Prince & the Revolution - Around The World In A Day - VINYL LP

Two CD edition includes nine bonus tracks. Wish You Were Here 50 gives fans an exciting new perspective into one of Pink Floyd's most iconic and best-loved records. The 50th anniversary edition features the original album plus a bonus disc of studio rarities including previously unreleased alternate versions and demos presenting Pink Floyd's eighth studio album in a brand-new way that demands repeat listening. Bonus tracks consist of nine studio rarities, six of which have never been released in any way four of these newly mixed by James Guthrie, 2 are original studio mixes. Album Tracks 1. Shine On You Crazy Diamond, Pts. 1-5 2. Welcome to the Machine 3. Have a Cigar 4. Wish You Were Here 5. Shine On You Crazy Diamond, Pts. 6-9 6. Wine Glasses 7. Have a Cigar [Alternate Version] 8. Wish You Were Here 1. Shine On You Crazy Diamond [Early Instrumental Version, Rough Mix] [Previously Unreleased] 2. Machine Song [Roger’s Demo] [Previously Unreleased] 3. Machine Song [Demo #2, Revisited] [Previously Unreleased] 4. Wish You Were Here [Take 1] [Previously Unreleased] 5. Wish You Were Here [Pedal Steel Instrumental Mix] [Previously Unreleased] 6. Shine On You Crazy Diamond, Pts. 1-9 [New Stereo Mix] [Previously Unreleased]

This 26 CD/ 1 DVD box set featuring recordings spanning four decades of the composer's career with Nonesuch Records and sixty years of his career. The collection ranges from Reich's It's Gonna Rain (1965) to first recordings of his two latest works Jacob's Ladder (2023) and Traveler's Prayer (2020). Two extensive booklets contain new essays by longtime Nonesuch President Robert Hurwitz, conductor Michael Tilson Thomas, Steve Reich and Musicians percussionist Russell Hartenberger, producer Judith Sherman, and composer Nico Muhly, as well as a comprehensive listener's guide by pianist and composer Timo Andres. Album Tracks 1. Come Out 2. Piano Phase 3. Clapping Music 4. It's Gonna Rain-Part I 5. It's Gonna Rain-Part II 1. Piano Phase 2. Pendulum Music 3. Four Organs 4. Phase Patterns 1. Drumming-Part I 2. Drumming-Part II 3. Drumming-Part III 4. Drumming-Part IV 1. Duet 2. Music for Mallet Instruments, Voices and Organ 3. Six Pianos 4. Variations for Winds, Strings and Keyboards 5. Vermont Counterpoint 1. Music for 18 Musicians-Pulses 2. Music for 18 Musicians-Section I 3. Music for 18 Musicians-Section II 4. Music for 18 Musicians-Section Iiia 5. Music for 18 Musicians-Section Iiib 6. Music for 18 Musicians-Section IV 7. Music for 18 Musicians-Section V 8. Music for 18 Musicians-Section VI 9. Music for 18 Musicians-Section VII 10. Music for 18 Musicians-Section VIII 11. Music for 18 Musicians-Section IX 12. Music for 18 Musicians-Section X 13. Music for 18 Musicians-Section XI 14. Music for 18 Musicians-Pulses 1. New York Counterpoint-I. Fast 2. New York Counterpoint-II. Slow 3. New York Counterpoint-III. Fast 4. Eight Lines 5. Four Organs 1. Tehillim-Part I (Fast) 2. Tehillim-Part II (Fast) 3. Tehillim-Part II (Slow) 4. Tehillim-Part IV (Fast) 5. Three Movements-Movement I Quarte

Khruangbin's fourth studio album, A La Sala (InchTo the RoomInch in Spanish), is an exercise in returning in order to go further, and doing so on your own terms. It continues the mystery and sanctity that is the key to how bassist Laura Lee Ochoa, drummer Donald InchDJInch Johnson, Jr. And guitarist Mark InchMarkoInch Speer approach music. If 2020's Mordechai, the last studio LP Khruangbin made without collaborators, was a party record that enhanced the band's musical reputation far and wide, then A La Sala is the measured morning after. It's a gorgeously airy record completed only in the company of the group's longtime engineer Steve Christensen, with minimal overdubs. It's a window onto the bounties powering Khruangbin's vision, a reimagining and refueling for the long haul ahead. A La Sala scales Khruangbin down to scale up, a creative strategy with the future in mind.The trio's collective musical DNA, the years spent constructing it in Houston's local-meets-global cultural stew, ensures the band continues to sound like no one but itself. A cascade of crisp melodies emanates from Marko's reverb-heavy electric, dancing gently around Laura Lee's minimalist almost-dub bass triangles, while DJ's drums serve as the tightened-up pocket and unwavering dance-floor on which all this movement takes place. Yet there's a freshness to A La Sala's instrumental interactivity, less concerned with getting further out than going deeper in, a profound desire to celebrate the world's external wonders. Where prior albums strived towards music's polyglot edges, such inquiries now sound like beloved intimacies. Here, Khruangbin's sonic touch-points - whether spaghetti-western film scores (on InchFifteen Fifty-ThreeInch), West African discos (on InchPon PónInch), G-funk fantasias (InchTodavía VivaInch), living room dancing moments (the first single, InchA Love InternationalInch), or even