Whoopy Cat

This DVD, coinciding with Yusuf's 60th birthday, features a rare and classic performance from 1971 which captures the warmth of his studio recordings but with even more passion and depth. It also includes the delightfully animated short film by Cat Stevens…

Cat Stevens was one of the most popular artists of the '70s. Mobile Fidelity Sound Lab is very proud to present this numbered, limited-edition 3-disc box set containing the hard-to-find Izitso and two titles exclusive to Mobile Fidelity: Back To Earth and Numbers.
Numbers (1975). Subtitled "A Pythagorean Theory Tale," Numbers was a concept album relating to a faraway galaxy, a planet called Polygor, a palace, and its people, the Polygons. The songs presumably told the tale, but as with so many concept albums, listening to Numbers was like hearing a Broadway cast album without having seen the show - something seemed to be going on, but it was hard to tell what…

Jukebox is the eighth album by Cat Power, released on January 22, 2008 on Matador Records. The album is composed almost entirely of cover songs, save for "Song to Bobby" and "Metal Heart" (previously recorded and released in 1998). It is Marshall's second record of cover songs, after the titular The Covers Record.

Was John Coprario taking credit for someone else’s work when, under his own name, he made transcriptions of more than fifty Italian madrigals for a consort of viols? Such an accusation would be based on false premises, as anything resembling copyright was unknown at the beginning of the seventeenth century and for long afterwards; the use of musical material by someone else was rather considered as a respectful examination of ideas that were so promising that one wanted to think them through further. When transcribing these Italian madrigals, Coprario was not only extending an established tradition but also transcending it. He did not simply omit the text in his madrigal fantasias as had been customary in the 16th century, but also took the polyphonic setting even further, enriching it with instrumental possibilities that voices alone could not match. He also rearranged certain parts so that the original vocal work is not always immediately recognisable. Coprario, besides being one of the first to give ensemble music an instrumental identity, was no musical parrot, but an ingenious parodist.