High Vibration is a limited edition 16 SACD box set, featuring the 13 albums released by English prog rock supergroup Yes, between 1968 and 1987, including live album "Yessongs". A unique 12-track bonus SACD features rare selections such "Owner of a Lonely Heart (Move Yourself Mix)" from 1991 and 1972′s "Total Mass Retain (Single version)" is also included. Everything has been newly remastered in Japan by Isao Kikuchi, and comes with a 200-page book (mostly on japanese language). Albums includes: "Yes (1969)", "Time and a Word (1970)", "The Yes Album (1971)", "Fragile (1971)", "Close to the Edge (1972)", "Yessongs (1973)", "Tales from Topographic Oceans (1973)", "Relayer (1974)", "Going for the One (1977)", "Tormato (1978)", "Drama (1980)", "90125 (1983)", and "Big Generator (1987)".
Yes' debut album is surprisingly strong, given the inexperience of all those involved at the time. In an era when psychedelic meanderings were the order of the day, Yes delivered a surprisingly focused and exciting record that covered lots of bases (perhaps too many) in presenting their sound. The album opens boldly, with the fervor of a metal band of the era playing full tilt on "Beyond and Before," but it is with the second number, a cover of the Byrds' "I See You," that they show some of their real range. The song is highlighted by an extraordinary jazz workout from lead guitarist Peter Banks and drummer Bill Bruford that runs circles around the original by Roger McGuinn and company…
Live! Fillmore West 1969 is a live album taken from Fillmore West performances on January 9, 10 and 11, 1969. First released in 1994 on compact disc, it mainly includes live versions of the fourth album Here We Are Again with a performance of Donovan's Reef lasting more than 38 minutes. Notes by Sam Charters and Bill Belmont and published by Vanguard Records.
Released in 1969, this famous classic is popularly known as the “Brown Album”. This historic album put The Band in the mainstream consciousness and remains a timeless classic. The Band was recently inducted into the Rock and Roll Hall of Fame and this is the album that put them there. Their influence on the music scene started as the backup band for Bob Dylan on his 1965-66 world tour and when they started recording on their own with a contract from Capitol Records, this, their second album, was the top of their creative spark. The album features, “Up On Cripple Creek”, “The Night They Drove Old Dixie Down”, “King Harvest”, “Rag Mama Rag” and many more including the Bonus Track, "Get Up Jake".
Santana - Santana (1969). Santana’s self-titled debut album announces the arrival of a new Guitar God. Made during the legendary bandleader’s most fruitful and creative period, the classic 1969 set functions as an accessible entry point into the tangy worlds of Latin music by way of an intoxicating blend of Afro-Cuban percussion, jazzy tempos, exotic leads, bluesy riffs, and psychedelic accents. Indeed, separation between Carlos Santana’s fluid fills, spicy solos, and broiling grooves and pianist Gregg Rolie’s soulful Hammond organ runs allows the music to come alive with a newfound freshness and radiance. Songs simmer, with each passage bursting forth with vibrant color…
Les Vêpres Siciliennes is one of Verdi’s misunderstood operas. It is usually presented to audiences today as I vespri Siciliani - that is, in a clumsy and pedestrian Italian translation and as such gives a false representation of Verdi’s original concept. This opera was composed for the Paris Opera to a libretto by Eugene Scribe, one of the greatest poets of the day and Charles Duveyrier. Verdi embraces the French idiom – the musical forms, the orchestration, the vocal writing – with the same grandeur and sense of occasion as Rossini and Meyerbeer before him. Certainly to give an opera in translation is no crime but to continually deprive the public of this particularly beautiful marriage of text and music is close to criminal. This is the third in the Verdi Originals series and this BBC recording of the opera finally restores the original French libretto.
Some find Karen Dalton's voice difficult to listen to, and despite the Billie Holiday comparisons, it is rougher going than Lady Day. But Dalton's vocals aren't that hard to take, and they are expressive; like Buffy Sainte-Marie, it just does take some getting used to because of their unconventional timbre. Her debut album has a muted folk-rock feel reminiscent of Fred Neil's arrangements in the mid-'60s, unsurprising since Neil's Capitol-era producer, Nick Venet, produced this disc too, and since Dalton, a friend of Neil, covered a couple of Neil songs here ("Little Bit of Rain," "Blues on the Ceiling"). Although clocking in at a mere ten songs, it covers a lot of ground, from Tim Hardin, Jelly Roll Morton, and Leadbelly to the traditional folk song "Ribbon Bow" and the Eddie Floyd/Booker T. Jones-penned soul tune "I Love You More Than Words Can Say." The record is interesting and well done, but would have been far more significant if it had come out five years or so earlier. By 1969 such singers were expected to write much of their own material (Dalton wrote none), and to embrace rock instrumentation less tentatively.
This CD reissues a rather unusual James Moody date. Best known for his tenor and alto playing (although he is also recognized as a talented flutist), Moody is here heard exclusively on soprano and flute. Trombonist Tom McIntosh contributed a tune and arranged all eight pieces (which also include four Moody originals). Five of the numbers feature Moody in a nonet, including an emotional "Old Folks" and an advanced reworking of Duke Ellington's "Main Step."