{"title":"Our audiophile vinyl rarities","description":"","products":[{"product_id":"jazz-at-the-philharmonic-in-europe","title":"Jazz At the Philharmonic in Europe (4LP, Box set)","description":"\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eLalo Schifrin (Piano) \u003ca data-mce-fragment=\"1\" title=\"vinyl composed by or featuring Lalo Schifrin\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/lalo-schifrin\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/lalo-schifrin\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"color: #ff8000;\" data-mce-style=\"color: #ff8000;\"\u003e[click to see more vinyl composed by or featuring Lalo Schifrin]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBenny Carter (Alto Saxophone) : A1, A2, E1, E2, F1, F2, F3, F4, F5, G1, H1, H2\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCannonball Adderley (Alto Saxophone) : A1, A2\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLeo Wright (Alto Saxophone, Flute) : G1, H1, H2\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eArt Davis (Bass) : A1, A2, B1, E1, E2, F1, F2, F3, F4, F5, G1, H1, H2\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSam Jones (Bass) : C1, C2, D1, D2, D3\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCandido (Congas) : H1, H2\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eChuck Lampkin (Drums) : A1, A2, G1, H1, H2\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJo Jones (Drums) : B1, E1, E2, F1, F2, F3, F4, F5\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLouis Hayes (Drums) : C1, C2, D1, D2, D3\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eColeman Hawkins (Tenor Saxophone) : B, E1 to F5 \u003ca data-mce-fragment=\"1\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/coleman-hawkins\" title=\"Vinyl featuring Coleman Hawkins\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/coleman-hawkins\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"color: #ff8000;\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Coleman Hawkins]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDon Byas (Tenor Saxophone) : B1, E1, E2, F1, F2, F3, F4, F5\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStan Getz (Tenor Saxophone) B1, C1, C2, D1, D2 D3, G1, H1, H2 \u003ca title=\"vinyl featuring Stan Getz\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/stan-getz\"\u003e\u003cspan style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Stan Getz]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJ.J. Johnson (Trombone) : : A1, A2, C1 ; C2, D1, D2 D3\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDizzy Gillespie (Trumpet) : A1, A2, C1, C2, D1, D2, D3, G1, H1, H2)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRoy Eldridge (Trumpet) : B1, E1, E2, F1, F2, F3, F4, F5\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eVictor Feldman (Vibraphone, Piano) : C1, C2, D1, D2, D3\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by Miller (A1), Leiber (A1), Stoller (A1), Carter (A2), Adderley (A2), Gillespie (A2), Johnson (A2), Kern-Hammerstein, II (B, D2), Bernie (C1), Casey (C1), Pinkard (C1), Dizzy Gillespie (C2), Frank Paparelli (C2), Dameron (D1), Harbach (D2), Zoot Sims (D3), Billy Strayhorn (E1), McDonals (E2), Henley (E2), Harry Link (F1), Holt Marvell (F1), Jack Strachey (F1), Kern (F2), Harbach (F2), Carmichael (F3), Ned Washington (F3), Gillespie (F4), Coots (F4), Benny Carter (F5), Coleman Hawkins (F5), Don Byas (F5), Roy Eldridge (F5), Dizzy Gillespie (G, H2), Duke Ellington (H1), Irving Mills (H1)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e4 LPs, Box set\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eLabel : Speakers Corner\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eOriginal Label : Verve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eRecording : Live at the \u003cspan data-mce-fragment=\"1\"\u003eJazz At The Philharmonic In Europe tour, in the Konserthuset, Stockholm on November 21, 1960 by \u003c\/span\u003e\u003c\/strong\u003e\u003cstrong\u003eVal Valentine\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProducer : Norman Granz\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReleased in 2009\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks\u003c\/strong\u003e : \u003cstrong data-mce-fragment=\"1\"\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eBernie's Tune\u003c\/li\u003e\n\u003cli\u003eSwedish Jam\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eAll The Things You Are\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide C :\u003c\/p\u003e\n\u003cdiv\u003e\n\u003cp style=\"padding-left: 30px;\"\u003e1. Sweet Georgia Brown\u003cbr\u003e2. Bop 'n Boogie\u003c\/p\u003e\n\u003cp\u003eSide D :\u003c\/p\u003e\n\u003cp style=\"padding-left: 30px;\"\u003e1. I Waited For You\u003cbr\u003e2. Yesterdays\u003cbr\u003e3. Trotting\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cp\u003eSide E :\u003c\/p\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e1. Take The \"A\" Train\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e2. Indiana (Back Home Again)\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cp\u003eSide F :\u003c\/p\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e1. These Foolish Things (Remind Me Of You)\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e2. Yesterdays\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e3. The Nearness Of You\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e4. You Got To My Head\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e5. A Jazz Portrait of Brigitte Bardot\u003c\/div\u003e\n\u003cp\u003e\u003cbr\u003eSide G :\u003c\/p\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e1. Kush\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003eSide H :\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e1. The Mooch\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e2. Wheatleigh Hall\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cbr\u003eRatings :\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cbr\u003eDiscogs : 4.18 \/ 5\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\u003cbr\u003e\u003c\/div\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40376677925015,"sku":"V 8539-V8542","price":350.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/jazz-at-the-philharmonic-in-europe-4lp-box-set-audiosoundmusic-1.jpg?v=1719851418"},{"product_id":"sonny-stitt-the-top-brass","title":"Sonny Stitt \u0026 The Top Brass","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSonny Stitt (alto sax), Reunald Jones, Blue Mitchell, Dick Vance (trumpets), Matthew Gee and Jimmy Cleveland (trombones), Willie Ruff (French horn), Duke Jordan (piano),  Perri Lee (organ), Joe Benjamin (bass), Philly Joe Jones or Frank Brown (drums).\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by \u003c\/strong\u003e\u003cstrong\u003eSonny Stitt (A4, B3, B5), Richard Carpenter (A1), Carmen Lombardo (A2), Gus Kahn (A2), Johnny Green (A2), Tadd Dameron (A3), Buddy Bernier (B1), Nat Simon (B1), Jimmy Mundy (B2), Tadd Dameron (B4)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1LP, Standard Sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Analog Master Tape : Yes\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Speakers corner\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Atlantic\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded in July 1962 in New York City\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Ahmet Ertegun\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 2020\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\u003eSide A :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eSouls Valley\u003c\/li\u003e\n\u003cli\u003eCoquette\u003c\/li\u003e\n\u003cli\u003eOn A Misty Night\u003c\/li\u003e\n\u003cli\u003eStittsie           \u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003ePoinciana\u003c\/li\u003e\n\u003cli\u003eBoom-boom\u003c\/li\u003e\n\u003cli\u003eSea Sea Rider\u003c\/li\u003e\n\u003cli\u003eThe Four Ninety\u003c\/li\u003e\n\u003cli\u003eHey Pam\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« Sonny Stitt was equally proficient on both the alto, and tenor saxophone. He was known as a “take no prisoners” saxophonist, who could outplay most anyone in a “cutting” session. He has been compared to Charlie Parker, for his speed and fluency on the horn. Stitt’s improvisations were heavily influenced by the blues, and he could also be very lyrical and expressive on ballads. For a period of time, he played the Varitone electrified sax, for which he had an equal amount of fans as detractors.\u003c\/p\u003e\n\u003cp\u003eIn 1962, Stitt had a chance to record with a dream brass section, utilizing two of the most accomplished arrangers of the day, Jimmy Mundy and the iconic, Tadd Dameron. This session, recorded over a two day period in mid-July, required a discipline that Stitt did not usually need to display on his previous record dates. He had to be more “economical” with his solos, and more tempered in his presentation, sharing his formidable skills with a veteran brass section, providing colors and commentary, whereas in the past he could free blow to his heart’s content.\u003c\/p\u003e\n\u003cp\u003eStitt passes the test with ease. Even on the three tracks that he penned, of the nine tracks here, Sonny fits right in. The brass section is composed of three trumpets, two trombones, and a french horn. The rhythm section is made up of either the veteran, Duke Jordan on piano, or Perri Lee on organ. Joe Benjamin is on bass on all tracks, while Philly Joe Jones, or Frank Brown, handle the drum set.\u003c\/p\u003e\n\u003cp\u003e“Souls Valley opens side one with Lee on organ setting the blues in motion, before Stitt takes over. (Unfortunately, the liner notes do not specify which of the trumpet players take solos, so it is difficult to make comments on their involvement). “Coquette” is next with its familiar theme, and Sonny effectively plays off of the horns.\u003c\/p\u003e\n\u003cp\u003e“On a Misty Night,” has Dameron arranging with a polished sheen. Stitt has some very high register choruses, and goes out on the tune with notes that could be a hearing test challenge. Sonny’s own “Stittsie” gives him a rare chance in this setting to really stretch out. I’m not sure, but I think it is my favorite trumpeter, Blue Mitchell, who gets the trumpet solo.\u003c\/p\u003e\n\u003cp\u003eSide two opens with a classic big band version of “Poinciana.” Sonny is relatively restrained as he glides over the chord changes. Jimmy Mundy’s “Boom-Boom” has a real Basie feel, both boisterous, yet polished. “Sea Sea Rider” is a blues ballad, and it is a real treat to hear trombonists, Matthew Gee and Jimmy Cleveland, trade choruses. Duke Jordan gets a bit of time to work his magic.\u003c\/p\u003e\n\u003cp\u003e“The Four Ninety” is another Tadd Dameron arrangement that just feels right. “Hey Pam,” from Stitt, closes out the album on a sweet note, with Stitt again a strong team player, content to let the tune come to him, rather than dominate.\u003c\/p\u003e\n\u003cp\u003eAll in all, this is a winning effort for Stitt, and a chance to appreciate his talents, even in a restrained setting. The remastered sound is an extra bonus… » Jeff Krow, Audiophile Audition, December 2020\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eGeneral opinion has it that Sonny Stitt always stood in Charlie Parker’s shadow. That, however, is unjustifiable. The legendary jazz critic Nat Hentoff wrote, for example: »Sonny has been one of the wholly involved players, well known and admired for his soul and the earthiness of his message only by musicians who feel and play like he does and by that part of the jazz audience that is most moved by naked, open emotion. He has made his mark with them as an honest yea-sayer who can’t help but play what he knows and feels.\u003c\/p\u003e\n\u003cp\u003e« The present recording is proof of this – a session which shouldn’t really have worked out so well. Sonny Stitt’s alto saxophone presides over a seven-man-strong brass group, and although the prospect of a Sonny Stitt big band does not sound too promising initially, this rendezvous is really enjoyable, thanks in part to Stitt’s superb solos. At this time he was on the top of his form and he plays freely over the basis provided by the brass section consisting of Blue Mitchell, Jimmy Cleveland and Willie Ruff. The arrangements by Tadd Dameron and Jimmy Mundy are closely-knit yet offer enough room for swing and a generous pinch of soul. Special highlights are contributed by the unknown, female organist Perri Lee –, little groovy additions that are really successful and infuse the arrangements with a slender sound and sparkle. Although \"Sonny Stitt \u0026amp; The Top Brass\" may not stand in the limelight like \"Boss Tenors\" or \"Salt And Pepper\", it is certainly on a par with these from an artistic point of view.\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 \u003c\/span\u003e: 4.5 \/ 5 ; D\u003cspan\u003eiscogs \u003c\/span\u003e: \u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e4.11\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5 ; \u003c\/span\u003eAudiophile Audition : 4 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40399118172311,"sku":"SD1395","price":55.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/sonny-stitt-and-the-top-brass-audiosoundmusic-1.jpg?v=1719851438"},{"product_id":"brother-jack-mcduff-tobacco-road","title":"Brother Jack McDuff - Tobacco Road","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLoyal J. Gresham (bass : A1, A2, A5), Robert Guthrie (drums : A1, A2, A5, B2), Roland Faulkner (guitar : A1, A2, A5, B2), Bobby Christian (Percussion, Vibraphone : A1, A2, A5, B2), Lonnie Simmons (Baritone Saxophone : A1, A2, A5, B2), Red Holloway (Tenor Saxophone : A1, A2, A5, B2), John Watson (Trombone : A1, A2, A5, B2), Fred Berry (Trumpet : A1, A2, A5, B1), King Kolax (Trumpet : A1, A2, A5, B1), Joe Dukes (Drums : A3, A4, B1, B3, B4), Calvin Green (Guitar : A3, A4, B3, B4), Danny Turner (Saxophone, Flute : A3, A4, B1, B3, B4)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eArranged by Jack McDuff (A3, A4, B1, B3, B4), conducted and arranged by J.J. Jackson (A1, A2, A5, B2)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by Rudolph Toombs (A1), John Loudermilk (A2), Johnny Mandel (A3), Paul Francis Webster (A3), Jack McDuff (A4, B4), Bob Dylan (A5), Johnny Mercer (B1), Ziggy Elman (B1), John Watson (B2), Irving Berlin (B3)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, gatefold sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Speakers Corner\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label :  Atlantic\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eRecorded in August 1966 at Chess Studios, Chicago\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eProduced by Lew Futterman\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eOriginally released in 1967\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by Kevin Gray\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eReissued Jan 2019\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\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\u003cp\u003eSide A :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eTeardrops From My Eyes\u003c\/li\u003e\n\u003cli\u003eTobacco Road\u003c\/li\u003e\n\u003cli\u003eThe Shadow of Your Smile\u003c\/li\u003e\n\u003cli\u003eCan't Get Satisfied\u003c\/li\u003e\n\u003cli\u003eBlowin' In The Wind\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eAnd The Angels Sing\u003c\/li\u003e\n\u003cli\u003eThis Bitter Earth\u003c\/li\u003e\n\u003cli\u003eAlexander's Ragtime Band\u003c\/li\u003e\n\u003cli\u003eWade In The Water\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e« Brother Jack McDuff recorded an enormous number of albums during the '60s, so it can be difficult to figure out where to start digging a little deeper into his output (which Hammond B-3 fans will definitely want to do). 1967's Tobacco Road stands out from the pack for a couple of reasons. First, unlike many of his groove-centric albums, it's heavy on standards and pop\/rock tunes (seven of nine cuts), which make for excellent matches with McDuff's highly melodic, piano-influenced style. What's more, about half of the album finds McDuff leading a large ten-piece ensemble arranged and conducted by J.J. Jackson, including a soulful horn section that sounds straight out of Memphis or Muscle Shoals (though this was recorded at Chess studios in Chicago). McDuff himself handles the arrangements on the rest of the material, which is done in a guitar\/sax\/drums quartet. The LP's style is fairly unified, though -- no matter what format, the tunes are given fantastically funked-up treatments that sound surprisingly natural. And these aren't grooves where everyone just settles back and stays in the pocket; McDuff attacks the arrangements with wildly funky rhythms and solos, and there's a polyrhythmic sense of interplay that recalls the best Southern soul. Arguably the most distinctive track is a cool, grooving quartet version of \"The Shadow of Your Smile,\" complete with snaky bassline and airy flute solos from Danny Turner. Unfortunately, none of the tracks are all that long, in keeping with the jukebox\/radio orientation of McDuff's Atlantic period, but that won't prevent soul-jazz fans from thoroughly enjoying Tobacco Road. » AllMusic Review by Steve Huey \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\"Imitation, assimilation, innovation.\" With these three words the great Clark Terry summed up the art of leaning musical improvisation. Salvador Dalí, the artist who melted time in his colourful and bizarre works, stated radically that a person who didn’t want to copy others would never manage to accomplish anything at all. Brother Jack McDuff did plenty of copying and refined the good old standards on his \"Tobacco Road\" and made them blossom anew. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eJack taught himself to play the organ and went on to transform the popular melody \"Alexander’s Ragtime Band\" into what one might call roughened up ball house jazz, were it not for the contrary saxophone, which soars over rasping organ clusters. For Brother Jack such spiritual sounds as in \"And The Angels Sing\" and his somewhat slanted version of the musing, dreamy \"Wade In The Water\" were an absolute must. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIt really rocks in \"Can’t Get Satisfied\", a gospel-like and delicately instrumentalised version of the blues evergreen. The organ does not necessarily always have the last word in this colourful mixture, but it is always very present as regards the sound and the distribution of the parts. And just once does McDuff let the instrument sing out on its glassy top register in \"The Shadow Of Your Smile\".\u003c\/span\u003e\u003cbr\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 : 4 \/ 5 ,  \u003c\/span\u003e\u003cspan\u003eDiscogs \u003c\/span\u003e: \u003cspan\u003e4,15\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5  ,   \u003cspan\u003eRate Your Music \u003c\/span\u003e: \u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e3,46\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40399956902039,"sku":"SD1472","price":55.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/brother-jack-mcduff-tobacco-road-audiosoundmusic-1.jpg?v=1719851485"},{"product_id":"charlie-byrd-more-brazilian-byrd","title":"Charlie Byrd - More Brazilian Byrd","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCharlie Byrd - guitar \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/charlie-byrd\" title=\"Vinyl featuring Charlie Byrd\" style=\"color: #ff8000;\" data-mce-fragment=\"1\"\u003e[click here to see more vinyl featuring Charlie Byrd]\u003c\/a\u003e\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOrchestra\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eArranged and conducted by Tom Newsom\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Speakers Corner\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label :  Columbia\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eRecorded in 1966 by Fred Plaut \u0026amp; Ed Michalski\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003cbr\u003e\u003cspan\u003eProduced by Teo Macero\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eOriginally released in 1967\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eReissued in 2018\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eTracks :\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eOne Note Samba \/ Samba De Uma Nota So (A. C. Jobim, N. Mendonca)\u003c\/li\u003e\n\u003cli\u003eWeekend In Guaruja \/ Fim De Semana Em Guaruja (C. Pereira, M. Albanese, Skylar)\u003c\/li\u003e\n\u003cli\u003eLittle Boat \/ O Barquinho (R. Menescal, R. Boscoli)\u003c\/li\u003e\n\u003cli\u003ePretty Butterfly \/ No Balanco Do Jequibau (C. Pereira, L. Deane, M. Albanese)\u003c\/li\u003e\n\u003cli\u003eBerimbau (B. Powell, R. Gilbert, V. DeMoraes)\u003c\/li\u003e\n\u003cli\u003eAgua De Beber (A. C. Jobim*, V. DeMoraes)\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eJequibau (C. Pereira, M. Albanese)\u003c\/li\u003e\n\u003cli\u003eHow Insensitive \/ Insensataez (A. C. Jobim, V. DeMoraes)\u003c\/li\u003e\n\u003cli\u003eEsperando O Sol (C. Pereira*, M. Albanese)\u003c\/li\u003e\n\u003cli\u003eFelicidade (From “Black Orpheus”) (A. C. Jobim, V. DeMoraes)\u003c\/li\u003e\n\u003cli\u003eFoi A Saudade \/ You Can’t Go Home Again (D. Ferreira, L. Feather)\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e« Creating a stirring and enriching blend of Spanish and Latin American flavors in his music, jazz guitar legend Charlie Byrd put Brazilian bossa nova on the map in the States with this follow-up, More Brazilian Byrd. With finesse and dexterity, the passion and lively soul of his melodies and lyricisms flow from Byrd's classical guitar like a river of musical heaven. From the charging and percussion-laden opening track, Antonio Carlos Jobim's \"One Note Samba,\" to the mellowness and gentle innocence of \"Pretty Butterfly,\" Byrd tackles a wide variety of dynamic textures, beats, and color tones with honesty and zest. Throughout the record, both its driving, uplifting side and its peaceful, ethereal tones (as on \"Felicidade\" and the quite sorrowful \"How Insensitive\"), Byrd demonstrates his ability to capture the heart and soul of the pieces with vintage style, grace, and a touch of romance. His backing band also deserves much credit for presenting such compelling and richly textured percussion and melodies. Joe Byrd takes the music to a higher level with richly textured, crisp basslines. Bill Reichenbach assumes the duties of percussion and drums, bringing them to the center with dazzling and soaring bossa riffs. The strings are orchestrated and arranged by the genius of Tom Newsom, creating a brilliant portrait, both shadowy and haunting at times. Hal Posey puts a charge into the trumpet and flügelhorn, with producer Teo Macero sharing time on saxophone. The string arrangements sound quite eerily like Miles Davis' work with Gil Evans. The reason may lie in the identification of the sheer sound of '60s jazz, this record especially being used as a key model of the decade's most defining works. Wonderfully arranged and lavishly produced, this record is a perfect fit into the collection of any avid jazz fan. Filled with marvelous guitar phrasing, radiant horn and flute leads, and crackling percussion, More Brazilian Byrd is just plain \"more Brazilian.\" » AllMusic Review by Shawn M. Haney\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eImmortal samba, and its rhythmic relatives, is on the one hand so undemanding that it manages to take off with the simplest of instruments, yet on the other hand it is so concentrated that it can conjure up all manner of fantastic sound colouring.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eWith regard to these sessions that were recorded in the Sixties, when bossa nova found its way to the USA, the record bosses gathered together a superb array of musicians. Influenced by a classical training on the guitar, Byrd’s guitar playing weaves its way through the complicated but always lightweight arrangements. The \"One Note Samba\", with its intentional monotony, is performed nonchalantly yet does not lack verve; the \"Weekend In Guaruja\" is filled with sunshine and high spirits. The ensemble plays with great variance and well-measured phrases on the winds while cracking shots from the drum set mark the unwavering rhythm to which Byrd lets his guitar strings dance.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThis blissfully harmonious interplay works equally as well in the small ensemble around the solo guitar (\"Little Boat\") as in the rich sequence of chords which ascend airily and delightfully aimlessly (\"Pretty Butterfly\"). And as a perfect ending we have once again a lush, full sound on the drums and trumpets (\"Foi A Saudade\"). It’s well nigh impossible not to be carried away by this thrilling roller-coaster ride.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003eRatings\u003c\/span\u003e\u003c\/strong\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003e :\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003eAllmusic : 4.3 \/ 5 , \u003c\/span\u003e\u003cspan\u003eDiscogs \u003c\/span\u003e:  \u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e4,56\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5  , \u003c\/span\u003e\u003cspan\u003eRate Your Music \u003c\/span\u003e:\u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e3,44\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40403753730199,"sku":"CS9492","price":65.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/charlie-byrd-more-brazilian-byrd-audiosoundmusic-1.jpg?v=1719851490"},{"product_id":"lavern-baker-sings-bessie-smith","title":"LaVern Baker Sings Bessie Smith","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eLaVern Baker - vocal\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003ePaul Quinichette - tenor saxophone\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eJerome Richardson (bs); Jimmy Cleveland, Urbie Green (tb); Buck Clayton (tp); Nat Pierce (p); Danny Barker (g); Wendell Marshall (b); Joe Marshall (dr)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eWriten by Bessie Smith (A2, A6, B5, B6), Wesley Wilson (A1), Andy Razaf (A2), \u003cspan data-mce-fragment=\"1\"\u003eDavid K. Leader (A4), G. M. Coleman (A4), Harry Eller (A4), \u003c\/span\u003e\u003c\/strong\u003e\u003cstrong data-mce-fragment=\"1\"\u003ePerry Bradford (A5), J.C. Johnson (B1), Jimmy Cox (B3), Turner Layton (B4), \u003cspan data-mce-fragment=\"1\"\u003eHenry Creamer (B4)\u003c\/span\u003e\u003c\/strong\u003e\u003cstrong data-mce-fragment=\"1\"\u003e. B2 is a traditional song.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Speakers Corner\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label :  Atlantic\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eRecorded in 1958 by Tom Dowd\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eProduced by Nesuhi Ertegun\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1958\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2018\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eTracks : \u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eGimme A Pigfoot\u003c\/li\u003e\n\u003cli\u003eBaby Doll\u003c\/li\u003e\n\u003cli\u003eOn A Revival Day\u003c\/li\u003e\n\u003cli\u003eMoney Blues\u003c\/li\u003e\n\u003cli\u003eI Ain’t Gonna Play No Second Fiddle\u003c\/li\u003e\n\u003cli\u003eBack Water Blues\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eEmpty Bed Blues\u003c\/li\u003e\n\u003cli\u003eThere’ll Be A Hot Time In The Old Town Tonight\u003c\/li\u003e\n\u003cli\u003eNobody Knows You When You’re Down And Out\u003c\/li\u003e\n\u003cli\u003eAfter You’ve Gone\u003c\/li\u003e\n\u003cli\u003eYoung Woman’s Blues\u003c\/li\u003e\n\u003cli\u003ePreaching The Blues\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e« This is an album that should not have worked. LaVern Baker (a fine R\u0026amp;B singer) was joined by all-stars from mainstream jazz (including trumpeter Buck Clayton, trombonist Vic Dickenson, tenor-saxophonist Paul Quinichette and pianist Nat Pierce) for twelve songs associated with the great '20s blues singer Bessie Smith. Despite the potentially conflicting styles, this project is quite successful and often exciting. The arrangements by Phil Moore, Nat Pierce, and Ernie Wilkins do not attempt to re-create the original recordings; Baker sings in her own style (rather than trying to emulate Bessie Smith), and the hot solos work well with her vocals. » AllMusic Review by Scott Yanow\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIt was 1958 when a passably successful R\u0026amp;B singer entered the recording studio with an all-star band to tape a dozen songs from the global repertoire of a legendary blues vocalist. The old-fashioned style in LaVern Baker’s tribute to Bessie Smith might seem somewhat strange in the midst of popular R\u0026amp;B numbers and the growing productivity of the Motown hit machines, but it certainly found favour with the public. And for a very good reason too! Right from the very first number, \"Gimme A Pigfoot\", the snappy bass line conjures up the ballroom atmosphere of the Twenties. A bluesy dialogue with the trumpet (\"Baby Doll\", \"I Ain’t Gonna Play No Second Fiddle\"), alternating with robustly orchestrated swing rhythms (\"On Revival Day\"), and time and again cool, faltering blues (\"Black Water Blues\") guarantee great listening and entertainment. The great names in the band read like a Who Is Who of outstanding musicians – Nat Pierce, Buck Clayton, Paul Quinichette, Urbie Green and Jimmy Cleveland, all who crown the fantastic sound of their performance with relaxed and easy-going solos and finely balanced background playing that would hardly be more authentic on a live stage. And by the way, fans of traditional big-band swing will love this album too.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003c\/span\u003e\u003cspan\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAllMusic : 4.5 \/ 5  , \u003c\/span\u003e\u003cspan\u003eDiscogs \u003c\/span\u003e: \u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e5,00\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5 ,   \u003c\/span\u003e\u003cspan\u003eRate Your Music \u003c\/span\u003e: \u003cspan\u003e3,86\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40403965378711,"sku":"SD1281","price":55.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/lavern-baker-sings-bessie-smith-audiosoundmusic-1.jpg?v=1719851490"},{"product_id":"carla-thomas-the-queen-alone","title":"Carla Thomas - The Queen Alone","description":"\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003eCarla Thomas - vocal \u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/carla-thomas\" title=\"vinyl featuring Carla Thomas\" data-mce-fragment=\"1\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\"\u003e[click here to see more vinyl featuring Carla Thomas]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eWritten by Isaac Hayes (A2, A3, A4, A5, A6, B3), David Porter (A2, A3, A4, A5, A6, B3), Burt Bacharach (A1), Bob Hilliard (A1), Joe Shamwell (A2), Steve Cropper (A3), Eddie Floyd (B1), Alvertis Isbell (B1), Ben Weisman (B2), Clive Westlake (B2), Deanie Parker (B4), Homer Banks (B5), Allen Jones (B5)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Speakers Corner\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label :  Stax\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eRecorded in 1967 at Stax Studios, Memphis (TN)\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eProduced by Jim Stewart\u003c\/span\u003e\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 2018\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\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\u003cp\u003eSide A :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eAny Day Now\u003c\/li\u003e\n\u003cli\u003eStop Thief\u003c\/li\u003e\n\u003cli\u003eI Take It My Baby\u003c\/li\u003e\n\u003cli\u003eI Want To Be Your Baby\u003c\/li\u003e\n\u003cli\u003eSomething Good (Is Going To Happen To You)\u003c\/li\u003e\n\u003cli\u003eWhen Tomorrow Comes\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eI’ll Always Have Faith In You\u003c\/li\u003e\n\u003cli\u003eAll I See Is You\u003c\/li\u003e\n\u003cli\u003eUnchanging Love\u003c\/li\u003e\n\u003cli\u003eGive Me Enough (To Keep Me Going)\u003c\/li\u003e\n\u003cli\u003eLie To Keep Me From Crying\u003cbr\u003e\u003cbr\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« Carla Thomas was more than deserving of her title \"The Queen of Memphis Soul,\" but she was hardly oblivious to the sleeker, more pop-influenced sweet soul and uptown soul coming out of Detroit, Philadelphia and Chicago. One of her strongest albums, The Queen Alone isn't the work of someone who took a Memphis-only approach, but of someone who was well aware of what Gladys Knight, Dionne Warwick, Martha Reeves and others were up to. What's surprising is the fact that this album (reissued on CD in 1992) contains only two hits: the playful \"Something Good (Is Going to Happen to You),\" which made it to number 29 on Billboard's soul singles chart, and the idealistic, gospel-influenced ballad and number 11 R\u0026amp;B single \"I'll Always Have Faith in You.\" Songs ranging from the sweet and vulnerable \"I Want to Be Your Baby\" to the remorseful \"All I See Is You\" and the pessimistic \"Any Day Now\" (a song co-written by Burt Bacharach) weren't singles, but it wasn't for a lack of heartfelt singing. Drawing on both Southern and Northern soul, Queen Alone is a pleasant reminder that they were equally attractive options. » AllMusic Review by Alex Henderson\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e« Carla Thomas was Stax Records answer to the much more heralded crew of Motown female stars. Stax had Carla record with Otis Redding and she had hits as well with Rufus Thomas, her father. She deserved the moniker as the Queen of Memphis Soul. Carla had the proper blend of sweetness and sass to fit right in with the funky groove of Stax releases.\u003c\/p\u003e\n\u003cp\u003eSpeakers Corner, earlier this year, re-released, The Queen Alone, from 1967. With backing from Booker T and the Mgs, the Stax house band, and brass and string accompaniment, Thomas explores a mix of gospel influenced and pop fare of the period.  Six of the tracks were written by Isaac Hayes and David Porter of the Stax team.\u003c\/p\u003e\n\u003cp\u003eI found the Side B material to be more assertive and less of an attempt to channel traditional Motown than the Side A material. Her soulfulness is more effective without cloying strings that are utilized to present her as a chanteuse.\u003c\/p\u003e\n\u003cp\u003eThe album opens with Burt Bacharach’s “Any Day Now.” The orchestration drowns out Thomas’ vocals. It is followed by “Stop Thief” which is enhanced by some background vocalists to flesh out the lyrics. The upbeat “I Take It to My Baby” is upbeat and percussion driven. Next the ballad, “I Want to be Your Baby” is given a lush treatment with strings.\u003c\/p\u003e\n\u003cp\u003e“Something Good is Going to Happen to You” has a catchy arrangement with some call and response backing vocals. “When Tomorrow Comes” matches a Motown type presentation, quite silky, and the best tune on the A side. The flip side opens with “I’ll Always Have Faith in You.” It is a straight gospel type ballad arrangement and here, Carla is in her element. “All I See is You” builds up in intensity and its strings add rather than detract. “Unchanging Love” brings to mind Diana Ross, but is more earthy and heart felt.\u003c\/p\u003e\n\u003cp\u003e“Give Me Enough (To Keep Me Going)” utilizes a chamber type echo effect, that brought to mind something that Phil Spector might do, but in a much more scaled down version. “Lie to Keep Me From Crying” makes use of antiphony vocals.\u003c\/p\u003e\n\u003cp\u003eThis album seems like an effort from Stax to properly seek out which niche to market their Queen of Memphis soul. With that goal, they are partially successful here. » Jeff Krow, Audiophile Audition, Apr 25, 2018\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAmong all the majestic eminences in the music business, Carla Thomas reigned unmistakably as 'The Queen of Memphis Soul' on the Stax label with its special characteristics. The clear, dry and natural essential sound of this studio recording imparts the down-to-earth flair of the southern town Memphis and its musical tradition. With wonderful contemplation, the Queen begins her performance with a tautly arranged but pleasantly round and melting version of Burt Bacharach’s \"Any Day Now\". The reflective opening clearly signals that the human voice is of major importance here, no matter whether a restrained pulsating soul number (\"Stop Thief\") or a metallically ticking groove (\"I Take It To My Baby\") is on the track list. Even an occasional dip into the violin paint-pot (\"I Want To Be Your Baby\") is not an end in itself but serves exclusively to refine the diaphanous, gentle voice of the principal singer. In addition there is lush, groovy polyphony with a call-and-response concept (\"Somethings Good\") and intoxicating gospel-like antiphony (\"Lie To Keep Me From Crying\"), all good for keeping the soul of Soul together.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\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 : 4.5 \/ 5  ,  \u003c\/span\u003e\u003cspan\u003eDiscogs \u003c\/span\u003e: \u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e4,34\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5  , \u003c\/span\u003e\u003cspan\u003eRate Your Music \u003c\/span\u003e: \u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e3,53\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40403982188695,"sku":"S718","price":55.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/carla-thomas-the-queen-alone-audiosoundmusic-1.jpg?v=1743321290"},{"product_id":"duke-ellington-piano-in-the-background","title":"Duke Ellington - Piano In The Background","description":"\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eDuke Ellington (piano) \u003cspan data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\" lang=\"EN-US\"\u003e\u003ca data-mce-fragment=\"1\" title=\"Vinyl featuring Duke Ellington\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/duke-ellington\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/duke-ellington\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"color: #ff8000;\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Duke Ellington]\u003c\/span\u003e\u003c\/a\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eJohnny Hodges, Harry Carney, Russell Procope (sax); Ray Nance, Willie Cook (tp); Lawrence Brown, 'Booty' Wood (tb); Aaron Bell (b); Sam Woodyard (dr)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eWriten by Duke Ellington (A1, A2, A3, B2, B4, B5), Harry Carney (A3), Irving Mills (A3), Juan Tizol (B1), Don George (B2), Johnny Hodges (B2), Harry James (B2), Billy Strayhorn (B3), Irving Mills (B4)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Speakers Corner\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label :  Columbia\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eRecording: May and June 1960 at Radio Recorders, Los Angeles\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eProduction: Henri Renaud\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1960\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2017\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\u003cp\u003eSide A :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eHappy Go Lucky Local\u003c\/li\u003e\n\u003cli\u003eWhat Am I Here For\u003c\/li\u003e\n\u003cli\u003eKinda Dukish \/ Rockin' In Rhythm\u003c\/li\u003e\n\u003cli\u003ePerdido\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eI'm Beginning To See The Light\u003c\/li\u003e\n\u003cli\u003eMidriff\u003c\/li\u003e\n\u003cli\u003eIt Don't Mean A Thing\u003c\/li\u003e\n\u003cli\u003eMain Stem\u003c\/li\u003e\n\u003cli\u003eTake The \"A\" Train\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003c\/span\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e« One of Ellington's rarer studio sessions and last out on this French CD, the main plot behind this runthrough of his standards is that the leader's piano is featured at some point in every song. His sidemen are also heard from and everyone is in fine form. Ellington's solo abilities were always a bit underrated due to his brilliance in other areas, but this set shows just how modern he remained through the years as a player. » AllMusic Review by Scott Yanow\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eBig band fans, take note! These nine numbers, in precisely this version, belong in every collection. We are talking about the year 1960, and the 17 musicians involved have probably performed this very repertoire every night in a different venue all over the globe. But in the studio it all sounds fresh and new, well practised but never dull, cool, groovy and intoxicating. The difference to a great number of other Ellington LPs is that here not a single wind soloist stands in the foreground but the whole body of musicians. The arrangements are all new and some of them are even quite unusual, but Sam Woodyard on the drums has everything well under control - sometimes not at all 'Ellington-like'.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eSnapping the fingers is automatic, and tapping your foot is also not to be frowned on; however this recording demands careful listening! If you have the first version of these numbers in your collection then it would be a good idea to compare them with this recording. The Duke Ellington Orchestra remains young, dynamic and varied thanks to a continually changing ensemble. And the 'Piano Man', as the best 'pause-filling' pianist ironically called himself, sat full of vigour before the 88 keys of the keyboard at the age of 60.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eNot only jazz fans will be saying a big thank you that this recording - made in the early days of stereophony - is available once again on virgin vinyl with superb sound.\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 ,\u003cstrong\u003e\u003cspan\u003e  \u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003eDiscogs \u003c\/span\u003e: \u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e4,20\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5 , \u003c\/span\u003e\u003cspan\u003eRate Your Music \u003c\/span\u003e: \u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e3,88\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40404092354711,"sku":"CS 8346","price":55.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/duke-ellington-piano-in-the-background-audiosoundmusic-1.jpg?v=1719851496"},{"product_id":"lena-horne-lonely-and-alive","title":"Lena Horne - Lonely And Alive","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eLena Horne (vocals)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eJoe Mondragon (bass)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBill Pitman (guitar), Gene DiNovi (piano), Frank Capp, Shelly Manne (drums), Bill Perkins, Joe Maini (saxophone), Jack Sheldon, Pete Candoli (trumpet), Bob Enevoldsen, Frank Rosolino (trombone)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMarty Paich (arranger and conductor)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eWritten by \u003c\/strong\u003e\u003cstrong\u003eCole Porter (A1), Marcy Klauber (A2), Harry Stoddard (A2), Frederick Loewe (A3), Alan Jay Lerner (A3), George Gershwin (A4), Ira Gershwin (A4), Doc Daugherty (A5), Ellis Reynolds (A5), Al J. Neiburg (A5), Vincent Youmans (A6), Irving Caesar (A6), Harry Barris (A7), Gordon Clifford (B1), Jack Palmer (A8), Spencer Williams (B2, B5), Mabel Wayne (A8), Kim Gannon (B3), Duke Ellington (B4), Irving Mills (B4), Henry Nemo (B4), John Redmond (B4), Harry Warren (B6), Al Dubin (B6)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Speakers Corner\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label :  RCA\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"production_info\"\u003e\u003cstrong\u003eRecorded in 1962\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eProduced by Dick Peirce\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1962\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp class=\"production_info\"\u003e\u003cstrong\u003eTracks : \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"production_info\"\u003eSide C :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eI Concentrate On You\u003c\/li\u003e\n\u003cli\u003eI Get The Blues When It Rains\u003c\/li\u003e\n\u003cli\u003eI’ve Grown Accustomed To His Face\u003c\/li\u003e\n\u003cli\u003eI Got Rhythm\u003c\/li\u003e\n\u003cli\u003eI’m Confessin’ (That I Love You)\u003c\/li\u003e\n\u003cli\u003eI Want To Be Happy\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eI Surrender, Dear\u003c\/li\u003e\n\u003cli\u003eI Found A New Baby\u003c\/li\u003e\n\u003cli\u003eI Understand\u003c\/li\u003e\n\u003cli\u003eI Let A Song Go Out Of My Head\u003c\/li\u003e\n\u003cli\u003eI Ain’t Got Nobody (And Nobody Cares For Me)\u003c\/li\u003e\n\u003cli\u003eI Only Have Eyes For You\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAwards\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003e\u003cstrong\u003eAt the 5th Grammy Awards, Horne was nominated for the Grammy Award for Best Solo Vocal Performance, Female for her performance on this album\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003e\u003cstrong\u003eA Grammy was awarded to Robert Jones, Art Director for the Best Album Cover—Non-Classical.\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eSinging actors and actresses do not always cut a good figure on the silver screen; play-acting singers, however, are all the better when they draw attention to themselves with great vocals. As did Lena Horne in the days of the black-and-white film, who, with her sultry, versatile voice, was constantly employed by Hollywood. Although she occasionally ventured into the world of jazz, and made music with Teddy Wilson and Benny Carter, she never forayed into the wide world of improvisation. Her musical home was in the American Songbook, which she approached with a natural and entertaining manner. A good example of this is the first number here – the Cole Porter classic \"I Concentrate On You\", which swings along to the perfectly recorded big-band sound of the Marty Paich Orchestra. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eA surprise element is the extensive palette of vocal sound-colouring with which the diva enhances her voice to achieve the drama of a Shirley Bassey or the dusky depths of a Dinah Washington. Each and every number on this Grammy-worthy album has been thought out in great detail and guarantees sophisticated entertainment, and a hint of West Coast jazz is perceptible when Jack Sheldon treats us to the sound of his warm and dark trumpet solos.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e : \u003c\/p\u003e\n\u003cp\u003eAllMusic : 4.5 \/ 5 , \u003cspan\u003eDiscogs \u003c\/span\u003e: \u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e4,67\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5 ,  \u003c\/span\u003e\u003cspan\u003eRate Your Music \u003c\/span\u003e:  \u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e4,23\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40404666056855,"sku":"LSP-2587","price":55.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/lena-horne-lonely-and-alive-audiosoundmusic-1.jpg?v=1719851521"},{"product_id":"the-dave-brubeck-quartet-at-carnegie-hall","title":"The Dave Brubeck Quartet at Carnegie Hall (2LP)","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDave Brubeck - piano \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/dave-brubeck\" title=\"Vinyl featuring Dave Brubeck\" style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Dave Brubeck]\u003c\/a\u003e\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePaul Desmond - alto saxophone \u003cspan style=\"color: #ff8000;\"\u003e\u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/paul-desmond\" title=\"vinyl featuring Paul Desmond\" style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Paul Desmond]\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEugene Wright (b); Joe Morello (dr)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by Dave Brubeck (A2, B2, B3, C2, C3, D1, D2), Iola Brubeck (C2), William Christopher Handy (A1), John Frederick Coots (A3), Sam Lewis (A3), Arthur Johnston (A4), Johnny Burke (A4), Paul Desmond (C1, D3)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e2 LPs, gatefold sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLive\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Speakers Corner\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label :  Columbia\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eRecorded on February 1963 at Carnegie Hall, New York\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003cspan\u003eProduced by Teo Macero\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eMastered by Willem Makkee\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1959\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2021\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eTracks :\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv\u003eSide A :\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e1. St. Louis Blues\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e2. Bossa Nova U.S.A.\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e3. For All We Know\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e1. Pennies from Heaven\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e2. Southern Scene\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e3. Three to Get Ready\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cp\u003eSide C :\u003c\/p\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e1. Eleven Four\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e2. King for a Day\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e3. Castilian Drums\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cp\u003eSide D:\u003c\/p\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e1. It's a Raggy Waltz\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e2. Blue Rondo a La Turk\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e3. Take Five\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\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\"Comparing this Speakers Corner reissue to an original black \"360 Sound\" 1A pressing favors the original, of course, which is more open and extended on top and allows the reverberant field to more fully flow and express itself. The Speakers Corner reissue is somewhat darker and veiled by comparison but without the original to compare it to, it's decent and very \"analogue-y\" sounding. And of course the Pallas pressing quality is superb. My used original gets \"crunchy\" in spots.\" \u003cspan\u003eMichael Fremer, Analog Planet, July 8, 2013\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e« For all those who have a big axe to grind with Brubeck, for all those who claim the band was only successful because they were predominantly white, or played pop-jazz, or catered to the exotica craze, or any of that, you are invited to have all of your preconceptions, tepid arguments, and false impressions hopelessly torn to shreds by one of the great live jazz albums of the 1960s. The Dave Brubeck Quartet at Carnegie Hall is a date that showcases the finest elements of the storied Brubeck Quartet, which featured, alongside Brubeck's piano, alto innovator Paul Desmond, bassist Eugene Wright, and Joe Morello on drums. On this February night in 1963 -- either the 21 or 22nd depending on which side of the cover you believe -- W.C. Handy's \"St. Louis Blues\" was given a knotty rhythmic workout it had never seen on Basin or Bourbon Street. Time signatures moved and shifted all over the tune for 12 minutes as Brubeck and Desmond exchanged cross-contrapuntal solos and melodic inventions back and forth. Movement, and plenty of it, was the identity this old nugget took on, with Brubeck taking Wright's cue and moving the blues into unheard-of harmonic spaces and intervals. At one point, with 16\/4 time forcing itself onto the front line, Desmond makes his move quickly with one scalular interval to the top of the meter and stops. It's enough, he seems to be saying, that it gets brought back to a humane tempo before clamoring from a samba back into the blues before winding it out. And that's just for openers! The quartet move through all their hits and their new instincts gained from traveling abroad for the better part of six years. With cuts like \"Bossa Nova U.S.A\" and \"Blue Rondo a la Turk,\" the quartet breathes new fire both melodically and tonally into its material, while other standards such as \"Pennies from Heaven\" were literally harmonically reinvented by the intense counterpoint, double and even triple, that went on between Desmond and Brubeck. And that's what this set is a reflection of: the Brubeck band would have loved to be recorded live every night they played. They hated the studio because there was nothing to compete against and no energy but their own to glean from. Check out \"Eleven Four\" and see where the audience in stuffy old Carnegie Hall is transformed into a hooting mob as Desmond solos his head off. When Brubeck pulls Ravel out of his back pocket and Wright accommodates him, setting a samba tempo for him to play against, the crowd may not know what they are hearing, but they flip just the same; they know something's happening and they're right there to experience his past harmonic indulgence mixed with the contrapuntal bop syntax from Desmond. It's no surprise that \"Take Five\" would take the set out, but given what has been played over two LPs, it's almost a comfort. There are fewer surprises here, it's true, but then, the tune's a groover anyway, and they grease it to the point of making it funky thanks to Wright's slapping at his bass in the middle section. This LP is perhaps the one essential Brubeck live album. While Take Five is rightfully a classic in that it changed everything, At Carnegie Hall reveals the band at the epitome of its musical -- harmonic, rhythmic, melodic, improvisational -- strength with near telepathic communication. It swings like a mother and offers an entirely new dimension to the definition of \"melodic improvisation.\" AllMusic Review by Thom Jurek\u003c\/p\u003e\n\u003cp\u003eMany critics regard Dave Brubeck’s Carnegie Hall concert from February 1963 as his greatest ever live appearance. But who can really determine that? For no one – apart from Brubeck himself – would have seen and heard his conservatively estimated 12,000 concerts.\u003c\/p\u003e\n\u003cp\u003eAlthough the twelve titles had already been released on LPs that had been recorded in the studio, these records were certainly not known to all those in the audience. In between the numbers on each LP, Brubeck made little 'advertising spots' in short comments, but with such charm and wit that one really cannot be angry with him.\u003c\/p\u003e\n\u003cp\u003eThe concert programme begins with \"St. Louis Blues\" and ends with \"Take Five\". Luckily, the solos are distributed among all the musicians, so that Paul Desmond and Joe Morello – whose prowess on this evening can only be called 'amazingly good' – justifiably received enthusiastic applause from both the audience and us alike. \"Castilian Drums\" demonstrates Morello’s wealth of ideas and his grandiose feeling for rhythm; though short, Paul Desmond’s solos (\"Southern Scene\" is a good example!) are compelling, highly melodic, lyrical and possess a unique tone – as such they are immediately recognisable.\u003cbr\u003e\u003cbr\u003eHow fortunate that the twelve brilliantly improvised numbers are now available once again on vinyl, having been recorded live at the legendary Carnegie Hall 60 years ago.\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 : 4.3 \/ 5 , \u003cspan\u003eDiscogs \u003c\/span\u003e: \u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e4,43\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5 , \u003c\/span\u003e\u003cspan\u003eRate Your Music \u003c\/span\u003e: \u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e4,26\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eMichael Fremer : Sound : 8 \/ 10 , Music : 8 \/10\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40404930953367,"sku":"C2S 826","price":95.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/the-dave-brubeck-quartet-at-carnegie-hall-2lp-audiosoundmusic-1.jpg?v=1719851545"},{"product_id":"aretha-franklin-unforgettable-a-tribute-to-dinah-washington","title":"Aretha Franklin - Unforgettable: A Tribute To Dinah Washington","description":"\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eAretha Franklin (piano, vocals) \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/aretha-franklin\" title=\"vinyl featuring Aretha Franklin\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/aretha-franklin\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-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 data-mce-fragment=\"1\"\u003eBuddy Lucas (hca, ts); Ernie Royal (tp); Bob Asher (tb); Teddy Charles (vib); Ernie Hayes (org, p); Paul Griffin (org)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eGeorge Duvivier - bass \u003ca title=\"Vinyl featuring George Duvivier\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/george-duvivier\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/george-duvivier\" data-mce-fragment=\"1\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-style=\"color: #ff8000;\" data-mce-fragment=\"1\"\u003e[click here to see more vinyl featuring George Duvivier]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eGary Chester (dr)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eWritten by \u003c\/strong\u003e\u003cstrong\u003eDinah Washington (B5), Irving Gordon (A1), Hank Williams (A2), Stanley Adams (A3), María Mendez Grever (A3), Johnny Mercer (A4), Doris Tauber (A4), Pearl Delaney (A5), Tom Delaney (A5), Leonard Feather (B1), Lionel Hampton (B1), Irving Berman (B2), Clyde Otis (B3), Ralph Rainger (B4), Leo Robin (B4), Henry Glover (B5), Morris Levy (B5), Titus Turner (B5)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Speakers Corner\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label :  Columbia\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eRecording: August 1964 in New York\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eProduction: Robert Mersey\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eOriginally released in 1964\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eReissued : May 2009\u003c\/span\u003e\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\u003cp\u003eSide A :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eUnforgettable\u003c\/li\u003e\n\u003cli\u003eCold, Cold Heart\u003c\/li\u003e\n\u003cli\u003eWhat A Diff'rence A Day Made\u003c\/li\u003e\n\u003cli\u003eDrinking Again\u003c\/li\u003e\n\u003cli\u003eNobody Knows The Way I Feel This Morning\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B : \u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eEvil Gal Blues\u003c\/li\u003e\n\u003cli\u003eDon't Say You're Sorry Again\u003c\/li\u003e\n\u003cli\u003eThis Bitter Earth\u003c\/li\u003e\n\u003cli\u003eIf I Should Lose You\u003c\/li\u003e\n\u003cli\u003eSoulville\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e« Since her youth Franklin had admired Dinah Washington, and it's a safe bet that the level of emotional commitment Washington brought to her work was a major influence on the blossoming style of Aretha, not to mention Washington's effortless sense of swing. Shortly before she died, Washington took appreciate notice of her acolyte as well. So Aretha's tribute to Washington is as logical as it is satisfying. Recorded when Aretha was just 21, UNFORGETTABLE is somewhat of a departure from her more R\u0026amp;B-oriented early work. However, the string arrangements of Johnny Mersey adn the jazzy bass work of George Duvivier mesh perfectly with Franklin's high-flying vocal fireworks. From the slow, subtle caress of \"What a Difference a Day Made\" to the organ-led blues of \"Nobody Knows the Way I Feel This Morning,\" the young Aretha is in total command of the material here, simultaneously paying homage to and progressing from the influence of Washington. » AllMusic Review by AllMusic\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e“Once Aretha Franklin started recording with Atlantic Records, her meteoric career was launched. She became a pop and r\u0026amp; b legend, dominating the music scene for decades. Like Ray Charles, she was able to take her gospel roots and transform them into artistic and commercial success. Her mesmerizing voice and emotional depth were unsurpassed. However, Franklin was originally signed to Columbia. From 1961-1967, Aretha released 9 albums that showcased her versatility in doo-wop, blues and jazz. Even with traditional material, she enjoyed some chart success. In 1964, Franklin recorded a tribute album (Unforgettable) to legendary singer Dinah Washington. In essence, this was handing off the torch from the recently deceased “Queen Of The Blues”  to her inevitable successor, “The Queen Of Soul”.\u003c\/p\u003e\n\u003cp\u003eSpeakers Corner Records has released a 180-gram vinyl re-mastering of Unforgettable. This album is stylishly produced with veteran session musicians and meticulous arrangements of Washington covers. While not possessing the visceral impact of her powerhouse future soul catalog, her prodigious talent emerges.  Side 1 opens with the eternal pop standard, “Unforgettable”. Nat “King” Cole initially popularized this song, but most agree that Dinah Washington’s 1959 version is historical. With a shading of tenor saxophone and Teddy Charles on vibes, strings add a tender counterpoint. Franklin glides into the first verse. While there is considerable subtlety in the vocals, the slow-burning intensity is there. Her deliberate phrasing with heart-aching, soulful accents build  until a rousing finish. “Cold Cold Heart” (by one of the greatest American songwriters, Hank Williams) has always been a country\/popular music crossover. This arrangement intermingles a country blues resonance with harmonica (Buddy Lucas), organ and piano-fueled gospel fervor. Aretha instinctively knows when to dial up the emotion, and the horns add some muscle. On another well-known song, “What A Diff’erence A Day Makes”, the singer’s precise elocution is timeless. Franklin channels the spirit of Washington on the jazz ballad, “Drinking Again”. It eventually transitions to soul testimony, reflecting the bitter melancholy of the context. A muted trumpet (Ernie Royal) and evocative saxophone (Buddy Lucas) complement the stellar vocals. In vintage 16-bar blues, “Nobody Knows The Way I Feel This Morning” is close to perfection. The listener can hear the visceral essence of “modern” Aretha Franklin as she brings this one home.\u003c\/p\u003e\n\u003cp\u003eSide 2 is compelling. “Evil Gal Blues” is a gritty performance and rivals the greats of this genre. A bigger swagger is augmented by Chicago-type horns and harmonica. This song (as pointed out by Leonard Feather in the incisive liner notes) became a staple of Aretha Franklin live performances throughout her career. It mirrors her larger-than-life musical persona. Switching gears, “Don’t Say Your Sorry Again” is pure torch song. The singer’s deep sentiment is balanced with a mellifluous trombone (Bob Asher) and gentle organ (Ernie Hayes). Additionally, various technical vocal skills, including vibrato are on display. There is an overt jazziness with Gary Chester’s crashing cymbals initiating a tempo change. Franklin covers back-to-back ballads (“This Bitter Earth”, “If I Should Lose You”) with commitment. The former showcases crystallized gospel wailing in homage to Mahalia Jackson (no doubt an inspiration to Washington and Franklin). The latter is equally moving (arranged like a 1950’s slow-dance orchestration) as Aretha displays her innate sense of timing. The finale (“Soulsville”) is revelatory. Here is the glimpse into the future of perhaps the greatest singer of all time. It is quintessential “Memphis-style” soul that simply blows the roof off. She not only offers incendiary lead vocals, but provides tracked-backup and piano. Even at the age of 21, her impactful artistry is clearly evident.\u003c\/p\u003e\n\u003cp\u003eSpeakers Corner has done an excellent job in re-mastering Unforgettable to 180-gram vinyl. The state-of-the-art 60’s Columbia Records “360 Sound” has been faithfully captured with a vibrant, balanced mix. The vinyl pressing is flawless, with no hisses or pops. The aforementioned Leonard Feather liner notes are insightful regarding the making of this album.” Robbie Gerson, Audiophile Audition, April 2020\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThese recordings were made before Aretha Franklin was honoured with such names as 'Lady Soul' or 'Soul Sister No. 1'. That the young, talented singer already possessed one of the most outstanding voices was confirmed by the great Dinah Washington who stated concisely but decisively: \"The girl has got soul.\"\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe present tribute album was recorded just a few months after Washington’s death and presents her most important and successful numbers, sung by her 23-year-old successor, who obviously feels quite comfortable when treading in the great singer’s footsteps. In \"Unforgettable\", a laid-back number with a string background, Aretha captivates the listener with her ever-changing vocal colouring and gospel-like ballad feeling. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIn the second number, \"Cold, Cold Heart\", there is already evidence of a shimmering, subliminal blues nuance which is shot through with pointed harp phrases and the 'sucking' sound of the Hammond organ. While an old-fashioned bluesy style supported by a powerful bigband is characteristic of \"Evil Gal Blues\", unconventional arrangements using obbligato trombone (\"Don’t Say You’re Sorry Again\") are also found in this fascinating and highly varied line-up of numbers. Now, more than 40 years after its release, this album pays tribute to two unforgettable interpreters of black music.\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 : 4.5 \/ 5  ; \u003c\/span\u003e\u003cspan\u003eDiscogs \u003c\/span\u003e: \u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e4.00\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5 ; \u003c\/span\u003eAudiophile Audition : 4.5 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40405055340695,"sku":"CS 8963","price":79.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/aretha-franklin-unforgettable-a-tribute-to-dinah-washington-audiosoundmusic-1.jpg?v=1719851545"},{"product_id":"terry-callier-turn-you-to-love","title":"Terry Callier - Turn You To Love","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eTerry Callier - guitar, vocal\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eFred Wesley (tb)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003e Reginald 'Sonny' Burke (keyb); Wah-Wah Watson (g); Ernie Watts (sax); Oscar Brashear (tp); Keni Burke (b); James Gadson (dr); Oliver C. Brown, Jr. (perc) - backing vocals\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eWritten by \u003c\/strong\u003e\u003cstrong\u003eTerry Callier (A1, A3, B1, B2, B4, B5), Larry Wade (A1, A2, A3, B4, B5), Walter Becker (A4), Donald Fagen (A4), Smokey Robinson (B3), Frank Wilson (B3), Earl Johnson (B5)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve, insert\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Speakers Corner\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Asylum\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"production_info\"\u003e\u003cstrong\u003eRecorded in 1978 by Jimmy Schifflett, Sye Mitchell, Roger Dollarhide and Laura Livingston in various studios\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eProduced by Reginald 'Sonny' Burke\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 2020\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003csection class=\"ratings\"\u003e\n\u003ch3\u003eTracks :\u003c\/h3\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003cp\u003e                1. Sign Of The Times\u003c\/p\u003e\n\u003cp\u003e                2. Pyramids Of Love\u003c\/p\u003e\n\u003cp\u003e                3. Turn You To Love\u003c\/p\u003e\n\u003cp\u003e                4. Do It Again\u003c\/p\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003cp\u003e                1. Ordinary Joe\u003c\/p\u003e\n\u003cp\u003e                2. Occasional Rain\u003c\/p\u003e\n\u003cp\u003e                3. Still Water (Love)\u003c\/p\u003e\n\u003cp\u003e                4. You And Me (Will Always Be In Love)\u003c\/p\u003e\n\u003cp\u003e                5. A Mother's Love\u003cbr\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« This is easily Terry Callier's most underrated album. Chalk it up to the slick arrangement, jazzy charts, and funky rhythms in the heat of the disco era, but the year after Callier missed the boat with Fire on Ice, he was back with a slicker, shinier record. But, unlike its predecessor, it has no fat in the songwriting department. Leaving Richard Evans' production behind, Callier and Don Mizell enlisted Sonny Burke to produce, arrange, and conduct the large band. Callier handled a lot of the guitar work himself but he did have help from stalwart Larry Wade, his songwriting partner, and Tommy Tedesco. Also in the house was Motown's Randy Dunlap -- courtesy of Smokey Robinson -- and horn heroes Ernie Watts and Fred Wesley. The song selection here is impeccable, from the hard, growling gospel funk of \"Sign of the Times\" to the serpentine love song \"Pyramids of Love\" and a pair of awesome covers: Smokey's \"Still Water (Love)\" and Becker and Fagen's \"Do It Again.\" On the former, Callier reaches deep into his mellifluous tenor bag for all the soul crooning gospel he could muster, to chilling effect. On the latter, the snaky, complex rhythms are accentuated and the horn section soars above the dense, heavily layered pumped up-tempo mix. Callier gets to hang back and enunciate, slipping his down and dirty funky tip on the lyrics. But the greatest surprise on the album is Callier re-recording his classic, \"Occasional Rain.\" With a shimmering, sparse string section accompanying his acoustic guitar, Callier sings half an octave lower than the original as ghostly bells slip through the center of the mix. Every two bars or so another instrument is added, but the gauzy texture of the mix holds throughout. The listener keeps holding her breath waiting for a string section crescendo -- given how polished these proceedings are -- to wash over her, but it never comes, thank God. The set ends with the weakest, but nonetheless very soulful track on the album, \"A Mother's Love.\" It's sentimental, but, given how sincerely Callier delivers his lyrics, it comes off as sincere, not hackneyed. This is a gorgeous set that showcases an entirely different side of Callier than the legends note. He is every bit as fine an R\u0026amp;B singer as he is a folksy soul singer. The man's voice and his sincerity know no limits and this disc is a perfect testament to his genius. »  AllMusic Review by Thom Jurek\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\"Jazz guitarist, singer\/songwriter Terry Callier enjoyed an unconventional career in music. A Chicago native, he was childhood friends with Curtis Mayfield and Jerry Butler. He sang in doo wop groups and recorded briefly at Chess Records. Another piece of interesting trivia…he played in a folk duo with David Crosby.  After a brief stint on Cadet Records provided limited success, he was signed to the jazz fusion division at Elektra Records. There, Callier enjoyed a brief renaissance recording Fire On Ice (1977) and Turn You To Love (1978). This earned him an appearance at the Montreux Jazz Festival and a charting single (“Sign Of The Times”) on the r \u0026amp; b charts. The remainder of his professional endeavors was sporadic and he never garnered sufficient acclaim, despite his talent,\u003c\/p\u003e\n\u003cp\u003eSpeakers Corner Records has released a 180-gram vinyl re-master of Callier’s signature album, Turn You To Love. This is a prime display of polished late 70’s soul\/funk. Side One opens with “Sign Of The Times” (co-written by Callier and fellow guitarist Terry wade). It is a textured combination of studio production with horns, a heavy bottom mix and synthesizers. Callier’s lyrics have social contexts, but not quite the biting gravitas of Gil Scott-Heron or Marvin Gaye. The repeat coda is catchy. “Pyramids Of Love” has a slower tempo with exotic shading. The swirling, expansive sound permeates the easy-going vibe. The title track is more atmospheric with hypnotic string shading. Callier’s silky baritone articulates a spiritual message of love with excellent phrasing. There are subtle touches like mandolin and a well-timed guitar run. A certain highlight is the cover of Steely Dan’s “Do It Again”. Here, Callier’s smoky vocals are a contrast to the reedier vocals of the original. Instrumentally, the players distill the rhythmic essence and meticulous song construction of Becker\/Fagan with excellent percussion and muscular horns and saxophone. it is more jaunty and less moody, and a jagged electric guitar solo precedes a rousing finish.\u003c\/p\u003e\n\u003cp\u003eSide Two kicks off with a breezy pop-oriented arrangement on “Ordinary Joe”. Callier utilizes a higher voice register and some impressive vocalese. Ernie Watts’ tenor saxophone solo is compelling. There is an instrumental shift on “Occasional Rain”. This melancholic introspection is framed against acoustic guitar and violin. The scaled-back aesthetics are catchy and include  subtle jazz inflection. “Still Water (Love)” is a great homage to the concise, melodic compositional skills of Smokey Robinson. The band engages in an evocative sway and the backup singers are terrific. “You And Me (Will Always Be In Love)” is reminiscent of the vaunted Philly sound with its patented hooks and sweet vocal finesse. There is also a nimble guitar solo. The finale, “A Mother’s Love” is straightforward maternal gratitude with an engaging Island-infused glow.\u003c\/p\u003e\n\u003cp\u003eKudos to Speakers Corner records for giving some relevance to an under-appreciated r \u0026amp; b performer. The overall mix is excellent with quality stereo separation. The layered acoustics are rendered with precision and mellowness. This vinyl pressing is flawless. » Robbie Gerson, Audiophile Audition, Apr 27, 2021\u003c\/p\u003e\n\u003cp\u003e \u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eWhen you listen to Terry Callier’s music, it really makes you wonder why it took three decades after the release of his debut album for this singer to be able to live from his music. \"Turn You To Love\", »easily Terry Callier’s most underrated album« (allmusic.com), may in the first moment be somewhat astonishing for its rather disparate mix of numbers. Unlike the works by other soul mates, Callier’s songs demonstrate not how soul should be but rather what soul can be. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eHis musical language does away with angry attitudes, and cultivates instead deep and sincerely felt sentiment. This is expressed not only in sprightly funk (\"Sign Of The Times\") but also in moderately paced and soulful songs such as \"Pyramids Of Love\". His vocal prowess is shown in a wide variation of numbers – from well rounded to smoky, gauze-like phrases (\"Turn You To Love\"), via a rhythmically freely swinging number with a lengthy text (\"Ordinary Joe\"), and a narrative, meditative atmosphere (\"Occasional Rain\"). In between we find a fine mix of diverse voices (\"You And Me\") and a drop of the cultivated, indestructible groovy sound of the times (\"Still Water\").\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\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 : 4 \/ 5 ; \u003c\/span\u003e\u003cspan\u003eDiscogs \u003c\/span\u003e: \u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e4.11\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5 ; \u003c\/span\u003eAudiophile Audition : 4 \/ 5\u003c\/p\u003e\n\u003c\/section\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40405779054743,"sku":"6E-189","price":38.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/terry-callier-turn-you-to-love-audiosoundmusic-1.jpg?v=1743198071"},{"product_id":"boz-scaggs-1969-self-titled","title":"Boz Scaggs - Boz Scaggs (Speakers Corner)","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBoz Scaggs (Guitar, Vocals) \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/boz-scaggs\" title=\"vinyl featuring Boz Scaggs\" data-mce-fragment=\"1\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\"\u003e[click here to see more vinyl featuring Boz Scaggs]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e Barry Beckett (Keyboards), Al Lester (Fiddle), Joe Arnold (Tenor Saxophone : A2 to B3), Gene \"Bowlegs\" Miller (Trumpet, Trombone : A2 to B3), James Mitchell (Baritone Saxophone : A2 to B3), David Hood (Bass), Duane \"Skydog\" Allman (Dobro, Slide Guitar), Roger Hawkins (Drums), Duane Allman (Guitar), Eddie Hinton Guitar), Jimmy Johnson (Guitar)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBacking Vocals (A1 to A3, A5 to B3) : Donna Thatcher, Jeannie Greene, Mary Holliday\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eWritten by \u003c\/strong\u003e\u003cstrong\u003eBoz Scaggs (A1, A2, A3, A4, A5, B3), Barry Beckett (A1, B3), Charles Chalmers (A6), D. Rhodes (A6), Jimmie Rodgers (B1)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, gatefold sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Speakers Corner\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Atlantic\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eRecorded in 1969 at Muscle Shoals Sound Recorders, Muscle Shoals, AL, by Martin Greene\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eProduced by Boz Scaggs, Jann Wenner \u0026amp; Marlin Greene\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eOriginally released in September 1969\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eReissued 2019\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\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\u003cp\u003eSide A :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eI'm Easy\u003c\/li\u003e\n\u003cli\u003eI'll Be Long Gone\u003c\/li\u003e\n\u003cli\u003eAnother Day (Another Letter)\u003c\/li\u003e\n\u003cli\u003eNow You're Gone\u003c\/li\u003e\n\u003cli\u003eFinding Her\u003c\/li\u003e\n\u003cli\u003eLook What I Got\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eWaiting For A Train\u003c\/li\u003e\n\u003cli\u003eLoan Me A Dime\u003c\/li\u003e\n\u003cli\u003eSweet Release\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e« Departing from the Steve Miller Band after a two-album stint, Boz Scaggs found himself on his own but not without support. Rolling Stone publisher Jann Wenner, his friend, helped him sign with Atlantic Records and the label had him set up shop in Muscle Shoals, recording his debut album with that legendary set of studio musicians, known for their down-and-dirty backing work for Aretha Franklin and Wilson Pickett, among many other Southern soul legends. The Muscle Shoals rhythm section, occasionally augmented by guitarist Duane Allman, gives this music genuine grit, but this isn't necessarily a straight-up blue-eyed soul record, even if the opening \"I'm Easy\" and \"I'll Be Long Gone\" are certainly as deeply soulful as anything cut at Muscle Shoals. Even at this early stage Scaggs wasn't content to stay in one place, and he crafted a kind of Americana fantasia here, also dabbling in country and blues along with the soul and R\u0026amp;B that grounds this record. If the country shuffle \"Now You're Gone\" sounds just slightly a shade bit too vaudeville for its own good, it only stands out because the rest of the record is pitch-perfect, from the Jimmie Rodgers cover \"Waiting for a Train\" and the folky \"Look What I Got!\" to the extended 11-minute blues workout \"Loan Me a Dime,\" which functions as much as a showcase for a blazing Duane Allman as it does for Boz. But even with that show-stealing turn, and even with the Muscle Shoals musicians giving this album its muscle and part of its soul, this album is still thoroughly a showcase for Boz Scaggs' musical vision, which even at this stage is wide and deep. It would grow smoother and more assured over the years, but the slight bit of raggedness suits the funky, down-home performances and helps make this not only a great debut, but also an enduring blue-eyed soul masterpiece. » AllMusic Review by Stephen Thomas Erlewine\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\"Boz Scaggs\" – not to be confused with the early Polydor recording entitled \"Boz\" from 1965 – is the first album in which the producers did everything right. Perhaps the most important participant of all is the legendary guitar Duane Allman, who paved the way for the highly talented Scaggs to enter the Muscle Shoals Sound Studios in Alabama. Top-class soul musicians were lined up for him who had performed as the house band for Aretha Franklin and Wilson Pickett. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe elite combo picked up their instruments immediately and offered a rich background sound in the bluesy \"I’m Easy\", with powerful rapid scale passages in the bass and fired-up winds. Inspired by the timbre of the blues, Scaggs sings a series of lyrical songs, sometimes backed by a small group of instruments – yet always well dosed and finely balanced. At times the organ whispers to the singer (\"I’ll Be Long Gone\"), elsewhere finely tuned voices pipe up in the background (\"Another Day\"). And then there are down-to-earth waves of warm sound from the slide guitar and cheerful sounds of the fiddle in the strophic country song \"Now You’re Gone\".\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eHighlights of the album are the yodelling hobo song \"Waiting For A Train\" and the blues number \"Loan Me A Dime\", a show of strength if ever there was one. Before the magazine Rolling Stone could rank the well-selling LP among the 500 Greatest Albums Of All Time, it had to be given a makeover and so a new sizzling mix was made in 1978. Scaggs had demanded the remix to enhance the quality of the recording. After this came nothing for a long, long time. Now this album is available for the first time after 1978 in freshly pressed vinyl!\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 : 4.3 \/ 5  , \u003c\/span\u003e\u003cspan\u003eDiscogs \u003c\/span\u003e:\u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e4,05\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5 ,  \u003c\/span\u003e\u003cspan\u003eRate Your Music \u003c\/span\u003e: \u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e3,50\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40405948661911,"sku":"SD19166","price":55.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/boz-scaggs-boz-scaggs-speaker-corners-audiosoundmusic-1.jpg?v=1719851583"},{"product_id":"william-bell-the-soul-of-a-bell","title":"William Bell - The Soul Of A Bell","description":"\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cbr\u003e\u003cbr\u003eWilliam Bell (voc)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eBooker T. Jones (keyb) \u003ca title=\"vinyl featuring Booket T. Jones\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/booker-t-jones\" data-mce-fragment=\"1\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\"\u003e[click here to see more vinyl featuring Booker T. Jones]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eIsaac Hayes (keyb) \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/isaac-hayes\" title=\"vinyl featuring Isaac Hayes\" data-mce-fragment=\"1\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\"\u003e[click here to see more vinyl featuring Isaac Hayes]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eJoe Arnold (as)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eAndrew Love (ts)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eWayne Jackson (tp)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eSteve Cropper (g)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003e Donald 'Duck' Dunn (b)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003e Al Jackson Jr. (dr)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by Booker T. Jones (A1, B5), William Bell (A2, B1, B2, B5), Chips Moman (A3), Dan Penn (A3), Jerry Butler (A4), Otis Redding (A4), Toussaint McCall (A5), John D. Loudermilk (A6), Booker T. Jones (B1), Isaac Hayes (B3), Joe Shamwell (B3, B5), Booker T. Jones (B4), David Porter (B4), Isaac Hayes (B4)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Speakers Corner\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Stax\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eRecorded in January and May 1967 at Stax Studios, Memphis (TN)\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eProduced by Jim Stewart\u003c\/span\u003e\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 2019\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\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\u003cp\u003eSide A :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eEverybody Loves A Winner\u003c\/li\u003e\n\u003cli\u003eYou Don't Miss Your Water\u003c\/li\u003e\n\u003cli\u003eDo Right Woman--Do Right Man\u003c\/li\u003e\n\u003cli\u003eI've Been Loving You Too Long (To Stop Now)\u003c\/li\u003e\n\u003cli\u003eNothing Takes The Place Of You\u003c\/li\u003e\n\u003cli\u003eThen You Can Tell Me Goodbye\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eEloise (Hang On In There)\u003c\/li\u003e\n\u003cli\u003eAny Other Way\u003c\/li\u003e\n\u003cli\u003eIt's Happening All Over\u003c\/li\u003e\n\u003cli\u003eNever Like This Before\u003c\/li\u003e\n\u003cli\u003eYou're Such A Sweet Thang\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e« William Bell's history illustrates just how singles-oriented soul was in the 1960s. Though he'd enjoyed a hit in 1961 with \"You Don't Miss Your Water,\" it wasn't until 1967 that Stax finally released his first album, the magnificent The Soul of a Bell. From that classic and Bell's moderate hits \"Never Like This Before\" and \"Everybody Loves A Winner\" to heartfelt versions of \"Do Right Woman, Do Right Man\" and \"I've Been Loving You Too Long,\" everything on this album (reissued on CD in 1991) illustrates the gospel-drenched richness of Southern soul. Meanwhile, the influence of Motown and the Four Tops is hard to miss on the riveting single \"Eloise (Hang On In There),\" which should have been a major hit, but surprisingly, never even charted. The 2002 CD reissue adds alternate versions of \"You Don't Miss Your Water\" and \"Any Other Way\". » AllMusic Review by Alex Henderson\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e« The History of American soul music is deeply rooted in blues. Labels like Chess and Atlantic were the leading producers of this rapidly evolving musical style. In the 1960’s, the primary soul labels were Motown and Stax. Based in Memphis, Stax had built a reputation as an influential blues outfit, that catered to Southern-influenced music. Their famous studio on McLemore Avenue had a unique raw sound that was represented in the recordings. This set them apart from their competitors at Motown. Their distribution agreement with Atlantic (ATCO) contributed to the early commercial success. What put Stax on the map was Otis Redding. His intense vocals and the muscular arrangements made him a burgeoning superstar. Redding’s untimely death in 1967, dealt a blow to the label. That year other vocal stars began to emerge. One of them was Memphis native William Bell. His debut, The Soul Of A Bell showcased Bell’s singing and songwriting skills.\u003c\/p\u003e\n\u003cp\u003eSpeakers Corner Records has released a 180-gram re-mastered vinyl of The Soul Of A Bell. Backed by Booker T. \u0026amp; The M.G.’s, eleven soulful tunes (some written by Bell) come to life. Side 1 opens with a Bell\/Booker T. original “Everyone Loves A Winner”. In what is a scaled back arrangement, a gentle, soulful ambiance envelops the song. The time-tested narrative of loss is set against relaxed grooves. Bell captures the melancholy as he croons…”when you lose, you lose alone”. “You Don’t Miss Your Water” is trademark Stax with a gospel undercurrent provided by Booker T. Jones on piano and organ. Bell’s a gifted lyricist and it shows here. Everyone is familiar with “Do Right Woman-Do Right Man”. The song helped to launch the career of Aretha Franklin. Many others have covered this tune in the hopes of matching “The Queen Of Soul”. William Bell dials it back to reflect his mellow tone and restrained delivery. There are touches like jazzy horn\/sax and 2nd chorus backup vocals that add some texture. Bell can turn up the intensity, but always with understatement. This low-key soulful testimony is present on Otis Redding’s powerhouse, “I’ve Been Loving You Too Long (To Stop Now)”. Bell essentially injects mellowness in place of growling ferocity. There has always been a connection between country music and r \u0026amp; B. Toussaint McCall’s “Nothing Takes The Place Of You” managed to bridge these genres. Bell exudes the bluesy agony with heartfelt earnest. The category-defying continues on “Then You Can Tell Me Goodbye”. Recorded as a country and doo-wop hit, Bell distills the plaintive resignation with his dulcet vocal rumination.\u003c\/p\u003e\n\u003cp\u003eSide 2 considerably shifts gears to up tempo jams. “Eloise (Hang In There)” infuses 1960’s ebullience in quintessential Memphis aesthetics. Steve Cropper’s guitar licks permeate the funky, rhythmic sway of “Any Other Way”. Any laid-back tendencies are no longer part of the session. The vaunted Stax house band percolates on the Isaac Hayes’ joyful romp, “It’s Happening All Over”. The presence of Wayne Jackson (trumpet) and Andrew Love” is more prominent in the arrangement. The momentum keeps escalating on the accessible and hip-shaking “Never Like This Before”. Bell simply cuts loose here, He channels the presence of Otis Redding and Wilson Pickett with his own vocal prowess. “You’re Such A Sweet Thing” is a rollicking finale to this highlight-filled thirty-two minute album.\u003c\/p\u003e\n\u003cp\u003eSpeakers Corner Records has done a stellar job in re-mastering The Soul Of A Bell to 180-gram vinyl. The unfiltered essence of Stax is present and the mix is balanced. This pressing is meticulous with little surface noise. » Robbie Gerson, Audiophile Audition, May 5, 2021\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIt was as though William Bell had been born specially to impress us with the musical style that prevailed in his birthplace, Memphis. The story of his life certainly makes one sit up and take notice. Many years before his debut album was released on the now-legendary Stax label, Bell wrote songs for the independent label and contributed to the original sound of the South. His simply constructed (in the very best sense) music with its emphasis on demanding lyrics, such as the hit \"Everybody Loves A Winner\", is highly appealing to sensitive souls. And it gets even better. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eWith \"You Don’t Miss Your Water\" Bell wrote a classic example of a down-to-earth country-soul number with a whistling organ and broad waves of sound on the winds. Unlike the emotional Wilson Pickett, for example, Bell cultivated a more moderate form of expression. Instead of breathless staccato, his music flows along at a more even pace that does not shy away from grave and ponderous retrospection (\"I’ve Been Loving You Too Long\"). Sensitive words follow to the strains of a seething organ (\"Nothing Takes The Place Of You\") and in a sluggish yet clearly articulated statement (\"Then You Can Tell Me Goodbye\"). As a contrast, there are also powerful, and rocking catchy numbers such as \"Eloise\", while the pulsating rhythm and colourful background singing in \"Never Like This Before\" explores new territory. But as it should be, every single number has its own story to tell.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\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\u003e4.46\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5 ; \u003c\/span\u003eAudiophile Audition : 4.5 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40406073540759,"sku":"S719","price":55.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/william-bell-the-soul-of-a-bell-audiosoundmusic-1.jpg?v=1719851584"},{"product_id":"donny-hathaway-everything-is-everything","title":"Donny Hathaway - Everything Is Everything (Speakers Corner)","description":"\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eDonny Hathaway  \u003ca title=\"audiophile vinyl featuring Donny Hathaway\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/donny-hathaway\"\u003e\u003cspan style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Donny Hathaway]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003eVocals, Piano, Electric Piano: Donny Hathaway (A1, A2, A3, A4, A5, A6, B1, B2, B3)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003eElectric Piano [Fender Piano Bass]: Donny Hathaway (B3)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003eBass: Louis Satterfield (A1, A2, A3), Philip Upchurch (A3, A4, A6, B1), Marshall Hawkins (A5, B2), Donny Hathaway (B2)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003eDrums: Morris Jennings (A1, A2, A3, A4, A6, B1, B2), Ric Powell (A5, B3)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003eGuitar: Philip Upchurch (A1, A2, A3, A4, A6, B1, B2), King Curtis (A3)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003ePercussion: Ric Powell (A1, A2, A3, A4, A6, B1, B2)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003eBacking Vocals: Eulaulah Hathaway (A2), Vashonettes (B3)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003eVoice: Lalah Hathaway (B2)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003eCongas: Henry Gibson (B2)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003eWritten by Philip Upchurch (A1), Ric Powell (A1, A5), Richard Evans (A1), Donny Hathaway (A2, A5, A6, B1, B2), Edward Kennedy (A2), Leroy Hutson (A2, A6, B2), Ray Charles (A3), Erroll Garner (A4), Johnny Burke (A4), Nina Simone (B3), Irvine J. Weldon Jr. (B3)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Speakers Corner\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Atco\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eRecording: September 1969 – April 1970 by Murray Allen and Roger S. Anfinsen\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003cbr\u003e\u003cspan\u003eProduction: Donny Hathaway and Ric Powell\u003c\/span\u003e\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 2019\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\u003cp\u003eSide A :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eVoices Inside (Everything Is Everything)\u003c\/li\u003e\n\u003cli\u003eJe Vous Aime (I Love You)\u003c\/li\u003e\n\u003cli\u003eI Believe To My Soul\u003c\/li\u003e\n\u003cli\u003eMisty\u003c\/li\u003e\n\u003cli\u003eSugar Lee\u003c\/li\u003e\n\u003cli\u003eTryin' Times\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eThank You Master (For My Soul)\u003c\/li\u003e\n\u003cli\u003eThe Ghetto\u003c\/li\u003e\n\u003cli\u003eTo Be Young, Gifted And Black\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« Already a respected arranger and pianist who'd contributed to dozens of records (by artists ranging from the Impressions to Carla Thomas to Woody Herman), with this debut LP Donny Hathaway revealed yet another facet of his genius -- his smoky, pleading voice, one of the best to ever grace a soul record. Everything Is Everything sounded like nothing before it, based in smooth uptown soul but boasting a set of excellent, open-ended arrangements gained from Hathaway's background in classical and gospel music. (Before going to Howard University in 1964, his knowledge of popular music was practically non-existent.) After gaining a contract with Atco through King Curtis, Hathaway wrote and recorded during 1969 and 1970 with friends including drummer Ric Powell and guitarist Phil Upchurch, both of whom lent a grooving feel to the album that Hathaway may not have been able to summon on his own (check out Upchurch's unforgettable bassline on the opener, \"Voices Inside (Everything Is Everything)\"). All of the musical brilliance on display, though, is merely the framework for Hathaway's rich, emotive voice, testifying to the power of love and religion with few, if any, concessions to pop music. Like none other, he gets to the raw, churchy emotion underlying Ray Charles' \"I Believe to My Soul\" and Nina Simone's \"To Be Young, Gifted and Black,\" the former with a call-and-response horn chart and his own glorious vocal, the latter with his own organ lines. \"Thank You Master (For My Soul)\" brings the Stax horns onto sanctified ground, while Hathaway praises God and sneaks in an excellent piano solo. Everything Is Everything was one of the first soul records to comment directly on an unstable period; \"Tryin' Times\" speaks to the importance of peace and community with an earthy groove, while the most familiar track here, a swinging jam known as \"The Ghetto,\" places listeners right in the middle of urban America. Donny Hathaway's debut introduced a brilliant talent into the world of soul, one who promised to take R\u0026amp;B farther than it had been taken since Ray Charles debuted on Atlantic. » AllMusic Review by John Bush\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eMany a musical career began in the gospel church choirs of the black communities, but that of Donny Hathaway must certainly be one of the most meteoric. Rolling Stone magazine named him the 49th greatest singer (of 100) of all time, though this might sound somewhat abstract. But just the very first few bars of the opening number \"Voices Inside\" promises a programme in which the instrumental and human voices are on a par. Just listen to the impressively saturate sound and clear phrasing of the wind instruments which range from discreet to brassy. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eSpiced with peppery volleys on the clavinet, Hathaway’s soul sound breaks into new ground with harmonically fresh blues (\"I Believe To My Soul\"), soars passionately upwards (\"Misty\") and ploughs through a percussive, dry and cheerful confusion in the number entitled \"Sugar Lee\". Every single arrangement profits to the full from the excellence of the musicians and each number is therefore quite unique. \u003cbr\u003e\u003cbr\u003eSoftly cushioned, melodious togetherness (\"Trying’ Times\") seems just as natural as prayer-like gospel song (\"Thank You Master For My Soul\"), which ventures into the realms of free jazz harmonies to the glory of God. To round off the album we once again hear Hathaway’s voice, smooth and soaring, right up into the top register, in the short number \"A Dream\" – an apt description of the whole album.\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 : 4.5 \/ 5 ,  \u003c\/span\u003e\u003cspan\u003eDiscogs \u003c\/span\u003e:\u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e4,51\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5  ,   \u003c\/span\u003e\u003cspan\u003eRate Your Music \u003c\/span\u003e:\u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e3,71\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40406095593623,"sku":"SD33-332","price":65.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/donny-hathaway-everything-is-everything-audiosoundmusic-1.jpg?v=1774720771"},{"product_id":"liza-minnelli-liza-with-a-z","title":"Liza Minnelli - Liza With A Z","description":"\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cbr\u003e\u003cbr\u003eLiza Minelli \u0026amp; orchestra\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eWritten by Fred Ebb (A1, A3, A6, B5), John Kander (A2, A3, A6, B5), Billie Holiday (A2), Arthur Herzog, Jr. (A2), Mike Curb (A4), Mack David (A4), Maurice Jarre (A4), Joe Tex (A5), John Hurley (B1), Ronnie Wilkins (B1), Mort Dixon (B2), Ray Henderson (B2), Charles Aznavour (B3), Walter Donaldson (B4), Sam M. Lewis (B4), Joe Young (B4), George Gershwin (B6), Ira Gershwin (B6), Gus Kahn (B6)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Speakers Corner\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Columbia\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eRecorded in May 31rst 1972 at Lyceum Theater, New York, by Phil Ramone \u0026amp; Arthur Kendy\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eProduced by Andrew Kazdin\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eOriginally released in 1972\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eReissued in 2015\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\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\u003cp\u003eSide A : \u003c\/p\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e1. Yes\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e2. God Bless the Child\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e3. Liza With a “Z”\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e4. It Was a Good Time\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e5. I Gotcha\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e6. Ring Them Bells\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e1. Son of a Preacher Man\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e2. Bye Bye Blackbird\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e3. You’ve Let Yourself Go\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e4. My Mammy\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e5. Medley of Tunes from “Cabaret”: Willkommen \/ Married; Money, Money \/ Maybe This Time \/ Cabaret\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e6. Bows (Liza)\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\n\u003col start=\"7\"\u003e\u003c\/ol\u003e\n\u003cbr\u003e\n\u003c\/div\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eReviews \u003c\/strong\u003e:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\"Liza With A 'Z'\" is a multi-media production that has been showered with superlatives. It won numerous awards, including those for Choreography and Direction. However, a further award for the music composed by John Kander and Fred Ebb is probably the main reason for the show being released on a record, i.e. just for the ears. But the plan bore fruit, and the LP rocketed onto the Billboard 200. It was to be Liza Minnelli’s best chart hit ever – and it could even be called the soundtrack of her life.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eGreat favourites such as \"Ring Them Bells\" and \"Bye Bye Blackbird\" are set alongside sharp rhythm and blues numbers (\"Son Of A Preacher Man\", \"I Gotcha\"). Taking centre stage is a 10-minute medley from the film adaptation of the musical \"Cabaret\" that was shown in the cinemas also in 1972 and which brought Minnelli her international breakthrough.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAll that remains of this costly and glamorous television event, which was only broadcast a few times on US television after the premiere, is the original music on record. Here it is once again in all its glory and with a new freshness.\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\u003e\u003cspan\u003eAllmusic : 4.5 \/ 5  , \u003c\/span\u003e\u003cspan\u003eDiscogs \u003c\/span\u003e: \u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e4,00\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5 , \u003c\/span\u003e\u003cspan\u003eRate Your Music \u003c\/span\u003e: \u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e4,00\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40410460323991,"sku":"KC 31762","price":45.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/liza-minnelli-liza-with-a-z-audiosoundmusic-1.jpg?v=1719851626"},{"product_id":"harry-nilsson-nilsson-sings-newman","title":"Harry Nilsson - Nilsson Sings Newman","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHarry Nilsson - vocal, keyboards, percussions \u003cspan style=\"color: #ff8000;\"\u003e\u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/harry-nilsson\" title=\"vinyl featuring harry nilsson\" style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Harry Nilsson]\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRandy Newman - piano\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by Randy Newman\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve, lyrics\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Speakers Corner\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : RCA\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eRecorded in August - October 1969 at RCA's Music Center of the World, Hollywood, by Grover Helsley\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded by Grover Helsley\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMixed by Barncard, Leary, Ieraci, Zentz, Nilsson\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eProduced by Harry Nilsson\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMastered by: Willem Makkee\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 2013\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eTracks :\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003cp\u003e                1. Vine St.\u003c\/p\u003e\n\u003cp\u003e                2. Love Story\u003c\/p\u003e\n\u003cp\u003e                3. Yellow Man\u003c\/p\u003e\n\u003cp\u003e                4. Caroline\u003c\/p\u003e\n\u003cp\u003e                5. Cowboy\u003c\/p\u003e\n\u003cp\u003eSide B\u003c\/p\u003e\n\u003cp\u003e                1. The Beehive State\u003c\/p\u003e\n\u003cp\u003e                2. I'll Be Home\u003c\/p\u003e\n\u003cp\u003e                3. Living Without You\u003c\/p\u003e\n\u003cp\u003e                4. Dayton, Ohio 1903\u003c\/p\u003e\n\u003cp\u003e                5. So Long Dad\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAwards\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003c\/span\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eGruvy Award (Michael Fremer)\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eStereo Review's album of the year\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\"Sonically it's as good as it can get and you'll never tire of listening to it. I've got forty three years and counting and still loving it.\" Michael Fremer, Analog Planet\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e« Named Stereo Review's album of the year (and, really, can you ask for a better endorsement than that?) upon its release and generally regarded as the album that introduced Randy Newman the songwriter to a wide audience, Nilsson Sings Newman has gained a reputation of being an minor masterwork. This, in a way, is misguiding, since this isn't an obvious record, where the songs are delivered simply and directly. It's deliberately an album of subtle pleasures, crafted, as the liner notes state, line by line in the studio. As such, the preponderance of quiet piano-and-voice tracks (featuring Newman himself on piano, Nilsson on vocals) means the record can slip away upon the first few listens, especially for anyone expecting an undeniable masterpiece. Yet, a masterpiece is what this is, albeit a subtle, graceful masterpiece where the pleasure is in the grace notes, small gestures, and in-jokes. Not to say that this is devoid of emotion; it's just that the emotion is subdued, whether it's on a straightforward love song (\"Caroline\") or a tongue-in-cheek tale like \"Love Story.\" For an album that introduced a songwriter as idiosyncratic as Newman, it's only appropriate that Nilsson's interpretations are every bit as original as the songs. His clear intonation and sweet, high voice are more palatable than Randy's slurred, bluesy growl, but the wild thing is, these versions demand that the listeners surrender to Nilsson's own terms. He's created gentle, intricate arrangements of tuneful yet clever songs, and as such, the album may be as much an acquired taste as Newman. Once you've acquired that taste, this is as sweet as honey. » AllMusic Review by Stephen Thomas Erlewine\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eWhen two talented, cussed men such as Harry Nilsson and Randy Newman get together to record an album, you can be sure of an exceptional record filled with great vocals and poetry. Nilsson, who is described as a man who performs his songs with one cynical, laughing eye and one nostalgic, tearful eye in Rowohlt’s Rock-Lexikon, finds inspiration in the then relatively unknown Newman, a docile but caustic social critic who often attacked American society in his songs.\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIn the layers and harmonies achieved partly by overdubbing, and which alternate between cowshed, barbershop and the Beatles, Nilsson manages to make his bitter words somewhat easier to digest. He relates the bizarre chronicle of a couple who have a dull relationship and who morbidly look forward to passing away in an old people’s home (\"Love Story\"), or he swears his undying love to a certain Caroline in springtime, or he is transported back in time in his mind’s eye to an idyllic little town in the countryside (\"Dayton, Ohio 1903\"). A weighty musical background would lend nothing to these highly sophisticated songs. Piano chords, a little bit of electric harpsichord, and a tinkle on the organ keys here and there suffice to dally in an old-fashioned manner – with a sarcastic smile or even a nasty grin – in the desolation of reality, without getting the blues.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings : \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eAllmusic : 4.5 \/ 5  , \u003cspan\u003eDiscogs \u003c\/span\u003e:\u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e4,62\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5 , \u003c\/span\u003e\u003cspan\u003eRate Your Music \u003c\/span\u003e:\u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e3,79\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5 , \u003cspan\u003eMichael Fremer : Music : 10 \/10 , Sound : 9 \/ 10.\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40410849345687,"sku":"LSP-4289","price":55.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/harry-nilsson-nilsson-sings-newman-audiosoundmusic-1.jpg?v=1719851655"},{"product_id":"the-doobie-brothers-the-captain-and-me","title":"The Doobie Brothers - The Captain and Me","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe Doobie Brothers \u003cspan style=\"color: #ff8000;\"\u003e\u003ca title=\"vinyl featurig The Doobie Brothers\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/the-doobie-brothers\" style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring the Doobie Brothers]\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTom Johnston (g, hca, synth, voc); Patrick Simmons (g, synth, voc); John Hartman (perc, dr, voc); Tiran Porter (b, voc); Michael Hossack (dr, cga, perc)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by Tom Johnston (A1, A2, A3, A4, B1, B5, B6), Patrick Simmons (A5, B1, B2, B3), John Hartman (B1), Michael Hossack (B1), Tiran Porter (B1), James Earl Luft (B4)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Speakers Corner\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Warner\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 2007\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eNatural Thing\u003c\/li\u003e\n\u003cli\u003eLong Train Runnin'\u003c\/li\u003e\n\u003cli\u003eChina Grove\u003c\/li\u003e\n\u003cli\u003eDark Eyed Cajun Woman\u003c\/li\u003e\n\u003cli\u003eClear As The Driven Snow\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eWithout You\u003c\/li\u003e\n\u003cli\u003eSouth City Midnight Lady\u003c\/li\u003e\n\u003cli\u003eEvil Woman\u003c\/li\u003e\n\u003cli\u003eBusted Down Around O'Connelly Corners\u003c\/li\u003e\n\u003cli\u003eUkiah\u003c\/li\u003e\n\u003cli\u003eThe Captain and Me\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cp\u003e\u003cspan\u003e\u003c\/span\u003e« The Doobie Brothers' third long-player was the charm, their most substantial and consistent album to date, and one that rode the charts for a year. It was also a study in contrasts, Tom Johnston's harder-edged, bolder rocking numbers balanced by Patrick Simmons' more laid-back country-rock ballad style. The leadoff track, Johnston's \"Natural Thing,\" melded the two, opening with interlocking guitars and showcasing the band's exquisite soaring harmonies around a beautiful melody, all wrapped up in a midtempo beat -- the result was somewhere midway between Allman Brothers-style virtuosity and Eagles\/Crosby \u0026amp; Nash-type lyricism, which defined this period in the Doobies' history and gave them a well-deserved lock on the top of the charts. Next up was the punchy, catchy \"Long Train Runnin',\" a piece they'd been playing for years as an instrumental -- a reluctant Johnston was persuaded by producer Ted Templeman to write lyrics to it and record the song, and the resulting track became the group's next hit. The slashing, fast-tempo \"China Grove\" and \"Without You\" represented the harder side of the Doobies' sound, and were juxtaposed with Simmons' romantic country-rock ballads \"Clear as the Driven Snow,\" and \"South City Midnight Lady.\" Simmons also showed off his louder side with \"Evil Woman,\" while Johnston showed his more reflective side with \"Dark Eyed Cajun Woman,\" \"Ukiah\" and \"The Captain and Me\" -- the latter, a soaring rocker clocking in at nearly five minutes, features radiant guitars and harmonies, soaring ever higher and faster to a triumphant finish. » AllMusic Review by Bruce Eder\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe Doobie Brothers weren’t brothers, nor were they called Doobie. The band started life as Pud in 1969 in Chateau Liberté, a club in the mountains of California. The group took on the slang name for marihuana cigarettes (doobie) one year later. The Doobies’ music, however, never sounded like that of befuddled, half-stoned junkies. Heavy metal hard rock was their thing which made their record company Warner target the bikers of the rocker scene. The idea backfired, though, because the band had far more to offer than explosive hard rock.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe album \"The Captain And Me\" is considered to be the group’s most concentrated and versatile production since it contrasts aggressive, hard numbers with gentle ones full of melodiousness. The very first number, \"Natural Thing\", shows how winsome vocal folk music and electric guitar riffs can be amalgamated into rock music. Amongst these titles, decidedly angry numbers such as \"Without You\" and \"Evil Woman\" became real trailblazers. Now and then, an extensive harp solo or nonchalant licks from the acoustic guitar remind one of the pungent bluegrass style emanating from the South. That even the sweet wailing of the steel guitar (\"South City Midnight Lady\") finds room for expression seems quite logical in this well-thought-out musical concept.\u003c\/span\u003e\u003cbr\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 : 4.5 \/ 5  , \u003c\/span\u003e\u003cspan\u003eDiscogs \u003c\/span\u003e: \u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e3,89\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5 , \u003c\/span\u003e\u003cspan\u003eRate Your Music \u003c\/span\u003e: \u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e3,80\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40412680355991,"sku":"BS-2694","price":65.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/the-doobie-brothers-the-captain-and-me-audiosoundmusic-1.jpg?v=1719851677"},{"product_id":"harry-belafonte-with-miriam-makeba-an-evening-with-belafonte-makeba","title":"Harry Belafonte with Miriam Makeba - An Evening with Belafonte \u0026 Makeba","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eHarry Belafonte - vocal \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/harry-belafonte\" title=\"Vinyl featuring Harry Belafonte\" data-mce-fragment=\"1\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\"\u003e[click here to see more vinyl featuring Harry Belafonte]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eMiriam Makeba - vocal\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eJonas Gwangwa (arr, cond); Sam Brown, Eddie Diehl, Jay Berliner (g); William Salter (bass-violin); Auchee Lee, Solomon Ilori, Chief Bey, (perc)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eWritten by Miriam Makeba (A4), Jonas Gwangwa (B6), Dorothy Masuka (B2), William Salter (B3). Other songs are traditionnal songs from african tribes : Xhosa (A1), Zulu (A2, A3, A5, B4, B5), Sotho (B1).\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eArranged by Miriam Makeba (A1, A2, A6, B4) and Jonas Gwangwa (A3, A5, B1, B4, B5)\u003c\/strong\u003e\u003cstrong\u003e.\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Speakers Corner\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : RCA\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eRecorded in 1965 in RCA Victor’s Studios, New York\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eProduced by Andy Wiswell and Harry Belafonte\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eOriginally released in 1965\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eReissued in 2004\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\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\u003cp\u003eSide A :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eTrain Song\u003c\/li\u003e\n\u003cli\u003eIn the Land of the Zulus\u003c\/li\u003e\n\u003cli\u003eHush, Hush\u003c\/li\u003e\n\u003cli\u003eTo Those We Love\u003c\/li\u003e\n\u003cli\u003eGive Us Our Land\u003c\/li\u003e\n\u003cli\u003eBeware, Verwoerd!\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eGone Are my Children\u003c\/li\u003e\n\u003cli\u003eHurry, Mama, Hurry!\u003c\/li\u003e\n\u003cli\u003eMy Angel\u003c\/li\u003e\n\u003cli\u003eCannon\u003c\/li\u003e\n\u003cli\u003eLullaby\u003c\/li\u003e\n\u003cli\u003eShow Me the Way, My Brother\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eSongs from Africa: Just by reading this subtitle, one might well ask oneself whether an album with such an unpretentious title would ever manage to find its way to the charts. But as soon as the disc is placed on the turntable, all doubts are dispelled that this collection of songs was actually one of the top sellers of its genre in the Sixties. The melodies, all of which stem from South African tribal songs, are treated lovingly to sensitive new arrangements. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIt goes without saying that the producers only wanted a minimum of background instrumentalists for these two star singers in order to preserve the original character of the songs. A little bit of guitar here, a touch of mouth organ there, and the soft rhythm of drums are all that are needed for the soft springy sound. Central to the authentic sound is a mixed chorus that mostly uses the traditional art of antiphonal singing with the soloists.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eSuch delightful sounds and harmony will make you want to put the stylus back on the groove again and again. This is addictive music of the world, which one can listen to for hours on end.\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 : 4.5 \/ 5 , \u003c\/span\u003e\u003cspan\u003eDiscogs \u003c\/span\u003e:\u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e4,33\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5 , \u003c\/span\u003e\u003cspan\u003eRate Your Music \u003c\/span\u003e:\u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e3,46\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40413075964055,"sku":"LSP-3420","price":65.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/harry-belafonte-with-miriam-makeba-an-evening-with-belafonte-and-makeba-audiosoundmusic-1.jpg?v=1719851702"},{"product_id":"johannes-brahms-symphony-no-1-in-c-minor-op-68-the-cleveland-orchestra-orchestra-conducted-by-george-szell","title":"Brahms - Symphony No. 1 in C minor - George Szell","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eJohannes Brahms: Symphony No. 1 in C minor op. 68\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eThe Cleveland Orchestra conducted George Szell\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Speakers Corner\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : EPIC\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eRecorded March 1-2, 1957 at Severance Hall, Cleveland\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eOriginally released in 1957\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eReissued in 2019\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eUn Poco Sostenuto; Allegro\u003c\/li\u003e\n\u003cli\u003eAndante Sostenuto\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B:\u003c\/p\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e1. Un Poco Allegretto E Grazioso\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e2. Adagio; Allegro on Troppo, Ma Con Brio\u003c\/div\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eReviews :\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eContemporary critics tended to regard Brahms’s First Symphony as follow up to Beethoven’s nine symphonies, arising from its lofty, solemn expression, its melodramatic construction and occasional motivic similarities. Fully conscious of the tremendous symphonic heritage left by Beethoven, it took Brahms 14 years to complete his symphony and present it to the public. The desolate seriousness, the disconcerting asceticism in the short themes of the work, which »does not recommend itself on account of its charm« (Brahms), has tempted many an interpreter to tone the performance down emotionally or to enhance the drama. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe maestro George Szell avoided such dangers by tackling the score dauntlessly. The agonizing minor-key introduction in 6\/8 time surges steadily onwards, the tempi remain taut, whilst all the details of the jagged score are brought to the fore. In the final movement the noble 'Alphorn' theme strides forward, and is escalated by the syncopated strings that rush on with breathless furioso. The sheer number of recordings of this monumental work is an indication that the listener must work hard to discover all the fascinating aspects in each bar of Brahms’s composition. The present recording is well qualified for this undertaking.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eRatings :\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAllmusic : 4.5 \/ 5  ,  \u003c\/span\u003e\u003cspan\u003eDiscogs \u003c\/span\u003e:\u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e3,63\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5  ,  \u003c\/span\u003e\u003cspan\u003eRate Your Music \u003c\/span\u003e:\u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e3,09\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40413641900183,"sku":"BC 1010","price":55.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/brahms-symphony-no-1-in-c-minor-george-szell-audiosoundmusic-1.jpg?v=1719851702"},{"product_id":"richard-strauss-symphonia-domestica-op-53-the-cleveland-orchestra-conducted-by-george-szell","title":"Richard Strauss - Symphonia Domestica - George Szell","description":"\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eRichard Strauss - \"Symphonia Domestica\", op. 53 \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eThe Cleveland Orchestra conducted by George Szell\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eLabel : Speakers Corner\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eOriginal Label : Columbia\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cspan\u003eRecorded January 10, 1964 at Severance Hall, Cleveland\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cspan\u003eProduction: Paul Myers\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cspan\u003eOriginally released in 1964\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cspan\u003eTracks :\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A : \u003cspan data-mce-fragment=\"1\"\u003eSymphonia Domestica, Op. 53\u003c\/span\u003e (Beginning)\u003c\/p\u003e\n\u003cp\u003eSide 2 : \u003cspan data-mce-fragment=\"1\"\u003eSymphonia Domestica, Op. 53\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e. \u003c\/span\u003e(Conclusion)\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eReviews :\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eConvinced of his own historical importance, Richard Strauss introduced himself to American soldiers as the \"Composer of the Rosenkavalier\" when they knocked on the door of his villa in Garmisch-Partenkirchen at the end of the Second World War. Already more than 40 years earlier, Strauss considered himself as interesting as Napoleon and Alexander the Great and defended his egocentric Opus 40 (\"Ein Heldenleben\") by saying that he didn’t see why he shouldn’t write a symphony about himself. The \"Symphonia Domestica\", op. 53 is a musical tribute to family life in the living room, at the dining table and in the bedroom, in which Strauss expresses in a strikingly lyrical tone. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eGeorge Szell and the Cleveland Orchestra conjure up a picture of a happy family life, and the harmonious relationship between father, mother and son, which is sometimes filled with’ joie de vivre’, gallantry, jubilation but also sometimes filled with disputes. Looking more closely at Strauss and his \"Symphonia Domestica\", listeners will find – alongside a familiar late-romantic musical language – clear echoes of his unique personal style. Wide intervals, a bold and vivacious treatment of the themes, surprising harmonic changes and not least exuberant melodiousness are unmistakable characteristics of this exhilarating music, which reflects the colossal ego of its composer.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eRatings :\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eDiscogs \u003c\/span\u003e: \u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e4,00\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40413775331479,"sku":"MS 6627","price":76.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/richard-strauss-symphonia-domestica-george-szell-audiosoundmusic-1.jpg?v=1719851702"},{"product_id":"brahms-alto-rhapsody-song-of-destiny-mahler-songs-of-a-wayfarer-bruno-walter","title":"Brahms - Alto Rhapsody, Song Of Destiny \/ Mahler - Songs Of A Wayfarer - Bruno Walter","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eJohannes Brahms: \"Alto Rhapsody\", \"Song Of Destiny\"\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eGustav Mahler: \"Songs Of A Wayfarer\" \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eMildred Miller (voc)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eThe Occidental College Concert Choir and the Columbia Symphony Orchestra conducted by Bruno Walter\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Speakers Corner\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Columbia\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eRecorded on June 1960 and January 1961 at Columbia Studios, Hollywood\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eProduced by John McClure\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eOriginally released in 1963\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eReissued in 2017\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\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\u003cp\u003eSide A :\u003c\/p\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e1. Brahms: Alto Rhapsody, Op. 53\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e2. Brahms: Song Of Destiny, Op. 54\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003eSide B : Songs Of A Wayfarer (Leider Eines Fahrenden Gesellen)\u003c\/div\u003e\n\u003col\u003e\n\u003cli\u003eWenn Mein Schatz Hochzeit\u003c\/li\u003e\n\u003cli\u003eGing Heut' Morgen Über's Feld\u003c\/li\u003e\n\u003cli\u003eIch Hab' Ein Glühend' Messer\u003c\/li\u003e\n\u003cli\u003eDie Zwei Blauen Augen\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe \"Alto Rhapsody\", \"Song Of Destiny\" and \"Song Of A Wayfarer\". Each of these three vocal compositions is unique in its expression and construction, yet the frayed emotional worlds of all three works are connected by a multitude of fine threads. The \"Alto Rhapsody\", which Brahms wrote as a wedding gift for Clara Schumann’s daughter Julie, in whom he was himself in love, demonstrates with almost Wagnerian weight the anger that the disappointed Brahms must have felt while composing. The \"Song Of Destiny\" too, with its sonorous E major waves of harmony, soon announces in C minor the finiteness of existence as Hölderin’s poem demands.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e That finally a hopeful, conciliatory – though unsure – moment lingers is reflected in the musical means. Many emotions and vagaries are emulated in Mahler’s song cycle. The journeyman sets off on his wanderings in order to forget his unhappy liaison and strides through the ups and downs of mixed emotions and painful heartache. Drumrolls and march rhythms reflect the real world and sounds of nature, dissonances and a change between major and minor keys show the way from dreams, reality and feelings. The recording with Mildred Miller and the Columbia Symphony Orchestra under Bruno Walter has achieved reference status and is sure of a place in the TAS Super LP List given out by \"The Absolute Sound\".\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\u003e\u003cspan\u003eDiscogs \u003c\/span\u003e: \u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e4,17\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40417751335063,"sku":"MS 6488","price":65.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/brahms-alto-rhapsody-song-of-destiny-mahler-songs-of-a-wayfarer-bruno-walter-audiosoundmusic-1.jpg?v=1719851709"},{"product_id":"igor-stravinsky-les-noces-renard-ragtime-for-eleven-instruments","title":"Stravinsky conducts Stravinsky - Les Noces, Renard, Ragtime for Eleven Instruments","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eIgor Stravinsky - Les Noces (The Wedding)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003ePianists : Samuel Barber, Aaron Copland, Lukas Foss, Roger Sessions\u003c\/p\u003e\n\u003cp\u003eMildred Allen (soprano), Regina Sarfaty (mezzo-soprano), Loren Driscoll (tenor), Robert Oliver (bass)\u003c\/p\u003e\n\u003cp\u003eThe Columbia Percussion Ensemble and Tha American Concert Choir\u003c\/p\u003e\n\u003cp\u003eConducted by Igor Stravinsky\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eIgor Stravinsky -\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003eRenard (The Fox)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eGeorge Shirley (tenor), Loren Driacon (tenor), William Murphy (baritone), Donald Gramm (bass)\u003c\/p\u003e\n\u003cp\u003eThe Columbia Chamber Ensemble conducted by Igor Stravinsky\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eIgor Stravinsky -\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003eRagtime for Eleven Instruments\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThe Columbia Chamber Ensemble conducted by Igor Stravinsky\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Speakers Corner\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Columbia\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eRecorded in September 1962 at American Legion Hall, Hollywood, and January 1962 at Manhatten Center, New York, by Edwin Michalski\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eProduced John McClure\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eOriginally released in 1962\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eReissued in 2016\u003c\/span\u003e\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\u003cp\u003eSide A : Les Noces (“The Wedding”)\u003c\/p\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eRenard (“The Fox”)\u003c\/li\u003e\n\u003cli\u003eRagtime For Eleven Instruments\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e“The 20th Century era of classical music was notable for its divergent styles. Without a predominant sub-genre, composers engaged in romantic, neo-classicism, modernism, jazz-influenced, impressionism, minimalism and free dissonance. It is widely believed that the most influential and diverse composer of this exciting and at times unpredictable time period was Igor Stravinsky. Starting as a student of Rimsky-Korsakov, he redefined rhythmic structures and musical arrangement. His embrace of religious orthodoxy and creative freedom was a unique and potent combination. While Stravinsky would garner renown for a variety of classical writing, he rose to prominence for three ballet scores, The Firebird, Petrushka and The Rite Of Spring. \u003c\/p\u003e\n\u003cp\u003eSpeakers Corner Records has released a 180-gram vinyl of a 1962 Columbia Masterworks album, Stravinsky Conducts Stravinsky. It consists of three very different performances, ‘Les Noces\/The Wedding”, “Renard\/The Fox” and “Ragtime For Eleven Instruments”. Side 1 opens with a performance of “Les Noces (The Wedding)”. This is a ballet and orchestral concert piece. The stripped down arrangements features an exceptional ensemble of four pianist, each one a defining figure in 20th century music in their own right:   Aaron Copland; RogerSessions, Lukas Foss and Samuel Barber—the pitched percussion. The un-pitched percussion is performed by the Columbia Percussion Ensemble. The arrangement reflects the composer’s vision for original score. Characters are voiced abstractly as Stravinsky described in the liner notes. He utilizes soprano (Mildred Allen), mezzo-soprano (Regina Saarfaty), tenor (George Shirley) and baritone (Donald Graham). Here. the master himself conducts the recording session. All of the elements of Stravinsky are present…religious dedication, family, tradition and dramatic angst. The piano\/percussion-centric arrangement is filled with military-like precision and staccato accents. The listener can appreciate the influence Stravinsky would have on contemporary modern composers. Complex ideas and emotions are channeled through the nervous bride (exchanging with her bridesmaids and mother) and the bridegroom’s dialogue with his father. Some of the music takes on a stark, uneasy resonance (with occasional dissonance), but there is a whimsical balance in some of the chorus refrains. Additionally, the bride (soprano) and tenor (bridegroom) share a beautiful counterpoint. Stravinsky has indicated that the vocal parts are non-specific. What makes “Les Noces\/The Wedding” compelling is the relentless commitment to intensity and a smaller orchestral imprint. While it wasn’t universally praised at its debut, it has become a shining example of the Stravinsky musical genius.\u003c\/p\u003e\n\u003cp\u003eSide 2 offers two compositions which diverge musically. There is fuller orchestration. First up is “Renard (The Fox)”, Stravinsky’s allegorical tale of barnyard treachery and mayhem. Horns and percussion usher in this lively performance. Compelling sudden time-signature changes and arpeggios explode, followed by lyrical interludes translated by different woodwinds. After the 13:00 mark, the cimbalom (similar to a hammer dulcimer) is introduced which adds a folkish resonance. Of course there are march-time tempos (another nod to military-precision) that capture the dramatic evolution of the mortal struggles of animals. The voices and instruments bring the almost cartoon-like creatures (preening rooster, sly, malevolent fox) to life. Stravinsky’s piety and moral compass is on display as Renard meets his inevitable demise. There are several humorous moments, including the ending. The libretto has been translated into English at the request of the composer. A second number, “Ragtime For Eleven Instruments” features a classical re-imagination of ragtime jazz with flute, clarinet, horns, cimbalom, trombone violas and a double bass. Stravinsky and the Columbia Chamber Ensemble distill the jazzy nuances and riveting moments of syncopation in a mere 4:36. The swaying melodic structures feel like a precursor to some of the choreographed segments in “West Side Story”. It is memorable.\u003c\/p\u003e\n\u003cp\u003eSpeakers Corner has done an outstanding job on this 180-gram re-master. The vital percussion is rendered with distinct crispness in the mix. The operatic voices are centered and integrate like instruments. This vinyl pressing is flawless with little surface noise, and no hisses or pops.” Robbie Gerson, Audiophile Audition, May 2021\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAlthough ten years separate the gigantic composition \"Le Sacre du Printemps\" and the dance cantata \"Les Noces\", the more recent work has several things in common with its scandalous predecessor. Originally Stravinsky planned to use a vast orchestra of 150 musicians, but decided after numerous attempts to settle for four pianos, percussion, voices and mixed chorus. Concealed behind the innocuous title is not a peasant wedding but once again an archaic ritual, »which takes possession of several of the central figures, drives them on and eventually crushes them with its unrelenting movement« (André Boucourechliev, Igor Stravinski, Fayard 1982). Ballet, rhythmic dance through and through, fuses with Russian melodic song and thereby exudes a folkloristic exoticism.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eRarely performed yet zestful and a sheer delight for the ears is the burlesque tale \"Renard\", a musical fable about Reynard the crafty Fox, the Cock, the Cat, and the Ram.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eStravinsky himself conducted this recording made with a grand line-up of America’s top composers at the piano keyboard – Samuel Barber, Lukas Foss, Aaron Copland and Roger Sessions. One certainly can’t ask for more authenticity on record than these contemporary witnesses.\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\u003eDiscogs \u003c\/span\u003e: \u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e4.50\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5  ; \u003c\/span\u003e\u003cspan\u003eRate Your Music \u003c\/span\u003e: \u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e4.50\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5 ; Audiophile Audition : 4 \/ 5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40417914060951,"sku":"MS6372","price":55.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/stravinsky-conducts-stravinsky-les-noces-renard-ragtime-for-eleven-instruments-audiosoundmusic-1.jpg?v=1719851709"},{"product_id":"bizet-carmen-suite-larlesienne-suite-ernest-ansermet","title":"Bizet - Carmen Suite, L'Arlesienne Suite - Ernest Ansermet","description":"\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eGeorge Bizet - Carmen Suite, L'Arlesienne Suite\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eOrchestre de la Suisse Romande conducted by Ernest Ansermet\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Speakers Corner\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Decca\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eRecording: April and May 1958 at Victoria Hall, Geneva (Switzerland), by Roy Wallace\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eProduction: James Walker\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eOriginally released in 1958\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eReissued in 2012\u003c\/span\u003e\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\u003cp\u003eSide A : Carmen Suite\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003ePrélude, Act 1\u003c\/li\u003e\n\u003cli\u003ePrélude, Act 4 (Aragonaise)\u003c\/li\u003e\n\u003cli\u003ePrélude, Act 3 (Intermezzo)\u003c\/li\u003e\n\u003cli\u003ePrélude, Act 2 (Les Dragons D'Alcala)\u003c\/li\u003e\n\u003cli\u003eScène Des Contrabandiers, Act 3\u003c\/li\u003e\n\u003cli\u003eHabanera, Act 1\u003c\/li\u003e\n\u003cli\u003eLa Garde Montante, Act 1\u003c\/li\u003e\n\u003cli\u003eDanse Bohème, Act 2\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e\u003cspan\u003eSide b : \u003c\/span\u003eL'Arlesienne Suite\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003ePrélude\u003c\/li\u003e\n\u003cli\u003eMinuetto\u003c\/li\u003e\n\u003cli\u003eAdagietto\u003c\/li\u003e\n\u003cli\u003eCarillon\u003c\/li\u003e\n\u003cli\u003eMenuet\u003c\/li\u003e\n\u003cli\u003eFarandole\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eReviews:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe 19th-century suites with their collection of favourite songs and instrumental excerpts from operas are the clear forerunners of today’s 'Best-Of' culture. The \"Carmen Suite\" was assembled after Bizet’s death and brought the operatic masterpiece into the concert hall. The overture is fresh and rousing, the toreador theme marches in proudly and purposefully, followed by the destiny motif in the minor key which burns itself into ones ear and mind. With every bar it becomes obvious that this suite is not so much a series of excerpts but rather the true substance of its creator’s musical ideas.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAll that remained of the five-act play \"L’Arlésienne\" after its unsuccessful premiere was Bizet’s incidental music, which he himself orchestrated lavishly and premiered with success. Similar to \"Carmen\", popular melodies are treated with the composer’s own unique style to make them ageless, and Ernest Ansermet and his orchestra stages them delightfully for all eternity.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eRatings :\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eDiscogs \u003c\/span\u003e: \u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e4,00\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40418271985815,"sku":"SXL 2037","price":120.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/bizet-carmen-suite-l-arlesienne-suite-ernest-ansermet-audiosoundmusic-1.jpg?v=1719851716"},{"product_id":"debussy-images-pour-orchestre-ataulfo-argenta","title":"Debussy - Images pour Orchestre - Ataulfo Argenta","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(255, 128, 0);\"\u003e\u003cstrong\u003eRarity\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eClaude Debussy - Images pour Orchestre “Gigues”, “Ibéria” and “Rondes de Printemps”\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eOrchestre de la Suisse Romande conducted by Ataúlfo Argenta\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Speakers Corner\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : London\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eRecording: May 1957 at Victoria Hall, Geneva by Roy Wallace\u003cbr\u003e\u003cbr\u003eProduction: James Walker\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eOriginally released in 1957\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eReissued in 1996\u003c\/span\u003e\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\u003cp\u003eSide A :\u003c\/p\u003e\n\u003cp\u003e                1. No. 1 Gigues\u003c\/p\u003e\n\u003cp\u003e                2. No. 3 Rondes de Printemps\u003c\/p\u003e\n\u003cp\u003eSide B :    No. 2 Iberia\u003c\/p\u003e\n\u003cp\u003e                1. Par les rues et par les chemins\u003c\/p\u003e\n\u003cp\u003e                2. Les parfums de la nuit\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003e                \u003c\/span\u003e\u003c\/strong\u003e3. Le matin d’un jour de fête\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eReviews :\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e“And the blind shall see” – promising words indeed! And very apt to describe the impressionist tonal paintings of Claude Debussy, who exchanged the paintbrush for a pen and the canvas for manuscript paper. Debussy’s musical tools were not so much the etching-needle or sharp pencil but rather more a rich variety of glorious paints on his palette and thick brushes and sponges to form flowing figures and shapes on his musical canvas.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eWith the Images pour Orchestre, the art lover possesses three of the mature composer’s most important musical paintings to hang in his gallery.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThanks to its rhythmic and melodic structure, Ibéria is very probably the most striking of these three studies. The impressionistic, frazzled theme is lent substance through the familiar sounds and rhythms of Spanish folk music; Debussy conjures up the moods and impressions of a landscape which he himself hardly knew. And should the listener not be in a position to wander the streets and pathways, to breathe the perfume of the night, nor to enjoy a fiesta morning, then this record will certainly enable him to “see” all this for himself.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eRatings :\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eDiscogs \u003c\/span\u003e:  \u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e5,00\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40424687370391,"sku":"CS 6013","price":85.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/debussy-images-pour-orchestre-ataulfo-argenta-audiosoundmusic-1.jpg?v=1719851761"},{"product_id":"prokofiev-peter-and-the-wolf-saint-saens-carnival-of-the-animals-skitch-henderson","title":"Prokofiev - Peter and the Wolf \u0026 Saint-Saens - Carnival of the Animals - Skitch Henderson","description":"\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eSergei Prokofiev : Peter and the Wolf\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eCamille Saint-Saens : Carnival of the Animals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eBeatrice Lillie (vocals), \u003c\/strong\u003e\u003cstrong data-mce-fragment=\"1\"\u003eAnimals of the London Zoo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eLondon Symphony Orchestra conducted by Skitch Henderson\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Speakers Corner\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Decca\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eRecording: February 1960 at Kingsway Hall, London by Kenneth E. Wilkinson\u003cbr\u003e\u003cbr\u003eProduction: John Culshaw\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eOriginally released in 1960\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eReissued in 1996\u003c\/span\u003e\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\u003cp\u003eSide A : Prokofiev - Peter and the Wolf\u003c\/p\u003e\n\u003cp\u003eSide B : Saint-Saens - Carnival of the Animals\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eFor those who enjoy a pun, Saint-Saëns’s \"Carnival Of The Animals\" and Prokofiev’s symphonic tale for children \"Peter And The Wolf\" might well be described as “beastly”. And this recording makes no exception for it is, indeed, quite spectacular! Both works are introduced by the roaring and screaming of the inhabitants of London Zoo. The individual orchestral instruments are introduced during the course of the music and are commented upon by a human voice in a narrative.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe characters and animals are each given a characteristic theme which is presented by a particular instrument or register. While Prokofiev wrote his composition with a pedagogic purpose in mind, Saint-Saëns’s main aim was to create a piece of musical fun. The mischievous work not only offers a lively depiction of various animals and even hollow-sounding fossils (by means of the xylophone), but also contains numerous tongue-in-cheek references to works by great composers.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThese two musical masterpieces combine humour with education in a thoroughly fascinating and enchanting manner and are equally loved by children and adults alike. The interpretation and sound of this DECCA LP certainly earns first prize for being 'beastly'!\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\u003eDiscogs \u003c\/span\u003e: \u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e4,00\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40424739111063,"sku":"SXL 2218","price":76.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/prokofiev-peter-and-the-wolf-and-saint-saens-carnival-of-the-animals-skitch-henderson-audiosoundmusic-1.jpg?v=1719851761"},{"product_id":"albeniz-iberia-turina-danzas-fantasticas-ernest-ansermet","title":"Albéniz - “Iberia” \/ Turina - Danzas fantásticas - Ernest Ansermet","description":"\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eIsaac Manuel Francisco Albéniz y Pascual - \u003c\/span\u003e“Iberia”\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eJoaquín Turina Pérez -\u003c\/span\u003e Danzas fantásticas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eOrchestre de la Suisse Romande conducted by Ernest Ansermet\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Speakers Corner\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Decca\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eRecording: Mai 1960 at Victoria Hall, Geneva by Roy Wallace\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eProduction: James Walker\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eReissued in June 1996\u003c\/span\u003e\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\u003cp\u003eSide A :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eEvocación (Iberia)\u003c\/li\u003e\n\u003cli\u003eEl Corpus en Sevilla (Iberia)\u003c\/li\u003e\n\u003cli\u003eTriana (Iberia)\u003c\/li\u003e\n\u003cli\u003eEl Puerto (Iberia)\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eEl Albaicín (Iberia)\u003c\/li\u003e\n\u003cli\u003eExaltación (Fantásticas)\u003c\/li\u003e\n\u003cli\u003eEnsueño (Fantásticas)\u003c\/li\u003e\n\u003cli\u003eOrgia (Fantásticas)\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e“Isaac Albeniz was an influential figure of the Post–Romantic era. A virtuoso pianist, he composed for many genres, emphasizing the culture and folklore of Spain. He influenced a generation of Spanish composers including Joaquin Turina. Speakers Corner has released a re-mastered stereo 180-gram vinyl of two beloved Spanish works, Albeniz’s Iberia and Turina’s Danzas Fantasticas. Both are performed by L’Orchestre De La Suisse Romand, conducted by Ernest Ansermet. It is a veritable celebration of Spanish classical music with French influences.\u003c\/p\u003e\n\u003cp\u003eIberia is widely known for its rhythmic and stylistic complexity. The orchestra opens with the emotive strains of “Evocacion”. The strings enhance and complement the woodwinds. The graceful moods (with a soft flute) are expressive and utilize a subtle instrumental elocution. The hushed finale is dream-like and compelling. Precision and appealing counterpoint with soaring violins and a full orchestra impact enliven “El Corpus En Sevilla”. A transition to a woodwind-led interlude includes touches like a French horn and then morphs into a full instrumental flourish with dramatic accents and playful nuances. The last “movement” exudes somber melancholy. “Triana” is livelier and more sophisticated. Brass and woodwind accents (with the help of as kettle drum) give way to a sweeping motif that is moderated by cello. Its flamenco exuberance is captured by the arrangement. Side A closes with the swirling polo, “El Puerto”. With a balance of palpable buoyancy and and melodic gravitas, the music is hypnotic.\u003c\/p\u003e\n\u003cp\u003eThe last two tracks of Iberia are complex and unique translations. “El Albacin” engages in a buleria: to evoke the sprightly, intricate tapestry of Granada’s gypsy quarter. The music shifts from dynamic resonance to understated ambience with fluency. There is a “dialogue” in the musical execution and a pleasing mix of pizzicato strings and lower-register woodwinds.  “Navarra” has a different feel, relentlessly jovial aided by trumpet. Turina’s Danzas Fantasticas is presented in three pieces. Like Iberia, it was originally composed for piano. This trio of “miniature: compositions reflect the spirit of Andalusia and local dances. “Exaltacion” is fully realized with harps, woodwinds, strings and brass. There is a shift on “Ensueno” as the horns are front and center in exchanges with the orchestra. Occasional crescendos and descending notes are mixed in a unique blend of processional and folksy imagery. There is brightness and heart-warming aesthetics throughout “Orgia”. With tango elegance and populist attitude, Turina’s passion is articulated with bursts of energy and mellower harmonization.\u003c\/p\u003e\n\u003cp\u003eAlbeniz: Iberia\/Turina:Danzas Fantasticas is a fine example of early 20th-Century classical populism. The fuller orchestration of these pianos works is accessible and coherent. Speakers Corner Records has given this album a significant vinyl upgrade. The stunning impressionistic cover painting and Decca 60’s stereophonic notes on the sleeve will bring a smile to hi-fi enthusiasts. More importantly, this music will appeal to listeners with limited classical exposure.” Robbie Gerson, Audiophile Audition, August 2021\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAs in numerous other works by Spanish composers, Isaac Albéniz’s aim in his Iberia Suite was to portray the landscape and express the zest for life which is so abundant in southern countries. Infused with folkmusic elements, the suite is introduced by the dancelike Evocación which vividly evokes a picture of Iberia. The lush, extravagant harmonies and the stark contrasts of the dynamics in particular – from the softest pianissimo to the extreme fortissimo – certainly whet one’s appetite. Don’t worry – Spain has a lot to offer! \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe next movement, El Corpus en Sevilla transports us to Andalusia where a solemn procession is taking place to celebrate the feast of Corpus Christi. This is followed by a sparkling Triana in which the various complex and brilliant rhythms of the national dances Almería, Rondeña and Fandango are ingeniously combined. And the two movements El puerto and El Albaicín are no less exciting: the first presents a rich potpourri of types of Spanish songs, while the second – held in the minor key – conjures up a picture of Granada’s gypsy quarter.\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eTurina’s Danzas fantásticas are noted for their sumptuous orchestration and marked rhythms. A better choice to round off this first-class recording, dedicated to Spanish tradition, is almost impossible to imagine.\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\u003eDiscogs \u003c\/span\u003e:\u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e5\u003c\/span\u003e\/ 5 ; Audiophile Audition : 4.5 \/ 5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40424867135639,"sku":"SXL 2243","price":76.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/albeniz-iberia-turina-danzas-fantasticas-ernest-ansermet-audiosoundmusic-1.jpg?v=1719851762"},{"product_id":"rimsky-korsakov-granados-chabrier-moszkowski-ataulfo-argenta","title":"Espana - Rimsky-Korsakov, Granados, Chabrier, Moszkowski - Ataúlfo Argenta","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eNikolai Andreyevich Rimsky-Korsakov -\u003c\/span\u003e Capriccio espagnol\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003ePantaleón Enrique Joaquín Granados Campiña \u003c\/span\u003e- “Andaluza” Danza española No. 5\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eEmmanuel Chabrier \u003c\/span\u003e- “España”\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eMoritz Moszkowski \u003c\/span\u003e- Spanish Dances Book 1\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eThe London Symphony Orchestra conducted by Ataúlfo Argenta\u003c\/strong\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Speakers Corner\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Decca\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eRecording: December 1956 and January 1957, Kingsway Hall, London by Gordon Parry\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eProduction: Erik Smith\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eOriginally released in 1957\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eReissued in 1994\u003c\/span\u003e\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\u003cp\u003eSide A\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eCapriccio Espagnol, Op 34 (Rimsky Korsakov)\u003cbr\u003e\u003cbr\u003eFirst Movement: Alborada\/ Second Movement: Variazioni\/ Third Movement: Alborada\/ Fourth Movement: Scene e canto gigtano\/ Fifth Movement: Fandango asturiano\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003col start=\"2\"\u003e\n\u003cli\u003eANDALUSIA – Danza espanola No. 5 in E minor, Op. 37 (Granados)\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B\u003c\/p\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e1. Espana Rhapsody (Chabrier)\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e2. Spanish Dances (Book 1), Op. 12 (Moszkowski)\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 60px;\"\u003eNo. 1 in C major\/ No. 2 in G minor\/ No. 3 in A major\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 60px;\"\u003eNo. 4 in B flat major\/ No. 5 in D major\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 60px;\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 60px;\"\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cp\u003e\u003cstrong\u003eAwards:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eTAS AWARD\u003c\/strong\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp\u003eSonically, this record – made in 1956\/57 – is one of the best ever produced by DECCA. The listener is literally swept off his or her feet. To better enjoy this tremendous experience, we would advise listeners to put their feet up, relax, and listen with rapt attention. A “Do-not-disturb” sign on the door is to be recommended. The tremendous sound emanating from the loudspeakers immediately conveys the rousing nature of the music.\u003cbr\u003e\u003cbr\u003eConducted by Ataúlfo Argenta, the London Symphony Orchestra plays with a rare vitality, pure enjoyment, precision and lucidity. This is a carefully chosen medley of Spanish music which, interestingly enough, was mostly written by non-Spanish composers.\u003cbr\u003e\u003cbr\u003eAll in all, this has become a legendary recording, which caused quite a stir even in its mono version. The FFSS version ranks among the very best recordings ever issued.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eDiscogs : 4.47 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40425471148183,"sku":"SXL 2020","price":76.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/espana-rimsky-korsakov-granados-chabrier-moszkowski-ataulfo-argenta-audiosoundmusic-1.jpg?v=1719851769"},{"product_id":"albeniz-suite-espanola-fruhbeck-de-burgos","title":"Albeniz - Suite Espanola - Fruhbeck De Burgos","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003e\u003cstrong\u003eRARITY\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eIsaac Manuel Francisco \u003c\/span\u003eAlbéniz\u003cspan\u003e y Pascual\u003c\/span\u003e: Suite española\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTranscription by Rafael Frühbeck de Burgos\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eNew Philharmonia Orchestra conducted by Rafael Frühbeck de Burgos\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Speakers Corner\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Decca\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eRecorded November 1967 at Kingsway Hall, London by Kenneth E. Wilkinson\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineered by Kenneth Wilkinson\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eProduced by John Mordler\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eOriginally released in 1968\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eReissued in August 1993\u003c\/span\u003e\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\u003cp\u003eSide A\u003c\/p\u003e\n\u003cp\u003e                1. Castilla (Seguidillas)\u003c\/p\u003e\n\u003cp\u003e                2. Asturias (Leyenda)\u003c\/p\u003e\n\u003cp\u003e                3. Aragon (Fantasia)\u003c\/p\u003e\n\u003cp\u003e                4. Cadiz (Cancion)\u003c\/p\u003e\n\u003cp\u003eSide B\u003c\/p\u003e\n\u003cp\u003e                1. Sevilla (Sevillanas)\u003c\/p\u003e\n\u003cp\u003e                2. Granada (Serenata)\u003c\/p\u003e\n\u003cp\u003e                3. Cantaluna (Corranda)\u003c\/p\u003e\n\u003cp\u003e                4. Cordoba\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eReviews :\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe Suite española, written by the piano virtuoso and composer Isaac Albéniz, is one of the most outstanding works in the history of Spanish music. Albéniz invites the listener to join him on a musical journey through eight great Spanish cities, each steeped in tradition, investing each scene with local colouring as an homage.\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eAlbéniz made full use of musical folk idioms combined with dazzling virtuosity in many of his other works too, and deeply impressed Debussy and Ravel, as is testified by their own compositions.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eOriginally conceived for the piano, the Suite has been arranged for large orchestra by Rafael Frühbeck de Burgos who makes the most of the orchestra’s tonal palette to underline the expressivity of the music. The final movement (Cuba) is replaced by Cordoba, a piano piece from Albéniz’s Cantos de España, op. 132, also arranged by Frühbeck de Burgos for orchestra. The obvious advantages of the arranger himself conducting the orchestra are well demonstrated by the present highly successful recording.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe precision of the rhythmic interjections and the melodic flow are highly impressive. The music evokes various scenes, such as the impression of a barren Spanish landscape in the shimmering heat or bustling life in the various cities of Spain.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eRatings :\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eDiscogs \u003c\/span\u003e:\u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e4,50\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5  , \u003c\/span\u003e\u003cspan\u003eRate Your Music \u003c\/span\u003e:\u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e3,56\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40426042261655,"sku":"SXL 6355","price":55.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/albeniz-suite-espanola-fruhbeck-de-burgos-audiosoundmusic-1.jpg?v=1719851770"},{"product_id":"bob-dylan-blood-on-the-tracks","title":"Bob Dylan - Blood on the Tracks (2LP, 45 RPM, Box, 1STEP, SuperVinyl)","description":"\u003cp\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eORDER LIMITED TO ONE ITEM PER CUSTOMER\u003c\/strong\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBob Dylan - vocals, guitar, harmonica (A1 to B3, C2, D2), Hammond organ (B2), mandolin (D1) \u003ca data-mce-fragment=\"1\" style=\"color: #ff8000;\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/bob-dylan\" title=\"vinyl featuring Bob Dylan\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/bob-dylan\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Bob Dylan]\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTony Brown (bass), Paul Griffin (organ), Buddy Cage (steel guitar)\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePerformer : Eric Weissberg And Deliverance\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eWritten by Bob Dylan\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e2 LPs, box set\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eLimited to 9,000 numbered copies\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cspan\u003eUD1S (UltraDisc One-Step)\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eHeavy Press : 180g - \u003cspan data-mce-fragment=\"1\"\u003eSuperVinyl\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 45 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eRecord Press : RTI\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eLabel : \u003cspan data-mce-fragment=\"1\"\u003eMobile Fidelity Sound\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eOriginal Label :  Columbia\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eRecording: September 16–19 and December 27–30, 1974, at A\u0026amp;R Recording in New York City and Sound 80 studio in Minneapolis by Lou Schlossberg and Phil Giambalvo\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003c\/strong\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003c\/strong\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eOriginal producer : Bob Dylan\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineer : Phil Ramone\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMastered by : Krieg Wunderlich and Shawn R. Britton\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProducer : Murray Krugman, Sandy Pearlman\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eOriginally released January 1975\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eReissued Nov 2019\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eTracks :\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eSide A :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eTangled Up in Blue\u003c\/li\u003e\n\u003cli\u003eSimple Twist of Fate\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eYou're a Big Girl Now\u003c\/li\u003e\n\u003cli\u003eIdiot Wind\u003c\/li\u003e\n\u003cli\u003eYou're Gonna Make Me Lonesome When You Go\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide C :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eMeet Me in the Morning\u003c\/li\u003e\n\u003cli\u003eLily, Rosemary and the Jack of Hearts\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide D :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eIf You See Her, Say Hello\u003c\/li\u003e\n\u003cli\u003eShelter from the Storm\u003c\/li\u003e\n\u003cli\u003eBuckets of Rain\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAwards\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e\u003cem data-mce-fragment=\"1\"\u003eRolling Stone \u003c\/em\u003e500 Greatest Albums of All Time - Ranked 9 \/ 500\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eInducted into the Grammy Hall of Fame in 2015.\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eNumber 7 in the third edition of Colin Larkin's All Time Top 1000 Albums (2000)\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e1000 Recordings You Must Hear Before You Die - Ranked 342\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e« Following on the heels of an album where he repudiated his past with his greatest backing band, Blood on the Tracks finds Bob Dylan, in a way, retreating to the past, recording a largely quiet, acoustic-based album. But this is hardly nostalgia -- this is the sound of an artist returning to his strengths, what feels most familiar, as he accepts a traumatic situation, namely the breakdown of his marriage. This is an album alternately bitter, sorrowful, regretful, and peaceful, easily the closest he ever came to wearing his emotions on his sleeve. That's not to say that it's an explicitly confessional record, since many songs are riddles or allegories, yet the warmth of the music makes it feel that way. The original version of the album was even quieter -- first takes of \"Idiot Wind\" and \"Tangled Up in Blue,\" available on The Bootleg Series, Vols. 1-3, are hushed and quiet (excised verses are quoted in the liner notes, but not heard on the record) -- but Blood on the Tracks remains an intimate, revealing affair since these harsher takes let his anger surface the way his sadness does elsewhere. As such, it's an affecting, unbearably poignant record, not because it's a glimpse into his soul, but because the songs are remarkably clear-eyed and sentimental, lovely and melancholy at once. And, in a way, it's best that he was backed with studio musicians here, since the professional, understated backing lets the songs and emotion stand at the forefront. Dylan made albums more influential than this, but he never made one better. » AllMusic Review by Stephen Thomas Erlewine\u003c\/p\u003e\n\u003cp\u003eBob Dylan was at several crossroads in the mid-1970s. Artistically, he was largely written off as being past his prime. Emotionally, he was suffering through a painful divorce from his then-wife Sara Lowndes. Creatively, he appeared at a stalemate, his previous decade's unprecedented run of transformational brilliance finished. Then came\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eBlood on the Tracks\u003c\/em\u003e. Dylan reached the height of his seminal 1970s work with this confessional 1975 classic featuring \"Tangled Up In Blue,\" \"Simple Twist of Fate,\" \"Idiot Wind,\" \"Lily, Rosemary and the Jack of Hearts,\" and six more classic tunes.\u003c\/p\u003e\n\u003cp\u003e\"Inevitably, when critics praise a new Dylan album, they label it the 'best since\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eBlood on the Tracks\u003c\/em\u003e,' and with good reason. Inspired by a crumbled marriage, and recorded after a tour with the Band had apparently re-ignited his creativity,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eBlood\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eis among Dylan's masterpieces. The album's epic songs are well known, but its real high points are the shorter numbers — 'You're a Big Girl Now,' the flawless blues 'Meet Me in the Morning,' and the sweetly devastating 'Buckets of Rain.' These are songs of \"images and distorted facts,\" each expressed through tangled points of view, and all of them blue.\" —\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eDavid Cantwell\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eUltraDisc One-Step :\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003eInstead of utilizing the industry-standard three-step lacquer process, Mobile Fidelity Sound Lab's new UltraDisc One-Step (UD1S) uses only one step, bypassing two processes of generational loss. While three-step processing is designed for optimum yield and efficiency, UD1S is created for the ultimate in sound quality. Just as Mobile Fidelity pioneered the UHQR (Ultra High-Quality Record) with JVC in the 1980s, UD1S again represents another state-of-the-art advance in the record-manufacturing process. MFSL engineers begin with the original master tapes and meticulously cut a set of lacquers. These lacquers are used to create a very fragile, pristine UD1S stamper called a \"convert.\" Delicate \"converts\" are then formed into the actual record stampers, producing a final product that literally and figuratively brings you closer to the music. By skipping the additional steps of pulling another positive and an additional negative, as done in the three-step process used in standard pressings, UD1S produces a final LP with the lowest noise floor possible today. The removal of the additional two steps of generational loss in the plating process reveals tremendous amounts of extra musical detail and dynamics, which are otherwise lost due to the standard copying process. The exclusive nature of these very limited pressings guarantees that every UD1S pressing serves as an immaculate replica of the lacquer sourced directly from the original master tape. Every conceivable aspect of vinyl production is optimized to produce the most perfect record album available today.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMoFi SuperVinyl:\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003eThe World's Quietest Surfaces and Cleanest Grooves: Developed by NEOTECH and RTI, MoFi SuperVinyl is the most exacting-to-specification vinyl compound ever created. Analog lovers have never seen (or heard) anything like it. Extraordinarily expensive and extremely painstaking to produce, the special proprietary compound addresses two specific areas of improvement: noise floor reduction and enhanced groove definition. The vinyl composition features a new carbonless dye (hold the disc up to the light and see) and produces the world's quietest surfaces. This high-definition formula also allows for the creation of cleaner grooves that are indistinguishable from the original lacquer. MoFi SuperVinyl provides the closest approximation of what the label's engineers hear in the mastering lab.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eAllmusic : 5 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40488780333207,"sku":"MFSL45UD1S-006","price":375.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/bob-dylan-blood-on-the-tracks-2lp-45-rpm-box-1step-supervinyl-audiosoundmusic-1.jpg?v=1719851796"},{"product_id":"max-roach-we-insist-freedom-now-suite","title":"Max Roach - We Insist - Freedom Now Suite (Mono)","description":"\u003cdiv\u003e\n\u003ch2\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e\u003cspan lang=\"EN\"\u003e\u003cspan size=\"3\"\u003e\u003cspan\u003eORDER LIMITED TO ONE ITEM PER CUSTOMER\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h2\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003cstrong\u003eMax Roach (drums) \u003ca data-mce-fragment=\"1\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/max-roach\" title=\"Vinyl featuring Max Roach\" target=\"_blank\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Max Roach]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003cstrong\u003eAbbey Lincoln (vocal)\u003c\/strong\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003cstrong\u003eColeman Hawkins (Tenor sax) \u003cspan style=\"color: #ff8000;\"\u003e\u003ca data-mce-fragment=\"1\" style=\"color: #ff8000;\" title=\"Vinyl featuring Coleman Hawkins\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/coleman-hawkins\"\u003e[click here to see more vinyl featuring Coleman Hawkins]\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003cstrong\u003eWalter Benton (tenor sax)\u003c\/strong\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003cstrong\u003eBooker Little (trumpet) \u003ca data-mce-fragment=\"1\" title=\"vinyl featuring Booker Little\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/booker-little\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Booker Little]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003cstrong\u003eJulian Priester (trombone)\u003c\/strong\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003cstrong\u003eJames Schenk (bass)\u003c\/strong\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003cstrong\u003eBabatunde Olatunji (conga)\u003c\/strong\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003cstrong\u003eThomas Du Vall (percussion)\u003c\/strong\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003cstrong\u003eRay Mantilla (percussion\u003c\/strong\u003e)\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cspan\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cspan lang=\"EN-US\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cspan\u003e\u003cspan lang=\"EN-US\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\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\u003cstrong\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Candid\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Candid\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003eRecorded at\u003cspan data-mce-fragment=\"1\"\u003e Nola Penthouse Studios, NYC, August 31\u003c\/span\u003e\u003csup data-mce-fragment=\"1\"\u003est\u003c\/sup\u003e\u003cspan data-mce-fragment=\"1\"\u003e, September 6\u003c\/span\u003e\u003csup data-mce-fragment=\"1\"\u003eth\u003c\/sup\u003e\u003cspan data-mce-fragment=\"1\"\u003e 1960 by Bob d’Orleans\u003c\/span\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cspan face=\"Times New Roman\" size=\"3\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003eProduced by \u003cspan data-mce-fragment=\"1\"\u003eMax Roach\u003c\/span\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cspan\u003eRemastered by\u003c\/span\u003e\u003cspan\u003e Graeme Durham at The Exchange\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003eOriginally released in 1961\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cp\u003e\u003cstrong\u003eTracks :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv\u003e\u003cspan face=\"Times New Roman\"\u003eSide A :\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\n\u003cspan\u003e1. Driva Man\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e2. Freedom Day\u003c\/span\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cspan face=\"Times New Roman\"\u003eSide B :\u003cbr\u003e\u003c\/span\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\n\u003cspan\u003e1. Prayer\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e2. Protest\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e3. Peace\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e5. All Africa\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e6. Tears For Johannesburg\u003c\/span\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cspan face=\"Times New Roman\" size=\"3\"\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cspan size=\"3\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cspan size=\"3\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan size=\"3\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003eReviews\u003c\/strong\u003e :\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp\u003e« We Insist! Max Roach's Freedom Now Suite, co-authored by Max Roach and Oscar Brown, Jr., was a pivotal work in the early-'60s African-American protest movement, and continues to be relevant in its message and tenacity. It represents a lesson in living as to how the hundreds of years prior were an unnecessary example of how oppression kept slaves and immigrants in general in their place. Vocalist Abbey Lincoln expresses this oppression as effectively as anyone could with her thespian-based wordless vocals, and lyrics written by Brown that tell the grim story of the struggle of African-American for far too long. Musically, Roach assembled one of the greatest bands, from his own emerging ensemble with trombonist Julian Priester and trumpeter Booker Little, to the legendary Coleman Hawkins and lesser-known, underappreciated tenor saxophonist Walter Benton. Percussionists Ray Mantilla and Michael Olatunji gave the poetic pieces sung by Lincoln enough substance and spice to also refer to Afro-Cuban and South American prejudice and urgency for change. Hawkins is particularly impressive, as his emotional range during the deep and dour, 5\/4 slave song \"Driva' Man\" clearly feeds off of Lincoln's blues singing about quittin' time. \"Triptych; Prayer\/Peace\/Protest\" is the magnum opus of the set, introduced by Roach's signature drum moves, an eerie operatic vocal or oppressed angst yelling from Lincoln, and a 5\/4 beat from the percussionist against a calmer vocal component, all written for interpretive dance. Of the modern jazz that Roach is renowned for, the horns jump into furious hard bop with solos from Little, Benton, and Priester on \"Freedom Day\" after Lincoln quietly invites you to \"whisper\/listen,\" while the obscure bassist James Schenck leads in 6\/8 and 5\/4 ostinato over Lincoln's sustained tones on \"Tears for Johannesburg,\" with the layered horns in and out of well-wrought harmonies, and another triad of instrumental solos. \"All Africa\" sports lyrics about being on the beach, or maybe the beach head in the battle for freedom, as chants of tribal names echo similar village beats. This is a pivotal work in the discography of Roach and African-American music in general, its importance growing in relevance and timely, postured, real emotional output. Every modern man, woman, and child could learn exponentially listening to this recording -- a hallmark for living life. » AllMusic Review by Michael G. Nastos \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\"Based upon the diversity of music, quality of product and their extraordinary rate of progress, Pure Pleasure Records is our re-issue record company of the year.\" - hi-fi+\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e : \u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\u003cspan size=\"3\"\u003e\u003cspan size=\"3\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eAllMusic : 5 \/ 5 , Discogs : 4.76 \/ 5 , \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003ch1\u003e\u003cbr\u003e\u003c\/h1\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40694244376727,"sku":"CJM 8002","price":35.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/max-roach-we-insist-freedom-now-suite-audiosoundmusic-1.jpg?v=1719851982"},{"product_id":"al-green-gets-next-to-you","title":"Al Green - Gets Next To You","description":"\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eRARITY - Sealed\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003eAl Green, vocals \u003ca title=\"vinyl featuring Al Green\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/al-green\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/al-green\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Al Green]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eWayne Jackson, trumpet\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eEd Logan, tenor sax\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eJames Mitchell, baritone sax\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eJack Hale, trombone\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eAl Jackson, drums\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eLeroy Hodges, bass\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eCharles Hodges, keyboards\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eMabon \"Teenie\" Hodges, guitar\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Pure Pleasure\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Hi\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan data-mce-fragment=\"1\"\u003eRecorded in 1971 at Royal Recording Studios, South Lauderdale, Memphis, Tennessee\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan data-mce-fragment=\"1\"\u003eEngineered \u0026amp; mixed by Willie Mitchell\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan size=\"2\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cstrong\u003e\u003cspan\u003eProduced by Willie Mitchell \u0026amp; Al Green\u003c\/span\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by \u003cspan data-mce-fragment=\"1\"\u003eRay Staff at Air Mastering, Lyndhurst Hall, London\u003c\/span\u003e\u003c\/strong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1971\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in \u003cspan data-mce-fragment=\"1\"\u003eMarch 2013\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003cp style=\"padding-left: 30px;\"\u003e\u003cspan\u003e1. I Can't Get Next To You\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e2. Are You Lonely For Me Baby\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e3. God Is Standing By\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e4. Tired Of Being Alone\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e5. I'm A Ram\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003cp style=\"padding-left: 30px;\"\u003e\u003cspan\u003e1. Drivin' Wheel\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e2. Light My Fire\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e3. You Say It\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e4. Right Now Right Now\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e5. All Because\u003c\/span\u003e\u003c\/p\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\n\u003cspan\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eReviews\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp\u003e« After the shaky start of Green Is Blues, Al Green and producer Willie Mitchell established their classic sound with Green's second album, Gets Next to You. The main difference is in the rhythm section. Abandoning the gritty syncopations of deep Southern soul, the Hi Rhythm Section plays it slow and seductive, working a sultry, steady pulse that Green exploits with his remarkable voice. Alternating between Sam Cooke's croon and Otis Redding's shout, Green develops his own distinctive style, and Gets Next to You only touches the surface of its depth. Although the album is filled with wonderful moments, few are as astonishing as Green and Mitchell's reinterpretation of the Temptations' \"I Can't Get Next to You,\" which turns the original inside out. » AllMusic Review by Stephen Thomas Erlewine\u003c\/p\u003e\n\u003cp\u003e\"With the release of the album Al Green Gets Next To You, the music of Hi Records is brought to wholesome fruition. Green, simply, is one of the most highly energetic and intensely expressive... singers around, with a master's ability (notably, Charles and Redding) to subordinate lyrics to the urgent rhythmic primacy of their sounds, while suffusing them with their corresponding emotional feeling.\"\u003cspan\u003e  Aaron Fuchs, Rolling Stone\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eAllMusic : 4.5 \/ 5 , Discogs : 4.45 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40718623867031,"sku":"PPAN SHL32062","price":65.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/al-green-gets-next-to-you-audiosoundmusic-1.jpg?v=1719852147"},{"product_id":"al-green-explores-your-mind","title":"Al Green - Explores Your Mind","description":"\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003eAl Green - vocals \u003ca title=\"vinyl featuring Al Green\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/al-green\"\u003e\u003cspan style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Al Green]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eWayne Jackson – Trumpet \u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eAndrew Love - Tenor Sax\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eEd Logan - Tenor Sax \u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eJames Mitchell - Baritone Sax\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eJack Hale – Trombone\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eHoward Grimes – drums, Congas, Bongos\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eLeroy Hodges – Bass\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eCharles Hodges – Keyboards\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eMabon \"Teenie\" Hodges – Guitar\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eArchie Turner \u0026amp; Michael Allen – Piano\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eThe Memphis Strings, String arrangements by James Mitchell \u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eBacking vocals: Rhodes, Chalmers and Rhodes.\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : unspecified\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Pure Pleasure\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Hi\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan data-mce-fragment=\"1\"\u003eRecorded in 1974 at Royal Recording Studios, South Lauderdale, Memphis, Tennessee\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineered \u0026amp; mixed by: Willie Mitchell\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan size=\"2\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cstrong\u003e\u003cspan\u003eProduced by Willie Mitchell \u0026amp; Al Green\u003c\/span\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by \u003cspan data-mce-fragment=\"1\"\u003eRay Staff at Air Mastering, Lyndhurst Hall, London\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv class=\"product-details-module product-details__general-info\"\u003e\n\u003cdiv class=\"product-details-module__content\"\u003e\n\u003cdiv id=\"productDescription\" class=\"product-details__product-description\" itemprop=\"description\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1974\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in \u003cspan data-mce-fragment=\"1\"\u003eJuly 2012\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003cp style=\"padding-left: 30px;\"\u003e\u003cspan\u003e1. \u003cspan data-mce-fragment=\"1\" lang=\"ES\"\u003eSha-La-La (Make Me Happy)\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan\u003e\u003cspan data-mce-fragment=\"1\" lang=\"ES\"\u003e 2.\u003c\/span\u003eTake Me To The River \u003cbr\u003e3.God Blessed Our Love \u003cbr\u003e4. The City \u003cbr\u003e5.One Nite Stand\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eSide B :\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"padding-left: 30px;\"\u003e\u003cspan\u003e1. I'm Hooked On You \u003cbr\u003e2. Stay With Me Forever \u003cbr\u003e3. Hangin' On \u003cbr\u003e4. School\u003c\/span\u003e\u003c\/p\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eReviews\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp\u003e« By the time of 1974's Al Green Explores Your Mind, this version of the Memphis sound was the production style for only a handful of artists. Producer Willie Mitchell used a lighter touch for his most famous artist, and it's all but crafted into the Al Green sound. Despite his skills, Green never falls into mannerism here and gives heartfelt and cogent vocals rooted in intelligence and technique. \"Sha-La-La (Make Me Happy),\" although lyrically slight, has the artist's charisma and Mitchell's pop chops. \"Take Me to the River,\" with perfect backing from Hi Rhythm and a horn and string arrangement, finds Green at his most persuasive. The last track, \"School Days,\" has Green longing for a school girlfriend and despite the potentially sappy sentiment, it works like a charm. The greatness of Al Green Explores Your Mind comes from a collective effort, including James Mitchell's dreamlike string arrangements and the always skilled backing vocals of Rhodes, Chalmers \u0026amp; Rhodes. But the biggest draw here is Green's phrasing and intimate vocals, making the record an extremely strong effort. » AllMusic Review by Jason Elias\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eAllMusic : 4 \/ 5 , Discogs : 4.43 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40718906785943,"sku":"PPAN SHL32087","price":65.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/al-green-explores-your-mind-audiosoundmusic-1.jpg?v=1719852159"},{"product_id":"copy-of-alice-cooper-the-last-temptation","title":"America - America","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eRarity - Sealed\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003ca title=\"vinyl and SACD featuring America]\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/america\"\u003e\u003cspan style=\"color: rgb(255, 128, 0);\"\u003e[click here to see more products featuring America]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDewey Bunnell – lead and backing vocals, 6-string acoustic guitar (except on \"Here\" and \"Never Found the Time\")\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGerry Beckley – bass (except on \"Three Roses\" and \"A Horse with No Name\"), 6 and 12-string acoustic guitars (except on \"Sandman\", \"I Need You\" and \"Pigeon Song\"), lead and backing vocals (except on \"Pigeon Song\"), electric guitar and chimes on \"Clarice\", piano on \"I Need You\" and \"Clarice\"\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDan Peek – 6 and 12-string acoustic guitars (except on \"A Horse with No Name\", \"I Need You\", \"Clarice\" and \"Pigeon Song\"), lead and backing vocals (except on \"Pigeon Song\"), electric guitar (on \"Sandman\", \"Donkey Jaw\" and \"I Need You\"), piano on \"Never Found the Time\", bass on \"A Horse with No Name\" and \"Three Roses\"\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRay Cooper – percussion\u003cspan style=\"color: #ff8000;\"\u003e \u003ca data-mce-fragment=\"1\" style=\"color: #ff8000;\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/ry-cooder\" title=\"vinyl featuring Ry Cooder\"\u003e\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDave Atwood – drums on \"Sandman\", \"Here\", \"I Need You\" and \"Donkey Jaw\"\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eKim Haworth – drums on \"A Horse with No Name\"\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDavid Lindley – electric guitar on \"Children\", steel guitar on \"Rainy Day\"\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by Dewey Bunnel (A1-5, B6), Gerry Beckley (A6, B1, B4), Dan Peek (B3, B5) \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Rainbo Records\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Friday Music\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Warner Bros\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded at Trident Studios, London, England\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineered \u0026amp; mixed by Ken Scott\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Ian Samwell, Jeff Dexter\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by Joe Reagoso\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1971\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2008\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eRiverside\u003c\/li\u003e\n\u003cli\u003eSandman\u003c\/li\u003e\n\u003cli\u003eThree Roses\u003c\/li\u003e\n\u003cli\u003eChildren\u003c\/li\u003e\n\u003cli\u003eA Horse With No Name\u003c\/li\u003e\n\u003cli\u003eHere\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col start=\"7\"\u003e\n\u003cli\u003eI Need You\u003c\/li\u003e\n\u003cli\u003eRainy Day\u003c\/li\u003e\n\u003cli\u003eNever Found The Time\u003c\/li\u003e\n\u003cli\u003eClarice\u003c\/li\u003e\n\u003cli\u003eDonkey Jaw\u003c\/li\u003e\n\u003cli\u003ePigeon Song\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\"America's debut album is a folk-pop classic, a stellar collection of memorable songs that would prove influential on such acts as the Eagles and Dan Fogelberg. Crosby, Stills \u0026amp; Nash are the group's obvious stylistic touchstone here, especially in the vocal harmonies used (compare the thick chordal singing of \"Sandman\" and \"Children\" to CS\u0026amp;N's \"You Don't Have to Cry\" and \"Guinevere\") and the prominent use of active strummed acoustic guitar arrangements (contrast \"Riverside\" to CS\u0026amp;N's \"Suite: Judy Blue Eyes\"). America's intricate interplay of acoustic guitar textures is more ambitious than that of their influences, however. Performance quality is usually good, though on occasion sloppily executed or out of tune (especially on the openings to \"Donkey Jaw\" and \"I Never Found the Time\"). Lengthy instrumental introductions (\"Donkey Jaw\"), middle improvisatory interludes (\"Here\"), and closings (\"Clarice\") are frequently encountered. Most of these selections boast highly unusual and inventive chord progressions that work well without drawing undue attention to themselves. Lyrics are sometimes trite (\"I need you\/Like the flower needs the rain\") or obscure (\"He flies the sky\/Like an eagle in the eye\/Of a hurricane that's abandoned\"), but the music more than makes up for any verse problems; only the odd \"Pigeon Song\" seems an unsalvageable misstep. Sound quality here has a covered, intimate feel that lends a ghostly aura to this release. Chart hits from this album include the spectrally loping \"A Horse with No Name,\" the squarishly tuneful \"I Need You,\" and the nervously dour \"Sandman.\" Other highlights include the buoyantly charming \"Three Roses,\" the yearningly lovely \"Rainy Day,\" and the quietly ringing \"Clarice.\" In spite of its flaws, this platter is very highly recommended.\" \u003cspan data-mce-fragment=\"1\"\u003eAllMusic Review by David Cleary\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eAllMusic : 4 \/ 5 , Discogs : 3,96 \/ 5\u003c\/p\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003ch1\u003e\u003cbr\u003e\u003c\/h1\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40793111003287,"sku":"FRM 9001","price":75.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/america-america-audiosoundmusic-1.jpg?v=1780676764"},{"product_id":"carly-simon-boys-in-the-trees","title":"Carly Simon - Boys In The Trees","description":"\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eRARITY - unsealed\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003eVocals – Carly Simon \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/carly-simon\" title=\"Vinyl featuring Carly Simon\" data-mce-fragment=\"1\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\"\u003e[click here to see more vinyl featuring Carly Simon]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAlto Saxophone – George Young, Harvey Estrin\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eArranged By [Horns] – James Taylor (B1)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBaritone Saxophone – Jaroslav Jakubovic, Ronnie Cuber\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eConcertmaster – Gene Orloff\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFrench Horn – Brooks Tillotson, James Buffington\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStrings – Alan Shulman, Alfred Brown, Charles Libove, Frederick Buldrini, Gerald Tarack, Guy Lumia, Harold Kohon, Homer Mensch, Jesse Levy, Joe Malin, Jonathon Abramowitz*, Julien Barber, Kermit Moore, La Mar Alsop, Marvin Morgenstern, Mitsue Takayama, Paul Gershman, Ted Hoyle, Theodore Israel, Yoko Matsuo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTenor Saxophone – Michael Brecker\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTrombone – Barry Rogers, Eddie Bert\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTrumpet – Randy Brecker\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, gatefold jacket\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : unspecified\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Friday Music \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Elektra\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded at Atlantic Studios, New York\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineered \u0026amp; mixed by : Bobby Warner\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Arif Mardin\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by Friday Music's Joe Reagoso From Original Elektra Records Tapes\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 2016\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eYou Belong To Me (feat. James Taylor)\u003c\/li\u003e\n\u003cli\u003eBoys In the Trees (feat. James Taylor)\u003c\/li\u003e\n\u003cli\u003eBack Down to Earth (James Taylor, guitar)\u003c\/li\u003e\n\u003cli\u003eDevoted To You (James Taylor, guitar)\u003c\/li\u003e\n\u003cli\u003eDe Bat (Fly In Me Face) (feat. James Taylor)\u003c\/li\u003e\n\u003cli\u003eHaunting\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eSide B:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eTranquillo (Melt My Heart) (feat. James Taylor)\u003c\/li\u003e\n\u003cli\u003eYou're the One\u003c\/li\u003e\n\u003cli\u003eIn A Small Moment\u003c\/li\u003e\n\u003cli\u003eOne Man Woman\u003c\/li\u003e\n\u003cli\u003eFor Old Times Sake\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\"Her career revitalized by the success of \"Nobody Does It Better,\" the theme from The Spy Who Loved Me, Carly Simon returned to record-making with this classy Arif Mardin-produced session, backed by New York's best studio players (Steve Gadd, Eric Gale, Will Lee, Richard Tee, David Sanborn, the Brecker Brothers, etc.). Simon reached the Top Ten with \"You Belong to Me,\" a collaboration with Michael McDonald that showed both off at their best, and the album's other Top 40 single was another duet with husband James Taylor on the old Everly Brothers hit \"Devoted to You.\" Taylor also turned up writing and singing elsewhere to good effect. But what really made the album a winner was that Simon had had a couple of years to write some strong songs in her unflinching, reflective style, and she continued to explore the loves and mores of her age and class movingly.\" \u003cspan data-mce-fragment=\"1\"\u003eAllMusic Review by William Ruhlmann\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eAllMusic : 3 \/ 5 , Discogs : 3,77 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40795763638423,"sku":"FRM-6128","price":39.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/carly-simon-boys-in-the-trees-audiosoundmusic-1.jpg?v=1719852687"},{"product_id":"todd-rundgren-the-ever-popular-tortured-artist-effect","title":"Todd Rundgren - The Ever Popular Tortured Artist Effect","description":"\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cbr\u003eORDER LIMITED TO ONE ITEM PER CUSTOMER\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003eTodd Rundgren - all vocals and instruments \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/todd-rundgren\" title=\"vinyl featuring Todd Rundgren\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/todd-rundgren\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Todd Rundgren]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by Todd Rundgren (A1-4, B2-5)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, Gatefold Cover\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eLimited edition\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12”\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : unspecified\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Friday Music\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Bearsville\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded at Utopia Sound, Lakehill, New York\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineered \u0026amp; mixed by Todd Rundgren\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Todd Rundgren\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by Joe Reagoso \u0026amp; Kevin Gray\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 2013\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eHideaway\u003c\/li\u003e\n\u003cli\u003eInfluenza\u003c\/li\u003e\n\u003cli\u003eDon't Hurt Yourself\u003c\/li\u003e\n\u003cli\u003eThere Goes Your Baybay\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eTin Soldier\u003c\/li\u003e\n\u003cli\u003eEmperor of the Highway\u003c\/li\u003e\n\u003cli\u003eBang the Drum All Day\u003c\/li\u003e\n\u003cli\u003eDrive\u003c\/li\u003e\n\u003cli\u003eChant\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\"As the early '80s continued to unfold, Todd Rundgren grew increasingly disenchanted with Bearsville, especially since the label wasn't supporting Utopia. He wrangled the band free in 1982, but he still had to deliver solo records to Bearsville. Not entirely pleased with the situation, Rundgren hammered out a collection of pop songs on his own, cynically titling the effort The Ever Popular Tortured Artist Effect. In later years, Rundgren disavowed the album, but it stands as one of his better collections of pop songs, even if it lacks a theme or a unifying sound. There are a fair share of throwaways, not only coming in the expected form of covers (a fine but pointless remake of the Small Faces' \"Tin Soldier\") and Gilbert \u0026amp; Sullivan parodies (\"Emperor of the Highway\"), but also in the monumentally silly \"Bang the Drum All Day,\" which not only became a hit, but a hit that refused to die, lasting as a radio staple into the late '90s. These three songs are anomalies on Tortured Artist, which for the most part is pure pop and pop-soul, delivered with little fuss or pretention. There's also little deep meaning to the songs themselves, which is quite unusual for Rundgren, yet the best tunes -- \"Hideaway,\" \"Influenza,\" \"There Goes Your Baybay,\" \"Drive,\" \"Chant\" -- are indelible, irresistible pop confections that prove Rundgren can be quite involving, even when he's not trying his hardest.\" \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\u003eRatings :\u003c\/p\u003e\n\u003cp\u003eAllMusic : 4 \/ 5 , Discogs : 3,67 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40874016112791,"sku":"FRM-23732","price":55.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/todd-rundgren-the-ever-popular-tortured-artist-effect-limited-edition-audiosoundmusic-1.jpg?v=1719853177"},{"product_id":"harry-nilsson-nilsson-schmilsson","title":"Harry Nilsson - Nilsson Schmilsson (2LP, 45RPM)","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\u003eHarry Nilsson – vocals; piano (A1, B2, C3, D2); Mellotron (A2, B1); organ (C1); harmonica (C3); electric piano (D1) \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/harry-nilsson\" title=\"vinyl featuring harry nilsson\"\u003e\u003cspan style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Harry Nilsson]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJim Gordon – drums (A1-2, B2, C2, D1); percussion (C2, D1)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eKlaus Voormann – bass (A1, B2, C1, C3); rhythm guitar (A2, D1); acoustic guitar (B1)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eChris Spedding – guitar (A1, B2, C3, D1)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHerbie Flowers – bass (A2, B1, C2, D1)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJohn Uribe – acoustic guitar (A2, B1, C1); lead guitar (A2, D1)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHenry Krein – accordion (A1)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRichard Perry – percussion (A1), Mellotron (A2)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJim Price – trumpet (A1, B3); trombone (A1, B2); horn arrangements (A1, B2)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJim Keltner – drums (B2, C1, C3)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRoger Coulam – organ (B2)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBobby Keys – saxophone (B2)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGary Wright – piano (B2), organ (C3)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePaul Buckmaster – string and horn arrangements (C1)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRoger Pope – drums (C2)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCaleb Quaye – guitar (C2)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eIan Duck – acoustic guitar (C2)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJim Webb – piano (D1)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGeorge Tipton – string and horn arrangements (D2)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e2 LPs, gatefold jacket\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 45RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12”\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : RTI\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : MOFI\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : RCA Victor\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded January–June 1971 at Studio Trident Studios and Island Studios, London, England; RCA Studios, Hollywood, CA\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineered \u0026amp; mixed by Robin Geoffrey Cable\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Richard Perry\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by Krieg Wunderlich\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1971\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2021\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eGotta Get Up\u003c\/li\u003e\n\u003cli\u003eDriving Along\u003c\/li\u003e\n\u003cli\u003eEarly in the Morning\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eThe Moonbeam Song\u003c\/li\u003e\n\u003cli\u003eDown\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide C: \u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eWithout You\u003c\/li\u003e\n\u003cli\u003eCoconut\u003c\/li\u003e\n\u003cli\u003eLet The Good Times Roll\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide D :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eJump Into The Fire\u003c\/li\u003e\n\u003cli\u003eI’ll Never Leave You\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAwards:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eRolling Stone 500 Greatest Albums of All Time - Ranked 281\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 238\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\"Harry Nilsson had a hit, a Grammy, and critical success, yet he still didn't have a genuine blockbuster to his name when it came time to finally deliver a full-fledged follow-up to Nilsson Sings Newman, so he decided it was time to make that unabashed, mainstream pop\/rock album. Hiring Barbra Streisand producer Richard Perry as a collaborator, Nilsson made a streamlined, slightly domesticated, unashamed set of mature pop\/rock, with a slight twist. This is an album, after all, that begins by pining for the reckless days of youth, then segues into a snapshot of suburban disconnectedness before winding through a salute to and covers of old R\u0026amp;B tunes (\"Early in the Morning\" and \"Let the Good Times Roll,\" respectively), druggie humor (\"Coconut\"), and surging hard rock (\"Jump Into the Fire\"). There are certainly hints of the Nilsson of old, particularly in his fondness for Tin Pan Alley and McCartney melodicism -- as well as his impish wit -- yet he hadn't made a record as cohesive as this since his first time out, nor had he ever made something as shiny and appealing as this. It may be more accessible than before, yet it's anchored by his mischievous humor and wonderful idiosyncrasies. Chances are that those lured in by the grandly melodramatic \"Without You\" will not be prepared for either the subtle charms of \"The Moonbeam Song\" or the off-kilter sensibility that makes even his breeziest pop slightly strange. In short, it's a near-perfect summary of everything Nilsson could do; he could be craftier and stranger, but never did he achieve the perfect balance as he did here.\" \u003cspan data-mce-fragment=\"1\"\u003eAllMusic Review by Stephen Thomas Erlewine\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eAllMusic : 4,5 \/ 5 , Discogs : 4,32 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40886074146967,"sku":"MFSL2-498","price":195.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/harry-nilsson-nilsson-schmilsson-2lp-45rpm-audiosoundmusic-1.jpg?v=1719853294"},{"product_id":"copy-of-johnny-griffin-the-man-i-love-1lp-black-vinyl","title":"Johnny Griffin - The man I love (3LP, 33 \u0026 45RPM)","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\u003eTenor Saxophone – Johnny Griffin \u003ca title=\"Vinyl featuring Johnny Griffin\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/johnny-griffin\"\u003e\u003cspan style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Johnny Griffin]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBass – Niels-Henning Ørsted Pederson \u003ca data-mce-fragment=\"1\" title=\"vinyl featuring Niels Henning Orsted Pederson\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/niels-henning-orsted-pederson\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/niels-henning-orsted-pederson\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"color: #ff8000;\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Niels Henning Orsted Pedersen]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDrums – Albert \"Tootie\" Heath \u003ca title=\"vinyl featuring Albert Tootie Heath\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/albert-tootie-heath\"\u003e\u003cspan style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Albert Tootie Heath]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePiano – Kenny Drew \u003ca data-mce-fragment=\"1\" title=\"vinyl featuring Kenny Drew\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/kenny-drew\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/kenny-drew\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"color: #ff8000;\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Kenny Drew]\u003c\/span\u003e\u003c\/a\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e3 LPs, gatefold jacket\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eLimited to 500 numbered copies - N°274\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : \u003c\/strong\u003e\u003cstrong\u003eBlack\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33RPM (1LP) \u0026amp; 45RPM (2LP)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12”\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLive\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press :  Pallas Group \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : ORG Music\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Polydor\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded live at \u003cspan data-mce-fragment=\"1\"\u003eThe Montmartre Jazzhuis, Copenhagen March 30th, 1967 by\u003c\/span\u003e\u003c\/strong\u003e\u003cstrong\u003e Birger Svan\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Alan Bates\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by Bernie Grundman\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1969\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2018\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A: The Man I Love\u003c\/p\u003e\n\u003cp\u003eSide B: Hush-A-Bye\u003c\/p\u003e\n\u003cp\u003eSide C: Blues For Harvey\u003c\/p\u003e\n\u003cp\u003eSide D: The Masquerade Is Over\u003c\/p\u003e\n\u003cp\u003eSide E: Sophisticated Lady\u003c\/p\u003e\n\u003cp\u003eSide F: Wee\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eTeamed up with pianist Kenny Drew, bassist Niels Pedersen and drummer Albert \"Tootie\" Heath for a club date at Copenhagen's Montmartre in 1967, the great tenor saxophonist Johnny Griffin really stretches out on four numbers: \"The Man I Love,\" \"Hush-A-Bye,\" \"Blues for Harvey\" and a memorable version of \"The Masquerade Is Over.\" Griffin shows why he was early on billed as \"the world's fastest tenor\" although he also displays warmth on \"Sophisticated Lady.\" A fine example of Griffin's underrated talents. AllMusic Review by Scott Yanow\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eAllMusic : 4 \/ 5 ; Discogs 4.51 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40906615980183,"sku":"JGRF1066DX-LP00 3LPs","price":150.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/johnny-griffin-the-man-i-love-3lps-black-vinyl-33-and-45rpm-audiosoundmusic-1.jpg?v=1719853367"},{"product_id":"vanilla-fudge-vanilla-fudge","title":"Vanilla Fudge - Vanilla Fudge (2LP, 45RPM, Mono)","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 \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCarmine Appice — drums, vocals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTim Bogert — bass, vocals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eVince Martell — guitar, vocals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMark Stein — lead vocals, keyboards\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e2 LPs, gatefold cover\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 45RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12”\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMono\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : RTI\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : MOFI\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : ATCO Records\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded in 1967\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineered \u0026amp; mixed by : Bill Stahl, Joe Veneri\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Shadow Morton\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 2020\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eTicket to Ride\u003c\/li\u003e\n\u003cli\u003ePeople Get Ready\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eSide B:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eShe's Not There\u003c\/li\u003e\n\u003cli\u003eBang Bang\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eSide C:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eIllusions of My Childhood - Part One\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003eYou Keep Me Hanging On\u003c\/li\u003e\n\u003cli\u003eIllusions of My Childhood - Part Two\u003c\/li\u003e\n\u003cli\u003eTake Me for a Little While\u003c\/li\u003e\n\u003cli\u003e\u003cspan data-mce-fragment=\"1\"\u003eIllusions of My Childhood - Part Three\u003c\/span\u003e\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eSide D\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eIllusions of My Childhood - Part Three\u003c\/li\u003e\n\u003cli\u003eEleanor Rigby\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eTo preserve musical continuity, \"Illusions Of My Childhood - Part Three\" is repeated at the beginning of Side D\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\"In a debut consisting of covers, nobody could accuse Vanilla Fudge of bad taste in their repertoire; with stoned-out, slowed-down versions of such then-recent classics as \"Ticket to Ride,\" \"Eleanor Rigby,\" and \"People Get Ready,\" they were setting the bar rather high for themselves. Even the one suspect choice -- Sonny Bono's \"Bang Bang\" -- turns out to be rivaled only by Mott the Hoople's version of \"Laugh at Me\" in putting Bono's songwriting in the kindest possible light. Most of the tracks here share the common structure of a disjointed warm-up jam, a Hammond-heavy dirge of harmonized vocals at the center, and a final flat-out jam. Still, some succeed better than others: \"You Keep Me Hanging On\" has a wonderfully hammered-out drum part, and \"She's Not There\" boasts some truly groovy organ jams. While the pattern can sound repetitive today, each song still works as a time capsule of American psychedelia.\" AllMusic Review by Paul Collins\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 : 4 \/ 5 , Discogs : 4 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40931510354071,"sku":"MFSL2-491","price":99.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/vanilla-fudge-vanilla-fudge-2lp-45rpm-mono-audiosoundmusic-1.jpg?v=1719853489"},{"product_id":"train-drops-of-jupiter","title":"Train - Drops of Jupiter (Ultra Analog, Half-speed Mastering)","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\u003ePat Monahan - lead vocals, percussion, saxophone, trumpet, vibraphone\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJimmy Stafford - lead guitar, backing vocals, mandolin\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRob Hotchkiss - rhythm guitar, backing vocals, bass, harmonica\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCharlie Colin - bass, backing vocals, rhythm guitar\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eScott Underwood - drums, keyboards, percussion, programming\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePaul Buckmaster - conductor, string arrangements, orchestral arrangements\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBrendan O'Brien - keyboards\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDavid Campbell - string arrangements\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCarl Gorodetzky - violin, concert master\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSuzie Katayama - cello\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eChuck Leavell - piano\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMichael Markman - violin\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBob Mason - cello\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFleming McWilliams - backing vocals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDan Smith - cello\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eKris Wilkinson - viola\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEvan Wilson - viola\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eLimited 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\u003eHalf-speed Mastering\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eGAIN 2 Ultra Analog™ LP \u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12”\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : RTI\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : MOFI\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Columbia\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded February - March 2001 \u003c\/strong\u003e\u003cstrong\u003eat Southern Tracks\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineered \u0026amp; mixed by Brendan O'Brien\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Brendan O'Brien\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by Krieg Wunderlich, Shawn R. Britton\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 2020\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eShe's On Fire\u003c\/li\u003e\n\u003cli\u003eI Wish You Would\u003c\/li\u003e\n\u003cli\u003eDrops of Jupiter\u003c\/li\u003e\n\u003cli\u003eIt's About You\u003c\/li\u003e\n\u003cli\u003eHopeless\u003c\/li\u003e\n\u003cli\u003eRespect\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e           \u003c\/p\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eLet It Roll\u003c\/li\u003e\n\u003cli\u003eSomething More\u003c\/li\u003e\n\u003cli\u003eWhipping Boy\u003c\/li\u003e\n\u003cli\u003eGetaway\u003c\/li\u003e\n\u003cli\u003eMississippi\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\"Although Train's singles got heavy rotation on \"alternative\" radio stations, there's nothing cutting-edge about the band's sophomore effort, Drops of Jupiter. Train is a classic rock wannabe band in the mold of Counting Crows, although that's not always a bad thing. In fact, the best moments on Drops of Jupiter are the most blatant rip-offs, which means the band can sound endearing even when they don't sound unique. Does the hit title track remind you of Madman Across the Water-era Elton John? Well, it's no coincidence. Paul Buckmaster, who arranged the soaring strings on much of John's best work, reprises that role here, and session keyboardist extraordinaire Chuck Leavell channels John on the piano. And when lead singer Pat Monahan sings \"When I get this feeling\" in \"It's About You,\" just try not to sing \"I want sexual healing\" over the actual lyrics that follow. Overall, this is a safe, solid second effort from a band that knows how to write hit singles.\" \u003cspan data-mce-fragment=\"1\"\u003eAllMusic Review by Mark Morgenstein\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eUltra Analog™\u003c\/strong\u003e : The GAIN 2 Ultra Analog™ Series stems from the use of the Gain 2 system, mastered at half speed from the original master tapes where possible, capturing and uncovering as before undiscovered sonic information.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHalf-speed mastering. \u003c\/strong\u003e\u003cspan\u003eIn half-speed mastering, the whole process is slowed down to half of the original speed. A typical 33 1\/3 rpm record is cut at 16 2\/3 rpm. The source material is also slowed down (reducing the pitch in the process) meaning the final record will still sound normal when played back. Slowing the whole process down allows more time, which means the end result sounds better and is more efficient — allowing engineering to minimize the effects of inherent limitations within the vinyl format. The result is a more accurate and more open high-frequency response in the half speed vinyl when compared with a normal speed recording.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eAllMusic : 3 \/ 5 , Discogs : 3,99 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40931862315159,"sku":"MFSL1-444","price":125.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/train-drops-of-jupiter-ultra-analog-half-speed-mastering-audiosoundmusic-1.jpg?v=1719853489"},{"product_id":"run-dmc-raising-hell","title":"Run DMC - Raising Hell (2LP, 45RPM, Ultra Analog, Half-speed Mastering)","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\u003eRun-DMC \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/run-dmc\" title=\"vinyl featuring Run DMC\" data-mce-fragment=\"1\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\"\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\u003cstrong\u003e2 LPs, 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\u003eHalf-speed Mastering\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eGAIN 2 Ultra Analog™ LP \u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 45RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12”\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : RTI\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : MOFI\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Profile Records\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded \u003cspan data-mce-fragment=\"1\"\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\u003eRemastered by Krieg Wunderlich\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 2021\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003ePeter Piper\u003c\/li\u003e\n\u003cli\u003eIt's Tricky\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\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\u003c\/ol\u003e\n\u003cp\u003eSide C :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eHit It Run\u003c\/li\u003e\n\u003cli\u003eRaising Hell\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide D :\u003c\/p\u003e\n\u003col\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 data-mce-fragment=\"1\"\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 Analog™\u003c\/strong\u003e : The GAIN 2 Ultra Analog™ Series stems from the use of the Gain 2 system, mastered at half speed from the original master tapes where possible, capturing and uncovering as before undiscovered sonic information.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHalf-speed mastering. \u003c\/strong\u003e\u003cspan\u003eIn half-speed mastering, the whole process is slowed down to half of the original speed. A typical 33 1\/3 rpm record is cut at 16 2\/3 rpm. The source material is also slowed down (reducing the pitch in the process) meaning the final record will still sound normal when played back. Slowing the whole process down allows more time, which means the end result sounds better and is more efficient — allowing engineering to minimize the effects of inherent limitations within the vinyl format. The result is a more accurate and more open high-frequency response in the half speed vinyl when compared with a normal speed recording.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eAllMusic : 5 \/ 5 , Discogs : 4,39 \/ 5  ,  The Absolute Sound, February 2021 : Music 3.5\/5, Sonics 5\/5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40931988471959,"sku":"MFSL2-494","price":125.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/run-dmc-raising-hell-2lp-45rpm-ultra-analog-half-speed-mastering-audiosoundmusic-1.jpg?v=1719853509"},{"product_id":"iron-butterfly-in-a-gadda-da-vida-ultra-analog-45-rpm","title":"Iron Butterfly - In-A-Gadda-Da-Vida (Ultra Analog, Half-speed Mastering, Number 2814)","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003e\u003cstrong\u003eRARITY\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cbr\u003eErik Brann – guitar, vocals (A4)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRon Bushy – drums, percussion\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLee Dorman – bass guitar, backing vocals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDoug Ingle – Vox Continental organ, vocals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAll arrangements by Iron Butterfly \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eLimited to 3,000 numbered copies (Number : 2814)\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHalf-speed Mastering\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eGAIN 2 Ultra Analog™ LP \u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12”\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Record Technology Incorporated\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : MOFI\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : ATCO Records\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded first half of 1968 (side two was recorded on May 27, 1968) in Gold Star Studios, Hollywood, California and Ultra-Sonic Studios, Hempstead, New York\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineered \u0026amp; mixed by Jim Hilton\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Jim Hilton\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 1968\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2021\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eMost Anything You Want\u003c\/li\u003e\n\u003cli\u003eFlowers and Beads\u003c\/li\u003e\n\u003cli\u003eMy Mirage\u003c\/li\u003e\n\u003cli\u003eTermination\u003c\/li\u003e\n\u003cli\u003eAre You Happy\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eIn-A-Gadda-Da-Vida\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 123\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e\u003cspan class=\"421441414-17032005\"\u003e\u003cspan face=\"Arial\" color=\"#ff0000\" size=\"2\"\u003eStereophile Records to Die For - 2020\u003c\/span\u003e\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\"With its endless, droning minor-key riff and mumbled vocals, \"In-A-Gadda-Da-Vida\" is arguably the most notorious song of the acid rock era. According to legend, the group was so stoned when they recorded the track that they could neither pronounce the title \"In the Garden of Eden\" or end the track, so it rambles on for a full 17 minutes, which to some listeners sounds like eternity. But that's the essence of its appeal -- it's the epitome of heavy psychedelic excess, encapsulating the most indulgent tendencies of the era. Iron Butterfly never matched the warped excesses of \"In-A-Gadda-Da-Vida,\" either on their debut album of the same name or the rest of their catalog, yet they occasionally made some enjoyable fuzz guitar-driven psychedelia that works as a period piece. The five tracks that share space with their magnum opus on In-A-Gadda-Da-Vida qualify as good artifacts, and the entire record still stands as the group's definitive album, especially since this is the only place the full-length title track is available.\" \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\u003eUltra Analog™\u003c\/strong\u003e : The GAIN 2 Ultra Analog™ Series stems from the use of the Gain 2 system, mastered at half speed from the original master tapes where possible, capturing and uncovering as before undiscovered sonic information.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHalf-speed mastering. \u003c\/strong\u003e\u003cspan\u003eIn half-speed mastering, the whole process is slowed down to half of the original speed. A typical 33 1\/3 rpm record is cut at 16 2\/3 rpm. The source material is also slowed down (reducing the pitch in the process) meaning the final record will still sound normal when played back. Slowing the whole process down allows more time, which means the end result sounds better and is more efficient — allowing engineering to minimize the effects of inherent limitations within the vinyl format. The result is a more accurate and more open high-frequency response in the half speed vinyl when compared with a normal speed recording.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eAllMusic : 4,5 \/ 5 , Discogs : 4,03 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40934062555287,"sku":"MFSL1-368","price":125.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/iron-butterfly-in-a-gadda-da-vida-ultra-analog-half-speed-mastering-audiosoundmusic-1.jpg?v=1719853522"},{"product_id":"yes-fragile-2lps-45-rpm-box-ud1s-supervinyl","title":"Yes - Fragile (2LP, 45 RPM, Box, 1STEP, SuperVinyl)","description":"\u003ch2\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eORDER LIMITED TO ONE ITEM PER CUSTOMER\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h2\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff8000;\"\u003e\u003cstrong\u003e\u003ca title=\"vinyl featuring Yes\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/yes\" style=\"color: #ff8000;\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/yes\"\u003e[click here to see more vinyl from Yes]\u003c\/a\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJon Anderson – lead vocals, percussion, acoustic guitar on “We Have Heaven”\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSteve Howe – electric and acoustic guitars, backing vocals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eChris Squire – bass guitars, backing vocals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRick Wakeman – Hammond organ, grand piano, RMI 368 Electra-Piano and Harpsichord, Mellotron, Minimoog synthesiser\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBill Bruford – drums\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by \u003c\/strong\u003e\u003cstrong\u003eJon Anderson (A1, B1-2, C2, D1), Johannes Brahms (A2 extracts from Brahms' 4th Symphony In E Minor, Third Movement), Chris Squire (B2, C3, D1), Bill Bruford (C1, D1), Steve Howe (A1, C4)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e2 LPs, box set, gatefold jacket\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eLimited to 7,500 numbered copies\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cspan\u003eUD1S (UltraDisc One-Step)\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eHeavy Press : 180g - \u003cspan data-mce-fragment=\"1\"\u003eSuperVinyl\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 45RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12”\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : RTI\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : MOFI\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Atlantic\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded \u003cspan data-mce-fragment=\"1\"\u003e11 August - 5 September 1971 \u003c\/span\u003eat Advision Studios, London\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineered \u0026amp; mixed by Eddy Offord\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Yes\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by Krieg Wunderlich\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1971\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2019\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eRoundabout\u003c\/li\u003e\n\u003cli\u003eCans And Brahms\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B: \u003cbr\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eWe Have Heaven\u003c\/li\u003e\n\u003cli\u003eSouth Side Of The Sky\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide C:\u003cbr\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eFive Per Cent For Nothing\u003c\/li\u003e\n\u003cli\u003eLong Distance Runaround\u003c\/li\u003e\n\u003cli\u003eThe Fish (Schindleria Praematurus)\u003c\/li\u003e\n\u003cli\u003eMood For A Day\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide D:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eHeart Of The Sunrise\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAwards :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eTAS Super LP List! Special Merit: Informal\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e1000 Recordings You Must Hear Before You Die - Ranked 218\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\"Fragile was Yes' breakthrough album, propelling them in a matter of weeks from a cult act to an international phenomenon; not coincidentally, it also marked the point where all of the elements of the music (and more) that would define their success for more than a decade fell into place fully formed. The science-fiction and fantasy elements that had driven the more successful songs on their preceding record, The Yes Album, were pushed much harder here, and not just in the music but in the packaging of the album: the Roger Dean-designed cover was itself a fascinating creation that seemed to relate to the music and drew the purchaser's attention in a manner that few records since the heyday of the psychedelic era could match. Having thrown original keyboard player Tony Kaye overboard early in the sessions -- principally over his refusal to accept the need for the Moog synthesizer in lieu of his preferred Hammond organ -- the band welcomed Rick Wakeman into its ranks. His use of the Moog, among other instruments, coupled with an overall bolder and more aggressive style of playing, opened the way for a harder, hotter sound by the group as a whole; bassist Chris Squire sounds like he's got his amp turned up to \"12,\" and Steve Howe's electric guitars are not far behind, although the group also displayed subtlety where it was needed. The opening minute of \"Roundabout,\" the album opener -- and the basis for the edited single that would reach number 13 on the Billboard charts and get the group onto AM radio in a way that most other prog rock outfits could only look upon with envy -- was dominated by Howe's acoustic guitar and Bill Bruford's drums, and only in the middle section did the band show some of what they could do with serious amperage. Elsewhere on the record, as on \"South Side of the Sky,\" they would sound as though they were ready to leave the ground (and the planet), between the volume and intensity of their playing. \"Long Distance Runaround,\" which also served as the B-side of the single, was probably the most accessible track here apart from \"Roundabout,\" but they were both ambitious enough to carry most listeners on to the heavier sides at the core of this long-player. The solo tracks by the members were actually a necessity: they needed to get Fragile out in a hurry to cover the cost of the keyboards that Wakeman had added to the group's sonic arsenal. But they ended up being more than filler. Each member, in effect, took a \"bow\" in mostly fairly serious settings, and Squire's \"The Fish\" and Howe's \"Mood for a Day\" pointed directly to future, more substantial projects as well as taking on a life of their own on-stage. If not exactly their peak, Fragile was as perfect a record as the group would ever make, and just as flawless in its timing as its content.\" \u003cspan data-mce-fragment=\"1\"\u003eAllMusic Review by Bruce Eder\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e\"...The overall breadth of this One-Step offering brings into further focus both the collective and singular strengths of this definitive Yes incarnation. In fact, that's how you should listen to it - first to enjoy the compositional prowess of the whole, next to zero in on the contributions of the individual band members. That way, each successive spin will bear additional aural witness to Jon Anderson's clever \"sharp, distance\" whisper-to-a-scream lead-vocal choices saturating \"Heart of the Sunrise\", Bill Bruford's deft cymbal and stickwork throughout \"Roundabout\", Rick Wakeman's piano-key resonance during the transitional break in \"South Side of the Sky\", Steve Howe's adroit acoustic-string touches on \"Mood for a Day\", and Chris Squire's low-end thunder percolating the transition from \"Long Distance Runaround\" into \"The Fish (Shindleria Praematurus).\" There's no roundabout way of saying it: MoFi's One Step \u003ci\u003eFragile\u003c\/i\u003e is a true heavyweight SuperVinyl champion.\"\u003cstrong\u003e \u003c\/strong\u003e- Mike Mettler, \u003ci\u003eThe Absolute Sound Magazine, \u003c\/i\u003eApril 2020\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eUltraDisc One-Step :\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003eInstead of utilizing the industry-standard three-step lacquer process, Mobile Fidelity Sound Lab's new UltraDisc One-Step (UD1S) uses only one step, bypassing two processes of generational loss. While three-step processing is designed for optimum yield and efficiency, UD1S is created for the ultimate in sound quality. Just as Mobile Fidelity pioneered the UHQR (Ultra High-Quality Record) with JVC in the 1980s, UD1S again represents another state-of-the-art advance in the record-manufacturing process. MFSL engineers begin with the original master tapes and meticulously cut a set of lacquers. These lacquers are used to create a very fragile, pristine UD1S stamper called a \"convert.\" Delicate \"converts\" are then formed into the actual record stampers, producing a final product that literally and figuratively brings you closer to the music. By skipping the additional steps of pulling another positive and an additional negative, as done in the three-step process used in standard pressings, UD1S produces a final LP with the lowest noise floor possible today. The removal of the additional two steps of generational loss in the plating process reveals tremendous amounts of extra musical detail and dynamics, which are otherwise lost due to the standard copying process. The exclusive nature of these very limited pressings guarantees that every UD1S pressing serves as an immaculate replica of the lacquer sourced directly from the original master tape. Every conceivable aspect of vinyl production is optimized to produce the most perfect record album available today.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMoFi SuperVinyl:\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003eThe World's Quietest Surfaces and Cleanest Grooves: Developed by NEOTECH and RTI, MoFi SuperVinyl is the most exacting-to-specification vinyl compound ever created. Analog lovers have never seen (or heard) anything like it. Extraordinarily expensive and extremely painstaking to produce, the special proprietary compound addresses two specific areas of improvement: noise floor reduction and enhanced groove definition. The vinyl composition features a new carbonless dye (hold the disc up to the light and see) and produces the world's quietest surfaces. This high-definition formula also allows for the creation of cleaner grooves that are indistinguishable from the original lacquer. MoFi SuperVinyl provides the closest approximation of what the label's engineers hear in the mastering lab.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eAllMusic : 5 \/ 5 , Discogs : 4,4 \/ 5  ,  The Absolute Sound : 5\/5 Music, 5\/5 Sonics\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40936615542935,"sku":"MFSL45UD1S-012","price":495.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/yes-fragile-2lp-45-rpm-box-1step-supervinyl-audiosoundmusic-1.jpg?v=1719853552"},{"product_id":"david-hazeltine-trio-alice-in-wonderland","title":"David Hazeltine Trio - Alice In Wonderland  (Japanese edition)","description":"\u003ch3\u003e\n\u003cspan style=\"color: rgb(255, 42, 0);\"\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003c\/h3\u003e\n\u003ch3\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eRarity - Sealed\u003c\/span\u003e\u003c\/h3\u003e\n\u003ch2\u003e\u003cbr\u003e\u003c\/h2\u003e\n\u003cp\u003e\u003cstrong\u003eDavid Hazeltine, piano\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGeorge Mraz, bass\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBilly Drummond, drums\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eLimited Edition\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12”\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press :  Japanese pressing\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel :  Venus\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label :  Venus\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded at Avatar Studios \u003c\/strong\u003e\u003cstrong\u003eon July 21 and 22 , 2003\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineered by James Farber\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Tetsuo Hara, Todd Barkan\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by Shuji Kitamura, Tetsuo Hara\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 2004\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2021\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eHow Deep Is The Ocean\u003c\/li\u003e\n\u003cli\u003eBeautiful Love\u003c\/li\u003e\n\u003cli\u003eWhen You Wish Upon A Star\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e           \u003c\/p\u003e\n\u003cp\u003eSide B:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eSweet \u0026amp; Lovely\u003c\/li\u003e\n\u003cli\u003eAutumn Leaves\u003c\/li\u003e\n\u003cli\u003eAlice In Wonderland\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\"David Hazeltine evidently salutes pianist Bill Evans on this Venus CD, as eight of the nine songs were recorded by Evans for Riverside and the late pianist's influence is definitely a part of Hazeltine's style (though the Japanese liner notes make it difficult to confirm for sure). Accompanied by two sympathetic musicians, bassist George Mraz and drummer Billy Drummond, Hazeltine's interpretations of standards like \"Beautiful Love,\" \"Alice in Wonderland\" and \"When You Wish Upon a Star\" are lyrical and to the point. The lively setting of \"How Deep Is the Ocean\" and loping treatment of \"Tenderly\" also merit praise. Hazeltine's sole composition is \"For Bill,\" a fluid piece that is also reminiscent of Bill Evans' approach to the piano and writing. Beautifully recorded, the only problem with this CD is Jan Saudek's tasteless cover photo.\" AllMusic Review by Ken Dryden\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  \u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40974818574487,"sku":"AVEN 0195","price":159.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/david-hazeltine-trio-alice-in-wonderland-japanese-edition-audiosoundmusic-1.jpg?v=1719853614"},{"product_id":"jazz-allnighters-digs-venus-jazz-opus-iv","title":"Jazz Allnighters Digs Venus Jazz Opus IV (Japanese edition)","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eRarity - sealed\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCOMPILATION\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDavid Hazletine Trio (A1)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eNicki Parrott (A2) \u003ca style=\"color: #ff8000;\" title=\"vinyl featuring nicki parrott\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/nicki-parrott\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/nicki-parrott\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Nicki Parrot]\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBrian Lynch Afro Cuban Jazz Orchestra (A3)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSimone Kopmajer (A4)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBill Crow Quartet (B1)  \u003ca title=\"vinyl and SACD featuring Bill Crow\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/bill-crow\"\u003e\u003cspan style=\"color: rgb(255, 128, 0);\"\u003e[click here to see more products featuring Bill Crow]\u003c\/span\u003e\u003c\/a\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOne For All (B2)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDan Nimmer Trio (B3)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAdela Dalto (B4)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eLimited edition\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12”\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press :  Japanese Pressing\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel :  Venus\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Venus\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Tetsuo Hara\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by Tetsuo Hara\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReleased in 2018\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eSayonara Blues\u003c\/li\u003e\n\u003cli\u003eFly Me To The Moon\u003c\/li\u003e\n\u003cli\u003eI’m A Fool To Want You\u003c\/li\u003e\n\u003cli\u003eTwo Love Birds\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e           \u003c\/p\u003e\n\u003cp\u003eSide B\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eSpeak Low\u003c\/li\u003e\n\u003cli\u003eUgetsu\u003c\/li\u003e\n\u003cli\u003eRoad Song\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\u003cstrong\u003e\u003c\/strong\u003eEnjoy jazz all night long with the David Hazeltine Trio, Nicki Parrott, Simone Kopmajer, the Dan Nimmer Trio and more as they play favorites like \"Sayonara Blues\", \"I'm A Fool To Want You\" and \"Road Song\".\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40975351578775,"sku":"AVEN 0150","price":169.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/jazz-allnighters-digs-venus-jazz-opus-iv-japanese-edition-audiosoundmusic-1.jpg?v=1719853629"},{"product_id":"the-steve-kuhn-trio-love-walked-in","title":"The Steve Kuhn Trio - Love Walked In (Japanese edition)","description":"\u003ch2\u003e\n\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003c\/h2\u003e\n\u003ch2\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e\u003cbr\u003eORDER LIMITED TO ONE ITEM PER CUSTOMER\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h2\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cbr\u003eSteve Kuhn - piano \u003ca data-mce-fragment=\"1\" title=\"vinyl featuring Steve Kuhn\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/steve-kuhn\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/steve-kuhn\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"color: #ff8000;\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Steve Kuhn]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBuster Williams - bass\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBill Stewart - drums\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eLimited Edition\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12”\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eVenus Hyper Magnum Sound Direct Mix Stereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press :  Japanese Pressing \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel :  Venus\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label :  Venus\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded at Clinton Studio \"A\" in N.Y. on September 11 \u0026amp; 12, 1998\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineered by Troy Halderson\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Tetsuo Hara, Todd Barkan\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by Tetsuo Hara\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 2008\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eR\u003c\/strong\u003e\u003cstrong\u003eeissued in 2021\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eNo Problem\u003c\/li\u003e\n\u003cli\u003eSunny\u003c\/li\u003e\n\u003cli\u003eLove Walked In\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eSide B:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eLand Of The Living Dead\u003c\/li\u003e\n\u003cli\u003eAutumn Leaves\u003c\/li\u003e\n\u003cli\u003eYou've Changed\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\u003cstrong\u003e\u003c\/strong\u003e\"Pianist Steve Kuhn has played a wide variety of music throughout his career, including his own intriguing originals and collaborations with Sheila Jordan. This set, a straight-ahead swinger with bassist Buster Williams and drummer Bill Stewart, should greatly satisfy bop-oriented jazz fans, for it finds Kuhn coming up with consistently fresh ideas in a conventional but far from exhausted setting. Whether digging into Duke Jordan's \"No Problem,\" \"Love Walked In,\" a passionate version of \"Autumn Leaves,\" or even \"Sunny,\" Kuhn is heard throughout at the top of his game. The presence of Williams and Stewart in supporting but stimulating roles clearly inspired Steve Kuhn, making this an easily recommended date.\" AllMusic Review by Scott Yanow\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eAllMusic 4\/5  ,  Discogs 4\/5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40975796994199,"sku":"CVEN 0004 SA","price":95.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/the-steve-kuhn-trio-love-walked-in-japanese-edition-audiosoundmusic-1.jpg?v=1719853645"},{"product_id":"the-jazz-allnighters-digs-venus-jazz-opus-iii","title":"The Jazz Allnighters - Digs Venus Jazz Opus III (Japanese edition)","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eRarity - sealed\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCOMPILATION\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBill Crow Quartet (A1)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAdela Dalto (A2)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOne For All (A3)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSimone Kopmajer (A4)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHarold Maybern Trio (B1)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTessa Souter (B2)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRichie Beirach Trio (B3)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eNicki Parrott (B4) \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/nicki-parrott\" title=\"vinyl featuring nicki parrott\" style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/nicki-parrott\"\u003e[click here to see more vinyl featuring Nicki Parrot]\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eLimited edition\u003c\/strong\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12”\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStere\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press :  Japanese Pressing \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel :  Venus\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label :  Venus\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Wakana and Tetsuo Hara\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMastered by Tetsuo Hara\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReleased in 2018 \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eFrom Birdland To Broadway - Bill Crow Quartet\u003c\/li\u003e\n\u003cli\u003ePapagaio Rei - Adela Dalto\u003c\/li\u003e\n\u003cli\u003eStolen Moments - One For All\u003c\/li\u003e\n\u003cli\u003eNo More Blues –Simone Kopmajer\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eBlue Bossa - Harold Mabern Trio\u003c\/li\u003e\n\u003cli\u003eAll Or Nothing At All - Tessa Souter\u003c\/li\u003e\n\u003cli\u003eSolar - Richie Beirach Trio\u003c\/li\u003e\n\u003cli\u003eGetting Some Fun Out Of LIfe - Nicki Parrott\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\u003eEnjoy jazz all night long with One For All, the Harold Mabern Trio, Tessa Souter, Nicki Parrott and more as they play favorites like \"Stolen Moments\", \"Blue Bossa\" and \"Getting Some Fun Out Of Life\".\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003c\/strong\u003eDiscogs : 5 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40976462446743,"sku":"VENLP0140","price":149.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/the-jazz-allnighters-digs-venus-jazz-opus-iii-japanese-edition-audiosoundmusic-1.jpg?v=1719853661"},{"product_id":"the-3-sounds-introducing-the-3-sounds","title":"The 3 Sounds - Introducing The 3 Sounds (2LP, 45RPM)","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBill Dowdy, drums\u003cbr\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eGene Harris, piano, celeste \u003cspan lang=\"EN-US\" style=\"mso-ansi-language: EN-US;\"\u003e \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/gene-harris\" title=\"vinyl featuring Gene Harris\"\u003e\u003cspan style=\"color: #ff8000;\"\u003e[click here to see other vinyl featuring Gene Harris]\u003c\/span\u003e\u003c\/a\u003e\u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/ray-brown\" title=\"vinyl featuring Ray Brown\"\u003e\u003cspan style=\"color: #ff8000;\"\u003e\u003c\/span\u003e\u003c\/a\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eAndrew Simpkins, bass\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e2 LP, Gatefold jacket\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 45RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12”\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press :  Record Technology Incorporated\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel :  Analogue Productions\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label :  Blue Note \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded at Van Gelder Studio, Hackensack, New Jersey\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by Kevin Gray, Steve Hoffman\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1958\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2010\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A: \u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eTenderly\u003c\/li\u003e\n\u003cli\u003eWillow Weep for Me\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eBoth Sides\u003c\/li\u003e\n\u003cli\u003eIt's Nice\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide C:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eO Sole Mio\u003c\/li\u003e\n\u003cli\u003eBlue Bells\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide D:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eGoin' Home\u003c\/li\u003e\n\u003cli\u003eWould'n You\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\u003cstrong\u003e\u003c\/strong\u003e\"What's remarkable about Introducing the Three Sounds is how the trio's lightly swinging sound arrived fully intact. From the basis of this album, it sounds as if pianist Gene Harris, bassist Andrew Simpkins, and drummer William Dowdy have been playing together for years. There's empathetic, nearly intuitive interplay between the three musicians, and Harris's deft style already sounds mature and entirely distinctive. There's no question that this music is easy to listen to, but dismissing it because of that would be wrong -- there's genuine style in their light touch and in Harris' bluesy compositions. The Three Sounds never really deviated from the sound they established on Introducing, but that's one of the things that is so remarkable -- they were fully formed on their very first album. Even if it was a peak, it wasn't the only peak in their career. They would often match the heights of this album, but this debut remains a shining jewel in their catalog, and the way to become acquainted with their sound. [The CD reissue of Introducing the Three Sounds contains the five outtakes plus the alternate take of \"Goin' Home\" that originally comprised the Japanese album, Introducing the Three Sounds, Vol. 2.]\" AllMusic Review by Stephen Thomas Erlewine\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eAllMusic 5\/5  ,   Discogs 4.65\/5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40995838918807,"sku":"ABNJ 81600","price":129.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/the-3-sounds-introducing-the-3-sounds-2lp-45rpm-audiosoundmusic-1.jpg?v=1719853809"},{"product_id":"john-patton-along-came-john","title":"John Patton - Along Came John (2LP, 45RPM)","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003e\u003cstrong\u003eRarity - Sealed\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eBig John Patton, organ\u003cspan style=\"color: #ff8000;\"\u003e \u003ca title=\"vinyl featuring John Patton\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/john-patton\" style=\"color: #ff8000;\" data-mce-fragment=\"1\"\u003e[click here to see more vinyl featuring John Patton]\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBen Dixon, drums\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGrant Green, guitar \u003ca title=\"Vinyl featuring Grant Greene\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/grant-green\" data-mce-fragment=\"1\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\"\u003e[click here to see more vinyl featuring Grant Green]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFred Jackson, sax (tenor)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHarold Vick, sax (tenor) \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/harold-vick\" title=\"vinyl featuring Harold Vick\" data-mce-fragment=\"1\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\"\u003e[click here to see more vinyl featuring Harold Vick]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e2 LPs, Gatefold jacket\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003e\u003cstrong\u003eLimited \u0026amp; Numbered Edition (Number : 1699)\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 45RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12”\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press :  Record Technology Incorporated\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel :  Analogue Productions\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label :  Blue Note\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded at Van Gelder Studio, Englewood Cliffs, New Jersey\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by Kevin Gray, Steve Hoffman at AcousTech Mastering\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1963\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2009\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eThe Silver Meter\u003c\/li\u003e\n\u003cli\u003eI'll Never Be Free\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eSpiffy Diffy\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide C:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eAlong Came John\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide D:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eGee Gee\u003c\/li\u003e\n\u003cli\u003ePig Foots\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\u003cstrong\u003e\u003c\/strong\u003e\"By the time John Patton recorded Along Came John, his debut as a leader, he had already become a familiar name around the Blue Note studios. He, guitarist Grant Green, and drummer Ben Dixon had become the label's regular soul-jazz rhythm section, playing on sessions by Lou Donaldson, Don Wilkerson, and Harold Vick, among others. They had developed an intuitive, empathetic interplay that elevated many of their sessions to near-greatness, at least in the realm of soul-jazz. That's one of the reasons why Along Came John is so successful -- the three know each other so well that their grooves are totally natural, which makes them quite appealing. These original compositions may not all be memorable, but the band's interaction, improvisation, and solos are. Tenor saxophonists Fred Jackson and Harold Vick provide good support, as well, but the show belongs to Patton, Green, and Dixon, who once again prove they are one of the finest soul-jazz combos of their era.\" AllMusic Review by Stephen Thomas Erlewine\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings: \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eAllMusic 4\/5  ,   Discogs 4.5\/5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40996029071511,"sku":"ABNJ 84130","price":105.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/john-patton-along-came-john-2lp-180g-45rpm-limited-and-numbered-edition-audiosoundmusic-1.jpg?v=1719853820"},{"product_id":"jackie-mclean-jackies-bag-2lp-45rpm","title":"Jackie McLean - Jackie's Bag (2LP, 45RPM, Number 1971)","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003e\u003cstrong\u003eRarity - Sealed\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAlto Saxophone – Jackie McLean \u003cspan style=\"color: #ff8000;\"\u003e\u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/jackie-mclean\" title=\"vinyl featuring jackie mclean\" style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/jackie-mclean\"\u003e[click here to see more vinyl featuring Jackie McLean]\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBass – Paul Chambers \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 vinyl featuring Paul Chambers]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDrums – Philly Joe Jones (A1 to A3) \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 vinyl featuring Philly Joe Jones]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDrums - Art Taylor (B1 to B3) \u003ca title=\"Vinyl featuring Art Taylor\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/art-taylor\"\u003e\u003cspan style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Art Taylor]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePiano – Kenny Drew (B1 to B3), Sonny Clark (A1 to A3) \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/kenny-drew\" title=\"vinyl featuring Kenny Drew\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/kenny-drew\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Kenny Drew]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTenor Saxophone – Tina Brooks (B1 to B3)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTrumpet – Blue Mitchell (B1 to B3)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTrumpet - Donald Byrd (A1 to A3) \u003cspan style=\"color: #ff8000;\" lang=\"EN-US\" data-mce-fragment=\"1\"\u003e\u003ca style=\"color: #ff8000;\" title=\"vinyl featuring Donald Byrd\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/donald-byrd\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/donald-byrd\"\u003e[click here to see more vinyl featuring Donald Byrd]\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e2 LP, Gatefold jacket\u003c\/strong\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003e\u003cstrong\u003eLimited and Numbered Edition (Number 1971)\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 45RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12”\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press :  Record Technology Incorporated\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel :  Analogue Productions\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label :  Blue Note\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded at Van Gelder Studio, Hackensack, New Jersey\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by Kevin Gray, Steve Hoffman at AcousTech Mastering\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1960\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2008\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eQuadrangle\u003c\/li\u003e\n\u003cli\u003eBlues Inn\u003c\/li\u003e\n\u003cli\u003eFidel\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eAppointment In Ghana\u003c\/li\u003e\n\u003cli\u003eA Ballad For Doll\u003c\/li\u003e\n\u003cli\u003eIsle Of Java\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAwards:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e\u003cb\u003eTAS Recommended! Rated a 'Best Audiophile Label Recording' in the November 2009 issue of The Absolute Sound!\u003c\/b\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\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\"Jackie's Bag is split between two different recording sessions: the first, from January 1959, was the first session Jackie McLean ever led for Blue Note, and the second was a sextet date from September 1960 that featured tenor saxophonist Tina Brooks as a co-leader in all but name. According to the liner notes, McLean's first date produced only three songs of releasable quality, which are included here. Six tunes were cut at the Brooks session, which were all issued in Japan as Street Singer, and half appeared on the original Jackie's Bag LP. Given the transitional time period of the first and Brooks' musical taste on the second, the music on Jackie's Bag finds McLean in a staunchly hard bop mode, with occasional hints of adventurousness. While McLean's debut performances are certainly well done, the most distinctive appeal of the album lies in the Brooks collaborations. There are exotic flavors to McLean's terrific \"Appointment in Ghana\" and Brooks' \"Isle of Java\"; of the newly added bonus tracks, Brooks' \"Medina\" has a particularly complex and memorable theme, and his \"Street Singer\" was actually issued on his own Back to the Tracks album as well. Despite crucial contributions from trumpeter Blue Mitchell and drummer Art Taylor, the real focal point of these performances is the complementary interplay between McLean and Brooks, the latter of whom does a nice job of matching the former's legendarily hard-edged tone. McLean devotees will want this anyway, but the quality of the Street Singer material pushes Jackie's Bag far beyond a simple gap-plugging historical release.\" AllMusic Review by Steve Huey\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\"There's no lack of fire in Jackie McLean's \u003c\/span\u003e\u003cem\u003eJackie's Bag\u003c\/em\u003e\u003cspan\u003e...Splitting the record's six tracks between two different groups, excepting Paul Chambers on bass, McLean shows exceptional talents as composer, arranger, and soloist in a series of rhythmically complex tunes that leave you just enough off guard...The sound is open and holographic; drums and bass are very well captured, and the horn's balance sweetness and bite.\" - Wayne Garcia, \u003c\/span\u003e\u003cem\u003eThe Absolute Sound\u003c\/em\u003e\u003cspan\u003e, June\/July 2009\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\"These are simply amazing pressings. I have no regrets whatsoever about signing up for this subscription. The folks I'd invited over last Saturday are by no means audiophiles, but they couldn't believe that they were listening to vinyl, or that recordings that were 40+ years old could sound so good. I'm working hard to turn them into vinyl converts. These discs are the icing on the cake!\" – Tim Bingaman, Acoustic Sounds customer\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e\"…As much as I'd love to relay all kinds of anecdotes about the challenges Steve Hoffman and Kevin Gray encounter during the mastering sessions, I witness none. These boys know the sound of the facility and the Van Gelder masters like the backs of their hands…Back home a month later, I unpack some test pressings Chad Kassem has sent me…I hear the most realistic-sounding drums ever reproduced by my system. It's as though I'm sitting at the point of creation, experiencing the same high that brought such gifted musicians together as one. Steve Hoffman, Kevin Gray, Chad Kassem, and Don MacInnis have done Rudy Van Gelder and his Blue Note artists proud.\" – Jason Victor Serinus, \u003c\/span\u003e\u003cem\u003eStereophile\u003c\/em\u003e\u003cspan\u003e, April 2008\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e\"...these first five Acoustic Sounds Blue Note re-issues are pure bop genius...The best news is that Kevin Gray and Steve Hoffman were keen enough to do nothing more than gently clean up the masters, bringing us even closer to the hard bop edge. The 45 rpm pressings that I received were all super quiet with every last drop of resolution from the master tapes. I had almost forgotten just how good Paul Chambers and Phil Joe were together as the backbone of these groups. I've always loved this music but I didn't remember it sounding this good! Hank Mobley offers us some brilliant sax bits on one of Kenny Dorham's finest recordings, \u003c\/span\u003e\u003cem\u003eWhistle Stop\u003c\/em\u003e\u003cspan\u003e and Dexter Gordon's performance blew me away as well. The biggest surprise were the Lee Morgan records. I suggest turning these up loud, since they possess unlimited energy and some hooks that will knock you out. Amazing! Just a small warning: Once you start playing these Blue Note recordings you will be hooked. The good news is that Acoustic Sounds is working on at least 20 more of these jazz gems. So make sure your turntable has a setting for 45 rpm, clean your stylus occassionally, and get ready to be transported to nirvana.\" - Dan Babineau, \u003c\/span\u003e\u003cem\u003eTone Audio\u003c\/em\u003e\u003cspan\u003e, No. 14 2008\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":40996168597655,"sku":"ABNJ 84051","price":209.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/jackie-mclean-jackie-s-bag-2lp-45rpm-number-1971-audiosoundmusic-1.jpg?v=1719853820"},{"product_id":"dizzy-reece-soundin-off-2lp-45rpm","title":"Dizzy Reece - Soundin' Off (2LP, 45RPM)","description":"\u003ch2\u003e\u003cbr\u003e\u003c\/h2\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eRarity - Sealed\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTrumpet – Dizzy Reece \u003ca data-mce-fragment=\"1\" title=\"vinyl featuring Dizzy Reece\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/dizzy-reece\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/dizzy-reece\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"color: #ff8000;\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Dizzy Reece]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBass – Doug Watkins \u003cspan data-mce-fragment=\"1\" lang=\"EN-US\" style=\"color: #ff8000;\"\u003e \u003ca data-mce-fragment=\"1\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/doug-watkins\" title=\"Vinyl featuring Doug Watkins\" style=\"color: #ff8000;\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/doug-watkins\"\u003e[click here to see more vinyl featuring Doug Watkins]\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDrums – Art Taylor \u003cspan data-mce-fragment=\"1\" style=\"color: #ff8000;\"\u003e[\u003ca data-mce-fragment=\"1\" style=\"color: #ff8000;\" title=\"Vinyl featuring Art Taylor\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/art-taylor\" target=\"_blank\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/art-taylor\"\u003eClick here to see more vinyl featuring Art Taylor\u003c\/a\u003e]\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePiano – Walter Bishop, Jr.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e2 LP, Gatefold jacket\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eLimited \u0026amp; Numbered Edition (Number : 0740)\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 45RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12”\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press :  Record Technology Incorporated\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel :  Analogue Productions\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label :  Blue Note\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Rudy Van Gelder\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by Kevin Gray \u0026amp; Steve Hoffman at AcousTech\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1960\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2010\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eA Ghost Of A Chance\u003c\/li\u003e\n\u003cli\u003eOnce In A While\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eEB Pob\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide C:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eYesterdays\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide D:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eOur Love Is Here To Stay\u003c\/li\u003e\n\u003cli\u003eBlue Streak\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\u003cstrong\u003e\u003c\/strong\u003e\"Originally issued in 1960 and subsequently reissued multiple times in a variety of formats, the trumpeter Dizzy Reece's fourth Blue Note outing as a leader is here presented in Super Audio CD format by the APO label. While it would have been nice to see a bit more material on a reissue like this (with at least a couple of alternate takes), the original program is densely packed with high-quality music and makes for a solidly satisfying listening experience on its own. The opening track, interestingly enough, is both a ballad and a standard: on \"Ghost of a Chance\" Reece plays with a buttery, burnished tone that coats the familiar melody in a golden haze like the quality of light at dusk. The sun rises again on the next track, a midtempo number titled \"Once in a While,\" and the tempo ratchets up another notch on \"Eb Pob,\" a rather undistinguished composition on the \"I Got Rhythm\" changes that is completely redeemed by the quality of the solos. \"Yesterday\" finds pianist Walter Bishop delivering a curiously lackadaisical solo, but he gets back in the groove on a wonderful version of \"Our Love Is Here to Stay.\" The program ends with a nice, bouncy blues original titled \"Blue Streak.\" Throughout the album, Reece digs into his bag of sonic tricks without ever doing anything that detracts from the music itself. Soundin' Off is a little bit uneven, but is never less than a solid pleasure to listen to.\" AllMusic Review by Rick Anderson \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRating :  \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eAllMusic 3.5\/5 , Discogs 4.59 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40996380016791,"sku":"ABNJ 84033","price":149.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/dizzy-reece-soundin-off-2lp-45rpm-limited-and-numbered-edition-audiosoundmusic-1.jpg?v=1719853820"}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/collections\/vinyl_e4b7b55e-bb76-485e-a575-a284d8ec176e.jpg?v=1719821105","url":"https:\/\/www.audiosoundmusic.com\/collections\/our-audiophile-rarities.oembed?page=16","provider":"AudioSoundMusic","version":"1.0","type":"link"}