{"title":"Hybrid SACD","description":"","products":[{"product_id":"elvis-presley-elvis-is-back","title":"Elvis Presley - Elvis Is Back (Hybrid SACD)","description":"\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003eElvis Presley – vocals, acoustic guitar \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/elvis-presley\" title=\"vinyl featuring Elvis Presley\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/elvis-presley\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Elvis Presley]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eScotty Moore - electric guitar\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHank Garland – electric guitar, electric bass\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFloyd Cramer – piano\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBob Moore – double bass\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJ. Fontana - drums\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBuddy Harman – drums\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe Jordanaires – backing vocals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBoots Randolph – saxophone\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCharlie Hodge – backing vocals (on \"I Will Be Home Again\")\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 Hybrid SACD\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 : RCA Victor\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded \u003c\/strong\u003e\u003cstrong\u003eMarch–April 1960 in \u003c\/strong\u003e\u003cstrong\u003eRCA Victor Studio B, Nashville, Tennessee by Bill Porter\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMastered by George Marino\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Chet Atkins, Steve Sholes\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 2012\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2024\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\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e1000 Recordings you must hear before you die - Ranked 25\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp style=\"padding-left: 40px;\"\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e1. Make Me Know It\u003cbr\u003e2. Fever\u003cbr\u003e3. The Girl of My Best Friend\u003cbr\u003e4. I Will Be Home Again\u003cbr\u003e5. Dirty, Dirty Feeling\u003cbr\u003e6. Thrill of Your Love\u003cbr\u003e7. Soldier Boy\u003cbr\u003e8. Such a Night\u003cbr\u003e9. It Feels So Right\u003cbr\u003e10. Girl Next Door Went A'Walking\u003cbr\u003e11. Like a Baby\u003cbr\u003e12. Reconsider Baby\u003c\/p\u003e\n\u003col\u003e\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e\"Although they have common recording origins, two of the three singles, \"It's Now or Never\" and \"Are You Lonesome Tonight,\" were very quirky by the standards of Elvis songs at the time -- the former inspired by Elvis's admiration for Tony Martin's 1949 hit \"There's No Tomorrow,\" while the latter was recorded at the request of Col. Parker as a favor to his wife. They add to the diversity of sounds on this record, which shows a mature Elvis Presley. \"Dirty, Dirty Feeling\" and \"It Feels So Right\" showed he could still rock out and challenge authority and propriety, while \"Reconsider Baby\" and \"Like a Baby\" offer some of his best blues performances; but \"The Thrill of Your Love\" (a very gospel-tinged number), \"Soldier Boy,\" \"Girl of My Best Friend,\" and \"Girl Next Door Went a' Walking,\" also displayed the rich, deep vocalizing that would challenge critics' expectations of Elvis Presley playing rhythm guitar throughout. He also comes off better than on any of his other albums since arriving at RCA, as a musician as much as a \"star\" (he'd always had a lot more to say about running his sessions than the critics who loathed his RCA years indicated).\" \u003cspan data-mce-fragment=\"1\"\u003eAllMusic Review by Bruce Eder \u003c\/span\u003e\u003cbr\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 : 4.67 \/ 5\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":42246921715962,"sku":"CAPP 2231 SA","price":49.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/files\/elvis-presley-elvis-is-back-hybrid-sacd-audiosoundmusic-1.png?v=1719857252"},{"product_id":"steppenwolf-gold-their-great-hits-1lp-33rpm-200g","title":"Steppenwolf Gold - Their Great Hits (Hybrid SACD)","description":"\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJohn Kay – lead vocals, rhythm guitar, harmonica\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMichael Monarch – lead guitar, backing vocals \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRushton Moreve – bass guitar, backing vocals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJerry Edmonton – drums, backing vocals \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGoldy McJohn – keyboards, backing vocals \u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eGold Hybrid SACD\u003c\/b\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 : Dunhill Records\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Gabriel Mekler, Richard Podolor \u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv\u003e\n\u003cp\u003e\u003cstrong\u003eMastered by Kevin Gray at Cohearent Audio\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003eOriginally released in 2018\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 Sept 2024\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\n\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\u003cspan\u003e1. Born to Be Wild\u003cbr\u003e2. It's Never Too Late\u003cbr\u003e3. Rock Me\u003cbr\u003e4. Hey Lawdy Mama\u003cbr\u003e5. Move Over\u003cbr\u003e6. Who Needs Ya\u003cbr\u003e7. Magic Carpet Ride\u003cbr\u003e8. The Pusher\u003cbr\u003e9. Sookie, Sookie\u003cbr\u003e10. Jupiter's Child\u003cbr\u003e11. Screaming Night Hog\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\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« The term heavy metal was rightfully named for this band. Steppenwolf fused traditional rock and R\u0026amp;B with late '60s contemporary heaviness. \"Born to Be Wild,\" their signature tune, has aged amazingly well. Aside from the song's power and performance, its engineering and production is stellar. This goes for most of Steppenwolf's catalog as well. Other tracks of note include the lesser known \"Rock Me, which was used in the film Candy. It's an amazing period piece that reflects the underside of Hollywood life. This album is a but thin -- containing only ten tracks -- but as an introduction to a great band, it's nearly perfect. » AllMusic Review by Matthew Greenwald\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\"Perhaps the biggest surprise about this 1971 compilation, nearly a half-century after the band's heyday, is not the quality of the music — that's obvious — but the sonic impact. Most of us were introduced to this paradigm of gusty, semi-psychedelic rock via AM radio (or a certain hit road movie about two biker\/hippies...), so few of us listened to 'Born To Be Wild' or 'Magic Carpet Ride' over good sound systems. But damn, the sound is solid, visceral, raunchy and detailed. John Kay's snarl, a wall of guitars, those much-loved pedal effects and 11 sure-fire classics... This reissue is truly a fitting tribute to keyboardist Goldy McJohn, who passed away last August.\" Ken Kessler, \u003c\/span\u003e\u003cem\u003eHi Fi News\u003c\/em\u003e\u003cspan\u003e, April 2018\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eSteppenwolf enjoyed worldwide success from 1968 to 1972, when clashing personalities ultimately broke up the core group after a farewell concert in Los Angeles on Valentine's Day, 1972. Today, John Kay remains as the only original Steppenwolf member.\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\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 : 4.5 \/ 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":42255207399674,"sku":"CAPP 115 SA","price":49.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/files\/steppenwolf-gold-their-great-hits-hybrid-sacd-audiosoundmusic.png?v=1719857331"},{"product_id":"sam-cooke-night-beat-2lp-45rpm","title":"Sam Cooke - Night Beat (Hybrid SACD)","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSam Cooke - Vocals\u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/sam-cooke\" title=\"vinyl featuring Sam Cooke\"\u003e\u003cspan style=\"color: #ff8000;\"\u003e [click here to see more vinyl featuring Sam Cooke]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRené Hall – conductor, guitar\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eClifton White, Barney Kessel – guitar\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCliff Hils – bass guitar\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSharky Hall – drums, tambourine\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHal Blaine – drums\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRay Johnson – piano\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBilly Preston – organ\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 Hybrid 3-Channel SACD\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 : RCA Victor\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineered by Dave Hassinger\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Hugo \u0026amp; Luigi\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by George Marino at Sterling Sound\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1995\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2009\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\u003col\u003e\u003c\/ol\u003e\n\u003cp style=\"padding-left: 40px;\"\u003e1. Nobody Knows the Trouble I've Seen\u003cbr\u003e2. Lost and Lookin'\u003cbr\u003e3. Mean Old World\u003cbr\u003e4. Please Don't Drive Me Away\u003cbr\u003e5. I Lost Everything\u003cbr\u003e6. Get Yourself a Another Fool\u003cbr\u003e7. Little Red Rooster\u003cbr\u003e8. Laughin' and Clownin'\u003cbr\u003e9. Trouble Blues\u003cbr\u003e10. You Gotta Move\u003cbr\u003e11. Fool's Paradise\u003cbr\u003e12. Shake Rattle and Roll\u003cbr\u003e\u003c\/p\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 magazine's 100 Greatest Singers Of All Time – Ranked No. 4\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“Whenever I think of Night Beat, I wonder how many records as perfect have been made since 1963. Listen anew to Sam Cooke's vocal honey on this Soul Blues album and I doubt you will come up with any worthy contenders...This 45 RPM issue was remastered at Sterling Sound and brings out the backing musicians including organist Billy Preston and guitarist Barney Kessel better than the ABKCO release, and makes it sound more like Sam was in the same room with the band. The definitive Night Beat.” Reuben Parry, Hi-Fi+, Issue 69\u003c\/p\u003e\n\u003cp\u003e“The consistency of the album's mood and tone is remarkable as is the unerring correctness of Cooke's phrasing and the way he shapes vocal colors and textures. Cooke had a wide range of unique vocal trademarks that others copied, including one particular 'woaha woaha woo' you'll recognize. Listen to Rod Stewart after playing this. Cooke's soul seems to reside in Stewart.” Michael Fremer, MusicAngle\u003c\/p\u003e\n\u003cp\u003e“Saddled with soaring strings and vocal choruses for maximum crossover potential, Sam Cooke's solo material often masked the most important part of his genius -- his glorious voice -- so the odd small-group date earns a special recommendation in his discography. Thankfully, Cooke's voice took center stage on this admirably low-key session from February 1963, recorded in Los Angeles with a quartet of studio veterans. Unlike so many session crews and producers of the time, these musicians gave him plenty of space and often simply framed Cooke's breathtaking vocals. (On one of the best tracks here, \"Lost and Lookin',\" he's barely accompanied at all; only bass and cymbals can be heard far in the background.) The results are wonderful -- except for his early Soul Stirrers sides, Night Beat is the best place to marvel at one of the two or three best voices of the century. The songs are intimate blues, most taken at the pace of a late-night stroll, but despite the dark shading and heart-rending tempos, Cooke's voice is so transcendent it's difficult to become depressed while listening. Cooke also wrote three of the songs, including the excellent \"Mean Old World,\" and rendered the traditional \"Nobody Knows the Trouble I've Seen\" practically unfamiliar with his own re-arrangement. Cooke also stretches out on a pair of jump blues classics, \"Little Red Rooster\" and \"Shake, Rattle and Roll,\" summoning some honest grit for the former and putting the uptown swing into the latter. He also allows some solo space, from Barney Kessel's simple, unadorned solo on \"Get Yourself Another Fool\" to Billy Preston's playful organ vocalizing on \"Little Red Rooster.\" If Sam Cooke had lived longer, there would've been several more sessions like this, but Night Beat is an even richer treasure for its rarity.” AllMusic Review by John Bush\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 : 5 \/ 5 , Discogs : 4,83 \/ 5 \u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":42293509554426,"sku":"CAPP 2709 SA","price":49.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/sam-cooke-night-beat-hybrid-sacd-audiosoundmusic-1.jpg?v=1719857636"},{"product_id":"elvis-presley-stereo-57-essential-elvis-volume-2-2lp-45rpm-200g","title":"Elvis Presley - Stereo '57 - Essential Elvis Volume 2 (Hybrid SACD)","description":"\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003eCOMPILATION\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eElvis Presly – Vocal, Guitar \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/elvis-presley\" title=\"vinyl featuring Elvis Presley\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/elvis-presley\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Elvis Presley]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe Jordanaires \u003c\/strong\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 Hybrid SACD\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 : RCA\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded 1955 to 1961 at Radio Recorders, Los Angeles\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by Ryan Smith at Sterling Sound\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Roger Semon\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1988\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2013\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\u003e\u003cbr\u003e1. I Beg Of You (Take 1)\u003cbr\u003e2. Is It So Strange (Take 1)\u003cbr\u003e3. Have I Told You Lately That I Love (Take 2)\u003cbr\u003e4. It Is No Secret (What God Can Do) (Takes 1,2,3)\u003cbr\u003e5. Blueberry Hill (Take 2)\u003cbr\u003e6. Mean Woman Blues (Take 14)\u003cbr\u003e7. There'll Be Peace In The Valley (Takes 2,3)\u003cbr\u003e8. Have I Told You Lately I Love You (Take 6)\u003cbr\u003e9. Blueberry Hill (Take 7)\u003cbr\u003e10. That's When Your Heartaches Begin (Takes 4,5,6)\u003cbr\u003e11. Is It So Strange (Takes 7,11)\u003cbr\u003e12. I Beg Of You (Takes 6,8)\u003cbr\u003e13. Peace In The Valley (Take 7)\u003cbr\u003e14. Have I Told You Lately That I Love You (Takes 12,13)\u003cbr\u003e15. I Beg Of You (Take 12)\u003cbr\u003e16. I Believe (Take 4) *Bonus Mono Track\u003cbr\u003e17. Tell Me Why (Take 5) *Bonus Mono Track\u003cbr\u003e18. Got A Lot O' Livin' To Do! (Take 9) *Bonus Mono Track\u003cbr\u003e19. All Shook Up (Take 10) *Bonus Mono Track\u003cbr\u003e20. Take My Hand, Precious Lord (Take 14) *Bonus Mono Track\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“The second volume of Essential Elvis offers Elvis in binaural stereo from the January 1957 sessions that produced several hits. (…) This is a lot of fun; the gaffes are numerous, obvious, and hilarious, and for ears raised on multi-track recording, it must be amazing to hear an entire record recorded live in the studio!” AllMusic Review by Neal Umphred\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eDiscogs : 4,89 \/5 \u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":42330396557562,"sku":"CAPP 057 SA","price":49.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/elvis-presley-stereo-57-essential-elvis-volume-2-2lp-45-rpm-audiosoundmusic-1.jpg?v=1719864595"},{"product_id":"jeff-beck-wired","title":"Jeff Beck - Wired (Hybrid SACD)","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJeff Beck - guitar \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/jeff-beck\" title=\"vinyl featuring Jeff Beck\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/jeff-beck\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Jeff Beck]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMax Middleton - keyboard\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRichard Bailey - drums\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJan Hammer - keyboard\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMichael Narada Walden - drums\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWilbur Bascomb – bass\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 Hybrid SACD\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 : Epic\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded at\u003c\/strong\u003e \u003cstrong\u003eAIR Studios, London ; Trident Studios, London ; Cherokee Studios, Los Angeles\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineered \u0026amp; mixed by Geoff Emerick, John Mills\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by George Martin\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by Ryan Smith at Sterling Sound from the original analog tape\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1976\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2016\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\u003e1. Led Boots\u003cbr\u003e2. Come Dancing\u003cbr\u003e3. Goodbye Pork Pie Hat\u003cbr\u003e4. Head For Backstage Pass\u003cbr\u003e5. Blue Wind\u003cbr\u003e6. Sophie\u003cbr\u003e7. Play With Me\u003cbr\u003e8. Love Is Green\u003c\/p\u003e\n\u003col\u003e\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp\u003e“Released in 1976, Jeff Beck's Wired contains some of the best jazz-rock fusion of the period. Wired is generally more muscular, albeit less-unique than its predecessor, Blow by Blow. Joining keyboardist Max Middleton, drummer Richard Bailey, and producer George Martin from the Blow by Blow sessions are drummer Narada Michael Walden, bassist Wilbur Bascomb, and keyboardist Jan Hammer. Beck contributed no original material to Wired, instead relying on the considerable talents of his supporting cast. Perhaps this explains why Wired is not as cohesive as Blow by Blow, seemingly more assembled from component parts. Walden's powerful drumming propels much of Wired, particularly Middleton's explosive opener, \"Led Boots,\" where Beck erupts into a stunning solo of volcanic intensity. Walden also contributes four compositions, including the funk-infused \"Come Dancing,\" which adds an unnamed horn section. While Walden's \"Sophie\" is overly long and marred by Hammer's arena rock clichés, his \"Play With Me\" is spirited and Hammer's soloing more melodic. Acoustic guitar and piano predominate the closing ballad, \"Love Is Green\"; Beck's electric solo gracefully massages the quiet timbres. Wired is well balanced by looser, riff-oriented material and Walden's more intricate compositions. Walden and Hammer give Wired a '70s-era jazz-rock flavor that is indicative of their work with the Mahavishnu Orchestra. Bascomb's throw-down, \"Head for Backstage Pass,\" finds Bailey skillfully navigating the mixed meters while Beck counters with a dazzling, gritty solo. Hammer's \"Blue Wind\" features an infectious riff over which Beck and Hammer trade heated salvos. As good as \"Blue Wind\" is, it would have benefited from the Walden\/Bascomb rhythm section and a horn arrangement by Martin. One of Wired's finest tracks is an arrangement of Charles Mingus' \"Goodbye Pork Pie Hat.\" Beck's playing is particularly alluring: cleanly ringing tones, weeping bends, and sculpted feedback form a resonant palette. Bailey and Middleton lend supple support. Within a two-year span, the twin towers Blow by Blow and Wired set a standard for instrumental rock that even Beck has found difficult to match. On Wired, with first-rate material and collaborators on hand, one of rock's most compelling guitarists is in top form.” AllMusic Review by Mark Kirschenmann\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 : 4.2 \/ 5\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eNotes:\u003c\/p\u003e\n\u003cp\u003e\"My goodness ... is this really 40 years old? Its re-release, however, couldn't be better timed, as Beck is enjoying a career renaissance with a fine new album — Loud Hailer — reviewed this month, and has just published a lavish book about his two loves: music and cars. Wired and its predecessor, Blow By Blow, provided Beck with a new persona, his fame prior to the mid-1970s resting on his hard rock\/heavy metal\/blues\/psychedelia output for The Yardbirds and The Jeff Beck Group. This is jazz-rock fusion redolent of the era, but it still sounds so fluid, so rich with musical non-sequiturs that it makes the rest seem pedestrian. Beck is my all-time fave guitarist and Truth my fave LP of his, but this is simply breathtaking.\" — Sound Quality = 92% - Ken Kessler, HiFi News, November 2016\u003c\/p\u003e\n\u003cp\u003eRecorded in 1976 with the legendary George Martin as producer (The Beatles), both reprise their magic from Beck's Blow By Blow with an awesome array of jazz-rock-funk fusion, which is often sited as one of this genres finest recordings.\u003cbr\u003e \u003cbr\u003eThis time for the eight incredible tracks, Jeff brings back the great Max Middleton on keys and Richard Bailey on drums, as well as new additions and future mainstay keyboardist Jan Hammer and the power drums of Michael Narada Walden, plus bassist Wilbur Bascomb.\u003cbr\u003eWith legendary tracks such as Charles Mingus's \"Goodbye Pork Pie Hat,\" and Jan Hammer's \"Blue Wind,\" Wired soon became a radio and retail staple which has truly endured and stood the test of time. Rightfully so, this album continues to inspire and influence a whole new generation of guitar players and music lovers worldwide.\u003cbr\u003eNow Wired is back bigger and better than ever! We've gone the deluxe Analogue Productions route — remastered from the original analog tape by Ryan Smith at Sterling Sound,.\u003cbr\u003eA great title, a brilliant reissue — what could be better?\u003cbr\u003e Jeff Beck's l - Wired. Recorded in 1976 with the legendary George Martin as producer (The Beatles), both reprise their magic from Beck’s Blow By Blow on a stunning set of jazz-rock-funk fusion that is often sited as one of the finest of the genre.\u003cbr\u003e Beck once again brings back the great Max Middleton on keys and Richard Bailey on drums, as well as new additions and future mainstay keyboardist Jan Hammer and the power drums of Michael Narada Walden, plus bassist Wilbur Bascombon a collection of eight incredible tracks. \u003cbr\u003e Rightfully so, this album continues to inspire and influence a whole new generation of guitar players and music lovers worldwide.\u003cbr\u003e Beck's playing is particularly alluring: cleanly ringing tones, weeping bends, and sculpted feedback form a resonant palette. Bailey and Middleton lend supple support. Within a two-year span, the twin towers Blow by Blow and Wired set a standard for instrumental rock that even Beck has found difficult to match. On Wired, with first-rate material and collaborators on hand, one of rock's most compelling guitarists is in top form.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":42340263854330,"sku":"CAPP 081 SA","price":49.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/jeff-beck-wired-hybrid-sacd-audiosoundmusic-1.jpg?v=1719857879"},{"product_id":"sarah-mclachlan-afterglow-2lp-45rpm","title":"Sarah McLachlan - Afterglow (Hybrid SACD)","description":"\u003cp\u003e\u003cstrong\u003eVocals, Piano – Sarah McLachlan  \u003ca title=\"vinyl featuring Sarak mcLachlan\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/sarah-mclachlan\"\u003e\u003cspan style=\"color: #ff8000;\"\u003e[click here to see more vinyl by Sarah McLachlan]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBacking Vocals – Jorane \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBass – Pierre Marchand , Tony Levin , Daryl Johnson \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAcoustic Bass – Jimmy Creeggan \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCello and cello arrangement – Jorane \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDrums, Percussion – Ashwin Sood\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDrum Programming [Loops] – Ashwin Sood \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGuitar – Bill Dillon , Michael Chaves , Michel Pepin , Pierre Marchand, Sarah McLachlan  Sean Ashby , \u003cspan data-mce-fragment=\"1\"\u003eEthan Johns , \u003c\/span\u003e\u003c\/strong\u003e\u003cstrong\u003eYves Desrosiers \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eKeyboards – Pierre Marchand , Sarah McLachlan \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eKeyboards [Keyboard Bass] – Ashwin Sood \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSynthesizer [Synth Bass] – Pierre Marchand \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOrgan [Guitorgan], Organ [Church Organ] – Bill Dillon\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOrgan [Hammond] – David Kershaw \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePercussion – Jerry Marotta \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by Sarah McLachlan, Pierre Marchand\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 Hybrid SACD\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 : Nettwerk\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded August 2002 – 2003\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineered and mixed by Pierre Marchand\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Pierre Marchand\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMastered  by Bernie Grundman Mastering at Bernie Grundman Mastering\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLacquer cut by Bernie Grundman Mastering\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in November 2003\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2014\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\u003c\/ol\u003e\n\u003cp\u003e\u003cbr\u003e1. Fallen\u003cbr\u003e2. World On Fire\u003cbr\u003e3. Stupid\u003cbr\u003e4. Drifting\u003cbr\u003e5. Train Wreck\u003cbr\u003e6. Push\u003cbr\u003e7. Answer\u003cbr\u003e8. Time\u003cbr\u003e9. Perfect Girl\u003cbr\u003e10. Dirty Little Secret\u003c\/p\u003e\n\u003col\u003e\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp\u003e“During the mid-'90s, Sarah McLachlan was a near-ubiquitous presence in pop music, establishing adult alternative pop radio with 1994's Fumbling Toward Ecstasy and 1997's Surfacing and spearheading the popular Lilith Fair touring festival, but once the last Lilith wound up in 1999, she retreated from the spotlight, had a baby, and seemingly retired from music. Four years later, she made a typically subdued return with Afterglow, her first album in six years. Not much has changed in the time she was away. Afterglow is firmly within the McLachlan signature sound -- a softly tuneful, mildly atmospheric blend of classic singer\/songwriterism and a touch of vaguely dreamy alternative pop, all shined and immaculately produced by Pierre Marchand. Prior to its release, the album was touted as the first collection of songs she wrote entirely on piano, not guitar, but ultimately this doesn't make much of a difference to the overall feel and effect of the album, which perfectly dovetails with Surfacing. At times, the pacing is so languid and the production so open-ended, the album kind of drifts away, but it's not only in a pleasant fashion; it's also no different than its immediate predecessor, which also could meander. In other words, after a prolonged absence, Sarah McLachlan re-emerges with a record that could have followed Surfacing by six months, not years. Some may call that predictable, some may call it reliable, but there's little arguing that Afterglow is a solid effort -- it won't win new fans, but it will certainly satisfy the old ones.” 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\u003eDiscogs : 4,57 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":42989990347002,"sku":"CAPP 054 SA","price":49.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/sarah-mclachlan-afterglow-2lp-45-rpm-audiosoundmusic-1.jpg?v=1719864596"},{"product_id":"eric-clapton-unplugged-hybrid-ultradisc-uhr","title":"Eric Clapton - Unplugged (Hybrid SACD, Ultradisc UHR)","description":"\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\u003eEric Clapton – lead vocals, acoustic guitar, dobro, kazoo \u003ca title=\"vinyl featuring Eric Clapton\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/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 \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHybrid SACD, \u003c\/strong\u003e\u003cstrong\u003esingle-pocket gatefold cardboard jacket, no booklet\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan style=\"color: #ff2a00;\"\u003eLimited numbered edition \u003c\/span\u003e\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\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\u003eProduced by Alex Coletti, Russ Titelman\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMastered by Shawn R. Britton at Mobile Fidelity Sound Lab, Sebastopol, CA on the GAIN HD SYSTEM\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 May 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\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\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\u003cli\u003eWalkin' Blues\u003c\/li\u003e\n\u003cli\u003eAlberta\u003c\/li\u003e\n\u003cli\u003eSan Francisco Bay Blues\u003c\/li\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 \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\u003eUHR\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eUltra High-Resolution (UHR) dual-layer hybrid SACD is recorded with Direct Stream Digital Technology at a sampling rate of 11.2 MHZ and a frequency response of DC to 100KHz. In addition, a high-precision down-conversion is utilized for the CD layer (16bit\/44.1kHz) to preserve the sonic integrity of the original DSD capture. The result is State-of-the-art sound on any machine that can play either standard compact discs or SACDs.\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 : 4.65 \/ 5 \u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":43995180630266,"sku":"UDSACD 2224","price":49.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/eric-clapton-unplugged-hybrid-sacd-ultradisc-uhr-audiosoundmusic-1.jpg?v=1719861006"},{"product_id":"bob-james-kirk-whalum-joined-at-the-hip-hybrid-sacd","title":"Bob James \u0026 Kirk Whalum – Joined At The Hip (Hybrid SACD)","description":"\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\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eTracks 10 \u0026amp; 11 are only playable on SACD players\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eKeyboards – Bob James \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/bob-james\" title=\"Vinyl featuring Bob James\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/bob-james\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl and SACD featuring Bob James]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSaxophone – Kirk Whalum\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBass – Chris Walker\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDrums – Billy Kilson\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGuitar – Hiram Bullock (2, 5, 8), Jeff Golub\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePercussion – Leonard \"Doc\" Gibbs (2- 5, 9- 11)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by Bob James (2, 4, 6, 7, 11), David Levray (3, 10), David Nichtern (5), Donny Hathaway (8), Kirk Whalum (1, 3, 9-10), Leroy Hutson (8)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e  \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHybrid SACD\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eLimited to 1,000 numbered copies\u003c\/strong\u003e\u003c\/span\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 : Evosound\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Warner\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded and Mixed by Ken Freeman\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Bob James\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePhotography by Jeffrey Scales\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1996\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\u003col\u003e\n\u003cli\u003eSoweto\u003c\/li\u003e\n\u003cli\u003eKickin' Back\u003c\/li\u003e\n\u003cli\u003eOut of the Cold\u003c\/li\u003e\n\u003cli\u003eDeja Blue\u003c\/li\u003e\n\u003cli\u003eMidnight at the Oasis\u003c\/li\u003e\n\u003cli\u003eTell Me Something Nice\u003c\/li\u003e\n\u003cli\u003eTour de Fourths\u003c\/li\u003e\n\u003cli\u003eThe Ghetto\u003c\/li\u003e\n\u003cli\u003eThe Prayer\u003c\/li\u003e\n\u003cli\u003eOut of the Cold (Original Full Version)\u003c\/li\u003e\n\u003cli\u003eDeja Blue (Original Full Version)\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003col\u003e\u003c\/ol\u003e\n\u003col\u003e\u003c\/ol\u003e\n\u003col\u003e\u003c\/ol\u003e\n\u003col\u003e\u003c\/ol\u003e\n\u003col\u003e\u003c\/ol\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp\u003e“Bob James learned the value of give and take between musicians, along with the fine art of collaboration, from his early experiences on the road with mentor Sarah Vaughan. Later, when he became an artist in his own right, he did more than simply take those lessons to heart -- he built a great part of his storied career on landmark duet recordings with David Sanborn, Earl Klugh, and Fourplay. Remembering what it was like to be young, gifted, and hungry to learn, James not only became an icon to a new generation of contemporary jazz performers, but also personal mentor to one of the genre's most respected young players, saxman Kirk Whalum. After many appearances on each other's solo efforts since the mid-80's, Whalum and James are now on equal terms, Joined at the Hip for a project more spontaneous and soulful than most of their recent output. Keeping that adventurous spontaneity going are the duo's inventive support band of guitarist Jeff Golub, bassist Chris Walker, and drummer Billy Kilson -- all inspired choices neither had previously worked with. The fresh approaches of these new collaborators helps make Joined at the Hip unique from any previous James\/Whalum recording. Golub is particularly sharp, easing from rock distortion to funky blues while soloing with all the fiery intensity of his own two solo discs on the no-holds-barred \"Out of the Cold.\" He also adds edgy emotion to the dark tones of \"Tell Me Something Nice.\" Tilson captures the spirit of the project with his crucial input on the playful \"Kicking Back.\"\u003c\/p\u003e\n\u003cp\u003eAs James explains it, Tilson sat at his kit and started pounding out a rhythm, which James then noodled over to create the initial framework of the playful \"Kicking Back.\"” AllMusic Review by Jonathan Widran\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 : 4.5 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":44048635887866,"sku":"EVSA853S","price":39.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/bob-james-and-kirk-whalum-joined-at-the-hip-hybrid-sacd-audiosoundmusic-1.jpg?v=1719861032"},{"product_id":"eldissa-upside-down-hybrid-sacd","title":"Eldissa – Upside Down (Hybrid SACD)","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEldissa – Vocals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSusan Wong - Vocals \u003ca title=\"vinyl featuring Susan Wong\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/susan-wong\" data-mce-fragment=\"1\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\"\u003e[click here to see more vinyl and SACD featuring Susan Wong]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMafé, Sylvie Bourban, Licia Chery - Background Vocals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJan Dahlem - Piano (Grand)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMathias Demoulin - Bass (Upright)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eIgnacio Lamas - Guitar (Acoustic), Guitar (Electric), Slide Guitar\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by Stig Anderson (1), Benny Andersson (1), Björn Ulvaeus (1), Henri Belolo (2), Jacques Morali (2), Victor Willis (2), Bernard Edwards (3), Nile Rodgers (3), Pete Bellotte (4), Harold Faltermeyer (4), Keith Forsey (4), Carmine Appice (5), Duane Hitchings (5), Del Newman (5), Rod Stewart (5), Bernard Edwards (6), Nile Rodgers (6), Burt Bacharach (7), Barry White (7), Paul Jabara (8), Paul Shaffer (8), Licia Chery (9), Ignacio Lamas (9), Adrien Zerbini (9), Dino Fekaris (10), Freddie Perren (10), Bernard Edwards (11), Kalama Koanui (11), Nile Rodgers (11), Clifton Davis (12)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e  \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHybrid SACD\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 : Evosound\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Evosound\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineered by Bernard Amaudruz\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMixed by Yvan Bing\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Adrien Zerbini\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMastered by Greg Dubuis and Bastiaan Kuijt\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReleased in November 2016\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\u003col\u003e\n\u003cli\u003eDancing Queen\u003c\/li\u003e\n\u003cli\u003eY.M.C.A\u003c\/li\u003e\n\u003cli\u003eUpside Down\u003c\/li\u003e\n\u003cli\u003eHot Stuff\u003c\/li\u003e\n\u003cli\u003eDa Ya Think I'm Sexy?\u003c\/li\u003e\n\u003cli\u003eSpacer\u003c\/li\u003e\n\u003cli\u003eLet The Music Play\u003c\/li\u003e\n\u003cli\u003eIt's Raining Men\u003c\/li\u003e\n\u003cli\u003eRain On Me\u003c\/li\u003e\n\u003cli\u003eI Will Survive\u003c\/li\u003e\n\u003cli\u003eWe Are Family\u003c\/li\u003e\n\u003cli\u003eNever can say goodbye\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003col\u003e\u003c\/ol\u003e\n\u003col\u003e\u003c\/ol\u003e\n\u003col\u003e\u003c\/ol\u003e\n\u003col\u003e\u003c\/ol\u003e\n\u003col\u003e\u003c\/ol\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp\u003eBefore 2005, Bossa Nova and Disco were different musical styles that hadn't met. The release of “What a difference…..”, the first album of Eldissa, changed that forever.\u003c\/p\u003e\n\u003cp\u003eThe story began when producer Adrien ‘Z’ Zerbini worked during the summer of 2003 with a soul singer and a Bossa nova guitarist focused on seamlessly melting Disco and Bossa Nova into an irresistible blend.\u003c\/p\u003e\n\u003cp\u003eAfter the worldwide success of “What a difference…..” the trend of covering almost all, and every type, of song as a Bossa Nova cover became widespread . So it has been really challenging to produce a new album based on the same motto “Disco meets Bossa Nova”, but here it is, and it’s good!\u003c\/p\u003e\n\u003cp\u003eAdrien worked with the guitarist and arranger Ignacio Lamas (aka “Magic Touch”) and 3 amazing singers with 3 different types of voice: Sylvie Bourban (aka Jazzy), Mafé (aka Spicy) and Licia Chery (aka Sunny). “All the musicians have a strong identity, a soul, and a special light in the way they play”, adds Adrien, “this album is more complete and more sober than the first one, and everything has been recorded in high resolution (96\/24) which creates an incredible clarity”.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":44048750182650,"sku":"EVSU365SACD","price":39.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/eldissa-upside-down-hybrid-sacd-audiosoundmusic-1.jpg?v=1719861031"},{"product_id":"dire-straits-on-every-street-hybrid-sacd","title":"Dire Straits – On Every Street (Hybrid SACD)","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\u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/dire-straits\" title=\"vinyl from Dire Straits\"\u003e\u003cspan style=\"color: #ff8000;\"\u003e\u003cstrong\u003e[Click here to see more vinyl \u0026amp; SACD from Dire Straits]\u003c\/strong\u003e\u003c\/span\u003e\u003c\/a\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMark Knopfler – vocals, guitars \u003cspan style=\"color: #ff8000;\"\u003e\u003ca data-mce-fragment=\"1\" style=\"color: #ff8000;\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/mark-knopfler\" title=\"vinyl featuring Mark Knopfler\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/mark-knopfler\"\u003e[see more vinyl \u0026amp; SACD featuring Mark Knopfler]\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eManu Katché – drums and percussion (7, 11) \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/manu-katche\" title=\"vinyl featuring Manu Katché\"\u003e\u003cspan style=\"color: #ff8000;\"\u003e[click here to see more vinyl \u0026amp; SACD featuring Manu Katché]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAlan Clark – keyboards, string conductor (9)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGuy Fletcher – keyboards, backing vocals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJohn Illsley – bass\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePhil Palmer – guitars\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eVince Gill – guitar and backing vocals (5)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePaul Franklin – pedal steel guitar, acoustic lap steel guitar (6)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJeff Porcaro – drums, percussion\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDanny Cummings – percussion\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eChris White – flute, saxophones\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGeorge Martin – string arranger and conductor (9)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAll songs written by Mark Knopfler\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 Hybrid SACD,  \u003c\/strong\u003e\u003cstrong\u003eMini-LP Gatefold Package\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\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Mobile FidelIty\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Vertigo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded November 1990 – May 1991 at AIR Studios, London\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineered by Chuck Ainlay and Bill Schnee\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMixed by Neil Dorfsman (1-6, 8-11), Bob Clearmountain (7)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Mark Knopfler, Dire Straits\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMastered by Mobile Fidelity Sound Lab\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in September 1991\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2023\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eCalling Elvis\u003c\/li\u003e\n\u003cli\u003eOn Every Street\u003c\/li\u003e\n\u003cli\u003eWhen It Comes To You\u003c\/li\u003e\n\u003cli\u003eFade To Black\u003c\/li\u003e\n\u003cli\u003eThe Bug\u003c\/li\u003e\n\u003cli\u003eYou And Your Friend\u003c\/li\u003e\n\u003cli\u003eHeavy Fuel\u003c\/li\u003e\n\u003cli\u003eIron Hand\u003c\/li\u003e\n\u003cli\u003eTicket To Heaven\u003c\/li\u003e\n\u003cli\u003eMy Parties\u003c\/li\u003e\n\u003cli\u003ePlanet Of New Orleans\u003c\/li\u003e\n\u003cli\u003eHow Long\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003col\u003e\u003c\/ol\u003e\n\u003col start=\"8\"\u003e\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e“It took Mark Knopfler more than six years to craft a follow up to Dire Straits' international chart-topper, Brothers In Arms, but though On Every Street sold in the expected multi-millions worldwide on the back of the band's renown and a year-long tour, it was a disappointment. Knopfler remained a gifted guitar player with tastes in folk (\"Iron Hand\"), blues (\"Fade To Black\"), and rockabilly (\"The Bug\"), among other styles, but much of the album was low-key to the point of being background music. The group had long-since dwindled to original members Knopfler and bassist John Illsley, plus a collection of semi-permanent sidemen who provided support but no real musical chemistry. The closest thing to a successor to \"Money For Nothing,\" the big hit from Brothers In Arms, was the sarcastic rocker \"Heavy Fuel.\" It became an album rock radio favorite (though not a chart single), and fans still filled stadiums to hear \"Sultans Of Swing,\" but On Every Street was not the comeback it should have been.” 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 : 2 \/ 5 \u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":46481400299855,"sku":"UDSACD2239","price":49.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/dire-straits-on-every-street-hybrid-sacd-audiosoundmusic.jpg?v=1719861223"},{"product_id":"eagles-hotel-california-hybrid-sacd","title":"Eagles - Hotel California (Hybrid SACD, Ultradisc UHR)","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\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 (1, 6), Don Henley (1-6, 9), Glenn Frey (1-6, 9), John David Southern (2), Joe Walsh (3, 7), Jim Ed Norman (5), John David Southern (6), Joe Vitale (7), Randy Meisner (8)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 Hybrid SACD, \u003c\/strong\u003e\u003cstrong\u003eSingle-pocket gatefold with an 8-panel stapled color booklet and 3-panel folded one-sided black \u0026amp; white mini-poster\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\u003eUltradisc UHR\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDisc made in Austria\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 : 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\u003eMastered by Shawn R. Britton at Mobile Fidelity Sound Lab, Sebastopol, CA on the GAIN HD SYSTEM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1976\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in March 2023\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eHotel California\u003c\/li\u003e\n\u003cli\u003eNew Kid In Town\u003c\/li\u003e\n\u003cli\u003eLife In The Fast Lane\u003c\/li\u003e\n\u003cli\u003eWasted Time\u003c\/li\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\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 37\/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 \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eUltra High-Resolution (UHR)\u003c\/strong\u003e is a dual-layer hybrid SACD recorded with Direct Stream Digital Technology at a sampling rate of 11.2 MHZ and a frequency response of DC to 100KHz. In addition, a high-precision down-conversion is utilized for the CD layer (16bit\/44.1kHz) to preserve the sonic integrity of the original DSD capture. The result: State-of-the-art sound on any machine that can play either standard compact discs or SACDs.\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 : 4.88 \/ 5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":46505784574287,"sku":"UDSACD 2233","price":49.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/eagles-hotel-california-hybrid-sacd-ultradisc-uhr-audiosoundmusic-1.jpg?v=1719861255"},{"product_id":"supertramp-breakfast-in-america-hybrid-sacd-ultradisc-uhr","title":"Supertramp - Breakfast In America (Hybrid SACD, Ultradisc UHR)","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\u003eSupertramp \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/Supertramp\" title=\"vinyl \u0026amp; SACD featuring Supertramp\"\u003e\u003cspan style=\"color: rgb(255, 128, 0);\"\u003e[click here to see more vinyl featuring Supertramp]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRick Davies – vocals and keyboards including clavinet on A2\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRoger Hodgson – vocals, keyboards and guitars, including acoustic 12-string guitar on track 2\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJohn Helliwell – saxophones, vocals, woodwinds\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBob Siebenberg (credited as Bob C. Benberg) – drums\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDougie Thomson – bass\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAdditional personnel\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSlyde Hyde – tuba and trombone\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGary Mielke – Oberheim programming\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 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\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : MOFI\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : A M Records\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded \u003cspan\u003eMay–December 1978 \u003c\/span\u003eat The Village Recorder, Los Angeles\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineered by Peter Henderson\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Supertramp\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMastered by Rob LoVerde at Mobile Fidelity Sound Lab, Sebastopol, CA on THE GAIN HD SYSTEM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1979\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in May 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\u003col\u003e\n\u003cli\u003eGone Hollywood\u003c\/li\u003e\n\u003cli\u003eThe Logical Song\u003c\/li\u003e\n\u003cli\u003eGoodbye Stranger\u003c\/li\u003e\n\u003cli\u003eBreakfast In America\u003c\/li\u003e\n\u003cli\u003eOh Darling\u003c\/li\u003e\n\u003cli\u003eTake The Long Way Home\u003c\/li\u003e\n\u003cli\u003eLord Is It Mine\u003c\/li\u003e\n\u003cli\u003eJust Another Nervous Wreck\u003c\/li\u003e\n\u003cli\u003eCasual Conversations\u003c\/li\u003e\n\u003cli\u003eChild Of Vision\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\"With Breakfast in America, Supertramp had a genuine blockbuster hit, topping the charts for four weeks in the U.S. and selling millions of copies worldwide; by the 1990s, the album had sold over 18 million units across the world. Although their previous records had some popular success, they never even hinted at the massive sales of Breakfast in America. Then again, Supertramp's earlier records weren't as pop-oriented as Breakfast. The majority of the album consisted of tightly written, catchy, well-constructed pop songs, like the hits \"The Logical Song,\" \"Take the Long Way Home,\" and \"Goodbye Stranger.\" Supertramp still had a tendency to indulge themselves occasionally, but Breakfast in America had very few weak moments. It was clearly their high-water mark.\" \u003cspan\u003eAllMusic Review by Stephen Thomas Erlewine\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eUltra High-Resolution (UHR)\u003c\/strong\u003e\u003cspan\u003e is a dual-layer hybrid SACD recorded with Direct Stream Digital Technology at a sampling rate of 11.2 MHZ and a frequency response of DC to 100KHz. In addition, a high-precision down-conversion is utilized for the CD layer (16bit\/44.1kHz) to preserve the sonic integrity of the original DSD capture. The result: State-of-the-art sound on any machine that can play either standard compact discs or SACDs.\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 : 4.8 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":46505874686287,"sku":"UDSACD 2189","price":49.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/supertramp-breakfast-in-america-hybrid-sacd-ultradisc-uhr-audiosoundmusic-1.jpg?v=1719861255"},{"product_id":"michael-jackson-thriller-hybrid-sacd-ultradisc-uhr","title":"Michael Jackson - Thriller (Hybrid SACD, Ultradisc UHR)","description":"\u003ch2\u003e\u003cbr\u003e\u003c\/h2\u003e\n\u003cp\u003e\u003cstrong\u003eMichael Jackson - vocal \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/michael-jackson\" title=\"Vinyl featuring Michael Jackson\"\u003e\u003cspan style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Michael Jackson]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eVocal – Paul McCarney (3), Vincent Price (4)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBacking Vocals – Becky Lopez (1, 8), Bunny Hull (1, 8), Howard Hewett (8), James Ingram (1, 8), Janet Jackson (8), Julia Waters (1), LaToya Jackson (8), Maxine Waters (1), Oren Waters (1)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBass – Louis Johnson (1, 9), Louis Johnson (3, 6, 8), Steve Lukather (5)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDrums – Jeff Porcaro (3, 5, 7, 9), Ndugu Chancler (2, 6, 8)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGuitar – Eddie Van Halen (5), David Williams (1, 2, 4, 6), Dean Parks (3), Paul Jackson (5, 8-9), Steve Lukather (3, 8, 7)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHandclaps – Greg Phillinganes (8), James Ingram (8), Louis Johnson (8), Steven Ray (8)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eKeyboards – Greg Phillinganes (1 to 6, 8-9), James Ingram (8), Tom Bahler (5)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePercussion – Paulinho Da Costa (1, 7)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePiano – David Paich (3)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSaxophone, Flute – Larry Williams (tracks: 1-2, 4)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSynthesizer – Anthony Marinelli (2, 4), Bill Wolfer (1, 5-6), Brian Banks (2, 4), David Foster (3), David Paich (2, 7, 9), Greg Smith (6), Michael Boddicker (1-2, 6 to 9), Rod Temperton (4), Steve Porcaro (2-3, 5, 7-8)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSynthesizer – Greg Smith (5)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTrombone – Bill Reichenbach (1-2, 4)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTrumpet, Flugelhorn – Gary Grant (1-2, 4), Jerry Hey (1-2, 4)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e  \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHybrid SACD, single-pocket gatefold with a 12-panel lyric and credits stapled booklet insert\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\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : MOFI\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 (5)\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 Shawn R Britton at Mobile Fidelity Sound Lab, Sebastopol, CA on The Gain HD System\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 November 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\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\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\u003cp\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\u003eUltra High-Resolution (UHR)\u003c\/strong\u003e\u003cspan\u003e is a dual-layer hybrid SACD recorded with Direct Stream Digital Technology at a sampling rate of 11.2 MHZ and a frequency response of DC to 100KHz. In addition, a high-precision down-conversion is utilized for the CD layer (16bit\/44.1kHz) to preserve the sonic integrity of the original DSD capture. The result: State-of-the-art sound on any machine that can play either standard compact discs or SACDs.\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 : 4.76 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":46505922036047,"sku":"UDSACD 2251","price":49.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/michael-jackson-thriller-hybrid-sacd-ultradisc-uhr-audiosoundmusic-1.jpg?v=1719861281"},{"product_id":"pink-floyd-animals-2018-remix-hybrid-sacd","title":"Pink Floyd – Animals (2018 Remix, Hybrid SACD, 5.1 Surround Mix)","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan style=\"color: #ff8000;\"\u003e\u003ca style=\"color: #ff8000;\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/pink-floyd\" title=\"vinyl featuring Pink Floyd\"\u003e\u003c\/a\u003e\u003c\/span\u003ePink Flyod \u003c\/strong\u003e\u003cstrong\u003e\u003cspan style=\"color: #ff8000;\"\u003e\u003ca style=\"color: #ff8000;\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/pink-floyd\" title=\"vinyl featuring Pink Floyd\"\u003e[click here to see more vinyl featuring Pink Floyd]\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBass, Guitar, Vocals – Roger Waters \u003ca title=\"vinyl featuring roger waters\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/roger-waters\"\u003e\u003cspan style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Roger Waters]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eKeyboards, Vocals – Richard Wright\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDrums – Nick Mason\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGuitar, Bass, Keyboards, Vocals – David Gilmour\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by Roger Waters (all tracks) and David Gilmour (2)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e  \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 SACD, Hardback Book Package with 28-Page Book in Slipcase\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\u003e5.1 Surround Mix\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\u003eDisc Made in Japan\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 April–December 1976 at Britannia Row Studios, London\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineered by Brian Humphries\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Pink Floyd\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemixed and mastered by James Guthrie and Joel Plante at das boot recording\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal album originally released in January 1977\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemix issued in September 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\u003col\u003e\n\u003cli\u003ePigs On The Wing 1\u003c\/li\u003e\n\u003cli\u003eDogs\u003c\/li\u003e\n\u003cli\u003ePigs (Three Different Ones)\u003c\/li\u003e\n\u003cli\u003eSheep\u003c\/li\u003e\n\u003cli\u003ePigs On The Wing 2\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003col\u003e\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp\u003e“Of all of the classic-era Pink Floyd albums, Animals is the strangest and darkest, a record that's hard to initially embrace yet winds up yielding as many rewards as its equally nihilistic successor, The Wall. It isn't that Roger Waters dismisses the human race as either pigs, dogs, or sheep, it's that he's constructed an album whose music is as bleak and bitter as that world view. Arriving after the warm-spirited (albeit melancholy) Wish You Were Here, the shift in tone comes as a bit of a surprise, and there are even less proper songs here than on either Wish or Dark Side. Animals is all extended pieces, yet it never drifts -- it slowly, ominously works its way toward its destination. For an album that so clearly is Waters', David Gilmour's guitar dominates thoroughly, with Richard Wright's keyboards rarely rising above a mood-setting background (such as on the intro to \"Sheep\"). This gives the music, on occasion, immediacy and actually heightens the dark mood by giving it muscle. It also makes Animals as accessible as it possibly could be, since it surges with bold blues-rock guitar lines and hypnotic space rock textures. Through it all, though, the utter blackness of Waters' spirit holds true, and since there are no vocal hooks or melodies, everything rests on the mood, the near-nihilistic lyrics, and Gilmour's guitar. These are the kinds of things that satisfy cultists, and it will reward their attention -- there's just no way in for casual listeners.” Original Album AllMusic Review by Stephen Thomas Erlewine\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e5.1 Surround Mix.\u003c\/strong\u003e 5.1 surround sound is the common name for surround sound audio systems and the most commonly used layout in home theatres. It uses five full bandwidth channels and one low-frequency effects channel (the \"point one\"). Dolby Digital, Dolby Pro Logic II, DTS, SDDS, and THX are all common 5.1 systems. 5.1 is also the standard surround sound audio component of digital broadcast and music.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eAllMusic (original album) : 4 \/ 5 ; Discogs : 4.93 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":46506220126543,"sku":"CAPP 88271 SA","price":49.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/pink-floyd-animals-2018-remix-hybrid-sacd-5-1-surround-mix-audiosoundmusic-1.jpg?v=1719861281"},{"product_id":"pink-floyd-the-dark-side-of-the-moon-hybrid-sacd","title":"Pink Floyd – The Dark Side Of The Moon (Hybrid SACD, 5.1 Surround Mix)","description":"\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\/pink-floyd\" title=\"vinyl featuring Pink Floyd\" style=\"color: #ff8000;\"\u003e\u003cstrong\u003e[click here to see more vinyl featuring Pink Floyd]\u003c\/strong\u003e\u003c\/a\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBass Guitar, Vocals, Synthesizer [VCS3], Tape Effects – Roger Waters \u003ca title=\"vinyl featuring roger waters\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/roger-waters\"\u003e\u003cspan style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Roger Waters]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eKeyboards, Vocals, Synthesizer [VCS3] – Richard Wright\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eVocals, Guitar, Synthesizer [VCS3] – David Gilmour\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eVocals – Clare Torry (5)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBacking Vocals – Barry St John, Doris Troy, Leslie Duncan, Liza Strike\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePercussion, Tape Effects – Nick Mason\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSaxophone – Dick Parry (6-7)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLyrics by Roger Waters\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMusic written by Nick Mason (1, 4, 8), David Gilmour (2-4, 8), Richard Wright (2, 4-5, 7-8), Roger Waters (2-4, 6-7, 9-10)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e  \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 SACD, Hardback Book Package with 28-Page Book in Slipcase\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\u003e5.1 Surround Mix\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\u003eDisc Made in Japan\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 : Capitol\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded at Abbey Road Studios, London between June 1972 and January 1973\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineered by Alan Parsons\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMixed by Chris Thomas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Pink Floyd\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e5.1 and Stereo Mastering by Doug Sax, James Guthrie\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e5.1 Surround Mix by James Guthrie\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDSD Authoring For SACD by Gus Skinas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in March 1973\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in July 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\u003col\u003e\n\u003cli\u003e\n\u003cp\u003eSpeak To Me\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003eBreathe (In The Air)\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003eOn The Run\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003eTime\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003eThe Great Gig In The Sky\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003eMoney\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003eUs And Them\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003eAny Colour You Like\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003eBrain Damage\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003eEclipse\u003c\/p\u003e\n\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\u003eRolling Stone 500 Greatest Albums of All Time - Ranked 55\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eIn 2009, Planet Rock listeners voted it the greatest of all time\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eNumber two on the \"Definitive 200\" list of albums, made by the National Association of Recording Merchandisers\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eRanked 29th in The Observer's 2006 list of \"The 50 Albums That Changed Music\"\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eRanked 37th in The Guardian's 1997 list of the \"100 Best Albums Ever\"\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eRanked number 9 in Colin Larkin's All Time Top 1000 Albums 3rd Edition (2000)\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eHi-Fi News Album Choice for March 2022\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“By condensing the sonic explorations of Meddle to actual songs and adding a lush, immaculate production to their trippiest instrumental sections, Pink Floyd inadvertently designed their commercial breakthrough with Dark Side of the Moon. The primary revelation of Dark Side of the Moon is what a little focus does for the band. Roger Waters wrote a series of songs about mundane, everyday details which aren't that impressive by themselves, but when given the sonic backdrop of Floyd's slow, atmospheric soundscapes and carefully placed sound effects, they achieve an emotional resonance. But what gives the album true power is the subtly textured music, which evolves from ponderous, neo-psychedelic art rock to jazz fusion and blues-rock before turning back to psychedelia. It's dense with detail, but leisurely paced, creating its own dark, haunting world. Pink Floyd may have better albums than Dark Side of the Moon, but no other record defines them quite as well as this one.” AllMusic Review by Stephen Thomas Erlewine\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e5.1 Surround Mix.\u003c\/strong\u003e 5.1 surround sound is the common name for surround sound audio systems and the most commonly used layout in home theatres. It uses five full bandwidth channels and one low-frequency effects channel (the \"point one\"). Dolby Digital, Dolby Pro Logic II, DTS, SDDS, and THX are all common 5.1 systems. 5.1 is also the standard surround sound audio component of digital broadcast and music.\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 : 4.91 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":46506271932751,"sku":"19075810332","price":49.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/pink-floyd-the-dark-side-of-the-moon-hybrid-sacd-5-1-surround-mix-audiosoundmusic-1.jpg?v=1719861281"},{"product_id":"big-brother-and-the-holding-company-cheap-thrills","title":"Big Brother and the Holding Company - Cheap Thrills (Hybrid SACD)","description":"\u003ch2\u003e\u003cspan style=\"color: #ff2a00;\" data-mce-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\u003eJanis Joplin – vocals \u003ca data-mce-fragment=\"1\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/janis-joplin\" title=\"vinyl featuring Janis Joplin\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/janis-joplin\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"color: #ff8000;\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl and SACD featuring Janis Joplin]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSam Andrew – guitar, bass on 'Oh, Sweet Mary', vocals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJames Gurley – guitar\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePeter Albin – bass, lead guitar on 'Oh, Sweet Mary', lead acoustic guitar on 'Turtle Blues'.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDave Getz – drums\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJohn Simon – piano\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 Hybrid SACD\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\" data-mce-style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eLimited numbered edition\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eStereo\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded \u003cspan data-mce-fragment=\"1\"\u003eMarch 2 – May 20, 1968 \u003c\/span\u003eat Fillmore Auditorium\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineered by Fred Catero, James Gurley, Janis Joplin, Jerry Hochman, Roy Segal\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by \u003cspan data-mce-fragment=\"1\"\u003eBob Irwin\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMastered by Rob LoVerde at \u003c\/strong\u003e\u003cstrong\u003e\u003cspan data-mce-fragment=\"1\"\u003eMobile Fidelity Sound Lab\u003c\/span\u003e\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 2016\u003c\/strong\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\u003e1. Combination Of The Two\u003cbr\u003e2. I Need A Man To Love\u003cbr\u003e3. Summertime\u003cbr\u003e4. Piece Of My Heart\u003cbr\u003e5. Turtle Blues\u003cbr\u003e6. Oh, Sweet Mary\u003cbr\u003e7. Ball And Chain\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: #ff2a00;\"\u003e\u003cstrong\u003eRolling Stone 500 Greatest Albums of All Time - Rated 338\/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 - \"Piece Of My Heart\" - Rated 353\/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 120\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003e:\u003c\/p\u003e\n\u003cp\u003e\"Cheap Thrills, the major-label debut of Janis Joplin, was one of the most eagerly anticipated, and one of the most successful, albums of 1968. Joplin and her band Big Brother \u0026amp; the Holding Company had earned extensive press notice ever since they played the Monterey Pop Festival in June 1967, but for a year after that their only recorded work was a poorly produced, self-titled album that they'd done early in their history for Mainstream Records; and it took the band and the best legal minds at Columbia Records seven months to extricate them from their Mainstream contract, so that they could sign with Columbia. All the while, demand continued to build, and they still faced the problem of actually delivering something worthy of the press they'd been getting -- Columbia even tried to record them live on-stage on the tour they were in the midst of when the new contract was signed, but somehow the concert tapes from early March of 1968 didn't capture the full depth of their work. So they spent March, April, and May in the studio with producer John Simon and, miraculously, emerged with something that was as exciting as anything they'd done on-stage. When Cheap Thrills appeared in August 1968 -- sporting a Robert Crumb cover on its gatefold jacket that constituted the most elaborate album design ever lavished on a rock album from Columbia Records, as well as a pop-art classic rivaling the Beatles' Sgt. Pepper's jacket -- it shot into the charts, reaching number one and going gold within a couple of months, and \"Piece of My Heart\" became a Top 40 hit and helped to propel the LP to over a million sales. Joplin, with her ear- (and vocal cord-) shredding voice, was the obvious standout. Nobody had ever heard singing as emotional, as desperate, as determined, or as loud as Joplin's, and Cheap Thrills was her greatest moment. Not that everything was done full out -- there were relatively quiet moments on the album that were as compelling as the high-wattage showcases; her rendition of George Gershwin's \"Summertime\" was the finest rock reinterpretation of a standard done by anybody up to that time (though, in an incident recalled in his autobiography Clive, when Columbia Records president Clive Davis played it to Richard Rodgers to give him an example of some of the sounds that younger audiences of the late '60s were listening to, the 66-year-old Rodgers stomped out of the Columbia corporate offices in fury, vowing never to write another song); and Joplin's own \"Turtle Blues\" showed that she and the band could turn down and do credible acoustic blues, in something like an authentic period Bessie Smith (or, more properly, Memphis Minnie) sound. Big Brother's backup, typical of the guitar-dominated sound of San Francisco psychedelia, made up in enthusiasm what it lacked in precision. But everybody knew who the real star was, and Joplin played her last gig with Big Brother while the album was still on top of the charts. Neither she nor the band would ever equal it. Heard today, Cheap Thrills is a musical time capsule and remains a showcase for one of rock's most distinctive singers.\" \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\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003e:\u003c\/p\u003e\n\u003cp\u003eAllMusic : 5 \/ 5 , Discogs : 4,33 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":46522595967311,"sku":"MOBSA2172","price":49.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/big-brother-and-the-holding-company-cheap-thrills-hybrid-sacd-audiosoundmusic-1.png?v=1719861304"},{"product_id":"dire-straits-brothers-in-arms-hybrid-sacd","title":"Dire Straits – Brothers in Arms (Hybrid SACD, Ultradisc UHR)","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\u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/dire-straits\" title=\"vinyl from Dire Straits\"\u003e\u003cspan style=\"color: #ff8000;\"\u003e\u003cstrong\u003e[Click here to see more vinyl \u0026amp; SACD from Dire Straits]\u003c\/strong\u003e\u003c\/span\u003e\u003c\/a\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMark Knopfler – vocals, guitars \u003cspan style=\"color: #ff8000;\"\u003e\u003ca data-mce-fragment=\"1\" style=\"color: #ff8000;\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/mark-knopfler\" title=\"vinyl featuring Mark Knopfler\"\u003e[see more vinyl \u0026amp; SACD featuring Mark Knopfler]\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSting – vocals on \"Money for Nothing\" \u003ca data-mce-fragment=\"1\" title=\"vinyl featuring Sting\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/sting\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Sting]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJohn Illsley – bass guitar and vocals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAlan Clark – keyboards\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGuy Fletcher – keyboards and vocals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOmar Hakim – drums\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTerry Williams – drums\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMichael Brecker – saxophone (B2)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTony Levin – bass on (D2)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJack Sonni – guitar synthesizer (D1)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by Mark Knopfler, Sting (A2)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 Hybrid SACD,  \u003c\/strong\u003e\u003cstrong\u003eMini-LP Gatefold Package with 6 page lyric booklet\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\u003eUltradisc UHR\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 : Mobile FidelIty\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Vertigo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded \u003cspan data-mce-fragment=\"1\"\u003eOctober 1984 – February 1985 \u003c\/span\u003eat AIR Studios, Montserrat\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineered by Neil Dorfsman\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Mark Knopfler, Neil Dorfsman\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMastered by Shawn R. Britton\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMastered at Mobile Fidelity Sound Lab\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGlass master made by Sony DADC\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eManufactured by Rhino Entertainment Company, a Warner Music Group Company\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1985\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\u003col\u003e\n\u003cli\u003eSo Far Away\u003c\/li\u003e\n\u003cli\u003eMoney for Nothing\u003c\/li\u003e\n\u003cli\u003eWalk of Life\u003c\/li\u003e\n\u003cli\u003eYour Latest Trick\u003c\/li\u003e\n\u003cli\u003eWhy Worry\u003c\/li\u003e\n\u003cli\u003eRide Across The River \u003c\/li\u003e\n\u003cli\u003eThe Man’s Too Strong\u003c\/li\u003e\n\u003cli\u003eOne World\u003c\/li\u003e\n\u003cli\u003eBrothers in Arms\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003col start=\"8\"\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 352\/500\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cb\u003e\u003cspan\u003e1000 Recordings You Must Hear Before You Die - Ranked 551\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003e:\u003c\/p\u003e\n\u003cp\u003e\"Comparing the original Bob Ludwig mastered LP (Warner Brothers WB 9-25264-1) with this double 45rpm edition is easy: there is no comparison… This version features explosive dynamics, super-tight and deep bass, pristine \"crystalline\" highs… Inner detail resolution mesmerizes, the guitars transients are oh-so-cleanly rendered and there's even air and space… if you're a fan of the music and the sound, this is the vinyl version to have. It rocks!. BTW: this sealed copy was perfectly pressed by RTI and I do mean perfect.\"\u003cspan\u003e Michael Fremer, www.analogplanet.com\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\"Brothers in Arms brought the atmospheric, jazz-rock inclinations of Love Over Gold into a pop setting, resulting in a surprise international best-seller. Of course, the success of Brothers in Arms was helped considerably by the clever computer-animated video for \"Money for Nothing,\" a sardonic attack on MTV. But what kept the record selling was Mark Knopfler's increased sense of pop songcraft -- \"Money for Nothing\" had an indelible guitar riff, \"Walk of Life\" is a catchy up-tempo boogie variation on \"Sultans of Swing,\" and the melodies of the bluesy \"So Far Away\" and the down-tempo, Everly Brothers-style \"Why Worry\" were wistful and lovely. Dire Straits had never been so concise or pop-oriented, and it wore well on them. Though they couldn't maintain that consistency through the rest of the album -- only the jazzy \"Your Latest Trick\" and the flinty \"Ride Across the River\" make an impact -- Brothers in Arms remains one of their most focused and accomplished albums, and in its succinct pop sense, it's distinctive within their catalog.\" \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 \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003e:\u003c\/p\u003e\n\u003cp\u003eAllMusic : 4 \/ 5 , Discogs : 4.65 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":46686900257103,"sku":"UDSACD 2099","price":49.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/files\/dire-straits-brothers-in-arms-hybrid-sacd-ultradisc-uhr-audiosoundmusic-1.jpg?v=1719861518"},{"product_id":"run-dmc-raising-hell-sacd","title":"Run DMC - Raising Hell (Hybrid SACD, Ultradisc UHR)","description":"\u003ch2\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h2\u003e\n\u003cp\u003e\u003cstrong\u003eRun-DMC \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/run-dmc\" title=\"vinyl featuring Run DMC\"\u003e\u003cspan style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Run DMC]\u003c\/span\u003e\u003c\/a\u003e:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDaryl McDaniels, Jason Mizell (Jam Master Jay), Joseph Simmons\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAll instruments except Keyboards And Percussion – Run-DMC\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eKeyboards, Percussion – Jason Mizell\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 SACD, gatefold jacket\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eLimited to 2,000 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\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : MOFI\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Profile Records\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDisc made in Germany\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded \u003cspan\u003e1985-1986 \u003c\/span\u003eat Chung King House Of Metal, Shakedown Sound, Sound Track Recording \u0026amp; Magic Ventures\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineered \u0026amp; mixed by Andy Wallace, Jay Burnett, Peter Millius, Steve Ett\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Rick Rubin, Russell Simmons\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMastered by Rob LoVerde\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1986\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in September 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\u003col\u003e\n\u003cli\u003ePeter Piper\u003c\/li\u003e\n\u003cli\u003eIt's Tricky\u003c\/li\u003e\n\u003cli\u003eMy Adidas\u003c\/li\u003e\n\u003cli\u003eWalk This Way\u003c\/li\u003e\n\u003cli\u003eIs It Live\u003c\/li\u003e\n\u003cli\u003ePerfection\u003c\/li\u003e\n\u003cli\u003eHit It Run\u003c\/li\u003e\n\u003cli\u003eRaising Hell\u003c\/li\u003e\n\u003cli\u003eYou Be Illin'\u003c\/li\u003e\n\u003cli\u003eDumb Girl\u003c\/li\u003e\n\u003cli\u003eSon Of Byford\u003c\/li\u003e\n\u003cli\u003eProud To Be Black\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 209\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eBest Rap Album at the 1987 Soul Train Music Awards\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eIn 2018, it was inducted into the National Recording Registry by the Library of Congress as being \"culturally, historically, or artistically significant\"\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e\u003cspan\u003e1000 Recordings You Must Hear Before You Die - Ranked 579\u003c\/span\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“By their third album, Run-D.M.C. were primed for a breakthrough into the mainstream, but nobody was prepared for a blockbuster on the level of Raising Hell. Run-D.M.C. and King of Rock had established the crew's fusion of hip-hop and hard rock, but that sound didn't blossom until Raising Hell, partially due to the presence of Rick Rubin as producer. Rubin loved metal and rap in equal measures and he knew how to play to the strengths of both, while slipping in commercial concessions that seemed sly even when they borrowed from songs as familiar as \"My Sharona\" (heard on \"It's Tricky\"). Along with longtime Run-D.M.C. producer Russell Simmons, Rubin blew down the doors of what hip-hop could do with Raising Hell because it reached beyond rap-rock and found all sorts of sounds outside of it. Sonically, there is simply more going on in this album than any previous rap record -- more hooks, more drum loops (courtesy of ace drum programmer Sam Sever), more scratching, more riffs, more of everything. Where other rap records, including Run-D.M.C.'s, were all about the rhythm, this is layered with sounds and ideas, giving the music a tangible flow. But the brilliance of this record is that even with this increased musical depth, it still rocks as hard as hell, and in a manner that brought in a new audience. Of course, the cover of Aerosmith's \"Walk This Way,\" complete with that band's Steven Tyler and Joe Perry, helped matters considerably, since it gave an audience unfamiliar with rap an entry point, but if it were just a novelty record, a one-shot fusion of rap and rock, Raising Hell would never have sold three million copies. No, the music was fully realized and thoroughly invigorating, rocking harder and better than any of its rock or rap peers in 1986, and years later, that sense of excitement is still palpable on this towering success story for rap in general and Run-D.M.C. in specific.” AllMusic Review by Stephen Thomas Erlewine\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eUltra High-Resolution (UHR)\u003c\/strong\u003e\u003cspan\u003e is a dual-layer hybrid SACD recorded with Direct Stream Digital Technology at a sampling rate of 11.2 MHZ and a frequency response of DC to 100KHz. In addition, a high-precision down-conversion is utilized for the CD layer (16bit\/44.1kHz) to preserve the sonic integrity of the original DSD capture. The result: State-of-the-art sound on any machine that can play either standard compact discs or SACDs.\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 : 4,39 \/ 5  \u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":46982225854799,"sku":"UDSACD 2169","price":49.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/files\/run-dmc-raising-hell-hybrid-sacd-ultradisc-uhr-audiosoundmusic-1.jpg?v=1719862079"},{"product_id":"stevie-ray-vaughan-couldnt-stand-the-weather-hybrid-sacd-ultradisc-uhr","title":"Stevie Ray Vaughan - Couldn't Stand The Weather (Hybrid SACD, Ultradisc UHR)","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\u003eStevie Ray Vaughan - vocals, guitar \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/stevie-ray-vaughan-1\" title=\"vinyl featuring Stevie Ray Vaughan\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/stevie-ray-vaughan-1\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Stevie Ray Vaughan]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJimmie Vaughan – rhythm guitar on \"Couldn't Stand the Weather\" and \"The Things That I Used to Do\"\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTommy Shannon – bass\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eChris “Whipper” Layton – drums\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eChris Layton – drums\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFran Christina – drums on \"Stang's Swang\"\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStan Harrison – tenor saxophone on \"Stang's Swang\"\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 SACD, standard 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 \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 : Mobile Fidelity\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Epic\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded January 1984 at Power Station Studio, New York City by Richard Mullen \u0026amp; Rob “Ace” Eaton\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Chris Layton, Jim Capfer, Richard Mullen, Stevie Ray Vaughan, Tommy Shannon\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMastered by Shawn R. Britton \u003c\/strong\u003e\u003cstrong\u003eassisted by Rob LoVerde at Mobile Fidelity Soound Lab\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in February 1984\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\u003col\u003e\n\u003cli\u003eScuttle Buttin'\u003c\/li\u003e\n\u003cli\u003eCouldn't Stand The Weather\u003c\/li\u003e\n\u003cli\u003eThe Things (That) I Used to do\u003c\/li\u003e\n\u003cli\u003eVoodoo Chile (Slight Return)\u003c\/li\u003e\n\u003cli\u003eCold Shot\u003c\/li\u003e\n\u003cli\u003eTin Pan Alley\u003c\/li\u003e\n\u003cli\u003eHoney Bee\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003eStand's Swang\u003c\/li\u003e\n\u003c\/ol\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“Stevie Ray Vaughan's second album, Couldn't Stand the Weather, pretty much did everything a second album should do: it confirmed that the acclaimed debut was no fluke, while matching, if not bettering, the sales of its predecessor, thereby cementing Vaughan's status as a giant of modern blues. So why does it feel like a letdown? Perhaps because it simply offers more of the same, all the while relying heavily on covers. Of the eight songs, half are covers, while two of his four originals are instrumentals -- not necessarily a bad thing, but it gives the impression that Vaughan threw the album together in a rush, even if he didn't. Nevertheless, Couldn't Stand the Weather feels a bit like a holding pattern, since there's no elaboration on Double Trouble's core sound and no great strides forward, whether it's in Vaughan's songwriting or musicianship. Still, as holding patterns go, it's a pretty enjoyable one, since Vaughan and Double Trouble play spiritedly throughout the record. With its swaggering, stuttering riff, the title track ranks as one of Vaughan's classics, and thanks to a nuanced vocal, he makes W.C. Clark's \"Cold Shot\" his own. The instrumentals -- the breakneck Lonnie Mack-styled \"Scuttle Buttin'\" and \"Stang's Swang,\" another effective demonstration of Vaughan's jazz inclinations -- work well, even if the original shuffle \"Honey Bee\" fails to make much of an impression and the cover of \"Voodoo Chile (Slight Return)\" is too reminiscent of Jimi Hendrix's original. So, there aren't many weaknesses on the record, aside from the suspicion that Vaughan didn't really push himself as hard as he could have, and the feeling that if he had, he would have come up with something a bit stronger.” AllMusic Review by Stephen Thomas Erlewine\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eUltra High-Resolution (UHR)\u003c\/strong\u003e\u003cspan data-mce-fragment=\"1\"\u003e is a dual-layer hybrid SACD recorded with Direct Stream Digital Technology at a sampling rate of 11.2 MHZ and a frequency response of DC to 100KHz. In addition, a high-precision down-conversion is utilized for the CD layer (16bit\/44.1kHz) to preserve the sonic integrity of the original DSD capture. The result: State-of-the-art sound on any machine that can play either standard compact discs or SACDs.\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 : 4.82 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":46982935281999,"sku":"UDSACD 2075","price":65.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/files\/stevie-ray-vaughan-couldn-t-stand-the-weather-hybrid-sacd-ultradisc-uhr-audiosoundmusic-1.png?v=1719862080"},{"product_id":"keb-mo-keb-mo-hybrid-sacd-ultradisc-uhr","title":"Keb’ Mo’ - Keb’ Mo’ (Hybrid SACD, Ultradisc UHR)","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\u003eKeb’ Mo’, vocal, guitar, harmonica \u0026amp; banjo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTommy Eyre, keyboards\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJames “Hutch” Hutchinson, bass\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e Laval Belle, drums \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eQuentin Dennard, drums on “Angelina” \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTony Draunagel, percussion on “Come On In My Kitchen”\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 SACD, gatefold jacket with a 24-page booklet\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\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : MOFI\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Epic\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded by Joe McGrath and \u003c\/strong\u003e\u003cstrong\u003eby John Strother at \u003c\/strong\u003e\u003cstrong\u003ePenguin Recording and Devonshire Studios\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMixed by Joe McGrath \u003c\/strong\u003e\u003cstrong\u003eat Red Zone Studios, Burbank, CA\u003c\/strong\u003e\u003cspan\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by John Porter\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMastered by Rob LoVerde at Mobile Fidelity Sound Lab, Sebastopol, CA on The Gain 2 System™\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eManufactured by Sony Music Entertainment\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGlass master manufactured at Sony DADC\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePhotography by Frank W. Ockenfels\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1994\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2011\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e1. Every Morning \u003cbr\u003e2. Tell Everybody I Know \u003cbr\u003e3. Love Blues \u003cbr\u003e4. Victims Of Comfort \u003cbr\u003e5 Angelina\u003cbr\u003e6. Anybody Seen My Girl\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e7. She Just Wants To Dance\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\u003cspan\u003e8. Am I Wrong \u003cbr\u003e9. Come On In My Kitchen \u003cbr\u003e10. Dirty, Lowdown And Bad \u003cbr\u003e11. Don’t Try To Explain \u003cbr\u003e12. Kindhearted Woman Blues \u003cbr\u003e13. City Boy\u003c\/span\u003e\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\u003eReviews\u003c\/strong\u003e:\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e« Keb' Mo's self-titled debut is an edgy, ambitious collection of gritty country blues. Keb' Mo' pushes into new directions, trying to incorporate some of the sensibilites of the slacker revolution without losing touch of the tradition that makes the blues the breathing, vital art form it is. His attempts aren't always successful, but his gutsy guitar playing and impassioned vocals, as well as his surprisingly accomplished songwriting, make Keb' Mo' a debut to cherish. » AllMusic Review by Thom Owens\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eUltra High-Resolution (UHR)\u003c\/strong\u003e\u003cspan data-mce-fragment=\"1\"\u003e is a dual-layer hybrid SACD recorded with Direct Stream Digital Technology at a sampling rate of 11.2 MHZ and a frequency response of DC to 100KHz. In addition, a high-precision down-conversion is utilized for the CD layer (16bit\/44.1kHz) to preserve the sonic integrity of the original DSD capture. The result: State-of-the-art sound on any machine that can play either standard compact discs or SACDs.\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 : 4.55 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":46983150731599,"sku":"UDSACD 2054","price":75.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/files\/keb-mo-keb-mo-hybrid-sacd-ultradisc-uhr-audiosoundmusic-1.jpg?v=1719862079"},{"product_id":"stevie-ray-vaughan-texas-flood-hybrid-sacd-ultradisc-uhr","title":"Stevie Ray Vaughan - Texas Flood (Hybrid SACD, Ultradisc UHR)","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\u003eStevie Ray Vaughan : guitar and vocals \u003ca data-mce-fragment=\"1\" title=\"vinyl featuring Stevie Ray Vaughan\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/stevie-ray-vaughan-1\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Stevie Ray Vaughan]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTommy Shannon : bass\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eChris “Whipper” Layton : drums\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 SACD, gatefold jacket\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\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio \u0026amp; Live (3, 7)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : MOFI\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Epic\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eTracks 3 \u0026amp; 7 recorded live at The Palace, Hollywood, California on September 23\u003csup\u003erd\u003c\/sup\u003e 1983. Other tracks recorded at Down Town Studio, Los Angeles, CA and Riverside Sound, Austin, Texas, on November 22\u003csup data-mce-fragment=\"1\"\u003end\u003c\/sup\u003e, 23\u003csup data-mce-fragment=\"1\"\u003erd\u003c\/sup\u003e \u0026amp; 24\u003csup data-mce-fragment=\"1\"\u003eth\u003c\/sup\u003e 1982.\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eRecorded by Richard Mullen assisted by James Geddes.\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan size=\"2\"\u003e\u003cspan face=\"Times New Roman\"\u003eMixed at Media Sound, NYC\u003c\/span\u003e\u003c\/span\u003e by \u003c\/strong\u003e\u003cspan size=\"2\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cstrong\u003eLincoln Clapp\u003c\/strong\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan size=\"2\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cstrong\u003e\u003cspan\u003eVocals on “I’m Cryin’” recorded at \u003c\/span\u003eMedia Sound by Lincoln Clapp\u003c\/strong\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Richard Mullen, Stevie Ray Vaughan And Double Trouble\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMastered by Shawn R. Britton assisted by Rob LoVerde at Mobile Fidelity Sound Lab\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1983\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in December 2010\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eLove Struck Baby \u003c\/li\u003e\n\u003cli\u003e\u003cspan data-mce-fragment=\"1\"\u003ePride And Joy\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003eTexas Flood\u003c\/li\u003e\n\u003cli\u003e\u003cspan data-mce-fragment=\"1\"\u003eTell Me\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan data-mce-fragment=\"1\"\u003eTestify (live)\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003eRude Mood\u003c\/li\u003e\n\u003cli\u003e\u003cspan\u003eMary Had A Little Lamb (live)\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan\u003eDirty Pool\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan\u003eI’m Cryin’ \u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan\u003eLenny\u003c\/span\u003e\u003c\/li\u003e\n\u003c\/ol\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« It's hard to overestimate the impact Stevie Ray Vaughan's debut, Texas Flood, had upon its release in 1983. At that point, blues was no longer hip, the way it was in the '60s. Texas Flood changed all that, climbing into the Top 40 and spending over half a year on the charts, which was practically unheard of for a blues recording. Vaughan became a genuine star and, in doing so, sparked a revitalization of the blues. This was a monumental impact, but his critics claimed that, no matter how prodigious Vaughan's instrumental talents were, he didn't forge a distinctive voice; instead, he wore his influences on his sleeve, whether it was Albert King's pinched yet muscular soloing or Larry Davis' emotive singing. There's a certain element of truth in that, but that was sort of the point of Texas Flood. Vaughan didn't hide his influences; he celebrated them, pumping fresh blood into a familiar genre. When Vaughan and Double Trouble cut the album over the course of three days in 1982, he had already played his set lists countless times; he knew how to turn this material inside out or goose it up for maximum impact. The album is paced like a club show, kicking off with Vaughan's two best self-penned songs, \"Love Struck Baby\" and \"Pride and Joy,\" then settling into a pair of covers, the slow-burning title track and an exciting reading of Howlin' Wolf's \"Tell Me,\" before building to the climax of \"Dirty Pool\" and \"I'm Crying.\" Vaughan caps the entire thing with \"Lenny,\" a lyrical, jazzy tribute to his wife. It becomes clear that Vaughan's true achievement was finding something personal and emotional by fusing different elements of his idols. Sometimes the borrowing was overt, and other times subtle, but it all blended together into a style that recalled the past while seizing the excitement and essence of the present. » AllMusic Review by Stephen Thomas Erlewine\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eUltra High-Resolution (UHR)\u003c\/strong\u003e\u003cspan data-mce-fragment=\"1\"\u003e is a dual-layer hybrid SACD recorded with Direct Stream Digital Technology at a sampling rate of 11.2 MHZ and a frequency response of DC to 100KHz. In addition, a high-precision down-conversion is utilized for the CD layer (16bit\/44.1kHz) to preserve the sonic integrity of the original DSD capture. The result: State-of-the-art sound on any machine that can play either standard compact discs or SACDs.\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 : 4.66 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":46983805010255,"sku":"UDSACD 2074","price":65.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/files\/stevie-ray-vaughan-texas-flood-hybrid-sacd-ultradisc-uhr-audiosoundmusic-1.jpg?v=1719862092"},{"product_id":"bob-dylan-desire-hybrid-sacd-ultradisc-uhr","title":"Bob Dylan - Desire (Hybrid SACD, Ultradisc UHR)","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 – vocals, rhythm guitar, harmonica, piano on \"Isis\"  \u003ca style=\"color: #ff8000;\" title=\"vinyl featuring Bob Dylan\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/bob-dylan\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/bob-dylan\"\u003e[click here to see more vinyl featuring Bob Dylan]\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eScarlet Rivera – violin \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEmmylou Harris – background vocals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRob Stoner – bass guitar, background vocals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHoward Wyeth – drums, piano\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDominic Cortese – accordion, mandolin\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eVinnie Bell – bouzouki\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLuther Rix – congas on \"Hurricane\"\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRonee Blakley – background vocals on \"Hurricane\"\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSteven Soles – background vocals on \"Hurricane\"\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEric Clapton – guitar on \"Romance In Durango\"\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 SACD, gatefold jacket \u003c\/strong\u003e\u003cstrong\u003ewith a 12-page booklet\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\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\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\"\u003eJuly 28–31, August 11 and October 24, 1975 by Lou Waxman\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineered by Don Meehan\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Don DeVito\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMastered by Shawn R. Britton assisted by Rob LoVerde at Mobile Fidelity Sound Lab\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1976\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in November 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\u003col\u003e\n\u003cli\u003eHurricane\u003c\/li\u003e\n\u003cli\u003eIsis\u003c\/li\u003e\n\u003cli\u003eMozambique\u003c\/li\u003e\n\u003cli\u003eOne More Cup of Coffee (Valley Below)\u003c\/li\u003e\n\u003cli\u003eOh, Sister\u003c\/li\u003e\n\u003cli\u003eJoey\u003c\/li\u003e\n\u003cli\u003eRomance in Durango\u003c\/li\u003e\n\u003cli\u003eBlack Diamond Bay\u003c\/li\u003e\n\u003cli\u003eSara\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 - Ranked 174\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\"If Blood on the Tracks was an unapologetically intimate affair, Desire is unwieldy and messy, the deliberate work of a collective. And while Bob Dylan directly addresses his crumbling relationship with his wife, Sara, on the final track, Desire is hardly as personal as its predecessor, finding Dylan returning to topical songwriting and folk tales for the core of the record. It's all over the map, as far as songwriting goes, and so is it musically, capturing Dylan at the beginning of the Rolling Thunder Revue era, which was more notable for its chaos than its music. And, so it's only fitting that Desire fits that description as well, as it careens between surging folk-rock, Mideastern dirges, skipping pop, and epic narratives. It's little surprise that Desire doesn't quite gel, yet it retains its own character -- really, there's no other place where Dylan tried as many different styles, as many weird detours, as he does here. And, there's something to be said for its rambling, sprawling character, which has a charm of its own. Even so, the record would have been assisted by a more consistent set of songs; there are some masterpieces here, though: \"Hurricane\" is the best-known, but the effervescent \"Mozambique\" is Dylan at his breeziest, \"Sara\" at his most nakedly emotional, and \"Isis\" is one of his very best songs of the '70s, a hypnotic, contemporized spin on a classic fable. This may not add up to a masterpiece, but it does result in one of his most fascinating records of the '70s and '80s -- more intriguing, lyrically and musically, than most of his latter-day affairs.\" \u003cspan data-mce-fragment=\"1\"\u003eAllMusic Review by Stephen Thomas Erlewine\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eUltra High-Resolution (UHR)\u003c\/strong\u003e\u003cspan data-mce-fragment=\"1\"\u003e is a dual-layer hybrid SACD recorded with Direct Stream Digital Technology at a sampling rate of 11.2 MHZ and a frequency response of DC to 100KHz. In addition, a high-precision down-conversion is utilized for the CD layer (16bit\/44.1kHz) to preserve the sonic integrity of the original DSD capture. The result: State-of-the-art sound on any machine that can play either standard compact discs or SACDs.\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 : 4.38 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":46983896695119,"sku":"UDSACD 2119","price":49.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/files\/bob-dylan-desire-hybrid-sacd-ultradisc-uhr-audiosoundmusic-1.webp?v=1719862092"},{"product_id":"aretha-franklin-arethas-gold-hybrid-sacd-ultradisc-uhr","title":"Aretha Franklin – Aretha's Gold (Hybrid SACD, Ultradisc UHR)","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\u003cbr\u003e\u003c\/p\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp\u003e\u003cstrong\u003eCOMPILATION\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAretha Franklin – piano, vocals \u003ca title=\"vinyl featuring Aretha Franklin\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/aretha-franklin\"\u003e\u003cspan style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Aretha Franklin]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by Ronnie Shannon (1), Chips Moman (2), Dan Penn (2), Otis Redding (3), Aretha Franklin (4, 8, 10), Ted White (4, 8, 10), Ronnie Shannon (5), Gerry Goffin (6), Carole King (6), Jerry Wexle (6), Don Covay (7), Carolyn Franklin (9), Sam Cooke (11), Bobby Lance (12), Fran Robbins (12), Burt Bacharach (13), Hal David (13), Don Covay (14), Steve Cropper (14)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003c\/div\u003e\n\u003cp\u003e\u003cstrong\u003e1 SACD, gatefold jacket\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\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\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 1966–1968\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineered by Rick Hall (1-2), Tom Dowd (3 to 14)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Jerry Wexler\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by Rob LoVerde \u003c\/strong\u003e\u003cstrong\u003eat \u003c\/strong\u003e\u003cstrong\u003eMobile Fidelity Sound Lab\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 2014\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eI Never Loved a Man (The Way I Love You)\u003c\/li\u003e\n\u003cli\u003eDo Right Woman, Do Right Man\u003c\/li\u003e\n\u003cli\u003eRespect\u003c\/li\u003e\n\u003cli\u003eDr. Feelgood (Love Is Serious Business)\u003c\/li\u003e\n\u003cli\u003eBaby, I Love You\u003c\/li\u003e\n\u003cli\u003e(You Make Me Feel Like) A Natural Woman\u003c\/li\u003e\n\u003cli\u003eChain of Fools\u003c\/li\u003e\n\u003cli\u003eSince You've Been Gone (Sweet Sweet Baby)\u003c\/li\u003e\n\u003cli\u003eAin't No Way\u003c\/li\u003e\n\u003cli\u003eThink\u003c\/li\u003e\n\u003cli\u003eYou Send Me\u003c\/li\u003e\n\u003cli\u003eThe House That Jack Built\u003c\/li\u003e\n\u003cli\u003eI Say a Little Prayer\u003c\/li\u003e\n\u003cli\u003eSee Saw\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003col\u003e\u003c\/ol\u003e\n\u003col\u003e\u003c\/ol\u003e\n\u003col\u003e\u003c\/ol\u003e\n\u003col\u003e\u003c\/ol\u003e\n\u003col\u003e\u003c\/ol\u003e\n\u003col start=\"7\"\u003e\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e“The first compilation based on Franklin's successes of 1967-1968 on Atlantic. Included among the 14 selections here are all of the big bits (nine of which went Top 10) that established Franklin's enduring reputation, from \"I Never Loved A Man (The Way I Love You)\" to \"I Say A Little Prayer.\" It sometimes got as good as this afterwards, but it never got better.” AllMusic Review by William Ruhlmann\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eUltra High-Resolution (UHR)\u003c\/strong\u003e\u003cspan data-mce-fragment=\"1\"\u003e is a dual-layer hybrid SACD recorded with Direct Stream Digital Technology at a sampling rate of 11.2 MHZ and a frequency response of DC to 100KHz. In addition, a high-precision down-conversion is utilized for the CD layer (16bit\/44.1kHz) to preserve the sonic integrity of the original DSD capture. The result: State-of-the-art sound on any machine that can play either standard compact discs or SACDs.\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 : 4.57 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":46984286699855,"sku":"UDSACD 2142","price":49.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/files\/aretha-franklin-aretha-s-gold-hybrid-sacd-ultradisc-uhr-audiosoundmusic-1.jpg?v=1719862092"},{"product_id":"miles-davis-quintet-round-about-midnight-mono-hybrid-sacd-ultradisc-uhr","title":"Miles Davis Quintet - Round About Midnight (Mono, Hybrid SACD, Ultradisc UHR)","description":"\u003cp\u003e \u003c\/p\u003e\n\u003ch2\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cspan style=\"color: #ff2a00;\"\u003eORDER LIMITED TO ONE ITEM PER CUSTOMER\u003c\/span\u003e\u003c\/strong\u003e\u003c\/h2\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eMiles Davis - trumpet \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/miles-davis\" title=\"vinyl featuring Miles Davis\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/miles-davis\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more products featuring Miles Davis]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eJohn Coltrane - tenor saxophone \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/john-coltrane\" title=\"vinyl featuring John Coltrane\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/john-coltrane\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more products featuring John Coltrane]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eRed Garland - piano \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/red-garland\" title=\"Vinyl featuring Red Garland\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/red-garland\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more products featuring Red Garland]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003ePaul Chambers - bass \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/paul-chambers\" title=\"vinyl featuring Paul Chambers\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/paul-chambers\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more products featuring Paul Chambers]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003ePhilly Joe Jones - drums \u003ca title=\"Vinly featuring Philly Joe Jones\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/philly-joe-jones\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/philly-joe-jones\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more products featuring Philly Joe Jones]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eWritten by \u003c\/strong\u003e\u003cstrong\u003eBernie Hanighen (1), Cootie Williams (1), Thelonious Monk (1), Charlie Parker (2), Cole Porter (3), Mort Dixon (4), Ray Henderson (4), Tadd Dameron (5). Track 6 is a traditional song.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 SACD, gatefold jacket\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eLimited number 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\u003eMono\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\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\u003e\u003cspan\u003eRecording: October 1955, June and September 1956 at Columbia’s 30th Street Studio, New York in mono\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eProduction: George Avakian\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMastered by Shawn R. Britton at Mobile Fidelity Sound Lab, Sebastopol, CA on The Gain 2 System™\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eManufactured by Sony Music Entertainment\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1957\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in October 2012\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eTracks :\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003e‘Round Midnight\u003c\/li\u003e\n\u003cli\u003eAh-Leu-Cha\u003c\/li\u003e\n\u003cli\u003eAll Of You\u003c\/li\u003e\n\u003cli\u003eBye Bye Blackbird\u003c\/li\u003e\n\u003cli\u003eTadd’s Delight\u003c\/li\u003e\n\u003cli\u003eDear Old Stockholm\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003c\/span\u003e\u003cspan\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\"A couple of the earlier albums are more consistently top-notch (\u003cem\u003eWorkin' \u003c\/em\u003eand \u003cem\u003eRelaxin'\u003c\/em\u003e), but this one is just as hard-driving on the uptempos and as crisp and moody on the ballads, especially the title track (maybe the most galvanizing version of Monk's anthem), 'All of You,' and 'Bye, Bye Blackbird.' Columbia's sound was equal to that of Rudy Van Gelder's as well.\" – Fred Kaplan, \u003cem\u003eStereophile\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAt long last these early recordings, which Miles Davis set down for the Columbia label in 1955 and 1956, are available on LP again. And what is more, they were made without any alternate takes or second attempts, as is the custom these days.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eYou can sit back and enjoy the six numbers in the order which the producer, probably in conjunction with Davis, decided upon. To be sure, all of the titles are well known and have been played a thousand times over in many different versions. But what this Quintet (and here each and every individual musician is meant!) produces as regards inventiveness, thrilling improvisations and artistry is absolutely top notch. Davis’s vibrato-less sound is taken over seamlessly by John Coltrane – wonderfully demonstrated in the middle of \"Bye, Bye Blackbird\", while Paul Chambers’ showpiece is \"Ack Värmeland du sköna\" (aka \"Dear Old Stockholm\"). In the years 1955\/56, bebop was the talk of the day, born witness to by the classics \"Tadd’s Delight\" by Tadd Dameron and \"Ah-Leu-Cha\" by Charlie Parker. Here, however, the improvised melodic strands are more moderate, pointing the way to the style that later became known as modal jazz.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAlthough \"’Round About Midnight\" as an album does not enjoy the reputation of \"Kind Of Blue\", this Columbia recording contains many gems which are well worth hearing.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eUltra High-Resolution (UHR)\u003c\/strong\u003e\u003cspan data-mce-fragment=\"1\"\u003e is a dual-layer hybrid SACD recorded with Direct Stream Digital Technology at a sampling rate of 11.2 MHZ and a frequency response of DC to 100KHz. In addition, a high-precision down-conversion is utilized for the CD layer (16bit\/44.1kHz) to preserve the sonic integrity of the original DSD capture. The result: State-of-the-art sound on any machine that can play either standard compact discs or SACDs.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e : \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAllMusic : 5 \/ 5 ; \u003c\/span\u003e\u003cspan\u003eDiscogs \u003c\/span\u003e: \u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e4.7\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":46985367716175,"sku":"UDSACD 2083","price":49.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/files\/miles-davis-quintet-round-about-midnight-mono-hybrid-sacd-ultradisc-uhr-audiosoundmusic-1.jpg?v=1719862091"},{"product_id":"chicago-chicago-2-hybrid-sacd-ultradisc-uhr","title":"Chicago - Chicago 2 (Hybrid SACD, Ultradisc UHR)","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan style=\"color: #ff2a00;\"\u003eORDER LIMITED TO ONE ITEM PER CUSTOMER\u003c\/span\u003e\u003ca title=\"vinyl featuring Chicago\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/chicago\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/chicago\"\u003e\u003cspan style=\"color: #ff8000;\"\u003e\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003ca title=\"vinyl featuring Chicago\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/chicago\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/chicago\"\u003e\u003cspan style=\"color: #ff8000;\"\u003eclick here to see more vinyl featuring Chicago]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePeter Cetera – bass, vocals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTerry Kath – guitar, vocals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRobert Lamm – keyboards, vocals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLee Loughnane – trumpet, vocals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJames Pankow – trombone\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWalter Parazaider – saxophone, flute, clarinet, vocals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDanny Seraphine – drums\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003cstrong\u003e1 SACD, gatefold jacket\u003c\/strong\u003e\u003cbr\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\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Mobile Fidelity\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Columbia\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded in August 1969 at Studio Columbia Recording Studios, New York and Columbia Studios, Hollywood by \u003c\/strong\u003e\u003cstrong\u003eBrian Ross-Myring, Chris Hinshaw, Donald Puluse\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\u003eEngineered by Brian Ross-Myring, Chris Hinshaw, Donald Puluse\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMastered by Rob LoVerde at Mobile Fidelity Sound Lab, Sebastopol, CA on The Gain 2 System™\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eManufactured by Rhino Entertainment Company\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGlass master manufactured at Sony DADC\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 2015\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eMovin’ In\u003c\/li\u003e\n\u003cli\u003eThe Road\u003c\/li\u003e\n\u003cli\u003ePoem For The People\u003c\/li\u003e\n\u003cli\u003eIn The Country \u003c\/li\u003e\n\u003cli\u003eWake Up Sunshine\u003c\/li\u003e\n\u003cli\u003eBallet for a Girl in Buchannon : Make Me Smile\u003c\/li\u003e\n\u003cli\u003eSo Much To Say, So Much To Give\u003c\/li\u003e\n\u003cli\u003eAnxiety’s Moment\u003c\/li\u003e\n\u003cli\u003eWest Virginia Fantasies\u003c\/li\u003e\n\u003cli\u003eColour My World\u003c\/li\u003e\n\u003cli\u003eTo Be Free\u003c\/li\u003e\n\u003cli\u003eNow More Than Ever\u003c\/li\u003e\n\u003cli\u003eFancy Colours\u003c\/li\u003e\n\u003cli\u003e25 Or 6 To 4\u003c\/li\u003e\n\u003cli\u003ePrelude:\u003c\/li\u003e\n\u003cli\u003eA.M. Mourning\u003c\/li\u003e\n\u003cli\u003eP.M. Mourning\u003c\/li\u003e\n\u003cli\u003eMemories Of Love\u003c\/li\u003e\n\u003cli\u003eIt Better End Soon\u003c\/li\u003e\n\u003cli\u003eWhere Do We Go From Here\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\"The Chicago Transit Authority recorded this double-barreled follow-up to their eponymously titled 1969 debut effort. The contents of Chicago II (1970) underscore the solid foundation of complex jazz changes with heavy electric rock \u0026amp; roll that the band so brazenly forged on the first set. The septet also continued its ability to blend the seemingly divergent musical styles into some of the best and most effective pop music of the era. One thing that had changed was the band's name, which was shortened to simply Chicago to avoid any potential litigious situations from the city of Chicago's transportation department -- which claimed the name as proprietary property. Musically, James Pankow (trombone) was about to further cross-pollinate the band's sound with the multifaceted six-song \"Ballet for a Girl in Buchannon.\" The classically inspired suite also garnered the band two of its most beloved hits -- the upbeat pop opener \"Make Me Smile\" as well as the achingly poignant \"Color My World\" -- both of which remained at the center of the group's live sets. Chicago had certainly not abandoned its active pursuit of blending high-octane electric rockers such as \"25 or 6 to 4\" to the progressive jazz inflections heard in the breezy syncopation of \"The Road.\" Adding further depth of field is the darker \"Poem for the People\" as well as the politically charged five-song set titled \"It Better End Soon.\" These selections feature the band driving home its formidable musicality and uncanny ability to coalesce styles telepathically and at a moment's notice. The contributions of Terry Kath (guitar\/vocals) stand out as he unleashes some of his most pungent and sinuous leads, which contrast with the tight brass and woodwind trio of Lee Loughnane (trumpet\/vocals), Walter Parazaider (woodwinds\/vocals), and the aforementioned Pankow. Peter Cetera (bass\/vocals) also marks his songwriting debut -- on the final cut of both the suite and the album -- with \"Where Do We Go from Here.\" It bookends both with at the very least the anticipation and projection of a positive and optimistic future.\" \u003cspan data-mce-fragment=\"1\"\u003eAllMusic Review by Lindsay Planer\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eUltra High-Resolution (UHR)\u003c\/strong\u003e is a dual-layer hybrid SACD recorded with Direct Stream Digital Technology at a sampling rate of 11.2 MHZ and a frequency response of DC to 100KHz. In addition, a high-precision down-conversion is utilized for the CD layer (16bit\/44.1kHz) to preserve the sonic integrity of the original DSD capture. The result: State-of-the-art sound on any machine that can play either standard compact discs or SACDs.\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 : 4.56 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":46985467363663,"sku":"UDSACD 2133","price":49.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/files\/chicago-chicago-2-hybrid-sacd-ultradisc-uhr-audiosoundmusic-1.webp?v=1719862091"},{"product_id":"miles-davis-miles-in-the-sky-hybrid-sacd-ultradisc-uhr","title":"Miles Davis - Miles in the Sky (Hybrid SACD, Ultradisc UHR)","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\u003eMiles Davis, trumpet \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/miles-davis\" title=\"vinyl featuring Miles Davis\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/miles-davis\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-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, tenor saxophone \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/wayne-shorter\" title=\"vinyl featuring Wayne Shorter\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/wayne-shorter\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-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\u003eHerbie Hancock, piano, electric piano \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/herbie-hancock\" title=\"vinyl featuring Herbie Hancock\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/herbie-hancock\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\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\u003eRon Carter, bass \u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\"\u003e\u003ca title=\"Vinyl featuring Ron Carter\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/ron-carter\" style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/ron-carter\"\u003e[click here to see more vinyl featuring Ron Carter]\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTony Williams, drums\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGeorge Benson, electric guitar on \"Paraphernalia\" \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/george-benson\" title=\"Vinyl featuring George Benson\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/george-benson\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring George Benson]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 SACD gatefold jacket\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\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\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\"\u003eJanuary 16 and May 15–17, 1968 at \u003c\/span\u003e\u003c\/strong\u003e\u003cstrong\u003eColumbia Studio B in New York City\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineered by Arthur Kendy, Frank Laico\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Teo Macero\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMastered by Shawn R. Britton at Mobile Fidelity Sound Lab, Sebastopol, CA on The Gain 2 System™\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eManufactured by Sony Music Entertainment\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGlass master manufactured at Sony DADC\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 September 2016\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eStuff\u003c\/li\u003e\n\u003cli\u003eParaphernalia\u003c\/li\u003e\n\u003cli\u003eBlack Comedy\u003c\/li\u003e\n\u003cli\u003eCountry Son\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003col start=\"5\"\u003e\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e“Mo-Fi's Miles reissues keep coming. Porgy and Bess another atmospheric Miles-Gil Evans collaboration dropped early 2020. While all of these Miles albums are musically significant and many are sonically excellent on both original pressings and on these reissues, the biggest sonic surprise was how much better the reissued quintet (Shorter, Hancock, Carter, Williams) recordings sound compared to the originals. Whatever happened in the original mastering has been vastly improved on Nefertiti, Miles in the Sky and Filles De Kilimanjaro. If you have originals and think, you're covered, you're not! Get these while you can.” Michael Fremer, Analog Planet\u003c\/p\u003e\n\u003cp\u003e\"With the 1968 album Miles in the Sky, Miles Davis explicitly pushed his second great quintet away from conventional jazz, pushing them toward the jazz-rock hybrid that would later become known as fusion. Here, the music is still in its formative stages, and it's a little more earth-bound than you might expect, especially following on the heels of the shape-shifting, elusive Nefertiti. On Miles in the Sky, much of the rhythms are straightforward, picking up on the direct 4\/4 beats of rock, and these are illuminated by Herbie Hancock's electric piano -- one of the very first sounds on the record, as a matter of fact -- and the guest appearance of guitarist George Benson on \"Paraphernalia.\" All of these additions are tangible and identifiable, and they do result in intriguing music, but the form of the music itself is surprisingly direct, playing as extended grooves. This meanders considerable more than Nefertiti, even if it is significantly less elliptical in its form, because it's primarily four long jams. Intriguing, successful jams in many respects, but even with the notable additions of electric instruments, and with the deliberately noisy \"Country Son,\" this is less visionary than its predecessor and feels like a transitional album -- and, like many transitional albums, it's intriguing and frustrating in equal measures.\" \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 data-mce-fragment=\"1\"\u003eUltra High-Resolution (UHR)\u003c\/strong\u003e\u003cspan data-mce-fragment=\"1\"\u003e is a dual-layer hybrid SACD recorded with Direct Stream Digital Technology at a sampling rate of 11.2 MHZ and a frequency response of DC to 100KHz. In addition, a high-precision down-conversion is utilized for the CD layer (16bit\/44.1kHz) to preserve the sonic integrity of the original DSD capture. The result: State-of-the-art sound on any machine that can play either standard compact discs or SACDs.\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 : 3.5 \/ 5 , Discogs : 4.67 \/ 5 \u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":46985705685327,"sku":"UDSACD 2147","price":49.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/files\/miles-davis-miles-in-the-sky-hybrid-sacd-ultradisc-uhr-audiosoundmusic-1.png?v=1719862109"},{"product_id":"miles-davis-e-s-p-hybrid-sacd-ultradisc-uhr","title":"Miles Davis - E.S.P. (Hybrid SACD, Ultradisc UHR)","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\u003eMiles Davis – trumpet \u003ca title=\"vinyl featuring Miles Davis\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/miles-davis\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/miles-davis\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-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 – tenor saxophone \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/wayne-shorter\" title=\"vinyl featuring Wayne Shorter\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/wayne-shorter\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-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\u003eHerbie Hancock – piano \u003ca title=\"vinyl featuring Herbie Hancock\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/herbie-hancock\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/herbie-hancock\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\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\u003eRon Carter – bass \u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\"\u003e\u003ca style=\"color: #ff8000;\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/ron-carter\" title=\"Vinyl featuring Ron Carter\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/ron-carter\"\u003e[click here to see more vinyl featuring Ron Carter]\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTony Williams – drums\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 SACD, gatefold jacket\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\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\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\"\u003eJanuary 20–22, 1965\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003eat \u003c\/strong\u003e\u003cstrong\u003eColumbia Studios, Hollywood\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Irving Townsend\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMastered by Rob LoVerde at Mobile Fidelity Sound Lab, Sebastopol, CA on The Gain 2 System™\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eManufactured by Sony Music Entertainment\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGlass master manufactured at Sony DADC\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1965\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in May 2016\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eE.S.P.\u003c\/li\u003e\n\u003cli\u003eEighty-One\u003c\/li\u003e\n\u003cli\u003eLittle One\u003c\/li\u003e\n\u003cli\u003eR.J.\u003c\/li\u003e\n\u003cli\u003eAgitation\u003c\/li\u003e\n\u003cli\u003eIris\u003c\/li\u003e\n\u003cli\u003eMood\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e\"ESP marks the beginning of a revitalization for Miles Davis, as his second classic quintet -- saxophonist Wayne Shorter, pianist Herbie Hancock, bassist Ron Carter, and drummer Tony Williams -- gels, establishing what would become their signature adventurous hard bop. Miles had been moving toward this direction in the two years preceding the release of ESP and he had recorded with everyone outside of Shorter prior to this record, but his addition galvanizes the group, pushing them toward music that was recognizably bop but as adventurous as jazz's avant-garde. Outwardly, this music doesn't take as many risks as Coltrane or Ornette Coleman's recordings of the mid-'60s, but by borrowing some of the same theories -- a de-emphasis of composition in favor of sheer improvisation, elastic definitions of tonality -- they created a unique sound that came to define the very sound of modern jazz. Certainly, many musicians have returned to this group for inspiration, but their recordings remain fresh, because they exist at this fine dividing line between standard bop and avant. On ESP, they tilt a bit toward conventional hard bop (something that's apparent toward the end of the record), largely because this is their first effort, but the fact is, this difference between this album and hard bop from the early '60s is remarkable. This is exploratory music, whether it's rushing by in a flurry of notes or elegantly reclining in Hancock's calm yet complex chords. The compositions are brilliantly structured as well, encouraging such free-form exploration with their elliptical yet memorable themes. This quintet may have cut more adventurous records, but ESP remains one of their very best albums.\" \u003cspan data-mce-fragment=\"1\"\u003eAllMusic Review by Stephen Thomas Erlewine \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eUltra High-Resolution (UHR)\u003c\/strong\u003e\u003cspan data-mce-fragment=\"1\"\u003e is a dual-layer hybrid SACD recorded with Direct Stream Digital Technology at a sampling rate of 11.2 MHZ and a frequency response of DC to 100KHz. In addition, a high-precision down-conversion is utilized for the CD layer (16bit\/44.1kHz) to preserve the sonic integrity of the original DSD capture. The result: State-of-the-art sound on any machine that can play either standard compact discs or SACDs.\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 \/ 5 , Discogs : 4.67 \/ 5 \u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":46990839841103,"sku":"UDSACD 2170","price":49.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/files\/miles-davis-e-s-p-hybrid-sacd-ultradisc-uhr-audiosoundmusic-1.jpg?v=1719862110"},{"product_id":"miles-davis-my-funny-valentine-hybrid-sacd-ultradisc-uhr","title":"Miles Davis - My Funny Valentine (Hybrid SACD, Ultradisc UHR)","description":"\u003cdiv\u003e\n\u003cbr\u003e\u003cbr\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\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cp\u003e\u003cstrong\u003eMiles Davis – trumpet \u003ca title=\"vinyl featuring Miles Davis\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/miles-davis\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/miles-davis\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-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\u003eGeorge Coleman – tenor saxophone \u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003ca title=\"vinyl featuring George Coleman\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/george-coleman\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/george-coleman\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring George Coleman]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHerbie Hancock – piano \u003ca title=\"vinyl featuring Herbie Hancock\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/herbie-hancock\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/herbie-hancock\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\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\u003eRon Carter – double bass \u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\"\u003e\u003ca style=\"color: #ff8000;\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/ron-carter\" title=\"Vinyl featuring Ron Carter\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/ron-carter\"\u003e[click here to see more vinyl featuring Ron Carter]\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTony Williams – drums\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cp\u003e \u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003c\/div\u003e\n\u003cp\u003e\u003cstrong\u003e1 SACD, gatefold jacket\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\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLive\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 live on \u003cspan data-mce-fragment=\"1\"\u003eFebruary 12, 1964 \u003c\/span\u003eat Philharmonic Hall, Lincoln Center, 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 1965\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in May 2014\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eMy Funny Valentine\u003c\/li\u003e\n\u003cli\u003eAll of You\u003c\/li\u003e\n\u003cli\u003eStella By Starlight\u003c\/li\u003e\n\u003cli\u003eAll Blues\u003c\/li\u003e\n\u003cli\u003eI Thought About You\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\"Miles Davis' concert of February 12, 1964, was divided into two LPs, with all of the ballads put on My Funny Valentine. These five lengthy tracks (specifically, \"All of You,\" \"Stella by Starlight,\" \"All Blues,\" \"I Thought About You,\" and the title cut) put the emphasis on the lyricism of Davis, along with some strong statements from tenor saxophonist George Coleman and freer moments from the young rhythm section of pianist Herbie Hancock, bassist Ron Carter, and drummer Tony Williams. This hour-long LP complements the up-tempo romps of Four \u0026amp; More.\" \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 data-mce-fragment=\"1\"\u003eUltra High-Resolution (UHR)\u003c\/strong\u003e\u003cspan data-mce-fragment=\"1\"\u003e is a dual-layer hybrid SACD recorded with Direct Stream Digital Technology at a sampling rate of 11.2 MHZ and a frequency response of DC to 100KHz. In addition, a high-precision down-conversion is utilized for the CD layer (16bit\/44.1kHz) to preserve the sonic integrity of the original DSD capture. The result: State-of-the-art sound on any machine that can play either standard compact discs or SACDs.\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 : 4.76 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":46990964293967,"sku":"UDSACD 2141","price":49.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/files\/miles-davis-my-funny-valentine-hybrid-sacd-ultradisc-uhr-audiosoundmusic-1.jpg?v=1719862109"},{"product_id":"miles-davis-sorcerer-hybrid-sacd-ultradisc-uhr","title":"Miles Davis - Sorcerer (Hybrid SACD, Ultradisc UHR)","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\u003eMiles Davis – trumpet \u003ca title=\"vinyl featuring Miles Davis\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/miles-davis\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/miles-davis\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-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 – tenor saxophone \u003ca title=\"vinyl featuring Wayne Shorter\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/wayne-shorter\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/wayne-shorter\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-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\u003eHerbie Hancock – piano (all tracks except 7) \u003ca title=\"vinyl featuring Herbie Hancock\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/herbie-hancock\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/herbie-hancock\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\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\u003eRon Carter – double bass (all tracks except 7) \u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\"\u003e\u003ca title=\"Vinyl featuring Ron Carter\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/ron-carter\" style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/ron-carter\"\u003e[click here to see more vinyl featuring Ron Carter]\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTony Williams – drums (all tracks except 7)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBob Dorough – vocals (7)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGil Evans – arrangements (7) \u003ca title=\"Vinyl featuring Gill Evans\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/gil-evans\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/gil-evans\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Gil Evans]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFrank Rehak – trombone (7)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJimmy Cobb – drums (7) \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/jimmy-cobb\" title=\"Vinyl featuring Jimmy Cobb\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/jimmy-cobb\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-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\u003eWillie Bobo (William Correa) – bongos (7)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 SACD, 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\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\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\"\u003eMay 16–24, 1967 (1 to 6) and August 21, 1962 (7)\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e at \u003c\/span\u003e\u003c\/strong\u003e\u003cstrong\u003eColumbia Studio, 30th Street, New York City\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineered by Fred Plaut, 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\u003eMastered by Shawn R. Britton at Mobile Fidelity Sound Lab, Sebastopol, CA on The Gain 2 System™\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eManufactured by Sony Music Entertainment\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGlass master manufactured at Sony DADC\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1967\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in May 2015\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\u003col\u003e\n\u003cli\u003ePrince of Darkness\u003c\/li\u003e\n\u003cli\u003ePee Wee\u003c\/li\u003e\n\u003cli\u003eMasqualero\u003c\/li\u003e\n\u003cli\u003eThe Sorcerer\u003c\/li\u003e\n\u003cli\u003eLimbo\u003c\/li\u003e\n\u003cli\u003eVonetta\u003c\/li\u003e\n\u003cli\u003eNothing Like You\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\"If the iconic Miles Davis album\u003c\/span\u003e\u003cem\u003e\u003cspan\u003e \u003c\/span\u003eKind of Blue\u003c\/em\u003e\u003cspan\u003e captured an event-an abrupt musical switch from melody to modal, these three mid-period quintet albums, \u003c\/span\u003e\u003cem\u003eSorcerer\u003c\/em\u003e\u003cspan\u003e (1967), \u003c\/span\u003e\u003cem\u003eNefertiti\u003c\/em\u003e\u003cspan\u003e (1968) and \u003c\/span\u003e\u003cem\u003eFilles De Kilimanjaro\u003c\/em\u003e\u003cspan\u003e (1969) represent a period of transition as the quintet moves slowly towards Miles's amplified instrument embrace. ... These three double 45rpm releases along with much of the Miles catalog are among Mobile Fidelity's best work to date. For Miles fans these are not to be missed.\" Michael Fremer, \u003c\/span\u003e\u003cem\u003eAnalogplanet.com\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\"Sorcerer, the third album by the second Miles Davis Quintet, is in a sense a transitional album, a quiet, subdued affair that rarely blows hot, choosing to explore cerebral tonal colorings. Even when the tempo picks up, as it does on the title track, there's little of the dense, manic energy on Miles Smiles -- this is about subtle shadings, even when the compositions are as memorable as Tony Williams' \"Pee Wee\" or Herbie Hancock's \"Sorcerer.\" As such, it's a little elusive, since it represents the deepening of the band's music as they choose to explore different territory. The emphasis is as much on complex, interweaving chords and a coolly relaxed sound as it is on sheer improvisation, though each member tears off thoroughly compelling solos. Still, the individual flights aren't placed at the forefront the way they were on the two predecessors -- it all merges together, pointing toward the dense soundscapes of Miles' later '60s work. It's such a layered, intriguing work that the final cut, recorded in 1962 with Bob Dorough on vocals, is an utterly jarring, inappropriate way to end the record, even if it's intended as a tribute to Miles' then-girlfriend (later, his wife), Cicely Tyson (whose image graces the cover).\" \u003cspan data-mce-fragment=\"1\"\u003eAllMusic Review by Stephen Thomas Erlewine\u003c\/span\u003e\u003c\/p\u003e\n\u003col start=\"4\"\u003e\u003c\/ol\u003e\n\u003col start=\"5\"\u003e\u003c\/ol\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eUltra High-Resolution (UHR)\u003c\/strong\u003e\u003cspan data-mce-fragment=\"1\"\u003e is a dual-layer hybrid SACD recorded with Direct Stream Digital Technology at a sampling rate of 11.2 MHZ and a frequency response of DC to 100KHz. In addition, a high-precision down-conversion is utilized for the CD layer (16bit\/44.1kHz) to preserve the sonic integrity of the original DSD capture. The result: State-of-the-art sound on any machine that can play either standard compact discs or SACDs.\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 \/ 5 , Discogs : 4.69 \/ 5 \u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":46991088877903,"sku":"UDSACD 2145","price":49.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/files\/miles-davis-sorcerer-hybrid-sacd-ultradisc-uhr-audiosoundmusic-1.jpg?v=1719862109"},{"product_id":"miles-davis-nefertiti-hybrid-sacd-ultradisc-uhr","title":"Miles Davis - Nefertiti (Hybrid SACD, Ultradisc UHR)","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\u003eMiles Davis, trumpet \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/miles-davis\" title=\"vinyl featuring Miles Davis\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/miles-davis\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Miles Davis]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWayne Shorter, tenor sax \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/wayne-shorter\" title=\"vinyl featuring Wayne Shorter\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/wayne-shorter\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-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\u003eHerbie Hancock, piano \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/herbie-hancock\" title=\"vinyl featuring Herbie Hancock\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/herbie-hancock\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\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\u003eRon Carter, bass \u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\"\u003e\u003ca title=\"Vinyl featuring Ron Carter\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/ron-carter\" style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/ron-carter\"\u003e[click here to see more vinyl featuring Ron Carter]\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTony Williams, drums\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 SACD, 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\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\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\"\u003eJune 7, 22-23 and July 19, 1967\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e at \u003c\/span\u003e\u003c\/strong\u003e\u003cstrong\u003eColumbia Studio, 30th Street, New York City\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineered \u0026amp; mixed by Fred Plaut, Ray Moore\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Howard A. Roberts (4 to 6), Teo Macero (1 to 3)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMastered by Shawn R. Britton at Mobile Fidelity Sound Lab, Sebastopol, CA on The Gain 2 System™\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eManufactured by Sony Music Entertainment\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGlass master manufactured at Sony DADC\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 June 2015\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eNefertiti\u003c\/li\u003e\n\u003cli\u003eFall\u003c\/li\u003e\n\u003cli\u003eHand Jive\u003c\/li\u003e\n\u003cli\u003eMadness\u003c\/li\u003e\n\u003cli\u003eRiot\u003c\/li\u003e\n\u003cli\u003ePinocchio\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\u003cspan\u003e\"If the iconic Miles Davis album\u003c\/span\u003e\u003cem\u003e\u003cspan\u003e \u003c\/span\u003eKind of Blue\u003c\/em\u003e\u003cspan\u003e captured an event-an abrupt musical switch from melody to modal, these three mid-period quintet albums, \u003c\/span\u003e\u003cem\u003eSorcerer\u003c\/em\u003e\u003cspan\u003e (1967), \u003c\/span\u003e\u003cem\u003eNefertiti\u003c\/em\u003e\u003cspan\u003e (1968) and \u003c\/span\u003e\u003cem\u003eFilles De Kilimanjaro\u003c\/em\u003e\u003cspan\u003e (1969) represent a period of transition as the quintet moves slowly towards Miles's amplified instrument embrace. ... These three double 45rpm releases along with much of the Miles catalog are among Mobile Fidelity's best work to date. For Miles fans these are not to be missed.\" Michael Fremer, \u003c\/span\u003e\u003cem\u003eAnalogplanet.com\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\"Nefertiti, the fourth album by Miles Davis' second classic quintet, continues the forward motion of Sorcerer, as the group settles into a low-key, exploratory groove, offering music with recognizable themes -- but themes that were deliberately dissonant, slightly unsettling even as they burrowed their way into the consciousness. In a sense, this is mood music, since, like on much of Sorcerer, the individual parts mesh in unpredictable ways, creating evocative, floating soundscapes. This music anticipates the free-fall, impressionistic work of In a Silent Way, yet it remains rooted in hard bop, particularly when the tempo is a bit sprightly, as on \"Hand Jive.\" Yet even when the instrumentalists and soloists are placed in the foreground -- such as Miles' extended opening solo on \"Madness\" or Hancock's long solo toward the end of the piece -- this never feels like showcases for virtuosity, the way some showboating hard bop can, though each player shines. What's impressive, like on all of this quintet's sessions, is the interplay, how the musicians follow an unpredictable path as a unit, turning in music that is always searching, always provocative, and never boring. Perhaps Nefertiti's charms are a little more subtle than those of its predecessors, but that makes it intriguing. Besides, this album so clearly points the way to fusion, while remaining acoustic, that it may force listeners on either side of the fence into another direction.\" \u003cspan data-mce-fragment=\"1\"\u003eAllMusic Review by Stephen Thomas Erlewine\u003c\/span\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 High-Resolution (UHR)\u003c\/strong\u003e\u003cspan data-mce-fragment=\"1\"\u003e is a dual-layer hybrid SACD recorded with Direct Stream Digital Technology at a sampling rate of 11.2 MHZ and a frequency response of DC to 100KHz. In addition, a high-precision down-conversion is utilized for the CD layer (16bit\/44.1kHz) to preserve the sonic integrity of the original DSD capture. The result: State-of-the-art sound on any machine that can play either standard compact discs or SACDs.\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 : 5 \/ 5 , Discogs : 4.83 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":46991199830351,"sku":"UDSACD 2146","price":49.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/files\/miles-davis-nefertiti-hybrid-sacd-ultradisc-uhr-audiosoundmusic-1.jpg?v=1719862109"},{"product_id":"dire-straits-communique-hybrid-sacd-ultradisc-uhr","title":"Dire Straits - Communique (Hybrid SACD, Ultradisc UHR)","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\u003e\u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/dire-straits\" title=\"vinyl from Dire Straits\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/dire-straits\"\u003e\u003cspan style=\"color: #ff8000;\"\u003e[Click here to see more vinyl from Dire Straits]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMark Knopfler – vocals, lead and rhythm guitars \u003cspan style=\"color: #ff8000;\"\u003e\u003ca data-mce-fragment=\"1\" style=\"color: #ff8000;\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/mark-knopfler\" title=\"vinyl featuring Mark Knopfler\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/mark-knopfler\"\u003e[see more vinyl featuring Mark Knopfler]\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDavid Knopfler – rhythm guitar, backing vocals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJohn Illsley – bass guitar, backing vocals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePick Withers – drums\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBarry Beckett (credited as B. Bear) – keyboards\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by Mark Knopfler \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 SACD, 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\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : MOFI\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Vertigo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded \u003cspan data-mce-fragment=\"1\"\u003eDecember 1978 at Compass Point Studio, Nassau, Bahamas\u003cbr\u003e\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eMixed January 1979 at Muscle Shoals Sound, Sheffield, Alabama\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineered by \u003c\/strong\u003e\u003cstrong\u003eJack Nuber\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Barry Beckett, Jerry Wexler\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMastered by Shawn R. Britton at Mobile Fidelity Sound Lab, Sebastopol, CA on The Gain 2 System™\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eManufactured by Sony Music Entertainment\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGlass master manufactured at Sony DADC\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1979\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in October 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\u003col\u003e\n\u003cli\u003eOnce Upon A Time In The West\u003c\/li\u003e\n\u003cli\u003eNews\u003c\/li\u003e\n\u003cli\u003eWhere Do You Think You're Going?\u003c\/li\u003e\n\u003cli\u003eCommunique\u003c\/li\u003e\n\u003cli\u003eLady Writer\u003c\/li\u003e\n\u003cli\u003eAngel Of Mercy\u003c\/li\u003e\n\u003cli\u003ePortobello Belle\u003c\/li\u003e\n\u003cli\u003eSingle-Handed Sailor\u003c\/li\u003e\n\u003cli\u003eFollow Me Home\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\"Rushed out less than nine months after the surprise success of Dire Straits' self-titled debut album, the group's sophomore effort, Communiqué, seemed little more than a carbon copy of its predecessor with less compelling material. Mark Knopfler and co. had established a sound (derived largely from J.J. Cale) of laid-back shuffles and intricate, bluesy guitar playing, and Communiqué provided more examples of it. But there was no track as focused as \"Sultans of Swing,\" even if \"Lady Writer\" (a lesser singles chart entry on both sides of the Atlantic) nearly duplicated its sound. As a result, Communiqué sold immediately to Dire Straits' established audience, but no more, and it did not fare as well critically as its predecessor or its follow-up.\" \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 data-mce-fragment=\"1\"\u003eUltra High-Resolution (UHR)\u003c\/strong\u003e\u003cspan data-mce-fragment=\"1\"\u003e is a dual-layer hybrid SACD recorded with Direct Stream Digital Technology at a sampling rate of 11.2 MHZ and a frequency response of DC to 100KHz. In addition, a high-precision down-conversion is utilized for the CD layer (16bit\/44.1kHz) to preserve the sonic integrity of the original DSD capture. The result: State-of-the-art sound on any machine that can play either standard compact discs or SACDs.\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 : 2.5 \/ 5 , Discogs : 4.63 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":46996813087055,"sku":"UDSACD 2185","price":49.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/files\/dire-straits-communique-hybrid-sacd-ultradisc-uhr-audiosoundmusic-1.jpg?v=1719862122"},{"product_id":"jefferson-airplane-volunteers-hybrid-sacd-ultradisc-uhr","title":"Jefferson Airplane - Volunteers (Hybrid SACD, Ultradisc UHR)","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\u003e\u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/jefferson-airplane\" title=\"vinyl featuring Jefferson Airplane\"\u003e\u003cspan style=\"color: rgb(255, 128, 0);\"\u003e[click here to see more products featuring Jefferson Airplane]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGrace Slick – vocals, piano on \"The Farm\", \"Hey Fredrick\", \"Eskimo Blue Day\" and \"Volunteers\", organ on \"Meadowlands\", recorder on \"Eskimo Blue Day\"\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBill Laudner – lead vocals on \"A Song for All Seasons\"\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMarty Balin – vocals, percussion\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePaul Kantner – vocals, rhythm guitar\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJorma Kaukonen – lead guitar, vocals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJack Casady – bass\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpencer Dryden – drums, percussion\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAdditional personnel\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eNicky Hopkins – piano on \"We Can Be Together\", \"Hey Fredrick\", \"Wooden Ships\", \"A Song for All Seasons\" and \"Volunteers\"\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStephen Stills – Hammond organ on \"Turn My Life Down\"\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJerry Garcia – pedal steel guitar on \"The Farm\"\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJoey Covington – congas on \"Turn My Life Down\", chair on \"Eskimo Blue Day\"\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDavid Crosby – sailboat on \"Wooden Ships\"\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAce of Cups – vocals on \"The Farm\" and \"Turn My Life Down\"\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 SACD, gatefold jacket\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\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : MOFI\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : RCA Victor\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded \u003cspan data-mce-fragment=\"1\"\u003eMarch 28–June 12, 1969 \u003c\/span\u003eat Wally Heider Studios, San Francisco\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineered by Rich Schmitt\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Al Schmitt\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMastered by Shawn R. Britton at Mobile Fidelity Sound Lab, Sebastopol, CA on The Gain 2 System™\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eManufactured by Sony Music Entertainment\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGlass master manufactured at Sony DADC\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 2016\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eWe Can Be Together\u003c\/li\u003e\n\u003cli\u003eGood Shepherd\u003c\/li\u003e\n\u003cli\u003eThe Farm\u003c\/li\u003e\n\u003cli\u003eHey Frederick\u003c\/li\u003e\n\u003cli\u003eTurn My Life Down\u003c\/li\u003e\n\u003cli\u003eWooden Ships\u003c\/li\u003e\n\u003cli\u003eEskimo Blue Day\u003c\/li\u003e\n\u003cli\u003eA Song for All Seasons\u003c\/li\u003e\n\u003cli\u003eMeadowlands\u003c\/li\u003e\n\u003cli\u003eVolunteers\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\u003cstrong\u003e\u003cspan style=\"color: #ff2a00;\"\u003eRolling Stone 500 Greatest Albums of All Time - Rated 373\/500\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\"Controversial at the time, delayed because of fights with the record company over lyrical content and the original title (Volunteers of America), Volunteers was a powerful release that neatly closed out and wrapped up the '60s. Here, the Jefferson Airplane presents itself in full revolutionary rhetoric, issuing a call to \"tear down the walls\" and \"get it on together.\" \"We Can Be Together\" and \"Volunteers\" bookend the album, offering musical variations on the same chord progression and lyrical variations on the same theme. Between these politically charged rock anthems, the band offers a mix of words and music that reflect the competing ideals of simplicity and getting \"back to the earth,\" and overthrowing greed and exploitation through political activism, adding a healthy dollop of psychedelic sci-fi for texture. Guitarist Jorma Kaukonen's beautiful arrangement of the traditional \"Good Shepherd\" is a standout here, and Jerry Garcia's pedal steel guitar gives \"The Farm\" an appropriately rural feel. The band's version of \"Wooden Ships\" is much more eerie than that released earlier in the year by Crosby, Stills \u0026amp; Nash. Oblique psychedelia is offered here via Grace Slick's \"Hey Frederick\" and ecologically tinged \"Eskimo Blue Day.\" Drummer Spencer Dryden gives an inside look at the state of the band in the country singalong \"A Song for All Seasons.\"\u003c\/p\u003e\n\u003cp\u003eThe musical arrangements here are quite potent. Nicky Hopkins' distinctive piano highlights a number of tracks, and Kaukonen's razor-toned lead guitar is the recording's unifying force, blazing through the mix, giving the album its distinctive sound. Although the political bent of the lyrics may seem dated to some, listening to Volunteers is like opening a time capsule on the end of an era, a time when young people still believed music had the power to change the world.\" \u003cspan data-mce-fragment=\"1\"\u003eAllMusic Review by Jim Newsom\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eUltra High-Resolution (UHR)\u003c\/strong\u003e\u003cspan data-mce-fragment=\"1\"\u003e is a dual-layer hybrid SACD recorded with Direct Stream Digital Technology at a sampling rate of 11.2 MHZ and a frequency response of DC to 100KHz. In addition, a high-precision down-conversion is utilized for the CD layer (16bit\/44.1kHz) to preserve the sonic integrity of the original DSD capture. The result: State-of-the-art sound on any machine that can play either standard compact discs or SACDs.\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 : 4.5 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":46996890845519,"sku":"UDSACD 2176","price":49.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/files\/jefferson-airplane-volunteers-hybrid-sacd-ultradisc-uhr-audiosoundmusic-1.jpg?v=1719862122"},{"product_id":"foreigner-4-hybrid-sacd-ultradisc-uhr","title":"Foreigner - 4 (Hybrid SACD, MOFI, Ultradisc UHR)","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\u003ca title=\"vinyl featuring Foreigner\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/foreigner\"\u003e\u003cspan style=\"color: #ff8000;\"\u003e\u003cstrong\u003e[click here to see more vinyl featuring Foreigner]\u003c\/strong\u003e\u003c\/span\u003e\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMick Jones, lead guitar, keyboards, background vocals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLou Gramm, lead vocals, percussion\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDennis Elliott, drums, background vocals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRick Wills, bass guitar, background vocals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cstrong\u003e\u003cspan lang=\"EN-US\" style=\"mso-ansi-language: EN-US;\"\u003eWritten by\u003cspan style=\"mso-spacerun: yes;\"\u003e  \u003c\/span\u003eGramm (1-2, 5, 6, 9, 10), Jones (1 - 8), Greenwood (10), McDonald (9)\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 SACD, gatefold jacket\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\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\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 \u003cspan data-mce-fragment=\"1\"\u003eDecember 1980−April 1981 \u003c\/span\u003eat Electric Lady Studios, New York City\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineered by Dave Wittman\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Mick Jones, Robert John \"Mutt\" Lange\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMastered by Shawn R. Britton at Mobile Fidelity Sound Lab, Sebastopol, CA on The Gain 2 System™\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eManufactured by Sony Music Entertainment\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGlass master manufactured at Sony DADC\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1981\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in April 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\u003col\u003e\n\u003cli\u003eNight Life\u003c\/li\u003e\n\u003cli\u003eJuke Box Hero\u003c\/li\u003e\n\u003cli\u003eBreak It Up\u003c\/li\u003e\n\u003cli\u003eWaiting for a Girl Like You\u003c\/li\u003e\n\u003cli\u003eLuanne\u003c\/li\u003e\n\u003cli\u003eUrgent\u003c\/li\u003e\n\u003cli\u003eI'm Gonna Win\u003c\/li\u003e\n\u003cli\u003eWoman in Black\u003c\/li\u003e\n\u003cli\u003eGirl on the Moon\u003c\/li\u003e\n\u003cli\u003eDon't Let Go\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\"Over the course of their first three late-'70s albums, Foreigner had firmly established themselves (along with Journey and Styx) as one of the top AOR bands of the era. But the band was still looking for that grand slam of a record that would push them to the very top of the heap. Released in 1981, 4 would be that album. In producer Robert John \"Mutt\" Lange -- fresh off his massive success with AC\/DC's Back in Black -- guitarist and all-around mastermind Mick Jones found both the catalyst to achieve this and his perfect musical soulmate. Lange's legendary obsessive attention to detail and Jones' highly disciplined guitar heroics (which he never allowed to get in the way of a great song) resulted in a collaboration of unprecedented, sparkling efficiency where not a single note is wasted. \"Nightlife\" is only the first in a series (\"Woman in Black,\" \"Don't Let Go,\" the '50s-tinged \"Luanne\") of energetic, nearly flawless melodic rockers, and with \"Juke Box Hero,\" the band somehow managed to create both a mainstream hit single and a highly unique-sounding track, alternating heavy metal guitar riffing, chorused vocals, and one of the ultimate \"wanna be a rock star\" lyrics. As for the mandatory power ballad, the band also reached unparalleled heights with \"Waiting for a Girl Like You.\" One of the decade's most successful cross-genre tearjerkers, it has since become a staple of soft rock radio and completely eclipsed the album's other very lovely ballad, \"Girl on the Moon,\" in the process. And last but not least, the surprisingly funky \"Urgent\" proved to be one of the band's most memorable and uncharacteristic smash hits, thanks to Junior Walker's signature saxophone solo. Through it all, vocalist Lou Gramm does his part, delivering a dazzling performance that confirmed his status as one of the finest voices of his generation. Three years later, Foreigner would achieve even greater success on a pop level with the uneven Agent Provocateur, but by then Jones and Gramm were locked in an escalating war of egos that would soon lead to the band's demise. All things considered, 4 remains Foreigner's career peak.\" \u003cspan data-mce-fragment=\"1\"\u003eAllMusic Review by Eduardo Rivadavia\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eUltra High-Resolution (UHR)\u003c\/strong\u003e\u003cspan data-mce-fragment=\"1\"\u003e is a dual-layer hybrid SACD recorded with Direct Stream Digital Technology at a sampling rate of 11.2 MHZ and a frequency response of DC to 100KHz. In addition, a high-precision down-conversion is utilized for the CD layer (16bit\/44.1kHz) to preserve the sonic integrity of the original DSD capture. The result: State-of-the-art sound on any machine that can play either standard compact discs or SACDs.\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 : 4.39 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":46997005435215,"sku":"UDSACD 2053","price":49.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/files\/foreigner-4-hybrid-sacd-ultradisc-uhr-audiosoundmusic-1.jpg?v=1719862122"},{"product_id":"warren-zevon-excitable-boy-hybrid-sacd-ultradisc-uhr","title":"Warren Zevon - Excitable Boy (Hybrid SACD, Ultradisc UHR)","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\u003eWarren Zevon – lead, harmony and backing vocals, piano, organ, synthesizer \u003ca title=\"vinyl featuring Waren Zevon\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/warren-zevon\"\u003e\u003cspan style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Warren Zevon]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJorge Calderón – harmony and backing vocals, Spanish vocals on \"Veracruz\"\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJennifer Warnes – harmony vocals on \"Excitable Boy\" \u003ca data-mce-fragment=\"1\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/jennifer-warnes\" title=\"vinyl featuring Jennifer Warnes\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/jennifer-warnes\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"color: #ff8000;\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Jennifer Warnes]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLinda Ronstadt – backing and harmony vocals on \"Excitable Boy\" \u003ca data-mce-fragment=\"1\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/linda-ronstadt\" title=\"vinyl featuring Linda Rondstadt\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/linda-ronstadt\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"color: #ff8000;\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Linda Rondstadt]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMick Fleetwood – drums on \"Werewolves of London\"\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003ca data-mce-fragment=\"1\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/fleetwood-mac\" title=\"vinyl featuring Mick Fleetwood\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/fleetwood-mac\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"color: #ff8000;\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Mick Fleetwood]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDanny Kortchmar - guitar, percussion\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRuss Kunkel – drums\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eKarla Bonoff – harmony vocals on \"Accidentally Like a Martyr\"\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJackson Browne – guitar, harmony and backing vocals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLuis Damian – jarana on \"Veracruz\"\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eKenny Edwards – bass guitar on \"Veracruz\", \"Tenderness on the Block\" and \"Lawyers, Guns and Money\"\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJohn McVie - bass on \"Werewolves of London\"\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe Gentlemen Boys (Jackson Browne, Jorge Calderón, Kenny Edwards, J. D. Souther and Waddy Wachtel) – backing and harmony vocals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eArthur Gerst – Mexican harp\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBob Glaub – bass guitar on \"Roland the Headless Gunner\", \"Excitable Boy\" and \"Nighttime in the Switching Yard\"\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJim Horn – recorder on \"Veracruz\"; saxophone on \"Excitable Boy\"\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGreg Ladanyi – bells on \"Nighttime in the Switching Yard\"\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRick Marotta – drums on \"Veracruz\" and \"Lawyers, Guns and Money\"\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJeff Porcaro – drums and percussion on \"Nighttime in the Switching Yard\"\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLeland Sklar – bass guitar on \"Johnny Strikes Up The Band\" and \"Accidentally Like a Martyr\"\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJ.D. Souther – backing and harmony vocals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eManuel Vasquez – requinto on \"Veracruz\"\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWaddy Wachtel – guitar, synthesizer, harmony and backing vocals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 SACD, gatefold jacket with an 8-page booklet\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\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Mobile Fidelity\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 at The Sound Factory, Los Angeles\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineered \u0026amp; mixed by Dennis Kirk, Greg Ladanyi\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Jackson Browne, Waddy Wachtel\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMastered by Shawn R. Britton at Mobile Fidelity Sound Lab, Sebastopol, CA on The Gain 2 System™\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eManufactured by Sony Music Entertainment\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGlass master manufactured at Sony DADC\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 April 2023\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eJohnny Strikes Up The Band\u003c\/li\u003e\n\u003cli\u003eRoland The Headless Thompson Gunner\u003c\/li\u003e\n\u003cli\u003eExcitable Boy\u003c\/li\u003e\n\u003cli\u003eWerewolves Of London\u003c\/li\u003e\n\u003cli\u003eAccidentally Like A Martyr\u003c\/li\u003e\n\u003cli\u003eNighttime In The Switching Yard\u003c\/li\u003e\n\u003cli\u003eVeracruz\u003c\/li\u003e\n\u003cli\u003eTenderness On The Block\u003c\/li\u003e\n\u003cli\u003eLawyers, Guns And Money\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\"Warren Zevon's self-titled 1976 album announced he was one of the most striking talents to emerge from the Los Angeles soft rock singer\/songwriter community, and Linda Ronstadt (a shrewd judge of talent if a sometimes questionable interpreter) recorded three of its songs on two of her biggest-selling albums, which doubtlessly earned Zevon bigger royalty checks than the album itself ever did. But if Warren Zevon was an impressive calling card, the follow-up, Excitable Boy, was an actual hit, scoring one major hit single, \"Werewolves of London,\" and a trio of turntable hits (\"Roland the Headless Thompson Gunner,\" \"Lawyers, Guns and Money,\" and the title track). But while Excitable Boy won Zevon the larger audience his music certainly deserved, the truth is it was a markedly inferior album; while it had all the bile of Warren Zevon, and significantly raised Zevon's dark-humor factor, it was often obvious where his previous album had been subtle, and while all 11 tracks on Warren Zevon were strong and compelling, two of the nine tunes on Excitable Boy -- \"Johnny Strike Up the Band\" and \"Nighttime in the Switching Yard\" -- sound like they're just taking up space. Musically, most of Excitable Boy is stuck in a polished but unexceptional FM pop groove, and only \"Veracruz\" hints at the artful intelligence of Warren Zevon's finest moments. It's hard to say if Zevon was feeling uninspired or just dumbing himself down when he made Excitable Boy, but while it made him famous, it lacks the smarts and substance of his best work.\" \u003cspan data-mce-fragment=\"1\"\u003eAllMusic Review by Mark Deming\u003c\/span\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eUltra High-Resolution (UHR)\u003c\/strong\u003e\u003cspan data-mce-fragment=\"1\"\u003e is a dual-layer hybrid SACD recorded with Direct Stream Digital Technology at a sampling rate of 11.2 MHZ and a frequency response of DC to 100KHz. In addition, a high-precision down-conversion is utilized for the CD layer (16bit\/44.1kHz) to preserve the sonic integrity of the original DSD capture. The result: State-of-the-art sound on any machine that can play either standard compact discs or SACDs.\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 : 4.93 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":46997132738895,"sku":"UDSACD 2241","price":49.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/files\/warren-zevon-excitable-boy-hybrid-sacd-ultradisc-uhr-audiosoundmusic-1.jpg?v=1719862122"},{"product_id":"ray-charles-the-genius-after-hours-hybrid-sacd-mono-ultradisc-uhr","title":"Ray Charles - The Genius After Hours (Hybrid SACD, Mono, Ultradisc UHR)","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\u003ePiano – Ray Charles \u003ca data-mce-fragment=\"1\" title=\"vinyl featuring Ray Charles\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/ray-charles\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/ray-charles\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"color: #ff8000;\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Ray Charles]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAlto Saxophone – Dave \"Fathead\" Newman (4)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTenor Saxophone – Dave \"Fathead\" Newman (2, 5)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBaritone Saxophone – Emmott Dennis (2, 5)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBass – Oscar Pettiford (3, 6, 8), Roosevelt Sheffield (1, 2, 4, 5, 7)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDrums – Joe Harris (3, 6, 8), William Peeples (1, 2, 4, 5, 7)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTrumpet – Joe Bridgewater (2, 5), John Hunt (2, 4, 5)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by Ray Charles (1, 3, 4, 5, 7), Andy Razaf (2), Fats Waller (2), Harry Brooks (2), George \u0026amp; Ira Gershwin (6), Stephan Weiss (8), Bernie Baum (8)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 SACD, gatefold jacket with a 4-page leaflet\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\u003eMono\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Mobile Fidelity\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Atlantic\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded April 30, 1956 - September 12, 1957 in New York City\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Jerry Wexler, Nesuhi Ertegun\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMastered by Rob LoVerde at Mobile Fidelity Sound Lab, Sebastopol, CA on The Gain 2 System™\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDesign by Loring Eutemey and John A. Beck\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePhotography by Jay Maisel\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSleeve Notes by Leonard Feather\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eManufactured by Rhino Entertainment Company\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGlass master manufactured at Sony DADC\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1961\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\u003col\u003e\n\u003cli\u003e\n\u003cp\u003eThe Genius After Hours\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003eAin't Misbehavin'\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003eDawn Ray\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003eJoy Ride\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003eHornful Soul\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003eThe Man I Love\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003eCharlesville\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003eMusic, Music, Music\u003c\/p\u003e\n\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“Taken from the same three sessions as The Great Ray Charles but not duplicating any of the performances, this set casts Charles as a jazz-oriented pianist in an instrumental setting. Brother Charles has five numbers with a trio (three songs have Oscar Pettiford on bass) and jams on three other tunes (\"Hornful Soul,\" \"Ain't Misbehavin',\" and \"Joy Ride\") with a septet arranged by Quincy Jones; solo space is given to David \"Fathead\" Newman on tenor and alto and trumpeter Joseph Bridgewater. Fine music -- definitely a change of pace for Ray Charles.” AllMusic Review by Scott Yanow\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eUltra High-Resolution (UHR)\u003c\/strong\u003e\u003cspan data-mce-fragment=\"1\"\u003e is a dual-layer hybrid SACD recorded with Direct Stream Digital Technology at a sampling rate of 11.2 MHZ and a frequency response of DC to 100KHz. In addition, a high-precision down-conversion is utilized for the CD layer (16bit\/44.1kHz) to preserve the sonic integrity of the original DSD capture. The result: State-of-the-art sound on any machine that can play either standard compact discs or SACDs.\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 : 4.53 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":46997191262543,"sku":"UDSACD 2073","price":49.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/files\/ray-charles-the-genius-after-hours-hybrid-sacd-mono-ultradisc-uhr-audiosoundmusic-1.jpg?v=1719862122"},{"product_id":"billy-joel-an-innocent-man-hybrid-sacd-ultradisc-uhr","title":"Billy Joel – An Innocent Man (Hybrid SACD, Ultradisc UHR)","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\u003eVocals, backing vocals, Electric Piano, Piano, Electric Organ – Billy Joel \u003cspan data-mce-fragment=\"1\" style=\"color: #ff8000;\"\u003e\u003ca data-mce-fragment=\"1\" style=\"color: #ff8000;\" title=\"vinyl featuring billy joel\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/billy-joel\" 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\u003eBacking Vocals – Eric Troyer, Frank Floyd, Lani Groves, Mark Rivera, Mike Alexander, Ron Taylor, Rory Dodd, Terry Textor, Tom Bahler, Ullanda McCullough\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBass – Doug Stegmeyer\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDrums – Liberty DeVitto\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLead Guitar – David Brown\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePercussion, Alto Saxophone, Tenor Saxophone – Mark Rivera\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRhythm Guitar, Rhythm Guitar – Russell Javors\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStrings – String Fever\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAlto Saxophone – David Sanborn (1), Mark Rivera (4, 8, 10)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBaritone Saxophone – Ronnie Cuber (1, 5, 7, 10)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTenor Saxophone – Michael Brecker (5, 7, 10)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eElectric Guitar – Eric Gale (1)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eElectric Organ – Leon Pendarvis (1)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTrumpet – Joe Shepley (1, 5, 7, 10), Jon Faddis (1), John Gatchell (5, 7, 10)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePiano – Richard Tee (5)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePercussion – Ralph MacDonald (7, 9)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHarmonica – Toots Thielemans (9)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBackground Vocals arranged by Tom Bahler\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHorns \u0026amp; Strings arranged by Dave Matthews\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by Billy Joel\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eChorus composed by Ludwig van Beethoven (4)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 SACD, gatefold jacket with a 12-page booklet\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\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Mobile Fidelity\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 Chelsea Sound and A\u0026amp;R Recording, Inc., New York, NY during spring 1983\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMixed and engineered 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\u003eMastered by Rob LoVerde at Mobile Fidelity Sound Lab, Sebastopol, CA on The Gain 2 System™\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eManufactured by Sony Music Entertainment\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGlass master manufactured at Sony DADC\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDesign by Christopher Austopchuk, Mark Larson, John A. Beck\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePhotography by Gilles Larrain\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in August 1983\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\u003col\u003e\n\u003cli\u003eEasy Money\u003c\/li\u003e\n\u003cli\u003eAn Innocent Man\u003c\/li\u003e\n\u003cli\u003eThe Longest Time\u003c\/li\u003e\n\u003cli\u003eThis Night\u003c\/li\u003e\n\u003cli\u003eTell Her About It\u003c\/li\u003e\n\u003cli\u003eUptown Girl\u003c\/li\u003e\n\u003cli\u003eCareless Talk\u003c\/li\u003e\n\u003cli\u003eChristie Lee\u003c\/li\u003e\n\u003cli\u003eLeave A Tender Moment Alone\u003c\/li\u003e\n\u003cli\u003eKeeping the Faith\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“Recording The Nylon Curtain exhausted Billy Joel, and even though it had a pair of major hits, it didn't rival its predecessors in terms of sales. Since he labored so hard at the record, he decided it was time for a break -- it was time to record an album just for fun. And that's how his homage to pre-Beatles pop, An Innocent Man, was conceived: it was designed as a breezy romp through the music of his childhood. Joel's grasp on history isn't remarkably astute -- the opener \"Easy Money\" is a slice of Stax\/Volt pop-soul, via the Blues Brothers (quite possibly the inspiration for the album), and the label didn't break the pop charts until well after the British Invasion -- but he's in top form as a craftsman throughout the record. Only once does he stumble on his own ambition (\"This Night,\" which appropriates its chorus from Beethoven). For the rest of the record, he's effortlessly spinning out infectious, memorable melodies in a variety of styles, from the Four Seasons send-up \"Uptown Girl\" and the soulful \"Tell Her About It\" to a pair of doo wop tributes, \"The Longest Time\" and \"Careless Talk.\" Joel has rarely sounded so carefree either in performance or writing, possibly due to \"Christie Lee\" Brinkley, a supermodel who became his new love prior to An Innocent Man. He can't stop writing about her throughout the album -- only three songs, including the haunted title track, aren't about her in some form or fashion. That giddiness is infectious, helping make An Innocent Man an innocent delight that unwittingly closes Joel's classic period.” AllMusic Review by Stephen Thomas Erlewine\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eUltra High-Resolution (UHR)\u003c\/strong\u003e\u003cspan data-mce-fragment=\"1\"\u003e is a dual-layer hybrid SACD recorded with Direct Stream Digital Technology at a sampling rate of 11.2 MHZ and a frequency response of DC to 100KHz. In addition, a high-precision down-conversion is utilized for the CD layer (16bit\/44.1kHz) to preserve the sonic integrity of the original DSD capture. The result: State-of-the-art sound on any machine that can play either standard compact discs or SACDs.\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 : 4.54 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":47003475870031,"sku":"UDSACD 2094","price":49.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/files\/billy-joel-an-innocent-man-hybrid-sacd-ultradisc-uhr-audiosoundmusic-1.jpg?v=1719862135"},{"product_id":"bob-dylan-the-freewheelin-bob-dylan-hybrid-sacd-ultradisc-uhr","title":"Bob Dylan – The Freewheelin' Bob Dylan (Hybrid SACD, Mono, Ultradisc UHR)","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\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\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\u003eORDER LIMITED TO ONE ITEM PER CUSTOMER\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBob Dylan – acoustic guitar, harmonica, vocals \u003ca style=\"color: #ff8000;\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/bob-dylan\" title=\"vinyl featuring Bob Dylan\" data-mce-fragment=\"1\"\u003e[click here to see more products featuring Bob Dylan]\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHowie Collins – guitar (12)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLeonard Gaskin – double bass (12)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBruce Langhorne – guitar (12)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHerb Lovelle – drums (12)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDick Wellstood – piano (12)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by Bob Dylan (all tracks except 11), Henry Thomas (12)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTrack 11 is a traditional song arranged by Bob Dylan\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 SACD, gatefold jacket\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eLimited to 3,000 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\u003eMono\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\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 April 24–25, July 9, October 16, November 1 and 15, December 6, 1962, and April 24, 1963 at Columbia Studio 7th Ave, New York City\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by John Hammond\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMastered by Rob LoVerde at Mobile Fidelity Sound Lab, Sebastopol, CA on The Gain 2 System™\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eManufactured by Sony Music Entertainment\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGlass master manufactured at Sony DADC\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLiner Notes by Nat Hentoff\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePhotography by Don Hunstein\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in May 1963\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in October 2017\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eBlowin' In The Wind\u003c\/li\u003e\n\u003cli\u003eGirl From The North Country\u003c\/li\u003e\n\u003cli\u003eMasters Of War\u003c\/li\u003e\n\u003cli\u003eDown The Highway\u003c\/li\u003e\n\u003cli\u003eBob Dylan's Blues\u003c\/li\u003e\n\u003cli\u003eA Hard Rain's A-Gonna Fall\u003c\/li\u003e\n\u003cli\u003eDon’t Think Twice, It's All Right\u003c\/li\u003e\n\u003cli\u003eBob Dylan's Dream\u003c\/li\u003e\n\u003cli\u003eOxford Town\u003c\/li\u003e\n\u003cli\u003eTalking World War III Blues\u003c\/li\u003e\n\u003cli\u003eCorrina, Corrina\u003c\/li\u003e\n\u003cli\u003eHoney, Just Allow Me One More Chance\u003c\/li\u003e\n\u003cli\u003eI Shall Be Free\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 - Ranked 255\/500\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\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\u003e“It's hard to overestimate the importance of The Freewheelin' Bob Dylan, the record that firmly established Dylan as an unparalleled songwriter, one of considerable skill, imagination, and vision. At the time, folk had been quite popular on college campuses and bohemian circles, making headway onto the pop charts in diluted form, and while there certainly were a number of gifted songwriters, nobody had transcended the scene as Dylan did with this record. There are a couple (very good) covers, with \"Corrina Corrina\" and \"Honey Just Allow Me One More Chance,\" but they pale with the originals here. At the time, the social protests received the most attention, and deservedly so, since \"Blowin' in the Wind,\" \"Masters of War,\" and \"A Hard Rain's A-Gonna Fall\" weren't just specific in their targets; they were gracefully executed and even melodic. Although they've proven resilient throughout the years, if that's all Freewheelin' had to offer, it wouldn't have had its seismic impact, but this also revealed a songwriter who could turn out whimsy (\"Don't Think Twice, It's All Right\"), gorgeous love songs (\"Girl From the North Country\"), and cheerfully absurdist humor (\"Bob Dylan's Blues,\" \"Bob Dylan's Dream\") with equal skill. This is rich, imaginative music, capturing the sound and spirit of America as much as that of Louis Armstrong, Hank Williams, or Elvis Presley. Dylan, in many ways, recorded music that equaled this, but he never topped it.” AllMusic Review by Stephen Thomas Erlewine\u003c\/p\u003e\n\u003cp\u003e\"Every other version I played sounded veiled and distant compared to this double 45. Mobile Fidelity has completely refurbished its playback and cutting chain, supervised by Tim DeParavicini. It's easy to hear. This is the best sounding edition of this album I've yet heard, \"Pan\"-Demonium or otherwise.\" - Michael Fremer, Analog Planet\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eUltra High-Resolution (UHR)\u003c\/strong\u003e\u003cspan data-mce-fragment=\"1\"\u003e is a dual-layer hybrid SACD recorded with Direct Stream Digital Technology at a sampling rate of 11.2 MHZ and a frequency response of DC to 100KHz. In addition, a high-precision down-conversion is utilized for the CD layer (16bit\/44.1kHz) to preserve the sonic integrity of the original DSD capture. The result: State-of-the-art sound on any machine that can play either standard compact discs or SACDs.\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 : 4.81 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":47004072509775,"sku":"UDSACD 2178","price":79.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/files\/bob-dylan-the-freewheelin-bob-dylan-hybrid-sacd-mono-ultradisc-uhr-audiosoundmusic-1.jpg?v=1719862135"},{"product_id":"bob-dylan-bob-dylan-hybrid-sacd-mono-ultradisc-uhr","title":"Bob Dylan - Bob Dylan (Hybrid SACD, Mono, Ultradisc UHR)","description":"\u003ch2\u003e\n\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\n\u003c\/h2\u003e\n\u003cp\u003e\u003cstrong\u003eBob Dylan – vocals, acoustic guitar, harmonica \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\u003eWritten by Bob Dylan\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 SACD, gatefold jacket\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eNumbered edition limited to 3,000 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\u003eMono\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\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 20 and 22, 1961\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e in \u003c\/span\u003eColumbia Studio A, 799 Seventh Avenue, New York City\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by John Hammond\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMastered by Shawn R. Britton at Mobile Fidelity Sound Lab, Sebastopol, CA on The Gain 2 System™\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eManufactured by Sony Music Entertainment\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGlass master manufactured at Sony DADC\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 2017\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eYou're No Good\u003c\/li\u003e\n\u003cli\u003eTalkin' New York\u003c\/li\u003e\n\u003cli\u003eIn My Time Of Dyin'\u003c\/li\u003e\n\u003cli\u003eMan Of Constant Sorrow\u003c\/li\u003e\n\u003cli\u003eFixin' To Die\u003c\/li\u003e\n\u003cli\u003ePretty Peggy-O\u003c\/li\u003e\n\u003cli\u003eHighway 51\u003c\/li\u003e\n\u003cli\u003eGospel Plow\u003c\/li\u003e\n\u003cli\u003eBaby, Let Me Follow You Down\u003c\/li\u003e\n\u003cli\u003eHouse Of The Risin' Sun\u003c\/li\u003e\n\u003cli\u003eFreight Train Blues\u003c\/li\u003e\n\u003cli\u003eSong To Woody\u003c\/li\u003e\n\u003cli\u003eSee That My Grave Is Kept Clean\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\"Bob Dylan's first album is a lot like the debut albums by the Beatles and the Rolling Stones -- a sterling effort, outclassing most, if not all, of what came before it in the genre, but similarly eclipsed by the artist's own subsequent efforts. The difference was that not very many people heard Bob Dylan on its original release (originals on the early-'60s Columbia label are choice collectibles) because it was recorded with a much smaller audience and musical arena in mind. At the time of Bob Dylan's release, the folk revival was rolling, and interpretation was considered more important than original composition by most of that audience. A significant portion of the record is possessed by the style and spirit of Woody Guthrie, whose influence as a singer and guitarist hovers over \"Man of Constant Sorrow\" and \"Pretty Peggy-O,\" as well as the two originals here, the savagely witty \"Talkin' New York\" and the poignant \"Song to Woody\"; and it's also hard to believe that he wasn't aware of Jimmie Rodgers and Roy Acuff when he cut \"Freight Train Blues.\" But on other songs, one can also hear the influences of Bukka White, Blind Lemon Jefferson, Blind Willie Johnson, and Furry Lewis, in the playing and singing, and this is where Dylan departed significantly from most of his contemporaries. Other white folksingers of the era, including his older contemporaries Eric Von Schmidt and Dave Van Ronk, had incorporated blues in their work, but Dylan's presentation was more in your face, resembling in some respects (albeit in a more self-conscious way) the work of John Hammond, Jr., the son of the man who signed Dylan to Columbia Records and produced this album, who was just starting out in his own career at the time this record was made. There's a punk-like aggressiveness to the singing and playing here. His raspy-voiced delivery and guitar style were modeled largely on Guthrie's classic '40s and early-'50s recordings, but the assertiveness of the bluesmen he admires also comes out, making this one of the most powerful records to come out of the folk revival of which it was a part. Within a year of its release, Dylan, initially in tandem with young folk\/protest singers like Peter, Paul \u0026amp; Mary and Phil Ochs, would alter the boundaries of that revival beyond recognition, but this album marked the pinnacle of that earlier phase, before it was overshadowed by this artist's more ambitious subsequent work. In that regard, the two original songs here serve as the bridge between Dylan's stylistic roots, as delineated on this album, and the more powerful and daringly original work that followed. One myth surrounding this album should also be dispelled here -- his version of \"House of the Rising Sun\" here is worthwhile, but the version that was the inspiration for the Animals' recording was the one by Josh White.\" AllMusic Review by Bruce Eder  \u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eUltra High-Resolution (UHR)\u003c\/strong\u003e\u003cspan data-mce-fragment=\"1\"\u003e is a dual-layer hybrid SACD recorded with Direct Stream Digital Technology at a sampling rate of 11.2 MHZ and a frequency response of DC to 100KHz. In addition, a high-precision down-conversion is utilized for the CD layer (16bit\/44.1kHz) to preserve the sonic integrity of the original DSD capture. The result: State-of-the-art sound on any machine that can play either standard compact discs or SACDs.\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 : 4.46 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":47004169568591,"sku":"UDSACD 2177","price":49.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/files\/bob-dylan-bob-dylan-hybrid-sacd-mono-ultradisc-uhr-audiosoundmusic-1.jpg?v=1719862135"},{"product_id":"bob-dylan-love-and-theft-hybrid-sacd-ultradisc-uhr","title":"Bob Dylan - Love and Theft (Hybrid SACD, Ultradisc UHR)","description":"\u003ch2\u003e\n\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\n\u003c\/h2\u003e\n\u003cp\u003e\u003cstrong\u003eBob Dylan – vocals, guitar, pian  \u003ca style=\"color: #ff8000;\" title=\"vinyl featuring Bob Dylan\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/bob-dylan\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/bob-dylan\"\u003e[click here to see more vinyl featuring Bob Dylan]\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLarry Campbell – guitar, banjo, mandolin, violin\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCharlie Sexton – guitar\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAugie Meyers – accordion, Hammond B3 organ, Vox organ\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTony Garnier – bass guitar\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDavid Kemper – drums\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eClay Meyers – bongos\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 SACD, gatefold jacket\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eLimited to 3,000 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\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\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\u003c\/strong\u003e \u003cstrong\u003eMay 2001 in Clinton Recording, New York City\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineered \u0026amp; mixed by Chris Shaw\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Jack Frost\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMastered by Shawn R. Britton at Mobile Fidelity Sound Lab, Sebastopol, CA on The Gain 2 System™\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eManufactured by Sony Music Entertainment\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGlass master manufactured at Sony DADC\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 2001\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in September 2017\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eTweedle Dee \u0026amp; Tweedle Dum\u003c\/li\u003e\n\u003cli\u003eMississippi\u003c\/li\u003e\n\u003cli\u003eSummer Days\u003c\/li\u003e\n\u003cli\u003eBye And Bye\u003c\/li\u003e\n\u003cli\u003eLonesome Day Blues\u003c\/li\u003e\n\u003cli\u003eFloater (Too Much To Ask)\u003c\/li\u003e\n\u003cli\u003eHigh Water (For Charley Patton)\u003c\/li\u003e\n\u003cli\u003eMoonlight\u003c\/li\u003e\n\u003cli\u003eHonest With Me\u003c\/li\u003e\n\u003cli\u003ePo' Boy\u003c\/li\u003e\n\u003cli\u003eCry A While\u003c\/li\u003e\n\u003cli\u003eSugar Baby\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 385\/500\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e\u003cb\u003eRolling Stone 500 Greatest Songs of All Time - \"Mississippi\" - Rated 260\/500\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\"Time Out of Mind was a legitimate comeback, Bob Dylan's first collection of original songs in nearly ten years and a risky rumination on mortality, but its sequel, Love and Theft, is his true return to form, not just his best album since Blood on the Tracks, but the loosest, funniest, warmest record he's made since The Basement Tapes. There are none of the foreboding, apocalyptic warnings that permeated Time Out of Mind and even underpinned \"Things Have Changed,\" his Oscar-winning theme to Curtis Hanson's 2000 film Wonder Boys. Just as important, Daniel Lanois' deliberately arty, diffuse production has retreated into the mist, replaced by an uncluttered, resonant production that gives Dylan and his ace backing band room to breathe. And they run wild with that liberty, rocking the house with the grinding \"Lonesome Day Blues\" and burning it down with the fabulously swinging \"Summer Days.\" They're equally captivating on the slower songs, whether it's the breezily romantic \"Bye and Bye,\" the torch song \"Moonlight,\" or the epic reflective closer, \"Sugar Baby.\" Musically, Dylan hasn't been this natural or vital since he was with the Band, and even then, those records were never as relaxed and easy or even as hard-rocking as these. That alone would make Love and Theft a remarkable achievement, but they're supported by a tremendous set of songs that fully synthesize all the strands in his music, from the folksinger of the early '60s, through the absurdist storyteller of the mid-'60s, through the traditionalist of the early '70s, to the grizzled professional of the '90s. None of this is conscious, it's all natural. There's an ease to his writing and a swagger to his performance unheard in years -- he's cracking jokes and murmuring wry asides, telling stories, crooning, and swinging. It's reminiscent of his classic records, but he's never made a record that's been such sheer, giddy fun as this, and it stands proudly among his very best albums.\" \u003cspan data-mce-fragment=\"1\"\u003eAllMusic Review by Stephen Thomas Erlewine\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\"Blood, desperation and wicked gallows humor are in the air as Dylan and his road band provide a raucous tour of twentieth-century musical America via jump blues, slow blues, rockabilly, Tin Pan Alley ballads and country swing. \"Summer Days\" sounds like the exact moment when R↦B morphed into rock \u0026amp; roll. \" - www.rollingstone.com\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eUltra High-Resolution (UHR)\u003c\/strong\u003e\u003cspan data-mce-fragment=\"1\"\u003e is a dual-layer hybrid SACD recorded with Direct Stream Digital Technology at a sampling rate of 11.2 MHZ and a frequency response of DC to 100KHz. In addition, a high-precision down-conversion is utilized for the CD layer (16bit\/44.1kHz) to preserve the sonic integrity of the original DSD capture. The result: State-of-the-art sound on any machine that can play either standard compact discs or SACDs.\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 : 4.79 \/ 5 \u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":47004287959375,"sku":"UDSACD 2164","price":49.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/files\/bob-dylan-love-and-theft-hybrid-sacd-ultradisc-uhr-audiosoundmusic-1.jpg?v=1719862135"},{"product_id":"bob-dylan-bob-dylan-hybrid-sacd-stereo-ultradisc-uhr","title":"Bob Dylan - Bob Dylan (Hybrid SACD, Stereo, Ultradisc UHR)","description":"\u003ch2\u003e\n\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\n\u003c\/h2\u003e\n\u003cp\u003e\u003cstrong\u003eBob Dylan – vocals, acoustic guitar, harmonica \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\u003eWritten by Bob Dylan\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 SACD, gatefold jacket\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eNumbered edition limited to 3,000 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\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\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 20 and 22, 1961\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e in \u003c\/span\u003eColumbia Studio A, 799 Seventh Avenue, New York City\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by John Hammond\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMastered by Shawn R. Britton at Mobile Fidelity Sound Lab, Sebastopol, CA on The Gain 2 System™\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eManufactured by Sony Music Entertainment\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGlass master manufactured at Sony DADC\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 2014\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eYou're No Good\u003c\/li\u003e\n\u003cli\u003eTalkin' New York\u003c\/li\u003e\n\u003cli\u003eIn My Time Of Dyin'\u003c\/li\u003e\n\u003cli\u003eMan Of Constant Sorrow\u003c\/li\u003e\n\u003cli\u003eFixin' To Die\u003c\/li\u003e\n\u003cli\u003ePretty Peggy-O\u003c\/li\u003e\n\u003cli\u003eHighway 51\u003c\/li\u003e\n\u003cli\u003eGospel Plow\u003c\/li\u003e\n\u003cli\u003eBaby, Let Me Follow You Down\u003c\/li\u003e\n\u003cli\u003eHouse Of The Risin' Sun\u003c\/li\u003e\n\u003cli\u003eFreight Train Blues\u003c\/li\u003e\n\u003cli\u003eSong To Woody\u003c\/li\u003e\n\u003cli\u003eSee That My Grave Is Kept Clean\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\"Bob Dylan's first album is a lot like the debut albums by the Beatles and the Rolling Stones -- a sterling effort, outclassing most, if not all, of what came before it in the genre, but similarly eclipsed by the artist's own subsequent efforts. The difference was that not very many people heard Bob Dylan on its original release (originals on the early-'60s Columbia label are choice collectibles) because it was recorded with a much smaller audience and musical arena in mind. At the time of Bob Dylan's release, the folk revival was rolling, and interpretation was considered more important than original composition by most of that audience. A significant portion of the record is possessed by the style and spirit of Woody Guthrie, whose influence as a singer and guitarist hovers over \"Man of Constant Sorrow\" and \"Pretty Peggy-O,\" as well as the two originals here, the savagely witty \"Talkin' New York\" and the poignant \"Song to Woody\"; and it's also hard to believe that he wasn't aware of Jimmie Rodgers and Roy Acuff when he cut \"Freight Train Blues.\" But on other songs, one can also hear the influences of Bukka White, Blind Lemon Jefferson, Blind Willie Johnson, and Furry Lewis, in the playing and singing, and this is where Dylan departed significantly from most of his contemporaries. Other white folksingers of the era, including his older contemporaries Eric Von Schmidt and Dave Van Ronk, had incorporated blues in their work, but Dylan's presentation was more in your face, resembling in some respects (albeit in a more self-conscious way) the work of John Hammond, Jr., the son of the man who signed Dylan to Columbia Records and produced this album, who was just starting out in his own career at the time this record was made. There's a punk-like aggressiveness to the singing and playing here. His raspy-voiced delivery and guitar style were modeled largely on Guthrie's classic '40s and early-'50s recordings, but the assertiveness of the bluesmen he admires also comes out, making this one of the most powerful records to come out of the folk revival of which it was a part. Within a year of its release, Dylan, initially in tandem with young folk\/protest singers like Peter, Paul \u0026amp; Mary and Phil Ochs, would alter the boundaries of that revival beyond recognition, but this album marked the pinnacle of that earlier phase, before it was overshadowed by this artist's more ambitious subsequent work. In that regard, the two original songs here serve as the bridge between Dylan's stylistic roots, as delineated on this album, and the more powerful and daringly original work that followed. One myth surrounding this album should also be dispelled here -- his version of \"House of the Rising Sun\" here is worthwhile, but the version that was the inspiration for the Animals' recording was the one by Josh White.\" AllMusic Review by Bruce Eder  \u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eUltra High-Resolution (UHR)\u003c\/strong\u003e\u003cspan data-mce-fragment=\"1\"\u003e is a dual-layer hybrid SACD recorded with Direct Stream Digital Technology at a sampling rate of 11.2 MHZ and a frequency response of DC to 100KHz. In addition, a high-precision down-conversion is utilized for the CD layer (16bit\/44.1kHz) to preserve the sonic integrity of the original DSD capture. The result: State-of-the-art sound on any machine that can play either standard compact discs or SACDs.\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 : 4.31 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":47004371452239,"sku":"UDSACD 2122","price":49.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/files\/bob-dylan-bob-dylan-hybrid-sacd-stereo-ultradisc-uhr-audiosoundmusic-1.jpg?v=1719862135"},{"product_id":"barbra-streisand-live-at-the-bon-soir-hybrid-sacd","title":"Barbra Streisand - Live At The Bon Soir (Hybrid SACD)","description":"\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003eLegendary 1962 debut recording never previously released\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBarbra Streisand - vocals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eUncredited orchestra\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by Leonard Bernstein (1, 4), Tom Jones (2, 10), Harvey Schmidt (2, 10), Harold Arlen (3, 5, 12, 15, 16), E.Y. Harburg (3, 5), Arthur Hamilton (6), Jeff Harris (7), Oscar Hammerstein II (8), Sigmund Romberg (8), Cole Porter (11), Ted Koehler (12), Jack Yellen (13), Milton Ager (13), Andy Razaf (14), Thomas \"Fats\" Waller (14), Truman Capote (15), Johnny Mercer (16), Richard Rodgers (17, 19, 22), Lorenz Hart (17, 19, 22), Frank Churchill (18), Ann Ronell (18), Bobby Scott (20), Ric Marlow (20), Frank Loesser (21), Herman Ruby (23), Joseph Meyer (23), Billy Barnes (24)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 SACD, Hardcover Book Packaging with 32-Page booklet featuring Barbra's recollections, the recording's history \u0026amp; production, and performance photos\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES (Digital Mixing)\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 : Impex\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Columbia (Master Tapes)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded live \u003c\/strong\u003e\u003cstrong\u003eNovember 4 – 6, 1962 \u003c\/strong\u003e\u003cstrong\u003eat The Bon Soir Nightclub, New York City\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Barbara Streisand, Martin Erlichman, and Jay Landers\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMixed by Jochem van der Saag in 24 bit\/96 kHz\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMastered by Paul Blakemore with \u003cspan data-mce-fragment=\"1\"\u003ean all-analog signal-processing chain\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in November 2022\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2023\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\u003col\u003e\n\u003cli\u003eIntroduction by David Kapralik \/ My Name Is Barbra\u003c\/li\u003e\n\u003cli\u003eMuch More\u003c\/li\u003e\n\u003cli\u003eNapoleon\u003c\/li\u003e\n\u003cli\u003eI Hate Music\u003c\/li\u003e\n\u003cli\u003eRight As the Rain\u003c\/li\u003e\n\u003cli\u003eCry Me A River\u003c\/li\u003e\n\u003cli\u003eValue\u003c\/li\u003e\n\u003cli\u003eLover, Come Back to Me\u003c\/li\u003e\n\u003cli\u003eBand Introductions\u003c\/li\u003e\n\u003cli\u003eSoon It's Gonna Rain\u003c\/li\u003e\n\u003cli\u003eCome to the Supermarket (In Old Peking)\u003c\/li\u003e\n\u003cli\u003eWhen the Sun Comes Out\u003c\/li\u003e\n\u003cli\u003eHappy Days Are Here Again\u003c\/li\u003e\n\u003cli\u003eKeepin' Out of Mischief Now\u003c\/li\u003e\n\u003cli\u003eA Sleepin' Bee\u003c\/li\u003e\n\u003cli\u003eI Had Myself A True Love\u003c\/li\u003e\n\u003cli\u003eBewitched, Bothered and Bewildered\u003c\/li\u003e\n\u003cli\u003eWho's Afraid of the Big Bad Wolf?\u003c\/li\u003e\n\u003cli\u003eI'll Tell the Man in the Street\u003c\/li\u003e\n\u003cli\u003eA Taste of Honey\u003c\/li\u003e\n\u003cli\u003eNever Will I Marry\u003c\/li\u003e\n\u003cli\u003eNobody's Heart Belongs to Me\u003c\/li\u003e\n\u003cli\u003eMy Honey's Lovin' Arms\u003c\/li\u003e\n\u003cli\u003eI Stayed Too Long At the Fair\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003col\u003e\u003c\/ol\u003e\n\u003col\u003e\u003c\/ol\u003e\n\u003col\u003e\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eThese time-honored songs, lovingly curated, arranged, and performed by pianist\/vocalist Patricia Barber and her band, are at last seeing the light of day when the world needs them more than ever. Pristinely recorded, Clique assembles what began as encores to live performances into an experience all its own. The album comes out of the same sessions that gave us Higher (see review for All About Jazz here), which immersed the fortunate listener in a world shaped by art song and poetry, only now shed of its shadows and reveling in the city lights. \"This music is fun, like Patricia Barber without the dark side,\" is how she describes her project in a recent phone interview. \"We'd been booked for four days in the studio but finished Higher in two. Since the band was already there and tight from having been on the road, it was easy for me to pull these out.\"\u003c\/p\u003e\n\u003cp\u003eThere is indeed an ease that characterizes her vocal delivery of Jobim's \"Samba de Uma Nota Só \/ One Note Samba\" and the Rodgers and Hammerstein bon mot \"Shall We Dance?\" Appearances by Neal Alger (acoustic guitar) on the former and Jim Gailloreto (tenor saxophone) add to the nostalgia of these familiar grounds, though it's her core trio, led by the bandleader's keystrokes, that does much of the heavy lifting. Linked arm in arm with bassist Patrick Mulcahy and drummer Jon Deitemyer, she first croons her way onto the rain-slicked streets of \"This Town\" as if it were the most natural thing in the world.\u003c\/p\u003e\n\u003cp\u003e\"In some ways, I'm a control freak,\" Barber admits of her sound. \"These are arrangements. This particular group is one I cherish, so everyone gets time to play. So, while it's stylized, they definitely have an input.\" Said input is front and center in \"The In Crowd,\" which tracks its nerve impulses outwardly from a spinal bass line. In this and \"Trouble Is A Man,\" Barber shows that her greatest powers as a singer tend to reside in her quietest inflections. From a near whisper, she is able to elicit deep lyrical and emotional conflicts. Chalk this as another victory for Jim Anderson, whose engineering ensures both fine separation and artful blend. \"He just gets better,\" says Barber of the producer with whom she has worked for the better part of three decades. \"In my music in general, I value silence as much as I value presence, and he's able to capture that perfectly.\"\u003c\/p\u003e\n\u003cp\u003eEven when her voice hangs its hat for an instrumental interlude, Barber ensures that the audience, however virtual, is never forgotten. Whether turning the kaleidoscope of her original \"Mashup\" or navigating the burnished corridors of Monk's \"Straight No Chaser,\" she allows freer energies to occupy the foreground. Notes Barber, \"This is a very good representation of what you will hear when you come to see us live. It was true to what this band was playing at the time. We worked very hard on pulling melody away from the rhythm as we know it. It takes a very quiet space and musicians who are listening closely to do that.\"\u003c\/p\u003e\n\u003cp\u003eTheir synergy is especially apparent on \"I Could Have Danced All Night,\" in which the drum kit seems to spread its wings around us as Barber takes a half-lit stage with poise. The sonic whetstone along which she sharpens such tunes is indicative of their somewhat unusual choosing. \"When people hear 'standards album,' they're expecting the classic American Songbook of the 30s, but these are from the 50s and 60s, one of my favorite eras. I would call it a covers album.\" In that spirit, Barber takes the metaphorical connotations of the concept to their fullest, dressing melodies and harmonizing with freshly tailored clothing.\u003c\/p\u003e\n\u003cp\u003eIn that respect, one can't help but hear Clique and Higher as complementary. Whereas the earlier release broke new harmonic ground for vocal jazz music and was the result of six years of writing, here we are treated to a set of comforts we know and love. Barber is acutely aware of the timing as well: \"This is a pleasant album to throw on right now, though I am disoriented by having a record come out that I can't perform with.\" How fortuitous, then, that she should end with Stevie Wonder's \"All In Love Is Fair.\" Its sincerity speaks to the heart of the matter and unpacks for us the album's multivalent title, which Barber picked from among a handful of choices because, in her words, \"it sounded like the kind of jazz club you'd want to be a part of.\" Thankfully, not even a pandemic can keep us from walking through its doors, taking a seat, and opening our ears to the hope of a brighter future.” Tyran Grillo, All About Jazz, August 2021\u003c\/p\u003e\n\u003cp\u003e \u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e“Barbra Streisand generated a small but insistent degree of show biz buzz with her star-making role in the Broadway musical I Can Get It for You Wholesale when she signed with Columbia Records -- one of the biggest and most prestigious labels of the day -- in 1962. Streisand was drawing crowds and charming critics with her appearances at the Bon Soir, a nightclub in New York's Greenwich Village, and Columbia felt capturing her live show might be a good way to introduce her to a larger audience. As it happened, the Bon Soir's acoustics made it difficult to make a properly balanced recording, and after hearing the tapes Columbia's engineers delivered, the label chose to put Streisand in the studio to create a splashier and more sonically controlled recording. The Bon Soir recordings went into the vault, and while bits and pieces were bootlegged over the years, the projected live album didn't materialize until 2022, when advanced spectral editing technology made it possible to give the tapes a better mix. 60 years after it was recorded, Live at the Bon Soir gives us a rare chance to hear Streisand when she was a relatively unknown talent -- a window of time that didn't last long, given the massive success of 1963's The Barbra Streisand Album -- and performing with a remarkable combination of vocal skill, performance savvy, and a youthful delight in the interaction between herself, her musicians, and her audience. (How unknown was she in November 1962? The Columbia executive who introduces her mispronounces her name, unimaginable a year later.) All 11 songs that appeared on The Barbra Streisand Album are included here, along with 12 others. While the studio recordings were given splashy arrangements by Peter Matz, Live at the Bon Soir featured Streisand backed by a modest, skillful quartet led by pianist Peter Daniels; though they lend superb support, they know enough to stay out of her way. Streisand's voice is front and center on Live at the Bon Soir, and it's hard to imagine anything upstaging her. Only 20 years old, Streisand's control of her instrument is already dazzling, and her phrasing and dynamics are remarkably clever and sophisticated; she knows exactly what to do with this material, and delivers a set that nods to cabaret traditions as she puts a fresh and exciting spin on the art of nightclub singing. As polished and expert as she sounds here, there's a sincere giddiness and good humor in her more playful numbers and between-song patter, reflecting the joy of an artist just learning to make her gifts work to her advantage. Streisand's popularity outgrew the confines of a small club with impressive speed, and Live at the Bon Soir documents a very brief moment when she was just learning how to wow an audience. It clearly took very little time for that lesson to take, and this is a glorious archival find.” AllMusic Review by Mark Deming\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 : 4.75 \/ 5 ; The Absolute Sound : Music 5\/5, Sonics 3.5\/5\u003c\/p\u003e\n\u003c\/div\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":47029888352591,"sku":"IMP8329","price":49.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/files\/barbra-streisand-live-at-the-bon-soir-hybrid-sacd-audiosoundmusic-1.webp?v=1719862148"},{"product_id":"patricia-barber-clique-hybrid-sacd","title":"Patricia Barber – Clique! (Hybrid SACD)","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\u003e\u003cbr\u003e\u003cbr\u003ePiano, Vocals – Patricia Barber \u003ca title=\"vinyl featuring Patricia Barber\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/patricia-barber\"\u003e\u003cspan style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Patricia Barber]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBass – Patrick Mulcahy\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDrums – Jon Deitemyer\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGuitar – Neal Alger\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSaxophone – Jim Gailloreto\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by Patricia Barber (3), Lee Hazlewood (1), Alec Wilder (2), Antônio Carlos Jobim (4), Newton Mendonça (4), Alan Jay Lerner (5), Frederick Loewe (5), Billy Page (6), Richard Rodgers (7), Oscar Hammerstein II (7), Thelonious Monk (8), Stevie Wonder (9)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 SACD, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : NO (recorded in DXD Ultra-High Resolution 32bit\/352.8 kHz)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHigh Resolution DXD\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 : Impex\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Impex\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded \u003c\/strong\u003e\u003cstrong\u003eJanuary 2019 \u003c\/strong\u003e\u003cstrong\u003eat Chicago Recording Company, Studio 5, Chicago, IL, \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineered and mixed by Jim Anderson\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Patricia Barber, Jim Anderson\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMastered in 5.1 Surround by Bob Ludwig at Gateway Mastering, Portland, ME\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGlass master made at Arvato and Sonopress\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eManufactured in Germany\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in August 2021\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in August 2021\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\u003col\u003e\n\u003cli\u003eThis Town\u003c\/li\u003e\n\u003cli\u003eTrouble Is A Man\u003c\/li\u003e\n\u003cli\u003eMashup\u003c\/li\u003e\n\u003cli\u003eSamba De Uma Nota So (One Note Samba)\u003c\/li\u003e\n\u003cli\u003eI Could Have Danced All Night\u003c\/li\u003e\n\u003cli\u003eThe In Crowd\u003c\/li\u003e\n\u003cli\u003eShall We Dance\u003c\/li\u003e\n\u003cli\u003eStraight No Chaser\u003c\/li\u003e\n\u003cli\u003eAll In Love Is Fair\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003col\u003e\u003c\/ol\u003e\n\u003col\u003e\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eThese time-honored songs, lovingly curated, arranged, and performed by pianist\/vocalist Patricia Barber and her band, are at last seeing the light of day when the world needs them more than ever. Pristinely recorded, Clique assembles what began as encores to live performances into an experience all its own. The album comes out of the same sessions that gave us Higher (see review for All About Jazz here), which immersed the fortunate listener in a world shaped by art song and poetry, only now shed of its shadows and reveling in the city lights. \"This music is fun, like Patricia Barber without the dark side,\" is how she describes her project in a recent phone interview. \"We'd been booked for four days in the studio but finished Higher in two. Since the band was already there and tight from having been on the road, it was easy for me to pull these out.\"\u003c\/p\u003e\n\u003cp\u003eThere is indeed an ease that characterizes her vocal delivery of Jobim's \"Samba de Uma Nota Só \/ One Note Samba\" and the Rodgers and Hammerstein bon mot \"Shall We Dance?\" Appearances by Neal Alger (acoustic guitar) on the former and Jim Gailloreto (tenor saxophone) add to the nostalgia of these familiar grounds, though it's her core trio, led by the bandleader's keystrokes, that does much of the heavy lifting. Linked arm in arm with bassist Patrick Mulcahy and drummer Jon Deitemyer, she first croons her way onto the rain-slicked streets of \"This Town\" as if it were the most natural thing in the world.\u003c\/p\u003e\n\u003cp\u003e\"In some ways, I'm a control freak,\" Barber admits of her sound. \"These are arrangements. This particular group is one I cherish, so everyone gets time to play. So, while it's stylized, they definitely have an input.\" Said input is front and center in \"The In Crowd,\" which tracks its nerve impulses outwardly from a spinal bass line. In this and \"Trouble Is A Man,\" Barber shows that her greatest powers as a singer tend to reside in her quietest inflections. From a near whisper, she is able to elicit deep lyrical and emotional conflicts. Chalk this as another victory for Jim Anderson, whose engineering ensures both fine separation and artful blend. \"He just gets better,\" says Barber of the producer with whom she has worked for the better part of three decades. \"In my music in general, I value silence as much as I value presence, and he's able to capture that perfectly.\"\u003c\/p\u003e\n\u003cp\u003eEven when her voice hangs its hat for an instrumental interlude, Barber ensures that the audience, however virtual, is never forgotten. Whether turning the kaleidoscope of her original \"Mashup\" or navigating the burnished corridors of Monk's \"Straight No Chaser,\" she allows freer energies to occupy the foreground. Notes Barber, \"This is a very good representation of what you will hear when you come to see us live. It was true to what this band was playing at the time. We worked very hard on pulling melody away from the rhythm as we know it. It takes a very quiet space and musicians who are listening closely to do that.\"\u003c\/p\u003e\n\u003cp\u003eTheir synergy is especially apparent on \"I Could Have Danced All Night,\" in which the drum kit seems to spread its wings around us as Barber takes a half-lit stage with poise. The sonic whetstone along which she sharpens such tunes is indicative of their somewhat unusual choosing. \"When people hear 'standards album,' they're expecting the classic American Songbook of the 30s, but these are from the 50s and 60s, one of my favorite eras. I would call it a covers album.\" In that spirit, Barber takes the metaphorical connotations of the concept to their fullest, dressing melodies and harmonizing with freshly tailored clothing.\u003c\/p\u003e\n\u003cp\u003eIn that respect, one can't help but hear Clique and Higher as complementary. Whereas the earlier release broke new harmonic ground for vocal jazz music and was the result of six years of writing, here we are treated to a set of comforts we know and love. Barber is acutely aware of the timing as well: \"This is a pleasant album to throw on right now, though I am disoriented by having a record come out that I can't perform with.\" How fortuitous, then, that she should end with Stevie Wonder's \"All In Love Is Fair.\" Its sincerity speaks to the heart of the matter and unpacks for us the album's multivalent title, which Barber picked from among a handful of choices because, in her words, \"it sounded like the kind of jazz club you'd want to be a part of.\" Thankfully, not even a pandemic can keep us from walking through its doors, taking a seat, and opening our ears to the hope of a brighter future.” Tyran Grillo, All About Jazz, August 2021\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eDiscogs : 4.65 \/ 5 \u003c\/p\u003e\n\u003c\/div\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":47030105702735,"sku":"IMP8323","price":49.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/files\/patricia-barber-clique-hybrid-sacd-audiosoundmusic-1.jpg?v=1719862149"},{"product_id":"al-dimeola-john-mclaughlin-paco-delucia-friday-night-in-san-francisco-live-12-06-1980-hybrid-sacd","title":"Al Dimeola, John McLaughlin, Paco Delucia - Saturday Night in San Francisco Live 12 06 1980 (Hybrid SACD)","description":"\u003cdiv\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003eAl Di Meola, guitar (1, 2, 4, 6, 7, 8)  \u003cspan data-mce-fragment=\"1\" style=\"color: #ff8000;\"\u003e\u003ca data-mce-fragment=\"1\" style=\"color: #ff8000;\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/al-di-meola\" title=\"vinyl featuring Al Di Meola\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/al-di-meola\"\u003e[click here to see other products featuring Al Di Meola]\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJohn McLaughlin, guitar (3, 6, 7, 8) \u003cspan data-mce-fragment=\"1\"\u003e\u003ca data-mce-fragment=\"1\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/john-mclaughlin\" title=\"vinyl featuring john mclaughlin\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/john-mclaughlin\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"color: #ff8000;\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more products featuring John McLaughlin]\u003c\/span\u003e\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePaco de Lucía, guitar (5, 6, 7, 8)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eComposed by Al Di Meola (1, 2, 4), John McLaughin (3, 7), Paco De Lucia (5, 6, 8)\u003c\/strong\u003e\u003c\/p\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 SACD, jewel 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\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLive\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Impex Records\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded \u003c\/strong\u003e\u003cstrong\u003eat the Warfield Theater in San Francisco, December 6, 1980 \u003c\/strong\u003e\u003cstrong\u003eby Tim Pinch\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineered by Al Di Meola, Katsu Naito \u0026amp; Roy Hendrickson\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMixed by Roy Hendrickson\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Al Di Meola\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMastered by Bernie Grundman \u003c\/strong\u003e\u003cstrong\u003eat Bernie Grundman Mastering\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGlass master made at Sony DADC\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePressed at Sonopress in Germany\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in July 2022\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\u003col\u003e\n\u003cli\u003eBill Graham Introduction\u003c\/li\u003e\n\u003cli\u003eSplendido Sundance\u003c\/li\u003e\n\u003cli\u003eOne Word\u003c\/li\u003e\n\u003cli\u003eTrilogy Suite\u003c\/li\u003e\n\u003cli\u003eMonasterio de Sal\u003c\/li\u003e\n\u003cli\u003eEl Pañuelo\u003c\/li\u003e\n\u003cli\u003eMeeting Of The Spirits\u003c\/li\u003e\n\u003cli\u003eSoniquette (SACD Bonus)\u003cbr\u003e\n\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003col\u003e\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e“A previously ‘lost’ companion recording to Al Di Meola, John McLaughlin and Paco de Lucia’s iconic 1980 live album Friday Night In San Francisco is due to be released in July.\u003c\/p\u003e\n\u003cp\u003eSaturday Night In San Francisco, as the name suggests, captures the following evening’s (December 6, 1980) performance at the city’s Warfield Theatre, a set that was previously thought to have been left unrecorded.\u003c\/p\u003e\n\u003cp\u003eReportedly, Di Meola and his team took on the task of reviewing the 16-track tapes from the San Francisco sets and have now been able to put together a previously unreleased eight-track collection from the December 6 show.\u003c\/p\u003e\n\u003cp\u003e“For 40 years, I’ve had the other night that no-one knew about except for the people that went to the show,” Di Meola revealed in a recent Guitar World interview. “In fact, even John didn’t remember we played a second night!”\u003c\/p\u003e\n\u003cp\u003e“But I have the tapes, and I had them professionally baked to have them restored. And it turns out they’re phenomenal. And we played all different tunes. On the first record I had a song called Mediterranean Sundance. This night there’s a song called Splendido Sundance. And there’s three unaccompanied solo pieces. So you’re not getting the same record twice... I'm looking forward to people hearing it.”\u003c\/p\u003e\n\u003cp\u003eThe original Friday Night... record set a high-water mark for the three musicians’ repeated collaborations and has been described as “the most influential of all live acoustic guitar albums”.\u003c\/p\u003e\n\u003cp\u003eThat record and show have gone down in legend as a masterclass in virtuosic interplay. The album also sold over seven-million copies and helped further cement the reputations and commercial appeal of the three formidable guitar talents – not to mention the instrument itself.” Matt Parker, Guitar World, April 29, 2022\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eJazz writer Walter Kolovsky has said that Friday Night in San Francisco “may be the most influential of all acoustic guitar albums.” LPs of it have been a demonstration staple on turntables around the world for over 40 years. To celebrate the lasting impact of this singular album and the legendary concert that it represents, Impex Records is proud to announce the long-awaited follow up: Saturday Night in San Francisco.\u003c\/p\u003e\n\u003cp\u003eWorking with hours of original 16-track live session tapes, Al Di Meola and his team have brilliantly curated this musical tour-de-force, bringing to life for the first time on LP the explosively virtuosic final performance of Di Meola, John McLaughlin, and Paco De Lucia at the Warfield Theater in San Francisco, December 6, 1980. In the exclusive essay by music historian Charles L. Granata, Di Meola says of that final night: “It’s exciting because the audience was right there with us, savoring every single note of music. And, we were ripping. It was crazy good!”\u003c\/p\u003e\n\u003cp\u003eImpex worked carefully with Di Meola, mixing engineer Roy Hendrickson (SPIN Studio), and mastering engineer Bernie Grundman to recreate the sonic magic of Friday Night in San Francisco so these never-before-released solos and trios burst out of your system with striking clarity, dynamics and technical brilliance. “Crazy good,” indeed.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e“Loose and spontaneous, this (mainly) live album is a meeting of three of the greatest guitarists in the world for an acoustic summit the likes of which the guitar-playing community rarely sees. Broken up into three duo and two trio performances, Friday Night in San Francisco catches all three players at the peaks of their quite formidable powers. The first track features Al di Meola and Paco de Lucía teaming up for a medley of di Meola's \"Mediterranean Sundance\" (first recorded by the duo on di Meola's classic 1976 album Elegant Gypsy) and de Lucía's own \"Rio Ancho.\" It is a delightful performance, full of the fire and inhuman chops that one expects from two players of this caliber. However, the two guitarists obviously have big ears, and they complement each other's solos with percussive, driving rhythm parts. There is a laid-back, humorous element to Friday Night in San Francisco as well, best witnessed in di Meola and John McLaughlin's performance of Chick Corea's \"Short Tales of the Black Forest.\" Rapid-fire licks from the pair soon give way to atonal striking of the body of the guitar, running picks along the strings, etc. Before the farce is completed, they have played a blues and quoted the Pink Panther theme. It is funny stuff, and it serves to dispel the image of the trio, especially di Meola, as super-serious clinicians more concerned with technique than music. The other great piece of evidence against such a narrow-minded claim can be found in both the quality of the compositions featured on Friday Night in San Francisco as well as the sensitivity and dynamic variation brought to the performances. A perfect example of this is the sole studio track, a McLaughlin composition entitled \"Guardian Angel\" (the opening theme of which is taken straight from \"Guardian Angels,\" a song that appears on McLaughlin's 1978 Electric Dreams album). It is a fine piece, and one that features a haunting melody as well as some of the best solos on the record. All in all, Friday Night in San Francisco is a fantastic album and one of the best entries in all of these guitarists' fine discographies.” AllMusic Review by Daniel Gioffre\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 :  4.76\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":47030223143247,"sku":"IMP8324","price":49.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/files\/al-dimeola-john-mclaughlin-paco-delucia-friday-night-in-san-francisco-live-12-06-1980-hybrid-sacd-audiosoundmusic-1.webp?v=1719862149"},{"product_id":"kenny-dorham-matador-hybrid-sacd","title":"Kenny Dorham - Matador (Hybrid SACD)","description":"\u003ch2\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h2\u003e\n\u003cp\u003e\u003cstrong\u003eKenny Dorham - trumpet (1-5,  7-8) \u003cspan style=\"color: #ff8000;\" data-mce-style=\"color: #ff8000;\" data-mce-fragment=\"1\"\u003e\u003ca style=\"color: #ff8000;\" title=\"Vinyl featuring Kenny Dorahm\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/kenny-dorham\" data-mce-style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/kenny-dorham\"\u003e[click here to see more vinyl featuring Kenny Dorham]\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJackie McLean - alto saxophone (1-6, 8)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBobby Timmons - piano\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTeddy Smith - bass (1-5,  7-8)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJ.C. Moses - drums (1-5,  7-8)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 SACD, jewel 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\u003eFull resolution DSD audio\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 : Impex\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : United Artists\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded April 15, 1962 at Sound Makers, New York City\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded by Bill Schwartau\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Alan Douglas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMastered by \u003cspan data-mce-fragment=\"1\"\u003eChris Bellman at Bernie Grundman Mastering\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGlass master made at Sony DADC\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eManufactured by Universal Music Enterprises in Austria\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 September 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\u003col\u003e\n\u003cli\u003eEl Matador\u003c\/li\u003e\n\u003cli\u003eMelanie - Part 1\u003c\/li\u003e\n\u003cli\u003eMelanie - Part 2\u003c\/li\u003e\n\u003cli\u003eMelanie - Part 3\u003c\/li\u003e\n\u003cli\u003eSmile\u003c\/li\u003e\n\u003cli\u003eBeautiful Love\u003c\/li\u003e\n\u003cli\u003ePrelude\u003c\/li\u003e\n\u003cli\u003eThere Goes My Heart\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003col\u003e\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews \u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp\u003e“Dorham and McLean, two of jazz’s most passionate and lyrical players, are in very good form here. Helped by a varied set of material and an energized Timmons, they have fashioned an album of surpassing interest.” – Ira Gitler, Downbeat Magazine, April 1963\u003c\/p\u003e\n\u003cp\u003e“Kenny Dorham's Matador can safely claim the all too common distinction of being a classic among jazz connoisseurs while virtually unknown to the casual listener. Dorham is joined here by Jackie McLean, Bobby Timmons, Teddy Smith, and J.C. Moses, all of whom deliver outstanding performances. More than anything, this session is perhaps best known for including a stunning version of McLean's composition \"Melody for Melonae,\" used less than a month earlier on his groundbreaking Blue Note LP Let Freedom Ring. For this session, though, the tune is renamed \"Melanie\" and, if not better, this version at least rivals the take under McLean's leadership. For starters, the addition of another horn adds some tonal depth to the proceedings, a situation arguably lacking in the tune's earlier recording. Also of note is what has to be Bobby Timmons' most intense moment on record. One rarely has the opportunity to hear Timmons dig and scrape as hard as he does during this solo, and his barely audible vocal accompaniment (à la Bud Powell) only helps to prove this point. This is a case where a performer not commonly associated with seriously stretching out goes at it with a life-affirming fervor, making \"Melanie\" a treat for listeners who revel in emotional performances. Other highlights include the opener, \"El Matador,\" a 5\/4 number that, frankly, fades out just when things were getting good, and the otherwise unaccompanied Dorham\/Timmons duet, \"Prelude.\" A fantastic session by any standard.” AllMusic Review by Brandon Burke\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 : 4.69 \/ 5\u003c\/p\u003e\n\u003cdiv\u003e\u003c\/div\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":47039872860495,"sku":"IMP8321","price":49.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/files\/kenny-dorham-matador-hybrid-sacd-audiosoundmusic-1.jpg?v=1719862149"},{"product_id":"bennett-and-brubeck-the-white-house-sessions-1962-hybrid-sacd","title":"Bennett and Brubeck The White House Sessions, 1962 (Hybrid SACD)","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\u003cbr\u003e\u003cbr\u003e\n\u003c\/h2\u003e\n\u003cp\u003e \u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1-6 performed by The Dave Brubeck Quartet : \u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\u003cstrong\u003eDave Brubeck - piano \u003ca style=\"color: #ff8000;\" title=\"Vinyl featuring Dave Brubeck\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/dave-brubeck\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/dave-brubeck\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Dave Brubeck]\u003c\/a\u003e\u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003ePaul Desmond - alto sax \u003ca title=\"vinyl featuring Paul Desmond\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/paul-desmond\"\u003e\u003cspan style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Paul Desmond]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003e Eugene Wright - bass\u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003e Joe Morello - drums\u003c\/strong\u003e\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cstrong\u003e8-13 \u003c\/strong\u003e\u003cstrong\u003eperformed by Tony Bennett (vocals) with \u003c\/strong\u003e\u003cstrong\u003eRalph Sharon (piano), \u003c\/strong\u003e\u003cstrong\u003eHal Gaylor (bass), \u003c\/strong\u003e\u003cstrong\u003eBilly Exiner (drums)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e14-17 performed by Tony Benett and The Dave Brubeck Quartet\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp\u003e \u003cbr\u003e\u003cbr\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 SACD, jewel box with a 12-page booklet\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\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\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 at \u003c\/strong\u003e\u003cstrong\u003eThe White House, Washington in August 1962\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineered by Mark G. Wilder\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Teo Macero\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMastered by Mark Wilder at Battery Studio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePressed at Sony DADC Austria\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 2013\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2015\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eIntroduction\u003c\/li\u003e\n\u003cli\u003eTake Five\u003c\/li\u003e\n\u003cli\u003eBank Introduction\u003c\/li\u003e\n\u003cli\u003eNomad\u003c\/li\u003e\n\u003cli\u003eThank you ( Djiekuje )\u003c\/li\u003e\n\u003cli\u003eCastilian Blues\u003c\/li\u003e\n\u003cli\u003eIntroduction\u003c\/li\u003e\n\u003cli\u003eJust In Time\u003c\/li\u003e\n\u003cli\u003eSmall World\u003c\/li\u003e\n\u003cli\u003eMake Someone Happy\u003c\/li\u003e\n\u003cli\u003eRags To Riches\u003c\/li\u003e\n\u003cli\u003eOne For my Baby ( And One More For The Road )\u003c\/li\u003e\n\u003cli\u003eI Left My Heart in San Francisco\u003c\/li\u003e\n\u003cli\u003eLullaby Of Broadway\u003c\/li\u003e\n\u003cli\u003eChicago\u003c\/li\u003e\n\u003cli\u003eThat Old Black Magic\u003c\/li\u003e\n\u003cli\u003eThere Will Never Be Another You\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\"Bennett's vocals are particularly natural and present-sounding... Brubeck's group in its prime, with Paul Desmond on Alto, Eugene Wright on bass and Joe Morello on drums... Bennett\/Brubeck is nonetheless a record I found myself playing more times than I expected to before sitting down to write this. There's something about a live performance from a time when life was so much simpler, even if more jittery and dangerous because of the cold war, that makes you want to go back in time and enjoy it all again.\"\u003cspan\u003e - Michael Fremer, \u003c\/span\u003e\u003ci\u003ewww.analogplanet.com\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\"Since both were performing their own sets at the White House Seminar American Jazz Concert on the Sylvan Theater grounds on August 28, 1962, Tony Bennett and Dave Brubeck decided to perform an impromptu collaborative set together that day, and although one song from it was eventually released, a version of \"That Old Black Magic,\" the rest of the hour-or-so-long tape ended up lost in the vast Sony catalog vault, filed, as it turned out, with several classical tapes, until it surfaced again shortly after Brubeck's death in 2012. Now finally available, it reveals two master performers at the very top of their respective games. Bennett's signature song, \"I Left My Heart in San Francisco,\" had been released only a couple of weeks before the concert, while Brubeck's \"Take Five\" had just begun to take on its iconic significance. Brubeck and his quartet, Paul Desmond on alto sax, Eugene Wright on bass, and Joe Morello on drums, played a four-song set, followed by a six-song set from Bennett and his band, with Ralph Sharon on piano, Hal Gaylor on bass, and Billy Exiner on drums. Then came an unrehearsed and impromptu four-song set from Bennett and Brubeck, with Wright on bass and Morello on drums (alto saxophonist Desmond sat out) that included versions of \"That Old Black Magic\" (the only track previously released before this), \"Lullaby of Broadway,\" \"Chicago (That Toddlin' Town),\" and \"There Will Never Be Another You,\" each of which purveys a loose, fun elegance that makes this archival find a true treasure. Bennett and Brubeck would not perform together again until both appeared and briefly reunited on-stage at the 2009 Newport Jazz Festival.\" \u003cspan data-mce-fragment=\"1\"\u003eAllMusic Review by Steve Leggett\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\"This is intimacy with a capital 'I', a long-forgotten set performed on the Washington Mall for President Kennedy. Brubeck naturally offered 'Take Five' and three more; Bennett obliged with 'I Left My Heart In San Francisco', 'Lullaby of Broadway', 'One For My Baby', 'Rags To Riches', 'Just In Time' and five more—four with Brubeck's backing. This is one to treasure.\" - Ken Kessler, Hifi News Magazine, August 2016\u003c\/p\u003e\n\u003cp\u003e\"I'm all for hearing ever-improved re-reissues of old favorites, often on spectacular-sounding 45rpm platters. But it's also really nice to receive something fresh, and this never-before-released gem recorded live in August of 1962 at the White House Seminar American Jazz Concert is pretty wonderful. Disc one features the Dave Brubeck Quartet, which kicks off with a fast-paced rendition of 'Take Five.' As usual Paul Desmond's sweet-sounding alto is a highlight, and the band really cooks throughout its four tracks. Bennett gets to shine on the second LP, delivering a joyful set with his trio that culminates in 'I Left My Heart In San Francisco.' The Brubeck group, sans Desmond, joins Bennett for the final side's unrehearsed set of tour tunes, and it's a treat to hear Bennett perform with a more swinging jazz group. The tape was discovered in 2012, and Kevin Gray and Impex's Robert Pincus mastered the two-LP vinyl edition. The concert was recorded outdoors at the Sylvan Theater, so don't expect spectacular sonics. Still, the sound is quite clean (if a tad lean), the balance is excellent, and there's plenty of dynamic snap (check out Morello's drum solo on 'Castillian Blues') and good energy in these grooves.\" - Wayne Garcia, The Absolute Sound, July\/August 2016\u003c\/p\u003e\n\u003cp\u003e\"In late August of 1962, two musicians at the height of their popularity performed separately and together (for the first time) before an audience at the Sylvan Theater in the shadow of the Washington Monument. History was being made, and producer Teo Macero wanted all to go well. The concert featuring Tony Bennett and Dave Brubeck went as planned, but later Murphy's Law reared its ugly head and the tapes were lost due to a clerical error. They were discovered in the Sony Music vaults fifty years later, misfiled, ironically, with some classical titles. Finally, in 2013, the hour-long concert was released on CD. \" - Guy Lemcoe, The Audio Beat, May 2016\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 \/ 5 , Discogs : 4,38 \/ 5 \u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":47040188580175,"sku":"IMP8313","price":49.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/files\/bennett-and-brubeck-the-white-house-sessions-1962-hybrid-sacd-audiosoundmusic-1.jpg?v=1719862148"},{"product_id":"helen-merrill-hybrid-sacd-mono","title":"Helen Merrill (Hybrid SACD, Mono)","description":"\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eVocals – Helen Merrill\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBass – Oscar Pettiford \u003ca data-mce-fragment=\"1\" title=\"vinyl featuring Oscar Pettiford\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/oscar-pettiford\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/oscar-pettiford\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"color: #ff8000;\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Oscar Pettiford]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePiano – Jimmy Jones\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTrumpet – Clifford Brown\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eConductor - Quincy Jones\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eArranged by Quincy Jones\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 SACD, jewel 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\u003eMono\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\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label :  EmArcy\u003c\/strong\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded \u003cspan data-mce-fragment=\"1\"\u003eDecember 22–24, 1954\u003c\/span\u003e in NYC\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Quincy Jones\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by Kevin Gray at Cohearent Audio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLiner notes by Quincy Jones\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1955\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in December 2022\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\u003col\u003e\n\u003cli\u003eDon't Explain\u003c\/li\u003e\n\u003cli\u003eYou'd Be So Nice To Come Home To\u003c\/li\u003e\n\u003cli\u003eWhat's New\u003c\/li\u003e\n\u003cli\u003eFalling In Love With Love\u003c\/li\u003e\n\u003cli\u003eYesterdays\u003c\/li\u003e\n\u003cli\u003eBorn To Be Blue\u003c\/li\u003e\n\u003cli\u003e'S Wonderful\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\u003cstrong\u003e\u003c\/strong\u003e\"Though she eventually came to be known as a \"singer's singer,\" Helen Merrill's 1954 debut is an unmitigated success of mainstream jazz. Besides introducing the uniquely talented young singer, the date also featured small-group arrangements by Quincy Jones and marks the introduction of another future star, trumpeter Clifford Brown. Formidable as his playing is, Brown never overshadows Merrill. She is fully up to the challenge on all fronts and enthusiastically tackles uptempo numbers such as \"You'd Be So Nice to Come Home To\" and \"Falling in Love with Love\" with aplomb. A winning stylistic combination of cool jazz and hard bop, Merrill particularly excels on Mel Tormé's \"Born to Be Blue,\" making the sophisticated tune her own as she revels in Tormé's down-and-out lyric.\" AllMusic Review by Richard Mortifoglio\u003c\/p\u003e\n\u003cp\u003e“The album was recorded in December of 1954 by the legendary Bob Fine, at Fine Sound Inc., 711 5th Avenue in New York. Merrill, then only 24, was backed by a combo that included Clifford Brown on trumpet, Oscar Pettiford on bass, and pianist Jimmy Jones, with arrangements by Quincy Jones - himself a mere 21 years old at the time. The mono sound is on the (pleasantly) dry side and very forward, with taut-sounding drums and bass and an intimate vocal sound that at times comes close to being overly sibilant but never quite carries out the threat. Merrill's intonation isn't always spot-on (as in the intro to 'Yesterdays'), but there's something about her voice - an odd combination of breathy innocence and husky-toned experience that pulls me in time after time. (In 'Don't Explain,' she intones the word quiet in a manner that could launch any number of ships.) And Clifford Brown's trumpet is, as one might expect, perfect. Prices for the original mono LP reach into four-figure territory, so news of an affordable reissue is very good news indeed. Torch on.\" - Art Dudley, Stereophile, March 2020\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eAllMusic 4.5\/5  ,  Discogs 4.86\/5  \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":47040488177999,"sku":"CAPJ 127 SA","price":49.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/files\/helen-merrill-hybrid-sacd-mono-audiosoundmusic-1.jpg?v=1719862157"},{"product_id":"jethro-tull-aqualung-hybrid-sacd","title":"Jethro Tull - Aqualung (Hybrid SACD)","description":"\u003ch2\u003e\n\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\n\u003c\/h2\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/jethro-tull\" title=\"vinyl by Jethro Tull\"\u003e\u003cspan style=\"color: #ff8000;\"\u003e\u003cstrong\u003e[click here to see other vinyl \u0026amp; CD\/SACD by Jethro Tull]\u003c\/strong\u003e\u003c\/span\u003e\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eIan Anderson – lead vocals, acoustic guitar, flute, production\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMartin Barre – electric guitar, descant recorder\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJeffrey Hammond (as \"Jeffrey Hammond-Hammond\") – backing vocals (on \"Mother Goose\"), bass guitar, alto recorder, odd voices\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJohn Evan – piano, organ, Mellotron\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eClive Bunker – drums and percussion\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eArranged and Conducted by David Palmer\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by Ian Anderson\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 SACD, \u003cspan data-mce-fragment=\"1\"\u003ejewel box\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 : Island\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded April 1970 – February 1971 in London at Island Studios and Morgan Studios\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineered by John Burns\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Chas Chandler\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMastered by \u003c\/strong\u003e\u003cstrong\u003eChris Bellman at Bernie Grundman Mastering\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGlass master made at Sony DADC\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 2023\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eAqualung\u003c\/li\u003e\n\u003cli\u003eCross-Eyed Mary\u003c\/li\u003e\n\u003cli\u003eCheap Day Return\u003c\/li\u003e\n\u003cli\u003eMother Goose\u003c\/li\u003e\n\u003cli\u003eWond'ring Aloud\u003c\/li\u003e\n\u003cli\u003eUp To Me\u003c\/li\u003e\n\u003cli\u003eMy God\u003c\/li\u003e\n\u003cli\u003eHymn 43\u003c\/li\u003e\n\u003cli\u003eSlipstream\u003c\/li\u003e\n\u003cli\u003eLocomotive Breath\u003c\/li\u003e\n\u003cli\u003eWind Up\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003col\u003e\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\u003cb\u003e\u003cspan color=\"#B12704\"\u003eRolling Stone 500 Greatest Albums of All Time - Rated 337\/500!\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eGuitarist magazine number 20 on their list of \"the 20 Greatest Guitar Solo of All Time\"\u003c\/strong\u003e\u003cb\u003e\u003cspan color=\"#B12704\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eClassic Rock magazine The 100 Greatest Rock Albums of All Time - Ranked 30\u003c\/strong\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e1000 Recordings You Must Hear Before You Die - Ranked 205\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“The leap from 1970's Benefit to the following year's Aqualung is one of the most astonishing progressions in rock history. In the space of one album, Tull went from relatively unassuming electrified folk-rock to larger-than-life conceptual rock full of sophisticated compositions and complex, intellectual, lyrical constructs. While the leap to full-blown prog rock wouldn't be taken until a year later on Thick as a Brick, the degree to which Tull upped the ante here is remarkable.\u003c\/p\u003e\n\u003cp\u003eThe lyrical concept -- the hypocrisy of Christianity in England -- is stronger than on most other '70s conceptual efforts, but it's ultimately the music that makes it worthy of praise. Tull's winning way with a riff was never so arresting as on the chugging \"Locomotive Breath,\" or on the character studies \"Cross Eyed Mary\" and \"Aqualung,\" which portray believably seedy participants in Ian Anderson's story. The fable imagery of \"Mother Goose\" and the vitriolic anti-authoritarian sentiments of \"Wind Up\" both serve notice of Anderson's willful iconoclasm and his disillusionment with the spiritual traditions to which he was born. Varied but cohesive, Aqualung is widely regarded as Tull's finest hour.” AllMusic Review by Rovi Staff\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 : 4.62 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":47040619675983,"sku":"capp 146 sa","price":49.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/files\/jethro-tull-aqualung-hybrid-sacd-audiosoundmusic-1.jpg?v=1719862157"},{"product_id":"norah-jones-not-too-late-hybrid-sacd","title":"Norah Jones - Not Too Late (Hybrid SACD)","description":"\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eNorah Jones - vocals, piano \u003ca title=\"vinyl featuring Norah Jones\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/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\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eAndrew Borger, drums\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eAdam Levy, guitars\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eDaru Oda, background vocals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by  L. Alexander (1-4, 7, 9, 13), Norah Jones\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 SACD,  jewel 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\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\u003eRecorded at The Coop, NYC and Brooklyn Recording, NY \u003cspan data-mce-fragment=\"1\"\u003eby Tom Schick\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMastered by Greg Calbi\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Lee Alexander\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMixed at The Coop, NYC. \u003cspan data-mce-fragment=\"1\"\u003eby Lee Alexander, Tom Schick\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\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\u003cp\u003e\u003cstrong\u003eGlass master made at Sony DADC\u003cbr\u003e\u003cbr\u003e\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 2007\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 October 2012\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\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\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\u003c\/div\u003e\n\u003cdiv\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\u003cspan\u003e\"2007's \u003c\/span\u003e\u003cem\u003eNot Too Late\u003c\/em\u003e\u003cspan\u003e is an even more melancholic and intimately drawn set wherein the singer seems to have not quite gotten over the heartache and thinks maybe her former beau might come back. The album works to perfection, thanks to the deft arrangements, more spare and intimate than before, despite the inclusion of some horns and organ. It might be my favorite ... 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,\u003cspan\u003e \u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003eJanuary 24, 2013\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e« Recoils from fame usually aren't as subdued as Norah Jones' third album, Not Too Late, but such understatement is customary for this gentlest of singer\/songwriters. Not Too Late may not be as barbed or alienating as either In Utero or Kid A -- it's not an ornery intensification of her sound nor a chilly exploration of its furthest limits -- but make no mistake, it is indeed a conscious abdication of her position as a comfortable coffeehouse crooner and a move toward art for art's sake. And, frankly, who can blame Jones for wanting to shake off the Starbucks stigmata? Although a large part of her appeal has always been that she sounds familiar, like a forgotten favorite from the early '70s, Jones is too young and too much of a New York bohemian to settle into a role as a nostalgia peddler, so it made sense that she started to stretch a little after her 2004 sophomore set, Feels Like Home, proved that her surprise blockbuster 2002 debut, Come Away with Me, was no fluke. First, there was the cabaret country of her Little Willies side band, then there was her appearance on gonzo art rocker Mike Patton's Peeping Tom project, and finally there's this hushed record, her first containing nothing but original compositions. It's also her first album recorded without legendary producer Arif Mardin, who helmed her first two albums, giving them a warm, burnished feel that was nearly as pivotal to Jones' success has her sweet, languid voice. Mardin died in the summer of 2006, and in his absence, Jones recorded Not Too Late at the home studio she shares with her collaborator, bassist and boyfriend Lee Alexander. Although it shares many of the same sonic characteristics as Jones' first two albums, Not Too Late boasts many subtle differences that add up to a distinctly different aesthetic. Jones and Alexander have stripped Norah's music to its core. Gone are any covers of pop standards, gone are the studio pros, gone is the enveloping lushness that made Come Away with Me so easy to embrace, something that Not Too Late is most decidedly not. While this might not have the rough edges of a four-track demo, Not Too Late is most certainly music that was made at home with little or no consideration of an audience much larger than Jones and Alexander. It's spare, sometimes skeletal, often sleepy and lackadaisical, wandering from tunes plucked out on acoustic guitars and pianos to those with richer full-band arrangements. Norah Jones has never exactly been lively -- part of her charm was her sultry slowness, ideal for both Sunday afternoons and late nights -- but the atmosphere here is stultifying even if it's not exactly unpleasant. After all, unpleasantness seems to run contrary to Jones' nature, and even if she dabbles in Tom Waits-ian carnivalesque stomps (\"Sinkin' Soon\") or tentatively stabs at politics (\"My Dear Country\"), it never feels out of place; often, the shift is so subtle that it's hard to notice. That subtlety is the biggest Achilles' heel on Not Too Late, as it manifests itself in songs that aren't particularly distinctive or performances that are particularly varied. There are exceptions to the rule and they all arrive with full-band arrangements, whether it's the lazy jazz shuffle of \"Until the End,\" the country-tinged \"Be My Somebody,\" or the wonderful laid-back soul of \"Thinking About You.\" These are songs that not only sound full but they sound complete, songs that have a purposeful flow and are memorable for both their melody and sentiment. They would have been standouts on Feels Like Home, but here they are even more distinctive because the rest of the record plays like a sketchbook, capturing Jones and Alexander figuring out how to move forward after such great success. Instead of being the end result of those experiments, the completed painting after the sketch, Not Too Late captures their process, which is interesting if not quite compelling. But its very release is a clear statement of artistic purpose for Jones: its ragged, unfinished nature illustrates that she's more interested in pursuing her art than recycling Come Away with Me, and if this third album isn't as satisfying as that debut, it nevertheless is a welcome transitional effort that proves her artistic heart is in the right place. » AllMusic Review by Stephen Thomas Erlewine\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 : 3.92 \/ 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":47040963117391,"sku":"CAPP 044 SA","price":49.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/files\/norah-jones-not-too-late-hybrid-sacd-audiosoundmusic-1.jpg?v=1719862157"},{"product_id":"the-doors-l-a-woman-hybrid-sacd","title":"The Doors - L.A. Woman (Hybrid SACD)","description":"\u003cp\u003e\u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/the-doors\" title=\"Vinyl featuring The Doors\"\u003e\u003cspan style=\"color: #ff8000;\"\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003e[click here to see more vinyl \u0026amp; CD\/SACD featuring The Doors]\u003c\/strong\u003e\u003c\/span\u003e\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJim Morrison (vocals), Ray Manzarek (keyboards), John Densmore (drums), Robby Krieger (guitar)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by The Doors, except track 8 written by John Lee Hooker\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e1 SACD, jewel box\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\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 data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eLabel : Analogue Productions\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eOriginal Label : Elektra\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded December 1970 - January 1971 at The Doors Workshop, Makeshift studio, 8512 Santa Monica Blvd West Hollywood, CA 90069\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMastered by Doug Sax and overseen by Bruce Botnick, The Doors producer\/engineer\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGlass master made at Sony DADC\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003e\u003cspan\u003e6th studio album originaly released April 19, 1971\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003e\u003cspan\u003eReissued in 2013\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eTracks :\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eThe Changeling\u003c\/li\u003e\n\u003cli\u003eLove Her Madly\u003c\/li\u003e\n\u003cli\u003eBeen Down So Long\u003c\/li\u003e\n\u003cli\u003eCars Hiss by My Window\u003c\/li\u003e\n\u003cli\u003eA. Woman\u003c\/li\u003e\n\u003cli\u003eL'America\u003c\/li\u003e\n\u003cli\u003eHyacinth House\u003c\/li\u003e\n\u003cli\u003eCrawling King Snake\u003c\/li\u003e\n\u003cli\u003eThe WASP (Texas Radio and the Big Beat)\u003c\/li\u003e\n\u003cli\u003eRiders On The Storm\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 364\/500\u003c\/strong\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cheader\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e1000 Recordings you must hear before you die - Ranked 93\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\u003e« The final album with Jim Morrison in the lineup is by far their most blues-oriented, and the singer's poetic ardor is undiminished, though his voice sounds increasingly worn and craggy on some numbers. Actually, some of the straight blues items sound kind of turgid, but that's more than made up for by several cuts that rate among their finest and most disturbing work. The seven-minute title track was a car-cruising classic that celebrated both the glamour and seediness of Los Angeles; the other long cut, the brooding, jazzy \"Riders on the Storm,\" was the group at its most melodic and ominous. It and the far bouncier \"Love Her Madly\" were hit singles, and \"The Changeling\" and \"L'America\" count as some of their better little-heeded album tracks. An uneven but worthy finale from the original quartet. » AllMusic Review by Richie Unterberger\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003c\/header\u003e\n\u003cp\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eAllMusic : 4.5 \/ 5 , Discogs : 4.62 \/ 5 \u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":47048189083983,"sku":"CAPP 75011 SA","price":49.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/files\/the-doors-l-a-woman-hybrid-sacd-audiosoundmusic-1.jpg?v=1719862157"},{"product_id":"the-doors-morrison-hotel-hybrid-sacd","title":"The Doors - Morrison Hotel (Hybrid SACD)","description":"\u003cp\u003e\u003cstrong\u003e\u003ca title=\"Vinyl featuring The Doors\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/the-doors\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/the-doors\"\u003e\u003cspan style=\"color: #ff8000;\"\u003e\u003cbr\u003e\u003cbr\u003e[click here to see more vinyl featuring The Doors]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eVocals - Jim Morrison\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eKeyboards - Ray Manzarek\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGuitar - Robby Krieger\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDrums - John Densmore\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBass – Doug Lubahn, Lonnie Mack (1, 11)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBlues Harp – G. Puglese (1)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by The Doors\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e1 SACD, jewel box\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\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 data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eLabel : Analogue Production\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eOriginal Label : Elektra\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded \u003cspan data-mce-fragment=\"1\"\u003eNovember 1969 – January 1970\u003c\/span\u003e at \u003c\/strong\u003e\u003cstrong\u003eElektra Sound West, Hollywood, California\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineered by Bruce Botnick\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMastered by Doug Sax, Sangwook \"Sunny\" Nam\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Chad Kassem, Paul A. Rothchild, Bruce Botnick\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGlass master made at Sony DADC\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eOriginally released in 1970\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003e\u003cspan\u003eReissued in 2013\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eTracks :\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eRoadhouse Blues\u003c\/li\u003e\n\u003cli\u003eWaiting For The Sun\u003c\/li\u003e\n\u003cli\u003eYou Make Me Real\u003c\/li\u003e\n\u003cli\u003ePeace Frog\u003c\/li\u003e\n\u003cli\u003eBlue Sunday\u003c\/li\u003e\n\u003cli\u003eShip Of Fools\u003c\/li\u003e\n\u003cli\u003eLand Ho!\u003c\/li\u003e\n\u003cli\u003eThe Spy\u003c\/li\u003e\n\u003cli\u003eQueen Of The Highway\u003c\/li\u003e\n\u003cli\u003eIndian Summer\u003c\/li\u003e\n\u003cli\u003eMaggie M’Gill\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003col\u003e\u003c\/ol\u003e\n\u003col\u003e\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\u003e1000 Recordings You Must Hear Before You Die - Ranked 180\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cheader\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e“In late 1969, the Doors were reeling. That March, singer Jim Morrison was charged, tried, and convicted of obscenity for allegedly exposing himself at a concert in Miami. It resulted in promoters canceling future gigs. The July release of The Soft Parade provided more angst. Tired of the sound that governed their previous outings, the band incorporated horn and string arrangements with a new melodic accessibility. It signaled an unwelcome change for critics (though it did reach number six and was radically reappraised posthumously). In November they entered the studio with producer Paul Rothchild exhausted, stressed, and angry. Going back to blues and R\u0026amp;B basics seemed like the only direction to pursue.\u003c\/p\u003e\n\u003cp\u003eMorrison Hotel is often dubbed the Doors' blues album, due to raucous opener \"Roadhouse Blues,\" one of the band's most enduring tunes. (Interestingly, it was issued as the B-side of first single \"You Make Me Real.\") Ray Manzarek leaves behind his organ to pound an upright piano, while guitarist Robby Krieger adds a filthy Chicago-styled riff, prodded by a rock shuffle from drummer John Densmore. The Lovin' Spoonful's John Sebastian (using the pseudonym \"G. Puglese\") provides its iconic harmonica wail. \"Waiting for the Sun\" is one of four tunes Morrison composed himself, and a psychedelic holdover from the 1968 album bearing the same title. Manzarek plays a spacy harpsichord as Krieger offers trippy slide guitar. \"You Make Me Real\" underscores the blues-rock motif, with roiling electric piano, stinging guitar vamps, and Densmore's swaggering shuffle. Morrison lords over all with his boozy, baritone roar. The organ returns on the downright funky boogie of \"Peace Frog,\" as Morrison sings of \"blood in the streets\" addressing the civic unrest then gripping the nation. He counters near the end with a spoken stanza from his optimistic poem Newborn Awakening. \"Ship of Fools\" contains shifting time signatures that cross jazz, R\u0026amp;B, and pop, while the buoyant \"Land Ho,\" offers an adventure-laden lyric in a sprawling rock \u0026amp; roll sea chanty, where Manzarek wields his organ like a mad calliope. Krieger's deep, bluesy, minor-key intro to \"The Spy\" is framed by jazzy electric piano and Morrison's sultry delivery, which approximates a lounge singer. \"Queen of the Highway\" is fueled by Densmore's powerful drumming and Manzarek's creative use of the Rhodes piano. One of the Doors' most progressive cuts, it seamlessly integrates blues, jazz, and spacy psychedelia. \"Maggie McGill\" closes the circle on the blues tip. Krieger's unruly, double-tracked slide riffs duel with a pulsing, distorted organ; Densmore bridges them under Morrison's slithering growl -- it foreshadows the singing style he displayed so abundantly on L.A. Woman in 1971. Blues and R\u0026amp;B were foundational to the Doors' musical vocabulary. They employed them to some degree on all of their albums, but never as consistently, adeptly, or provocatively as they did on Morrison Hotel, with absolutely stunning results.” AllMusic Review by Thom Jurek\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003c\/header\u003e\n\u003cp\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eAllMusic : 4.5 \/ 5 , Discogs : 4.48 \/ 5 \u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":47048305475919,"sku":"CAPP 75007 SA","price":49.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/files\/the-doors-morrison-hotel-hybrid-sacd-audiosoundmusic-1.jpg?v=1719862157"}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/collections\/sacd.png?v=1719820993","url":"https:\/\/www.audiosoundmusic.com\/collections\/hybrid-sacd\/jazz.oembed?page=5","provider":"AudioSoundMusic","version":"1.0","type":"link"}