{"title":"Grammy award","description":"\u003cdiv class=\"shogun-root\" data-shogun-id=\"674460a4fecf569ae8203e6a\" data-shogun-site-id=\"f49fc11a-e66f-4cb3-a218-390d64914654\" data-shogun-page-id=\"674460a4fecf569ae8203e6a\" data-shogun-page-version-id=\"674460a4fecf569ae8203e69\" data-shogun-platform-type=\"shopify\" data-shogun-variant-id=\"674460a4fecf569ae8203e6b\" data-shogun-page-type=\"category\" data-shogun-power-up-type=\"\" data-shogun-power-up-id=\"\" data-region=\"main\"\u003e \u003cdiv id=\"s-8bb834d7-2036-4fc1-8751-e43cc1b916ac\" class=\"shg-c \"\u003e \u003c\/div\u003e \u003c\/div\u003e","products":[{"product_id":"time-out-the-dave-brubeck-quartet","title":"The Dave Brubeck Quartet - Time Out (2LP, 45RPM)","description":"\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eDave Brubeck - piano \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/dave-brubeck\" title=\"Vinyl featuring Dave Brubeck\" style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/dave-brubeck\"\u003e[click here to see more vinyl featuring Dave Brubeck]\u003c\/a\u003e\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePaul Desmond - alto saxophone \u003cspan style=\"color: #ff8000;\"\u003e\u003ca title=\"vinyl featuring Paul Desmond\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/paul-desmond\" style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/paul-desmond\"\u003e[click here to see more vinyl featuring Paul Desmond]\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJoe Morell (drums), Gene Wright (bass)\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e2LPs, gatefold sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 45 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Quality Record Pressings\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Analogue productions\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Columbia\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded June 25, July 1, and August 18, 1959 in Columbia's 30th Street Studio in New York City\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Teo Macero\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1959\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2021\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eBlue Rondo A La Turk\u003c\/li\u003e\n\u003cli\u003eStrange Meadow Lark\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eTake Five\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide C :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eThree To Get Ready\u003c\/li\u003e\n\u003cli\u003eKathy's Waltz\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide D :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eEverybody's Jumpin'\u003c\/li\u003e\n\u003cli\u003ePick Up Sticks\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAwards :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp style=\"font-variant-ligatures: normal; font-variant-caps: normal; orphans: 2; text-align: start; widows: 2; -webkit-text-stroke-width: 0px; word-spacing: 0px; margin: 0cm 0cm 12pt;\" data-mce-fragment=\"1\"\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cb\u003eMichael Fremer's 100 Recommended All-Analog LP Reissues Worth Owning - Rated 14\/100!\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"color: #ff2a00;\" color=\"#B12704\"\u003e\u003cb\u003eTAS Super LP List! Special Merit: Informal\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-variant-ligatures: normal; font-variant-caps: normal; orphans: 2; text-align: start; widows: 2; -webkit-text-stroke-width: 0px; word-spacing: 0px; margin: 0cm 0cm 12pt;\" data-mce-fragment=\"1\"\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eThe album was inducted in the Grammy Hall of Fame in 2009\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e1000 Recordings you must hear before you die - Ranked 23\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-variant-ligatures: normal; font-variant-caps: normal; orphans: 2; text-align: start; widows: 2; -webkit-text-stroke-width: 0px; word-spacing: 0px; margin: 0cm 0cm 12pt;\" data-mce-fragment=\"1\"\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e\u003ci\u003eTime Out\u003c\/i\u003e was the first jazz album to sell more than a million copies.\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-variant-ligatures: normal; font-variant-caps: normal; orphans: 2; text-align: start; widows: 2; -webkit-text-stroke-width: 0px; word-spacing: 0px; margin: 0cm 0cm 12pt;\" data-mce-fragment=\"1\"\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eThe album was certified platinum in 1997 and double platinum in 2011\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-variant-ligatures: normal; font-variant-caps: normal; orphans: 2; text-align: start; widows: 2; -webkit-text-stroke-width: 0px; word-spacing: 0px; margin: 0cm 0cm 12pt;\" data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp style=\"font-variant-ligatures: normal; font-variant-caps: normal; orphans: 2; text-align: start; widows: 2; -webkit-text-stroke-width: 0px; word-spacing: 0px; margin: 0cm 0cm 12pt;\" data-mce-fragment=\"1\"\u003e\u003cstrong\u003eReviews :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e« Dave Brubeck's defining masterpiece, Time Out is one of the most rhythmically innovative albums in jazz history, the first to consciously explore time signatures outside of the standard 4\/4 beat or 3\/4 waltz time. It was a risky move -- Brubeck's record company wasn't keen on releasing such an arty project, and many critics initially roasted him for tampering with jazz's rhythmic foundation. But for once, public taste was more advanced than that of the critics. Buoyed by a hit single in altoist Paul Desmond's ubiquitous \"Take Five,\" Time Out became an unexpectedly huge success, and still ranks as one of the most popular jazz albums ever. That's a testament to Brubeck and Desmond's abilities as composers, because Time Out is full of challenges both subtle and overt -- it's just that they're not jarring. Brubeck's classic \"Blue Rondo à la Turk\" blends jazz with classical form and Turkish folk rhythms, while \"Take Five,\" despite its overexposure, really is a masterpiece; listen to how well Desmond's solo phrasing fits the 5\/4 meter, and how much Joe Morello's drum solo bends time without getting lost. The other selections are richly melodic as well, and even when the meters are even, the group sets up shifting polyrhythmic counterpoints that nod to African and Eastern musics. Some have come to disdain Time Out as its become increasingly synonymous with upscale coffeehouse ambience, but as someone once said of Shakespeare, it's really very good in spite of the people who like it. It doesn't just sound sophisticated -- it really is sophisticated music, which lends itself to cerebral appreciation, yet never stops swinging. Countless other musicians built on its pioneering experiments, yet it's amazingly accessible for all its advanced thinking, a rare feat in any art form. This belongs in even the most rudimentary jazz collection. » AllMusic Review by Steve Huey\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\"The results speak for themselves: the platters from QRP are in my experience the most consistently flat and quiet being pressed today ... at least for the foreseeable here and now, Analogue Productions' newly mastered 45 RPM (Brubeck) is the edition to own. You'll hear it right from the familiar piano intro to \"Blue Rondo a la Turk,\" where Brubeck's playing seems richer, more lyrical, more rhythmically alive. It seems to me that as our gear gets ever more quiet, these QRP LPs continue to wring more musical nuance from the finest recordings.\" Wayne Garcia, \u003c\/span\u003e\u003cem\u003eThe Absolute Sound\u003c\/em\u003e\u003cspan\u003e, January 2013.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e“I've now heard a number of LPs from Quality Record Pressings (QRP), Chad Kassem's year-and-a-half-old record-pressing plant. Before \u003c\/span\u003e\u003cem\u003eTime Out\u003c\/em\u003e\u003cspan\u003e, I would have said that some positive trends were apparent from the earlier LPs I've heard. However, this current pressing is so much better than those that came before it, which were certainly very good, that it's obvious things have improved considerably over the past year. \u003c\/span\u003eIt's a positive sign when the noise floor is defined by the hiss of the master tape, not the quality of the pressing or vinyl, and that's the case here.\u003cspan\u003e Having heard many, many Pallas and RTI pressings, the main competition for QRP, I would say that \u003c\/span\u003eQRP pressings combine the strengths of both its competitors: the very low surface noise and bottom-of-the-groove quiet of Pallas LPs and the sharp delineation of musical detail of RTI.\" \u003cspan\u003eMarc Mickelson, \u003c\/span\u003e\u003cem\u003eThe Audio Beat\u003c\/em\u003e\u003cspan\u003e, August 2012\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp style=\"font-variant-ligatures: normal; font-variant-caps: normal; orphans: 2; text-align: start; widows: 2; -webkit-text-stroke-width: 0px; word-spacing: 0px; margin: 0cm 0cm 12pt;\" data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eThe Dave Brubeck Quartet’s “Take Five” is arguably the most familiar and beloved jazz composition of all time. Written primarily by alto saxophonist Paul Desmond and recorded by the “classic” Quartet lineup (Brubeck, Desmond, drummer Joe Morello, and bassist Eugene Wright), it was the first jazz single to sell over a million copies, and remains the most recognized track on their iconic “Time Out” LP, which reached Double Platinum status in 2011. During live performances, audience members would request it with mid-concert shouts, and halls would erupt with recognition as Joe and Dave would swing into the distinctive 5\/4 drum-and-piano intro.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-variant-ligatures: normal; font-variant-caps: normal; orphans: 2; text-align: start; widows: 2; -webkit-text-stroke-width: 0px; word-spacing: 0px; margin: 0cm 0cm 12pt;\" data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp style=\"font-variant-ligatures: normal; font-variant-caps: normal; orphans: 2; text-align: start; widows: 2; -webkit-text-stroke-width: 0px; word-spacing: 0px; margin: 0cm 0cm 12pt;\" data-mce-fragment=\"1\"\u003e\u003cstrong\u003eRatings :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp style=\"font-variant-ligatures: normal; font-variant-caps: normal; orphans: 2; text-align: start; widows: 2; -webkit-text-stroke-width: 0px; word-spacing: 0px; margin: 0cm 0cm 12pt;\" data-mce-fragment=\"1\"\u003eAllMusic : 5 \/5  ,  \u003cspan data-mce-fragment=\"1\"\u003eWayne Garcia : \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003eMusic = 5\/5; Sound = 5\/5 ,  \u003cem data-mce-fragment=\"1\"\u003eThe Audio Beat : \u003c\/em\u003eSound = 4.5\/5; Music = 5\/5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40374011560087,"sku":"AAPJ8192-45","price":95.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/the-dave-brubeck-quartet-time-out-2lp-45rpm-audiosoundmusic-1.jpg?v=1719851398"},{"product_id":"come-away-with-me-norah-jone","title":"Norah Jones - Come away with me (unsealed, Analogue Production)","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003cspan style=\"color: #ff2a00;\" data-mce-style=\"color: #ff2a00;\"\u003eRARITY - Uns\u003c\/span\u003e\u003cspan style=\"color: #ff2a00;\" data-mce-style=\"color: #ff2a00;\"\u003eealed \u003cmeta charset=\"utf-8\"\u003e(mint conditions)\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003eNorah Jones - Piano, vocals \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/norah-jones\" title=\"vinyl featuring Norah Jones\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/norah-jones\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Norah Jones]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLee Alexander (Bass), Brian Blade (Drums, Percussion), Kevin Breit (Guitar, Acoustic, Electric, National Steel Guitar), Rob Burger (Accordion, Pump Organ), Bill Frisell (Electric guitar), Jesse Harris \u0026amp; the Ferdinandos Guitar (Acoustic Guitar), Adam Levy (Acoustic Guitar, Electric Guitar), Dan Rieser (Drums), Adam Rogers (Guitar), Jenny Scheinman (violin), Tony Scherr (Acoustic Guitar, Slide Guitar), Kenny Wollesen (Drums), Sam Yahel (Hammond Organ).\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by \u003c\/strong\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-size: 10.5pt; font-family: 'Segoe UI',sans-serif; color: #212b36;\" data-mce-fragment=\"1\" data-mce-style=\"font-size: 10.5pt; font-family: 'Segoe UI',sans-serif; color: #212b36;\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cstrong\u003eNorah Jones (A5, B5, B6), Jesse Harris (A1, A5, A6, B2, B4, B6), Lee Alexander (A2, A4, B1, B3), Hank Williams (A3), John D. Loudermilk (A7), J.C. Hopkins (B3), Hoagy Carmichael (B7), Ned Washington (B7)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1LP, Gatefold, tip-on jackets on heavy cardboard stock\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Quality Record Pressings\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Analogue Productions\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Blue Note\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecording : September 2000 – December 2001 at Sorcerer Sound Studio, New York City and Allaire Studios, Shokan, New York\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp style=\"font-variant-ligatures: normal; font-variant-caps: normal; orphans: 2; text-align: start; widows: 2; -webkit-text-stroke-width: 0px; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial; word-spacing: 0px; margin: 0cm 0cm 12.0pt 0cm;\" data-mce-fragment=\"1\" data-mce-style=\"font-variant-ligatures: normal; font-variant-caps: normal; orphans: 2; text-align: start; widows: 2; -webkit-text-stroke-width: 0px; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial; word-spacing: 0px; margin: 0cm 0cm 12.0pt 0cm;\"\u003e\u003cstrong\u003eMastered by Kevin Gray at Cohearent Audio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp style=\"font-variant-ligatures: normal; font-variant-caps: normal; orphans: 2; text-align: start; widows: 2; -webkit-text-stroke-width: 0px; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial; word-spacing: 0px; margin: 0cm 0cm 12.0pt 0cm;\" data-mce-fragment=\"1\" data-mce-style=\"font-variant-ligatures: normal; font-variant-caps: normal; orphans: 2; text-align: start; widows: 2; -webkit-text-stroke-width: 0px; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial; word-spacing: 0px; margin: 0cm 0cm 12.0pt 0cm;\"\u003e\u003cstrong\u003e\u003cspan\u003eEngineered by: Jay Newland, Tom Schick\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Arif Mardin, Jay Newland, Norah Jones, Craig Street\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 2002\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2021\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp style=\"margin: 0cm 0cm 12.0pt 0cm;\" data-mce-fragment=\"1\" data-mce-style=\"margin: 0cm 0cm 12.0pt 0cm;\"\u003e\u003cstrong\u003eTracks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp style=\"margin: 0cm 0cm 12.0pt 0cm;\" data-mce-fragment=\"1\" data-mce-style=\"margin: 0cm 0cm 12.0pt 0cm;\"\u003eSide A :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eDon't Know Why\u003c\/li\u003e\n\u003cli\u003eSeven Years\u003c\/li\u003e\n\u003cli\u003eCold Cold Heart\u003c\/li\u003e\n\u003cli\u003eFeelin' The Same Way\u003c\/li\u003e\n\u003cli\u003eCome Away With Me\u003c\/li\u003e\n\u003cli\u003eShoot The Moon\u003c\/li\u003e\n\u003cli\u003eTurn Me On\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eLonestar\u003c\/li\u003e\n\u003cli\u003eI've Got To See You Again\u003c\/li\u003e\n\u003cli\u003ePainter Song\u003c\/li\u003e\n\u003cli\u003eOne Flight Down\u003c\/li\u003e\n\u003cli\u003eNightingale\u003c\/li\u003e\n\u003cli\u003eThe Long Day Is Over\u003c\/li\u003e\n\u003cli\u003eThe Nearness Of You\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp style=\"margin: 0cm 0cm 12.0pt 0cm;\" data-mce-fragment=\"1\" data-mce-style=\"margin: 0cm 0cm 12.0pt 0cm;\"\u003e \u003c\/p\u003e\n\u003cp style=\"margin: 0cm 0cm 12.0pt 0cm;\" data-mce-fragment=\"1\" data-mce-style=\"margin: 0cm 0cm 12.0pt 0cm;\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003cstrong\u003eAwards\u003c\/strong\u003e:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"margin: 0cm 0cm 12.0pt 0cm;\" data-mce-fragment=\"1\" data-mce-style=\"margin: 0cm 0cm 12.0pt 0cm;\"\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cspan style=\"font-size: 10.5pt;\"\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 10.5pt; font-family: 'Segoe UI',sans-serif; color: #212b36;\" data-mce-fragment=\"1\" data-mce-style=\"font-size: 10.5pt; font-family: 'Segoe UI',sans-serif; color: #212b36;\"\u003e2003 Grammy Award Winner :\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 10.5pt; font-family: 'Segoe UI',sans-serif; color: #212b36;\" data-mce-fragment=\"1\" data-mce-style=\"font-size: 10.5pt; font-family: 'Segoe UI',sans-serif; color: #212b36;\"\u003e~ Record of the Year, \u003cem\u003eDon't Know Why\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cspan style=\"font-size: 10.5pt;\"\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 10.5pt; font-family: 'Segoe UI',sans-serif; color: #212b36;\" data-mce-fragment=\"1\" data-mce-style=\"font-size: 10.5pt; font-family: 'Segoe UI',sans-serif; color: #212b36;\"\u003e~ Album of the Year, \u003cem\u003eCome Away With Me\u003c\/em\u003e\u003cbr\u003e~ Song of the Year, \u003cem\u003eDon't Know Why\u003c\/em\u003e\u003cbr\u003e~ Best New Artist, \u003cem\u003eNorah Jones\u003c\/em\u003e\u003cbr\u003e~ Best Female Pop Vocal Performance, \u003cem\u003eDon't Know Why\u003c\/em\u003e\u003cbr\u003e~ Best Pop Vocal Album, \u003cem\u003eCome Away With Me\u003c\/em\u003e\u003cbr\u003e~ Best Engineered Album, Non-Classical, \u003cem\u003eS. Husky Höskulds \u0026amp; Jay Newland, engineers\u003c\/em\u003e\u003cbr\u003e~ Producer of the Year, Non-Classical, \u003cem\u003eArif Mardin, producer\u003c\/em\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"margin: 0cm 0cm 12.0pt 0cm;\" data-mce-fragment=\"1\" data-mce-style=\"margin: 0cm 0cm 12.0pt 0cm;\"\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e1000 Recordings You Must Hear Before You Die - Ranked 933\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"margin: 0cm 0cm 12.0pt 0cm;\" data-mce-fragment=\"1\" data-mce-style=\"margin: 0cm 0cm 12.0pt 0cm;\"\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e\"The entire project from the songs to the superb recorded sound and packaging just reeks of good taste. And it couldn't have come cheaply. The label or someone made a major financial investment in an unknown's debut album. The investment paid off, as the album sold more than 26 million copies and won numerous awards. It wasn't that much of a risk, really. Jones' amalgam of jazz, country, folk and a touch of rock produced something new and highly attractive to a wide demographic. ... The records coming out of QRP are definitely living up to the pressing plant's early promise. This kind of drop dead black quiet is precisely what's required for Jones' music and QRP delivers it. Kevin Gray's mastering is equally superb.\" — Michael Fremer, AnalogPlanet.com, January 24, 2013\u003c\/p\u003e\n\u003cp\u003e\" Norah Jones' debut on Blue Note is a mellow, acoustic pop affair with soul and country overtones, immaculately produced by the great Arif Mardin. (It's pretty much an open secret that the 22-year-old vocalist and pianist is the daughter of Ravi Shankar.) Jones is not quite a jazz singer, but she is joined by some highly regarded jazz talent: guitarists Adam Levy, Adam Rogers, Tony Scherr, Bill Frisell, and Kevin Breit; drummers Brian Blade, Dan Rieser, and Kenny Wollesen; organist Sam Yahel; accordionist Rob Burger; and violinist Jenny Scheinman. Her regular guitarist and bassist, Jesse Harris and Lee Alexander, respectively, play on every track and also serve as the chief songwriters. Both have a gift for melody, simple yet elegant progressions, and evocative lyrics. (Harris made an intriguing guest appearance on Seamus Blake's Stranger Things Have Happened.) Jones, for her part, wrote the title track and the pretty but slightly restless \"Nightingale.\" She also includes convincing readings of Hank Williams' \"Cold Cold Heart,\" J.D. Loudermilk's \"Turn Me On,\" and Hoagy Carmichael's \"The Nearness of You.\" There's a touch of Rickie Lee Jones in Jones' voice, a touch of Bonnie Raitt in the arrangements; her youth and her piano skills could lead one to call her an Alicia Keys for grown-ups. While the mood of this record stagnates after a few songs, it does give a strong indication of Jones' alluring talents. » AllMusic Review by David R. Adler\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eAllMusic : 4 \/ 5  , Rate your music : 4.02 \/ 5 ,  Michael Fremer :  Music 9 \/ 11, Sound 9 \/ 11\u003c\/p\u003e\n\u003cp style=\"margin: 0cm 0cm 12.0pt 0cm;\" data-mce-fragment=\"1\" data-mce-style=\"margin: 0cm 0cm 12.0pt 0cm;\"\u003e \u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40375976263831,"sku":"AAPP 042 clear","price":90.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/norah-jones-come-away-with-me-unsealed-analogue-production-audiosoundmusic-1.jpg?v=1719851398"},{"product_id":"lena-horne-lonely-and-alive","title":"Lena Horne - Lonely And Alive","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eLena Horne (vocals)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eJoe Mondragon (bass)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBill Pitman (guitar), Gene DiNovi (piano), Frank Capp, Shelly Manne (drums), Bill Perkins, Joe Maini (saxophone), Jack Sheldon, Pete Candoli (trumpet), Bob Enevoldsen, Frank Rosolino (trombone)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMarty Paich (arranger and conductor)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eWritten by \u003c\/strong\u003e\u003cstrong\u003eCole Porter (A1), Marcy Klauber (A2), Harry Stoddard (A2), Frederick Loewe (A3), Alan Jay Lerner (A3), George Gershwin (A4), Ira Gershwin (A4), Doc Daugherty (A5), Ellis Reynolds (A5), Al J. Neiburg (A5), Vincent Youmans (A6), Irving Caesar (A6), Harry Barris (A7), Gordon Clifford (B1), Jack Palmer (A8), Spencer Williams (B2, B5), Mabel Wayne (A8), Kim Gannon (B3), Duke Ellington (B4), Irving Mills (B4), Henry Nemo (B4), John Redmond (B4), Harry Warren (B6), Al Dubin (B6)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Speakers Corner\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label :  RCA\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"production_info\"\u003e\u003cstrong\u003eRecorded in 1962\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eProduced by Dick Peirce\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1962\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp class=\"production_info\"\u003e\u003cstrong\u003eTracks : \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"production_info\"\u003eSide C :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eI Concentrate On You\u003c\/li\u003e\n\u003cli\u003eI Get The Blues When It Rains\u003c\/li\u003e\n\u003cli\u003eI’ve Grown Accustomed To His Face\u003c\/li\u003e\n\u003cli\u003eI Got Rhythm\u003c\/li\u003e\n\u003cli\u003eI’m Confessin’ (That I Love You)\u003c\/li\u003e\n\u003cli\u003eI Want To Be Happy\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eI Surrender, Dear\u003c\/li\u003e\n\u003cli\u003eI Found A New Baby\u003c\/li\u003e\n\u003cli\u003eI Understand\u003c\/li\u003e\n\u003cli\u003eI Let A Song Go Out Of My Head\u003c\/li\u003e\n\u003cli\u003eI Ain’t Got Nobody (And Nobody Cares For Me)\u003c\/li\u003e\n\u003cli\u003eI Only Have Eyes For You\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAwards\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003e\u003cstrong\u003eAt the 5th Grammy Awards, Horne was nominated for the Grammy Award for Best Solo Vocal Performance, Female for her performance on this album\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003e\u003cstrong\u003eA Grammy was awarded to Robert Jones, Art Director for the Best Album Cover—Non-Classical.\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eSinging actors and actresses do not always cut a good figure on the silver screen; play-acting singers, however, are all the better when they draw attention to themselves with great vocals. As did Lena Horne in the days of the black-and-white film, who, with her sultry, versatile voice, was constantly employed by Hollywood. Although she occasionally ventured into the world of jazz, and made music with Teddy Wilson and Benny Carter, she never forayed into the wide world of improvisation. Her musical home was in the American Songbook, which she approached with a natural and entertaining manner. A good example of this is the first number here – the Cole Porter classic \"I Concentrate On You\", which swings along to the perfectly recorded big-band sound of the Marty Paich Orchestra. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eA surprise element is the extensive palette of vocal sound-colouring with which the diva enhances her voice to achieve the drama of a Shirley Bassey or the dusky depths of a Dinah Washington. Each and every number on this Grammy-worthy album has been thought out in great detail and guarantees sophisticated entertainment, and a hint of West Coast jazz is perceptible when Jack Sheldon treats us to the sound of his warm and dark trumpet solos.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e : \u003c\/p\u003e\n\u003cp\u003eAllMusic : 4.5 \/ 5 , \u003cspan\u003eDiscogs \u003c\/span\u003e: \u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e4,67\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5 ,  \u003c\/span\u003e\u003cspan\u003eRate Your Music \u003c\/span\u003e:  \u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e4,23\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40404666056855,"sku":"LSP-2587","price":55.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/lena-horne-lonely-and-alive-audiosoundmusic-1.jpg?v=1719851521"},{"product_id":"bob-dylan-blood-on-the-tracks","title":"Bob Dylan - Blood on the Tracks (2LP, 45 RPM, Box, 1STEP, SuperVinyl)","description":"\u003cp\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eORDER LIMITED TO ONE ITEM PER CUSTOMER\u003c\/strong\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBob Dylan - vocals, guitar, harmonica (A1 to B3, C2, D2), Hammond organ (B2), mandolin (D1) \u003ca data-mce-fragment=\"1\" style=\"color: #ff8000;\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/bob-dylan\" title=\"vinyl featuring Bob Dylan\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/bob-dylan\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Bob Dylan]\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTony Brown (bass), Paul Griffin (organ), Buddy Cage (steel guitar)\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePerformer : Eric Weissberg And Deliverance\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eWritten by Bob Dylan\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e2 LPs, box set\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eLimited to 9,000 numbered copies\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cspan\u003eUD1S (UltraDisc One-Step)\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eHeavy Press : 180g - \u003cspan data-mce-fragment=\"1\"\u003eSuperVinyl\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 45 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eRecord Press : RTI\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eLabel : \u003cspan data-mce-fragment=\"1\"\u003eMobile Fidelity Sound\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eOriginal Label :  Columbia\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eRecording: September 16–19 and December 27–30, 1974, at A\u0026amp;R Recording in New York City and Sound 80 studio in Minneapolis by Lou Schlossberg and Phil Giambalvo\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003c\/strong\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003c\/strong\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eOriginal producer : Bob Dylan\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineer : Phil Ramone\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMastered by : Krieg Wunderlich and Shawn R. Britton\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProducer : Murray Krugman, Sandy Pearlman\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eOriginally released January 1975\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eReissued Nov 2019\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eTracks :\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eSide A :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eTangled Up in Blue\u003c\/li\u003e\n\u003cli\u003eSimple Twist of Fate\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eYou're a Big Girl Now\u003c\/li\u003e\n\u003cli\u003eIdiot Wind\u003c\/li\u003e\n\u003cli\u003eYou're Gonna Make Me Lonesome When You Go\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide C :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eMeet Me in the Morning\u003c\/li\u003e\n\u003cli\u003eLily, Rosemary and the Jack of Hearts\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide D :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eIf You See Her, Say Hello\u003c\/li\u003e\n\u003cli\u003eShelter from the Storm\u003c\/li\u003e\n\u003cli\u003eBuckets of Rain\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAwards\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e\u003cem data-mce-fragment=\"1\"\u003eRolling Stone \u003c\/em\u003e500 Greatest Albums of All Time - Ranked 9 \/ 500\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eInducted into the Grammy Hall of Fame in 2015.\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eNumber 7 in the third edition of Colin Larkin's All Time Top 1000 Albums (2000)\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e1000 Recordings You Must Hear Before You Die - Ranked 342\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e« Following on the heels of an album where he repudiated his past with his greatest backing band, Blood on the Tracks finds Bob Dylan, in a way, retreating to the past, recording a largely quiet, acoustic-based album. But this is hardly nostalgia -- this is the sound of an artist returning to his strengths, what feels most familiar, as he accepts a traumatic situation, namely the breakdown of his marriage. This is an album alternately bitter, sorrowful, regretful, and peaceful, easily the closest he ever came to wearing his emotions on his sleeve. That's not to say that it's an explicitly confessional record, since many songs are riddles or allegories, yet the warmth of the music makes it feel that way. The original version of the album was even quieter -- first takes of \"Idiot Wind\" and \"Tangled Up in Blue,\" available on The Bootleg Series, Vols. 1-3, are hushed and quiet (excised verses are quoted in the liner notes, but not heard on the record) -- but Blood on the Tracks remains an intimate, revealing affair since these harsher takes let his anger surface the way his sadness does elsewhere. As such, it's an affecting, unbearably poignant record, not because it's a glimpse into his soul, but because the songs are remarkably clear-eyed and sentimental, lovely and melancholy at once. And, in a way, it's best that he was backed with studio musicians here, since the professional, understated backing lets the songs and emotion stand at the forefront. Dylan made albums more influential than this, but he never made one better. » AllMusic Review by Stephen Thomas Erlewine\u003c\/p\u003e\n\u003cp\u003eBob Dylan was at several crossroads in the mid-1970s. Artistically, he was largely written off as being past his prime. Emotionally, he was suffering through a painful divorce from his then-wife Sara Lowndes. Creatively, he appeared at a stalemate, his previous decade's unprecedented run of transformational brilliance finished. Then came\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eBlood on the Tracks\u003c\/em\u003e. Dylan reached the height of his seminal 1970s work with this confessional 1975 classic featuring \"Tangled Up In Blue,\" \"Simple Twist of Fate,\" \"Idiot Wind,\" \"Lily, Rosemary and the Jack of Hearts,\" and six more classic tunes.\u003c\/p\u003e\n\u003cp\u003e\"Inevitably, when critics praise a new Dylan album, they label it the 'best since\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eBlood on the Tracks\u003c\/em\u003e,' and with good reason. Inspired by a crumbled marriage, and recorded after a tour with the Band had apparently re-ignited his creativity,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eBlood\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eis among Dylan's masterpieces. The album's epic songs are well known, but its real high points are the shorter numbers — 'You're a Big Girl Now,' the flawless blues 'Meet Me in the Morning,' and the sweetly devastating 'Buckets of Rain.' These are songs of \"images and distorted facts,\" each expressed through tangled points of view, and all of them blue.\" —\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eDavid Cantwell\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eUltraDisc One-Step :\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003eInstead of utilizing the industry-standard three-step lacquer process, Mobile Fidelity Sound Lab's new UltraDisc One-Step (UD1S) uses only one step, bypassing two processes of generational loss. While three-step processing is designed for optimum yield and efficiency, UD1S is created for the ultimate in sound quality. Just as Mobile Fidelity pioneered the UHQR (Ultra High-Quality Record) with JVC in the 1980s, UD1S again represents another state-of-the-art advance in the record-manufacturing process. MFSL engineers begin with the original master tapes and meticulously cut a set of lacquers. These lacquers are used to create a very fragile, pristine UD1S stamper called a \"convert.\" Delicate \"converts\" are then formed into the actual record stampers, producing a final product that literally and figuratively brings you closer to the music. By skipping the additional steps of pulling another positive and an additional negative, as done in the three-step process used in standard pressings, UD1S produces a final LP with the lowest noise floor possible today. The removal of the additional two steps of generational loss in the plating process reveals tremendous amounts of extra musical detail and dynamics, which are otherwise lost due to the standard copying process. The exclusive nature of these very limited pressings guarantees that every UD1S pressing serves as an immaculate replica of the lacquer sourced directly from the original master tape. Every conceivable aspect of vinyl production is optimized to produce the most perfect record album available today.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMoFi SuperVinyl:\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003eThe World's Quietest Surfaces and Cleanest Grooves: Developed by NEOTECH and RTI, MoFi SuperVinyl is the most exacting-to-specification vinyl compound ever created. Analog lovers have never seen (or heard) anything like it. Extraordinarily expensive and extremely painstaking to produce, the special proprietary compound addresses two specific areas of improvement: noise floor reduction and enhanced groove definition. The vinyl composition features a new carbonless dye (hold the disc up to the light and see) and produces the world's quietest surfaces. This high-definition formula also allows for the creation of cleaner grooves that are indistinguishable from the original lacquer. MoFi SuperVinyl provides the closest approximation of what the label's engineers hear in the mastering lab.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eAllmusic : 5 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40488780333207,"sku":"MFSL45UD1S-006","price":375.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/bob-dylan-blood-on-the-tracks-2lp-45-rpm-box-1step-supervinyl-audiosoundmusic-1.jpg?v=1719851796"},{"product_id":"muddy-waters-im-ready","title":"Muddy Waters - I'm Ready (Pure Pleasure)","description":"\u003ch2\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003eORDER LIMITED TO ONE ITEM PER CUSTOMER\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h2\u003e\n\u003cp\u003e\u003cstrong\u003eMuddy Waters (vocals, guitar : A2, A3, A4, B2, B4) \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/muddy-waters\" title=\"vinyl featuring Muddy Waters\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/muddy-waters\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Muddy Waters]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJ\u003c\/strong\u003e\u003cstrong\u003eohnny Winter (guitar : A1, A4, B1, B3, B5) \u003cspan style=\"color: #ff8000;\"\u003e\u003ca title=\"vinyl featuring Johnny Winter\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/johnny-winter\" style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/johnny-winter\"\u003e[click here to see more vinyl featuring Johnny Winter]\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePinetop Perkins (piano), Bob Margolin (bass), Willie \"Big Eyes\" Smith (drums), Jimmy Rogers (guitar),  Big Walter Horton (harmonica : A2, A3, B1, B4), Jerry Portnoy (harmonica : A1, A4, B2, B3, B5)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by Dixon (A1, B1), C. E. Williams (A2), M. Morganfield (A2, A3, A4, B2, B3, B4), M. Brooks (A4), S. B. Williamson (B5)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, gatefold jacket\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eLimited edition\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Pure Pleasure Records\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Blue Sky\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded at Westport, Connecticut on October–November 1977\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMixed by Dave Still, Johnny Winter\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Johnny Winter\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in January 1978\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2008\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e Side A :\u003c\/p\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e1. I'm Ready\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e2. 33 Years\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e3. Who Do You Trust\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e4. Copper Brown\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e5. (I'm Your) Hoochie Coochie Man\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003eSide B :\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e1. Mamie\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e2. Rock Me\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e3. Screamin' and Cryin'\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e4. Good Morning Little Schoolgirl\u003c\/div\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAwards\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan style=\"color: #ff2a00;\"\u003e1978 Grammy Award for best ethnic or traditional recording\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\"Judging by the gatefold black and white photo, everyone had a great time making the album. You’ll have as good a time listening. The sound is quite three-dimensional, with a pronounced but pleasant presence region peak that ads a needed rough edge to the proceedings. \u003c\/span\u003e\u003cspan\u003eThe stage is relatively compact and very coherent with plenty of old fashioned mike leakage that helps to create a “live” sound in an era of isolation booth multi-track mono productions. Producer Winter and engineer Still knew the sound they were going for and they got it!\" \u003c\/span\u003e\u003cspan\u003eMichael Fremer\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e« For the middle album of his Johnny Winter-produced, late-'70s musical trilogy, blues giant Muddy Waters brought a new spirit to some familiar material. Starting with members of Waters' touring band -- pianist Pinetop Perkins, bassist Bob Margolin, and drummer Willie \"Big Eyes\" Smith -- Winter added underrated guitarist (and longtime Waters foil) Jimmy Rogers and extraordinary harp player Big Walter Horton to the mix. The songs recorded for I'm Ready offer a mix of new material and vintage hit singles like the title cut, the mid-'60s jewel \"Screamin' and Cryin',\" or the Willie Dixon-penned \"I'm Your Hoochie Coochie Man.\" Waters and band provide these well-worn gems with a little new studio polish, but it is with the newer songs that the performers really shine. On the powerful \"33 Years,\" Waters punctuates his tale of lost love with snaky slide guitar, assisted by Horton's wailing electric harp. \"Who Do You Trust\" features some of Waters' dirtiest vocals, the bluesman growling the lyrics while Winter layers his twangy slide above Horton's harp and Perkins' mournful ivories. \"Rock Me\" is old-school blues, Waters revisiting this classic cut for the umpteenth time as Rogers and Horton support his vocals with smoky guitar and guest player Jerry Portnoy adds some subtle but assertive electric harp to the affair. I'm Ready closes with the Sonny Boy Williamson chestnut \"Good Morning Little Schoolgirl,\" the high-spirited Waters sounding in good form as Portnoy's harp flails away in the background. Although nearing the end of his career, Waters experienced a well-deserved artistic and commercial resurgence thanks to the three albums recorded with Winter for Blue Sky. Hard Again, I'm Ready, and King Bee all bring a harder edge to Waters' classic performances, with Winter's production heavy on the guitar and lighter on the brassy Chicago blues sound unfamiliar to the rock-oriented target audience. For new listeners trying to get a feel of what the blues is all about, I'm Ready and its bookends are the albums to start with. Once you experience a taste of Muddy Waters, you'll be ready for more. » AllMusic Review by Rev. Keith A. Gordon\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eAt the end of his storied career, the great Chicago blues man, Muddy Waters, had one last period of resurgence. He made a trilogy of albums produced by Johnny Winter-Hard Again, I’m Ready, and King Bee. Winters’ formula was fairly straight forward-surround Muddy with his touring band and add some special guests to light his fire-while recording a mixture of hit singles with new material. Then let Muddy cut loose and burn down some electric Chicago blues. It was a winning combination and you can sense the joy that Muddy felt in his bantering between songs. His last hurrah was a barnburner.\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eRay Staff has done a brilliant job remastering this album as the electric guitars bent notes sizzle and Muddy’s strutting vocals growl with passion. Guests Big Walter Horton and Jimmy Rogers spur Waters to new heights. Pianist Pine Top Perkins, still going strong today in his 90s, was cooking 30 years ago, and Johnny Winter must have had a blast playing slide guitar on Who Do You Trust. Screamin’ and Cryin’ and I’m Your Hoochie Coochie Man were vintage Waters and still cooked even at the end of the fabled Mr. Waters’ career.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eAllMusic : 4 \/ 5  ; Discogs : 4.26 ; \u003cspan data-mce-fragment=\"1\"\u003eMichael Fremer : Music 8\/10, Sound 8\/10\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40536688230551,"sku":"PPAN JZ34928","price":35.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/muddy-waters-i-m-ready-pure-pleasure-audiosoundmusic-1.jpg?v=1719851849"},{"product_id":"blood-sweat-tears","title":"Blood Sweat \u0026 Tears - Blood Sweat \u0026 Tears (Pure Pleasure)","description":"\u003cp\u003e\u003cspan style=\"color: #ff8000;\"\u003e\u003cstrong\u003e[\u003c\/strong\u003e\u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/blood-sweat-tears\" title=\"Blood, Sweat and Tears vinyl\" style=\"color: #ff8000;\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/blood-sweat-tears\"\u003e\u003cstrong\u003eClick here to see more Blood, Sweat \u0026amp; Tears' vinyl\u003c\/strong\u003e\u003c\/a\u003e\u003cstrong\u003e]\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDavid Clayton-Thomas: Vocals (Except \"Sometimes in Winter\")\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eSteve Katz: Guitar, Hamonica, Vocals (Lead on \"Sometimes in Winter\")\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eBobby Colomby: Drums, Percussion, Vocals\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eJim Fielder: Bass\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eFred Lipsius: Alto Saxaphone, Piano\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eLew Soloff: Trumpet, Fluegelhorn\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eChuck Winfield: Trumpet, Fluegelhorn\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eJerry Hyman: Trombone\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eDick Halligan: Organ, Piano, Flute, Trombone, Vocals\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, gatefold sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Pure Pleasure\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Columbia\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded \u003cspan data-mce-fragment=\"1\"\u003ebetween August 2, 1968 and \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003eOctober 22, 1968\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e by Roy Halee and Fred Catero\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan data-mce-fragment=\"1\"\u003eProduced by James William Guerico\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by \u003cspan data-mce-fragment=\"1\"\u003eRay Staff\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1968\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in July 2008\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\n\u003cspan data-mce-fragment=\"1\"\u003e1. Variations On A Theme By Erik Satie\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e2. Smiling Phases\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e3. Sometimes in Winter\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e4. More and More\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e5. And When I Die\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e6. God Bless The Child\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\u003cspan\u003e1. Spinning Wheel\u003cbr data-mce-fragment=\"1\"\u003e2. You've Made Me So Very Happy\u003cbr data-mce-fragment=\"1\"\u003e3. Blues - Part II\u003cbr data-mce-fragment=\"1\"\u003e4. Variations On A Theme By Erik Satie \u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\n\u003cspan\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\u003cspan\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/div\u003e\n\u003cp\u003e\u003cstrong\u003eAwards\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eWinner of three Grammy Awards in 1970 : \"Album of the Year\", Best Arrangment for \"Spinning Wheel\" and Best Contemporary Instrumental Perfomance for \"Variations on a Theme by Erik Satie\"\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003cstrong\u003e1000 Recordings you must hear before you die - Ranked 140\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp\u003e« The difference between Blood, Sweat \u0026amp; Tears and the group's preceding long-player, Child Is Father to the Man, is the difference between a monumental seller and a record that was \"merely\" a huge critical success. Arguably, the Blood, Sweat \u0026amp; Tears that made this self-titled second album -- consisting of five of the eight original members and four newcomers, including singer David Clayton-Thomas -- was really a different group from the one that made Child Is Father to the Man, which was done largely under the direction of singer\/songwriter\/keyboard player\/arranger Al Kooper. They had certain similarities to the original: the musical mixture of classical, jazz, and rock elements was still apparent, and the interplay between the horns and the keyboards was still occurring, even if those instruments were being played by different people. Kooper was even still present as an arranger on two tracks, notably the initial hit \"You've Made Me So Very Happy.\" But the second BS\u0026amp;T, under the aegis of producer James William Guercio, was a less adventurous unit, and, as fronted by Clayton-Thomas, a far more commercial one. Not only did the album contain three songs that neared the top of the charts as singles -- \"Happy,\" \"Spinning Wheel,\" and \"And When I Die\" -- but the whole album, including an arrangement of \"God Bless the Child\" and the radical rewrite of Traffic's \"Smiling Phases,\" was wonderfully accessible. It was a repertoire to build a career on, and Blood, Sweat \u0026amp; Tears did exactly that, although they never came close to equaling this album. » AllMusic Review by William Ruhlmann\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eAllMusic : 4.5 \/ 5 , Discogs : 4.26 \/ 5 \u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40710560252055,"sku":"PPAN CS9720","price":35.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/blood-sweat-and-tears-pure-pleasure-audiosoundmusic-1.jpg?v=1719852078"},{"product_id":"freddie-hubbard-first-light","title":"Freddie Hubbard - First Light (Pure Pleasure)","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eORDER LIMITED TO ONE ITEM PER CUSTOMER\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eFreddie Hubbard, trumpet, fluglehorn \u003ca title=\"Vinyl featuring Freddie Hubbard\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/freddie-hubbard\" data-mce-fragment=\"1\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\"\u003e[click here to see more vinyl featuring Freddie Hubbard]\u003c\/span\u003e\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eGeorge Benson, guitar \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/george-benson\" title=\"Vinyl featuring George Benson\" data-mce-fragment=\"1\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\"\u003e[click here to see more vinyl featuring George Benson]\u003c\/span\u003e\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eRon Carter, bass \u003cspan style=\"color: #ff8000;\"\u003e\u003ca title=\"Vinyl featuring Ron Carter\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/ron-carter\" style=\"color: #ff8000;\" data-mce-fragment=\"1\"\u003e[click here to see more vinyl featuring Ron Carter]\u003c\/a\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eJack DeJohnette, drums \u003ca title=\"vinyl featuring Jack Dejohnette\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/jack-dejohnette\" data-mce-fragment=\"1\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\"\u003e[click here to see more vinyl featuring Jack DeJohnette]\u003c\/span\u003e\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHerbie Hancock, Fender Rhodes piano \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/herbie-hancock\" title=\"vinyl featuring Herbie Hancock\" data-mce-fragment=\"1\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\"\u003e[click here to see more vinyl featuring Herbie Hancock]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eHubert Laws, flute\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eRichard Wyands, piano\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eJane Taylor, bassoon\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eCharles McCracken, cello\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eGeorge Ricci, cello\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eWally Kane, flute, bassoon\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eGeorge Marge, flute, clarinet\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eRomeo Penque, flute, oboe, English horn, clarinet\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eJames Buffington, French horn\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eRay Alonge, French horn\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eMargaret Ross, harp\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eAirto Moreira, percussion \u003cspan style=\"color: #ff8000;\"\u003e\u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/airto-moreira\" title=\"Vinyl featuring Airto Moreira\" style=\"color: #ff8000;\" data-mce-fragment=\"1\"\u003e[click here to see more vinyl featuring Airto Moreira]\u003c\/a\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003ePhil Kraus, vibraphone\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eAlfred Brown, viola\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eEmanuel Vardi, viola\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eDavid Nadien, violin\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eEmanuel Green, violin\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eGene Orloff, violin\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eHarold Kohon, violin\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eIrving Spice, violin\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eJoe Malin, violin\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eMatthew Raimondi, violin\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003ePaul Gershman, violin\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eTosha Samaroff, violin\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003cspan\u003eWritten by \u003c\/span\u003e\u003c\/strong\u003e\u003cstrong\u003eFreddie Hubbard (A1), Paul \u0026amp; Linda McCartney (A2), Henry Mancini (B1), Johnny Mercer (B1), Don Sebesky (B2), Norman Martin (B2), Comden \u0026amp; Green (B3), Leonard Bernstein (B3)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eArranged by Don Sebesky\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, gatefold sleeve \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eLimited edition\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : unspecified\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Pure Pleasure\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : CTI\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan lang=\"EN\"\u003e\u003cstrong\u003e\u003cspan\u003eRecorded \u003c\/span\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003cstrong\u003eSeptember 14–16, 1971\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan lang=\"EN\"\u003e\u003cstrong\u003e\u003cspan\u003eat Van Gelder Studio, Englewood Cliffs, New Jersey\u003c\/span\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan lang=\"EN\"\u003e\u003cstrong\u003e\u003cspan\u003eProduced by Creed Taylor\u003c\/span\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan lang=\"EN-US\"\u003e\u003cspan\u003eRemastered by Ray Staff at\u003c\/span\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cspan lang=\"EN-US\"\u003e \u003c\/span\u003e\u003cstrong\u003eAir Mastering, Lyndhurst Hall, London\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv class=\"product-details-module product-details__general-info\"\u003e\n\u003cdiv class=\"product-details-module__content\"\u003e\n\u003cdiv class=\"product-details__product-description\" id=\"productDescription\" itemprop=\"description\"\u003e\n\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1971\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2017\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\n\u003cspan\u003e1. First Light\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e2. Uncle Albert \/ Admiral Halsey\u003c\/span\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\n\u003cspan\u003e1. Moment To Moment\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e2. Yesterday's Dreams\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e3. Lonely Town\u003c\/span\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e \u003cbr\u003e\n\u003c\/div\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAwards:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e1973 Grammy Awards : Best instrumental Jazz Album\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cbr\u003eReviews\u003c\/strong\u003e:\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e« Never one to take lyricism for granted, trumpeter and composer Freddie Hubbard entered Creed Taylor's studio for the third time in 1971 with the express purpose of making a record radically different from anything he'd cut before; he was looking for it to use electricity and to be out of the soul-jazz mold, but was also more ambitious and wanted to push that envelope and himself. Taylor and Hubbard assembled a band that included Herbie Hancock on Rhodes, guitarists Eric Gale and George Benson, bassist Ron Carter, Jack DeJohnette on drums, Airto Moreira on percussion, and Richard Wyands on acoustic piano to back him. The band was also supported by the truly ethereal and adventurous string arrangements of Don Sebesky (a first for Hubbard). The result is a masterpiece of textured sound, gorgeously far-flung charts, sweet, tight grooves, a subtle mystic feel, and some of Hubbard's most exciting playing ever. The title track and Hubbard's ingenious read of Paul and Linda McCartney's \"Uncle Albert\/ Admiral Halsey,\" as well as Leonard Bernstein's \"Lonely Town,\" are so in the pocket that they bleed soul. Benson's uncharacteristically edgy guitar playing juxtaposed against Hubbard's warm tone, and Hancock's beautifully modal Rhodes lines that are drenched with big, open, minor chord voicings, are simply made more illustrious and graceful by Sebesky's strings. While Red Clay and Straight Life are both fine albums, First Light is the one that connects on all levels -- and it did with the jazz-buying public as well. A masterpiece.\"  AllMusic Review by Thom Jurek\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eAllMusic : 4.5 \/ 5 , Discogs : 4.86 \/ 5 \u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40715961729175,"sku":"PPAN CTI 6013","price":38.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/freddie-hubbard-first-light-pure-pleasure-audiosoundmusic-1.jpg?v=1719852107"},{"product_id":"roger-waters-amused-to-death","title":"Roger Waters - Amused To Death (2LP, 33RPM, 200g)","description":"\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003eA1 - The Ballad Of Bill Hubbard\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eGuitar – Jeff Beck\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eKeyboards, Percussion [Programming] – Patrick Leonard\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003ePercussion – Luis Conte\u003c\/div\u003e\n\u003cp style=\"padding-left: 30px;\"\u003eVocals – Alf Razzell\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eA2 - What God Wants, Part I\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eArranged By [Choir], Keyboards – Patrick Leonard\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eBacking Vocals – Doreen Chanter, Katie Kissoon, N'Dea Davenport, Natalie Jackson\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eBass Guitar – Randy Jackson\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eConductor [London Welsh Chorale] – Kenneth Bowen\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eDrums – Graham Broad\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eGuitar [Arpeggio] – Geoff Whitehorn\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eGuitar [Chorus] – Tim Pierce\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eRhythm Guitar [Acoustic], Electric Guitar – Andy Fairweather Low\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eSoloist, Guitar – Jeff Beck\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eVocals, Synthesizer [Emu], Bass [Intro] – Roger Waters\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cp\u003e\u003cstrong\u003eA3 Perfect Sense, Part I\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eAcoustic Guitar – Bruce Gaitsch\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eBass Guitar – James Johnson\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eConductor, Arranged By [Strings] – John Dupree\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eDrums – Graham Broad\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eGuitar [Intro] – Steve Lukather\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eGuitar [Low Grunting] – Rick DiFonso\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eKeyboards, Voice [2nd Sportscaster] – Patrick Leonard\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003ePedal Steel Guitar – B.J. Cole\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003ePercussion – Luis Conte\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eSnare, Hihat – Brian MacLeod\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eVocals – P.P. Arnold\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eVocals, Synthesizer – Roger Waters\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eVoice [HAL 9000 Deactivation Scene] – Douglas Rain\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eVoice [Sportscaster, The Voice Of The Nba] – Marv Albert\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cp\u003e\u003cstrong\u003eA4 Perfect Sense, Part II\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eAcoustic Guitar – Bruce Gaitsch\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eBass Guitar – James Johnson\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eConductor, Arranged By [Strings] – John Dupree\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eDrums – Graham Broad\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eGuitar [Intro] – Steve Lukather\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eGuitar [Low Grunting] – Rick DiFonso\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eKeyboards, Voice [2nd Sportscaster] – Patrick Leonard\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003ePedal Steel Guitar – B.J. Cole\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003ePercussion – Luis Conte\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eSnare, Hihat – Brian MacLeod\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eVocals – P.P. Arnold\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eVocals, Synthesizer – Roger Waters\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eVoice [Sportscaster, The Voice Of The Nba] – Marv Albert\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cp\u003e\u003cstrong\u003eB1 The Bravery Of Being Out Of Range\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eBacking Vocals – Lynn Fiddmont-Linsey, Natalie Jackson\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eBass Guitar – John Pierce\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eDrums – Denny Fongheiser\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eGuitar – Tim Pierce\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eOrgan [Hammond], Synthesizer – Patrick Leonard\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eVocals, Twelve-String Guitar – Roger Waters\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003eB2 Late Home Tonight, Part I\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eBass Guitar – James Johnson\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eConductor, Arranged By [National Philharmonic Orchestra Limited] – Michael Kamen\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eCornet – Steve Sidwell\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eDrums, Percussion – Graham Broad\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eGuitar, Backing Vocals – Andy Fairweather Low\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003ePercussion – Luis Conte\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eVocals – Roger Waters\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cp\u003e\u003cstrong\u003eB3 Late Home Tonight, Part II\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eBass Guitar – James Johnson\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eConductor, Arranged By [National Philharmonic Orchestra Limited] – Michael Kamen\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eCornet – Steve Sidwell\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eDrums, Percussion – Graham Broad\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eGuitar, Backing Vocals – Andy Fairweather Low\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003ePercussion – Luis Conte\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eVocals – Roger Waters\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cp\u003e\u003cstrong\u003eB4 Too Much Rope\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eBacking Vocals – Doreen Chanter, Jessica Leonard, Jordan Leonard, Katie Kissoon\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eBacking Vocals [End] – Screaming Kids (2)\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eBass Guitar – James Johnson\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eConductor, Arranged By [National Philharmonic Orchestra Limited] – Michael Kamen\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eDrums – Graham Broad\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eGuitar – Geoff Whitehorn\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eGuitar [Additional] – Steve Lukather\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eKeyboards – Patrick Leonard\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003ePercussion – Luis Conte\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eTwelve-String Guitar [Rickenbacker 12 Strings Played With A Feather] – Andy Fairweather Low\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eVocals – Roger Waters\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cp\u003e\u003cstrong\u003eB5 What God Wants, Part II\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eAcoustic Guitar [Rhythm], Electric Guitar – Andy Fairweather Low\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eArranged By [Choir], Keyboards – Patrick Leonard\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eBacking Vocals – Doreen Chanter, Katie Kissoon\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eBass Guitar – Randy Jackson (2)\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eDrums – Graham Broad\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eLead Guitar – Tim Pierce\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003ePerformer [Tv Evangelist] – Charles Fleischer\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eVocals – Roger Waters\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cp\u003e\u003cstrong\u003eC1 What God Wants, Part III\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eArranged By [Choir], Keyboards – Patrick Leonard\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eBass Guitar – James Johnson\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eConductor [London Welsh Chorale] – Kenneth Bowen\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eConductor, Arranged By [National Philharmonic Orchestra Limited] – Michael Kamen\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eDrums – Graham Broad\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eGuitar – Geoff Whitehorn\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003ePercussion – Luis Conte\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eSoloist, Guitar – Jeff Beck\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eVocals – Roger Waters\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cp\u003e\u003cstrong\u003eC2 Watching TV\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eAcoustic Guitar – Andy Fairweather Low\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eBass Guitar [Upright \u0026amp; Electric] – John Patitucci\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eDulcimer, Lute, Oboe, Bass, Other [Zhen] – Guo Yi, The Peking Brothers\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eElectric Guitar – Jeff Beck\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003ePiano [Acoustic] – Patrick Leonard\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eVocals – Don Henley\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eVocals, Acoustic Guitar – Roger Waters\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cp\u003e\u003cstrong\u003eC3 Three Wishes\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eBacking Vocals – Doreen Chanter, Katie Kissoon\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eBass Guitar – James Johnson\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eDrums – Graham Broad\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eGuitar [Chorus Leslie] – Tim Pierce\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eKeyboards – Patrick Leonard\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eOrgan [Hammond] – John \"Rabbit\" Brundrick\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003ePercussion – Luis Conte\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eRhythm Guitar, Twelve-String Guitar [Feathered 12-Strings] – Andy Fairweather Low\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eSoloist, Guitar – Jeff Beck\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eVocals – Roger Waters\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cp\u003e\u003cstrong\u003eD1 It's A Miracle\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eArranged By [Choir], Piano, Synthesizer – Patrick Leonard\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eBacking Vocals – Jim Haas, Jon Joyce, Stan Laurel\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eBass Guitar – James Johnson\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eConductor [London Welsh Chorale] – Kenneth Bowen\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eDrums – Jeff Porcaro\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eGuitar – Jeff Beck\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eVocals, Bass – Roger Waters\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cp\u003e\u003cstrong\u003eD2 Amused To Death\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eBacking Vocals – Doreen Chanter, Katie Kissoon\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eBass Guitar – James Johnson\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eDrums – Graham Broad\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eElectric Guitar – Geoff Whitehorn\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eKeyboards – Patrick Leonard\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eSoloist, Guitar – Jeff Beck\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eVocals – Alf Razzell, Rita Coolidge\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eVocals, Acoustic Guitar – Roger Waters\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e2 LPs, Gatefold jacket \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 200g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : \u003cspan data-mce-fragment=\"1\"\u003eQuality Record Pressings\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Analogue Productions\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Columbia\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded\u003cspan\u003e \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e1987–1992 \u003c\/span\u003eby Nick Griffiths\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineers : Hayden Bendall, Jerry Jordan, Stephen McLaughlan, Sean O'Dwyer, Andy Bradfield, Brian Burrows, Chris Brown (8), Dary Sulich, Jeremy Wheatley, John Lowson, Marc Moreau, Mike Bosley, Ross Donaldson, Roy Sweeting, Steve Heinke\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Patrick Leonard, Roger Waters, Nick Griffiths\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered and Mixed by James Guthrie\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003eOriginally released in 19992\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003eReissued in July 2015\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cp\u003e\u003cstrong\u003eTracks :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv\u003e\u003cspan face=\"Times New Roman\"\u003eSide A :\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\n\u003cspan\u003e1. The Ballad of Bill Hubbard\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e2. What God Wants, Part I\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e3. Perfect Sense, Part I\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e4. Perfect Sense, Part II\u003c\/span\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Times New Roman\"\u003eSide B :\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\n\u003cspan\u003e1. The Bravery of Being Out of Range\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e2. Late Home Tonight, Part I\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e3. Late Home Tonight, Part II\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e4. Too Much Rope\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e5. What God Wants, Part II\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\u003cspan face=\"Times New Roman\"\u003eSide C :\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\n\u003cspan\u003e1. What God Wants, Part III\u003cbr data-mce-fragment=\"1\"\u003e2. Watching TV\u003cbr data-mce-fragment=\"1\"\u003e3. Three Wishes\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Times New Roman\"\u003eSide D :\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\n\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003e1. It's A Miracle\u003cbr\u003e2. Amused To Death\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan size=\"3\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan size=\"3\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\u003cspan size=\"3\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cstrong\u003e\u003cbr\u003eAwards\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003e:\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan size=\"3\" style=\"color: #ff2a00;\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cb\u003eTAS Super LP List! Special Merit: Informal\u003c\/b\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cspan size=\"3\" style=\"color: #ff2a00;\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eGrammy Award for Best Surround Sound Album\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cspan size=\"3\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan size=\"3\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan size=\"3\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cspan size=\"3\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp\u003e« War is Roger Waters' great muse, the impetus for so much of his work, including the semi-autobiographical 1979 opus The Wall. The Final Cut, his last album with Pink Floyd, functioned as an explicit sequel to The Wall, but 1992's Amused to Death acts as something of a coda, a work where Waters revisits his obsessions -- both musical and lyrical -- and ties them together with the masterful touch of a mature artist. Certainly, Waters' narrative of a society filtering all manners of ugliness through a television screen isn't as sci-fi silly as that of its immediate predecessor Radio K.A.O.S., but a greater point in its favor is that it's a richer affair than that stiff, synthesized relic of the late '80s. Working with Patrick Leonard -- a veteran collaborator of Madonna's who also dabbled with the latter-day David Gilmour-led Pink Floyd -- Waters gives Amused to Death forward momentum, an aspect conspicuously absent from the still, meditative The Final Cut and Pros and Cons of Hitchhiking, both of which seemed to be comprised of song poems. The tunes on Amused aren't quite hooky or melodic but they do have structure, as does the production by Waters, Leonard, and Nick Griffiths. The tapestry of found sounds, choirs, televisions, washes of organ, lonely acoustic guitars, and blues leads by Jeff Beck does recall Floyd at their '70s peak, but Amused to Death sounds grander and more expansive; it's a creature of the CD age, using up every one of its available 72 minutes. At this length, it's a mere ten minutes shorter than The Wall, and although it can sometimes feel indulgent, it never feels excessive. Unlike the other two Waters solo albums -- or The Final Cut, which is a Waters project masquerading as a Floyd album -- Amused to Death feels cohesive and complete as an anti-war rock opera. If it winds up being Waters' last original rock album, so be it: it is a masterpiece in the sense that it brings together all of his obsessions in one grand, but not unwieldy, package. » AllMusic Review by Stephen Thomas Erlewine\u003c\/p\u003e\n\u003cp\u003e\"In some ways, this is even better than\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eThe Wall\u003c\/em\u003e. Waters got a lot of top performers to play on the album, usually behind his singing and speaking of the lyrics .... Guitarist Jeff Beck is heard frequently in the album, with his special virtuosity on eight of the tracks. ... (Waters is) certainly at his cynical best here - and without him Pink Floyd — never mind the general doom and gloom — wouldn't have been the top rock group it is and was.\" —\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eAudiophile Audition\u003c\/em\u003e, Jan. 12, 2016.\u003c\/p\u003e\n\u003cp\u003e\"Despite the bombast and conceit, this long-time audiophile favorite sounds outstanding in this 200-gram vinyl edition. Back in the day you needed some pretty heady drugs to make DSOTM sound this good, and the stellar line-up of musicians, with Jeff Beck on eight tracks, makes for a pharmaceutical-free audiophile amusement ride. The LP surfaces are dead quiet too, allowing you to hear every nuance of cricket chirp and dog bark.\"  Dennis D. Davis,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eHi-Fi +\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\"I have the original double vinyl issue of this, that until recently went for upwards of $600, and this reissue beats that one in every possible way ... The QSound\u003csup\u003eTM\u003c\/sup\u003e\u003cspan\u003e \u003c\/span\u003e\"surround sound\" is more intensely drawn, dynamics are staggering, deep bass is monumental and the depth and width of the cinematic soundstage is beyond that of every other record I can think of in my collection. The 200g QRP pressing I got (sealed) was perfectly quiet and flat and after sitting through all four sides I felt as if I'd experienced a 3D IMAX movie, only with greater sonic intensity and dimensionality.\" \u003cspan class=\"blurb\"\u003eMichael Fremer,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eAnalogPlanet.com.\u003cspan\u003e \u003c\/span\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003eRatings\u003c\/strong\u003e : \u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\u003cspan size=\"3\"\u003e\u003cspan size=\"3\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eAllMusic : 4.5 \/ 5 , Discogs : 4.69 \/ 5 ,  Michael Fremer : \u003cspan class=\"blurb\" data-mce-fragment=\"1\"\u003eMusic = 9\/11; Sound = 11\/11   ,  Dennis D. Davis, \u003cem data-mce-fragment=\"1\"\u003eHi-Fi + : \u003c\/em\u003eRecording = 9.5\/10; Music = 8.5\/10\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003ch1\u003e\u003c\/h1\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40727831117975,"sku":"AAPP 468761","price":95.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/roger-waters-amused-to-death-2lp-33rpm-200g-audiosoundmusic-1.jpg?v=1719852192"},{"product_id":"norah-jones-feels-like-home","title":"Norah Jones - Feels Like Home (200g)","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eVocals – Norah Jones \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/norah-jones\" title=\"vinyl featuring Norah Jones\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/norah-jones\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Norah Jones]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eVocals - Dolly Parton\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eElectric Piano [Wurlitzer] – Norah Jones\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOrgan [Pump] – Norah Jones, Rob Burger\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAccordion – Garth Hudson\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAcoustic Guitar – Adam Levy, Jesse Harris, Kevin Breit\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBacking Vocals – Adam Levy, Daru Oda, Kevin Breit\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBanjo [Banjolin] – Kevin Breit\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBass – Lee Alexander\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCello – Jane Scarpantoni\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDrums – Andrew Borger, Brian Blade, Levon Helm\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFlute – Daru Oda\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGuitar [Electric] – Adam Levy, Tony Scherr\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGuitar [Lap Steel] – Lee Alexander\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGuitar [Resonator] – Kevin Breit\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOrgan [Hammond] – Garth Hudson\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePercussion [Foot Tapping] – Kevin Breit\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePercussion [Slit Drum] – Andrew Borger\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePercussion [Snare Drum] – Andrew Borger\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eViola – David Gold\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by  L. Alexander (A1 to A4, B1, B3, B7), N. Jones\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP,  Gatefold tip-on jackets\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 200g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : \u003cspan data-mce-fragment=\"1\"\u003eQuality Record Pressings\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Analogue Productions\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Blue Note\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eRecorded at Allaire Studios, Shokan, NY and Avatar Studios, Sear Sound, and Sorcerer Sound, NYC\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineered by Aya Takemura, Dick Kondas, Matthew Cullen, Steve Mazur\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMixed by Jay Newland a\u003cspan data-mce-fragment=\"1\"\u003et Sear Sound, NYC\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Arif Mardin, Norah Jones\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by Kevin Gray at Cohearent Audio\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003eOriginally released in 2004\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003eReissued in 2012\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cp\u003e\u003cstrong\u003eTracks :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv\u003e\u003cspan face=\"Times New Roman\"\u003eSide A :\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e1. Sunrise\u003cbr data-mce-fragment=\"1\"\u003e2. What Am I To You?\u003cbr data-mce-fragment=\"1\"\u003e3. Those Sweet Words\u003cbr data-mce-fragment=\"1\"\u003e4. Carnival Town\u003cbr data-mce-fragment=\"1\"\u003e5. In The Morning\u003cbr data-mce-fragment=\"1\"\u003e6. Be Here To Love Me\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Times New Roman\"\u003eSide B :\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\n\u003cspan data-mce-fragment=\"1\"\u003e1. Creepin' In\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e2. Toes\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e3. Humble Me\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e4. Above Ground\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e5. The Long Way Home\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e6. The Prettiest Thing\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e7. Don't Miss You At All\u003c\/span\u003e\u003cbr\u003e\n\u003col\u003e\u003c\/ol\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eAwards\u003c\/strong\u003e :\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e2005 Grammy Awards: Best Female Pop Vocal Performance \u003c\/strong\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp\u003e\u003cspan\u003e\"2004's 'Feels Like Home' is an album filled with melancholic songs about self-doubt and a break-up. It includes a duet with Dolly Parton. Garth Hudson adds an accordion on one track. The final song \"Don't Miss You At All\" brought the inner turmoil to a fine finale. The album is like peeking into a diary or in some ways hiding under Norah's bed and sharing her intimate heartache. ... The records coming out of QRP are definitely living up to the pressing plant's early promise. This kind of drop dead black quiet is precisely what's required for Jones' music and QRP delivers it. Kevin Gray's mastering is equally superb.\" — Michael Fremer, \u003c\/span\u003e\u003cem\u003eAnalogPlanet.com, January 24, 2013\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e« It may be far too obvious to even mention that Norah Jones' follow-up to her 18-million-unit-selling, eight-Grammy-winning, genre-bending, super-smash album Come Away with Me has perhaps a bit too much to live up to. But that's probably the biggest conundrum for Jones: having to follow up the phenomenal success of an album that was never designed to be so hugely popular in the first place. Come Away with Me was a little album by an unknown pianist\/vocalist who attempted to mix jazz, country, and folk in an acoustic setting -- who knew? Feels Like Home could be seen as \"Come Away with Me Again\" if not for that fact that it's actually better. Smartly following the template forged by Jones and producer Arif Mardin, there is the intimate single \"Sunrise,\" some reworked cover tunes, some interesting originals, and one ostensible jazz standard. These are all good things, for also like its predecessor, Feels Like Home is a soft and amiable album that frames Jones' soft-focus Aretha Franklin voice with a group of songs that are as classy as they are quiet. Granted, not unlike the dippy albeit catchy hit \"Don't Know Why,\" they often portend deep thoughts but come off in the end more like heartfelt daydreams. Of course, Jones could sing the phone book and make it sound deep, and that's what's going to keep listeners coming back. » AllMusic Review by Matt Collar\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eRatings\u003c\/strong\u003e : \u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\u003cspan size=\"3\"\u003e\u003cspan size=\"3\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eAllMusic : 4 \/ 5 , Discogs : 4.2 \/ 5 \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003ch1\u003e\u003c\/h1\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40729874595991,"sku":"AAPP 043","price":70.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/norah-jones-feels-like-home-200g-audiosoundmusic-1.jpg?v=1719852192"},{"product_id":"the-vaughan-brothers-family-style","title":"The Vaughan Brothers - Family Style (200g)","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJimmie Vaughan – guitar, lap steel guitar, vocals, organ\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStevie Ray Vaughan – guitar, vocals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAl Berry – bass\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLarry Aberman – drums\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDoyle Bramhall – drums\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eNile Rodgers – guitar, producer\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRichard Hilton – organ\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTawatha Agee – vocals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFrank Simms – vocals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGeorge Simms – vocals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBrenda White-King – vocals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCurtis King Jr. – vocals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePreston Hubbard – upright bass\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStan Harrison – tenor saxophone\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eArranged By [Horns] Nile Rodgers\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP,  gatefold jacket\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 200g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : \u003cspan data-mce-fragment=\"1\"\u003eQuality Record Pressings\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Analogue Productions\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Epic\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded at Ardent Studios, Memphis TN; The Dallas Sound Lab, Dallas TX. \/ Mixed at Skyline Studios, NY\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced and mixed by Nile Rodgers\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by Ryan Smith at Sterling Sound\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003eOriginally released in 1990\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003eReissued in 2017\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cp\u003e\u003cstrong\u003eTracks :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv\u003e\u003cspan face=\"Times New Roman\"\u003eSide A :\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e1. Hard To Be\u003cbr data-mce-fragment=\"1\"\u003e2. White Boots\u003cbr data-mce-fragment=\"1\"\u003e3. D\/FW\u003cbr data-mce-fragment=\"1\"\u003e4. Good Texan\u003cbr data-mce-fragment=\"1\"\u003e5. Hillbillies From Outerspace\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Times New Roman\"\u003eSide B :\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\n\u003cspan data-mce-fragment=\"1\"\u003e2. Long Way From Home\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e3. Tick Tock\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e4. Telephone Song\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e5. Baboom\/Mama Said\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e6. Brothers\u003c\/span\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eAwards\u003c\/strong\u003e :\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eThe album Family Style won The Vaughan Brothers a Grammy in 1990 in the category \"Best Contemporary Blues Recording\". The track \"D \/ FW\" was awarded a Grammy for \"Best Rock Instrumental Performance\" the same year.\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eReviews\u003c\/strong\u003e :\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp\u003e« With slick production from Nile Rodgers and employing neither guitarist's band (Double Trouble nor the Fabulous Thunderbirds), this is bluesy, but far from purist. Jimmie makes his vocal debut on \"White Boots\" and \"Good Texan,\" and the brothers blur the lines between their expected guitar styles -- Stevie sometimes going for a less sustainy twang, Jimmie moving into Albert King territory. When standard blues is the order of the day (the slow instro \"Brothers\"), the key word is \"standard\" -- bordering on run-of-the-mill. Instrumentals \"D\/FW\" and \"Hillbillies from Outer Space\" fare better -- offering ZZ Top crunch and Santo \u0026amp; Johnny steel, respectively. » AllMusic Review by Dan Forte\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eRatings\u003c\/strong\u003e : \u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\u003cspan size=\"3\"\u003e\u003cspan size=\"3\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eAllMusic : 3 \/ 5 , Discogs : 4.01 \/ 5 \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003ch1\u003e\u003cbr\u003e\u003c\/h1\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40736957923479,"sku":"AAPB100","price":65.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/the-vaughan-brothers-family-style-200g-audiosoundmusic-1.jpg?v=1719852233"},{"product_id":"norah-jones-vinyl-collection-box-set","title":"Norah Jones - Vinyl Collection Box Set (6LP, 200g)","description":"\u003ch2\u003e\n\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eORDER LIMITED TO ONE ITEM PER CUSTOMER\u003c\/strong\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003c\/h2\u003e\n\u003cp\u003e\u003cstrong\u003eCOMPILATION\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eNorah Jones - vocals \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/norah-jones\" title=\"vinyl featuring Norah Jones\"\u003e\u003cspan style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Norah Jones]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e   \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e6 LPs,  \u003cspan data-mce-fragment=\"1\"\u003eBox set, heavy cardboard stock, tip-on, old-school gatefold sleeves\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 200g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : \u003cspan data-mce-fragment=\"1\"\u003eQuality Record Pressings\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Analogue Productions\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Blue Note\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by Kevin Gray at Cohearent Audio\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003eReleased in 2012\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eTracks :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cstrong\u003eCome Away with Me\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp\u003e               Side A\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eDon’t Know Why\u003c\/li\u003e\n\u003cli\u003eSeven Years\u003c\/li\u003e\n\u003cli\u003eCold Cold Heart\u003c\/li\u003e\n\u003cli\u003eFeelin’ the Same Way\u003c\/li\u003e\n\u003cli\u003eCome Away with Me\u003c\/li\u003e\n\u003cli\u003eShoot the Moon\u003c\/li\u003e\n\u003cli\u003eTurn Me On\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e               Side B\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eLonestar\u003c\/li\u003e\n\u003cli\u003eI’ve Got to See You Again\u003c\/li\u003e\n\u003cli\u003ePainter Song\u003c\/li\u003e\n\u003cli\u003eOne Flight Down\u003c\/li\u003e\n\u003cli\u003eNightingale\u003c\/li\u003e\n\u003cli\u003eThe Long Day is Over\u003c\/li\u003e\n\u003cli\u003eThe Nearness of You\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e\u003cstrong\u003eFeels Like Home\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e               Side A\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eSunrise\u003c\/li\u003e\n\u003cli\u003eWhat Am I to You\u003c\/li\u003e\n\u003cli\u003eThose Sweet Words\u003c\/li\u003e\n\u003cli\u003eCarnival Town\u003c\/li\u003e\n\u003cli\u003eIn The Morning\u003c\/li\u003e\n\u003cli\u003eBe Here to Love Me\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e               Side B\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eCreepin' In\u003c\/li\u003e\n\u003cli\u003eToes\u003c\/li\u003e\n\u003cli\u003eHumble Me\u003c\/li\u003e\n\u003cli\u003eAbove Ground\u003c\/li\u003e\n\u003cli\u003eThe Long Way Home\u003c\/li\u003e\n\u003cli\u003eThe Prettiest Thing\u003c\/li\u003e\n\u003cli\u003eDon't Miss You at All            \u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e\u003cstrong\u003eNot Too Late\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e               Side A\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eWish I Could\u003c\/li\u003e\n\u003cli\u003eSinkin' Soon\u003c\/li\u003e\n\u003cli\u003eThe Sun Doesn't Like You\u003c\/li\u003e\n\u003cli\u003eUntil the End\u003c\/li\u003e\n\u003cli\u003eNot My Friend\u003c\/li\u003e\n\u003cli\u003eThinking About You\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e               Side B\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eBroken\u003c\/li\u003e\n\u003cli\u003eMy Dear Country\u003c\/li\u003e\n\u003cli\u003eWake Me Up\u003c\/li\u003e\n\u003cli\u003eBe My Somebody\u003c\/li\u003e\n\u003cli\u003eLittle Room\u003c\/li\u003e\n\u003cli\u003eRosie's Lullaby\u003c\/li\u003e\n\u003cli\u003eNot Too Late\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e\u003cstrong\u003eThe Fall\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e               Side A\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eChasing Pirates\u003c\/li\u003e\n\u003cli\u003eEven Though\u003c\/li\u003e\n\u003cli\u003eLight as a Feather\u003c\/li\u003e\n\u003cli\u003eYoung Blood\u003c\/li\u003e\n\u003cli\u003eI Wouldn't Need You\u003c\/li\u003e\n\u003cli\u003eWaiting\u003c\/li\u003e\n\u003cli\u003eIt's Gonna Be\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e               Side B\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eYou've Ruined Me\u003c\/li\u003e\n\u003cli\u003eBack to Manhattan\u003c\/li\u003e\n\u003cli\u003eStuck\u003c\/li\u003e\n\u003cli\u003eDecember\u003c\/li\u003e\n\u003cli\u003eTell Your Mama\u003c\/li\u003e\n\u003cli\u003eMan of the Hour\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e\u003cstrong\u003eLittle Broken Hearts\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e               Side A\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eGood Morning\u003c\/li\u003e\n\u003cli\u003eSay Goodbye\u003c\/li\u003e\n\u003cli\u003eLittle Broken Hearts\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e               Side B\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eShe's 22\u003c\/li\u003e\n\u003cli\u003eTake It Back\u003c\/li\u003e\n\u003cli\u003eAfter The Fall\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e               Side C\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eBroken Hearts\u003c\/li\u003e\n\u003cli\u003eTravelin' On\u003c\/li\u003e\n\u003cli\u003eOut on the Road\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e               Side D\u003c\/p\u003e\n\u003cp\u003e       1.Happy Pills\u003cbr\u003e       2. Miriam\u003cbr\u003e       3. All a Dream    \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCovers\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e               Side A\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eSleepless Nights\u003c\/li\u003e\n\u003cli\u003eI’ll Be Your Baby Tonight\u003c\/li\u003e\n\u003cli\u003eJesus Etc.\u003c\/li\u003e\n\u003cli\u003eSweet Dreams\u003c\/li\u003e\n\u003cli\u003eCry Cry Cry\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e               Side B\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003ePicture In A Frame\u003c\/li\u003e\n\u003cli\u003eHands on the Wheel (with M. Ward)\u003c\/li\u003e\n\u003cli\u003eShe\u003c\/li\u003e\n\u003cli\u003eMy Blue Heaven\u003c\/li\u003e\n\u003cli\u003ePeace\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003eAwards\u003c\/strong\u003e:\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003c\/span\u003e\u003cstrong\u003e\u003cspan style=\"color: #ff2a00;\"\u003e2003 Grammy Award Winner :\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan style=\"color: #ff2a00;\"\u003e~ Record of the Year, Don't Know Why\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan style=\"color: #ff2a00;\"\u003e~ Album of the Year, Come Away With Me\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan style=\"color: #ff2a00;\"\u003e~ Song of the Year, Don't Know Why\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan style=\"color: #ff2a00;\"\u003e~ Best New Artist, Norah Jones\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan style=\"color: #ff2a00;\"\u003e~ Best Female Pop Vocal Performance, Don't Know Why\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan style=\"color: #ff2a00;\"\u003e~ Best Pop Vocal Album, Come Away With Me\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan style=\"color: #ff2a00;\"\u003e~ Best Engineered Album, Non-Classical, S. Husky Höskulds \u0026amp; Jay Newland, engineers\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan style=\"color: #ff2a00;\"\u003e~ Producer of the Year, Non-Classical, Arif Mardin, producer\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan style=\"color: #ff2a00;\"\u003e2005 Grammy Awards: Best Female Pop Vocal Performance (Feels like Home album)\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cbr\u003e\u003cstrong\u003e\u003c\/strong\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cbr\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp\u003e\"The packaging is exquisite, from the textured box to the highest quality graphics and paper on cardboard jackets. All is absolutely first-rate as are the pressings. The records coming out of QRP are definitely living up to the pressing plant's early promise. This kind of drop dead black quiet is precisely what's required for Jones's music and QRP delivers it. Kevin Gray's mastering is equally superb. ... I was surprised how easily and pleasurable it was to go through the whole box numerous times before writing it up. The sonics throughout are superb ...\" Michael Fremer, AnalogPlanet.com, January 24, 2013. \u003c\/p\u003e\n\u003cp\u003e\"As you might expect, (the records) sound excellent. ... This set embodies everything this blog believes in passionately. Holding the music in your hands. A lifetime of listening pleasure from the music is massively enhanced by the pleasure of owning a physical object. The ritual of pulling out the record you want to listen to from a box set, opening the thick gatefold jackets and placing the spotless, heavyweight vinyl record on the turntable platter, is of great value to many - convenience aside, how could a mouse-click on a computer or the swipe of your thumb on your 'smart phone' ever hope to compete when it comes to listening to music?\" - Review of the Norah Jones Vinyl Collection by Paul Sinclair, SuperDeluxeEdition.com, January 2013\u003c\/p\u003e\n\u003cp\u003eNorah Jones is the rare artist who has combined widespread critical acclaim with immense commercial success, winning nine Grammy Awards and selling 40 million albums in just a decade, while collaborating with artists from across the spectrum from jazz to hip hop, rock to country. Her pitch-perfect voice combined with her choice of the finest musicians along with top-flight producers such as Arif Mardin, Danger Mouse and Jacquire King have made her releases go-to demonstration discs for audiophile stereo systems. Now ten years into her already impressive career, she is releasing her fifth studio album Little Broken Hearts on May 1, 2012, produced by and co-written with five-time Producer of the Year Grammy nominee Danger Mouse, and to celebrate, Blue Note Records and Analogue Productions are collaborating to re-issue her entire catalog in limited edition audiophile LP.\u003c\/p\u003e\n\u003cp\u003eThe LP editions of the five albums — 2002's Come Away With Me, 2004's Feels Like Home, 2007's Not Too Late, 2009's The Fall and Norah's new album Little Broken Hearts — have all been re-mastered from the original sources by Kevin Gray at Cohearent Audio. The LPs are pressed on 200 Gram vinyl at Quality Record Pressings (fast gaining popular consensus as the best pressing plant in the world) and, keeping with Analogue Productions' standards, they're packaged in heavy cardboard stock, tip-on, old-school gatefold sleeves.\u003c\/p\u003e\n\u003cp\u003eIn addition to the individual releases, Analogue and Blue Note have produced this limited edition vinyl box set comprising all five titles plus a bonus album titled Covers, exclusive in LP format to this box set only. Covers includes 10 rare or unreleased interpretations of classics recorded throughout Norah's career. Artists covered include Bob Dylan, Johnny Cash, Tom Waits, Horace Silver, Wilco and more. The box set is wrapped in a textured paper that feels like linen.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e: \u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003eDiscogs : 4.62 \/ 5 ,  Michael Fremer Music = 9\/10 Sound = 9\/10\u003cbr\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003ch1\u003e\u003c\/h1\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40742362841239,"sku":"AAPP NJBOX 33","price":550.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/norah-jones-vinyl-collection-box-set-6lp-200g-audiosoundmusic-1.jpg?v=1719852271"},{"product_id":"blood-sweat-tears-2","title":"Blood Sweat \u0026 Tears - Blood Sweat \u0026 Tears (Friday Music)","description":"\u003ch2\u003e\n\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003c\/h2\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff8000;\"\u003e\u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/blood-sweat-tears\" title=\"Blood, Sweat and Tears vinyl\" style=\"color: #ff8000;\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/blood-sweat-tears\"\u003e\u003cstrong\u003e[click here to see more vinyl featuring Blood, Sweat \u0026amp; Tears]\u003c\/strong\u003e\u003c\/a\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLead Vocals – David Clayton-Thomas (A1, A2, A4 to B4)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGuitar, Harmonica, Vocals – Steve Katz\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAlto Saxophone, Piano – Fred Lipsius\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBass – Jim Fielder\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eChorus [BS\u0026amp;T Chorus] – Bobby Colomby, Dick Halligan\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDrums, Percussion, Vocals – Bobby Colomby\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOrgan, Piano, Flute, Trombone, Vocals – Dick Halligan\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTrombone, Recorder – Jerry Hyman\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTrumpet, Flugelhorn [Flügelhorn] – Chuck Winfield, Lew Soloff\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eArranged by Al Kooper (A2, A4, B2), Blood, Sweat And Tears, Dick Halligan (A1 to A3, A5, A6, B4), Fred Lipsius (A2, A4, B1, B2)\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, gatefold sleeve\u003c\/strong\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : RTI\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Friday Music\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Columbia\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineered \u0026amp; mixed by : Fred Catero, Roy Halee\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by James William Guercio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by Joe Reagoso\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1968\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2015\u003cbr\u003e\u003c\/strong\u003e \u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eVariations On A Theme By Erik Satie\u003c\/li\u003e\n\u003cli\u003eSmiling Phases\u003c\/li\u003e\n\u003cli\u003eSometimes in Winter\u003c\/li\u003e\n\u003cli\u003eMore and More\u003c\/li\u003e\n\u003cli\u003eAnd When I Die\u003c\/li\u003e\n\u003cli\u003eGod Bless The Child\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eSpinning Wheel\u003c\/li\u003e\n\u003cli\u003eYou've Made Me So Very Happy\u003c\/li\u003e\n\u003cli\u003eBlues - Part II\u003c\/li\u003e\n\u003cli\u003eVariations On A Theme By Erik Satie\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAwards:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eWinner of three Grammy Awards in 1970 : \"Album of the Year\", Best Arrangment for \"Spinning Wheel\" and Best Contemporary Instrumental Perfomance for \"Variations on a Theme by Erik Satie\"\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003cstrong\u003e1000 Recordings you must hear before you die - Ranked 140\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e\"The difference between Blood, Sweat \u0026amp; Tears and the group's preceding long-player, Child Is Father to the Man, is the difference between a monumental seller and a record that was \"merely\" a huge critical success. Arguably, the Blood, Sweat \u0026amp; Tears that made this self-titled second album -- consisting of five of the eight original members and four newcomers, including singer David Clayton-Thomas -- was really a different group from the one that made Child Is Father to the Man, which was done largely under the direction of singer\/songwriter\/keyboard player\/arranger Al Kooper. They had certain similarities to the original: the musical mixture of classical, jazz, and rock elements was still apparent, and the interplay between the horns and the keyboards was still occurring, even if those instruments were being played by different people. Kooper was even still present as an arranger on two tracks, notably the initial hit \"You've Made Me So Very Happy.\" But the second BS\u0026amp;T, under the aegis of producer James William Guercio, was a less adventurous unit, and, as fronted by Clayton-Thomas, a far more commercial one. Not only did the album contain three songs that neared the top of the charts as singles -- \"Happy,\" \"Spinning Wheel,\" and \"And When I Die\" -- but the whole album, including an arrangement of \"God Bless the Child\" and the radical rewrite of Traffic's \"Smiling Phases,\" was wonderfully accessible. It was a repertoire to build a career on, and Blood, Sweat \u0026amp; Tears did exactly that, although they never came close to equaling this album.\" \u003cspan data-mce-fragment=\"1\"\u003eAllMusic Review by William Ruhlmann\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eAllMusic : 4,5 \/ 5 , Discogs : 4,06 \/ 5\u003c\/p\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003ch1\u003e\u003cbr\u003e\u003c\/h1\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40793693782167,"sku":"FRM-9720","price":55.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/blood-sweat-and-tears-friday-music-audiosoundmusic-1.jpg?v=1719852662"},{"product_id":"bill-evans-at-the-montreux-jazz-festival","title":"Bill Evans - At The Montreux Jazz Festival (1LP, 33 RPM, 200g)","description":"\u003cdiv\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003ePiano – Bill Evans \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/bill-evans\" title=\"Vinyl featuring Bill Evans\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/bill-evans\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[\u003cspan color=\"#ff8000\" style=\"color: #ff8000;\" data-mce-fragment=\"1\"\u003eclick here to see more vinyl featuring \u003c\/span\u003e\u003cspan color=\"#ff8000\" data-mce-fragment=\"1\"\u003eBill Evans]\u003c\/span\u003e\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDrums – Jack DeJohnette \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/jack-dejohnette\" title=\"vinyl featuring Jack Dejohnette\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/jack-dejohnette\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Jack DeJohnette]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBass – Eddie Gomez\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 200g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12”\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLive\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Quality Record Pressings\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Analogue Productions\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label :  Verve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded June 15, 1968, at the Casino de Montreux, Switzerland by the technical department of Radio Suisse Romande\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Helen Keane\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemixed by Bob Schwarz\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineered by Jean-Claude Martin, Pierre Grandjean\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMastered by Bernie Grundman from The Original Analog Tapes\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1962\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2019\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eOne For Helen\u003c\/li\u003e\n\u003cli\u003eA Sleepin' Bee\u003c\/li\u003e\n\u003cli\u003eMother Of Earl\u003c\/li\u003e\n\u003cli\u003eNardis\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eI Loves You Porgy\u003c\/li\u003e\n\u003cli\u003eThe Touch Of Your Lips\u003c\/li\u003e\n\u003cli\u003eEmbraceable You\u003c\/li\u003e\n\u003cli\u003eSomeday My Prince Will Come\u003c\/li\u003e\n\u003cli\u003eWalkin' Up\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eAwards\u003c\/strong\u003e: \u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eWinner of the 1969 Grammy for Best Jazz Instrumental Album\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e“Bill Evans' 1968 release, At the Montreux Jazz Festival, marks the beginning of stylistic changes for the legendary pianist. Only one year earlier, his At Town Hall release found his approach generally more introspective and brooding. In contrast, this set is more lively, playful, and experimental. Much of this is down to the active and intense drumming of Jack DeJohnette, who had joined the trio only a short time before this concert was recorded; longtime bandmate Eddie Gomez is also featured on this album. His energetic soloing adds veracity to tunes such as \"Embraceable You\" and \"A Sleeping Bee.\" DeJohnette, too, is given several opportunities to display his drumming skills. His lengthy solo on \"Nardis\" displays his technical prowess and four-way coordination; such acumen would later cause jazz fans and critics alike to hail DeJohnette as one of the world's premier jazz drummers. Evans, famous for a soft-spoken pianistic touch, seems driven to new vistas on this album. He experiments more with harmonic dissonance and striking rhythmical contrasts, making this his most extroverted playing since his freshman release, New Jazz Conceptions.” AllMusic Review by Rovi Staff\u003c\/p\u003e\n\u003cp\u003eAs others have noted, this album occupies a unique place in the Bill Evans discography. It's the only album to document drummer Jack deJohnette's too-short stay in the trio. The trio's performance on this album won them the 1969 Grammy for Best Jazz Instrumental Album, Individual or Group.\u003c\/p\u003e\n\u003cp\u003eBy the time this set was recorded, live in Montreux on June 15, 1968, Eddie Gomez and Evans had been playing together for two years. Gomez provided a different brand of virtuosity to that offered by Scott LaFaro in Evans's classic trio of five years earlier but he was clearly the best bass player Evans had worked with since LaFaro's tragic death. The groove between the two was deep and comfortable, so comfortable that in this set, Evans did something he hadn't done before, at least on a recording: he showcased Gomez for an entire piece, the almost 7-minute-long \"Embraceable You.\"\u003c\/p\u003e\n\u003cp\u003eAs the liner notes by Gene Lees reveal, Evan's performance at the renowned jazz festival in the nightclub of the Montreux Casino, one of the most fashionable resorts in Switzerland, was one of his best. He and Gomez played with more exuberance, more happiness and more drive. Evans' brooding, introspective musical side has been represented well on records before; the bright side has been too-little heard, but it's here in this album.\u003c\/p\u003e\n\u003cp\u003eAt the end of each number the audience exploded in applause so stormy and extended that it had to be heavily edited for the album.\u003c\/p\u003e\n\u003cp\u003eEnjoy this sparkling Bill Evans piano performance, made sweeter by the expert mastering by Bernie Grundman from the original analog tape. For this edition only the best vinyl pressing would do — a 200-gram super-silent luxurious-sounding platter from Quality Record Pressings, makers of the world's finest-sounding LPs. First-rate and top-notch, this album will make a superb addition to your record collection.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eAllMusic :  4 \/ 5 ,  Discogs :  4.63  \/ 5\u003c\/p\u003e\n\u003c\/div\u003e\n\u003ch1\u003e\u003c\/h1\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40870845874327,"sku":"AAPJ 8762","price":65.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/bill-evans-at-the-montreux-jazz-festival-1lp-33-rpm-200g-audiosoundmusic-1.jpg?v=1719853133"},{"product_id":"bill-evans-at-the-montreux-jazz-festival-2lps-45-rpm-180g","title":"Bill Evans - At The Montreux Jazz Festival (2LP, 45 RPM)","description":"\u003cdiv\u003e\n\u003cp\u003e\u003cstrong\u003ePiano – Bill Evans \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/bill-evans\" title=\"Vinyl featuring Bill Evans\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/bill-evans\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-style=\"color: #ff8000;\" data-mce-fragment=\"1\"\u003e[\u003cspan color=\"#ff8000\" style=\"color: #ff8000;\" data-mce-fragment=\"1\"\u003eclick here to see more vinyl featuring \u003c\/span\u003e\u003cspan color=\"#ff8000\" data-mce-fragment=\"1\"\u003eBill Evans]\u003c\/span\u003e\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDrums – Jack DeJohnette \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/jack-dejohnette\" title=\"vinyl featuring Jack Dejohnette\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/jack-dejohnette\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Jack DeJohnette]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBass – Eddie Gomez\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e2 LPs, Old-style tip-on gatefold jacket by Stoughton Printing\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 45RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12”\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLive\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Quality Record Pressings\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Analogue Productions\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label :  Verve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded June 15, 1968, at the Casino de Montreux, Switzerland by the technical department of Radio Suisse Romande\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Helen Keane\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemixed by Bob Schwarz\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineered by Jean-Claude Martin, Pierre Grandjean\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMastered by Bernie Grundman from The Original Analog Tapes\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1962\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2019\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eOne For Helen\u003c\/li\u003e\n\u003cli\u003eA Sleepin' Bee\u003c\/li\u003e\n\u003cli\u003eMother Of Earl\u003c\/li\u003e\n\u003cli\u003eNardis\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eI Loves You Porgy\u003c\/li\u003e\n\u003cli\u003eThe Touch Of Your Lips\u003c\/li\u003e\n\u003cli\u003eEmbraceable You\u003c\/li\u003e\n\u003cli\u003eSomeday My Prince Will Come\u003c\/li\u003e\n\u003cli\u003eWalkin' Up\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eWinner of the 1969 Grammy for Best Jazz Instrumental Album\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eReviews :\u003c\/p\u003e\n\u003cp\u003e“Bill Evans' 1968 release, At the Montreux Jazz Festival, marks the beginning of stylistic changes for the legendary pianist. Only one year earlier, his At Town Hall release found his approach generally more introspective and brooding. In contrast, this set is more lively, playful, and experimental. Much of this is down to the active and intense drumming of Jack DeJohnette, who had joined the trio only a short time before this concert was recorded; longtime bandmate Eddie Gomez is also featured on this album. His energetic soloing adds veracity to tunes such as \"Embraceable You\" and \"A Sleeping Bee.\" DeJohnette, too, is given several opportunities to display his drumming skills. His lengthy solo on \"Nardis\" displays his technical prowess and four-way coordination; such acumen would later cause jazz fans and critics alike to hail DeJohnette as one of the world's premier jazz drummers. Evans, famous for a soft-spoken pianistic touch, seems driven to new vistas on this album. He experiments more with harmonic dissonance and striking rhythmical contrasts, making this his most extroverted playing since his freshman release, New Jazz Conceptions.” AllMusic Review by Rovi Staff\u003c\/p\u003e\n\u003cp\u003eAs others have noted, this album occupies a unique place in the Bill Evans discography. It's the only album to document drummer Jack deJohnette's too-short stay in the trio. The trio's performance on this album won them the 1969 Grammy for Best Jazz Instrumental Album, Individual or Group.\u003c\/p\u003e\n\u003cp\u003eBy the time this set was recorded, live in Montreux on June 15, 1968, Eddie Gomez and Evans had been playing together for two years. Gomez provided a different brand of virtuosity to that offered by Scott LaFaro in Evans's classic trio of five years earlier but he was clearly the best bass player Evans had worked with since LaFaro's tragic death. The groove between the two was deep and comfortable, so comfortable that in this set, Evans did something he hadn't done before, at least on a recording: he showcased Gomez for an entire piece, the almost 7-minute-long \"Embraceable You.\"\u003c\/p\u003e\n\u003cp\u003eAs the liner notes by Gene Lees reveal, Evan's performance at the renowned jazz festival in the nightclub of the Montreux Casino, one of the most fashionable resorts in Switzerland, was one of his best. He and Gomez played with more exuberance, more happiness and more drive. Evans' brooding, introspective musical side has been represented well on records before; the bright side has been too-little heard, but it's here in this album.\u003c\/p\u003e\n\u003cp\u003eAt the end of each number the audience exploded in applause so stormy and extended that it had to be heavily edited for the album.\u003c\/p\u003e\n\u003cp\u003eEnjoy this sparkling Bill Evans piano performance, made sweeter by the expert mastering by Bernie Grundman from the original analog tape. For this edition only the best vinyl pressing would do — a 200-gram super-silent luxurious-sounding platter from Quality Record Pressings, makers of the world's finest-sounding LPs. First-rate and top-notch, this album will make a superb addition to your record collection.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eRatings :\u003c\/p\u003e\n\u003cp\u003eAllMusic :  4 \/ 5 ,  Discogs :  4.63  \/ 5\u003c\/p\u003e\n\u003c\/div\u003e\n\u003ch1\u003e\u003c\/h1\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40870873399447,"sku":"AAPJ 8762","price":95.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/bill-evans-at-the-montreux-jazz-festival-2lps-45-rpm-180g-audiosoundmusic-1.jpg?v=1719853132"},{"product_id":"grover-washington-jr-winelight","title":"Grover Washington Jr. - Winelight (Gold vinyl)","description":"\u003cp\u003e\u003cstrong\u003eGrover Washington Jr. – alto saxophone, soprano saxophone, tenor saxophone\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRichard Tee – Fender Rhodes (A1, A3, B2, B3)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRay Chew – clavinet (A1)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePaul Griffin – clavinet (A1), Fender Rhodes (A2, B1)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEd Walsh – Oberheim 8-Voice (A1-3, B1, B3)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBill Eaton – Oberheim 8-Voice (B2), arrangements and conductor\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEric Gale – guitars\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMarcus Miller – bass\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSteve Gadd – drums\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRalph MacDonald – congas, percussion, Syndrums\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRobert Greenidge – steel drums\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHilda Harris, Yvonne Lewis, \u0026amp; Ullanda McCullough – backing vocals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBill Withers – lead vocals (B2)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : Gold\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12”\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : unspecified\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Friday Music\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Elektra\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded June \u0026amp; July 1980 at Rosebud Recording Studio, New York City\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineered \u0026amp; mixed by Richard Alderson\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Grover Washington, Jr., Ralph MacDonald\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by Joe Reagoso\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1980\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2021\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eWinelight\u003c\/li\u003e\n\u003cli\u003eLet It Flow (\"For Dr. J\")\u003c\/li\u003e\n\u003cli\u003eIn The Name Of Love\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eTake Me There\u003c\/li\u003e\n\u003cli\u003eJust The Two Of Us\u003c\/li\u003e\n\u003cli\u003eMake Me A Memory (Sad Samba)\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAwards\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eGrammy Award for Best Jazz Fusion Performance in 1982\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e\"Grover Washington, Jr., has long been one of the leaders in what could be called rhythm \u0026amp; jazz, essentially R\u0026amp;B-influenced jazz. Winelight is one of his finest albums, and not primarily because of the Bill Withers hit \"Just the Two of Us.\" It is the five instrumentals that find Washington (on soprano, alto, and tenor) really stretching out. If he had been only interested in sales, Washington's solos could have been half as long and he would have stuck closely to the melody. Instead he really pushes himself on some of these selections, particularly the title cut. A memorable set of high-quality and danceable soul-jazz.\" \u003cspan data-mce-fragment=\"1\"\u003eAllMusic Review by Scott Yanow\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eAllMusic : 4,5 \/ 5 , Discogs : 4,25 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40880228925591,"sku":"FRM-6305 Gold","price":55.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/grover-washington-jr-winelight-gold-vinyl-audiosoundmusic-1.jpg?v=1719853229"},{"product_id":"copy-of-grover-washington-jr-winelight-gold-vinyl","title":"Grover Washington Jr. - Winelight (Burgundy vinyl)","description":"\u003cp\u003e\u003cstrong\u003eGrover Washington Jr. – alto saxophone, soprano saxophone, tenor saxophone\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRichard Tee – Fender Rhodes (A1, A3, B2, B3)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRay Chew – clavinet (A1)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePaul Griffin – clavinet (A1), Fender Rhodes (A2, B1)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEd Walsh – Oberheim 8-Voice (A1-3, B1, B3)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBill Eaton – Oberheim 8-Voice (B2), arrangements and conductor\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEric Gale – guitars\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMarcus Miller – bass\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSteve Gadd – drums\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRalph MacDonald – congas, percussion, Syndrums\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRobert Greenidge – steel drums\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHilda Harris, Yvonne Lewis, \u0026amp; Ullanda McCullough – backing vocals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBill Withers – lead vocals (B2)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : Gold\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12”\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : unspecified\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Friday Music\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Elektra\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded June \u0026amp; July 1980 at Rosebud Recording Studio, New York City\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineered \u0026amp; mixed by Richard Alderson\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Grover Washington, Jr., Ralph MacDonald\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by Joe Reagoso\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1980\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2021\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eWinelight\u003c\/li\u003e\n\u003cli\u003eLet It Flow (\"For Dr. J\")\u003c\/li\u003e\n\u003cli\u003eIn The Name Of Love\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eTake Me There\u003c\/li\u003e\n\u003cli\u003eJust The Two Of Us\u003c\/li\u003e\n\u003cli\u003eMake Me A Memory (Sad Samba)\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAwards\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eGrammy Award for Best Jazz Fusion Performance in 1982\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e\"Grover Washington, Jr., has long been one of the leaders in what could be called rhythm \u0026amp; jazz, essentially R\u0026amp;B-influenced jazz. Winelight is one of his finest albums, and not primarily because of the Bill Withers hit \"Just the Two of Us.\" It is the five instrumentals that find Washington (on soprano, alto, and tenor) really stretching out. If he had been only interested in sales, Washington's solos could have been half as long and he would have stuck closely to the melody. Instead he really pushes himself on some of these selections, particularly the title cut. A memorable set of high-quality and danceable soul-jazz.\" \u003cspan data-mce-fragment=\"1\"\u003eAllMusic Review by Scott Yanow\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eAllMusic : 4,5 \/ 5 , Discogs : 4,25 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40880274342039,"sku":"FRM-6305 Burgundy","price":55.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/grover-washington-jr-winelight-burgundy-vinyl-audiosoundmusic-1.jpg?v=1719853230"},{"product_id":"carole-king-tapestry","title":"Carole King - Tapestry (2LP, Box set, 1STEP, 45 RPM, SuperVinyl)","description":"\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eORDER LIMITED TO ONE ITEM PER CUSTOMER\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCarole King – piano, keyboards, vocals, backing vocals \u003ca title=\"vinyl featuring carole king\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/carole-king\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/carole-king\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Carole King]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCurtis Amy – flute; baritone, soprano and tenor saxophone; string quartet\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDavid Campbell – cello, viola\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMerry Clayton – backing vocals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTerry King – cello, tenor saxophone, string quartet\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDanny Kortchmar – acoustic guitar, conga, electric guitar, vocals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRuss Kunkel – drums\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCharles \"Charlie\" Larkey – bass guitar, string bass, string quartet\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJoni Mitchell – backing vocals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJoel O'Brien – drums\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRalph Schuckett – electric piano\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBarry Socher – violin, tenor saxophone, viola, string quartet\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePerry Steinberg – bass guitar, violin, tenor saxophone, string bass\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJames Taylor – acoustic guitar, backing vocals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJulia Tillman – backing vocals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e2 LPs, box set\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eLimited to 10,000 copies\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eUD1S (UltraDisc One-Step)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g SuperVinyl\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 45RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12”\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : RTI\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : MOFI\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Ode records\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded January 1971 at A\u0026amp;M Studios\u003c\/strong\u003e\u003cstrong\u003e by Hank Cicalo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Lou Adler\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1971\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2017\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eI Feel the Earth Move\u003c\/li\u003e\n\u003cli\u003eSo Far Away\u003c\/li\u003e\n\u003cli\u003eIts Too Late\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eHome Again\u003c\/li\u003e\n\u003cli\u003eBeautiful\u003c\/li\u003e\n\u003cli\u003eWay Over Yonder\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide C:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eYou've Got a Friend\u003c\/li\u003e\n\u003cli\u003eWhere You Lead\u003c\/li\u003e\n\u003cli\u003eWill You Love Me Tomorrow?\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide D:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eSmackwater Jack\u003c\/li\u003e\n\u003cli\u003eTapestry\u003c\/li\u003e\n\u003cli\u003e(You Make Me Feel Like) A Natural Woman\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAwards\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eRolling Stone 500 Greatest Albums of All Time - Rated 36\/500!\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e1000 Recordings You Must Hear Before You Die - Ranked 212\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e1972 Grammy awards :\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eAlbum of the year\u003c\/strong\u003e\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eBest female pop performance\u003c\/strong\u003e\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eRecord of the year for 'It's too late\"\u003c\/strong\u003e\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eSong of the year for \"You got a friend\"\u003c\/strong\u003e\u003c\/span\u003e\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eTapestry was inducted in 1988 in the Grammy Hall of Fame\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\"You got a friend\" and \"It's too late\" were inducted in 2002 in the Grammy Hall of Fame\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e\"Carole King brought the fledgling singer\/songwriter phenomenon to the masses with Tapestry, one of the most successful albums in pop music history. A remarkably expressive and intimate record, it's a work of consummate craftsmanship. Always a superior pop composer, King reaches even greater heights as a performer; new songs like the hits \"It's Too Late\" and \"I Feel the Earth Move\" rank solidly with past glories, while songs like \"Will You Still Love Me Tomorrow,\" and \"(You Make Me Feel Like) A Natural Woman\" take on added resonance when delivered in her own warm, compelling voice. With its reliance on pianos and gentle drumming, Tapestry is a light and airy work on its surface, occasionally skirting the boundaries of jazz, but it's also an intensely emotional record, the songs confessional and direct; in its time it connected with listeners like few records before it, and it remains an illuminating experience decades later.\" \u003cspan data-mce-fragment=\"1\"\u003eAllMusic Review by Jason Ankeny\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eUltraDisc One-Step :\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003eInstead of utilizing the industry-standard three-step lacquer process, Mobile Fidelity Sound Lab's new UltraDisc One-Step (UD1S) uses only one step, bypassing two processes of generational loss. While three-step processing is designed for optimum yield and efficiency, UD1S is created for the ultimate in sound quality. Just as Mobile Fidelity pioneered the UHQR (Ultra High-Quality Record) with JVC in the 1980s, UD1S again represents another state-of-the-art advance in the record-manufacturing process. MFSL engineers begin with the original master tapes and meticulously cut a set of lacquers. These lacquers are used to create a very fragile, pristine UD1S stamper called a \"convert.\" Delicate \"converts\" are then formed into the actual record stampers, producing a final product that literally and figuratively brings you closer to the music. By skipping the additional steps of pulling another positive and an additional negative, as done in the three-step process used in standard pressings, UD1S produces a final LP with the lowest noise floor possible today. The removal of the additional two steps of generational loss in the plating process reveals tremendous amounts of extra musical detail and dynamics, which are otherwise lost due to the standard copying process. The exclusive nature of these very limited pressings guarantees that every UD1S pressing serves as an immaculate replica of the lacquer sourced directly from the original master tape. Every conceivable aspect of vinyl production is optimized to produce the most perfect record album available today.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMoFi SuperVinyl:\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003eThe World's Quietest Surfaces and Cleanest Grooves: Developed by NEOTECH and RTI, MoFi SuperVinyl is the most exacting-to-specification vinyl compound ever created. Analog lovers have never seen (or heard) anything like it. Extraordinarily expensive and extremely painstaking to produce, the special proprietary compound addresses two specific areas of improvement: noise floor reduction and enhanced groove definition. The vinyl composition features a new carbonless dye (hold the disc up to the light and see) and produces the world's quietest surfaces. This high-definition formula also allows for the creation of cleaner grooves that are indistinguishable from the original lacquer. MoFi SuperVinyl provides the closest approximation of what the label's engineers hear in the mastering lab.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eAllMusic : 5 \/ 5 , Discogs : 4,29 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40885017739415,"sku":"MFSL45UD1S-030","price":195.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/carole-king-tapestry-2lp-box-set-1step-45-rpm-supervinyl-audiosoundmusic-1.jpg?v=1719853281"},{"product_id":"raunchy-other-great-instrumentals","title":"Bill Justis - Raunchy","description":"\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve \u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12”\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press :  Pallas \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel :  ORG Music\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label :  Sun Record\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered At Infrasonic Mastering\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1969\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2019\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eRaunchy\u003c\/li\u003e\n\u003cli\u003eCollege Man\u003c\/li\u003e\n\u003cli\u003eThe Stranger\u003c\/li\u003e\n\u003cli\u003eWild Rice\u003c\/li\u003e\n\u003cli\u003eCattywampus\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eFlip, Flop And Bop\u003c\/li\u003e\n\u003cli\u003eScroungie\u003c\/li\u003e\n\u003cli\u003eThe Midnight Man (Vocal)\u003c\/li\u003e\n\u003cli\u003eSummer Holiday\u003c\/li\u003e\n\u003cli\u003eCloud 9\u003c\/li\u003e\n\u003cli\u003eFlea Circus\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAwards\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eThe song \"Raunchy” was inducted in the Grammy Hall of Fame in 1957\u003c\/strong\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eTopping the Billboard R\u0026amp;B charts in 1957, Bill Justis' \"Raunchy\" is one of the most successful rock \u0026amp; roll instrumental tracks of all time. Having grown up in Memphis, Justis played an integral part in the development of rock music, working with artists on the legendary Sun Record Company, as well as recording music for himself. This collection of instrumentals pays homage to 1960's era rock \u0026amp; roll scene of the south. Now the album has been remastered for its first vinyl pressing in nearly five decades.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eDiscogs 3.45\/5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40927518130327,"sku":"BIJURAUNBL-LP00","price":39.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/bill-justis-raunchy-audiosoundmusic-1.jpg?v=1719853482"},{"product_id":"paul-simon-still-crazy-after-all-these-years","title":"Paul Simon - Still Crazy After All These Years (2LPs, 45RPM, Box Set, 1STEP, SuperVinyl)","description":"\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eORDER LIMITED TO ONE ITEM PER CUSTOMER\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePaul Simon – vocals, acoustic guitar (A2, B1, B2, D1), electric guitar (B3), horn and string arrangements \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/paul-simon\" title=\"vinyl featuring Paul Simon\"\u003e\u003cspan style=\"color: rgb(255, 128, 0);\"\u003e[click here to see more products featuring Paul Simon]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eArt Garfunkel – vocals (A2)\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003e \u003ca title=\"audiophile vinyl featuring Art Garfunkel\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/art-garfunkel\"\u003e\u003cspan style=\"color: rgb(255, 128, 0);\"\u003e[click here to see more products featuring Art Garfunkel]\u003c\/span\u003e\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJohn Tropea – electric guitar (B2)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePatti Austin – background vocals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePhoebe Snow – background vocals, vocals (C1)\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJoe Beck – electric guitar (B1, C3, D1)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMichael Brecker – tenor saxophone (A1), saxophone (C2)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBob James – piano, Fender Rhodes piano (C2, C3), string and horn arrangements\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDavid Sanborn – saxophone (C2)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGrady Tate – drums (C1)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePete Carr – electric guitar (A2)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSivuca – accordion and vocals (B1)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRalph MacDonald – percussion (A2, 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vocals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTony Levin – bass guitar (B1-3, C2-3, D1-2)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHugh McCracken – electric guitar (B2, C2-3), acoustic guitar (D1)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLeon Pendarvis – piano (D2)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDave Mathews – horn arrangements\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eValerie Simpson – background vocals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRichard Tee – piano (C1)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eToots Thielemans – harmonica (B3)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePhil Woods – alto saxophone (C3)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eKenneth Ascher – Hammond organ (B2), Fender Rhodes, piano (B1)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e2 LPs, box set, gatefold cover\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eUltraDisc One-Step (UD1S)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eLimited to 8,000 numbered copies\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g, SuperVinyl\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 45RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12”\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : RTI\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : MOFI\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Columbia\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded at \u003c\/strong\u003e\u003cstrong\u003eA\u0026amp;R Recording, New York City in 1975 by\u003c\/strong\u003e\u003cstrong\u003e Phil Ramone\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Paul Simon\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by Krieg Wunderlich\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1975\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2021\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eStill Crazy After All These Years\u003c\/li\u003e\n\u003cli\u003eMy Little Town\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eSide B: \u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eI Do It For Your Love\u003c\/li\u003e\n\u003cli\u003e50 Ways To Leave Your Lover\u003c\/li\u003e\n\u003cli\u003eNight Game\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eSide C:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eGone At Last\u003c\/li\u003e\n\u003cli\u003eSome Folks' Lives Roll Easy\u003c\/li\u003e\n\u003cli\u003eHave A Good Time\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eSide D : \u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eYou're Kind\u003c\/li\u003e\n\u003cli\u003eSilent Eyes\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAwards :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eGrammy Awards for Album of the Year and Best Male Pop Vocal Performance\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\"The third new studio album of Paul Simon's post-Simon \u0026amp; Garfunkel career was a musical and lyrical change of pace from his first two, Paul Simon and There Goes Rhymin' Simon. Where Simon had taken an eclectic approach before, delving into a variety of musical styles and recording all over the world, Still Crazy found him working for the most part with a group of jazz-pop New York session players, though he did do a couple of tracks (\"My Little Town\" and \"Still Crazy After All These Years\") with the Muscle Shoals rhythm section that had appeared on Rhymin' Simon and another (\"Gone at Last\") returned to the gospel style of earlier songs like \"Loves Me Like a Rock.\" Of course, \"My Little Town\" also marked a return to working with Art Garfunkel, and another Top Ten entry for S\u0026amp;G. But the overall feel of Still Crazy was of a jazzy style subtly augmented with strings and horns. Perhaps more striking, however, was Simon's lyrical approach. Where Rhymin' Simon was the work of a confident family man, Still Crazy came off as a post-divorce album, its songs reeking of smug self-satisfaction and romantic disillusionment. At their best, such sentiments were undercut by humor and made palatable by musical hooks, as on \"50 Ways to Leave Your Lover,\" which became the biggest solo hit of Simon's career. But elsewhere, as on \"Have a Good Time,\" the singer's cynicism seemed unearned. Still, as out of sorts as Simon may have been, he was never more in tune with his audience: Still Crazy topped the charts, spawned four Top 40 hits, and won Grammys for Song of the Year and Best Vocal Performance.\" \u003cspan data-mce-fragment=\"1\"\u003eAllMusic Review by William Ruhlmann\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp style=\"margin: 0cm 0cm 12.0pt 0cm;\"\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 10.5pt; font-family: 'Segoe UI',sans-serif; color: #212b36;\"\u003eUltraDisc One-Step :\u003c\/span\u003e\u003c\/strong\u003e\u003cspan style=\"font-size: 10.5pt; font-family: 'Segoe UI',sans-serif; color: #212b36;\"\u003e Instead of utilizing the industry-standard three-step lacquer process, Mobile Fidelity Sound Lab's new UltraDisc One-Step (UD1S) uses only one step, bypassing two processes of generational loss. While three-step processing is designed for optimum yield and efficiency, UD1S is created for the ultimate in sound quality. Just as Mobile Fidelity pioneered the UHQR (Ultra High-Quality Record) with JVC in the 1980s, UD1S again represents another state-of-the-art advance in the record-manufacturing process. MFSL engineers begin with the original master tapes and meticulously cut a set of lacquers. These lacquers are used to create a very fragile, pristine UD1S stamper called a \"convert.\" Delicate \"converts\" are then formed into the actual record stampers, producing a final product that literally and figuratively brings you closer to the music. By skipping the additional steps of pulling another positive and an additional negative, as done in the three-step process used in standard pressings, UD1S produces a final LP with the lowest noise floor possible today. The removal of the additional two steps of generational loss in the plating process reveals tremendous amounts of extra musical detail and dynamics, which are otherwise lost due to the standard copying process. The exclusive nature of these very limited pressings guarantees that every UD1S pressing serves as an immaculate replica of the lacquer sourced directly from the original master tape. Every conceivable aspect of vinyl production is optimized to produce the most perfect record album available today.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-variant-ligatures: normal; font-variant-caps: normal; orphans: 2; text-align: start; widows: 2; -webkit-text-stroke-width: 0px; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial; word-spacing: 0px; margin: 0cm 0cm 12.0pt 0cm;\"\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 10.5pt; font-family: 'Segoe UI',sans-serif; color: #212b36;\"\u003eMoFi SuperVinyl:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan style=\"font-size: 10.5pt; font-family: 'Segoe UI',sans-serif; color: #212b36;\"\u003e The World's Quietest Surfaces and Cleanest Grooves: Developed by NEOTECH and RTI, MoFi SuperVinyl is the most exacting-to-specification vinyl compound ever created. Analog lovers have never seen (or heard) anything like it. Extraordinarily expensive and extremely painstaking to produce, the special proprietary compound addresses two specific areas of improvement: noise floor reduction and enhanced groove definition. The vinyl composition features a new carbonless dye (hold the disc up to the light and see) and produces the world's quietest surfaces. This high-definition formula also allows for the creation of cleaner grooves that are indistinguishable from the original lacquer. MoFi SuperVinyl provides the closest approximation of what the label's engineers hear in the mastering lab.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eAllMusic : 4,5 \/ 5 , Discogs : 4,07 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40931338584215,"sku":"MFSL45UD1S-014 Box","price":195.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/paul-simon-still-crazy-after-all-these-years-2lps-box-set-45rpm-1step-supervinyl-audiosoundmusic-1.jpg?v=1719853489"},{"product_id":"john-coltrane-johnny-hartman","title":"John Coltrane \u0026 Johnny Hartman","description":"\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eJohnny Hartman – vocals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJohn Coltrane – tenor saxophone \u003ca title=\"vinyl featuring John Coltrane\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/john-coltrane\" data-mce-fragment=\"1\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\"\u003e[click here to see more vinyl featuring John Coltrane]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMcCoy Tyner – piano \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/mccoy-tyner\" title=\"vinyl featuring McCoy Tyner\" data-mce-fragment=\"1\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\"\u003e[click here to see more vinyl featuring McCoy Tyner]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJimmy Garrison – double bass\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eElvin Jones – drums\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/elvin-jones\" title=\"vinyl featuring Elvin Jones\" data-mce-fragment=\"1\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\"\u003e[click here to see more vinyl featuring Elvin Jones]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, gatefold old-style tip-on jackets\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12”\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Quality Record Pressings\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Acoustic Sounds Series\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Impulse\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded \u003cspan data-mce-fragment=\"1\"\u003eMarch 7, 1963 at \u003c\/span\u003eVan Gelder Studio, Englewood Cliffs, New Jersey\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineered by Rudy Van Gelder\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Bob Thiele\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by Ryan K. Smith\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1963\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in April 2022\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eThey Say It's Wonderful\u003c\/li\u003e\n\u003cli\u003eDedicated To You\u003c\/li\u003e\n\u003cli\u003eMy One And Only Love\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e           \u003c\/p\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eLush Life\u003c\/li\u003e\n\u003cli\u003eYou Are Too Beautiful\u003c\/li\u003e\n\u003cli\u003eAutumn Serenade\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAwards\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eInducted in the Grammy Hall of Fame in 2013\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e\"John Coltrane's matchup with singer Johnny Hartman, although quite unexpected, works extremely well. Hartman was in prime form on the six ballads, and his versions of \"Lush Life\" and \"My One and Only Love\" have never been topped. Coltrane's playing throughout the session is beautiful, sympathetic, and still exploratory; he sticks exclusively to tenor on the date. At only half an hour, one wishes there were twice as much music, but what is here is classic, essential for all jazz collections.\" AllMusic\u003cspan data-mce-fragment=\"1\"\u003e Review by Scott Yanow\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eAllMusic : 5 \/ 5 , Discogs : 4,51 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":41028881612951,"sku":"AIMP80001","price":55.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/john-coltrane-and-johnny-hartman-audiosoundmusic-1.jpg?v=1719853965"},{"product_id":"norah-jones-come-away-with-me","title":"Norah Jones - Come away with me (Reel-to-Reel, Ultra Tape)","description":"\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003eNorah Jones (Piano, vocals),\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003eLee Alexander (Bass), Brian Blade (Drums, Percussion), Kevin Breit (Guitar, Acoustic, Electric, National Steel Guitar), Rob Burger (Accordion, Pump Organ), Bill Frisell (Electric guitar), Jesse Harris \u0026amp; the Ferdinandos Guitar (Acoustic Guitar), Adam Levy (Acoustic Guitar, Electric Guitar), Dan Rieser (Drums), Adam Rogers (Guitar), Jenny Scheinman (violin), Tony Scherr (Acoustic Guitar, Slide Guitar), Kenny Wollesen (Drums), Sam Yahel (Hammond Organ).\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp style=\"margin: 0cm 0cm 12.0pt 0cm;\" data-mce-fragment=\"1\" data-mce-style=\"margin: 0cm 0cm 12.0pt 0cm;\"\u003e\u003cstrong\u003eWritten by Norah Jones (5, 12, 13), Jesse Harris (1, 5, 6, 9, 11, 14), Lee Alexander (2, 4, 8, 10), Hank Williams (3), John D. Loudermilk (7), J.C. Hopkins (10), Hoagy Carmichael (14), Ned Washington (14)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp style=\"margin: 0cm 0cm 12.0pt 0cm;\" data-mce-fragment=\"1\" data-mce-style=\"margin: 0cm 0cm 12.0pt 0cm;\"\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eUltra Tape reel-to-reel\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003e2 tapes\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003e15 ips, ¼-inch analog tape copy (IEC equalization) sourced from a copy of the original analog master tape.\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eTransferred real-time, using an ATR-modified Ampex Tape Machine with flux magnetic heads.\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eCustom slipcase cover.\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Analogue Productions\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Blue Note\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecording : September 2000 – December 2001 at Sorcerer Sound Studio, New York City and Allaire Studios, Shokan, New York\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMastered by Kevin Gray at Cohearent Audio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp style=\"font-variant-ligatures: normal; font-variant-caps: normal; orphans: 2; text-align: start; widows: 2; -webkit-text-stroke-width: 0px; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial; word-spacing: 0px; margin: 0cm 0cm 12.0pt 0cm;\" data-mce-fragment=\"1\" data-mce-style=\"font-variant-ligatures: normal; font-variant-caps: normal; orphans: 2; text-align: start; widows: 2; -webkit-text-stroke-width: 0px; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial; word-spacing: 0px; margin: 0cm 0cm 12.0pt 0cm;\"\u003e\u003cstrong\u003e\u003cspan\u003eEngineered by: Jay Newland, Tom Schick\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProducer : Arif Mardin, Jay Newland, Norah Jones, Craig Street\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 2002\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2021\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAwards\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan style=\"color: #ff2a00;\"\u003e2003 Grammy Award Winner :\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan style=\"color: #ff2a00;\"\u003e~ Record of the Year, Don't Know Why\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan style=\"color: #ff2a00;\"\u003e~ Album of the Year, Come Away With Me\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan style=\"color: #ff2a00;\"\u003e~ Song of the Year, Don't Know Why\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan style=\"color: #ff2a00;\"\u003e~ Best New Artist, Norah Jones\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan style=\"color: #ff2a00;\"\u003e~ Best Female Pop Vocal Performance, Don't Know Why\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan style=\"color: #ff2a00;\"\u003e~ Best Pop Vocal Album, Come Away With Me\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan style=\"color: #ff2a00;\"\u003e~ Best Engineered Album, Non-Classical, S. Husky Höskulds \u0026amp; Jay Newland, engineers\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan style=\"color: #ff2a00;\"\u003e~ Producer of the Year, Non-Classical, Arif Mardin, producer\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan style=\"color: #ff2a00;\"\u003e1000 Recordings You Must Hear Before You Die - Ranked 431 \u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e« Norah Jones' debut on Blue Note is a mellow, acoustic pop affair with soul and country overtones, immaculately produced by the great Arif Mardin. (It's pretty much an open secret that the 22-year-old vocalist and pianist is the daughter of Ravi Shankar.) Jones is not quite a jazz singer, but she is joined by some highly regarded jazz talent: guitarists Adam Levy, Adam Rogers, Tony Scherr, Bill Frisell, and Kevin Breit; drummers Brian Blade, Dan Rieser, and Kenny Wollesen; organist Sam Yahel; accordionist Rob Burger; and violinist Jenny Scheinman. Her regular guitarist and bassist, Jesse Harris and Lee Alexander, respectively, play on every track and also serve as the chief songwriters. Both have a gift for melody, simple yet elegant progressions, and evocative lyrics. (Harris made an intriguing guest appearance on Seamus Blake's Stranger Things Have Happened.) Jones, for her part, wrote the title track and the pretty but slightly restless \"Nightingale.\" She also includes convincing readings of Hank Williams' \"Cold Cold Heart,\" J.D. Loudermilk's \"Turn Me On,\" and Hoagy Carmichael's \"The Nearness of You.\" There's a touch of Rickie Lee Jones in Jones' voice, a touch of Bonnie Raitt in the arrangements; her youth and her piano skills could lead one to call her an Alicia Keys for grown-ups. While the mood of this record stagnates after a few songs, it does give a strong indication of Jones' alluring talents. » AllMusic Review by David R. Adler\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eAllMusic : 4 \/ 5  , Rate your music : 4.02 \/ 5 \u003c\/p\u003e\n\u003cp style=\"margin: 0cm 0cm 12.0pt 0cm;\" data-mce-fragment=\"1\" data-mce-style=\"margin: 0cm 0cm 12.0pt 0cm;\"\u003e \u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":41030736281751,"sku":"RRAP 0022","price":690.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/norah-jones-come-away-with-me-reel-to-reel-ultra-tape-audiosoundmusic-1.jpg?v=1719853984"},{"product_id":"alison-krauss-union-station-so-long-so-wrong-2lp-ultra-analog-45-rpm","title":"Alison Krauss \u0026 Union Station - So Long So Wrong (2LP, Ultra Analog, Half-speed Mastering)","description":"\u003ch2\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eORDER LIMITED TO ONE ITEM PER CUSTOMER\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h2\u003e\n\u003cp\u003e\u003cstrong\u003eAlison Krauss – vocal, fiddle\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDan Tyminski – guitar, bass, vocals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRon Block – guitar, banjo, vocals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBarry Bales – bass, vocals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAdam Steffey – mandolin, mandola, vocals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e2 LPs, gatefold sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eLimited numbered edition\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHalf-speed Mastering\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGain 2™ Ultra Analog\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12”\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : RTI\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : MOFI\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Rounder Records\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineered by Gary Paczosa\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by AKUS\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by Paul Stubblebine\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1997\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2004\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eSo Long, So Wrong\u003c\/li\u003e\n\u003cli\u003eNo Place to Hide\u003c\/li\u003e\n\u003cli\u003eDeeper Than Crying\u003c\/li\u003e\n\u003cli\u003eI Can Let Go Now\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col start=\"5\"\u003e\n\u003cli\u003eThe Road Is a Lover\u003c\/li\u003e\n\u003cli\u003eLittle Liza Jane\u003c\/li\u003e\n\u003cli\u003eIt Doesn't Matter\u003c\/li\u003e\n\u003cli\u003eFind My Way Back to My Heart\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eSide C :\u003c\/p\u003e\n\u003col start=\"9\"\u003e\n\u003cli\u003eI'll Remember You Love in My Prayers\u003c\/li\u003e\n\u003cli\u003eLooking in the Eyes of Love\u003c\/li\u003e\n\u003cli\u003ePain of a Troubled Life\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eSide D :\u003c\/p\u003e\n\u003col start=\"12\"\u003e\n\u003cli\u003eHappiness\u003c\/li\u003e\n\u003cli\u003eBlue Trail of Sorrow\u003c\/li\u003e\n\u003cli\u003eThere Is a Reason\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAwards\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eSo Long So Wrong won three Grammys: Best Country Performance by a Duo or Group with Vocal for \"Looking in the Eyes of Love\", Best Country Instrumental Performance for \"Little Liza Jane\", and Best Bluegrass Album.\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e\u003cb\u003eTAS Audiophile Demo Disc!\u003c\/b\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e\"Led by ethereal songbird\/fiddler Krauss, the natural acoustics and intricate harmonies of the bluegrass, roots, and mountain songbook don't get much better treatment than on this disc.\"\u003cspan\u003e - Neil Gader, TAS Guide to Audiophile Demo Disc pick, Spring 2011, Buyer's Guide, pg. 28\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\"After mainstream success happened for Alison Krauss \u0026amp; Union Station, one would have rightly expected a commercial sweetening of their sound, resulting in diminishing (or even abandoning) the simple but very unique thing that brought them into the public eye -- and eventual public acclaim -- in the first place. But the group's first new recording in the wake of the surprise success of Now That I've Found You: A Collection finds Alison Krauss \u0026amp; Union Station happily keeping their eclectic focus firmly on the prize stretched before them with no silly attempts to court the hat-hunk-of-the-month or the boot-scoot-boogie crowd. Despite the media's singling out of Krauss as country's new bluegrass solo diva, Union Station (with Krauss as simply a featured member of it) remains very much a group, and that's the real refreshing news here. It is that collective spirit that remains the reoccurring theme and the resounding musical point being made here, and it is the solid anchor that roots this album into place from beginning to end. Krauss' expert evocative way with a ballad is on full display here, with \"Deeper Than Crying\" and \"It Doesn't Matter\" featuring her on violas, adding a new voice to Union Station's sound. But the lead vocals are passed around among Krauss, mandolinist Adam Steffey, guitarist Dan Tyminski, and banjoist Ron Block, while Krauss' fiddle work in a backup capacity is an integral part of the sound as well. All in all, this is a totally un-gimmicky album that flies in the face of what usually happens when mainstream success comes calling. And, as a result of that commitment to quality and musical focus, one that makes you want to play it again when it's all over.\" \u003cspan data-mce-fragment=\"1\"\u003eAllMusic Review by Cub Koda\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003col start=\"4\"\u003e\u003c\/ol\u003e\n\u003col start=\"5\"\u003e\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eUltra Analog™\u003c\/strong\u003e\u003cspan data-mce-fragment=\"1\"\u003e : The GAIN 2 Ultra Analog™ Series stems from the use of the Gain 2 system, mastered at half speed from the original master tapes where possible, capturing and uncovering as before undiscovered sonic information.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003cstrong\u003eHalf-speed mastering. \u003c\/strong\u003eIn half-speed mastering, the whole process is slowed down to half of the original speed. A typical 33 1\/3 rpm record is cut at 16 2\/3 rpm. The source material is also slowed down (reducing the pitch in the process) meaning the final record will still sound normal when played back. Slowing the whole process down allows more time, which means the end result sounds better and is more efficient — allowing engineering to minimize the effects of inherent limitations within the vinyl format. The result is a more accurate and more open high-frequency response in the half speed vinyl when compared with a normal speed recording.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eAllMusic : 4 \/ 5 , Discogs : 4,34 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":41060415733911,"sku":"MFSL2-276","price":245.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/alison-krauss-and-union-station-so-long-so-wrong-2lp-ultra-analog-half-speed-mastering-audiosoundmusic-1.jpg?v=1719854160"},{"product_id":"copy-of-carole-king-tapestry-2lp-box-set-ud1s-45-rpm-supervinyl","title":"Carole King - Tapestry (Ultra Analog, Half-speed Mastering, MOFI)","description":"\u003ch2\u003e\n\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003c\/h2\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e\u003cbr\u003eORDER LIMITED TO ONE ITEM PER CUSTOMER\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCarole King – piano, keyboards, vocals, backing vocals \u003ca title=\"vinyl featuring carole king\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/carole-king\"\u003e\u003cspan style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Carole King]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCurtis Amy – flute; baritone, soprano and tenor saxophone; string quartet\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDavid Campbell – cello, viola\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMerry Clayton – backing vocals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTerry King – cello, tenor saxophone, string quartet\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDanny Kortchmar – acoustic guitar, conga, electric guitar, vocals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRuss Kunkel – drums\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCharles \"Charlie\" Larkey – bass guitar, string bass, string quartet\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJoni Mitchell – backing vocals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJoel O'Brien – drums\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRalph Schuckett – electric piano\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBarry Socher – violin, tenor saxophone, viola, string quartet\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePerry Steinberg – bass guitar, violin, tenor saxophone, string bass\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJames Taylor – acoustic guitar, backing vocals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJulia Tillman – backing vocals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eLimited numbered edition\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHalf-speed Mastering\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGain 2™ Ultra Analog\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12”\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : RTI\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : MOFI\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Ode records\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded January 1971 at A\u0026amp;M Studios\u003c\/strong\u003e\u003cstrong\u003e by Hank Cicalo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Lou Adler\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by Krieg Wunderlich\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1971\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2013\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eI Feel the Earth Move\u003c\/li\u003e\n\u003cli\u003eSo Far Away\u003c\/li\u003e\n\u003cli\u003eIts Too Late\u003c\/li\u003e\n\u003cli\u003eHome Again\u003c\/li\u003e\n\u003cli\u003eBeautiful\u003c\/li\u003e\n\u003cli\u003eWay Over Yonder\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eYou've Got a Friend\u003c\/li\u003e\n\u003cli\u003eWhere You Lead\u003c\/li\u003e\n\u003cli\u003eWill You Love Me Tomorrow?\u003c\/li\u003e\n\u003cli\u003eSmackwater Jack\u003c\/li\u003e\n\u003cli\u003eTapestry\u003c\/li\u003e\n\u003cli\u003e(You Make Me Feel Like) A Natural Woman\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003col\u003e\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAwards\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eRolling Stone 500 Greatest Albums of All Time - Rated 36\/500!\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e1000 Recordings You Must Hear Before You Die - Ranked 212\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e1972 Grammy awards :\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eAlbum of the year\u003c\/strong\u003e\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eBest female pop performance\u003c\/strong\u003e\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eRecord of the year for 'It's too late\"\u003c\/strong\u003e\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eSong of the year for \"You got a friend\"\u003c\/strong\u003e\u003c\/span\u003e\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eTapestry was inducted in 1988 in the Grammy Hall of Fame\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\"You got a friend\" and \"It's too late\" were inducted in 2002 in the Grammy Hall of Fame\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e\"Carole King brought the fledgling singer\/songwriter phenomenon to the masses with Tapestry, one of the most successful albums in pop music history. A remarkably expressive and intimate record, it's a work of consummate craftsmanship. Always a superior pop composer, King reaches even greater heights as a performer; new songs like the hits \"It's Too Late\" and \"I Feel the Earth Move\" rank solidly with past glories, while songs like \"Will You Still Love Me Tomorrow,\" and \"(You Make Me Feel Like) A Natural Woman\" take on added resonance when delivered in her own warm, compelling voice. With its reliance on pianos and gentle drumming, Tapestry is a light and airy work on its surface, occasionally skirting the boundaries of jazz, but it's also an intensely emotional record, the songs confessional and direct; in its time it connected with listeners like few records before it, and it remains an illuminating experience decades later.\" \u003cspan data-mce-fragment=\"1\"\u003eAllMusic Review by Jason Ankeny\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eUltra Analog™\u003c\/strong\u003e\u003cspan data-mce-fragment=\"1\"\u003e : The GAIN 2 Ultra Analog™ Series stems from the use of the Gain 2 system, mastered at half speed from the original master tapes where possible, capturing and uncovering as before undiscovered sonic information.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003cstrong\u003eHalf-speed mastering. \u003c\/strong\u003eIn half-speed mastering, the whole process is slowed down to half of the original speed. A typical 33 1\/3 rpm record is cut at 16 2\/3 rpm. The source material is also slowed down (reducing the pitch in the process) meaning the final record will still sound normal when played back. Slowing the whole process down allows more time, which means the end result sounds better and is more efficient — allowing engineering to minimize the effects of inherent limitations within the vinyl format. The result is a more accurate and more open high-frequency response in the half speed vinyl when compared with a normal speed recording.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eAllMusic : 5 \/ 5 , Discogs : 4,29 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":41082199179415,"sku":"MFSL1-414","price":65.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/carole-king-tapestry-ultra-analog-half-speed-mastering-audiosoundmusic-1.jpg?v=1719854227"},{"product_id":"miles-davis-sketches-of-spain-ultra-analog","title":"Miles Davis - Sketches of Spain (Ultra Analog, Half-speed Mastering)","description":"\u003cdiv\u003e\n\u003cbr\u003e\u003cbr\u003e\n\u003cdiv\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eORDER LIMITED TO ONE ITEM PER CUSTOMER\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMiles Davis, trumpet, flugelhorn \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/miles-davis\" title=\"vinyl featuring Miles Davis\"\u003e\u003cspan style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Miles Davis]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDanny Bank, bass clarinet\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBill Barber, tuba\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJohn Barrows, French horn\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAlbert Block, flute\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJames Buffington, French horn\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEddie Caine, flute, flugelhorn\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePaul Chambers, bass \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/paul-chambers\" title=\"vinyl featuring Paul Chambers\"\u003e\u003cspan style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Paul Chambers]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEarl Chapin, French horn\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJimmy Cobb, drums \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/jimmy-cobb\" title=\"Vinyl featuring Jimmy Cobb\"\u003e\u003cspan style=\"color: #ff8000;\"\u003e[click here to see other vinyl featuring Jimmy Cobb]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJohnny Coles, trumpet\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHarold Feldman, clarinet, flute, oboe\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBernie Glow, trumpet\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDick Hixon, trombone\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eElvin Jones, percussion\u003cspan\u003e \u003c\/span\u003e\u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/elvin-jones\" title=\"vinyl featuring Elvin Jones\"\u003e\u003cspan style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Elvin Jones]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTaft Jordan, trumpet\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJack Knitzer, bassoon\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJose Mangual, percussion\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJimmy McAllister, tuba\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTony Miranda, French horn\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLouis Mucci, trumpet\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRomeo Penque, oboe\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJanet Putnam, harp\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFrank Rehak, trombone\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eErnie Royal, trumpet\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJoe Singer, French horn\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003cstrong\u003eGil Evans, arranger, conductor \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/gil-evans\" title=\"Vinyl featuring Gill Evans\"\u003e\u003cspan style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Gil Evans]\u003c\/span\u003e\u003c\/a\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eLimited numbered edition\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHalf-speed Mastering\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGain 2™ Ultra Analog\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : RTI\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : MOFI\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Columbia\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded \u003cspan\u003eNovember 15 \u0026amp; 20, 1959 and March 10, 1960 at CBS 30th Street Studio, New York City\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineered by Larry Keyes, Ray Moore\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Teo Macero\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by Krieg Wunderlich\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1960\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2013\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eConcierto de Aranjuez (Adagio)\u003c\/li\u003e\n\u003cli\u003eWill O' the Wisp\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eThe Pan Piper\u003c\/li\u003e\n\u003cli\u003eSaeta\u003c\/li\u003e\n\u003cli\u003eSolea\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAwards\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eRolling Stone 500 Greatest Albums of All Time - Rated 358\/500\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e1961 Grammy Award for Best Jazz Composition of More Than Five Minutes Duration\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e\"Along with Kind of Blue, In a Silent Way, and Round About Midnight, Sketches of Spain is one of Miles Davis' most enduring and innovative achievements. Recorded between November 1959 and March 1960 -- after Coltrane and Cannonball Adderley had left the band -- Davis teamed with Canadian arranger Gil Evans for the third time. Davis brought Evans the album's signature piece, \"Concierto de Aranjuez,\" after hearing a classical version of it at bassist Joe Mondragon's house. Evans was as taken with it as Davis was, and set about to create an entire album of material around it. The result is a masterpiece of modern art. On the \"Concierto,\" Evans' arrangement provided an orchestra and jazz band -- Paul Chambers, Jimmy Cobb, and Elvin Jones -- the opportunity to record a classical work as it was. The piece, with its stunning colors and intricate yet transcendent adagio, played by Davis on a flügelhorn with a Harmon mute, is one of the most memorable works to come from popular culture in the 20th century. Davis' control over his instrument is singular, and Evans' conducting is flawless. Also notable are \"Saeta,\" with one of the most amazing technical solos of Davis' career, and the album's closer, \"Solea,\" which is conceptually a narrative piece, based on an Andalusian folk song, about a woman who encounters the procession taking Christ to Calvary. She sings the narrative of his passion and the procession -- or parade -- with full brass accompaniment moving along. Cobb and Jones, with flamenco-flavored percussion, are particularly wonderful here, as they allow the orchestra to indulge in the lushly passionate arrangement Evans provided to accompany Davis, who was clearly at his most challenged here, though he delivers with grace and verve. Sketches of Spain is the most luxuriant and stridently romantic recording Davis ever made. To listen to it in the 21st century is still a spine-tingling experience, as one encounters a multitude of timbres, tonalities, and harmonic structures seldom found in the music called jazz.\" \u003cspan\u003eAllMusic Review by Thom Jurek\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eUltra Analog™\u003c\/strong\u003e\u003cspan\u003e : The GAIN 2 Ultra Analog™ Series stems from the use of the Gain 2 system, mastered at half speed from the original master tapes where possible, capturing and uncovering as before undiscovered sonic information.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eHalf-speed mastering. \u003c\/strong\u003eIn half-speed mastering, the whole process is slowed down to half of the original speed. A typical 33 1\/3 rpm record is cut at 16 2\/3 rpm. The source material is also slowed down (reducing the pitch in the process) meaning the final record will still sound normal when played back. Slowing the whole process down allows more time, which means the end result sounds better and is more efficient — allowing engineering to minimize the effects of inherent limitations within the vinyl format. The result is a more accurate and more open high-frequency response in the half speed vinyl when compared with a normal speed recording.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eAllMusic : 5 \/ 5 , Discogs : 4,46 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":41082773078167,"sku":"MFSL1-375","price":65.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/miles-davis-sketches-of-spain-ultra-analog-half-speed-mastering-audiosoundmusic-1.jpg?v=1719854240"},{"product_id":"heifetz-piatigorsky-concerts-with-jacob-lateiner-guests","title":"Heifetz-Piatigorsky Concerts with Jacob Lateiner \u0026 Guests - Beethoven, Haydn, Piatigorsky","description":"\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp\u003e\u003cstrong\u003eLudwig van Beethoven - Trio Op. 1, No. 1\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJoseph Haydn - Divertimento for Cello\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eComposer Miklos Rozsa - Tema con Variazioni\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJascha Heifetz, violin\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGregor Piatigorsky, cello\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSoloist Jacob Lateiner, piano\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12”\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : RTI\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Impex Records\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : RCA Victor Red Seal\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineered by Ivan Fisher, John Norman \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by John F. Pfeiffer\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMastered by Kevin Gray \u0026amp; Robert Pincus\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1964\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2013\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A : Ludwig van Beethoven - Trio Op. 1, No. 1\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eAllegro\u003c\/li\u003e\n\u003cli\u003eAdagio Cantabile\u003c\/li\u003e\n\u003cli\u003eScherzo\u003c\/li\u003e\n\u003cli\u003eFinale\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eJoseph Haydn - Divertimento for Cello - Adagio\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan data-mce-fragment=\"1\"\u003eJoseph Haydn - Divertimento for Cello - \u003c\/span\u003eMinuet\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan data-mce-fragment=\"1\"\u003eJoseph Haydn - Divertimento for Cello - \u003c\/span\u003eAllegro\u003c\/li\u003e\n\u003cli\u003eMiklos Rozsa - Tema con Variazioni\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAwards\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eGrammy Award for Best Chamber Music Performance\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e\"Abey Fonn of Impex and her mates obtained the original three-track analog tapes that were then mixed to two tracks by Andreas Meyer of Meyer Media. Kevin Gray of Cohearent Audio and Robert Pincus of Impex mastered the LP and SACD, with the LP pressed at RTI. It’s hard to parse out what improvements result from dropping the Dynagroove mastering, what results from the superior mastering chain, and what results from the thicker, quieter vinyl pressing. The recording quality was among the best of the Concert series, with the players arrayed in a lifelike soundstage and the balance among the instruments nearly perfect. I’m not sure how many of the performances preserved in the 21-CD set were issued on vinyl, but none I’ve heard sounded better than the original pressing of this LP, and this reissue is significantly better still, with more body, although the SACD is very close. Call me old-fashioned, but I appreciate the fact that the Beethoven trio takes up all of side one, so when it ends, your reverie is gently nudged by the swish of the stylus in the lead-out groove, instead of the beginning of an entirely new piece.\" - Dennis Davis, The Audio Beat,  \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eDiscogs : 4,59 \/ 5 ,  \u003cspan data-mce-fragment=\"1\"\u003eThe Audio Beat : 4.5\/5 Music, 4.5\/5 Sound\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":41095966851223,"sku":"IMP6025","price":65.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/heifetz-piatigorsky-concerts-with-jacob-lateiner-and-guests-beethoven-haydn-piatigorsky-audiosoundmusic-1.jpg?v=1719854318"},{"product_id":"billy-joel-52nd-street","title":"Billy Joel - 52nd Street","description":"\u003cdiv\u003e\n\u003cbr\u003e\u003cbr\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eORDER LIMITED TO ONE ITEM PER CUSTOMER\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp\u003e\u003cstrong\u003eBilly Joel – acoustic piano, Yamaha CP-70 electric grand piano, Fender Rhodes, synthesizers, vocals \u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cspan style=\"color: #ff8000;\"\u003e\u003ca title=\"vinyl featuring billy joel\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/billy-joel\" style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/billy-joel\"\u003e[click here to see more vinyl featuring Billy Joel]\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFreddie Hubbard – flugelhorn and trumpet (A4)  \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/freddie-hubbard\" title=\"Vinyl featuring Freddie Hubbard\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/freddie-hubbard\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Freddie Hubbard]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRichie Cannata – organ, saxophones, clarinet\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSteve Khan – electric guitar, acoustic guitar, backing vocals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDavid Spinozza – acoustic guitar (A2)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDavid Brown – electric guitar (A3)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRussell Javors – acoustic guitar (A3)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHugh McCracken – nylon string guitar (B2, B4)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEric Gale – electric guitar (B3)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDoug Stegmeyer – bass, backing vocals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLiberty DeVitto – drums\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMike Mainieri – vibraphone and marimba (A4, B2)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRalph MacDonald – percussion (B2-3)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDavid Freidman – orchestral chimes and percussion (B4)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGeorge Marge – sopranino recorder (B2)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRobert Freedman – horn and string orchestration (A2, B4)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDave Grusin – horn orchestration (B3)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDavid Nadien – concertmaster (A2, B3-4)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePeter Cetera – backing vocals (A3)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDonnie Dacus – backing vocals (A3)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFrank Floyd – backing vocals (B3)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBabi Floyd – backing vocals (B3)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMilt Grayson – backing vocals (B3)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eZack Sanders – backing vocals (B3)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRay Simpson – backing vocals (B3)\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eLimited to 2,500 numbered copies - Number 1849\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12”\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : RTI\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Impex Records\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Columbia\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded July–August 1978 at A\u0026amp;R Recording, 799 7th Avenue, New York City\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineered by Jim Boyer\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Phil Ramone\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by Kevin Gray\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1978\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2011\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eBig Shot\u003c\/li\u003e\n\u003cli\u003eHonesty\u003c\/li\u003e\n\u003cli\u003eMy Life\u003c\/li\u003e\n\u003cli\u003eZanzibar\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eStiletto\u003c\/li\u003e\n\u003cli\u003eRosalinda’s Eyes\u003c\/li\u003e\n\u003cli\u003eHalf A Mile Away\u003c\/li\u003e\n\u003cli\u003eUntil the Night\u003c\/li\u003e\n\u003cli\u003e52nd Street\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAwards\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eRolling Stone magazine's list of The 500 Greatest Albums of All Time - ranked number 352\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eNumber 621 in Colin Larkin's All Time Top 1000 Albums\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e1980 Grammy awards  - Album of the Year\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e1980 Grammy awards  - Best Pop Vocal Performance Male\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e\"Once The Stranger became a hit, Billy Joel quickly re-entered the studio with producer Phil Ramone to record the follow-up, 52nd Street. Instead of breaking from the sound of The Stranger, Joel chose to expand it, making it more sophisticated and somewhat jazzy. Often, his moves sounded as if they were responses to Steely Dan -- indeed, his phrasing and melody for \"Zanzibar\" is a direct homage to Donald Fagen circa The Royal Scam, and it also boasts a solo from jazz great Freddie Hubbard à la Steely Dan -- but since Joel is a working-class populist, not an elitist college boy, he never shies away from big gestures and melodies. Consequently, 52nd Street unintentionally embellishes the Broadway overtones of its predecessor, not only on a centerpiece like \"Stiletto,\" but when he's rocking out on \"Big Shot.\" That isn't necessarily bad, since Joel's strong suit turns out to be showmanship -- he dazzles with his melodic skills and his enthusiastic performances. He also knows how to make a record. Song for song, 52nd Street might not be as strong as The Stranger, but there are no weak songs -- indeed, \"Honesty,\" \"My Life,\" \"Until the Night,\" and the three mentioned above are among his best -- and they all flow together smoothly, thanks to Ramone's seamless production and Joel's melodic craftsmanship. It's remarkable to think that in a matter of three records, Joel had hit upon a workable, marketable formula -- one that not only made him one of the biggest-selling artists of his era, but one of the most enjoyable mainstream hitmakers. 52nd Street is a testament to that achievement.\" \u003cspan data-mce-fragment=\"1\"\u003eAllMusic Review by Stephen Thomas Erlewine\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eAllMusic : 4 \/ 5 , Discogs : 3,98 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":41105538318487,"sku":"IMP6006","price":139.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/billy-joel-52nd-street-audiosoundmusic-1.jpg?v=1719854346"},{"product_id":"copy-of-sergei-rachmaninov-symphonic-dances-vocalise-eiji-oue-200g-half-speed-mastering","title":"Malcolm Arnold - Arnold Overtures (Half-speed Mastering)","description":"\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003eMalcolm Arnold – Ouvertures\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDavid Nolan, violin\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLondon Philharmonic Orchestra\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMalcolm Arnold, conductor\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, Gatefold jacket\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHalf-Speed Mastering\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g Virgin Vinyl\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Quality Record Pressings\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Reference Recordings\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal label : Reference Recordings\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded August 14-16, 1991\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded and engineered by Keith O. 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Paul Stubblebine, who mastered the original CD, returns to do the remastering for this fine reissue pressed at Quality Recoord Pressings... This re-release of Arnold Overtures is a gem and worth rebuying even if you own the music in another format. I've thoroughly enjoyed this recording and Sir Malcolm's enthusiastic interpretation of his own compositions.\" - Mark Blackmore, The Audio Beat, March 2018\u003c\/p\u003e\n\u003cp\u003eAuthoritative first recordings of important works composed and conducted by Sir Malcom Arnold (1921-2006), one of England's very greatest composers.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHalf-speed mastering\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eIn half-speed mastering, the whole process is slowed down to half of the original speed. A typical 33 1\/3 rpm record is cut at 16 2\/3 rpm. 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Johnson\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Donald J. McKinney\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 2018 (as an SACD).\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in Sept 2019 (first time on LP)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eOlympic Fanfare And Theme\u003c\/li\u003e\n\u003cli\u003eSuperman March\u003c\/li\u003e\n\u003cli\u003eThe Cowboys Overture\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eAdventures On Earth from E.T.: The Extra-Terrestrial\u003c\/li\u003e\n\u003cli\u003eWith Malice Toward None from Lincoln\u003c\/li\u003e\n\u003cli\u003eMarch from 1941\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide C:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eScherzo For X Wings from Star Wars: The Force Awakens\u003c\/li\u003e\n\u003cli\u003eThe Jedi Steps And Finale from Star Wars: The Force Awakens\u003c\/li\u003e\n\u003cli\u003eStar Wars (Main Title)\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide D:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eImperial March from The Empire Strikes Back\u003c\/li\u003e\n\u003cli\u003eExcerpts from Close Encounters Of The Third Kind\u003c\/li\u003e\n\u003cli\u003eTheme from J.F.K.\u003c\/li\u003e\n\u003cli\u003eThe Star-Spangled Banner\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAwards :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e2019 Best Engineered, Classical GRAMMY® Nominee\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e2019 Best Classical Compendium GRAMMY® Nominee\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eTAS Super LP List! Special Merit: Film and Broadway Score\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e« Once you catch your breath, you’ll also discover that Williams has a few favorite tricks up his sleeve. When he’s not dazzling you with his undeniably rousing array of catchy, action-narrating themes, he’ll sometimes throw in otherworldly interludes that, amidst chords of wonderment, may even offer hints of reflection.” Jason Victor Serinus, Sterophile\u003c\/p\u003e\n\u003cp\u003e« The sound is everything you want in an eye-popping audiophile recording, while maintaining artistic integrity. The pyrotechnics are especially evident on the Lucas film-based music, where the percussion has you wishing you had opted for one size larger in speakers. Dynamics swing from dead quite black backgrounds to huge crescendos of percussion and trumpets in the 'Imperial March' appropriate for the theme song of one of the twentieth century's darkets villians. This is the ideal record set to pull out to get your audiophile friends' juices flowing - just skip the wine and cheese and fill up the popcorn bowl, and don't skimp on the volume level. » Dennis Davis, Hi-Fi+\u003c\/p\u003e\n\u003cp\u003e« Various collections of music by John Williams are available, and most of them involve their original orchestral scores. You might wonder whether you need a version for wind orchestra, but wonder no more: this reading by the Dallas Wind Symphony and its longtime conductor, Jerry Junkin, hits the spot in every way. You might acquire this album for the audiophile acoustics alone: the fine Meyerson Symphony Hall in Dallas has never sounded as good as it does here, in the hands of Reference Recordings engineers who have worked there for some years, and who have worked overtime to render the big spaces of Williams' music. And what spaces they are! If anything, the wind orchestra reading emphasizes Williams' big-boned brass writing, throwing it into sharp relief. The emphasis is set at the beginning by the Olympic Fanfare \u0026amp; Theme, written by Williams for the 1984 Los Angeles Olympics and qualifying as a film score by virtue of its later use in the Bobby Fischer biopic Pawn Sacrifice. That's one of several works that you'll immediately recognize, even without being able to place the films from which they come, and indeed, Williams' music may well outlast the films where it was used. The big, brass-dominated, symphonic scores form the basis of the program, but there's plenty more. There are terrific marches showing that among Williams' compositional ancestors was not only Copland but Sousa, and Williams' almost symbiotic relationship with director Steven Spielberg is explored. Sample \"With Malice Toward None\" from Lincoln to hear one of the products of Williams' barely diminished energy in old age. This album snared a pair of Grammy award nominations for Best Compendium and Best Engineering, both well deserved. » AllMusic Review by James Manheim\u003c\/p\u003e\n\u003cp\u003eJohn Williams is a game changer. Early in his career he crossed the lines between music that was “art” and music that was “commercial,” and never looked back. He is one of the best known, most awarded and most successful composers in US history, and his name is inextricably connected to outstanding music for films. He has written scores for over 100 films, and his massive list of awards includes 51 Academy Award nominations and five wins, as well as 24 GRAMMY® awards. 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Johnson\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHalf-speed mastered by Paul Stubblebine\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1996 (as an HDCD)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2016 (first time on LP)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eAdoration of the Earth\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eThe Sacrifice\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAwards :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eNominated for a Grammy Award for Best Engineered Classical Recording!\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHalf-speed mastering\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eIn half-speed mastering, the whole mastering process is slowed down to half of the original speed. A typical 33 1\/3 rpm record is cut at 16 2\/3 rpm. The source material is also slowed down (reducing the pitch in the process) meaning the final record will still sound normal when played back. Slowing the whole process down allows more time, which means the end result sounds better and is more efficient — allowing engineering to minimize the effects of inherent limitations within the vinyl format. The result is a more accurate and more open high-frequency response in the half speed vinyl when compared with a normal speed recording.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings \u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp\u003eDiscogs : 4.88 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":41941189853434,"sku":"RM-1515","price":55.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/stravinsky-the-rite-of-spring-eiji-oue-45rpm-half-speed-mastering-audiosoundmusic.jpg?v=1719855428"},{"product_id":"diana-krall-live-in-paris-2lp-45rpm","title":"Diana Krall - Live In Paris (2LP, 45RPM)","description":"\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cdiv\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eORDER LIMITED TO ONE ITEM PER CUSTOMER\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDiana Krall, vocals and piano \u003cspan style=\"color: rgb(255, 128, 0);\" data-mce-fragment=\"1\"\u003e\u003ca style=\"color: rgb(255, 128, 0);\" title=\"Vinyl featuring Diana Krall\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/diana-krall\" data-mce-fragment=\"1\"\u003e[click here to see more vinyl featuring Diana Krall]\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAnthony Wilson, guitar\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJohn Clayton, bass\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJeff Hamilton, drums\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e2LP, gatefold sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eNumbered Limited Edition \u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 45RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLive\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Record Technology Incorporated (RTI)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Original Recordings Group (ORG)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal label : Verve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded live November 29 – December 2, 2001\u003c\/strong\u003e \u003cstrong\u003eat the Paris Olympia by Al Schmitt\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded and mixed by Al Schmitt\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMastered by Doug Sax, Robert Hadley at Mastering Lab\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Tommy LiPuma\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by Bernie Grundman at Bernie Grundman Mastering\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginaly released in 2002 (as a CD)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2015\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eI Love Being Here With You\u003c\/li\u003e\n\u003cli\u003eLet's Fall In Love\u003c\/li\u003e\n\u003cli\u003e'Deed I Do\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eThe Look Of Love\u003c\/li\u003e\n\u003cli\u003eEast of the Sun (and West of the Moon)\u003c\/li\u003e\n\u003cli\u003eI've Got You Under My Skin\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide C:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eDevil May Care\u003c\/li\u003e\n\u003cli\u003eMaybe You'll Be There\u003c\/li\u003e\n\u003cli\u003e'S Wonderful\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide D:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eFly Me to the Moon\u003c\/li\u003e\n\u003cli\u003eA Case of You\u003c\/li\u003e\n\u003cli\u003eJust the Way You Are\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAwards :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eTAS Super LP List! Special Merit: Informal\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e2003 Grammy Award for Best Jazz Vocal Album\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e2003 Juno Award for Vocal Jazz Album of the Year\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eBillboard ranked the album at number eight on the magazine'sTop Jazz Albums of the Decade\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews \u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp\u003e\"ORG has remastered the tapes for audiophile 45 rpm vinyl. The results are flawless. There is warmth in the tones that reflect the acoustic sound of the band. The separation is precise, especially in the mixes with the orchestra. The intricate registers and suppleness of Krall’s voice are presented with impeccable clarity.\" Audiophile Audition, September 2011\u003c\/p\u003e\n\u003cp\u003e\"A favorite of audiophiles because her music and voice lend themselves to purist recording techniques, Diana Krall perpetually sounds in great form on her recordings... The sound, remastered by Bernie Grundman, is clear, spacious and well defined -- outstanding in every way, the backing players as vivid as Krall's voice and piano...\" Marc Mickelson, soundstage.com, May 2009\u003c\/p\u003e\n\u003cp\u003e« Recorded \"live\" at the Paris Olympia, Live in Paris offers listeners Diana Krall's understanding of the musical techniques of composition, piano, and vocal improvisation on 12 songs from the Great American Songbooks of Cole Porter,Harold Arlen, George and Ira Gershwin, and contemporary artists Joni Mitchell and Billy Joel. Accompanied by the award-winning Anthony Wilson on guitar, John Pisano on acoustic guitar, John Clayton on bass, Jeff Hamilton on drums, and Paulinho Da Costa on percussion as well as the Orchestra Symphonies European on \"Let's Fall in Love\" and \"I've Got You Under My Skin,\" the lovely vocalist heightens your listening pleasures with distinctive phrasings and tangible pathways to inside the creative imagination by getting inside harmony, the changes, and melodic structures. On Joel's \"Just the Way You Are,\" Krall is accompanied by Christian McBride on bass, Michael Brecker on tenor saxophone, Lewis Nash on drums, and Wilson on guitar, among others. This song also resides on the soundtrack to the film The Guru and is probably one of the best ballads on the set due to the great solo from Brecker. His powerful but sensitive playing adds the ultimate expression and approach to the melody -- one with attitudinal preparation, which is always necessary for a song that has such familiarity and association with another musician. For those who may not have heard Krall perform \"live,\" this recording will give you a firsthand account of the ambience and excitement of a musical evening with her. » AllMusic Review by Paula Edelstein\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings \u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp\u003eAllMusic : 4 \/ 5 , Discogs : 4.54 \/ 5 , Audiophile Audition : 4.5 \/ 5 , Soundstage : 5 \/ 5 for Recording Quality\u003c\/p\u003e\n\u003c\/div\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":41952721797370,"sku":"ORG 003","price":145.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/diana-krall-live-in-paris-2lp-45rpm-audiosoundmusic-1.jpg?v=1719855527"},{"product_id":"john-barry-dances-with-wolves-soundtrack-2lp-45rpm","title":"John Barry - Dances With Wolves Soundtrack (2LP, 45RPM)","description":"\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003ch2\u003e\n\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eORDER LIMITED TO ONE ITEM PER CUSTOMER\u003c\/strong\u003e\u003c\/span\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003eComposed and conducted by John Barry\u003c\/strong\u003e\n\u003c\/h2\u003e\n\u003cp\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e2LP, Double gatefold jacket\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eLimited edition to 2,500 numbered copies\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 45RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Record Technology Incorporated\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Original Recordings Group (ORG)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal label : Epic\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded at Columbia Studios, Los Angeles,\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineered by Shawn Murphy\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by Bernie Grundman at Bernie Grundman Mastering\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by John Barry\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginaly released in 1990\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2014\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eMain Title - Looks Like A Suicide\u003c\/li\u003e\n\u003cli\u003eThe John Dunbar Theme\u003c\/li\u003e\n\u003cli\u003eJourney to Fort Sedgewick\u003c\/li\u003e\n\u003cli\u003eRide to Fort Hays\u003c\/li\u003e\n\u003cli\u003eThe Death of Timmons\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eLP 1 - Side B:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eTwo Socks - The Wolf Theme\u003c\/li\u003e\n\u003cli\u003ePawnee Attack\u003c\/li\u003e\n\u003cli\u003eKicking Bird's Gift\u003c\/li\u003e\n\u003cli\u003eJourney to the Buffalo Killing Ground\u003c\/li\u003e\n\u003cli\u003eThe Buffalo Hunt\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide C:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eStands With a Fist Remembers\u003c\/li\u003e\n\u003cli\u003eThe Love Theme\u003c\/li\u003e\n\u003cli\u003eThe John Dunbar Theme\u003c\/li\u003e\n\u003cli\u003eTwo Socks at Play\u003c\/li\u003e\n\u003cli\u003eThe Death of Cisco\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e Side D:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eRescue of Dances with Wolves\u003c\/li\u003e\n\u003cli\u003eThe Loss of the Journal and the Return to the Winter Camp\u003c\/li\u003e\n\u003cli\u003eFarewell and End Title\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAwards :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e1992 Grammy Award for \"Best Instrumental Composition Written for a Motion Picture or for Television\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e1991 Academy Award for Best Original Score\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e« John Barry's fifth Oscar-winning score is a profoundly moving body of music, generally (though not entirely) elegiac in tone, very much like the movie for which it was written. It's also a bit of a mixed bag, occasionally falling back on material that will be familiar to fans of the James Bond movies that Barry scored during the early- to mid-'60s. The main title theme uses some of those devices -- dense, heavy string passages adjacent to trumpet calls -- but it is hardly representative of the full score. The real heart of Dances With Wolves is the pensive, tragic \"John Dunbar Theme,\" which is far closer in spirit to Barry's music for Somewhere in Time or They Might Be Giants -- films (and scores) far removed from the Bond movies. It seems as though, when Barry is asked to write music for characters who are complex and troubled (Bond is neither), he delivers the goods in the guise of musical material that reflects those elements. Some elements familiar from the Bond films can be found scattered throughout this soundtrack, particularly in the violin-driven \"stings\" that open \"The Death of Timmons\" and the horn calls that herald its closing; in the string parts underneath the hyperactive percussion of \"Pawnee Attack\" that might've been lifted right out of From Russia With Love; and also in \"Stands With a Fist Remembers,\" with its secondary violin part in the upper register of the strings. Much of Dances With Wolves, however, shows a broadening of Barry's sound -- he uses the vast canvas of Kevin Costner's movie and Dean Semler's cinematography as the basis for one of the most richly scored soundtracks of his career, working with one of the largest orchestras ever heard in one of his films; \"Journey to Fort Sedgewick,\" \"Kicking Bird's Gift,\" \"Two Socks at Play,\" \"The Death of Cisco,\" and \"Journey to the Buffalo Killing Ground\" have an almost Copland-like majesty about them, and \"The Buffalo Hunt\" is one of the finest pieces of music the man ever wrote. At times, it sounds as though Barry had every string and horn player in Los Angeles present, and topped it all out with an oversized percussion section, but none of the music or the scoring here sound excessive. Dances With Wolves was reissued with two bonus tracks in 1995. The 2004 reissue expanded some tracks and added still more material to present the soundtrack \"in its entirety.\" » AllMusic Review by Bruce Eder\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eDances with Wolves is a 1990 American motion picture, adapted from a 1988 book by Michael Blake, directed, produced by, and starring Kevin Costner.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings \u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp\u003eAllMusic : 4 \/ 5 , Discogs : 4.83 \/ 5\u003c\/p\u003e\n\u003c\/div\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":41955806314746,"sku":"ORG 150","price":95.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/john-barry-dances-with-wolves-soundtrack-2lp-45rpm-audiosoundmusic-1.jpg?v=1719855573"},{"product_id":"the-mysterious-world-of-bernard-herrmann-2lp-45rpm","title":"The Mysterious World of Bernard Herrmann  (2LP, 45RPM)","description":"\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003ch2\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eORDER LIMITED TO ONE ITEM PER CUSTOMER\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h2\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eComposed by Bernard Herrmann\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eNational Philharmonic Orchestra\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBernard Herrmann Conductor Bernard Herrmann\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e2LP, Double gatefold jacket\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eLimited edition to 2,500 numbered copies\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 45RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Record Technology Incorporated\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Original Recordings Group (ORG)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal label : Decca\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded at Kingsway Hall, London, February 1975\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by Bernie Grundman at Bernie Grundman Mastering\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Tim McDonald\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginaly released in 1975\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2019\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A : Music From The Columbia Picture \"Mysterious Island\"\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003ePrelude\u003c\/li\u003e\n\u003cli\u003eThe Balloon\u003c\/li\u003e\n\u003cli\u003eThe Giant Crab\u003c\/li\u003e\n\u003cli\u003eThe Giant Bee\u003c\/li\u003e\n\u003cli\u003eThe Giant Bird\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B: Music From The Columbia Picture \"Jason And The Argonauts\"\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003ePrelude\u003c\/li\u003e\n\u003cli\u003eTalos\u003c\/li\u003e\n\u003cli\u003eTalos' Death\u003c\/li\u003e\n\u003cli\u003eTriton\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide C: Music From The Columbia Picture \"The Three Worlds Of Gulliver\"\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eOverture\u003c\/li\u003e\n\u003cli\u003eMinuetto-Wapping\u003c\/li\u003e\n\u003cli\u003eHornpipe\u003c\/li\u003e\n\u003cli\u003eLilliputians 1 \u0026amp; 2\u003c\/li\u003e\n\u003cli\u003eVictory 1 \u0026amp; 2\u003c\/li\u003e\n\u003cli\u003eEscape\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide D: Music From The Columbia Picture \"The Three Worlds Of Gulliver\"\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eThe King's March\u003c\/li\u003e\n\u003cli\u003eTrees\u003c\/li\u003e\n\u003cli\u003eThe Tightrope\u003c\/li\u003e\n\u003cli\u003eLovers\u003c\/li\u003e\n\u003cli\u003eThe Chess Game\u003c\/li\u003e\n\u003cli\u003ePursuit\u003c\/li\u003e\n\u003cli\u003eFinale\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews \u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp\u003e« This album was recorded by the composer early in 1975 and has proved to be one of the more enduring parts of Bernard Herrmann's catalog, a steady seller on LP, and issued several times on CD, including an audiophile version from Mobile Fidelity. During the early to mid-'70s, Herrmann began re-recording many of his earlier scores at Kingsway Hall in London with the National Philharmonic Orchestra. The sound glitters, some of the brightest and richest audio of its period (attested to by the album's being part of Decca\/London Phase 4 Stereo), and the performances have a dignity and intensity that makes the music -- drawn from the key parts of Herrmann's scores for the Ray Harryhausen-created fantasy films The Three Worlds of Gulliver, Mysterious Island, and Jason and the Argonauts -- seem even more serious and profound than it originally did. Herrmann tends to take the tempos slower than he did in the original scores, which gives him and the players a chance to open up the detail and nuances in the music, bringing out their surprising depth and complexity. What's more, the players sound like they're having the time of their lives playing it. » AllMusic Review by Bruce Eder\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings \u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp\u003eAllMusic : 4 \/ 5 , Discogs : 4.0 \/ 5\u003c\/p\u003e\n\u003c\/div\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":41955894755578,"sku":"ORG151","price":95.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/the-mysterious-world-of-bernard-herrmann-2lp-45rpm-audiosoundmusic-1.jpg?v=1719855573"},{"product_id":"michael-jackson-thriller-picture-disc","title":"Michael Jackson - Thriller (Picture Disc)","description":"\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eMichael Jackson - vocal \u003cspan style=\"color: #ff8000;\"\u003e\u003ca title=\"Vinyl featuring Michael Jackson\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/michael-jackson\" style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Michael Jackson]\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eVocal - Paul McCartney (A3) \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/paul-mccartney\" title=\"vinyl featuring Paul McCarney\"\u003e\u003cspan style=\"color: rgb(255, 128, 0);\"\u003e[click here to see more vinyl featuring Paul McCartney]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eVocal - Vincent Price (A4) \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBacking Vocals – Becky Lopez (A1, B4), Bunny Hull (A1, B4), Howard Hewett (B4), James Ingram (A1, B4), Janet Jackson (B4), Julia Waters (A1), LaToya Jackson (B4), Maxine Waters (A1), Oren Waters (A1)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBass – Louis Johnson (A1, B5), Louis Johnson (A3, B2, B4), Steve Lukather (B1)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDrums – Jeff Porcaro (A3, B1, B3, B5), Ndugu Chancler (A2, B2, B4)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGuitar – Eddie Van Halen (B1), David Williams (A1, A2, A4, B2), Dean Parks (A3), Paul Jackson (B1, B4, B5), Steve Lukather (A3, B1, B3)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHandclaps – Greg Phillinganes (B4), James Ingram (B4), Louis Johnson (B4), Steven Ray (B4)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eKeyboards – Greg Phillinganes (A1 to B2, B4, B5), James Ingram (B4), Tom Bahler (B1)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePercussion – Paulinho Da Costa (A1, B3)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePiano – David Paich (A3)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSaxophone, Flute – Larry Williams (tracks: A1, A2, A4)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSynthesizer – Anthony Marinelli (tracks: A2, A4), Bill Wolfer (tracks: A1, B1, B2), Brian Banks (tracks: A2, A4), David Foster (tracks: A3), David Paich (tracks: A2, B3, B5), Greg Smith (tracks: B2), Michael Boddicker (tracks: A1, A2, B2 to B5), Rod Temperton (tracks: A4), Steve Porcaro (tracks: A2, A3, B1, B3, B4)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSynthesizer – Greg Smith (B1)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTrombone – Bill Reichenbach (A1, A2, A4)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTrumpet, Flugelhorn – Gary Grant (A1, A2, A4), Jerry Hey (A1, A2, A4)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : unspecified\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : picture\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : GZ Media (Czech Republic)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Sony\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal label : EPIC\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded April 14 – November 8, 1982 at Westlake Studio (Los Angeles)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded by Bruce Swedien, Don Landee (B1)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineered by Matt Forger\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMixed by Bruce Swedien\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Quincy Jones\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMastered by Bernie Grundman at Bernie Grundman Mastering\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginaly released in 1982\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2018\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eWanna Be Startin' Somethin'\u003c\/li\u003e\n\u003cli\u003eBaby Be Mine\u003c\/li\u003e\n\u003cli\u003eThe Girl Is Mine\u003c\/li\u003e\n\u003cli\u003eThriller            \u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eBeat It\u003c\/li\u003e\n\u003cli\u003eBillie Jean\u003c\/li\u003e\n\u003cli\u003eHuman Nature\u003c\/li\u003e\n\u003cli\u003eP.Y.T. (Pretty Young Thing)\u003c\/li\u003e\n\u003cli\u003eThe Lady in My Life\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAwards :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eHas sold more than 70 million copies\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e1000 Recordings You Must Hear Before You Die - Ranked 508\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eTIME deemed it \"the greatest pop album of all time.\"\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eThe Independent called it \"the most inspiring album of all time.\"\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eRolling Stone 500 Greatest Albums of All Time - Rated 12\/500!\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eRolling Stone 500 Greatest Songs of All Time - \"Beat It\" - Rated 344\/500!\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e1984 Grammy Awards :\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eAlbum Of The Year\u003c\/strong\u003e\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eBest Pop Vocal Performance, Male (for \"Thriller\")\u003c\/strong\u003e\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eBest R\u0026amp;B Vocal Performance, Male (for \"Billie Jean\")\u003c\/strong\u003e\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eBest Rock Vocal Performance, Male (for \"Beat It\")\u003c\/strong\u003e\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eRecord Of The Year (for \"Beat It\")\u003c\/strong\u003e\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eProducer Of The Year (Non-Classical)\u003c\/strong\u003e\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eBest Engineered Recording, Non-Classical\u003c\/strong\u003e\u003c\/span\u003e\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eGrammy Hall of Fame\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cul\u003e\u003c\/ul\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e« Off the Wall was a massive success, spawning four Top Ten hits (two of them number ones), but nothing could have prepared Michael Jackson for Thriller. Nobody could have prepared anybody for the success of Thriller, since the magnitude of its success was simply unimaginable -- an album that sold 40 million copies in its initial chart run, with seven of its nine tracks reaching the Top Ten (for the record, the terrific \"Baby Be Mine\" and the pretty good ballad \"The Lady in My Life\" are not like the others). This was a record that had something for everybody, building on the basic blueprint of Off the Wall by adding harder funk, hard rock, softer ballads, and smoother soul -- expanding the approach to have something for every audience. That alone would have given the album a good shot at a huge audience, but it also arrived precisely when MTV was reaching its ascendancy, and Jackson helped the network by being not just its first superstar, but first black star as much as the network helped him. This all would have made it a success (and its success, in turn, served as a new standard for success), but it stayed on the charts, turning out singles, for nearly two years because it was really, really good. True, it wasn't as tight as Off the Wall -- and the ridiculous, late-night house-of-horrors title track is the prime culprit, arriving in the middle of the record and sucking out its momentum -- but those one or two cuts don't detract from a phenomenal set of music. It's calculated, to be sure, but the chutzpah of those calculations (before this, nobody would even have thought to bring in metal virtuoso Eddie Van Halen to play on a disco cut) is outdone by their success. This is where a song as gentle and lovely as \"Human Nature\" coexists comfortably with the tough, scared \"Beat It,\" the sweet schmaltz of the Paul McCartney duet \"The Girl Is Mine,\" and the frizzy funk of \"P.Y.T. (Pretty Young Thing).\" And, although this is an undeniably fun record, the paranoia is already creeping in, manifesting itself in the record's two best songs: \"Billie Jean,\" where a woman claims Michael is the father of her child, and the delirious \"Wanna Be Startin' Something,\" the freshest funk on the album, but the most claustrophobic, scariest track Jackson ever recorded. These give the record its anchor and are part of the reason why the record is more than just a phenomenon. The other reason, of course, is that much of this is just simply great music. » AllMusic Review by Stephen Thomas Erlewine\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eAllMusic : 5 \/ 5 , Discogs : 4.5 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":42055253983482,"sku":"1907586642111","price":49.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/michael-jackson-thriller-picture-disc-audiosoundmusic-1.jpg?v=1719855709"},{"product_id":"michael-jackson-off-the-wall-picture-disc","title":"Michael Jackson - Off The Wall (Picture Disc)","description":"\u003cp\u003e\u003cstrong\u003eVocals, Backing Vocals – Michael Jackson \u003cspan style=\"color: #ff8000;\"\u003e\u003ca title=\"Vinyl featuring Michael Jackson\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/michael-jackson\" style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/michael-jackson\"\u003e[click here to see more vinyl featuring Michael Jackson]\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBacking Vocals – Augie Johnson, Jim Gilstrap, Mortonette Jenkins, Paulette McWilliams, Zedric Williams\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAlto Saxophone, Tenor Saxophone, Flute, Woodwind – Larry Williams (A1 to B2, B4 to B6)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBaritone Saxophone, Tenor Saxophone, Flute, Horn – Kim Hutchcroft (A1 to B2, B4 to B6)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBass – Louis Johnson (A1, A3 to B6)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eConcertmaster – Gerald Vinci (A1, A2, A4, B3, B4)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDrums – John Robinson (A1 to B2, B4 to B6)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGuitar – David Williams (A1, A2, B1, B6), Marlo Henderson (A1, A2, B1, B2, B5, B6), Melvin \"Wah Wah\" Watson (A4, B2, B5)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eKeyboards – Michael Boddicker (A2, B1, B4)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eKeyboards, Clavinet, Piano – Greg Phillinganes\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOrchestra – The Seawind Horns (A1 to B2, B4 to B6)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePercussion – Paulinho Da Costa (A1, A3, A4, B1, B4, B6)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStrings – Gerald Vinci (A1, A2, A4, B3, B4), Johnny Mandel\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTrombone – Bill Reichenbach (A1 to B2, B4 to B6)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTrumpet – Gary Grant (A1 to B2, B4 to B6)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTrumpet, Flugelhorn - Jerry Hey (A1 to B2, B4 to B6)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by Michael Jackson (A1, A3, A4), Paul McCartney (B2), Stevie Wonder (B4), Carole Bayer Sager (B5), David Foster (B5), Louis Johnson (A4), Susaye Greene-Browne (B4), Tom Bahler (B3), Rod Temperton (A2, B1, B6)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1LP, Gatefold jacket\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : unspecified\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : Picture\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : GZ Media (Czech Republic)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : EPIC\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal label : EPIC\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded December 4, 1978 – June 3, 1979 at Allen Zentz Studio, Westlake, and Cherokee Studios, Los Angeles\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Quincy Jones\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCo-produced by Michael Jackson (tracks: A1, A3)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMixed and engineered by Bruce Swedien\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMastered by Bernie Grundman at Bernie Grundman Mastering\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginaly released in 1979\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2018\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eDon't Stop 'Til You Get Enough\u003c\/li\u003e\n\u003cli\u003eRock With You\u003c\/li\u003e\n\u003cli\u003eWorkin' Day And Night\u003c\/li\u003e\n\u003cli\u003eGet On The Floor\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eOff The Wall\u003c\/li\u003e\n\u003cli\u003eGirlfriend\u003c\/li\u003e\n\u003cli\u003eShe's Out Of My Life\u003c\/li\u003e\n\u003cli\u003eI Can't Help It\u003c\/li\u003e\n\u003cli\u003eIt's The Falling In Love\u003c\/li\u003e\n\u003cli\u003eBurn This Disco Out\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAwards :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eRolling Stone 500 Greatest Albums of All Time - Rated 68\/500\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eGrammy Hall of Fame\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eGrammy award : Best R\u0026amp;B Vocal Performance, Male for \"Don't Stop 'Til You Get Enough\"\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e1000 Recordings You Must Hear Before You Die - Ranked 450\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e« Michael Jackson had recorded solo prior to the release of Off the Wall in 1979, but this was his breakthrough, the album that established him as an artist of astonishing talent and a bright star in his own right. This was a visionary album, a record that found a way to break disco wide open into a new world where the beat was undeniable, but not the primary focus -- it was part of a colorful tapestry of lush ballads and strings, smooth soul and pop, soft rock, and alluring funk. Its roots hearken back to the Jacksons' huge mid-'70s hit \"Dancing Machine,\" but this is an enormously fresh record, one that remains vibrant and giddily exciting years after its release. This is certainly due to Jackson's emergence as a blindingly gifted vocalist, equally skilled with overwrought ballads as \"She's Out of My Life\" as driving dancefloor shakers as \"Working Day and Night\" and \"Get on the Floor,\" where his asides are as gripping as his delivery on the verses. It's also due to the brilliant songwriting, an intoxicating blend of strong melodies, rhythmic hooks, and indelible construction. Most of all, its success is due to the sound constructed by Jackson and producer Quincy Jones, a dazzling array of disco beats, funk guitars, clean mainstream pop, and unashamed (and therefore affecting) schmaltz that is utterly thrilling in its utter joy. This is highly professional, highly crafted music, and its details are evident, but the overall effect is nothing but pure pleasure. Jackson and Jones expanded this approach on the blockbuster Thriller, often with equally stunning results, but they never bettered it. » AllMusic Review by Stephen Thomas Erlewine\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings \u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp\u003eAllMusic : 5 \/ 5 , Discogs : 4.44 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":42056007680250,"sku":"190758664118","price":39.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/michael-jackson-off-the-wall-picture-disc-audiosoundmusic-1.jpg?v=1719855741"},{"product_id":"amy-winehouse-back-to-black-picture-disc","title":"Amy Winehouse - Back To Black (Picture Disc)","description":"\u003ch2\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h2\u003e\n\u003ch2\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eORDER LIMITED TO ONE ITEM PER CUSTOMER\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h2\u003e\n\u003cp\u003e\u003cstrong\u003eAmy Winehouse – vocals (all tracks), Backing Vocals (A3, B1, B3, B5), Guitar (A3, A4, B3, B5),\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAlto Saxophone – Andy Macintosh (A1, A5-6), Chris Davies (A1, A5-6)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAlto Saxophone, Flute, Clarinet, Piano, Celesta [Celeste] – Vincent Henry (B1)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBaritone Saxophone – Cochemea Gastelum (tracks: B4), Dave Bishop (tracks: A1, A5, A6), Ian Hendrickson-Smith (tracks: A1, A2)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGuitar – Amy Winehouse (A3, A4, B3, B5), Binky Griptite (A1, A2, A5, A6, B2, B4), Thomas Brenneck (A1, A2, A5, A6, B2, B4), Vincent Henry A3, B1, B3, B5), Salaam Remi 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Edition\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : unspecified\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : Picture\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Germany\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Island\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal label : Island\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded in 2005–2006 at Instrument Zoo, Miami (A3-4, B1, B3, B5), Daptone, New York City (A1-2, A5-6, B2, B4), Allido, New York City (B4), Chung King New York City (A1-2, A5-6, B2), Metropolis London (A1-2, A5-6, B2, B4)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded by Derek Pacuk (B4), Dom Morley (B4), Franklin Socorro (A3, A4, B3, B5), Gabriel Roth (B4), Mark Ronson (A1, A5, A6, B2), Matt Paul (B4), Vaughan Merrick (A1, A5, A6, B2, B4)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMixed by Gary \"G Major\" Noble (A3, A4, B3, B5), Tom Elmhirst (A1, A2, A5, A6, B1, B2, B4)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMastered by Stuart Hawkes\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Mark Ronson (A1, A2, A5, A6, B2, B4), Salaam Remi (A3, A4, B1, B3, B5)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginaly released in 2006\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2021 (first time as a picture disc)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eRehab\u003c\/li\u003e\n\u003cli\u003eYou Know I'm No Good\u003c\/li\u003e\n\u003cli\u003eMe \u0026amp; Mr Jones\u003c\/li\u003e\n\u003cli\u003eJust Friends\u003c\/li\u003e\n\u003cli\u003eBack To Black\u003c\/li\u003e\n\u003cli\u003eLove Is A Losing Game\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eTears Dry On Their Own\u003c\/li\u003e\n\u003cli\u003eWake Up Alone\u003c\/li\u003e\n\u003cli\u003eSome Unholy War\u003c\/li\u003e\n\u003cli\u003eHe Can Only Hold Her\u003c\/li\u003e\n\u003cli\u003eAddicted\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAwards :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eRolling Stone 500 Greatest Albums of All Time - Rated 33\/500!\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e2008 Grammy Award Winner:\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eBest Pop Vocal Album: Back To Black\u003c\/strong\u003e\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eBest New Artist: Amy Winehouse\u003c\/strong\u003e\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eBest Female Pop Vocal Performance: \"Rehab\"\u003c\/strong\u003e\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eRecord of the Year: \"Rehab\"\u003c\/strong\u003e\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eSong of the Year: \"Rehab\"\u003c\/strong\u003e\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eProducer of the Year: Mark Ronson\u003c\/strong\u003e\u003c\/span\u003e\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e 1000 Recordings You Must Hear Before You Die - Ranked 958\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e« The story of Back to Black is one in which celebrity and the potential of commercial success threaten to ruin Amy Winehouse, since the same insouciance and playfulness that made her sound so special when she debuted could easily have been whitewashed right out of existence for this breakout record. (That fact may help to explain why fans were so scared by press allegations that Winehouse had deliberately lost weight in order to present a slimmer appearance.) Although Back to Black does see her deserting jazz and wholly embracing contemporary R\u0026amp;B, all the best parts of her musical character emerge intact, and actually, are all the better for the transformation from jazz vocalist to soul siren. With producer Salaam Remi returning from Frank, plus the welcome addition of Mark Ronson (fresh off successes producing for Christina Aguilera and Robbie Williams), Back to Black has a similar sound to Frank but much more flair and spark to it. Winehouse was inspired by girl group soul of the '60s, and fortunately Ronson and Remi are two of the most facile and organic R\u0026amp;B producers active. (They certainly know how to evoke the era too; Remi's \"Tears Dry on Their Own\" is a sparkling homage to the Motown chestnut \"Ain't No Mountain High Enough,\" and Ronson summons a host of Brill Building touchstones on his tracks.) As before, Winehouse writes all of the songs from her experiences, most of which involve the occasionally riotous and often bittersweet vagaries of love. Also in similar fashion to Frank, her eye for details and her way of relating them are delightful. She states her case against \"Rehab\" on the knockout first single with some great lines: \"They tried to make me go to rehab I won't go go go, I'd rather be at home with Ray\" (Charles, that is). As often as not, though, the songs on Back to Black are universal, songs that anyone, even Joss Stone, could take to the top of the charts, such as \"Love Is a Losing Game\" or the title song (\"We only said good bye with words, I died a hundred times\/You go back to her, and I go back to black\"). » AllMusic Review by John Bush\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings \u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp\u003eAllMusic : 5 \/ 5 , Discogs : 4.49 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":42058045292794,"sku":"3579647","price":49.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/amy-winehouse-back-to-black-picture-disc-audiosoundmusic-1.jpg?v=1719855740"},{"product_id":"taylor-swift-reputation-picture-disc","title":"Taylor Swift - Reputation (2LP, Picture Disc)","description":"\u003cp\u003e\u003cstrong\u003eTaylor Swift – all vocals; backing vocals (A1, A4, C2)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMax Martin –keyboards, programming (A1–4, B1, B3-4, C2-3); piano (A4, B1); backing vocals (A4)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eShellback – keyboards, programming (A1–4, B1, B2, C2-3); drums (A2, A4, C2); bass (A2, C2); guitars (B4)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAli Payami – keyboards, programming (A1)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJack Antonoff – programming, instruments (B2, B3, C4, D2); backing vocals (B2, C1, D2); piano, bass, guitar, synths (D3)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOscar Görres – keyboards, programming, piano (B3)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOscar Holter –keyboards, programming (C3)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eVictoria Parker – violins (B2, C1, D1); viola (D1)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePhillip A. Peterson – cellos (B2, C1, D1)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEvan Smith – saxophones (B2)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJames Reynolds – baby voice intro (B4)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSean Hutchinson – drums (C1)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by Taylor Swif\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1LP, Gatefold jacket\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : unspecified\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : Picture\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : GZ Media\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Big Machine\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal label : Big Machine\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded at Conway (Los Angeles), MXM (Los Angeles), Rough Customer (Brooklyn), Seismic Activities (Portland), Tree Sound (Atlanta)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineered by Michael Ilbert (A2–4, B1, B3-4, C2-3), Noah Passovoy (C2), Sam Holland (A2–4, B1, B3, B4, C3), Laura Sisk (B2, C1, C4, D1, D3), Noah Passovoy (C2), Seth Ferkins (A 2)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMixed by Serban Ghenea\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMastered by Randy Merrill\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eExecutive Producer – Taylor Swift\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Jack Antonoff (B2, C1, C4, D3), Max Martin (A1-4, B1, B3-4, C2-3), Shellback (A1-4, B1, B3-4, C2-3), Taylor Swift (B2, C1, C4, D1-3)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginaly released in 2017\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2017 (first time as a picture disc)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003e...Ready For It?\u003c\/li\u003e\n\u003cli\u003eEnd Game (feat. Ed Sheeran and Future)\u003c\/li\u003e\n\u003cli\u003eI Did Something Bad\u003c\/li\u003e\n\u003cli\u003eDon't Blame Me\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eDelicate\u003c\/li\u003e\n\u003cli\u003eLook What You Made Me Do\u003c\/li\u003e\n\u003cli\u003eSo It Goes...\u003c\/li\u003e\n\u003cli\u003eGorgeous\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide C:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eGetaway Car\u003c\/li\u003e\n\u003cli\u003eKing Of My Heart\u003c\/li\u003e\n\u003cli\u003eDancing With Our Hands Tied\u003c\/li\u003e\n\u003cli\u003eDress\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide D:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eThis Is Why We Can't Have Nice Things\u003c\/li\u003e\n\u003cli\u003eCall It What You Want\u003c\/li\u003e\n\u003cli\u003eNew Year's Day\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAwards:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e2019 Grammy Award Nominee: Best Pop Vocal Album\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eOne of Rolling Stone's 50 Best Albums of 2017!\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e\"The bad blood is coming from inside the house! After laying low for months, Taylor made a spectacularly bold return with this glittering palace of luxurious grudges and crystalline trap beats. The heel turn of \"Look What You Made Me Do\" is one for the history books, and pop scholars will likely debate for generations whether it was a brilliant P.R. coup or an epically tone-deaf move. Luckily, the singles are only half the story with Reputation, whose ultra-polished surface conceals some of Swift's realest, most lived-in songs ever. On \"Dress,\" she's high on the rush of a new romantic thrill; on \"New Year's Day,\" she's trying to figure out what she has after the party's over. It adds up to a pointed reminder that Her Royal Swiftness can reclaim her place at pop's cutting edge whenever she feels like it.\" - Rolling Stone magazine\u003c\/p\u003e\n\u003cp\u003e“Taylor Swift never hesitated to place a veiled version of herself at the center of her songs, but reputation is her first record specifically about \"Taylor Swift Superstar,\" not the singer\/songwriter who grew up in public. reputation dispenses with the notion that Swift is a babe in the woods, swapping naivete for calculation, leaning hard into the idea that she plots her every move. In that light, it's difficult not to read reputation as Swift's first self-consciously \"adult\" record, one preoccupied with sex, betrayal, and the scars they leave behind. Appropriately, she dresses reputation in dark, moody sounds, dwelling on drum loops and synthesizers. Working with Jack Antonoff, Max Martin, and Shellback -- all veterans of 2014's 1989 -- her official pop makeover -- Swift achieves a steely, nocturnal sound, one that appears to exist on a gray scale: Apart from the delicate closer \"New Year's Day,\" every song on reputation has a cool, gleaming patina that's designed to put an alluring distance between Swift and the listener. That sense of remove can highlight how clumsy Swift can be in regard to carnality -- whenever she writes about sex, she tends to be a bit on the nose -- and occasionally her attempts at villainy veer toward the absurd (\"This Is Why We Can't Have Nice Things\"), an awkwardness that's distracting upon first listen but less so on revisits. Upon repeated plays, these lyrics fade, as does the monochromatic production, and what's left is a coming of age album anchored by some strong Swift songs, most of which are bunched at the end of the record. \"Getaway Car,\" \"Delicate,\" \"Dress,\" and especially \"New Year's Day\" carry Swift's trademark blend of vulnerability, melody, and confidence, but they are deeply felt and complex, signs that all of the heavy-handed persona plays of reputation were a necessary exercise for her to mature as a singer\/songwriter.” Review by Stephen Thomas Erlewine\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings \u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp\u003eAllMusic : 3 \/ 5 , Discogs : 3.8 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":42065558700282,"sku":"BMRCO0600F","price":75.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/taylor-swift-reputation-2lp-picture-disc-audiosoundmusic-1.jpg?v=1719855807"},{"product_id":"copy-of-the-dave-brubeck-quartet-time-out","title":"The Dave Brubeck Quartet - Time Out (Analogue Productions)","description":"\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eDave Brubeck - piano \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/dave-brubeck\" title=\"Vinyl featuring Dave Brubeck\" style=\"color: #ff8000;\" data-mce-fragment=\"1\"\u003e[click here to see more vinyl featuring Dave Brubeck]\u003c\/a\u003e\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e Paul Desmond - alto saxophone \u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\"\u003e\u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/paul-desmond\" title=\"vinyl featuring Paul Desmond\" style=\"color: #ff8000;\" data-mce-fragment=\"1\"\u003e[click here to see more vinyl featuring Paul Desmond]\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJoe Morell (drums), Gene Wright (bass)\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1LP, gatefold jacket by Stoughton Printing\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Quality Record Pressings\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Analogue productions\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Columbia\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded June 25, July 1, and August 18, 1959 in Columbia's 30th Street Studio in New York City\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Teo Macero\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1959\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2021\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eBlue Rondo A La Turk\u003c\/li\u003e\n\u003cli\u003eStrange Meadow Lark\u003c\/li\u003e\n\u003cli\u003eTake Five\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eThree To Get Ready\u003c\/li\u003e\n\u003cli\u003eKathy's Waltz\u003c\/li\u003e\n\u003cli\u003eEverybody's Jumpin'\u003c\/li\u003e\n\u003cli\u003ePick Up Sticks\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAwards :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp style=\"font-variant-ligatures: normal; font-variant-caps: normal; orphans: 2; text-align: start; widows: 2; -webkit-text-stroke-width: 0px; word-spacing: 0px; margin: 0cm 0cm 12pt;\" data-mce-fragment=\"1\"\u003e\u003cspan color=\"#B12704\" style=\"color: #ff2a00;\"\u003e\u003cb\u003eTAS Super LP List! Special Merit: Informal\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-variant-ligatures: normal; font-variant-caps: normal; orphans: 2; text-align: start; widows: 2; -webkit-text-stroke-width: 0px; word-spacing: 0px; margin: 0cm 0cm 12pt;\" data-mce-fragment=\"1\"\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eThe album was inducted in the Grammy Hall of Flame in 2009.\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-variant-ligatures: normal; font-variant-caps: normal; orphans: 2; text-align: start; widows: 2; -webkit-text-stroke-width: 0px; word-spacing: 0px; margin: 0cm 0cm 12pt;\" data-mce-fragment=\"1\"\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e\u003ci\u003eTime Out\u003c\/i\u003e was the first jazz album to sell more than a million copies.\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-variant-ligatures: normal; font-variant-caps: normal; orphans: 2; text-align: start; widows: 2; -webkit-text-stroke-width: 0px; word-spacing: 0px; margin: 0cm 0cm 12pt;\" data-mce-fragment=\"1\"\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eThe album was certified platinum in 1997 and double platinum in 2011\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-variant-ligatures: normal; font-variant-caps: normal; orphans: 2; text-align: start; widows: 2; -webkit-text-stroke-width: 0px; word-spacing: 0px; margin: 0cm 0cm 12pt;\" data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp style=\"font-variant-ligatures: normal; font-variant-caps: normal; orphans: 2; text-align: start; widows: 2; -webkit-text-stroke-width: 0px; word-spacing: 0px; margin: 0cm 0cm 12pt;\" data-mce-fragment=\"1\"\u003e\u003cstrong\u003eReviews :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e« Dave Brubeck's defining masterpiece, Time Out is one of the most rhythmically innovative albums in jazz history, the first to consciously explore time signatures outside of the standard 4\/4 beat or 3\/4 waltz time. It was a risky move -- Brubeck's record company wasn't keen on releasing such an arty project, and many critics initially roasted him for tampering with jazz's rhythmic foundation. But for once, public taste was more advanced than that of the critics. Buoyed by a hit single in altoist Paul Desmond's ubiquitous \"Take Five,\" Time Out became an unexpectedly huge success, and still ranks as one of the most popular jazz albums ever. That's a testament to Brubeck and Desmond's abilities as composers, because Time Out is full of challenges both subtle and overt -- it's just that they're not jarring. Brubeck's classic \"Blue Rondo à la Turk\" blends jazz with classical form and Turkish folk rhythms, while \"Take Five,\" despite its overexposure, really is a masterpiece; listen to how well Desmond's solo phrasing fits the 5\/4 meter, and how much Joe Morello's drum solo bends time without getting lost. The other selections are richly melodic as well, and even when the meters are even, the group sets up shifting polyrhythmic counterpoints that nod to African and Eastern musics. Some have come to disdain Time Out as its become increasingly synonymous with upscale coffeehouse ambience, but as someone once said of Shakespeare, it's really very good in spite of the people who like it. It doesn't just sound sophisticated -- it really is sophisticated music, which lends itself to cerebral appreciation, yet never stops swinging. Countless other musicians built on its pioneering experiments, yet it's amazingly accessible for all its advanced thinking, a rare feat in any art form. This belongs in even the most rudimentary jazz collection. » AllMusic Review by Steve Huey\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\"The results speak for themselves: the platters from QRP are in my experience the most consistently flat and quiet being pressed today ... at least for the foreseeable here and now, Analogue Productions' newly mastered 45 RPM (Brubeck) is the edition to own. You'll hear it right from the familiar piano intro to \"Blue Rondo a la Turk,\" where Brubeck's playing seems richer, more lyrical, more rhythmically alive. It seems to me that as our gear gets ever more quiet, these QRP LPs continue to wring more musical nuance from the finest recordings.\" Wayne Garcia, \u003c\/span\u003e\u003cem\u003eThe Absolute Sound\u003c\/em\u003e\u003cspan\u003e, January 2013.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e“I've now heard a number of LPs from Quality Record Pressings (QRP), Chad Kassem's year-and-a-half-old record-pressing plant. Before \u003c\/span\u003e\u003cem\u003eTime Out\u003c\/em\u003e\u003cspan\u003e, I would have said that some positive trends were apparent from the earlier LPs I've heard. However, this current pressing is so much better than those that came before it, which were certainly very good, that it's obvious things have improved considerably over the past year. \u003c\/span\u003eIt's a positive sign when the noise floor is defined by the hiss of the master tape, not the quality of the pressing or vinyl, and that's the case here.\u003cspan\u003e Having heard many, many Pallas and RTI pressings, the main competition for QRP, I would say that \u003c\/span\u003eQRP pressings combine the strengths of both its competitors: the very low surface noise and bottom-of-the-groove quiet of Pallas LPs and the sharp delineation of musical detail of RTI.\" \u003cspan\u003eMarc Mickelson, \u003c\/span\u003e\u003cem\u003eThe Audio Beat\u003c\/em\u003e\u003cspan\u003e, August 2012\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp style=\"font-variant-ligatures: normal; font-variant-caps: normal; orphans: 2; text-align: start; widows: 2; -webkit-text-stroke-width: 0px; word-spacing: 0px; margin: 0cm 0cm 12pt;\" data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eThe Dave Brubeck Quartet’s “Take Five” is arguably the most familiar and beloved jazz composition of all time. Written primarily by alto saxophonist Paul Desmond and recorded by the “classic” Quartet lineup (Brubeck, Desmond, drummer Joe Morello, and bassist Eugene Wright), it was the first jazz single to sell over a million copies, and remains the most recognized track on their iconic “Time Out” LP, which reached Double Platinum status in 2011. During live performances, audience members would request it with mid-concert shouts, and halls would erupt with recognition as Joe and Dave would swing into the distinctive 5\/4 drum-and-piano intro.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-variant-ligatures: normal; font-variant-caps: normal; orphans: 2; text-align: start; widows: 2; -webkit-text-stroke-width: 0px; word-spacing: 0px; margin: 0cm 0cm 12pt;\" data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp style=\"font-variant-ligatures: normal; font-variant-caps: normal; orphans: 2; text-align: start; widows: 2; -webkit-text-stroke-width: 0px; word-spacing: 0px; margin: 0cm 0cm 12pt;\" data-mce-fragment=\"1\"\u003e\u003cstrong\u003eRatings :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp style=\"font-variant-ligatures: normal; font-variant-caps: normal; orphans: 2; text-align: start; widows: 2; -webkit-text-stroke-width: 0px; word-spacing: 0px; margin: 0cm 0cm 12pt;\" data-mce-fragment=\"1\"\u003eAllMusic : 5 \/5  ,  TAS\u003cspan data-mce-fragment=\"1\"\u003e : \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003eMusic = 5\/5; Sound = 5\/5 ,  \u003cem data-mce-fragment=\"1\"\u003eThe Audio Beat : \u003c\/em\u003eSound = 4.5\/5; Music = 5\/5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":42082143207674,"sku":"AAPJ8192","price":65.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/files\/The_Dave_Brubeck_Quartet_-_Time_Out_1.jpg?v=1739626590"},{"product_id":"blood-sweat-tears-2lp-45rpm","title":"Blood Sweat \u0026 Tears - Blood Sweat \u0026 Tears (2LP, 45RPM, label ORG)","description":"\u003ch2\u003e\u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/blood-sweat-tears\" title=\"Blood, Sweat and Tears vinyl\"\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eClick here to see Blood, Sweat \u0026amp; Tears' vinyl\u003c\/strong\u003e\u003c\/span\u003e\u003c\/a\u003e\u003c\/h2\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLead Vocals – David Clayton-Thomas (A1-2, B1 to D2)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGuitar, Harmonica, Vocals – Steve Katz\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAlto Saxophone, Piano – Fred Lipsius\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBass – Jim Fielder\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eChorus [BS\u0026amp;T Chorus] – Bobby Colomby, Dick Halligan\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDrums, Percussion, Vocals – Bobby Colomby\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOrgan, Piano, Flute, Trombone, Vocals – Dick Halligan\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTrombone, Recorder – Jerry Hyman\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTrumpet, Flugelhorn [Flügelhorn] – Chuck Winfield, Lew Soloff\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eArranged by Al Kooper (A2, B1, C2), Blood, Sweat And Tears, Dick Halligan (A1-3, B2-3, D2), Fred Lipsius (A2, B1, C2)\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e2 LPs, gatefold sleeve\u003c\/strong\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eLimited numbered edition (low numbered)\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 45 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : RTI\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : ORG\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Columbia\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineered \u0026amp; mixed by : Fred Catero, Roy Halee\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by James William Guercio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by Bernie Grundman \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1968\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2013\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eVariations On A Theme By Erik Satie\u003c\/li\u003e\n\u003cli\u003eSmiling Phases\u003c\/li\u003e\n\u003cli\u003eSometimes in Winter\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eMore and More\u003c\/li\u003e\n\u003cli\u003eAnd When I Die\u003c\/li\u003e\n\u003cli\u003eGod Bless The Child\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide C :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eSpinning Wheel\u003c\/li\u003e\n\u003cli\u003eYou've Made Me So Very Happy\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide D:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eBlues - Part II\u003c\/li\u003e\n\u003cli\u003eVariations On A Theme By Erik Satie\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAwards:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eTAS Super LP List! Special Merit: Informal\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eWinner of three Grammy Awards in 1970 : \"Album of the Year\", Best Arrangment for \"Spinning Wheel\" and Best Contemporary Instrumental Perfomance for \"Variations on a Theme by Erik Satie\"\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e1000 Recordings you must hear before you die - Ranked 140\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e\"Everyone's taken a swing at reissuing this... And in my opinion the ORG double 45 is the best sounding of the lot (and well-pressed by RTI).\" - Michael Fremer, www.analogplanet.com\u003c\/p\u003e\n\u003cp\u003e\"ORG amazes me with its ability to capture everything from the minutest minutiae to the rich blend of brass and\/or flutes. Pressed at RTI and mastered by Bernie Grundman from the original analog master tapes, this is the definitive version of a memorable record.\" - Jeff Wilson, The Absolute Sound, October 2013\u003c\/p\u003e\n\u003cp\u003e\"The band hit gold with this 1968 release, with three hits from the LP ruling the airwaves... great arrangements and energy hold up remarkably well [here] almost a half-century down the road. Bernie Grundman's mastering job is equally accomplished and the sound is excellent.\" - Hi-Fi+ Magazine\u003c\/p\u003e\n\u003cp\u003e\"A classical feeling is imparted by the opening and closing tracks, which are adapted from one of Erik Satie’s Trois Gymnopedies by arranger Dick Halligan. They bookend this album—one of the most original in pop music ever—most successfully. This has always seemed to me one of the best-designed and performed of all the ‘60s rock efforts, and it’s great to have it in the ultimate fidelity of this newly-remastered 45 rpm version... In comparison with the Columbia SACD, the vinyl 45s win out. They have much more deep bass end and a warmer overall feeling than the SACD. On the 45s, there is absolutely no surface noise or distortion, except where intended on some of the instruments... ORG has established itself as the Rolls-Royce of the audiophile vinyl reissue genre.\" - John Henry, Audiophile Audition\u003c\/p\u003e\n\u003cp\u003e\"The difference between Blood, Sweat \u0026amp; Tears and the group's preceding long-player, Child Is Father to the Man, is the difference between a monumental seller and a record that was \"merely\" a huge critical success. Arguably, the Blood, Sweat \u0026amp; Tears that made this self-titled second album -- consisting of five of the eight original members and four newcomers, including singer David Clayton-Thomas -- was really a different group from the one that made Child Is Father to the Man, which was done largely under the direction of singer\/songwriter\/keyboard player\/arranger Al Kooper. They had certain similarities to the original: the musical mixture of classical, jazz, and rock elements was still apparent, and the interplay between the horns and the keyboards was still occurring, even if those instruments were being played by different people. Kooper was even still present as an arranger on two tracks, notably the initial hit \"You've Made Me So Very Happy.\" But the second BS\u0026amp;T, under the aegis of producer James William Guercio, was a less adventurous unit, and, as fronted by Clayton-Thomas, a far more commercial one. Not only did the album contain three songs that neared the top of the charts as singles -- \"Happy,\" \"Spinning Wheel,\" and \"And When I Die\" -- but the whole album, including an arrangement of \"God Bless the Child\" and the radical rewrite of Traffic's \"Smiling Phases,\" was wonderfully accessible. It was a repertoire to build a career on, and Blood, Sweat \u0026amp; Tears did exactly that, although they never came close to equaling this album.\" \u003cspan data-mce-fragment=\"1\"\u003eAllMusic Review by William Ruhlmann\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eAllMusic : 4,5 \/ 5 , Discogs : 4,06 \/ 5 , \u003cspan data-mce-fragment=\"1\"\u003eThe Absolute Sound, : Music 3.5\/5, Sonics 4.5\/5 ,  Michael Fremer : 7\/11 Music, 10\/11 Sound\u003c\/span\u003e\u003c\/p\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003ch1\u003e\u003cbr\u003e\u003c\/h1\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":42083372695802,"sku":"ORG 133","price":299.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/blood-sweat-and-tears-2lp-45rpm-audiosoundmusic-1.jpg?v=1719855867"},{"product_id":"copy-of-blood-sweat-tears-2lp-45rpm","title":"Blood Sweat \u0026 Tears - Blood Sweat \u0026 Tears  (2LP, 45RPM, MOFI, 1STEP, SuperVinyl)","description":"\u003ch2\u003e\n\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eORDER LIMITED TO ONE ITEM PER CUSTOMER\u003c\/strong\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003c\/h2\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003ca data-mce-fragment=\"1\" style=\"color: #ff8000;\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/blood-sweat-tears\" title=\"Blood, Sweat and Tears vinyl\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/blood-sweat-tears\" data-mce-style=\"color: #ff8000;\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e[click here to see Blood, Sweat \u0026amp; Tears' vinyl]\u003c\/strong\u003e\u003c\/a\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLead Vocals – David Clayton-Thomas (A1-2, B1 to D2)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGuitar, Harmonica, Vocals – Steve Katz\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAlto Saxophone, Piano – Fred Lipsius\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBass – Jim Fielder\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eChorus [BS\u0026amp;T Chorus] – Bobby Colomby, Dick Halligan\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDrums, Percussion, Vocals – Bobby Colomby\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOrgan, Piano, Flute, Trombone, Vocals – Dick Halligan\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTrombone, Recorder – Jerry Hyman\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTrumpet, Flugelhorn [Flügelhorn] – Chuck Winfield, Lew Soloff\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eArranged by Al Kooper (A2, B1, C2), Blood, Sweat And Tears, Dick Halligan (A1-3, B2-3, D2), Fred Lipsius (A2, B1, C2)\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e2 LPs, Box set\u003c\/strong\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eLimited numbered edition\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eUD1S (UltraDisc One-Step)\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 45 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : RTI\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : MOFI\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Columbia\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineered \u0026amp; mixed by : Fred Catero, Roy Halee\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by James William Guercio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMastered by Krieg Wunderlich\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1968\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2021\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eVariations On A Theme By Erik Satie\u003c\/li\u003e\n\u003cli\u003eSmiling Phases\u003c\/li\u003e\n\u003cli\u003eSometimes in Winter\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eMore and More\u003c\/li\u003e\n\u003cli\u003eAnd When I Die\u003c\/li\u003e\n\u003cli\u003eGod Bless The Child\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide C :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eSpinning Wheel\u003c\/li\u003e\n\u003cli\u003eYou've Made Me So Very Happy\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide D:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eBlues - Part II\u003c\/li\u003e\n\u003cli\u003eVariations On A Theme By Erik Satie\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAwards:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eTAS Super LP List! Special Merit: Informal\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eWinner of three Grammy Awards in 1970 : \"Album of the Year\", Best Arrangment for \"Spinning Wheel\" and Best Contemporary Instrumental Perfomance for \"Variations on a Theme by Erik Satie\"\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\"A classical feeling is imparted by the opening and closing tracks, which are adapted from one of Erik Satie’s Trois Gymnopedies by arranger Dick Halligan. They bookend this album—one of the most original in pop music ever—most successfully. This has always seemed to me one of the best-designed and performed of all the ‘60s rock efforts, and it’s great to have it in the ultimate fidelity of this newly-remastered 45 rpm version... In comparison with the Columbia SACD, the vinyl 45s win out. They have much more deep bass end and a warmer overall feeling than the SACD. On the 45s, there is absolutely no surface noise or distortion, except where intended on some of the instruments... ORG has established itself as the Rolls-Royce of the audiophile vinyl reissue genre.\" - John Henry, Audiophile Audition\u003c\/p\u003e\n\u003cp\u003e\"The difference between Blood, Sweat \u0026amp; Tears and the group's preceding long-player, Child Is Father to the Man, is the difference between a monumental seller and a record that was \"merely\" a huge critical success. Arguably, the Blood, Sweat \u0026amp; Tears that made this self-titled second album -- consisting of five of the eight original members and four newcomers, including singer David Clayton-Thomas -- was really a different group from the one that made Child Is Father to the Man, which was done largely under the direction of singer\/songwriter\/keyboard player\/arranger Al Kooper. They had certain similarities to the original: the musical mixture of classical, jazz, and rock elements was still apparent, and the interplay between the horns and the keyboards was still occurring, even if those instruments were being played by different people. Kooper was even still present as an arranger on two tracks, notably the initial hit \"You've Made Me So Very Happy.\" But the second BS\u0026amp;T, under the aegis of producer James William Guercio, was a less adventurous unit, and, as fronted by Clayton-Thomas, a far more commercial one. Not only did the album contain three songs that neared the top of the charts as singles -- \"Happy,\" \"Spinning Wheel,\" and \"And When I Die\" -- but the whole album, including an arrangement of \"God Bless the Child\" and the radical rewrite of Traffic's \"Smiling Phases,\" was wonderfully accessible. It was a repertoire to build a career on, and Blood, Sweat \u0026amp; Tears did exactly that, although they never came close to equaling this album.\" \u003cspan data-mce-fragment=\"1\"\u003eAllMusic Review by William Ruhlmann\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eUltraDisc One-Step :\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003eInstead of utilizing the industry-standard three-step lacquer process, Mobile Fidelity Sound Lab's new UltraDisc One-Step (UD1S) uses only one step, bypassing two processes of generational loss. While three-step processing is designed for optimum yield and efficiency, UD1S is created for the ultimate in sound quality. Just as Mobile Fidelity pioneered the UHQR (Ultra High-Quality Record) with JVC in the 1980s, UD1S again represents another state-of-the-art advance in the record-manufacturing process. MFSL engineers begin with the original master tapes and meticulously cut a set of lacquers. These lacquers are used to create a very fragile, pristine UD1S stamper called a \"convert.\" Delicate \"converts\" are then formed into the actual record stampers, producing a final product that literally and figuratively brings you closer to the music. By skipping the additional steps of pulling another positive and an additional negative, as done in the three-step process used in standard pressings, UD1S produces a final LP with the lowest noise floor possible today. The removal of the additional two steps of generational loss in the plating process reveals tremendous amounts of extra musical detail and dynamics, which are otherwise lost due to the standard copying process. The exclusive nature of these very limited pressings guarantees that every UD1S pressing serves as an immaculate replica of the lacquer sourced directly from the original master tape. Every conceivable aspect of vinyl production is optimized to produce the most perfect record album available today.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMoFi SuperVinyl:\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003eThe World's Quietest Surfaces and Cleanest Grooves: Developed by NEOTECH and RTI, MoFi SuperVinyl is the most exacting-to-specification vinyl compound ever created. Analog lovers have never seen (or heard) anything like it. Extraordinarily expensive and extremely painstaking to produce, the special proprietary compound addresses two specific areas of improvement: noise floor reduction and enhanced groove definition. The vinyl composition features a new carbonless dye (hold the disc up to the light and see) and produces the world's quietest surfaces. This high-definition formula also allows for the creation of cleaner grooves that are indistinguishable from the original lacquer. MoFi SuperVinyl provides the closest approximation of what the label's engineers hear in the mastering lab.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eAllMusic : 4,5 \/ 5 , Discogs : 4,06 \/ 5 \u003c\/p\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003ch1\u003e\u003cbr\u003e\u003c\/h1\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":42084078682362,"sku":"UD1S 2-016","price":215.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/blood-sweat-and-tears-2lp-45rpm-1step-supervinyl-audiosoundmusic-1.jpg?v=1719855874"},{"product_id":"antonio-lysy-at-the-broad-music-from-argentina","title":"Antonio Lysy - At The Broad Music From Argentina","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAntonio Lysy, cello\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe Capitol Ensemble\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBryan Pezzone, piano\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePablo Motta, bass\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLive\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : unspecified\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Yarlung\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Yarlung\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded at The Broad Stage, Santa Monica on June 8-9, 2009. \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineered by Kevin Gray, Steve Hoffman\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Bob Attiyeh\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by Steve Hoffman \u0026amp; Doug Sax\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 2010\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2011\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eAlberto Ginastera (1916-1983)\u003c\/li\u003e\n\u003cli\u003ePampeana No. 2\u003c\/li\u003e\n\u003cli\u003eLalo Schifrin (b.1932)\u003c\/li\u003e\n\u003cli\u003ePampas\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eAlberto Ginastera\u003c\/li\u003e\n\u003cli\u003eTriste\u003c\/li\u003e\n\u003cli\u003eAstor Piazzolla (1921-1992)\u003c\/li\u003e\n\u003cli\u003eLe Grand Tango\u003c\/li\u003e\n\u003cli\u003eOblivion\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAwards\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eTAS Super LP List! Special Merit: Informal\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eThe Absolute Sound 40th Anniversary Best Sounding Music!\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e11th Latin Grammy Award Winning Album!\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp\u003e\"Cellist Antonio Lysy and pianist Bryan Pezzone play gorgeously and are gorgeously recorded. Sonics are holographic in clarity and presence, rich in tonal splendor, and revealing of the venue (Santa Monica's The Broad Stage). Just listen to the deeply resonant cello pizzicatos that reverberate into silence at the end Schifrin's Pampas. This is one of the most realistic and beautiful records I've heard - ever.\" Mark Lehman, The Absolute Sound, December 2012\u003c\/p\u003e\n\u003cp\u003e\"Classical music recorded all-analog using purist microphone techniques are few these days. Here is one from Bob Attiyeh's Yarlung Records that is both sonically and musically exquisite... The stage is spacious, the mix of direct to reflected sound is ideal, the image solidity, stability and focus are life-like and the level of transparency and freedom from electronic artifacts are unsurpassed in my listening experience... If this recording doesn't move you emotionally you are brain dead. If you don't agree that this is one of the finest recordings you have ever heard, your system needs to go in for repairs. \" - Michael Fremer, Musicangle, June 2011\u003c\/p\u003e\n\u003cp\u003e“On the other side of the planet from the likes of Bartók and Kodály, composers were no less intrigued by the synthesis of nationalistic folk music with Western art music. Paving the way for a generation of composers in Argentina was Alberto Ginastera, from whom followed José Bragato, Osvaldo Golijov, Lalo Schifrin, and perhaps most recognized today, Astor Piazzolla. This Yarlung Records disc celebrates the extensive contributions these composers made to the cello repertoire. Cellist Antonio Lysy is joined by pianist Brian Pezzone, bassist Pablo Motta, and members of the Capitol Ensemble in this memorable survey they includes diverse works scored for cello solo, cello and piano, or cello and small ensemble. In all cases, Lysy's playing is exemplary. Not only does he toss off any technical difficulties with apparent ease, but also brings his heritage to the fore with brilliantly stylized interpretations filled with panache, passion, and Argentine flair. Despite the careful measures taken by Yarlung, and the detailed description provided of the recording process, the recorded sound quality is not always ideal. When Lysy is playing with his ensemble, the sound is vivid, warm, and well developed. When Lysy plays by himself, or sometimes with just cello and piano, the microphone seems to be very close to the cello and Lysy's sound comes out as flat and undeveloped. Still, Lysy's enjoyable program and near-flawless execution still merits listening.” AllMusic Review by Mike D. Brownell\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eAllMusic : 4,5 \/ 5 , Discogs : 4,15 \/ 5 , Michael Fremer : 11\/10 Music, 11\/10 Sonics\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":42151468826874,"sku":"YARLP95968","price":24.5,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/antonio-lysy-at-the-broad-music-from-argentina-audiosoundmusic-1.jpg?v=1719856679"},{"product_id":"bob-dylan-blood-on-the-tracks-japanese-edition-2lp-45-rpm-box-1step-supervinyl","title":"Bob Dylan - Blood on the Tracks (Japanese Edition, 2LP, 45 RPM, Box, 1STEP, SuperVinyl)","description":"\u003ch2\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eORDER LIMITED TO ONE ITEM PER CUSTOMER\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h2\u003e\n\u003cp\u003e\u003cstrong\u003eBob Dylan - \u003c\/strong\u003e\u003cstrong\u003evocals, guitar, harmonica (A1 to B3, C2, D2), Hammond organ (B2), mandolin (D1) \u003c\/strong\u003e\u003cstrong\u003e\u003ca style=\"color: #ff8000;\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/bob-dylan\" title=\"vinyl featuring Bob Dylan\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/bob-dylan\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Bob Dylan]\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTony Brown (bass), Paul Griffin (organ), Buddy Cage (steel guitar)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePerformer : Eric Weissberg And Deliverance\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eWritten by Bob Dylan\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e2 LPs, box set\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eJapanese edition limited to 9,000 copies\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cspan\u003eUD1S (UltraDisc One-Step)\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eHeavy Press : 180g - \u003cspan data-mce-fragment=\"1\"\u003eSuperVinyl\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 45 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eRecord Press : RTI\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eLabel : \u003cspan data-mce-fragment=\"1\"\u003eMobile Fidelity Sound\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eOriginal Label :  Columbia\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eRecording: September 16–19 and December 27–30, 1974, at A\u0026amp;R Recording in New York City and Sound 80 studio in Minneapolis by Lou Schlossberg and Phil Giambalvo\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003c\/strong\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003c\/strong\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eOriginal producer : Bob Dylan\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineer : Phil Ramone\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMastered by : Krieg Wunderlich and Shawn R. Britton\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProducer : Murray Krugman, Sandy Pearlman\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eOriginally released January 1975\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eReissued Nov 2019\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eTracks :\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eSide A :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eTangled Up in Blue\u003c\/li\u003e\n\u003cli\u003eSimple Twist of Fate\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eYou're a Big Girl Now\u003c\/li\u003e\n\u003cli\u003eIdiot Wind\u003c\/li\u003e\n\u003cli\u003eYou're Gonna Make Me Lonesome When You Go\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide C :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eMeet Me in the Morning\u003c\/li\u003e\n\u003cli\u003eLily, Rosemary and the Jack of Hearts\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide D :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eIf You See Her, Say Hello\u003c\/li\u003e\n\u003cli\u003eShelter from the Storm\u003c\/li\u003e\n\u003cli\u003eBuckets of Rain\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAwards\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e\u003cem data-mce-fragment=\"1\"\u003eRolling Stone \u003c\/em\u003e500 Greatest Albums of All Time - Ranked 9 \/ 500\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eInducted into the Grammy Hall of Fame in 2015.\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e1000 Recordings You Must Hear Before You Die - Ranked 342\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e« Following on the heels of an album where he repudiated his past with his greatest backing band, Blood on the Tracks finds Bob Dylan, in a way, retreating to the past, recording a largely quiet, acoustic-based album. But this is hardly nostalgia -- this is the sound of an artist returning to his strengths, what feels most familiar, as he accepts a traumatic situation, namely the breakdown of his marriage. This is an album alternately bitter, sorrowful, regretful, and peaceful, easily the closest he ever came to wearing his emotions on his sleeve. That's not to say that it's an explicitly confessional record, since many songs are riddles or allegories, yet the warmth of the music makes it feel that way. The original version of the album was even quieter -- first takes of \"Idiot Wind\" and \"Tangled Up in Blue,\" available on The Bootleg Series, Vols. 1-3, are hushed and quiet (excised verses are quoted in the liner notes, but not heard on the record) -- but Blood on the Tracks remains an intimate, revealing affair since these harsher takes let his anger surface the way his sadness does elsewhere. As such, it's an affecting, unbearably poignant record, not because it's a glimpse into his soul, but because the songs are remarkably clear-eyed and sentimental, lovely and melancholy at once. And, in a way, it's best that he was backed with studio musicians here, since the professional, understated backing lets the songs and emotion stand at the forefront. Dylan made albums more influential than this, but he never made one better. » AllMusic Review by Stephen Thomas Erlewine\u003c\/p\u003e\n\u003cp\u003eBob Dylan was at several crossroads in the mid-1970s. Artistically, he was largely written off as being past his prime. Emotionally, he was suffering through a painful divorce from his then-wife Sara Lowndes. Creatively, he appeared at a stalemate, his previous decade's unprecedented run of transformational brilliance finished. Then came\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eBlood on the Tracks\u003c\/em\u003e. Dylan reached the height of his seminal 1970s work with this confessional 1975 classic featuring \"Tangled Up In Blue,\" \"Simple Twist of Fate,\" \"Idiot Wind,\" \"Lily, Rosemary and the Jack of Hearts,\" and six more classic tunes.\u003c\/p\u003e\n\u003cp\u003e\"Inevitably, when critics praise a new Dylan album, they label it the 'best since\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eBlood on the Tracks\u003c\/em\u003e,' and with good reason. Inspired by a crumbled marriage, and recorded after a tour with the Band had apparently re-ignited his creativity,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eBlood\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eis among Dylan's masterpieces. The album's epic songs are well known, but its real high points are the shorter numbers — 'You're a Big Girl Now,' the flawless blues 'Meet Me in the Morning,' and the sweetly devastating 'Buckets of Rain.' These are songs of \"images and distorted facts,\" each expressed through tangled points of view, and all of them blue.\" —\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eDavid Cantwell\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eUltraDisc One-Step :\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003eInstead of utilizing the industry-standard three-step lacquer process, Mobile Fidelity Sound Lab's new UltraDisc One-Step (UD1S) uses only one step, bypassing two processes of generational loss. While three-step processing is designed for optimum yield and efficiency, UD1S is created for the ultimate in sound quality. Just as Mobile Fidelity pioneered the UHQR (Ultra High-Quality Record) with JVC in the 1980s, UD1S again represents another state-of-the-art advance in the record-manufacturing process. MFSL engineers begin with the original master tapes and meticulously cut a set of lacquers. These lacquers are used to create a very fragile, pristine UD1S stamper called a \"convert.\" Delicate \"converts\" are then formed into the actual record stampers, producing a final product that literally and figuratively brings you closer to the music. By skipping the additional steps of pulling another positive and an additional negative, as done in the three-step process used in standard pressings, UD1S produces a final LP with the lowest noise floor possible today. The removal of the additional two steps of generational loss in the plating process reveals tremendous amounts of extra musical detail and dynamics, which are otherwise lost due to the standard copying process. The exclusive nature of these very limited pressings guarantees that every UD1S pressing serves as an immaculate replica of the lacquer sourced directly from the original master tape. Every conceivable aspect of vinyl production is optimized to produce the most perfect record album available today.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMoFi SuperVinyl:\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003eThe World's Quietest Surfaces and Cleanest Grooves: Developed by NEOTECH and RTI, MoFi SuperVinyl is the most exacting-to-specification vinyl compound ever created. Analog lovers have never seen (or heard) anything like it. Extraordinarily expensive and extremely painstaking to produce, the special proprietary compound addresses two specific areas of improvement: noise floor reduction and enhanced groove definition. The vinyl composition features a new carbonless dye (hold the disc up to the light and see) and produces the world's quietest surfaces. This high-definition formula also allows for the creation of cleaner grooves that are indistinguishable from the original lacquer. MoFi SuperVinyl provides the closest approximation of what the label's engineers hear in the mastering lab.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eAllmusic : 5 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":42157124911354,"sku":"SIJP-88-9","price":495.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/bob-dylan-blood-on-the-tracks-japanese-edition-2lp-45-rpm-box-1step-supervinyl-audiosoundmusic-1.jpg?v=1719856695"},{"product_id":"shawn-colvin-a-few-small-repairs","title":"Shawn Colvin - A Few Small Repairs","description":"\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp\u003e\u003cstrong\u003eShawn Colvin - All vocals (A2, A5-B2, B6), lead vocals (A1, A3-4, B3-4, B6), background vocals (A4), acoustic guitar (A1, A5, B2-4, B5-6), additional guitars (A6), piano (B1), handclaps (A2)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJohn Leventhal - All guitars (A2), electric guitar (B6), additional guitars (A1, A3-6, B2-4, B5-6), pedal steel guitar (A6), mandolin (A1), keyboards (A1-5, B2-4, B5-6), organ played by (A6), violin (A1), additional percussion (A1, A3-6, B2-4, B6), harmonica (A2, A4), background vocals (A4, B3, B6)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRick Depofi - tenor saxophone (A4), clarinet (B1), bass clarinet (A3), piccolo flute (B3), recorder instrument (B3)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eChris Botti - trumpet (A4)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBob Carlisle - French horn (A3)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLarry Farrell - trombone (A3-4)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDanny Ferrington - background vocals (A4)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTony Kadlek - flugelhorn (A3)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLyle Lovett - harmony vocals (A3)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eKate Markowitz - harmony vocals (A1, A4), background vocals (A4)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEugene Moye - cello (A2, B1-2)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJudith Owen - harmony vocals (B4)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMark Plati - bass played by (A4)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSandra Park - violin (A2, B1-3)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eShawn Pelton - drums (A1-6, B2-4, B6), percussion (A2, A4-5)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMichael Rhodes - bass guitar (A1, A3, A6, B3-4)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRobert Rinehart - viola (A2, B1-2)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCarol Webb - violin (A2, B1-2)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, Single Pocket Sleeve with Insert\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : RTI\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : ORG\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Columbia\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded at Sear Sound, 12th Street Studio, Shelter Island Sound, NYC; Cedar Creek Recording, Austin, TX; Sony Studios, Los Angeles, CA.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineered by Joe Blaney, John Leventhal, Mark Plati\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by John Leventhal\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by Bernie Grundman\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1996\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTo be reissued in 2022\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eSunny Came Home\u003c\/li\u003e\n\u003cli\u003eGet Out of This House\u003c\/li\u003e\n\u003cli\u003eThe Facts About Jimmy\u003c\/li\u003e\n\u003cli\u003eYou and the Mona Lisa\u003c\/li\u003e\n\u003cli\u003eTrouble\u003c\/li\u003e\n\u003cli\u003eI Want It Back\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eIf I Were Brave\u003c\/li\u003e\n\u003cli\u003eWichita Skyline\u003c\/li\u003e\n\u003cli\u003e84,000 Different Delusions\u003c\/li\u003e\n\u003cli\u003eSuicide Alley\u003c\/li\u003e\n\u003cli\u003eNew Thing Now\u003c\/li\u003e\n\u003cli\u003eNothin' On Me\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAwards:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eTAS Super LP List! Special Merit: Informal\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e1998 Grammy Award Winner for Record of the Year and Song of the Year - \"Sunny Came Home\"\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp\u003e“A Few Small Repairs, the proper follow-up to Fat City, was recorded on the heels of Shawn Colvin's divorce. And while the album is certainly a response, she avoids the obvious clichés in dealing with the aftermath, revealing instead the complex thought processes and complete range of human emotion, from anger, sadness, confusion, yearning, and disillusionment to resolve and recovery. Colvin has always been a songwriter of note, but with A Few Small Repairs, she reaches new heights, painting hauntingly vivid images that address not only relationships but also life in general with great insight. The subject matter predictably gives a generally dark mood to the album, but musically, the results are both diverse and irresistibly catchy. A Few Small Repairs marks a reunion with former collaborator\/producer John Leventhal, and the two have found a perfect blend between words, music, and tasteful, organic arrangements for Colvin's finest effort to date.” AllMusic Review by Chris Woodstra\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eAllMusic : 4,5 \/ 5 , Discogs : 4,01 \/ 5\u003c\/p\u003e\n\u003c\/div\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":42182827933946,"sku":"ORGLP0176","price":65.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/shawn-colvin-a-few-small-repairs-audiosoundmusic-1.jpg?v=1719856873"},{"product_id":"charles-mingus-mingus-ah-um-1","title":"Charles Mingus - Mingus Ah Um (2LP, 45RPM, Box set, 1STEP, SuperVinyl)","description":"\u003ch2\u003e\n\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eORDER LIMITED TO ONE ITEM PER CUSTOMER\u003c\/strong\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003c\/h2\u003e\n\u003cp\u003e\u003cstrong\u003eCharles Mingus, bass, piano \u003ca style=\"color: #ff8000;\" title=\"All vinyl featuring Charles Mingus\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/charles-mingus\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/charles-mingus\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Charles Mingus]\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJohn Handy, alto \u0026amp; tenor sax, clarinet\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBooker Ervin, tenor sax \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/booker-erwin\" title=\"vinyl featuring Booker Ervin\" style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/booker-erwin\"\u003e[click here to see more vinyl featuring Booker Ervin]\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eShafi Hadi, tenor \u0026amp; alto sax\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWillie Dennis, trombone (\u003cspan data-mce-fragment=\"1\"\u003eA2 to B3)\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJimmy Knepper, trombone (\u003cspan data-mce-fragment=\"1\"\u003eA1, C1 to D2)\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHorace Parlan, piano\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDannie Richmond, drums\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e2 LPs, Box set\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eLimited to 6,000 numbered copies\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eUltraDisc One-Step (UDS1)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g SuperVinyl\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 45 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : RTI\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : MOFI\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Columbia\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded at Columbia 30th Street Studio, New York City on May 5, 1959 \u0026amp; May 12, 1959\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Teo Macero\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by Krieg Wunderlich\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1959\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2020\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eBetter Git It In Your Soul\u003c\/li\u003e\n\u003cli\u003eGoodbye Pork Pie Hat\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eBoogie Stop Shuffle\u003c\/li\u003e\n\u003cli\u003eSelf-Portrait In Three Colors\u003c\/li\u003e\n\u003cli\u003eOpen Letter To Duke\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide C:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eBird Calls\u003c\/li\u003e\n\u003cli\u003eFables Of Faubus\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide D:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003ePussy Cat Dues\u003c\/li\u003e\n\u003cli\u003eJelly Roll\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAwards:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eThe album was inducted into the Grammy Hall of Fame in 2013\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e Rolling Stone Greatest Albums of All Time - Ranked 380\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e\u003cb\u003eTAS Super LP List! Special Merit: Informal\u003c\/b\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e“Charles Mingus' debut for Columbia, Mingus Ah Um is a stunning summation of the bassist's talents and probably the best reference point for beginners. While there's also a strong case for The Black Saint and the Sinner Lady as his best work overall, it lacks Ah Um's immediate accessibility and brilliantly sculpted individual tunes. Mingus' compositions and arrangements were always extremely focused, assimilating individual spontaneity into a firm consistency of mood, and that approach reaches an ultra-tight zenith on Mingus Ah Um. The band includes longtime Mingus stalwarts already well versed in his music, like saxophonists John Handy, Shafi Hadi, and Booker Ervin; trombonists Jimmy Knepper and Willie Dennis; pianist Horace Parlan; and drummer Dannie Richmond. Their razor-sharp performances tie together what may well be Mingus' greatest, most emotionally varied set of compositions. At least three became instant classics, starting with the irrepressible spiritual exuberance of signature tune \"Better Get It in Your Soul,\" taken in a hard-charging 6\/8 and punctuated by joyous gospel shouts. \"Goodbye Pork Pie Hat\" is a slow, graceful elegy for Lester Young, who died not long before the sessions. The sharply contrasting \"Fables of Faubus\" is a savage mockery of segregationist Arkansas governor Orval Faubus, portrayed musically as a bumbling vaudeville clown (the scathing lyrics, censored by skittish executives, can be heard on Charles Mingus Presents Charles Mingus). The underrated \"Boogie Stop Shuffle\" is bursting with aggressive swing, and elsewhere there are tributes to Mingus' most revered influences: \"Open Letter to Duke\" is inspired by Duke Ellington and \"Jelly Roll\" is an idiosyncratic yet affectionate nod to jazz's first great composer, Jelly Roll Morton. It simply isn't possible to single out one Mingus album as definitive, but Mingus Ah Um comes the closest.” AllMusic Review by Steve Huey\u003c\/p\u003e\n\u003cp\u003e\"At a memorial following Mingus' death, Steve Schlesinger of the Guggenheim Foundation commented that Mingus was one of the few artists who received two grants and added: 'I look forward to the day when we can transcend labels like jazz and acknowledge Charles Mingus as the major American composer that he is.' The New Yorker wrote: 'For sheer melodic and rhythmic and structural originality, his compositions may equal anything written in western music in the twentieth century.'\" All About Jazz\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eUltraDisc One-Step\u003c\/strong\u003e : Instead of utilizing the industry-standard three-step lacquer process, Mobile Fidelity Sound Lab's new UltraDisc One-Step (UD1S) uses only one step, bypassing two processes of generational loss. While three-step processing is designed for optimum yield and efficiency, UD1S is created for the ultimate in sound quality. Just as Mobile Fidelity pioneered the UHQR (Ultra High-Quality Record) with JVC in the 1980s, UD1S again represents another state-of-the-art advance in the record-manufacturing process. MFSL engineers begin with the original master tapes and meticulously cut a set of lacquers. These lacquers are used to create a very fragile, pristine UD1S stamper called a \"convert.\" Delicate \"converts\" are then formed into the actual record stampers, producing a final product that literally and figuratively brings you closer to the music. By skipping the additional steps of pulling another positive and an additional negative, as done in the three-step process used in standard pressings, UD1S produces a final LP with the lowest noise floor possible today. The removal of the additional two steps of generational loss in the plating process reveals tremendous amounts of extra musical detail and dynamics, which are otherwise lost due to the standard copying process. The exclusive nature of these very limited pressings guarantees that every UD1S pressing serves as an immaculate replica of the lacquer sourced directly from the original master tape. Every conceivable aspect of vinyl production is optimized to produce the most perfect record album available today.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMoFi SuperVinyl\u003c\/strong\u003e: The World's Quietest Surfaces and Cleanest Grooves: Developed by NEOTECH and RTI, MoFi SuperVinyl is the most exacting-to-specification vinyl compound ever created. Analog lovers have never seen (or heard) anything like it. Extraordinarily expensive and extremely painstaking to produce, the special proprietary compound addresses two specific areas of improvement: noise floor reduction and enhanced groove definition. The vinyl composition features a new carbonless dye (hold the disc up to the light and see) and produces the world's quietest surfaces. This high-definition formula also allows for the creation of cleaner grooves that are indistinguishable from the original lacquer. MoFi SuperVinyl provides the closest approximation of what the label's engineers hear in the mastering lab.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eAllMusic : 5 \/ 5 , Discogs : 4,64 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":42183721779450,"sku":"MFSL45UD1S-010","price":390.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/charles-mingus-mingus-ah-um-2lp-45rpm-box-set-1step-supervinyl-audiosoundmusic-1.jpg?v=1719856880"},{"product_id":"miles-davis-sketches-of-spain","title":"Miles Davis - Sketches of Spain (1LP, 33RPM, Box set, 1STEP, SuperVinyl)","description":"\u003cdiv\u003e\n\u003cbr\u003e\u003cbr\u003e\n\u003cdiv\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eORDER LIMITED TO ONE ITEM PER CUSTOMER\u003c\/strong\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMiles Davis, trumpet, flugelhorn \u003ca data-mce-fragment=\"1\" title=\"vinyl featuring Miles Davis\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/miles-davis\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Miles Davis]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDanny Bank, bass clarinet\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBill Barber, tuba\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJohn Barrows, French horn\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAlbert Block, flute\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJames Buffington, French horn\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEddie Caine, flute, flugelhorn\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePaul Chambers, bass \u003ca data-mce-fragment=\"1\" title=\"vinyl featuring Paul Chambers\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/paul-chambers\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Paul Chambers]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEarl Chapin, French horn\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJimmy Cobb, drums \u003ca data-mce-fragment=\"1\" title=\"Vinyl featuring Jimmy Cobb\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/jimmy-cobb\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"color: #ff8000;\"\u003e[click here to see other vinyl featuring Jimmy Cobb]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJohnny Coles, trumpet\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHarold Feldman, clarinet, flute, oboe\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBernie Glow, trumpet\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDick Hixon, trombone\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eElvin Jones, percussion\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003ca data-mce-fragment=\"1\" title=\"vinyl featuring Elvin Jones\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/elvin-jones\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Elvin Jones]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTaft Jordan, trumpet\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJack Knitzer, bassoon\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJose Mangual, percussion\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJimmy McAllister, tuba\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTony Miranda, French horn\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLouis Mucci, trumpet\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRomeo Penque, oboe\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJanet Putnam, harp\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFrank Rehak, trombone\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eErnie Royal, trumpet\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJoe Singer, French horn\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003cstrong data-mce-fragment=\"1\"\u003eGil Evans, arranger, conductor \u003ca data-mce-fragment=\"1\" title=\"Vinyl featuring Gill Evans\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/gil-evans\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Gil Evans]\u003c\/span\u003e\u003c\/a\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, box set\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eLimited numbered edition\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eUltraDisc One-Step (UDS1)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g SuperVinyl\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Fidelity Record Pressing\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : MOFI\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Columbia\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded \u003cspan data-mce-fragment=\"1\"\u003eNovember 15 \u0026amp; 20, 1959 and March 10, 1960 at CBS 30th Street Studio, New York City\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineered by Larry Keyes, Ray Moore\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Teo Macero\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by Krieg Wunderlich\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1960\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2022\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eConcierto de Aranjuez (Adagio)\u003c\/li\u003e\n\u003cli\u003eWill O' the Wisp\u003c\/li\u003e\n\u003cli\u003eThe Pan Piper\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eSaeta\u003c\/li\u003e\n\u003cli\u003eSolea\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAwards\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eRolling Stone 500 Greatest Albums of All Time - Rated 358\/500\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e1961 Grammy Award for Best Jazz Composition of More Than Five Minutes Duration\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e\"Along with Kind of Blue, In a Silent Way, and Round About Midnight, Sketches of Spain is one of Miles Davis' most enduring and innovative achievements. Recorded between November 1959 and March 1960 -- after Coltrane and Cannonball Adderley had left the band -- Davis teamed with Canadian arranger Gil Evans for the third time. Davis brought Evans the album's signature piece, \"Concierto de Aranjuez,\" after hearing a classical version of it at bassist Joe Mondragon's house. Evans was as taken with it as Davis was, and set about to create an entire album of material around it. The result is a masterpiece of modern art. On the \"Concierto,\" Evans' arrangement provided an orchestra and jazz band -- Paul Chambers, Jimmy Cobb, and Elvin Jones -- the opportunity to record a classical work as it was. The piece, with its stunning colors and intricate yet transcendent adagio, played by Davis on a flügelhorn with a Harmon mute, is one of the most memorable works to come from popular culture in the 20th century. Davis' control over his instrument is singular, and Evans' conducting is flawless. Also notable are \"Saeta,\" with one of the most amazing technical solos of Davis' career, and the album's closer, \"Solea,\" which is conceptually a narrative piece, based on an Andalusian folk song, about a woman who encounters the procession taking Christ to Calvary. She sings the narrative of his passion and the procession -- or parade -- with full brass accompaniment moving along. Cobb and Jones, with flamenco-flavored percussion, are particularly wonderful here, as they allow the orchestra to indulge in the lushly passionate arrangement Evans provided to accompany Davis, who was clearly at his most challenged here, though he delivers with grace and verve. Sketches of Spain is the most luxuriant and stridently romantic recording Davis ever made. To listen to it in the 21st century is still a spine-tingling experience, as one encounters a multitude of timbres, tonalities, and harmonic structures seldom found in the music called jazz.\" \u003cspan data-mce-fragment=\"1\"\u003eAllMusic Review by Thom Jurek\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eUltraDisc One-Step\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003e: Instead of utilizing the industry-standard three-step lacquer process, Mobile Fidelity Sound Lab's new UltraDisc One-Step (UD1S) uses only one step, bypassing two processes of generational loss. While three-step processing is designed for optimum yield and efficiency, UD1S is created for the ultimate in sound quality. Just as Mobile Fidelity pioneered the UHQR (Ultra High-Quality Record) with JVC in the 1980s, UD1S again represents another state-of-the-art advance in the record-manufacturing process. MFSL engineers begin with the original master tapes and meticulously cut a set of lacquers. These lacquers are used to create a very fragile, pristine UD1S stamper called a \"convert.\" Delicate \"converts\" are then formed into the actual record stampers, producing a final product that literally and figuratively brings you closer to the music. By skipping the additional steps of pulling another positive and an additional negative, as done in the three-step process used in standard pressings, UD1S produces a final LP with the lowest noise floor possible today. The removal of the additional two steps of generational loss in the plating process reveals tremendous amounts of extra musical detail and dynamics, which are otherwise lost due to the standard copying process. The exclusive nature of these very limited pressings guarantees that every UD1S pressing serves as an immaculate replica of the lacquer sourced directly from the original master tape. Every conceivable aspect of vinyl production is optimized to produce the most perfect record album available today.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMoFi SuperVinyl\u003c\/strong\u003e: The World's Quietest Surfaces and Cleanest Grooves: Developed by NEOTECH and RTI, MoFi SuperVinyl is the most exacting-to-specification vinyl compound ever created. Analog lovers have never seen (or heard) anything like it. Extraordinarily expensive and extremely painstaking to produce, the special proprietary compound addresses two specific areas of improvement: noise floor reduction and enhanced groove definition. The vinyl composition features a new carbonless dye (hold the disc up to the light and see) and produces the world's quietest surfaces. This high-definition formula also allows for the creation of cleaner grooves that are indistinguishable from the original lacquer. MoFi SuperVinyl provides the closest approximation of what the label's engineers hear in the mastering lab.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eAllMusic : 5 \/ 5 , Discogs : 4,46 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":42239263768826,"sku":"MFSLUD1S-038","price":159.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/miles-davis-sketches-of-spain-2lp-45rpm-box-set-1step-supervinyl-audiosoundmusic-1.jpg?v=1719857194"},{"product_id":"miles-davis-bitches-brew","title":"Miles Davis - Bitches Brew (2LP, 33RPM, Box set, 1STEP, SuperVinyl)","description":"\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eORDER LIMITED TO ONE ITEM PER CUSTOMER\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMiles Davis, primary artist, trumpet \u003ca data-mce-fragment=\"1\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/miles-davis\" title=\"vinyl featuring Miles Davis\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Miles Davis]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWayne Shorter, soprano saxophone \u003ca data-mce-fragment=\"1\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/wayne-shorter\" title=\"vinyl featuring Wayne Shorter\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Wayne Shorter]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBennie Maupin, bass clarinet \u003cspan style=\"color: #ff8000;\"\u003e\u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/bennie-maupin\" title=\"Vinyl featuring Bennie Maupin\" style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Bennie Maupin]\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJack DeJohnette, drums \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/jack-dejohnette\" title=\"vinyl featuring Jack Dejohnette\"\u003e\u003cspan style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Jack DeJohnette]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJohn McLaughlin, guitar, electric guitar \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/john-mclaughlin\" title=\"vinyl featuring john mclaughlin\"\u003e\u003cspan style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring John McLaughlin]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDave Holland, bass\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHarvey Brooks, bass, electric bass, bass guitar, electric guitar\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAirto Moreira, cuica, percussion \u003cspan style=\"color: #ff8000;\"\u003e\u003ca data-mce-fragment=\"1\" style=\"color: #ff8000;\" title=\"Vinyl featuring Airto Moreira\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/airto-moreira\"\u003e[click here to see more vinyl featuring Airto Moreira]\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDon Alias, congas, drums, percussion\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJumma Santos, congas, percussion, shaker\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLenny White, drums\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBilly Cobham, drums\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eChick Corea, electric piano \u003ca data-mce-fragment=\"1\" title=\"Vinyl featuring Chick Corea\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/chick-corea\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Chick Corea]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLarry Young, electric piano\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJoe Zawinul, organ, electric piano\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJim Riley, percussion\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by Miles Davis (B1, C1-2, D1), Joe Zawinul (A1), Wayne Shorter (D2)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cp\u003e\u003cstrong\u003e2 LPs, box set\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eLimited numbered edition\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eUltraDisc One-Step (UDS1)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g SuperVinyl\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : RTI\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : MOFI\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Columbia\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded August 19–21, 1969 at Columbia Studio B, New York City\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineered by Ray Moore, Stan Tonkel\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Teo Macero\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1970\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTo be reissued in 2022\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003ePharaoh’s Dance\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eBitches Brew\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide C :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eSpanish Key\u003c\/li\u003e\n\u003cli\u003eJohn McLaughlin\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide D :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eMiles Runs the Voodoo Down\u003c\/li\u003e\n\u003cli\u003eSanctuary\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAwards:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eRolling Stone 500 Greatest Albums of All Time - Ranked 95\/500\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e1971 Grammy Award for Best Large Jazz Ensemble Album\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eIncluded in the 1000 Recordings You Must Hear Before You Die - Ranked 177\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e“Thought by many to be among the most revolutionary albums in jazz history, Miles Davis' Bitches Brew solidified the genre known as jazz-rock fusion. The original double LP included only six cuts and featured up to 12 musicians at any given time, some of whom were already established while others would become high-profile players later, Joe Zawinul, Wayne Shorter, Airto, John McLaughlin, Chick Corea, Jack DeJohnette, Dave Holland, Don Alias, Bennie Maupin, Larry Young, and Lenny White among them. Originally thought to be a series of long jams locked into grooves around keyboard, bass, or guitar vamps, Bitches Brew is actually a recording that producer Teo Macero assembled from various jams and takes by razor blade, splice to splice, section to section. \"Pharaoh's Dance\" opens the set with its slippery trumpet lines, McLaughlin's snaky guitar figures skirting the edge of the rhythm section and Don Alias' conga slipping through the middle. Corea and Zawinul's keyboards create a haunted, riffing modal groove, echoed and accented by the basses of Harvey Brooks and Holland. The title cut was originally composed as a five-part suite, though only three were used. Here the keyboards punch through the mix and big chords ring up distorted harmonics for Davis to solo rhythmically over, outside the mode. McLaughlin's comping creates a vamp, and the bass and drums carry the rest. It's a small taste of the deep voodoo funk to appear on Davis' later records. Side three opens with McLaughlin and Davis trading fours and eights over a lockstep hypnotic vamp on \"Spanish Key.\" Zawinul's lyric sensibility provides a near chorus for Corea to flit around in; the congas and drummers juxtapose themselves against the basslines. It nearly segues into the brief \"John McLaughlin,\" featuring an organ playing modes below arpeggiated blues guitar runs. The end of Bitches Brew, signified by the stellar \"Miles Runs the Voodoo Down,\" reflects the influence of Jimi Hendrix with its chunky, slipped chords and Davis playing a ghostly melody through the funkiness of the rhythm section. It seemingly dances, becoming increasingly more chaotic until it nearly disintegrates before shimmering into a loose foggy nadir. The disc closes with \"Sanctuary,\" completely redone here as a moody electric ballad that was reworked for this band while keeping enough of its integrity to be recognizable. Bitches Brew is so forward-thinking that it retains its freshness and mystery in the 21st century.” AllMusic Brew Review by Thom Jurek\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eUltraDisc One-Step\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003e: Instead of utilizing the industry-standard three-step lacquer process, Mobile Fidelity Sound Lab's new UltraDisc One-Step (UD1S) uses only one step, bypassing two processes of generational loss. While three-step processing is designed for optimum yield and efficiency, UD1S is created for the ultimate in sound quality. Just as Mobile Fidelity pioneered the UHQR (Ultra High-Quality Record) with JVC in the 1980s, UD1S again represents another state-of-the-art advance in the record-manufacturing process. MFSL engineers begin with the original master tapes and meticulously cut a set of lacquers. These lacquers are used to create a very fragile, pristine UD1S stamper called a \"convert.\" Delicate \"converts\" are then formed into the actual record stampers, producing a final product that literally and figuratively brings you closer to the music. By skipping the additional steps of pulling another positive and an additional negative, as done in the three-step process used in standard pressings, UD1S produces a final LP with the lowest noise floor possible today. The removal of the additional two steps of generational loss in the plating process reveals tremendous amounts of extra musical detail and dynamics, which are otherwise lost due to the standard copying process. The exclusive nature of these very limited pressings guarantees that every UD1S pressing serves as an immaculate replica of the lacquer sourced directly from the original master tape. Every conceivable aspect of vinyl production is optimized to produce the most perfect record album available today.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMoFi SuperVinyl\u003c\/strong\u003e: The World's Quietest Surfaces and Cleanest Grooves: Developed by NEOTECH and RTI, MoFi SuperVinyl is the most exacting-to-specification vinyl compound ever created. Analog lovers have never seen (or heard) anything like it. Extraordinarily expensive and extremely painstaking to produce, the special proprietary compound addresses two specific areas of improvement: noise floor reduction and enhanced groove definition. The vinyl composition features a new carbonless dye (hold the disc up to the light and see) and produces the world's quietest surfaces. This high-definition formula also allows for the creation of cleaner grooves that are indistinguishable from the original lacquer. MoFi SuperVinyl provides the closest approximation of what the label's engineers hear in the mastering lab.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eAllMusic : 5 \/ 5 , Discogs : 4,6 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":42239362007290,"sku":"MFSL33UD1S-039","price":195.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/miles-davis-bitches-brew-2lp-45rpm-box-set-1step-supervinyl-audiosoundmusic-1.jpg?v=1719857207"},{"product_id":"eagles-hotel-california","title":"Eagles - Hotel California (2LP, 45RPM, Box set, 1STEP, SuperVinyl)","description":"\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003eORDER LIMITED TO ONE ITEM PER CUSTOMER\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDon Felder – guitars, backing vocals, pedal steel (on The Last Resort)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGlenn Frey – guitars, backing vocals, keyboards, lead vocals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDon Henley – drums, percussion, lead vocals, backing vocals, synthesizer\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRandy Meisner – bass, backing vocals, lead vocals, guitarrón\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJoe Walsh – guitars, keyboards, backing vocals, lead vocals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJim Ed Norman – string arrangements, conductor\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSid Sharp – concert master\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by Don Felder (A1, 6), Don Henley (A1-2, B1 to C2, D2), Glenn Frey (A1-2, B1 to C2, D2), John David Southern (A2), Joe Walsh (B1, C3), Jim Ed Norman (C1), John David Southern (C2), Joe Vitale (C3), Randy Meisner (D1)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e2 LPs, box set\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eLimited to 10,000 numbered copies\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eUltraDisc One-Step (UDS1)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g SuperVinyl\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 45 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : RTI\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : MOFI\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Asylum Records\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded March – October 1976 at Criteria, Miami and Record Plant, Los Angeles\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineered by Allan Blazek, Bill Szymczyk, Bruce Hensal, Ed Mashal\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMixed and produced by Bill Szymczyk\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1976\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTo be reissued in 2022\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eHotel California\u003c\/li\u003e\n\u003cli\u003eNew Kid In Town\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eLife In The Fast Lane\u003c\/li\u003e\n\u003cli\u003eWasted Time\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e Side C :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eWasted Time (Reprise)\u003c\/li\u003e\n\u003cli\u003eVictim Of Love\u003c\/li\u003e\n\u003cli\u003ePretty Maids All In A Row\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide D :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eTry And Love Again\u003c\/li\u003e\n\u003cli\u003eThe Last Resort\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAwards :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eRolling Stone 500 Greatest Albums of All Time - Ranked 118\/500\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eGrammy Record of the Year 1978\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e1000 Recordings You Must Hear Before You Die - Ranked 354\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e“The Eagles took 18 months between their fourth and fifth albums, reportedly spending eight months in the studio recording Hotel California. The album was also their first to be made without Bernie Leadon, who had given the band much of its country flavor, and with rock guitarist Joe Walsh. As a result, the album marks a major leap for the Eagles from their earlier work, as well as a stylistic shift toward mainstream rock. An even more important aspect, however, is the emergence of Don Henley as the band's dominant voice, both as a singer and a lyricist. On the six songs to which he contributes, Henley sketches a thematic statement that begins by using California as a metaphor for a dark, surreal world of dissipation; comments on the ephemeral nature of success and the attraction of excess; branches out into romantic disappointment; and finally sketches a broad, pessimistic history of America that borders on nihilism. Of course, the lyrics kick in some time after one has appreciated the album's music, which marks a peak in the Eagles' playing. Early on, the group couldn't rock convincingly, but the rhythm section of Henley and Meisner has finally solidified, and the electric guitar work of Don Felder and Joe Walsh has arena-rock heft. In the early part of their career, the Eagles never seemed to get a sound big enough for their ambitions; after changes in producer and personnel, as well as a noticeable growth in creativity, Hotel California unveiled what seemed almost like a whole new band. It was a band that could be bombastic, but also one that made music worthy of the later tag of \"classic rock,\" music appropriate for the arenas and stadiums the band was playing. The result was the Eagles' biggest-selling regular album release, and one of the most successful rock albums ever.” Hotel California Review by William Ruhlmann\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eUltraDisc One-Step\u003c\/strong\u003e : Instead of utilizing the industry-standard three-step lacquer process, Mobile Fidelity Sound Lab's new UltraDisc One-Step (UD1S) uses only one step, bypassing two processes of generational loss. While three-step processing is designed for optimum yield and efficiency, UD1S is created for the ultimate in sound quality. Just as Mobile Fidelity pioneered the UHQR (Ultra High-Quality Record) with JVC in the 1980s, UD1S again represents another state-of-the-art advance in the record-manufacturing process. MFSL engineers begin with the original master tapes and meticulously cut a set of lacquers. These lacquers are used to create a very fragile, pristine UD1S stamper called a \"convert.\" Delicate \"converts\" are then formed into the actual record stampers, producing a final product that literally and figuratively brings you closer to the music. By skipping the additional steps of pulling another positive and an additional negative, as done in the three-step process used in standard pressings, UD1S produces a final LP with the lowest noise floor possible today. The removal of the additional two steps of generational loss in the plating process reveals tremendous amounts of extra musical detail and dynamics, which are otherwise lost due to the standard copying process. The exclusive nature of these very limited pressings guarantees that every UD1S pressing serves as an immaculate replica of the lacquer sourced directly from the original master tape. Every conceivable aspect of vinyl production is optimized to produce the most perfect record album available today.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMoFi SuperVinyl\u003c\/strong\u003e: The World's Quietest Surfaces and Cleanest Grooves: Developed by NEOTECH and RTI, MoFi SuperVinyl is the most exacting-to-specification vinyl compound ever created. Analog lovers have never seen (or heard) anything like it. Extraordinarily expensive and extremely painstaking to produce, the special proprietary compound addresses two specific areas of improvement: noise floor reduction and enhanced groove definition. The vinyl composition features a new carbonless dye (hold the disc up to the light and see) and produces the world's quietest surfaces. This high-definition formula also allows for the creation of cleaner grooves that are indistinguishable from the original lacquer. MoFi SuperVinyl provides the closest approximation of what the label's engineers hear in the mastering lab.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAllMusic : 3 \/ 5 , Discogs : 3,9 \/ 5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":42242594373882,"sku":"MFSL45UD1S-028","price":195.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/eagles-hotel-california-2lp-45rpm-box-set-1step-supervinyl-audiosoundmusic-1.jpg?v=1719857220"},{"product_id":"crosby-stills-and-nash-crosby-stills-and-nash","title":"Crosby, Stills and Nash - Crosby, Stills and Nash (2LP, 45RPM, Box set, 1STEP, SuperVinyl)","description":"\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eORDER LIMITED TO ONE ITEM PER CUSTOMER\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/crosby-stills-nash\" title=\"vinyl featuring Crosby, Stills and Nash\"\u003e\u003cspan style=\"color: #ff8000;\"\u003e\u003cstrong\u003e[click here to see more vinyl featuring Crosby, Stills and Nash]\u003c\/strong\u003e\u003c\/span\u003e\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDavid Crosby – vocals; guitars on \"Guinnevere\"; rhythm guitar on \"Wooden Ships\" and \"Long Time Gone\" \u003ca title=\"vinyl featuring Davis Crosby\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/david-crosby\"\u003e\u003cspan style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring David Crosby]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStephen Stills – vocals, guitars, bass, keyboards, percussion all tracks except \"Guinnevere\" and \"Lady of the Island\"\u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/stephen-stills\" title=\"vinyl featuring Stephen Stills\"\u003e\u003cspan style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Stephen Stills]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGraham Nash – vocals; rhythm guitar on \"Marrakesh Express\" and \"Pre-Road Downs\"; acoustic guitar on \"Lady of the Island\"\u003cspan style=\"color: #ff8000;\"\u003e \u003ca style=\"color: #ff8000;\" title=\"vinyl featuring Graham Nash\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/graham-nash\"\u003e[click here to see more vinyl featuring Graham Nash]\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDallas Taylor – drums on \"Suite: Judy Blue Eyes\", \"Pre-Road Downs,\" \"Wooden Ships,\" \"Long Time Gone,\" and \"49 Bye-Byes\"\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJim Gordon – drums on \"Marrakesh Express\"\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCass Elliot – backing vocals on \"Pre-Road Downs\"\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e2 LPs, box set\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eLimited numbered edition\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eUltraDisc One-Step (UDS1)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g SuperVinyl\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 45 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : RTI\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : MOFI\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Atlantic\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded February–March 1969 at Wally Heider's Studio III, Los Angeles\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineered by Bill Halverson\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Stephen Stills, David Crosby, Graham Nash\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1969\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2022\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eSuite: Judy Blue Eyes\u003c\/li\u003e\n\u003cli\u003eMarrakesh Express\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eGuinnevere\u003c\/li\u003e\n\u003cli\u003eYou Don't Have To Cry\u003c\/li\u003e\n\u003cli\u003ePre-Road Downs\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide C :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eWooden Ships\u003c\/li\u003e\n\u003cli\u003eLady of the Island\u003c\/li\u003e\n\u003cli\u003eHelplessly Hoping\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide D :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eLong Time Gone\u003c\/li\u003e\n\u003cli\u003e49 Bye-Byes\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAwards:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eRolling Stone 500 Greatest Albums of All Time - Ranked 161\/500\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eRolling Stone 500 Greatest Songs of All Time - \"Suite: Judy Blue Eyes\" - Ranked 426\/500\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eGrammy Award Best new Artist 1970\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e“The Crosby, Stills \u0026amp; Nash triumvirate shot to immediate superstardom with the release of its self-titled debut LP, a sparkling set immortalizing the group's amazingly close, high harmonies. While elements of the record haven't dated well -- Nash's Eastern-influenced musings on the hit \"Marrakesh Express\" now seem more than a little silly, while the antiwar sentiments of \"Wooden Ships,\" though well-intentioned, are rather hokey -- the harmonies are absolutely timeless, and the best material remains rock-solid. Stills' gorgeous opener, \"Suite: Judy Blue Eyes,\" in particular, is an epic love song remarkable in its musical and emotional intricacy, Nash's \"Pre-Road Downs\" is buoyant folk-pop underpinned by light psychedelic textures, and Crosby's \"Long Time Gone\" remains a potent indictment of the assassination of Robert Kennedy. A definitive document of its era.” AllMusic Review by Jason Ankeny\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eUltraDisc One-Step\u003c\/strong\u003e : Instead of utilizing the industry-standard three-step lacquer process, Mobile Fidelity Sound Lab's new UltraDisc One-Step (UD1S) uses only one step, bypassing two processes of generational loss. While three-step processing is designed for optimum yield and efficiency, UD1S is created for the ultimate in sound quality. Just as Mobile Fidelity pioneered the UHQR (Ultra High-Quality Record) with JVC in the 1980s, UD1S again represents another state-of-the-art advance in the record-manufacturing process. MFSL engineers begin with the original master tapes and meticulously cut a set of lacquers. These lacquers are used to create a very fragile, pristine UD1S stamper called a \"convert.\" Delicate \"converts\" are then formed into the actual record stampers, producing a final product that literally and figuratively brings you closer to the music. By skipping the additional steps of pulling another positive and an additional negative, as done in the three-step process used in standard pressings, UD1S produces a final LP with the lowest noise floor possible today. The removal of the additional two steps of generational loss in the plating process reveals tremendous amounts of extra musical detail and dynamics, which are otherwise lost due to the standard copying process. The exclusive nature of these very limited pressings guarantees that every UD1S pressing serves as an immaculate replica of the lacquer sourced directly from the original master tape. Every conceivable aspect of vinyl production is optimized to produce the most perfect record album available today.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMoFi SuperVinyl\u003c\/strong\u003e: The World's Quietest Surfaces and Cleanest Grooves: Developed by NEOTECH and RTI, MoFi SuperVinyl is the most exacting-to-specification vinyl compound ever created. Analog lovers have never seen (or heard) anything like it. Extraordinarily expensive and extremely painstaking to produce, the special proprietary compound addresses two specific areas of improvement: noise floor reduction and enhanced groove definition. The vinyl composition features a new carbonless dye (hold the disc up to the light and see) and produces the world's quietest surfaces. This high-definition formula also allows for the creation of cleaner grooves that are indistinguishable from the original lacquer. MoFi SuperVinyl provides the closest approximation of what the label's engineers hear in the mastering lab.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eAllMusic : 5 \/ 5 , Discogs : 4,31 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":42242746384634,"sku":"Sku: MFSL45UD1S-021","price":195.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/crosby-stills-and-nash-crosby-stills-and-nash-2lp-45rpm-box-set-1step-supervinyl-audiosoundmusic-1.jpg?v=1719857220"},{"product_id":"eric-clapton-unplugged","title":"Eric Clapton - Unplugged (2LP, Box set, 1STEP, 45 RPM, SuperVinyl)","description":"\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eORDER LIMITED TO ONE ITEM PER CUSTOMER\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEric Clapton – lead vocals, acoustic guitar, dobro, kazoo \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/eric-clapton\" title=\"vinyl featuring Eric Clapton\"\u003e\u003cspan style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Eric Clapton]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAndy Fairweather Low – acoustic guitar, mandolin, harmonica\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eChuck Leavell – acoustic piano, harmonium\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eNathan East – acoustic bass, backing vocals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSteve Ferrone – drums, percussion\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRay Cooper – percussion\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eKatie Kissoon – backing vocals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTessa Niles – backing vocals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e2 LPs, Box set\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eLimited to 10,000 numbered copies\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eUltraDisc One-Step\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g SuperVinyl\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 45 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLive\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : RTI\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : MOFI\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Reprise\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded on 16 January 1992 at Bray Film Studios, Windsor, England\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded by Jim Barton\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineered by John Roden, Buford Jones,  Joel Gallen\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMixed by Steve Boyer\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMastered by Ted Jensen\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Alex Coletti, Russ Titelman\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in August 1992\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2019\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eSigne\u003c\/li\u003e\n\u003cli\u003eBefore You Accuse Me\u003c\/li\u003e\n\u003cli\u003eHey Hey\u003c\/li\u003e\n\u003cli\u003eTears In Heaven\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eLonely Stranger\u003c\/li\u003e\n\u003cli\u003eNobody Knows You When You're Down and Out\u003c\/li\u003e\n\u003cli\u003eLayla\u003c\/li\u003e\n\u003cli\u003eRunning On Faith\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide C:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eWalkin' Blues\u003c\/li\u003e\n\u003cli\u003eAlberta\u003c\/li\u003e\n\u003cli\u003eSan Francisco Bay Blues\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide D:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eMalted Milk\u003c\/li\u003e\n\u003cli\u003eOld Love\u003c\/li\u003e\n\u003cli\u003eRollin' \u0026amp; Tumblin'\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003col\u003e\u003c\/ol\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAwards\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eGrammy Award for Album of the Year\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eGrammy Award for Best Male Rock Vocal Performance\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eGrammy Award for Best Rock Song for \u003cspan data-mce-fragment=\"1\"\u003e\"Layla\"\u003c\/span\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e\u003cspan\u003eGrammy Award for Best Male Pop Vocal Performance for \"Tears In Heaven\"\u003c\/span\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e\u003cspan\u003eDiamond Album certification commemoration over 10 Million in the U.S. sales\u003c\/span\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e:\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e“Its massive success -- it is one of the rare albums to be certified as diamond in the U.S. and it went platinum all over the world; it also won the Album of the Year Grammy for 1992 -- makes it difficult to place Eric Clapton's 1992 MTV Unplugged in context, but it's important to do so. It arrived three years into MTV Unplugged's run -- 1989 also being the year Clapton stirred artistically with the assured AOR of Journeyman -- and a year after Paul McCartney established the practice of an official album release of an Unplugged session with his own Unplugged (The Official Bootleg). Also in 1991, Clapton's young son Conor died in a tragic accident. The guitarist wrote \"Tears in Heaven\" as a tribute to his late son and, via its inclusion on the 1991 soundtrack to Rush, it became a hit single and, later, a centerpiece to the Unplugged set. The passage of time has blurred the lines separating all these events, suggesting Clapton's 1992 Unplugged was the first-ever MTV album, that it alone was responsible for revitalizing EC's career, that it is was the place where \"Tears in Heaven\" premiered, when none of that is quite true. What is true is that Unplugged is the concert and album that established the MTV program as a classy, tony showcase for artists eager to redefine themselves via reexamination of their catalogs, which is what Clapton cannily did here. The album's hit was a slow crawl through Derek \u0026amp; the Dominos' \"Layla,\" turning that anguished howl of pain into a cozy shuffle and the whole album proceeds at a similar amiable gait, taking its time and enjoying detours into old blues standards. Clapton is embracing his middle age and the pleasure of Unplugged is to hear him opt out of the pop star game as he plays songs he's always loved. Tellingly, it's these blues and folk covers -- Jesse Fuller's \"San Francisco Bay Blues,\" Big Bill Broonzy's \"Hey Hey,\" the standard \"Alberta,\" Muddy Waters' \"Rollin' and Tumblin',\" two songs from Robert Johnson (\"Walkin' Blues,\" \"Malted Milk\") -- that are the best performances here; they're alternately lively and relaxed, Clapton happily conforming to the contours of the compositions. These capture a moment in time, when EC was settling into his age by reconnecting with the past, whereas the originals -- whether it's the revised versions of \"Layla\" and \"Old Love,\" \"Tears in Heaven,\" or the debut of \"My Father's Eyes,\" originally heard here (and on the 2013 expanded anniversary edition) but released as a single much later in the decade -- point forward to the sharply tailored adult contemporary crooner of the '90s, one who turned out to be very comfortable existing in a world of high thread counts and designer duds. These are the tunes that belong to the '90s -- and several of these also appear on the 2013 expansion, which contains songs that didn't appear on the album, almost all of which are originals apart from an alternate \"Walkin' Blues\" and \"Worried Life Blues\" -- but the rest of MTV Unplugged manages to transcend its time because it does cut to the quick of Clapton's musical DNA.” AllMusic Review by Stephen Thomas Erlewine\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eUltraDisc One-Step\u003c\/strong\u003e : Instead of utilizing the industry-standard three-step lacquer process, Mobile Fidelity Sound Lab's new UltraDisc One-Step (UD1S) uses only one step, bypassing two processes of generational loss. While three-step processing is designed for optimum yield and efficiency, UD1S is created for the ultimate in sound quality. Just as Mobile Fidelity pioneered the UHQR (Ultra High-Quality Record) with JVC in the 1980s, UD1S again represents another state-of-the-art advance in the record-manufacturing process. MFSL engineers begin with the original master tapes and meticulously cut a set of lacquers. These lacquers are used to create a very fragile, pristine UD1S stamper called a \"convert.\" Delicate \"converts\" are then formed into the actual record stampers, producing a final product that literally and figuratively brings you closer to the music. By skipping the additional steps of pulling another positive and an additional negative, as done in the three-step process used in standard pressings, UD1S produces a final LP with the lowest noise floor possible today. The removal of the additional two steps of generational loss in the plating process reveals tremendous amounts of extra musical detail and dynamics, which are otherwise lost due to the standard copying process. The exclusive nature of these very limited pressings guarantees that every UD1S pressing serves as an immaculate replica of the lacquer sourced directly from the original master tape. Every conceivable aspect of vinyl production is optimized to produce the most perfect record album available today.\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMoFi SuperVinyl\u003c\/strong\u003e: The World's Quietest Surfaces and Cleanest Grooves: Developed by NEOTECH and RTI, MoFi SuperVinyl is the most exacting-to-specification vinyl compound ever created. Analog lovers have never seen (or heard) anything like it. Extraordinarily expensive and extremely painstaking to produce, the special proprietary compound addresses two specific areas of improvement: noise floor reduction and enhanced groove definition. The vinyl composition features a new carbonless dye (hold the disc up to the light and see) and produces the world's quietest surfaces. This high-definition formula also allows for the creation of cleaner grooves that are indistinguishable from the original lacquer. MoFi SuperVinyl provides the closest approximation of what the label's engineers hear in the mastering lab.\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eAllMusic : 4.5 \/ 5 , Discogs : 4.48 \/ 5 \u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":42254319157498,"sku":"MFSL45UD1S-020","price":195.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/eric-clapton-unplugged-2lp-box-set-1step-45-rpm-supervinyl-audiosoundmusic-1.jpg?v=1719857285"},{"product_id":"copy-of-roger-waters-amused-to-death-2lp-33rpm-200g","title":"Roger Waters - Amused To Death (4LP, 45RPM, Box set)","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eA1 - The Ballad Of Bill Hubbard\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eGuitar – Jeff Beck \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/jeff-beck\" title=\"vinyl featuring Jeff Beck\"\u003e\u003cspan style=\"color: #ff8000;\"\u003e\u003cstrong\u003e[click here to see more vinyl featuring Jeff Beck]\u003c\/strong\u003e\u003c\/span\u003e\u003c\/a\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eKeyboards, Percussion [Programming] – Patrick Leonard\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003ePercussion – Luis Conte\u003c\/div\u003e\n\u003cp style=\"padding-left: 30px;\"\u003eVocals – Alf Razzell\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eA2 - What God Wants, Part I\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eArranged By [Choir], Keyboards – Patrick Leonard\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eBacking Vocals – Doreen Chanter, Katie Kissoon, N'Dea Davenport, Natalie Jackson\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eBass Guitar – Randy Jackson\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eConductor [London Welsh Chorale] – Kenneth Bowen\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eDrums – Graham Broad\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eGuitar [Arpeggio] – Geoff Whitehorn\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eGuitar [Chorus] – Tim Pierce\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eRhythm Guitar [Acoustic], Electric Guitar – Andy Fairweather Low\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eSoloist, Guitar – Jeff Beck \u003cstrong data-mce-fragment=\"1\"\u003e \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/jeff-beck\" title=\"vinyl featuring Jeff Beck\" data-mce-fragment=\"1\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\"\u003e[click here to see more vinyl featuring Jeff Beck]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eVocals, Synthesizer [Emu], Bass [Intro] – Roger Waters \u003cspan style=\"color: #ff8000;\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003ca title=\"vinyl featuring roger waters\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/roger-waters\" style=\"color: #ff8000;\" data-mce-fragment=\"1\"\u003e[click here to see more vinyl featuring Roger Waters]\u003c\/a\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cp\u003e\u003cstrong\u003eB1 - Perfect Sense, Part I\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eAcoustic Guitar – Bruce Gaitsch\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eBass Guitar – James Johnson\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eConductor, Arranged By [Strings] – John Dupree\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eDrums – Graham Broad\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eGuitar [Intro] – Steve Lukather\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eGuitar [Low Grunting] – Rick DiFonso\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eKeyboards, Voice [2nd Sportscaster] – Patrick Leonard\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003ePedal Steel Guitar – B.J. Cole\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003ePercussion – Luis Conte\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eSnare, Hihat – Brian MacLeod\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eVocals – P.P. Arnold\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eVocals, Synthesizer – Roger Waters \u003cspan style=\"color: #ff8000;\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003ca title=\"vinyl featuring roger waters\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/roger-waters\" style=\"color: #ff8000;\" data-mce-fragment=\"1\"\u003e[click here to see more vinyl featuring Roger Waters]\u003c\/a\u003e\u003c\/strong\u003e\u003c\/span\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eVoice [HAL 9000 Deactivation Scene] – Douglas Rain\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eVoice [Sportscaster, The Voice Of The Nba] – Marv Albert\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cp\u003e\u003cstrong\u003eB2 - Perfect Sense, Part II\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eAcoustic Guitar – Bruce Gaitsch\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eBass Guitar – James Johnson\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eConductor, Arranged By [Strings] – John Dupree\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eDrums – Graham Broad\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eGuitar [Intro] – Steve Lukather\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eGuitar [Low Grunting] – Rick DiFonso\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eKeyboards, Voice [2nd Sportscaster] – Patrick Leonard\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003ePedal Steel Guitar – B.J. Cole\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003ePercussion – Luis Conte\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eSnare, Hihat – Brian MacLeod\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eVocals – P.P. Arnold\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eVocals, Synthesizer – Roger Waters \u003cspan style=\"color: #ff8000;\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003ca title=\"vinyl featuring roger waters\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/roger-waters\" style=\"color: #ff8000;\" data-mce-fragment=\"1\"\u003e[click here to see more vinyl featuring Roger Waters]\u003c\/a\u003e\u003c\/strong\u003e\u003c\/span\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eVoice [Sportscaster, The Voice Of The Nba] – Marv Albert\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cp\u003e\u003cstrong\u003eC1 - The Bravery Of Being Out Of Range\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eBacking Vocals – Lynn Fiddmont-Linsey, Natalie Jackson\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eBass Guitar – John Pierce\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eDrums – Denny Fongheiser\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eGuitar – Tim Pierce\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eOrgan [Hammond], Synthesizer – Patrick Leonard\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eVocals, Twelve-String Guitar – Roger Waters \u003cspan style=\"color: #ff8000;\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003ca title=\"vinyl featuring roger waters\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/roger-waters\" style=\"color: #ff8000;\" data-mce-fragment=\"1\"\u003e[click here to see more vinyl featuring Roger Waters]\u003c\/a\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003eC2 - Late Home Tonight, Part I\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eBass Guitar – James Johnson\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eConductor, Arranged By [National Philharmonic Orchestra Limited] – Michael Kamen\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eCornet – Steve Sidwell\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eDrums, Percussion – Graham Broad\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eGuitar, Backing Vocals – Andy Fairweather Low\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003ePercussion – Luis Conte\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eVocals – Roger Waters \u003cspan style=\"color: #ff8000;\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003ca title=\"vinyl featuring roger waters\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/roger-waters\" style=\"color: #ff8000;\" data-mce-fragment=\"1\"\u003e[click here to see more vinyl featuring Roger Waters]\u003c\/a\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cp\u003e\u003cstrong\u003eD1 - Late Home Tonight, Part II\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eBass Guitar – James Johnson\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eConductor, Arranged By [National Philharmonic Orchestra Limited] – Michael Kamen\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eCornet – Steve Sidwell\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eDrums, Percussion – Graham Broad\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eGuitar, Backing Vocals – Andy Fairweather Low\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003ePercussion – Luis Conte\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eVocals – Roger Waters \u003cspan style=\"color: #ff8000;\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003ca title=\"vinyl featuring roger waters\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/roger-waters\" style=\"color: #ff8000;\" data-mce-fragment=\"1\"\u003e[click here to see more vinyl featuring Roger Waters]\u003c\/a\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cp\u003e\u003cstrong\u003eD2 - Too Much Rope\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eBacking Vocals – Doreen Chanter, Jessica Leonard, Jordan Leonard, Katie Kissoon\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eBacking Vocals [End] – Screaming Kids (2)\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eBass Guitar – James Johnson\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eConductor, Arranged By [National Philharmonic Orchestra Limited] – Michael Kamen\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eDrums – Graham Broad\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eGuitar – Geoff Whitehorn\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eGuitar [Additional] – Steve Lukather\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eKeyboards – Patrick Leonard\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003ePercussion – Luis Conte\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eTwelve-String Guitar [Rickenbacker 12 Strings Played With A Feather] – Andy Fairweather Low\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eVocals – Roger Waters \u003cspan style=\"color: #ff8000;\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003ca title=\"vinyl featuring roger waters\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/roger-waters\" style=\"color: #ff8000;\" data-mce-fragment=\"1\"\u003e[click here to see more vinyl featuring Roger Waters]\u003c\/a\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cp\u003e\u003cstrong\u003eE1 - What God Wants, Part II\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eAcoustic Guitar [Rhythm], Electric Guitar – Andy Fairweather Low\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eArranged By [Choir], Keyboards – Patrick Leonard\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eBacking Vocals – Doreen Chanter, Katie Kissoon\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eBass Guitar – Randy Jackson (2)\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eDrums – Graham Broad\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eLead Guitar – Tim Pierce\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003ePerformer [Tv Evangelist] – Charles Fleischer\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eVocals – Roger Waters \u003cspan style=\"color: #ff8000;\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003ca title=\"vinyl featuring roger waters\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/roger-waters\" style=\"color: #ff8000;\" data-mce-fragment=\"1\"\u003e[click here to see more vinyl featuring Roger Waters]\u003c\/a\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cp\u003e\u003cstrong\u003eE2 - What God Wants, Part III\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eArranged By [Choir], Keyboards – Patrick Leonard\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eBass Guitar – James Johnson\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eConductor [London Welsh Chorale] – Kenneth Bowen\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eConductor, Arranged By [National Philharmonic Orchestra Limited] – Michael Kamen\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eDrums – Graham Broad\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eGuitar – Geoff Whitehorn\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003ePercussion – Luis Conte\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eSoloist, Guitar – Jeff Beck \u003cstrong data-mce-fragment=\"1\"\u003e \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/jeff-beck\" title=\"vinyl featuring Jeff Beck\" data-mce-fragment=\"1\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\"\u003e[click here to see more vinyl featuring Jeff Beck]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eVocals – Roger Waters \u003cspan style=\"color: #ff8000;\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003ca title=\"vinyl featuring roger waters\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/roger-waters\" style=\"color: #ff8000;\" data-mce-fragment=\"1\"\u003e[click here to see more vinyl featuring Roger Waters]\u003c\/a\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cp\u003e\u003cstrong\u003eF1 - Watching TV\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eAcoustic Guitar – Andy Fairweather Low\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eBass Guitar [Upright \u0026amp; Electric] – John Patitucci\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eDulcimer, Lute, Oboe, Bass, Other [Zhen] – Guo Yi, The Peking Brothers\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eElectric Guitar – Jeff Beck\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003ePiano [Acoustic] – Patrick Leonard\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eVocals – Don Henley\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eVocals, Acoustic Guitar – Roger Waters \u003cspan style=\"color: #ff8000;\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003ca title=\"vinyl featuring roger waters\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/roger-waters\" style=\"color: #ff8000;\" data-mce-fragment=\"1\"\u003e[click here to see more vinyl featuring Roger Waters]\u003c\/a\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cp\u003e\u003cstrong\u003eG1 - Three Wishes\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eBacking Vocals – Doreen Chanter, Katie Kissoon\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eBass Guitar – James Johnson\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eDrums – Graham Broad\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eGuitar [Chorus Leslie] – Tim Pierce\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eKeyboards – Patrick Leonard\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eOrgan [Hammond] – John \"Rabbit\" Brundrick\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003ePercussion – Luis Conte\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eRhythm Guitar, Twelve-String Guitar [Feathered 12-Strings] – Andy Fairweather Low\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eSoloist, Guitar – Jeff Beck\u003cstrong data-mce-fragment=\"1\"\u003e \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/jeff-beck\" title=\"vinyl featuring Jeff Beck\" data-mce-fragment=\"1\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\"\u003e[click here to see more vinyl featuring Jeff Beck]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eVocals – Roger Waters \u003cspan style=\"color: #ff8000;\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003ca title=\"vinyl featuring roger waters\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/roger-waters\" style=\"color: #ff8000;\" data-mce-fragment=\"1\"\u003e[click here to see more vinyl featuring Roger Waters]\u003c\/a\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cp\u003e\u003cstrong\u003eH1 - It's A Miracle\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eArranged By [Choir], Piano, Synthesizer – Patrick Leonard\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eBacking Vocals – Jim Haas, Jon Joyce, Stan Laurel\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eBass Guitar – James Johnson\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eConductor [London Welsh Chorale] – Kenneth Bowen\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eDrums – Jeff Porcaro\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eGuitar – Jeff Beck\u003cstrong data-mce-fragment=\"1\"\u003e \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/jeff-beck\" title=\"vinyl featuring Jeff Beck\" data-mce-fragment=\"1\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\"\u003e[click here to see more vinyl featuring Jeff Beck]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eVocals, Bass – Roger Waters \u003cspan style=\"color: #ff8000;\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003ca title=\"vinyl featuring roger waters\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/roger-waters\" style=\"color: #ff8000;\" data-mce-fragment=\"1\"\u003e[click here to see more vinyl featuring Roger Waters]\u003c\/a\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cp\u003e\u003cstrong\u003eH2 - Amused To Death\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eBacking Vocals – Doreen Chanter, Katie Kissoon\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eBass Guitar – James Johnson\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eDrums – Graham Broad\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eElectric Guitar – Geoff Whitehorn\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eKeyboards – Patrick Leonard\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eSoloist, Guitar – Jeff Beck\u003cstrong data-mce-fragment=\"1\"\u003e \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/jeff-beck\" title=\"vinyl featuring Jeff Beck\" data-mce-fragment=\"1\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\"\u003e[click here to see more vinyl featuring Jeff Beck]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eVocals – Alf Razzell, Rita Coolidge\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eVocals, Acoustic Guitar – Roger Waters \u003cspan style=\"color: #ff8000;\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003ca title=\"vinyl featuring roger waters\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/roger-waters\" style=\"color: #ff8000;\" data-mce-fragment=\"1\"\u003e[click here to see more vinyl featuring Roger Waters]\u003c\/a\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e4 LPs, Box \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 45 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : \u003cspan data-mce-fragment=\"1\"\u003eQuality Record Pressings\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Analogue Productions\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Columbia\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded \u003cspan data-mce-fragment=\"1\"\u003e1987–1992 \u003c\/span\u003eby Nick Griffiths\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineered by Hayden Bendall, Jerry Jordan, Stephen McLaughlan, Sean O'Dwyer, Andy Bradfield, Brian Burrows, Chris Brown, Dary Sulich, Jeremy Wheatley, John Lowson, Marc Moreau, Mike Bosley, Ross Donaldson, Roy Sweeting, Steve Heinke\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Patrick Leonard, Roger Waters, Nick Griffiths\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMastered and Mixed by James Guthrie\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003eOriginally released in 1992\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003eTo be reissued in 2022\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cbr\u003eTracks :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv\u003e\u003cspan face=\"Times New Roman\"\u003eSide A :\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003col\u003e\n\u003cli\u003eThe Ballad of Bill Hubbard\u003c\/li\u003e\n\u003cli\u003e\u003cspan\u003eWhat God Wants, Part I\u003c\/span\u003e\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cspan\u003e\u003c\/span\u003e\u003cspan\u003eSide B\u003c\/span\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003col\u003e\n\u003cli\u003ePerfect Sense, Part I\u003c\/li\u003e\n\u003cli\u003e\u003cspan\u003ePerfect Sense, Part II\u003c\/span\u003e\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003c\/div\u003e\n\u003cdiv\u003eSide C :\u003c\/div\u003e\n\u003cdiv\u003e\n\u003col\u003e\n\u003cli\u003e\u003cspan\u003eThe Bravery of Being Out of Range\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan\u003eLate Home Tonight, Part I\u003c\/span\u003e\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003eSide D :\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003col\u003e\n\u003cli\u003eLate Home Tonight, Part II\u003c\/li\u003e\n\u003cli\u003e\u003cspan\u003eToo Much Rope\u003c\/span\u003e\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cspan\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003eSide E :\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003col\u003e\n\u003cli\u003e\u003cspan\u003eWhat God Wants, Part II\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003eWhat God Wants, Part III\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003eSide F :\u003c\/div\u003e\n\u003cdiv\u003e\n\u003col\u003e\n\u003cli\u003eWatching TV\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003eSide G :\u003c\/div\u003e\n\u003cdiv\u003e\n\u003col\u003e\n\u003cli\u003eThree Wishes\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003eSide H :\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cspan\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003col\u003e\n\u003cli\u003e\u003cspan\u003eIt's A Miracle\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003eAmused To Death\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cspan size=\"3\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan size=\"3\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cstrong\u003e\u003cbr\u003eAwards\u003c\/strong\u003e :\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan style=\"color: #ff2a00;\" size=\"3\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cb\u003eTAS Super LP List! Special Merit: Informal\u003c\/b\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cspan style=\"color: #ff2a00;\" size=\"3\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eGrammy Award for Best Surround Sound Album\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cspan size=\"3\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cspan size=\"3\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan size=\"3\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cstrong\u003e\u003cbr\u003eReviews\u003c\/strong\u003e :\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cspan size=\"3\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp\u003e« War is Roger Waters' great muse, the impetus for so much of his work, including the semi-autobiographical 1979 opus The Wall. The Final Cut, his last album with Pink Floyd, functioned as an explicit sequel to The Wall, but 1992's Amused to Death acts as something of a coda, a work where Waters revisits his obsessions -- both musical and lyrical -- and ties them together with the masterful touch of a mature artist. Certainly, Waters' narrative of a society filtering all manners of ugliness through a television screen isn't as sci-fi silly as that of its immediate predecessor Radio K.A.O.S., but a greater point in its favor is that it's a richer affair than that stiff, synthesized relic of the late '80s. Working with Patrick Leonard -- a veteran collaborator of Madonna's who also dabbled with the latter-day David Gilmour-led Pink Floyd -- Waters gives Amused to Death forward momentum, an aspect conspicuously absent from the still, meditative The Final Cut and Pros and Cons of Hitchhiking, both of which seemed to be comprised of song poems. The tunes on Amused aren't quite hooky or melodic but they do have structure, as does the production by Waters, Leonard, and Nick Griffiths. The tapestry of found sounds, choirs, televisions, washes of organ, lonely acoustic guitars, and blues leads by Jeff Beck does recall Floyd at their '70s peak, but Amused to Death sounds grander and more expansive; it's a creature of the CD age, using up every one of its available 72 minutes. At this length, it's a mere ten minutes shorter than The Wall, and although it can sometimes feel indulgent, it never feels excessive. Unlike the other two Waters solo albums -- or The Final Cut, which is a Waters project masquerading as a Floyd album -- Amused to Death feels cohesive and complete as an anti-war rock opera. If it winds up being Waters' last original rock album, so be it: it is a masterpiece in the sense that it brings together all of his obsessions in one grand, but not unwieldy, package. » AllMusic Review by Stephen Thomas Erlewine\u003c\/p\u003e\n\u003cp\u003e\"In some ways, this is even better than\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eThe Wall\u003c\/em\u003e. Waters got a lot of top performers to play on the album, usually behind his singing and speaking of the lyrics .... Guitarist Jeff Beck is heard frequently in the album, with his special virtuosity on eight of the tracks. ... (Waters is) certainly at his cynical best here - and without him Pink Floyd — never mind the general doom and gloom — wouldn't have been the top rock group it is and was.\" —\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eAudiophile Audition\u003c\/em\u003e, Jan. 12, 2016.\u003c\/p\u003e\n\u003cp\u003e\"Despite the bombast and conceit, this long-time audiophile favorite sounds outstanding in this 200-gram vinyl edition. Back in the day you needed some pretty heady drugs to make DSOTM sound this good, and the stellar line-up of musicians, with Jeff Beck on eight tracks, makes for a pharmaceutical-free audiophile amusement ride. The LP surfaces are dead quiet too, allowing you to hear every nuance of cricket chirp and dog bark.\"  Dennis D. Davis,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eHi-Fi +\u003cbr\u003e\u003cbr\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003eRatings\u003c\/strong\u003e : \u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\u003cspan size=\"3\"\u003e\u003cspan size=\"3\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eAllMusic : 4.5 \/ 5 , Discogs : 4.69 \/ 5\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003ch1\u003e\u003cbr\u003e\u003c\/h1\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":42254928118010,"sku":"AAPP 468761-45","price":215.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/roger-waters-amused-to-death-4lp-box-45rpm-180g-audiosoundmusic-1.png?v=1719857286"},{"product_id":"simon-and-garfunkel-bridge-over-troubled-water-2lp-45-rpm-box-1step","title":"Simon and Garfunkel - Bridge Over Troubled Water (2LP, 45 RPM, Box, 1STEP)","description":"\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e\u003cbr\u003eORDER LIMITED TO ONE ITEM PER CUSTOMER\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSimon \u0026amp; Garfunkel \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/Simon-Garfunkel\" title=\"vinyl featuring Simon \u0026amp; Garfunkel\"\u003e\u003cspan style=\"color: rgb(255, 128, 0);\"\u003e[click here to see more vinyl featuring Simon \u0026amp; Garfunkel]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePaul Simon – lead vocals, acoustic guitar, percussion \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/paul-simon\" title=\"vinyl featuring Paul Simon\"\u003e\u003cspan style=\"color: rgb(255, 128, 0);\"\u003e[click here to see more products featuring Paul Simon]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eArt Garfunkel – lead vocals, percussion\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003e \u003ca title=\"audiophile vinyl featuring Art Garfunkel\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/art-garfunkel\"\u003e\u003cspan style=\"color: rgb(255, 128, 0);\"\u003e[click here to see more products featuring Art Garfunkel]\u003c\/span\u003e\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLos Incas – Peruvian instruments\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJoe Osborn – bass guitar\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLarry Knechtel – piano\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFred Carter Jr. – guitar\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePete Drake – Dobro, pedal steel guitar\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHal Blaine – drums\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJimmie Haskell and Ernie Freeman – strings\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJon Faddis, Randy Brecker, Lew Soloff and Alan Rubin – Brass\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRoy Halee – engineer and co-producer\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by Paul Simon (all except A2 \u0026amp; D3), Felice and Boudleaux Bryant (D3). A2 is an arrangement of an 18th Century Peruvian Folk Melody by Jorge Milchberg.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e2 LPs, box set\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eLimited to 7,500 numbered copies\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eUD1S (UltraDisc One-Step)\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 45 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio \u0026amp; Live (D3)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : RTI\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : MOFI\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Columbia\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eD3 recorded Live at Iowa State University, other tracks recorded at Columbia Studio B and E, New York City and CBS Columbia Square, Los Angeles in November 1968 and November 1969\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineered \u0026amp; mixed by Roy Halee\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Art Garfunkel, Paul Simon, Roy Halee\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by Krieg Wunderlich\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1970\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2018\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eBridge Over Troubled Water\u003c\/li\u003e\n\u003cli\u003eEl Condor Pasa (If I Could)\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eCecilia\u003c\/li\u003e\n\u003cli\u003eKeep The Customer Satisfied\u003c\/li\u003e\n\u003cli\u003eSo Long, Frank Lloyd Wright\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide C:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eThe Boxer\u003c\/li\u003e\n\u003cli\u003eBaby Driver\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide D:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eThe Only Boy Living In New York\u003c\/li\u003e\n\u003cli\u003eYou Don't Write Me\u003c\/li\u003e\n\u003cli\u003eBye Bye Love\u003c\/li\u003e\n\u003cli\u003eSong For The Asking\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAwards:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eRolling Stone 500 Greatest Albums of All Time - Ranked 172\/500\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e1000 Recordings You Must Hear Before You Die - Ranked 197\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eTAS Super LP List! Special Merit: Informal\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e\u003cspan class=\"421441414-17032005\"\u003e\u003cspan face=\"Arial\" color=\"#ff0000\" size=\"2\"\u003eStereophile Records to Die For - 2015\u003c\/span\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e1971 Grammy Awards:\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eAlbum of the Year\u003c\/strong\u003e\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eBest Engineered Recording\u003c\/strong\u003e\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eRecord of the Year\u003c\/strong\u003e\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eSong of the Year\u003c\/strong\u003e\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eContemporary Song of the Year\u003c\/strong\u003e\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eInstrumental Arrangement of the Year\u003c\/strong\u003e\u003c\/span\u003e\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp\u003e“Bridge Over Troubled Water was one of the biggest-selling albums of its decade, and it hasn't fallen too far down on the list in years since. Apart from the gospel-flavored title track, which took some evolution to get to what it finally became, however, much of Bridge Over Troubled Water also constitutes a stepping back from the music that Simon \u0026amp; Garfunkel had made on Bookends -- this was mostly because the creative partnership that had formed the body and the motivation for the duo's four prior albums literally consumed itself in the making of Bridge Over Troubled Water. The overall effect was perhaps the most delicately textured album to close out the 1960s from any major rock act. Bridge Over Troubled Water, at its most ambitious and bold, on its title track, was a quietly reassuring album; at other times, it was personal yet soothing; and at other times, it was just plain fun. The public in 1970 -- a very unsettled time politically, socially, and culturally -- embraced it; and whatever mood they captured, the songs matched the standard of craftsmanship that had been established on the duo's two prior albums. Between the record's overall quality and its four hits, the album held the number one position for two and a half months and spent years on the charts, racking up sales in excess of five million copies. The irony was that for all of the record's and the music's appeal, the duo's partnership ended in the course of creating and completing the album.” AllMusic Review by Bruce Eder\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eUltraDisc One-Step :\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003eInstead of utilizing the industry-standard three-step lacquer process, Mobile Fidelity Sound Lab's new UltraDisc One-Step (UD1S) uses only one step, bypassing two processes of generational loss. While three-step processing is designed for optimum yield and efficiency, UD1S is created for the ultimate in sound quality. Just as Mobile Fidelity pioneered the UHQR (Ultra High-Quality Record) with JVC in the 1980s, UD1S again represents another state-of-the-art advance in the record-manufacturing process. MFSL engineers begin with the original master tapes and meticulously cut a set of lacquers. These lacquers are used to create a very fragile, pristine UD1S stamper called a \"convert.\" Delicate \"converts\" are then formed into the actual record stampers, producing a final product that literally and figuratively brings you closer to the music. By skipping the additional steps of pulling another positive and an additional negative, as done in the three-step process used in standard pressings, UD1S produces a final LP with the lowest noise floor possible today. The removal of the additional two steps of generational loss in the plating process reveals tremendous amounts of extra musical detail and dynamics, which are otherwise lost due to the standard copying process. The exclusive nature of these very limited pressings guarantees that every UD1S pressing serves as an immaculate replica of the lacquer sourced directly from the original master tape. Every conceivable aspect of vinyl production is optimized to produce the most perfect record album available today.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eAllMusic : 5 \/ 5 , Discogs : 4,22 \/ 5 , TAS : 5\/5 Music, 4\/5 Sonics\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":42275234513146,"sku":"MFSL45UD1S-004","price":690.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/simon-and-garfunkel-bridge-over-troubled-water-2lp-45-rpm-box-1step-audiosoundmusic-1.jpg?v=1719857495"}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/collections\/grammy-award-audiosoundmusic.png?v=1719851020","url":"https:\/\/www.audiosoundmusic.com\/collections\/grammy-award.oembed?page=2","provider":"AudioSoundMusic","version":"1.0","type":"link"}