{"title":"Mofi CD","description":"","products":[{"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":"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":"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":"eagles-one-of-these-nights-hybrid-sacd-ultradisc-uhr","title":"Eagles – One Of These Nights (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 data-mce-fragment=\"1\"\u003e\u003ca data-mce-fragment=\"1\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/eagles\" title=\"vinyl featuring Eagles\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/eagles\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"color: #ff8000;\" data-mce-style=\"color: #ff8000;\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e[click here to see more vinyl featuring Eagles]\u003c\/strong\u003e\u003c\/span\u003e\u003c\/a\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eGlenn Frey – vocals, guitars, piano, electric piano, harmonium\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eDon Henley – vocals, drums, percussion, tabla\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eBernie Leadon – vocals, guitars, banjo, mandolin, pedal steel\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eRandy Meisner – vocals, bass guitar\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eDon Felder – vocals, guitars, slide guitar\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eDavid Bromberg – fiddles (\"Journey of the Sorcerer\")\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eThe Royal Martian Orchestra – strings (\"Journey of the Sorcerer\")\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eAlbhy Galuten – synthesizer (\"Hollywood Waltz\")\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eJim Ed Norman – piano (\"Lyin' Eyes\", \"Take It to the Limit\"), orchestrations, conductor, string arrangements\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eSid Sharp – concert master\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eThe Eagles – string arrangements\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\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 : Asylum Records\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded 1974–1975 at Mac Emmerman's Criteria Studios, Miami and Record Plant, Los Angeles\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineered by Allan Blazek, Don Wood, Ed Mashal, Michael Braunstein, Michael Verdick\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Bill Szymczyk\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMastered by Rob LoVerde\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 1975\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in July 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\u003eOne Of These Nights\u003c\/li\u003e\n\u003cli\u003eToo Many Hands\u003c\/li\u003e\n\u003cli\u003eHollywood Waltz\u003c\/li\u003e\n\u003cli\u003eJourney Of The Sorcerer\u003c\/li\u003e\n\u003cli\u003eLyin' Eyes\u003c\/li\u003e\n\u003cli\u003eTake It To The Limit\u003c\/li\u003e\n\u003cli\u003eVisions\u003c\/li\u003e\n\u003cli\u003eAfter The Thrill Is Gone\u003c\/li\u003e\n\u003cli\u003eI Wish You Peace\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\u003eGrammy Award for \u003cspan data-mce-fragment=\"1\"\u003e\"Lyin' Eyes\"\u003c\/span\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e \u003c\/strong\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp\u003e“The Eagles recorded their albums relatively quickly in their first years of existence, their LPs succeeding each other by less than a year. One of These Nights, their fourth album, was released in June 1975, more than 14 months after its predecessor. Anticipation had been heightened by the belated chart-topping success of the third album's \"The Best of My Love\"; taking a little more time, the band generated more original material, and that material was more polished. More than ever, the Eagles seemed to be a vehicle for Don Henley (six co-writing credits) and Glenn Frey (five), but at the same time, Randy Meisner was more audible than ever, his two lead vocals including one of the album's three hit singles, \"Take It to the Limit,\" and Bernie Leadon had two showcases, among them the cosmic-cowboy instrumental \"Journey of the Sorcerer\" (later used as the theme music for the British television series The Hitchhiker's Guide to the Galaxy). Nevertheless, it was the team of Henley and Frey that stood out, starting with the title track, a number one single, which had more of an R\u0026amp;B -- even a disco -- sound than anything the band had attempted previously, and continuing through the ersatz Western swing of \"Hollywood Waltz\" to \"Lyin' Eyes,\" one of Frey's patented folk-rock shuffles, which became another major hit. One of These Nights was the culmination of the blend of rock, country, and folk styles the Eagles had been making since their start; there wasn't much that was new, just the same sorts of things done better than they had been before. In particular, a lyrical stance -- knowing and disillusioned, but desperately hopeful -- had evolved, and the musical arrangements were tighter and more purposeful. The result was the Eagles' best-realized and most popular album so far.” One of These Nights 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\u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eAllMusic : 4 \/ 5 , Discogs : 4.65 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":47460060266831,"sku":"UDSACD 2232","price":49.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/files\/eagles-one-of-these-nights-hybrid-sacd-ultradisc-uhr-audiosoundmusic-1.jpg?v=1719862506"},{"product_id":"bill-withers-bill-withers-greatest-hits-hybrid-sacd-ultradisc-uhr","title":"Bill Withers - Bill Withers' Greatest Hits (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 data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eCOMPILATION\u003c\/strong\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eBill Withers – vocals, guitar, acoustic piano \u003c\/strong\u003e\u003cspan data-mce-fragment=\"1\" style=\"color: #ff8000;\" data-mce-style=\"color: #ff8000;\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003ca data-mce-fragment=\"1\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/bill-withers\" title=\"vinyl featuring Bill Withers\" style=\"color: #ff8000;\" target=\"_blank\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/bill-withers\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see other vinyl featuring Bill Withers]\u003c\/a\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cbr\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 data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eOriginal Label : Columbia\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMastered by Rob LoVerde\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGlass master made at Arvato\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eOriginally released in 1981\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eReissued in 2019\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eTracks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eJust the Two of U\u003c\/li\u003e\n\u003cli data-mce-fragment=\"1\"\u003eUse Me\u003c\/li\u003e\n\u003cli data-mce-fragment=\"1\"\u003eAin't No Sunshine\u003c\/li\u003e\n\u003cli\u003eLovely Day\u003c\/li\u003e\n\u003cli\u003eI Want to Spend the Night\u003c\/li\u003e\n\u003cli data-mce-fragment=\"1\"\u003eSoul Shadows\u003c\/li\u003e\n\u003cli\u003eLean on Me\u003c\/li\u003e\n\u003cli\u003eGrandma's Hands\u003c\/li\u003e\n\u003cli\u003eHello Like Before\u003c\/li\u003e\n\u003cli\u003eWho Is He (And What Is He to You)?\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\"At only ten tracks, Greatest Hits is a little brief and doesn't contain much of his earliest material, but it remains a first-rate compilation of Bill Withers' prime hits, featuring \"Use Me,\" \"Ain't No Sunshine,\" \"Lean on Me,\" \"Who Is He (And What Is He to You),\" and \"Just the Two of Us.\" The latter-day Legacy compilation is a bit more thorough, but this remains a good basic overview.\" AllMusic Review by Stephen Thomas Erlewine\u003c\/p\u003e\n\u003cbr\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\u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eAllMusic : 4 \/ 5 , Discogs : 4,49 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":47460329652559,"sku":"UDSACD 2155","price":49.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/files\/bill-withers-bill-withers-greatest-hits-hybrid-sacd-ultradisc-uhr-audiosoundmusic-1.jpg?v=1719862506"},{"product_id":"eagles-on-the-border-hybrid-sacd-ultradisc-uhr","title":"Eagles – On The Border (Hybrid SACD, Ultradisc UHR)","description":"\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003ca data-mce-fragment=\"1\" title=\"vinyl featuring Eagles\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/eagles\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"color: #ff8000;\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e[click here to see more vinyl featuring Eagles]\u003c\/strong\u003e\u003c\/span\u003e\u003c\/a\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eGlenn Frey – vocals; acoustic rhythm guitar; electric rhythm guitar; lead guitar; slide guitar; piano\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eDon Henley – vocals, drums\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eBernie Leadon – vocals; lead, acoustic and rhythm guitars; banjo; pedal steel\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eRandy Meisner – vocals, bass guitar\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eDon Felder – lead guitar on “Already Gone” and slide guitar on “Good Day in Hell” (credited as \"late arrival\")\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eAl Perkins – pedal steel guitar (on \"Ol' 55\")\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eWritten by Jack Tempchin (1), Robb Strandlund (1), Don Henley (2, 5, 6, 9, 10), J.D. Southern (2, 6, 10), Paul Craft (3), Bernie Leadon (3, 4), Glenn Frey (5, 6, 9, 10), Jackson Browne (6), Tom Waits (7), Randy Meisner (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\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 data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eOriginal Label : Asylum Records\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eRecorded at Record Plant Studios, Los Angeles and Olympic Studios, London\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eEngineered by Bill Szymczyk (1, 3 to 9), Glyn Johns (2, 10)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eRemastered at Record Plant Studios, Los Angeles and Olympic Studios, London\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eProduced by Bill Szymczyk (1, 3 to 9), Glyn Johns (2, 10)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eOriginally released in 1974\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in July 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\u003eAlready Gone\u003c\/li\u003e\n\u003cli\u003eYou Never Cry Like A Lover\u003c\/li\u003e\n\u003cli\u003eMidnight Flyer\u003c\/li\u003e\n\u003cli\u003eMy Man\u003c\/li\u003e\n\u003cli\u003eOn The Border\u003c\/li\u003e\n\u003cli\u003eJames Dean\u003c\/li\u003e\n\u003cli\u003eOl' 55\u003c\/li\u003e\n\u003cli\u003eIs It True\u003c\/li\u003e\n\u003cli\u003eGood Day In Hell\u003c\/li\u003e\n\u003cli\u003eThe Best Of My Love\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\u003e \u003c\/strong\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp\u003e“The Eagles began recording their third album in England with producer Glyn Johns, as they had their first two albums, but abandoned the sessions after completing two acceptable tracks. Johns, it is said, tended to emphasize the group's country elements and its harmonies, while the band, in particular Glenn Frey and Don Henley, wanted to take more of a hard rock direction. They reconvened with a new producer, Bill Szymczyk, who had produced artists like B.B. King and, more significantly, Joe Walsh. But the resulting album is not an outright rock effort by any means. Certainly, Frey and Henley got what they wanted with \"Already Gone,\" the lead-off track, which introduces new bandmember Don Felder as one part of the twin guitar solo that recalls the Allman Brothers Band; \"James Dean,\" a rock \u0026amp; roll song on the order of \"Your Mama Don't Dance,\" and \"Good Day in Hell,\" which is strongly reminiscent of Joe Walsh songs like \"Rocky Mountain Way.\" But the album also features the usual mixture of styles typical of an Eagles album. For example, \"Midnight Flyer,\" sung by Randy Meisner, is modern bluegrass; \"My Man\" is Bernie Leadon's country-rock tribute to the recently deceased Gram Parsons; and \"Ol' 55\" is one of the group's well-done covers of a tune by a singer\/songwriter labelmate, in this case Tom Waits. The title track, meanwhile, points the band in a new R\u0026amp;B direction that was later pursued more fully. Like most successful groups, the Eagles combined many different elements, and their third album, which looked back to their earlier work and anticipated their later work, was a transitional effort that combined even more styles than most of their records did.” 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\u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eAllMusic : 3 \/ 5 , Discogs : 3,9 \/ 5\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":47588507124047,"sku":"UDSACD 2231","price":49.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/files\/eagles-on-the-border-hybrid-sacd-ultradisc-uhr-audiosoundmusic-1.jpg?v=1719862547"},{"product_id":"billy-joel-52nd-street-hybrid-sacd-ultradisc-uhr","title":"Billy Joel – 52nd Street (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 data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eBilly Joel – vocals, acoustic piano, Yamaha CP-70 electric grand piano, Fender Rhodes, synthesizers \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/billy-joel\" title=\"vinyl featuring billy joel\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/billy-joel\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Billy Joel]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eFreddie Hubbard – flugelhorn and trumpet (4) \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/freddie-hubbard\" title=\"Vinyl featuring Freddie Hubbard\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/freddie-hubbard\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Freddie Hubbard]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003ePeter Cetera – backing vocals (3)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eDonnie Dacus – backing vocals (3)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eFrank Floyd – backing vocals (7)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eBabi Floyd – backing vocals (7)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eMilt Grayson – backing vocals (7)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eZack Sanders – backing vocals (7)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eRay Simpson – backing vocals (7)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eSteve Khan – electric guitar, acoustic guitar, backing vocals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eDoug Stegmeyer – bass, backing vocals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eRichie Cannata – organ, saxophones, clarinet\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eDavid Spinozza – acoustic guitar (2)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eDavid Brown – electric guitar (3)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eRussell Javors – acoustic guitar (3)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eHugh McCracken – nylon guitar (6, 8)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eEric Gale – electric guitar (7)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eLiberty DeVitto – drums\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eMike Mainieri – vibraphone and marimba (4, 6)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eRalph MacDonald – percussion (6,7)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eDavid Freidman – orchestral chimes and percussion (6)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eGeorge Marge – sopranino recorder (6)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eRobert Freedman – horn and string orchestrations (2, 8)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eDave Grusin – horn orchestrations (7)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eDavid Nadien – concertmaster (2, 7, 8)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eAll songs written and composed by Billy Joel\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 Hybrid 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 data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eOriginal Label : Columbia\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eRecorded July–August 1978 at A \u0026amp; R Recording, Inc., 799 7th Avenue at 52nd Street, New York City\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eEngineered by Jim Boyer\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eMixed by Jim Boyer and Phil Ramone at A \u0026amp; R Recording, Inc.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eProduced by Phil Ramone\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by Rob LoVerde 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 data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eOriginally released in October 1978\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eReissued in February 2022\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eTracks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003col data-mce-fragment=\"1\"\u003e\n\u003cli data-mce-fragment=\"1\"\u003eBig Shot\u003c\/li\u003e\n\u003cli data-mce-fragment=\"1\"\u003eHonesty\u003c\/li\u003e\n\u003cli data-mce-fragment=\"1\"\u003eMy Life\u003c\/li\u003e\n\u003cli data-mce-fragment=\"1\"\u003eZanzibar\u003c\/li\u003e\n\u003cli data-mce-fragment=\"1\"\u003eStiletto\u003c\/li\u003e\n\u003cli data-mce-fragment=\"1\"\u003eRosalinda's Eyes\u003c\/li\u003e\n\u003cli data-mce-fragment=\"1\"\u003eHalf A Mile Away\u003c\/li\u003e\n\u003cli data-mce-fragment=\"1\"\u003eUntil The Night\u003c\/li\u003e\n\u003cli data-mce-fragment=\"1\"\u003e52nd Street\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003col data-mce-fragment=\"1\"\u003e\u003c\/ol\u003e\n\u003col data-mce-fragment=\"1\"\u003e\u003c\/ol\u003e\n\u003col start=\"7\" data-mce-fragment=\"1\"\u003e\u003c\/ol\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eAwards:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan style=\"color: #ff2a00;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff2a00;\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eRolling Stone magazine's list of The 500 Greatest Albums of All Time - ranked number 352\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan style=\"color: #ff2a00;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff2a00;\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eNumber 621 in Colin Larkin's All Time Top 1000 Albums\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan style=\"color: #ff2a00;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff2a00;\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e1980 Grammy awards  - Album of the Year\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan style=\"color: #ff2a00;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff2a00;\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e1980 Grammy awards  - Best Pop Vocal Performance Male\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e“Once The Stranger became a hit, Billy Joel quickly re-entered the studio with producer Phil Ramone to record the follow-up, 52nd Street. Instead of breaking from the sound of The Stranger, Joel chose to expand it, making it more sophisticated and somewhat jazzy. Often, his moves sounded as if they were responses to Steely Dan -- indeed, his phrasing and melody for \"Zanzibar\" is a direct homage to Donald Fagen circa The Royal Scam, and it also boasts a solo from jazz great Freddie Hubbard à la Steely Dan -- but since Joel is a working-class populist, not an elitist college boy, he never shies away from big gestures and melodies. Consequently, 52nd Street unintentionally embellishes the Broadway overtones of its predecessor, not only on a centerpiece like \"Stiletto,\" but when he's rocking out on \"Big Shot.\" That isn't necessarily bad, since Joel's strong suit turns out to be showmanship -- he dazzles with his melodic skills and his enthusiastic performances. He also knows how to make a record. Song for song, 52nd Street might not be as strong as The Stranger, but there are no weak songs -- indeed, \"Honesty,\" \"My Life,\" \"Until the Night,\" and the three mentioned above are among his best -- and they all flow together smoothly, thanks to Ramone's seamless production and Joel's melodic craftsmanship. It's remarkable to think that in a matter of three records, Joel had hit upon a workable, marketable formula -- one that not only made him one of the biggest-selling artists of his era, but one of the most enjoyable mainstream hitmakers. 52nd Street is a testament to that achievement.” AllMusic Review by Stephen Thomas Erlewine\u003c\/p\u003e\n\u003cp\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\u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eAllMusic : 4 \/ 5 , Discogs : 4.5 \/ 5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":47619643801935,"sku":"UDSACD 2090","price":49.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/files\/billy-joel-52nd-street-hybrid-sacd-ultradisc-uhr-audiosoundmusic-1.jpg?v=1719862547"},{"product_id":"dire-straits-gold-over-love-hybrid-sacd-ultradisc-uhr","title":"Dire Straits - Love over 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\u003cstrong\u003e\u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/dire-straits\" title=\"vinyl from Dire Straits\"\u003e\u003cspan style=\"color: #ff8000;\"\u003e\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDire Straits \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/dire-straits\" title=\"vinyl from 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 style=\"color: #ff8000;\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/mark-knopfler\" title=\"vinyl featuring 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\u003eHal Lindes – guitar\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJohn Illsley – bass guitar\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAlan Clark – piano, organ, synthesizers\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePick Withers – drums\u003c\/strong\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMike Mainieri – vibes, marimba (tracks 2 and 4)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEd Walsh – synthesizer programming\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by Mark Knopfler\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 sleeve, 8-panel 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\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\u003e8 March – 11 June 1982 at Power Station, New York City\u003c\/span\u003e\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\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMastered by Rob LoVerde 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\u003eOriginally released in 1982\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\u003eTelegraph Road\u003c\/li\u003e\n\u003cli\u003ePrivate Investigations\u003c\/li\u003e\n\u003cli\u003eIndustrial Disease\u003c\/li\u003e\n\u003cli\u003eLove Over Gold\u003c\/li\u003e\n\u003cli\u003eIt Never Rains\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\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e\"Adding a new rhythm guitarist, Dire Straits expands its sounds and ambitions on the sprawling Love Over Gold. In a sense, the album is their prog rock effort, containing only five songs, including the 14-minute opener \"Telegraph Road.\" Since Mark Knopfler is a skilled, tasteful guitarist, he can sustain interest even throughout the languid stretches, but the long, atmospheric, instrumental passages aren't as effective as the group's tight blues-rock, leaving Love Over Gold only a fitfully engaging listen.\" \u003cspan\u003eAllMusic Review by Stephen Thomas Erlewine\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\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\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eAllMusic : 4 \/ 5 , Discogs : 4.72 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":47639106453839,"sku":"UDSACD 2187","price":49.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/files\/dire-straits-gold-over-love-hybrid-sacd-ultradisc-uhr-audiosoundmusic-1.jpg?v=1719862547"},{"product_id":"whitney-houston-whitney-sacd","title":"Whitney Houston – Whitney (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 \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWhitney Houston – vocals \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/whitney-houston\" title=\"vinyl featuring Whitney Houston\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more Vinyl \/ SACD featuring Whitney Houston]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBackground vocals - Jim Gilstrap (1-2, 7, 10), Kitty Beethoven (1-2, 7, 10), Kevin Dorsey  (1), Myrna Matthews  (1), Jennifer Hall (1-2, 7, 10), Niki Haris (2, 7, 10), Kashif (6), Claytoven Richardson (7)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDrums - Narada Michael Walden (1, 5, 7, 11), John Robinson (4, 8), Paul Leim (6-7)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDrum programming - Jellybean (3), Bongo Bob (5), Narada Michael Walden (9,10)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePiano - Robbie Buchanan (4), Randy Kerber (8), Frank Martin (9)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eKeyboards - Walter Afanasieff (5), Kashif (6), Ralph Schuckett (6), Preston Glass (7)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSynthesizers - Walter Afanasieff (1), Frank Martin (2, 9), Jack Waldman (3), Fred Zarr (3), Kashif (6), Ralph Schuckett (6), Michael Boddicker (8), Randy Jackson (9-10), Cory Lerios (11)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBass - Nathan East (4, 8), Marcus Miller (6)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eElectric bass - Randy Jackson (7, 11)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBass synth - Randy Jackson (1, 10), Walter Afanasieff (5)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGuitar - Paul Jackson, Jr. (3-4, 8), Dann Huff (6), Ira Siegel (6), Paul Pesco (6), Shambhu Neil Vineberg (7)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGuitar synth - Corrado Rustici (1-2, 5, 7, 10-11)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTambourine - Gigi Gonaway (7)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePercussion - Paulinho da Costa (3), Bashiri Johnson (3, 6), Sammy Figueroa (3)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePercussion programming - Preston Glass (1, 7), Bongo Bob (5, 7)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAlto sax - Marc Russo (1), Kenny G (9)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTenor sax - Kenny G (2, 6)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSax - Vincent Henry (6)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eElectronic drums - Gigi Gonaway (1)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSynth horns - Sterling (1)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSynth strings - Preston Glass (7)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDX7 Vibes - Frank Martin (2), Preston Glass (11)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSimmons toms - Linden Aaron (3)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eVibes - Roy Ayers (3)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCongas - Raul Rekou (7, 9)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHorn section - Marc Russo (7), Wanye Wallace (7), Premik Russell Tubbs (7), Jerry Hey (7)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRhythm arrangement by Robbie Buchanan (4), Kashif (6), Gene Page (8)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHorn arrangements by Gene Page (6), Jerry Hey (7)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eString arrangement by Michael Gibbs (2, B5), Lee Holdridge (4), Gene Page (6, 8)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eString conducted by Michael Gibbs (A2, B5-6)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by George Merrill (1), Shannon Rubicam (1), Sam Dees (2), Toni C. (3), Michael Masser (4, B3), Will Jennings (5), Billy Steinberg (5) Tom Kelly (5), LeMel Humes (6), James Calabrese (6), Dyan Humes (6), Goffin (8), O'Kelly Isley (9), Ronald Isley (9), Marvin Isley (9), Chris Jasper (9), Frank Wildhorn (10), Chuck Jackson (10), Tim Rice (11), Benny Andersson (11), Björn Ulvaeus (11)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHybrid SACD, Album, Special Edition\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\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\u003e\u003c\/strong\u003e\u003cstrong\u003eLabel : Mobile Fidelity\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Arista\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded 1986-87\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineered by Lincoln Clapp (1-2, 5, 7, \u003cmeta charset=\"utf-8\"\u003e9-11), Gordon Lyon (1-2, 5, 7, \u003cmeta charset=\"utf-8\"\u003e9-11), Jay Rifkin (1-2, 5, 7, \u003cmeta charset=\"utf-8\"\u003e9-11), Ken Kessie (1-2, 5, 7, 9-11), Maureen Droney (1-2, 5, 7, \u003cmeta charset=\"utf-8\"\u003e9-11), Michael Hutchinson (3), Doc Dougherty (3), Dennis McKay (3), Michael DeLugg (4, 8), Dean Burt (4, 8), Jim Boyer (4, 8), Mike Mancini (4, 8), Russ Terrano (4, 8), Fred Law (4, 8), Darroll Gustamachio (6), Russ Terrana (6), Calvin Harris (6)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMixed by David Frazer (1-2, 5, 7, 9-11), Russ Torrano (4, 8), Michael Hutchinson (3), Darroll Gustamachio (6)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Narada Michael Walden (1-2, 5, 7, \u003cmeta charset=\"utf-8\"\u003e9-11), Jellybean (3), Michael Masser (4, 8), Kashif (6), Preston Glass (7)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in June 1987\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\u003eI Wanna Dance With Somebody (Who Loves Me)\u003c\/li\u003e\n\u003cli\u003eJust The Lonely Talking Again\u003c\/li\u003e\n\u003cli\u003eLove Will Sure Save The Day\u003c\/li\u003e\n\u003cli\u003eDidn't We Almost Have It All\u003c\/li\u003e\n\u003cli\u003eSo Emotional\u003c\/li\u003e\n\u003cli\u003eWhere You Are\u003c\/li\u003e\n\u003cli\u003eLove Is A Contact Sport\u003c\/li\u003e\n\u003cli\u003eYou're Still My Man\u003c\/li\u003e\n\u003cli\u003eFor The Love Of You\u003c\/li\u003e\n\u003cli\u003eWhere Do Broken Hearts Go\u003c\/li\u003e\n\u003cli\u003eI Know Him So Well\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;\" data-mce-style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eGrammy Awards 1988 Best Pop Vocal Performance, Female for \"I Wanna Dance with Somebody (Who Loves Me)\"\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\" data-mce-style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eSoul Train Music Awards 1988 Album of the Year, Female\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\" data-mce-style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eBillboard Music Awards 1987 Top Pop Album Artist – Female\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\" data-mce-style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eBillboard Music Awards 1988 Top Pop Singles Artist – Female\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\" data-mce-style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eAmerican Music Awards 1988 Favorite Pop\/Rock Female Artist\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\" data-mce-style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eAmerican Music Awards 1989 Favorite Soul\/R\u0026amp;B Female Artist\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\" data-mce-style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eAmerican Music Awards 1989 Favorite Pop\/Rock Female Artist\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\" data-mce-style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eAmerican Music Awards 1988 Favorite Pop\/Rock Single for \"I Wanna Dance with Somebody (Who Loves Me)\"\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“Whitney Houston became an international star with this album. It sold more than ten million copies around the world, yielded a string of number one hit singles across the board like \"I Wanna Dance With Somebody (Who Loves Me),\" \"Didn't We Almost Have It All,\" and \"Love Will Save the Day,\" and established Houston as the era's top female star. She later went on to more than solidify that status, with other hit albums and a budding film career. While this is a far cry from soul, it's the ultimate in polished, super-produced urban contemporary material.” AllMusic Review by Ron Wynn\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eDiscogs : 4.2 \/ 5, \u003cmeta charset=\"utf-8\"\u003eAllMusic : 4\/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":48010035528015,"sku":"UDSACD 2255","price":49.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/files\/whitney-houston-whitney-hybrid-sacd-audiosoundmusic-1.png?v=1719862834"},{"product_id":"bill-withers-still-bill-hybrid-sacd","title":"Bill Withers - Still Bill (Hybrid SACD)","description":"\u003cdiv\u003e\n\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\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003cstrong\u003eBill Withers – vocals, guitar, acoustic piano (5) \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/bill-withers\" title=\"vinyl featuring Bill Withers\" target=\"_blank\"\u003e\u003cspan style=\"color: #ff8000;\"\u003e[click here to see other vinyl featuring Bill Withers]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp\u003e\u003cstrong\u003eRay Jackson – acoustic piano, clavinet, Wurlitzer electric piano, horn and string arrangements\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBenorce Blackmon – guitar\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMelvin Dunlap – bass guitar\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJames Gadson – drums, percussion\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMusic by Bill Withers (1-3, 4-5, 6-7, 8-10), Stan McKenny (3)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLyrics by Bill Withers (1-2, 4-5, 6-7, 9-10), Stan McKenny (3), \u003c\/strong\u003e\u003cstrong\u003eBenorce Blackman (8)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003c\/div\u003e\n\u003cp\u003e\u003cstrong\u003eHybrid SACD, Gatefold Digisleeve\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 : Sussex\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded at The Record Plant (Los Angeles, California)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineered by Bob Hughes \u0026amp; Phil Schier\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMixed by Phil Schier\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Bill Withers, Ray Jackson, Benorce Blackmon, Melvin Dunlap, James Gadson\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in May 1972\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in September 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\u003eLonely Town, Lonely Street\u003c\/li\u003e\n\u003cli\u003eLet Me In To Your Life\u003c\/li\u003e\n\u003cli\u003eWho Is He (And What Is He To You)?\u003c\/li\u003e\n\u003cli\u003eUse Me\u003c\/li\u003e\n\u003cli\u003eLean On Me\u003c\/li\u003e\n\u003cli\u003eKissing My Love\u003c\/li\u003e\n\u003cli\u003eI Don't Know\u003c\/li\u003e\n\u003cli\u003eAnother Day To Run\u003c\/li\u003e\n\u003cli\u003eI Don't Want You On My Mind\u003c\/li\u003e\n\u003cli\u003eTake It All In And Check It All Out\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\u003eIncluded in the 1,000 Recordings to Hear Before You Die (2008)\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e“Bill Withers came into his own on his third album, Still Bill. Released in 1972, the record is a remarkable summation of a number of contemporary styles: the smooth soul coming out of Philly, smoky, late-night funk via Bobby Womack, bluesy Southern soul, and '70s singer\/songwriterism. It's rich, subtly layered music, but its best attribute is that it comes on easy, never sounding labored or overworked. In fact, it takes several spins of the album to realize just how versatile Withers is on Still Bill, to hear how he makes intricate, funky rhythms sound as effortless and simple as the album's best-known song, the gospel-tinged inspirational anthem \"Lean on Me.\" That's the genius behind Withers' music: it's warm and easily accessible, but it has a depth and complexity that reveals itself over numerous plays -- and, given the sound and feel of the music, from the lush arrangements to his comforting voice, it's easy to want to play this again and again. Then there's the quality of the songwriting, which is as assured on the grooving \"Lonely Town, Lonely Street\" as it is on the suspicious, paranoid \"Who Is He (And What Is He to You)?\" or \"Use Me,\" where he happily submits to being used by his object of affection. This high level of songwriting is sustained throughout the record, making this the greatest testament to his considerable gifts.” AllMusic Review by Stephen Thomas Erlewine\u003c\/p\u003e\n\u003cp\u003e“Bill Withers has a rough, unexceptional sort of voice and he sings like a truckdriver, banging out the hot numbers with a resonant holler or treating ballads with a warm, conversational ease. He has no time for pretty effects and this simple, straightforward approach–reflected in his lyrics as well as his singing–is clearly his most attractive quality. With no pretense to being \"down to earth,\" he is just that–a rarity on a scene where flashy arrogance is still the popular pose. Withers' first album, Just As I Am, established him as a voice and as a songwriter, primarily with the touching \"Ain't No Sunshine\" and \"Grandma's Hands.\" But while it had a solidity and realness and a sprinkling of star credits (producer Booker T. Jones, Duck Dunn, Chris Ethridge, Steven Stills), the album lacked a certain confidence and verve. The latest effort, Still Bill, has those missing qualities in abundance–just see what a little success can do.\u003c\/p\u003e\n\u003cp\u003eThis time Withers took on his own production, working with a core group of four musicians. Withers on acoustic guitar remains in the front of most arrangements and, though it is largely uninventive strumming, his unpolished work, like his voice, is turned to his advantage and offset nicely by the punch of the backing instruments. On the final cut, \"Take It All In And Check It All Out,\" for instance, the persistence of Bill's strumming which opens up the song is pierced and threaded by the sly, needling comments of Benorce Blackman on wah wah guitar. Elsewhere, the strings may come in kind of thick and syrupy but, oddly enough, do little to mar the determinedly unfussy surface of the album.\u003c\/p\u003e\n\u003cp\u003eWhere some of the songs seemed to languish, unrealized, on Just As I Am, the material here is so buoyed up by the production that even minor pieces achieve a satisfying fullness. Among the most successful cuts: \"Use Me,\" rumbling along on a tough electric piano pattern (Ray Jackson feeling like Stevie Wonder) and fine, tight percussion (James Gadson), sets Withers shouting, \"I want to spread the news\/if it feels this good getting used\/you just keep on using me–\/until you use me up.\" \"Who Is He (And What Is He to You)?\" has an equally insinuating sound, more guitar-based this time (and the strings could easily have been dispensed with). The only lyric here not Withers' own, it's a neat, witty examination of jealousy that Bill carries with just the right tone of suspicious accusation–\"You tell me men don't have much intuition\/Is that what you really think or are you wishin'?\"\u003c\/p\u003e\n\u003cp\u003eThe light, mellow \"I Don't Know\" is typical of Withers' simple, quite effective love songs: \"I get a warm summer feeling walking througy the snow\/Even chilly darkness has the brightest glow.\" Not a particularly \"clever\" or innovative songwriter, Withers' strength lies in his directness and ability to invest even the most \"inarticulate\" lines with a precise emotional weight: \"And I just love you so, sometimes I just don't know.\"\u003c\/p\u003e\n\u003cp\u003eOn the whole, it's a tougher, more relaxed, more assured album than Withers' first effort. Nothing is thrown away; everything works with an unexpected clarity and strength. In the man's own words, you ought to take it all in and check it all out.” Vince Aletti, Rolling Stone N°110\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eAllMusic : 5 \/ 5 , Discogs : 4,4 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":48010082058575,"sku":"UDSACD2268","price":49.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/files\/bill-withers-still-bill-hybrid-sacd-audiosoundmusic-1.png?v=1719862834"},{"product_id":"dire-straits-dire-straits-hybrid-scad","title":"Dire Straits - Dire Straits (Hybrid SACD)","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\u003cstrong\u003e\u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/dire-straits\" title=\"vinyl from Dire Straits\"\u003e\u003cspan style=\"color: #ff8000;\"\u003e\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDire Straits \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/dire-straits\" title=\"vinyl from 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 style=\"color: #ff8000;\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/mark-knopfler\" title=\"vinyl featuring 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\u003eWritten by Mark Knopfler\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 SACD\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 in \u003cspan\u003eBasing St. Studios, London in February 1978\u003c\/span\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineered by Rhett Davies\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Muff Winwood\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\u003eOriginally released in 1978\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\u003eDown to the Waterline\u003c\/li\u003e\n\u003cli\u003eWater of Love\u003c\/li\u003e\n\u003cli\u003eSetting Me Up\u003c\/li\u003e\n\u003cli\u003eSix Blade Knife\u003c\/li\u003e\n\u003cli\u003eSouthbound Again\u003c\/li\u003e\n\u003cli\u003eSultans of Swing\u003c\/li\u003e\n\u003cli\u003eIn the Gallery\u003c\/li\u003e\n\u003cli\u003eWild West End\u003c\/li\u003e\n\u003cli\u003eLions\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003e:\u003c\/p\u003e\n\u003cp\u003e\"Dire Straits' minimalist interpretation of pub rock had already crystallized by the time they released their eponymous debut. Driven by Mark Knopfler's spare, tasteful guitar lines and his husky warbling, the album is a set of bluesy rockers. And while the bar band mentality of pub-rock is at the core of Dire Straits -- even the group's breakthrough single, \"Sultans of Swing,\" offered a lament for a neglected pub rock band -- their music is already beyond the simple boogies and shuffles of their forefathers, occasionally dipping into jazz and country. Knopfler also shows an inclination toward Dylanesque imagery, which enhances the smoky, low-key atmosphere of the album. While a few of the songs fall flat, the album is remarkably accomplished for a debut, and Dire Straits had difficulty surpassing it throughout their career.\" \u003cspan\u003eAllMusic Review by Stephen Thomas Erlewine\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAllMusic : 4 \/ 5 ; \u003c\/span\u003eDiscogs : 4,77 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":48058892255567,"sku":"MOBSA2184","price":49.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/files\/dire-straits-dire-straits-hybrid-sacd-audiosoundmusic-1.png?v=1719862892"},{"product_id":"whitney-houston-whitney-houston-sacd","title":"Whitney Houston – Whitney Houston (SACD)","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\u003eWhitney Houston – vocals \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/whitney-houston\" title=\"vinyl featuring Whitney Houston\"\u003e\u003cspan style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Whitney Houston]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDuet Vocals : Jermaine Jackson (3, 5, 8), Teddy Pendergrass (10)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBackground vocals : Cissy Houston,  Julia Waters (4, 7, 9, 10),  Debbie Thomas (4, 7, 9, 10), Oren Waters (4, 7, 9, 10), Yogi Lee (1, 2), Mary Canty, Maxine Waters (4, 7, 9, 10)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eKeyboards : Robbie Buchanan (4, 7, 9, 10), Randy Kerber (4, 7, 9, 10), Yvonne Lewis, Richard Marx (4, 7, 9, 10),\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGuitar : Paul Jackson, Jr. (3 to 5, 7 to 10), Dann Huff (4, 7, 9, 10), Tim May (3, 5, 8), Ira Siegal (1, 2), David Williams (4) (3, 5, 8), Louie Shelton (4, 7, 9, 10), Corrado Rustici,\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBass : Nathan East (3 to 5, 7 to 10), Ready Freddie Washington (3, 5, 8), Randy Jackson (2),\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSynthesizer : Preston Glass, Greg Phillinganes (3, 5, 8)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDrums : Ed Greene (3, 5, 8), John Robinson (3, 5, 8), J.T. Lewis (1, 2), Steve Rucker (3, 5, 8), Roy Wooten (1, 2),\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSaxophone : Premik Russell Tubbs, Soloist – Tom Scott (4), Ernie Watts (3, 5, 8)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eClarinet : John Barnes (3, 5, 8)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePercussions : Bashiri Johnson (1, 2)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by \u003c\/strong\u003e\u003cstrong\u003eFreddie Washington (3), George Merrill (6), Gerry Goffin (4), James P. Dunne (5), Jeffrey Osborne (7), Kashif (2), Linda Creed (9, 10), Pamela Phillips (5), Peter McCann (8), Raymond Jones (3), Shannon Rubicam (6), Steve Dorff (8), LaLa (1, 2)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 SACD\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\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 : Arista\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded 1983-84\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineered by Michael Mancini (4, 9), Michael O'Reilly (1, 2), Russell Schmitt (4, 9), Michael Barbiero (6)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMixed by Billy Bottrell (3, 5, 8), Bill Schnee (4, 7, 9, 10), Michael O'Reilly (1 to 3, 6)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Kashif (1, 2), Jermaine Jackson (3, 5, 8), Narada Michael Walden (6), Michael Masser (4, 7, 9, 10)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eExecutive-Producer – Clive Davis\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eArt Direction by Donn Davenport\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePhotography by Garry Gross\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in February 1985\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2024\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\u003eYou Give Good Love\u003c\/li\u003e\n\u003cli\u003eThinking About You\u003c\/li\u003e\n\u003cli\u003eSomeone For Me\u003c\/li\u003e\n\u003cli\u003eSaving All My Love For You\u003c\/li\u003e\n\u003cli\u003eNobody Loves Me Like You Do\u003c\/li\u003e\n\u003cli\u003eHow Will I Know\u003c\/li\u003e\n\u003cli\u003eAll At Once\u003c\/li\u003e\n\u003cli\u003eTake Good Care Of My Heart\u003c\/li\u003e\n\u003cli\u003eGreatest Love Of All\u003c\/li\u003e\n\u003cli\u003eHold Me\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 249\/500\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e1986 Grammy Award Winner: Best Pop Vocal Performance, Female: \"Saving All My Love for You\"\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eInducted into the Grammy Hall of Fame in 2013\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eIn 2018, Pitchfork placed Whitney Houston at number 117 on their list of \"200 Best Albums of the 1980s\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“As big a hit as it was -- and it was a multi-platinum blockbuster, spinning off several chart-toppers -- it’s not easy to think of Whitney Houston’s 1985 debut as the dawning of a new era, but it was. Arriving in the thick of MTV, when the slick sounds of yacht-soul were fading, Whitney Houston is the foundation of diva-pop, straddling clean, cheery R\u0026amp;B and big ballads designed with the adult contemporary audience in mind. Houston’s background lay in the former -- actually, it was even riskier, encompassing a stint with the experimental Bill Laswell outfit Material -- and her benefactor Clive Davis knew all about selling records to the masses. Appealing as this album is, Davis may never have imagined how Whitney Houston would shift tastes, pushing toward skyscraping ballads where the singer’s affectations, not the songs, were paramount -- a move that later led to hollow records, but on Whitney Houston the songs were as important as the immaculate productions. Certainly, the showstopping “Greatest Love of All” provided the blueprint for decades of divas, but it’s the only overblown moment here, with the rest of the ballads -- notably “Saving All My Love for You” and “You Give Good Love” -- burning slowly and seductively, but what really impresses some 20-plus years on are the lighter tracks, particularly the breakthrough single “How Will I Know” and the unheralded “Thinking About You,” a dance\/R\u0026amp;B hit co-written by Kashif that remains one of Whitney’s purest pop pleasures. These joyful, rhythmic moments faded away from Houston’s later work -- and also rarely surfaced on the records of those who followed her -- but their presence on this debut turns this into a fully rounded record, the rare debut that manages to telegraph every aspect of an artist's career in a mere ten songs.” AllMusic Review by Stephen Thomas Erlewine\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 : 4.05 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":48375198253391,"sku":"UDSACD2253","price":49.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/files\/whitney-houston-whitney-houston-sacd-audiosoundmusic.jpg?v=1719863598"},{"product_id":"the-band-the-last-waltz-2-hybrid-sacd","title":"The Band - The Last Waltz - Featuring Joni Mitchell, Bob Dylan, Muddy Waters, Eric Clapton, … (2 Hybrid SACD)","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan style=\"color: #ff2a00;\"\u003eORDER LIMITED TO ONE ITEM PER CUSTOMER\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe Band \u003cspan style=\"color: #ff8000;\"\u003e\u003ca style=\"color: #ff8000;\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/the-band\" title=\"vinyl featuring The Band\" data-mce-fragment=\"1\"\u003e[click here to see more vinyl \u0026amp; CD featuring The Band]\u003c\/a\u003e \u003c\/span\u003e\u003c\/strong\u003e\u003cstrong\u003e:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\u003cstrong\u003eRobbie Robertson – guitar, piano, vocals   \u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eRick Danko – bass guitar, fiddle, vocals\u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eLevon Helm – drums, mandolin, vocals\u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eGarth Hudson – organ, piano, accordion, synthesizers, soprano saxophone, clavinet\u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eRichard Manuel – piano, organ, drums, clavinet, dobro, vocals\u003c\/strong\u003e\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cstrong\u003eBob Dylan - Vocals (II-10, II-11), Guitar (II-10)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eVan Morrison - Vocals (II-4, II-5), Backing Vocals (II-11)\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRingo Starr - Drums (II-11)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMuddy Waters - Vocals (I-12)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRonnie Hawkins - Vocals (I-3), Backing Vocals (II-11)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJoni Mitchell - Vocals (I-6), Backing Vocals (1-4, II-11), Guitar (I-6)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eNeil Young – Vocals (I-4), Guitar (I-4), Backing Vocals (II-11)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDr. John - Vocals (I-9, II-2), Backing Vocals (II-11), Congas (I-6), Piano (I-9), Guitar  (II-2)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEric Clapton - Vocals (I-13), Backing Vocals (II-11), Guitar (I-13)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBobby Charles – Vocals (II-2), Backing Vocals (II-11)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRon Wood - Guitar (II-11)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDennis St. John - Drums (I-7)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eNeil Diamond - Vocals (I-7), Backing Vocals (II-11), Guitar (I-7), Harmonica (I-12),\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePaul Butterfield - Vocals (I-11), Harmonica (I-11)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBob Margolin - Guitar (I-12)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePinetop Perkins - Piano (I-12)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePops Staples - Vocals (II-14, II-15), Guitar (II-14, II-15)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMavis Staples - Vocals (II-14, II-15)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJohn Simon – Piano (II-4)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAlison Hormel  - Backing Vocals (II-15, II-16)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003cstrong\u003eAlto Flute – Tom Malone\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAlto Saxophone – Charlie Keagle\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBaritone Saxophone – Howard Johnson\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBass Clarinet – Howard Johnson\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBass Trombone – Tom Malone\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eClarinet – Charlie Keagle, Jim Gordon\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eElectric Violin – Larry Packer\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEuphonium – Tom Malone\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFlugelhorn – Howard Johnson, Jerry Hay, Rich Cooper\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFlute – Charlie Keagle, Jim Gordon\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSoprano Saxophone – Charlie Keagle\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTenor Saxophone – Charlie Keagle, Jim Gordon\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTrombone – Tom Malone\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTrumpet – Jerry Hay, Rich Cooper\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTuba – Howard Johnson\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHorns arranged by Tom Malone (I-5, II-14, II-15), Howard Johnson (I-8), Allen Toussaint (I-10, II-6), Howard Johnson (II-1), Garth Hudson (II-3), Henry Glover (II-4), John Simon (II-16, II-17)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStrings arranged by John Simon (II-16, II-17)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by Robbie Robertson (I-1, I-2, I-5, I-7, I-8, I-10, II-1, II-3, II-6, II-12 to II-17), Ellas McDaniel (I-2), Neil Young (I-3), Joni Mitchell (I-6), Mac Rebennack (I-9), Junior Parker (I-11), Sam Phillips (I-11), Mel London (I-12), McDaniel (I-12), McKinley Morganfield (I-12), Robey (I-13), Veasey (I-13), J. Wright (II-2), J. Anglin (II-2), Shannon (II-4), Van Morrison (II-5), Rick Danko (II-6), Levon Helm (II-6), Reverend Gary Davis (II-7), Rick von Schmidt (II-7, II-10, II-11), Bob Dylan (II-8, II-9), Davis (II-10)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e2 SACD, slipcase box\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 : Warner Records\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded Live on November 25, 1976 at the Winterland Arena, San Francisco, California\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Robbie Robertson\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e2002 remixes overseen by Robbie Robertson\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMastered by Shawn R. Britton at Mobile Fidelity Sound Lab\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in April 1978\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2024\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv\u003e\n\u003cp\u003eSACD 1\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eTheme From The Last Waltz\u003c\/li\u003e\n\u003cli\u003eUp on Cripple Creek\u003c\/li\u003e\n\u003cli\u003eWho Do You Love\u003c\/li\u003e\n\u003cli\u003eHelpless\u003c\/li\u003e\n\u003cli\u003eStagefright\u003c\/li\u003e\n\u003cli\u003eCoyote\u003c\/li\u003e\n\u003cli\u003eDry Your Eyes\u003c\/li\u003e\n\u003cli\u003eIt Makes No Difference\u003c\/li\u003e\n\u003cli\u003eSuch a Night\u003c\/li\u003e\n\u003cli\u003eThe Night They Drove Old Dixie Down\u003c\/li\u003e\n\u003cli\u003eMystery Train\u003c\/li\u003e\n\u003cli\u003eMannish Boy\u003c\/li\u003e\n\u003cli\u003eFurther On Up the Road\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSACD 2:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eThe Shape I'm In\u003c\/li\u003e\n\u003cli\u003eDown South in New Orleans\u003c\/li\u003e\n\u003cli\u003eOphelia\u003c\/li\u003e\n\u003cli\u003eTura Lura Lura! (That's an Irish Lullaby)\u003c\/li\u003e\n\u003cli\u003eCaravan\u003c\/li\u003e\n\u003cli\u003eLife Is A Carnival\u003c\/li\u003e\n\u003cli\u003eBaby Let Me Follow You Down\u003c\/li\u003e\n\u003cli\u003eI Don't Believe You (She Acts Like We Never Have Met)\u003c\/li\u003e\n\u003cli\u003eForever Young\u003c\/li\u003e\n\u003cli\u003eBaby Let Me Follow You Down (Reprise)\u003c\/li\u003e\n\u003cli\u003eI Shall Be Released\u003c\/li\u003e\n\u003cli\u003eThe Well\u003c\/li\u003e\n\u003cli\u003eEvangeline\u003c\/li\u003e\n\u003cli\u003eOut Of The Blue\u003c\/li\u003e\n\u003cli\u003eThe Weight\u003c\/li\u003e\n\u003cli\u003eThe Last Waltz Refrain\u003c\/li\u003e\n\u003cli\u003eTheme From The Last Waltz (with Orchestra)\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003col\u003e\u003c\/ol\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cp\u003e  \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews \u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp\u003e“As a film, The Last Waltz was a triumph -- one of the first (and still one of the few) rock concert documentaries that was directed by a filmmaker who understood both the look and the sound of rock \u0026amp; roll, and executed with enough technical craft to capture all the nooks and crannies of a great live show. But as an album, The Last Waltz soundtrack had to compete with the Band's earlier live album, Rock of Ages, with which it bears a certain superficial resemblance -- both found the group trying to create something grander than the standard-issue live double, and both featured the group beefed up by additional musicians. While Rock of Ages found the Band swinging along with the help of a horn section arranged by Allen Toussaint, The Last Waltz boasts a horn section (using Toussaint's earlier arrangements on a few cuts) and more than a baker's dozen guest stars, ranging from old cohorts Ronnie Hawkins and Bob Dylan to contemporaries Joni Mitchell, Neil Young, and Van Morrison. The Band are in fine if not exceptional form here; on most cuts, they don't sound quite as fiery as they did on Rock of Ages, though their performances are never less than expert, and the high points are dazzling, especially an impassioned version of \"It Makes No Difference\" and blazing readings of \"Up on Cripple Creek\" and \"The Night They Drove Old Dixie Down\" (Levon Helm has made no secret that he felt breaking up the Band was a bad idea, and here it sounds if he was determined to prove how much they still had to offer). Ultimately, it's the Band's \"special guests\" who really make this set stand out -- Muddy Waters' ferocious version of \"Mannish Boy\" would have been a wonder from a man half his age, Van Morrison sounds positively joyous on \"Caravan,\" Neil Young and Joni Mitchell do well for their Canadian brethren, and Bob Dylan's closing set finds him in admirably loose and rollicking form. (One question remains -- what exactly is Neil Diamond doing here?) And while the closing studio-recorded \"Last Waltz Suite\" sounds like padding, the contributions from Emmylou Harris and the Staple Singers are beautiful indeed.” 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 ; Discogs : 4.58 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":48556012405071,"sku":"UDSACD2139","price":125.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/files\/the-band-the-last-waltz-featuring-joni-mitchell-bob-dylan-muddy-waters-eric-clapton-2-hybrid-sacd-audiosoundmusic-1.jpg?v=1719863793"},{"product_id":"the-alan-parsons-project-eye-in-the-sky-hybrid-sacd","title":"The Alan Parsons Project - Eye In The Sky (Hybrid SACD, Ultradisc UHR)","description":"\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"color: #ff2a00;\"\u003eORDER LIMITED TO ONE ITEM PER CUSTOMER\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/the-alan-parsons-project\" title=\"vinyl featuring The Alan Parsons Project\"\u003e\u003cspan style=\"color: rgb(255, 128, 0);\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e[click here to see more vinyl featuring The Alan Parsons Project]\u003c\/strong\u003e\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAlan Parsons: keyboards, Fairlight programming, vocals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDavid Paton: acoustic, electric \u0026amp; bass guitars, main vocal (3)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eIan Bairnson: acoustic \u0026amp; electric guitars\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMel Collins: saxophone\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eChris Rainbow: main vocal (4)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLenny Zakatek: main vocal (6, 9)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eElmer Gantry: main vocal (7)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEric Woolfson: keyboards, main vocal (2, 5)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eColin Blunstone: main vocal (10)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStuart Elliott: drums, percussion\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe English Chorale: choir vocals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBob Howes: Chorus Master\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by Alan Parsons, Eric Woolfson\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 SACD, \u003c\/strong\u003e\u003cstrong\u003eSingle-pocket gatefold with a 12-panel stapled color booklet containing lyrics for every song plus the original credits\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 : Arista\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded in 1981 at Abbey Road Studios, London, by Alan Parsons on the Sony PCM 1610 system\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineered by Alan Parsons\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Alan Parsons and Eric Woolfson\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMastered by Rob LoVerde at Mobile Fidelity Sound Lab, Sebastopol, CA\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGlass Mastered at Sonopress\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDisc made in Germany\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1982\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2024\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\u003eSirius\u003c\/li\u003e\n\u003cli\u003eEye In The Sky\u003c\/li\u003e\n\u003cli\u003eChildren Of The Moon\u003c\/li\u003e\n\u003cli\u003eGemini\u003c\/li\u003e\n\u003cli\u003eSilence And I\u003c\/li\u003e\n\u003cli\u003eYou're Gonna Get Your Fingers Burned\u003c\/li\u003e\n\u003cli\u003ePsychobabble\u003c\/li\u003e\n\u003cli\u003eMammagamma\u003c\/li\u003e\n\u003cli\u003eStep By Step\u003c\/li\u003e\n\u003cli\u003eOld And Wise\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« Eye in the Sky provided the Alan Parsons Project with their first Top Ten hit since 1977's I Robot, and it's hard not to feel that crossover success was one of the driving forces behind this album. The Project never shied away from hooks, whether it was on the tense white funk of \"I Wouldn't Want to Be Like You\" or the gleaming pop hooks of \"Games People Play,\" but Eye in the Sky was soft and smooth, so smooth that it was easy to ignore that the narrator of the title track was an ominous omniscient who spied either on his lover or his populace, depending on how deeply you wanted to delve into the concepts of this album. And, unlike I Robot or The Turn of a Friendly Card, it is possible to listen to Eye in the Sky and not dwell on the larger themes, since they're used as a foundation, not pushed to center stage. What does dominate is the lushness of sound, the sweetness of melody: this is a soft rock album through and through, one that's about melodic hooks and texture. In the case of the spacy opening salvo \"Sirius,\" later heard on sports talk shows across America, or \"Mammagamma,\" it was all texture, as these instrumentals set the trippy yet warm mood that the pop songs sustained. And the real difference with Eye in the Sky is that, with the exception of those instrumentals and the galloping suite \"Silence and I,\" all the artiness was part of the idea of this album was pushed into the lyrics, so the album plays as soft pop album -- and a very, very good one at that. Perhaps nothing is quite as exquisite as the title song, yet \"Children of the Moon\" has a sprightly gait (not all that dissimilar from Kenny Loggins' \"Heart to Heart\"), \"Psychobabble\" has a bright propulsive edge (not all that dissimilar from 10cc), and \"Gemini\" is the project at its dreamiest. It all adds up to arguably the most consistent Alan Parsons Project album -- perhaps not in terms of concept, but in terms of music they never were as satisfying as they were here. » 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\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eAllMusic : 4.5 \/ 5  ,  Discogs: 4.15 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":48566186639695,"sku":"UDSACD2221","price":49.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/files\/the-alan-parsons-project-eye-in-the-sky-hybrid-sacd-ultradisc-uhr-audiosoundmusic-1.webp?v=1719863793"},{"product_id":"eagles-desperado-hybrid-sacd-ultradisc-uhr","title":"Eagles - Desperado (Hybrid SACD, Ultradisc UHR)","description":"\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"color: #ff2a00;\"\u003eORDER LIMITED TO ONE ITEM PER CUSTOMER\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003ca title=\"vinyl featuring Eagles\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/eagles\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/eagles\"\u003e\u003cspan style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Eagles]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGlenn Frey – acoustic and electric guitars, vocals; keyboards, harmonica\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDon Henley – drums, vocals; acoustic guitar\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBernie Leadon – electric and acoustic guitars, vocals; banjo, mandolin, dobro\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRandy Meisner – bass guitar, vocals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 SACD, \u003c\/strong\u003e\u003cstrong\u003eSingle-pocket gatefold\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 : Asylum Records\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded in 1973 at Island Studios, London\u003c\/strong\u003e\u003cstrong\u003e by Glyn Johns\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Glyn Johns\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMastered by Rob LoVerde at Mobile Fidelity Sound Lab, Sebastopol, CA\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGlass Mastered at Sonopress\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDisc made in Germany\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1973\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2024\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\u003eDoolin-Dalton\u003c\/li\u003e\n\u003cli\u003eTwenty-One\u003c\/li\u003e\n\u003cli\u003eOut of Control\u003c\/li\u003e\n\u003cli\u003eTequila Sunrise\u003c\/li\u003e\n\u003cli\u003eDesperado\u003c\/li\u003e\n\u003cli\u003eCertain Kind of Fool\u003c\/li\u003e\n\u003cli\u003eOutlaw Man\u003c\/li\u003e\n\u003cli\u003eSaturday Night\u003c\/li\u003e\n\u003cli\u003eBitter Creek\u003c\/li\u003e\n\u003cli\u003eDoolin-Dalton (Reprise)\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\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e\"If Don Henley was the sole member of the Eagles underrepresented on their debut album, Eagles, with only two lead vocals and one co-songwriting credit, he made up for it on their follow-up, the \"concept\" album Desperado. The concept had to do with Old West outlaws, but it had no specific narrative. On Eagles, the group had already begun to marry itself to a Southwest sound and lyrical references, from the Indian-style introduction of \"Witchy Woman\" to the Winslow, AZ, address in \"Take It Easy.\" All of this became more overt on Desperado, and it may be that Henley, who hailed from Northeast Texas, had the greatest affinity for the subject matter. In any case, he had co-writing credits on eight of the 11 selections and sang such key tracks as \"Doolin-Dalton\" and the title song. What would become recognizable as Henley's lyrical touch was apparent on those songs, which bore a serious, world-weary tone. Henley had begun co-writing with Glenn Frey, and they contributed the album's strongest material, which included the first single, \"Tequila Sunrise,\" and \"Desperado\" (strangely never released as a single). But where Eagles seemed deliberately to balance the band's many musical styles and the talents of the band's members, Desperado, despite its overarching theme, often seemed a collection of disparate tracks -- \"Out of Control\" was a raucous rocker, while \"Desperado\" was a painfully slow ballad backed by strings -- with other bandmembers' contributions tacked on rather than integrated. Randy Meisner was down to two co-writing credits and one lead vocal (\"Certain Kind of Fool\"), while Bernie Leadon's two songs, \"Twenty-One\" and \"Bitter Creek,\" seemed to come from a different record entirely. The result was an album that was simultaneously more ambitious and serious-minded than its predecessor and also slighter and less consistent.\" \u003cspan data-mce-fragment=\"1\"\u003eAllMusic Review by William Ruhlmann\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 0.875rem;\"\u003e\u003c\/span\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 : 3,5 \/ 5 , Discogs : 4,06 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":48566318006607,"sku":"UDSACD2230","price":49.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/files\/eagles-desperado-hybrid-sacd-ultradisc-uhr-audiosoundmusic-1.jpg?v=1719863804"},{"product_id":"chicago-chicago-6-hybrid-sacd-ultradisc-uhr","title":"Chicago - Chicago 6 (Hybrid SACD, Ultradisc UHR)","description":"\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"color: #ff2a00;\"\u003eORDER LIMITED TO ONE ITEM PER CUSTOMER\u003c\/span\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;\"\u003e[click 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, vocals, bass\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRobert Lamm, vocals, keyboards\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTerry Kath, vocals, guitar\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLee Loughnane, trumpet\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWalter Parazaider, saxophone, woodwinds\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJames Pankow, trombone\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDanny Seraphine, drums\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJ.G. O'Rafferty, Pedal Steel Guitar\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCongas – Joe Cala, Laudir Soares De Oliveira\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 SACD, \u003c\/strong\u003e\u003cstrong\u003eSingle-pocket gatefold\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 in \u003c\/strong\u003e\u003cstrong\u003eCaribou Ranch by\u003c\/strong\u003e\u003cstrong\u003e Wayne Tarnowski\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineered \u0026amp; mixed by : Phil Ramone\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by James William Guercio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMastered by Rob LoVerde at Mobile Fidelity Sound Lab, Sebastopol, CA\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGlass Mastered at Sonopress\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDisc made in Germany\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1973\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2024\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 class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-US\" style=\"mso-ansi-language: EN-US;\"\u003eCritics' Choice\u003c\/span\u003e\u003c\/li\u003e\n\u003cli class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-US\" style=\"mso-ansi-language: EN-US;\"\u003eJust You 'N' Me\u003c\/span\u003e\u003c\/li\u003e\n\u003cli class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-US\" style=\"mso-ansi-language: EN-US;\"\u003eDarlin' Dear\u003c\/span\u003e\u003c\/li\u003e\n\u003cli class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-US\" style=\"mso-ansi-language: EN-US;\"\u003eJenny\u003c\/span\u003e\u003c\/li\u003e\n\u003cli class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-US\" style=\"mso-ansi-language: EN-US;\"\u003eWhat's This World Coming To\u003c\/span\u003e\u003c\/li\u003e\n\u003cli class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-US\" style=\"mso-ansi-language: EN-US;\"\u003eSomething In This City Changes People\u003c\/span\u003e\u003c\/li\u003e\n\u003cli class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-US\" style=\"mso-ansi-language: EN-US;\"\u003eHollywood\u003c\/span\u003e\u003c\/li\u003e\n\u003cli class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-US\" style=\"mso-ansi-language: EN-US;\"\u003eIn Terms of Two\u003c\/span\u003e\u003c\/li\u003e\n\u003cli class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-US\" style=\"mso-ansi-language: EN-US;\"\u003eRediscovery\u003c\/span\u003e\u003c\/li\u003e\n\u003cli class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-US\" style=\"mso-ansi-language: EN-US;\"\u003eFeelin' Stronger Every Day\u003c\/span\u003e\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp class=\"MsoNormal\"\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e\"This is the sixth album from the jazz\/pop\/rock combo Chicago, and was likewise the first to be recorded at the plush, well-lit, and custom-built Caribou Studios in Nederland, CO. The facility was owned and operated by the band's manager and producer, James William Guercio, and eventually became the group's retreat for their next five (non-compilation) long-players. Another and perhaps more significant change was the incorporation of several \"outside\" additional musicians -- most notably Laudir De Oliveira (percussion), who would remain with the band for the next seven years and eight LPs. Although Chicago had begun as a harder-edged rock \u0026amp; roll band, popular music styles were undergoing a shift during the mid-'70s into a decidedly more middle-of-the-road (MOR) and less-aggressive sound. This is reflected in the succinct pop and light rock efforts, contrasting the earlier lengthy and multi-movement epics that filled their earlier works. Nowhere is this more evident than on Chicago VI's (1973) two Top Ten singles: the easygoing James Pankow (trombone) ballad \"Just You \u0026amp; Me\" as well as the up-tempo rocker \"Feelin' Stronger Every Day,\" which Pankow co-wrote with Peter Cetera (vocal\/bass). This more melodic and introverted sensibility pervades the rest of the disc as well -- especially from Robert Lamm (keyboard\/vocals), who is particularly prolific, penning half of the material on the disc. Even his sardonically titled \"Critics' Choice\" -- which is undoubtedly a musical rebuttal to Chicago's increasingly negative critical assessment -- is a languid and delicate response, rather than a full-force confutation. \"Darlin' Dear\" -- another Lamm contribution -- on the other hand, is a horn-fuelled rocker that actually recalls Little Feat more than it does most of Chicago's previous sides. Compositions from other bandmembers include the heartfelt Terry Kath (guitar\/vocals) ballad \"Jenny,\" which features some fluid fretwork much in the same vein as that of Jimi Hendrix's \"Angel\" or \"Castles Made of Sand.\" Additionally, Peter Cetera's (bass\/vocals) \"In Terms of Two\" includes a more down-home and countrified acoustic vibe. While Chicago VI is an undeniably strong effort -- supported at the time by its chart-topping status -- many bandmembers and longtime enthusiasts were beginning to grow apart from the lighter, pop-oriented material.\" \u003cspan data-mce-fragment=\"1\"\u003eAllMusic Review by Lindsay Planer\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 0.875rem;\"\u003e\u003c\/span\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 : 3,79 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":48566339535183,"sku":"UDSACD2132","price":49.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/files\/chicago-chicago-6-hybrid-sacd-ultradisc-uhr-audiosoundmusic-1.jpg?v=1719863804"},{"product_id":"chicago-chicago-transit-authority-hybrid-sacd-ultradisc-uhr","title":"Chicago - Chicago Transit Authority (Hybrid SACD, Ultradisc UHR)","description":"\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"color: #ff2a00;\"\u003eORDER LIMITED TO ONE ITEM PER CUSTOMER\u003c\/span\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;\"\u003e[click here to see more products 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\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, woodwinds\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\u003e1 SACD, \u003c\/strong\u003e\u003cstrong\u003eSingle-pocket gatefold\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 at Columbia Recording Studios by \u003c\/strong\u003e\u003cstrong\u003eFred Catero\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by James William Guercio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMastered by Rob LoVerde at Mobile Fidelity Sound Lab, Sebastopol, CA\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGlass Mastered at Sonopress\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDisc made in Germany\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 2024\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 class=\"MsoNormal\"\u003eIntroduction\u003c\/li\u003e\n\u003cli class=\"MsoNormal\"\u003eDoes Anybody Really Know What Time It Is?\u003c\/li\u003e\n\u003cli class=\"MsoNormal\"\u003eBeginnings\u003c\/li\u003e\n\u003cli class=\"MsoNormal\"\u003eQuestions 67 And 68\u003c\/li\u003e\n\u003cli class=\"MsoNormal\"\u003eListen\u003c\/li\u003e\n\u003cli class=\"MsoNormal\"\u003ePoem 58\u003c\/li\u003e\n\u003cli class=\"MsoNormal\"\u003eFree Form Guitar\u003c\/li\u003e\n\u003cli class=\"MsoNormal\"\u003eSouth California Purples\u003c\/li\u003e\n\u003cli class=\"MsoNormal\"\u003eI'm A Man\u003c\/li\u003e\n\u003cli class=\"MsoNormal\"\u003ePrologue, August 29, 1968\u003c\/li\u003e\n\u003cli class=\"MsoNormal\"\u003eSomeday (August 29, 1968)\u003c\/li\u003e\n\u003cli class=\"MsoNormal\"\u003eLiberation\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\u003e1000 Recordings you must hear before you die - Ranked 162\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\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\"Few debut albums can boast as consistently solid an effort as the self-titled Chicago Transit Authority (1969). Even fewer can claim to have enough material to fill out a double-disc affair. Although this long- player was ultimately the septet's first national exposure, the group was far from the proverbial \"overnight sensation.\" Under the guise of the Big Thing, the group soon to be known as CTA had been honing its eclectic blend of jazz, classical, and straight-ahead rock \u0026amp; roll in and around the Windy City for several years. Their initial non-musical meeting occurred during a mid-February 1967 confab between the original combo at Walter Parazaider's apartment on the north side of Chi Town. Over a year later, Columbia Records staff producer James Guercio became a key supporter of the group, which he rechristened Chicago Transit Authority. In fairly short order the band relocated to the West Coast and began woodshedding the material that would comprise this title. In April of 1969, the dozen sides of Chicago Transit Authority unleashed a formidable and ultimately American musical experience. This included an unheralded synthesis of electric guitar wailin' rock \u0026amp; roll to more deeply rooted jazz influences and arrangements. This approach economized the finest of what the band had to offer -- actually two highly stylized units that coexisted with remarkable singularity. On the one hand, listeners were presented with an incendiary rock \u0026amp; roll quartet of Terry Kath (lead guitar\/vocals), Robert Lamm (keyboards\/vocals), Peter Cetera (bass\/vocals), and Danny Seraphine (drums). They were augmented by the equally aggressive power brass trio that included Lee Loughnane (trumpet\/vocals), James Pankow (trombone), and the aforementioned Parazaider (woodwind\/vocals). This fusion of rock with jazz would also yield some memorable pop sides and enthusiasts' favorites as well. Most notably, a quarter of the material on the double album -- \"Does Anybody Really Know What Time It Is?,\" \"Beginnings,\" \"Questions 67 and 68,\" and the only cover on the project, Steve Winwood's \"I'm a Man\" -- also scored as respective entries on the singles chart. The tight, infectious, and decidedly pop arrangements contrast with the piledriving blues-based rock of \"Introduction\" and \"South California Purples\" as well as the 15-plus minute extemporaneous free for all \"Liberation.\" Even farther left of center are the experimental avant-garde \"Free Form Guitar\" and the politically intoned and emotive \"Prologue, August 29, 1968\" and \"Someday (August 29, 1968).\" The 2003 remastered edition of Chicago Transit Authority offers a marked sonic improvement over all previous pressings -- including the pricey gold disc incarnation.\" \u003cspan data-mce-fragment=\"1\"\u003eAllMusic Review by Lindsay Planer\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 0.875rem;\"\u003e\u003c\/span\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 : 4,16 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":48566406644047,"sku":"UDSACD2134","price":49.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/files\/chicago-chicago-transit-authority-hybrid-sacd-ultradisc-uhr-audiosoundmusic-1.png?v=1719863813"},{"product_id":"eagles-the-long-run-hybrid-sacd-ultradisc-uhr","title":"Eagles – The Long Run  (Hybrid SACD, Ultradisc UHR)","description":"\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"color: #ff2a00;\"\u003eORDER LIMITED TO ONE ITEM PER CUSTOMER\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/eagles\" title=\"vinyl featuring Eagles\"\u003e\u003cspan style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Eagles]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDon Felder – guitars, organ, vocals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGlenn Frey – vocals, guitars, keyboards\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDon Henley – vocals, drums, percussion\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTimothy B. Schmit – vocals, bass guitar\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJoe Walsh – vocals, guitars, keyboards\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJimmy Buffett – backing vocals on \"The Greeks Don't Want No Freaks\"\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe Monstertones – backing vocals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDavid Sanborn – alto saxophone on \"The Sad Café\"\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBob Seger – backing vocals \"Heartache Tonight\" (not credited in liner notes)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJoe Vitale – piano, electric piano\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 SACD, \u003c\/strong\u003e\u003cstrong\u003eSingle-pocket gatefold\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 : Asylum Records\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded March 1978 – September 1979 at\u003c\/strong\u003e \u003cstrong\u003eBayshore Recording Studios, Love 'N Comfort Studios, Brittania Recording Studio,  Record Plant, Los Angeles\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineered \u0026amp; mixed by Bill Szymczyk\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Bill Szymczyk\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMastered by Rob LoVerde at Mobile Fidelity Sound Lab, Sebastopol, CA\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGlass Mastered at Sonopress\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDisc made in Germany\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 2024\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\u003eThe Long Run\u003c\/li\u003e\n\u003cli\u003eI Can't Tell You Why\u003c\/li\u003e\n\u003cli\u003eIn The City\u003c\/li\u003e\n\u003cli\u003eThe Disco Strangler\u003c\/li\u003e\n\u003cli\u003eKing Of Hollywood\u003c\/li\u003e\n\u003cli\u003eHeartache Tonight\u003c\/li\u003e\n\u003cli\u003eThose Shoes\u003c\/li\u003e\n\u003cli\u003eTeenage Jail\u003c\/li\u003e\n\u003cli\u003eThe Greeks Don't Want No Freaks\u003c\/li\u003e\n\u003cli\u003eThe Sad Cafe\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAwards :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eGrammy Award for \"Heartache Tonight\"\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\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“Three years in the making (which was considered an eternity in the '70s), the Eagles' follow-up to the massively successful, critically acclaimed Hotel California was a major disappointment, even though it sold several million copies and threw off three hit singles. Those singles, in fact, provide some insight into the record. \"Heartache Tonight\" was an old-fashioned rock \u0026amp; roll song sung by Glenn Frey, while \"I Can't Tell You Why\" was a delicate ballad by Timothy B. Schmit, the band's newest member. Only \"The Long Run,\" a conventional pop\/rock tune with a Stax Records R\u0026amp;B flavor, bore the stamp and vocal signature of Don Henley, who had largely taken the reins of the band on Hotel California. Henley also dominated The Long Run, getting co-writing credits on nine of the ten songs, singing five lead vocals, and sharing another two with Frey. This time around, however, Henley's contributions were for the most part painfully slight. Only \"The Long Run\" and the regret-filled closing song, \"The Sad Café,\" showed any of his usual craftsmanship. The album was dominated by second-rank songs like \"The Disco Strangler,\" \"King of Hollywood,\" and \"Teenage Jail\" that sounded like they couldn't have taken three hours much less three years to come up with. (Joe Walsh's \"In the City\" was up to his usual standard, but it may not even have been an Eagles recording, having appeared months earlier on the soundtrack to The Warriors, where it was credited as a Walsh solo track.) Amazingly, The Long Run reportedly was planned as a double album before being truncated to a single disc. If these were the keepers, what could the rejects have sounded like?” AllMusic Review by William Ruhlmann\u003c\/p\u003e\n\u003cp\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 , Discogs : 4,33 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":48571239203151,"sku":"UDSACD2234","price":49.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/files\/eagles-the-long-run-hybrid-sacd-ultradisc-uhr-audiosoundmusic-1.jpg?v=1719863813"},{"product_id":"joni-mitchell-ladies-of-the-canyon-sacd","title":"Joni Mitchell – Ladies of the canyon (Hybrid SACD)","description":"\u003ch2\u003e\n\u003cspan style=\"color: #ff2a00;\" data-mce-style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003c\/h2\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJoni Mitchell – \u003cspan data-mce-fragment=\"1\"\u003evocals, guitars, keyboards\u003c\/span\u003e \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/joni-mitchell\" title=\"vinyl featuring Joni Mitchell\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/joni-mitchell\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Joni Mitchell]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCrosby, Stills \u0026amp; Nash - vocal chorus on \"The Circle Game\" (credited as The Lookout Mountain United Downstairs Choir) \u003cspan style=\"color: #ff8000;\" data-mce-style=\"color: #ff8000;\"\u003e\u003ca data-mce-fragment=\"1\" style=\"color: #ff8000;\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/crosby-stills-nash\" title=\"vinyl featuring Crosby, Stills and Nash\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/crosby-stills-nash\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Crosby, Stills and Nash]\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMilt Holland – percussion\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTeresa Adams – cello\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePaul Horn – clarinet, flute\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJim Horn – baritone saxophone\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCello arranged by Don Bagley\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by Joni Mitchell\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\u003eLimited \u0026amp; Numbered Edition\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 : Reprise\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded 1969–1970 at A\u0026amp;M, Los Angeles\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineered by Henry Lewy\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Joni Mitchell\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissue produced and mastered by Mobile Fidelity Sound Lab\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCover illustration by Joni Mitchell\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in April 1970\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\u003e\u003cspan lang=\"EN-US\" style=\"mso-ansi-language: EN-US;\" data-mce-style=\"mso-ansi-language: EN-US;\"\u003eMorning Morgantown\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan lang=\"EN-US\" style=\"mso-ansi-language: EN-US;\" data-mce-style=\"mso-ansi-language: EN-US;\"\u003eFor Free\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan lang=\"EN-US\" style=\"mso-ansi-language: EN-US;\" data-mce-style=\"mso-ansi-language: EN-US;\"\u003eConversation\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan lang=\"EN-US\" style=\"mso-ansi-language: EN-US;\" data-mce-style=\"mso-ansi-language: EN-US;\"\u003eLadies of the Canyon\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan lang=\"EN-US\" style=\"mso-ansi-language: EN-US;\" data-mce-style=\"mso-ansi-language: EN-US;\"\u003eWilly\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan lang=\"EN-US\" style=\"mso-ansi-language: EN-US;\" data-mce-style=\"mso-ansi-language: EN-US;\"\u003eThe Arrangement\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan lang=\"EN-US\" style=\"mso-ansi-language: EN-US;\" data-mce-style=\"mso-ansi-language: EN-US;\"\u003eRainy Day House\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan lang=\"EN-US\" style=\"mso-ansi-language: EN-US;\" data-mce-style=\"mso-ansi-language: EN-US;\"\u003eThe Priest\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan lang=\"EN-US\" style=\"mso-ansi-language: EN-US;\" data-mce-style=\"mso-ansi-language: EN-US;\"\u003eBlue Boy\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan lang=\"EN-US\" style=\"mso-ansi-language: EN-US;\" data-mce-style=\"mso-ansi-language: EN-US;\"\u003eBig Yellow Taxi\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan lang=\"EN-US\" style=\"mso-ansi-language: EN-US;\" data-mce-style=\"mso-ansi-language: EN-US;\"\u003eWoodstock\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan lang=\"EN-US\" style=\"mso-ansi-language: EN-US;\" data-mce-style=\"mso-ansi-language: EN-US;\"\u003eThe Circle Game\u003c\/span\u003e\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;\" data-mce-style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eColin Larkin's All Time Top 1000 Albums – Ranked 731\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“This wonderfully varied release shows a number of new tendencies in Joni Mitchell's work, some of which would come to fuller fruition on subsequent albums. \"The Arrangement,\" \"Rainy Night House,\" and \"Woodstock\" contain lengthy instrumental sections, presaging the extensive non-vocal stretches in later selections such as \"Down to You\" from Court and Spark. Jazz elements are noticeable in the wind solos of \"For Free\" and \"Conversation,\" exhibiting an important influence that would extend as late as Mingus. The unusually poignant desolation of \"The Arrangement\" would surface more strongly in Blue. A number of the selections here (\"Willy\" and \"Blue Boy\") use piano rather than guitar accompaniment; arrangements here are often more colorful and complex than before, utilizing cello, clarinet, flute, saxophone, and percussion. Mitchell sings more clearly and expressively than on prior albums, most strikingly so on \"Woodstock,\" her celebration of the pivotal 1960s New York rock festival. This number, given a haunting electric piano accompaniment, is sung in a gutsy, raw, soulful manner; the selection proves amply that pop music anthems don't all have to be loud production numbers. Songs here take many moods, ranging from the sunny, easygoing \"Morning Morgantown\" (a charming small-town portrait) to the nervously energetic \"Conversation\" (about a love triangle in the making) to the cryptically spooky \"The Priest\" (presenting the speaker's love for a Spartan man) to the sweetly sentimental classic \"The Circle Game\" (denoting the passage of time in touching terms) to the bouncy and vibrant single \"Big Yellow Taxi\" (with humorous lyrics on ecological matters) to the plummy, sumptuous title track (a celebration of creativity in all its manifestations). This album is yet another essential listen in Mitchell's recorded canon.” AllMusic review by David Cleary\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eDiscogs : 4 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":48843985158479,"sku":"UDSACD2267","price":49.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/files\/joni-mitchell-ladies-of-the-canyon-hybrid-sacd-audiosoundmusic.jpg?v=1719864114"},{"product_id":"van-halen-van-halen-ii-sacd","title":"Van Halen - Van Halen II (Hybrid SACD)","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003ca title=\"AUDIOPHILE vinyl featuring Van Halen\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/van-halen\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/van-halen\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-style=\"color: #ff8000;\"\u003e\u003cstrong\u003e[click here to see more vinyl featuring Van Halen]\u003c\/strong\u003e\u003c\/span\u003e\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eVocals – David Lee Roth \u003ca data-mce-fragment=\"1\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/david-lee-roth\" title=\"Audiophile vinyl featuring David Lee Roth\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/david-lee-roth\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"color: #ff8000;\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring David Lee Roth]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDrums – Alex Van Halen\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGuitar – Edward Van Halen\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBass – Michael Anthony\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by Alex Van Halen, David Lee Roth, Edward Van Halen, Michael Anthony\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 Hybrid SACD, Gatefold jacket\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003e\u003cstrong\u003eNumbered limited 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 : MOFI\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Warner Bros Records\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded at Sunset Sound Recorders, Hollywood on December 10–16, 1978\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineered \u0026amp; mixed by Donn Landee\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Ted Templeman\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 2024\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 class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-US\" style=\"mso-ansi-language: EN-US;\"\u003e1. You’re No Good\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-US\" style=\"mso-ansi-language: EN-US;\"\u003e2. Dance the Night Away\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-US\" style=\"mso-ansi-language: EN-US;\"\u003e3. Somebody Get Me a Doctor\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-US\" style=\"mso-ansi-language: EN-US;\"\u003e4. Bottoms Up!\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-US\" style=\"mso-ansi-language: EN-US;\"\u003e5. Outta Love Again\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-US\" style=\"mso-ansi-language: EN-US;\"\u003e6. Light Up the Sky\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-US\" style=\"mso-ansi-language: EN-US;\"\u003e7. Spanish Fly\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-US\" style=\"mso-ansi-language: EN-US;\"\u003e8. D.O.A.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-US\" style=\"mso-ansi-language: EN-US;\"\u003e9. Women in Love...\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-US\" style=\"mso-ansi-language: EN-US;\"\u003e10. Beautiful Girls\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“It's called Van Halen II not just because it's the band's second album but because it's virtually a carbon copy of their 1978 debut, right down to how the band showcases their prowess via covers and how Eddie Van Halen gets a brief, shining moment to showcase his guitar genius. This time, he does his thing on acoustic guitars on the remarkable \"Spanish Fly,\" but that temporary shift from electrics to acoustics is the only true notable difference in attack here; in every other way, Van Halen II feels like its predecessor, even if there are subtle differences. First, there's only one cover this time around -- Betty Everett's \"You're No Good,\" surely learned from Linda Ronstadt -- and this feels both heavier and lighter than the debut. Heavier in that this sounds big and powerful, driven by mastodon riffs that aim straight of the gut. Lighter in that there's a nimbleness to the attack, in that there are pop hooks to the best songs, in that the group sounds emboldened by their success so they're swaggering with a confidence that's alluring. If the classic ratio is slightly lighter than on the debut, there are no bad songs and the best moments here -- two bona fide party anthems in \"Dance the Night Away\" and \"Beautiful Girls,\" songs that embody everything the band was about -- are lighter, funnier than anything on the debut, showcases for both Diamond Dave's knowing shuck and jive and Eddie's phenomenal gift, so natural it seems to just flow out of him. At this point, it's hard not to marvel at these two frontmen, and hard not to be sucked into the vortex of some of the grandest hard rock ever made.” Van Halen II 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\u003e\u003cspan\u003eDiscogs : 4,16 \/ 5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":48844129927503,"sku":"UDSACD2244","price":49.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/files\/van-halen-van-halen-ii-hybrid-sacd-audiosoundmusic.jpg?v=1719864122"},{"product_id":"van-halen-fair-warning-sacd","title":"Van Halen - Fair Warning (Hybrid SACD)","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eVan Halen \u003c\/strong\u003e\u003cstrong\u003e\u003ca title=\"AUDIOPHILE vinyl featuring Van Halen\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/van-halen\"\u003e\u003cspan style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Van Halen]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eVocals – David Lee Roth \u003ca title=\"Audiophile vinyl featuring David Lee Roth\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/david-lee-roth\" data-mce-fragment=\"1\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\"\u003e[click here to see more vinyl featuring David Lee Roth]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDrums – Alex Van Halen\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGuitar – Edward Van Halen\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBass – Michael Anthony\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by Alex Van Halen, David Lee Roth, Edward Van Halen, Michael Anthony\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\u003cspan style=\"color: rgb(255, 42, 0);\"\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\u003cstrong\u003e\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 : Warner Bros Records \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded March–April 1981 at Sunset Sound, Los Angeles\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineered by Donn Landee\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Ted Templeman\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 2024\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\u003cspan lang=\"EN-US\" style=\"mso-ansi-language: EN-US;\"\u003eMean Street\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan lang=\"EN-US\" style=\"mso-ansi-language: EN-US;\"\u003eDirty Movies\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan lang=\"EN-US\" style=\"mso-ansi-language: EN-US;\"\u003eSinners Swing!\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan lang=\"EN-US\" style=\"mso-ansi-language: EN-US;\"\u003eHear About It Later\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan lang=\"EN-US\" style=\"mso-ansi-language: EN-US;\"\u003eUnchained\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan lang=\"EN-US\" style=\"mso-ansi-language: EN-US;\"\u003ePush Comes to Shove\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan lang=\"EN-US\" style=\"mso-ansi-language: EN-US;\"\u003eSo This Is Love?\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan lang=\"EN-US\" style=\"mso-ansi-language: EN-US;\"\u003eSunday Afternoon in the Park\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan lang=\"EN-US\" style=\"mso-ansi-language: EN-US;\"\u003eOne Foot Out the Door\u003c\/span\u003e\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\u003eListed by Esquire as one of the 75 Albums Every Man Should Own\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“Of all the early Van Halen records, Fair Warning often gets overlooked -- partially because it's a dark, strange beast, partially because it lacks any song as purely fun as the hits from the first three records. Because of that, there were no hits from Fair Warning that turned into radio anthems; only \"Unchained\" and, to a lesser extent, the grinding opener, \"Mean Street,\" rank among the group's best-known songs, and they're not as monumental as \"And the Cradle Will Rock,\" from the preceding album, Women and Children First. There's a reason for that: this album ain't a whole lotta fun. Fair Warning is the first Van Halen album that doesn't feel like a party. This may be a reflection of the band's relentless work schedule, it may be a reflection of the increasing tension between Eddie Van Halen and David Lee Roth -- the cause isn't important, because whatever the reason, Fair Warning winds up as a dark, dirty, nasty piece of work. Gloomy it may be, but dull it is not and Fair Warning contains some of the fiercest, hardest music that Van Halen ever made. There's little question that Eddie Van Halen won whatever internal skirmishes they had, since his guitar dominates this record, even with the lack of a single dedicated instrumental showcase (the first time he lacked one on a VH album). Eddie sounds restless here, pushing and pulling the group toward different rhythms and textures, from the disco beat that pulsates on \"Push Comes to Shove\" to the swinging rhythms on \"So This Is Love?\" and, especially, the murky synths that comprise the instrumental \"Sunday Afternoon in the Park\" and the grimy, gunky closing rocker, \"One Foot Out the Door.\" Either inspired or spurred on by the gloomy rock Eddie cranked out, David Lee Roth casts his net far wider than his usual litany of girls and good times. He spits and swears, swaggering without his usual joie de vivre, with even his sex songs feeling weary and nasty. Whatever spawned it, that nastiness is the defining characteristic of Fair Warning, which certainly doesn't make it bunches of fun, but it showcases the coiled power of Van Halen better than any other album, which makes it worth visiting on occasion.” AllMusic Review by Stephen Thomas Erlewine \u003cstrong\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eDiscogs : 4,17 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":48844356747599,"sku":"UDSACD2246","price":49.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/files\/van-halen-fair-warning-hybrid-sacd-audiosoundmusic.jpg?v=1719864122"},{"product_id":"simon-and-garfunkel-bridge-over-troubled-water-hybrid-sacd","title":"Simon and Garfunkel - Bridge Over Troubled Water (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\u003eSimon \u0026amp; Garfunkel \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/Simon-Garfunkel\" title=\"vinyl featuring Simon \u0026amp; Garfunkel\"\u003e\u003cspan style=\"color: rgb(255, 128, 0);\"\u003e[click here to see more SACD featuring Simon \u0026amp; Garfunkel]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePaul Simon – lead vocals, acoustic guitar, percussion \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/paul-simon\" title=\"vinyl featuring Paul Simon\"\u003e\u003cspan style=\"color: rgb(255, 128, 0);\"\u003e[click here to see more products featuring Paul Simon]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eArt Garfunkel – lead vocals, percussion\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003e \u003ca title=\"audiophile vinyl featuring Art Garfunkel\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/art-garfunkel\"\u003e\u003cspan style=\"color: rgb(255, 128, 0);\"\u003e[click here to see more products featuring Art Garfunkel]\u003c\/span\u003e\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLos Incas – Peruvian instruments\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJoe Osborn – bass guitar\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLarry Knechtel – piano\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFred Carter Jr. – guitar\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePete Drake – Dobro, pedal steel guitar\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHal Blaine – drums\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJimmie Haskell and Ernie Freeman – strings\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJon Faddis, Randy Brecker, Lew Soloff and Alan Rubin – Brass\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRoy Halee – engineer and co-producer\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by Paul Simon (all except 2 \u0026amp; 10), Felice and Boudleaux Bryant (10). 2 is an arrangement of an 18th Century Peruvian Folk Melody by Jorge Milchberg.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003e1 Hybrid SACD, \u003c\/b\u003e\u003cstrong\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eUltradisc UHR\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003e\u003cb\u003eLimited to 3,000 numbered copies\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio \u0026amp; Live (10)\u003c\/strong\u003e\u003cstrong\u003e\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\u003e10 recorded Live at Iowa State University, other tracks recorded at Columbia Studio B and E, New York City and CBS Columbia Square, Los Angeles in November 1968 and November 1969\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineered \u0026amp; mixed by Roy Halee\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Art Garfunkel, Paul Simon, Roy Halee\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by Krieg Wunderlich\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1970\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2024\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\u003eBridge Over Troubled Water\u003c\/li\u003e\n\u003cli\u003eEl Condor Pasa (If I Could)\u003c\/li\u003e\n\u003cli\u003eCecilia\u003c\/li\u003e\n\u003cli\u003eKeep The Customer Satisfied\u003c\/li\u003e\n\u003cli\u003eSo Long, Frank Lloyd Wright\u003c\/li\u003e\n\u003cli\u003eThe Boxer\u003c\/li\u003e\n\u003cli\u003eBaby Driver\u003c\/li\u003e\n\u003cli\u003eThe Only Boy Living In New York\u003c\/li\u003e\n\u003cli\u003eYou Don't Write Me\u003c\/li\u003e\n\u003cli\u003eBye Bye Love\u003c\/li\u003e\n\u003cli\u003eSong For The Asking\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAwards:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eRolling Stone 500 Greatest Albums of All Time - Ranked 172\/500\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e1000 Recordings You Must Hear Before You Die - Ranked 197\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e1971 Grammy Awards:\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eAlbum of the Year\u003c\/strong\u003e\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eBest Engineered Recording\u003c\/strong\u003e\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eRecord of the Year\u003c\/strong\u003e\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eSong of the Year\u003c\/strong\u003e\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eContemporary Song of the Year\u003c\/strong\u003e\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eInstrumental Arrangement of the Year\u003c\/strong\u003e\u003c\/span\u003e\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp\u003e“Bridge Over Troubled Water was one of the biggest-selling albums of its decade, and it hasn't fallen too far down on the list in years since. Apart from the gospel-flavored title track, which took some evolution to get to what it finally became, however, much of Bridge Over Troubled Water also constitutes a stepping back from the music that Simon \u0026amp; Garfunkel had made on Bookends -- this was mostly because the creative partnership that had formed the body and the motivation for the duo's four prior albums literally consumed itself in the making of Bridge Over Troubled Water. The overall effect was perhaps the most delicately textured album to close out the 1960s from any major rock act. Bridge Over Troubled Water, at its most ambitious and bold, on its title track, was a quietly reassuring album; at other times, it was personal yet soothing; and at other times, it was just plain fun. The public in 1970 -- a very unsettled time politically, socially, and culturally -- embraced it; and whatever mood they captured, the songs matched the standard of craftsmanship that had been established on the duo's two prior albums. Between the record's overall quality and its four hits, the album held the number one position for two and a half months and spent years on the charts, racking up sales in excess of five million copies. The irony was that for all of the record's and the music's appeal, the duo's partnership ended in the course of creating and completing the album.” AllMusic Review by Bruce Eder\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eAllMusic : 5 \/ 5 , Discogs : 4,22 \/ 5 \u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":48858941358415,"sku":"MOBSA2263","price":49.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/files\/simon-and-garfunkel-bridge-over-troubled-water-hybrid-sacd-audiosoundmusic.jpg?v=1719864159"},{"product_id":"eagles-eagles-hybrid-sacd","title":"Eagles - Eagles (Hybrid SACD, Ultradisc UHR)","description":"\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"color: #ff2a00;\"\u003eORDER LIMITED TO ONE ITEM PER CUSTOMER\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/eagles\" title=\"vinyl featuring Eagles\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/eagles\"\u003e\u003cspan style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Eagles]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGlenn Frey – vocals, guitars, slide guitar\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDon Henley – vocals, drums\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBernie Leadon – vocals, guitars, banjo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRandy Meisner – vocals, bass guitar \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 SACD, \u003c\/strong\u003e\u003cstrong\u003egatefold jacket, \u003c\/strong\u003e\u003cstrong\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003e6-panel fold-in booklet\u003c\/span\u003e\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 : Asylum Records\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded February 1972 at Olympic Studios, London, except \"Nightingale\" recorded at Wally Heider Recording, Hollywood, Los Angeles\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineered \u0026amp; produced by Glyn Johns\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMastered by Rob LoVerde at Mobile Fidelity Sound Lab, Sebastopol, CA\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGlass Mastered at Sonopress\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1972\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2024\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\u003eTake It Easy\u003c\/li\u003e\n\u003cli\u003eWitchy Woman\u003c\/li\u003e\n\u003cli\u003eChug All Night\u003c\/li\u003e\n\u003cli\u003eMost Of Us Are Sad\u003c\/li\u003e\n\u003cli\u003eNightingale\u003c\/li\u003e\n\u003cli\u003eTrain Leaves Here This Morning\u003c\/li\u003e\n\u003cli\u003eTake The Devil\u003c\/li\u003e\n\u003cli\u003eEarlybird\u003c\/li\u003e\n\u003cli\u003ePeaceful Easy Feeling\u003c\/li\u003e\n\u003cli\u003eTryin'\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\u003cb data-mce-fragment=\"1\"\u003eRolling Stone 500 Greatest Albums of All Time - Ranked 207\/500\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cb data-mce-fragment=\"1\"\u003e\u003cstrong\u003e1000 Recordings You Must Hear Before You Die - Ranked 262\u003c\/strong\u003e\u003c\/b\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\"Balance is the key element of the Eagles' self-titled debut album, a collection that contains elements of rock \u0026amp; roll, folk, and country, overlaid by vocal harmonies alternately suggestive of doo wop, the Beach Boys, and the Everly Brothers. If the group kicks up its heels on rockers like \"Chug All Night,\" \"Nightingale,\" and \"Tryin',\" it is equally convincing on ballads like \"Most of Us Are Sad\" and \"Train Leaves Here This Morning.\" The album is also balanced among its members, who trade off on lead vocal chores and divide the songwriting such that Glenn Frey, Bernie Leadon, and Randy Meisner all get three writing or co-writing credits. (Fourth member Don Henley, with only one co-writing credit and two lead vocals, falls a little behind, while Jackson Browne, Gene Clark, and Jack Tempchin also figure in the writing credits.) The album's overall balance is worth keeping in mind because it produced three Top 40 hit singles (all of which turned up on the massively popular Eagles: Their Greatest Hits 1971-1975) that do not reflect that balance. \"Take It Easy\" and \"Peaceful Easy Feeling\" are similar-sounding mid-tempo folk-rock tunes sung by Frey that express the same sort of laid-back philosophy, as indicated by the word \"easy\" in both titles, while \"Witchy Woman,\" a Henley vocal and co-composition, initiates the band's career-long examination of supernaturally evil females. These are the songs one remembers from Eagles, and they look forward to the eventual dominance of the band by Frey and Henley. But the complete album from which they come belongs as much to Leadon's country-steeped playing and singing and to Meisner's melodic rock \u0026amp; roll feel, which, on the release date, made it seem a more varied and consistent effort than it did later, when the singles had become overly familiar.\" \u003cspan data-mce-fragment=\"1\"\u003eAllMusic Review by William Ruhlmann\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003e“Eagles was recorded at London's Olympic Studios with seasoned producer\/engineer Glyn Johns at the helm. The result was a sonically compelling and richly textured recording, and MoFi's SACD excellent mastering provides superb detail, open dynamics, and extension, It's a bit dryer on top in comparison to the original LP, which, characteristic of that analog era, also has the slight advantage in acoustic warmth and texture. Nonetheless, and now 50 years on, a great effort by Mobile Fidelity.” Neil Gader, The Absolute Sound\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\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\/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 :\u003c\/p\u003e\n\u003cp\u003eAllMusic : 3 \/ 5 ; Discogs : 4.84 \/ 5 ; \u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eThe Absolute Sound : Music 4\/5, Sonics 4\/5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":48863238160719,"sku":"CMOB 2929 SA","price":49.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/files\/eagles-eagles-hybrid-sacd-audiosoundmusic-1.jpg?v=1719864158"}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/collections\/mofi_79d46549-8d22-414a-a890-2e597e16f618.png?v=1719821052","url":"https:\/\/www.audiosoundmusic.com\/collections\/mofi-sacd.oembed?page=4","provider":"AudioSoundMusic","version":"1.0","type":"link"}