Oasis - (What's The Story) Morning Glory? - VINYL LP

Vinyl LP repressing of this triple-platinum guitar rock classic. The original LP art has been restored to a beautiful single-pocket gatefold and the old-style, 'tip-on' lp jacket printed by Stoughton. Intervention Records is thrilled to present Billy Squier's 1981 rock anthem, Don't Say No. The classic rock staple catapulted Squier's career to new heights. His live shows became arena rock sensations and four tracks from this album became classic rock radio staples in heavy rotation today 'In the Dark, The Stroke, My Kind of Lover' and 'Lonely is the Night.' Don't Say No was 100% Analog mastered by Kevin Gray at CoHEARent Audio from the original master tapes! Gray's remastering is revelatory in opening the soundstage up to massive proportions while providing superior 3D imaging and musical microdetail. Album Tracks 1. In the Dark 2. The Stroke 3. My Kinda Lover 4. You Know What I Like 5. Too Daze Gone 6. Lonely Is the Night 7. Whaddda You Want from Me 8. Nobody Knows 9. I Need You 10. Don't Say No

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