on this LP. The performances are very close to bossa nova in their combination of cool-toned jazz and Brazilian rhythms; in fact, these are arguably the first bossa nova recordings, long before even Jobim and Joao Gilberto initially recorded.

This is an album where the songs themselves are the stars, and Keb' Mo' wisely takes a low-key and measured vocal approach to each of them, letting the messages take hold over light soul-jazz backings, with just enough funk in the horn charts to give the arrangements some push. It's hard to argue with the song selection, but as an interpreter, Mo' seldom makes any of these tracks his own, and behind each stands the ghostly but clear memory of the original version.

Stacey Kent is back, with her regular combo, for an engaging tribute to Richard Rodgers. In addition to routinely covered songs like "It Never Entered My Mind" and "Bewitched," the Britain based vocalist looks to the South Pacific book and comes up with two items seldom performed in a jazz context "I'm Gonna Wash That Man Right Outa My Hair" and "Bali Ha'i." Happily, these are two of the best cuts; the former, with its burlesque ish 6/8 middle section, works amazingly well. The sound of the disc is strong, highlighting the nicely varied arrangements and the innate charm of Kent's puckish voice.

It's hard to be rough on an album with such a marvelous beauty to it. Nonetheless, the extremely attractive Sister Drum, which draws its inspiration from Tibetan music and settings, is on the hand a fantastic showcase for Dadawa herself and, in its own way, a travel document for the region that ignores its turbulent situation. A Chinese singer of some repute, Dadawa was approached by producer/songwriter He Xuntian to be the voice for his musical project exploring Tibetan work with an eye towards modern composition and recording. While it's a bit of a push, in ways Sister Drum is the Chinese equivalent of Enya's Watermark, an exquisite and atmospheric record drawing its roots from a non-mainstream cultural source. He's sense of arrangements is quite fine, mixing traditional Tibetan instrumentation with synths, electric guitars and technology while exercising a clear restraint … »

Tradtional Chinese instruments:Er Hu, Xun, Xiao, Traditional Qin etc

-Made in Germany

-Made in Japan

-2 bonus tracks( Japanese pressing only)

-DVD includes:

-Lock the Box(nterview)

-Fade Away( Live at chicago Mero 94')

-Champagne Supernova(Live at Knebworth 96')

-Lord Don't Slow me Down(Film Trailer)

-Imported

works from:

-Beethoven, Brahm,

-Khachaturian, Lalo, Mozart, Prokofiev

-Schubert, Shostakovich, Sibelius,Taneyev etc

-Work for Violin and Guitar, Viola and guitar, piano

-Massimo Quarta

-Luigi Alberto bianchi

-Bruno Canino

-Marco Pasini

Born May 14, 1897, New Orleans, La., U.S. — died May 14, 1959, Paris, France) U.S. saxophonist. He took up the clarinet at age six, later switching to the more powerful soprano saxophone. His emergence as a soloist from the New Orleans tradition of collective improvisation (see Dixieland) established his reputation in the mid-1920s. He produced a large, warm tone with a wide and rapid vibrato. His mastery of drama and his use of critically timed deviations in pitch ("note bending") had a long-lasting influence, because they were absorbed by his disciple Johnny Hodges. From the late 1940s he was based in Paris.

-10 CDs Box Set

-24 Carat Gold Edtion

-Imported

Eric Clapton has always been a songwriter’s guitarist. Unlike many blues players who only look at a lyric as something that gives them a break between solos, Clapton has always respected the work of such writers as Bob Marley (“I Shot the Sheriff”), John Hiatt (“Riding With the King”), and, of course, his longtime friend J.J. Cale. Because of EC’s affinity for good songs, Cale, as well as some surprising songwriters from a long bygone era, are well represented on his new album, Clapton.

Clapton starts off nicely with “Travelin’ Alone,” a great obscure blues number with a memorable melody (compared to most blues numbers) by Texas bluesman Melvin “Lil’ Son” Jackson. But the momentum is lost when this song is followed by Hoagy Carmichael’s downtempo “Rocking Chair,” a song about getting older that reminds us that, well, Clapton is indeed getting older. This Carmichael number, as well as Irving Berlin’s “How Deep Is The Ocean” and Johnny Mercer’s great classic “Autumn Leaves,” are part of an album that includes a J.J. Cale song about murder (“River Runs Deep”) and numbers by Chicago blues legends (Snooky Pryor’s Judgement Day” and Little Walter’s “Can’t Hold Out Much Longer,” both with the Fabulous Thunderbirds’ Kim Wilson on harp).

So there’s a little bit of everything on this album, which is more problematic than it is nice. Clapton is still no virtuoso singer, and these songs are sequenced in such a way that most of us will and up skipping amongst the three or four tunes that we really enjoy because the styles are so wildly varied. It’s great to see EC recognize some songwriting greats and to acknowledge some quality music. But when he fairly mugs like Satchmo on Tin Pan Alley writer Harry Woods’ “When Somebody Thinks You’re Wonderful,” with a full contingent of New Orleans players that features Wynton Marsalis and Allen Toussaint, well, enough already Slowhand, please pull out your Strat and do what you do best: play.

Whether this recent re-mastering of Paul McCartney and Wings’ Band on the Run CD (along with bonus tracks, DVD, and “enhanced packaging”) is simply a meretricious attempt to return Sir Paul’s bank balance to its pre-Heather Mills glory is anybody’s guess. What really matters, though, is that it isn’t Red Rose Speedway or London Town that’s being re-released: Band on the Run’s opening one-two punch, the mega-hit singles “Band on the Run” and “Jet,” are easily the best songs Macca ever penned with Wings (with “Let Me Roll It,” claiming honorable mention), which at the time consisted of his shutterbug-turned-keyboardist wife Linda McCartney (who gets partial writing credits on most of these songs) and former Moody Blues guitarist Denny Laine.

Naturally the bonus tracks and extra DVD visuals don’t yield much in the way of long-lost treasures. You get the demo-quality versions of the official CD tracks, then a separate DVD full of curious but crude rehearsal film footage. There’s also random documentary evidence of the Band on the Run cover-photo sessions, not to mention some early pre-MTV promotional videos featuring the sort of hokey-jokey showboating that would unfortunately characterize McCartney’s music-supporting visuals for years to come. That said, this fine-tuned semi-classic should hold die-hard Wings fans for a while, at least until Back to the Egg gets its inevitable redux.

Martin Simpson may not be quite as well-known as some of his compatriots on the English folk scene, but his new LP Prodigal Son reminds us of his talent as a remarkable guitarist, along with his musical eclecticism and versatility. He's also a pleasing vocalist, which was not as obvious on some of his previous recordings. He combines his musical experience and influences from both sides of the Atlantic, collaborates with some tasteful and subtle guest musicians, and also plays instruments like banjo and slide guitar which are normally not part of the this particular style. The result is one of the finest English folk LPs to come around this year on a scene which is still active after nearly 40 years.

Eliza Carthy has stepped outside her comfort zone — namely, sublime interpretations of traditional English tunes, and original compositions that sit alongside them — to create a folk phantasmagoria of a record. With mariachi horns, fuzzy electronica, achingly pure fiddle playing and the odd dirty grunge guitar, Dreams of Breathing Underwater suggests Angela Carter’s magic-realist novels set to music in a smoky circus big top. And dressing up has freed Carthy. While Rosalie retains the lightness of touch of her traditional tunes, Lavenders evolves from a folk-drone into a piece of multilayered exotica; Simple Things applies dub-reggae production depths to a stream-of-consciousness lament. The former folk grail-keeper is investigating the artist/auteur method.

Svensson as both composer and pianist was influenced by everyone from Thelonious Monk and Keith Jarrett to Pat Metheny and Lyle Mays, as well as loads of rock and pop musicians. Bassist Dan Berglund, besides being classically trained, also loved hard rock as well as jazz, and was attracted to its most physical and aesthetically refined players, from Charles Mingus to Barre Phillips, while drummer/percussionist Magnus Öström loved drummers as diverse as Billy Higgins, Elvin Jones, and contemporary Manu Katche. These 13 tracks point to a unifying point of view of strengths and influences — as well as nuances and the love of physical space — that made E.S.T. not only one of the most accessible jazz piano trios of all time, but also one of its most adventurous; they were at the forefront of reinventing its role in modern jazz. While everything in this set is top-notch, particular highlights include “Believe,” “Beleft,” Below,” the short excerpt from Leucocyte’s nearly half-hour title track, “Dodge the Dodo,” “From Gagarin’s Point of View,” “Goldwrap,” and "Dolores in a Shoe.S.T.and." Highly recommended for the curious; a killer mixtape for the fan.

Another fine album. "Song for Ireland" is a classic. Features Brian McNeill, Phil Cunningham, and Stewart Isbister. Voted Album of the Decade of the '80s by Folk Roots magazine, A Handful of Earth is Gaughan's best blend of traditional and contemporary songs.

There Will Be Light began as a series of rehearsals for Ben Harper's collaboration on a Blind Boys of Alabama record. Recorded in two sessions, the two acts ended up with an album of collaborative material for joint releases. These set of tunes, with seven Ben Harper originals written specifically for the sessions, the rest traditional gospel tunes and covers, showcase Harper and the Innocent Criminals alongside the Blind Boys of Alabama. The album kicks off with Harper's "Take My Hand," a funky gospel tune underscored by a call and response from the Blind Boys. "Wicked Man" is a Southern soul tune that has a Muscle Shoals groove and a beautiful vocal weave on the refrain. "Church House Steps" is pure gospel groove with a Hammond B3 and a duet between the Blind Boys' layered harmonies and Harper on the verses. Also featured is a smokin' cover of the Bob Dylan/Danny O'Keefe tune, "Well, Well, Well," with Delta blues bottleneck shimmering throughout.

Seminal alternative country-rock group Uncle Tupelo was formed in the Midwestern backwater of Belleville, Illinois, by high school friends Jay Farrar, Jeff Tweedy, and Mike Heldorn. Their marriage of punk rock animus with the simplicity of American roots music ignited a major movement heralding rock's return to traditional country origins. Heldorn had departed, Ken Coomer signed on, and in 1993 the band released one final album, Anodyne, widely considered their definitive work. Recorded live in an Austin studio, the album reinterprets country, rock, and folk idioms with the compelling vision that was Tupelo's own. After parting ways, members went on to found Wilco and Son Volt, but the brief and shining moment that was Uncle Tupelo will forever cast a long shadow on American roots rock.

This is a special record and in my view one of Beck’s finest moments. It’s an emotional rollercoaster with darkness and light in equal measure, and the most magical orchestrations. It’s also brought out the best of Charlotte Gainsbourg, and, while it may not provide the instant thrills of 5.55, it is vastly superior in every way. With this record, Charlotte has finally arrived at a worthwhile and important musical destination. Essential.

If you look at the sleeve notes for Ballads and Songs you will note that Nic Jones is meticulous in giving credit to the sources he collected his songs from. It is somewhat ironic that his arrangement of Canadee-i-o was 'borrowed' without credit by Bob Dylan.

"Hanrahan's albums are born of a logic and vision which transcends the limitations of style. Unique in its diversity, Hanrahan's music is also unique in its singularity... 'Tenderness' cuts even closer to the bone. The rich variety of influences are melded rather than mixed; the result is dark, thorny and uncompromising..."
-David Ilic, City Limits Magazine (London) Nov 29, 1990

"He could well have been the most nearly perfect violinist of his time." – Harold Schonberg

These EMI recordings show Milstein at his best. The remastering is excellent and the original recording quality is superb by any standard. And the performances? Well, it's Milstein!

Blissful feelings arise at the mere mention of '70s arena rock. It gives listeners the permission to have fun, sing along to aircraft-hanger-size choruses, play sir guitar solos, forget about any troubles, recall the experience of a first kiss and quite simply, rock out. Few albums better instill these pleasures than Foreigner's 1977 self-titled debut album, a five-times platinum blockbuster chock full of salacious riffs, soaring vocals, edgy beats, and lyrics that practically demand to be shouted. And while the record has always boasted clean, immediate production, never before has it exploded with the dynamic intensity and rich transparency now made possible on Mobile Fidelity's dynamic 180-gram LP. This is what rock 'n' roll dreams are made of.

Fly Me To The Moon, Rod Stewart's fifth collection of American pop standards, finds him singing such classics as "That Old Black Magic," "I've Got You Under My Skin," "Beyond The Sea," "Fly Me To The Moon" and "Moon River."

On his magnificent Chesky debut, Chuck showcases why he is a major force in contemporary jazz and famous for his impact in the smooth jazz format. Soothing melodies glide effortlessly above seductive Brazilian rhythms, and the sound of his legendary horn is front and center as he performs his own compositions, as well as those by Antonio Carlos Jobim, Luis Bonfa, Dorival Caymmi and more.