{"title":"Vinyl Pop","description":"","products":[{"product_id":"pet-sounds-the-beach-boys","title":"The Beach Boys - Pet Sounds (1LP, Mono, 33RPM, 200g)","description":"\u003cp style=\"margin: 0cm 0cm 12.0pt 0cm;\" data-mce-fragment=\"1\" data-mce-style=\"margin: 0cm 0cm 12.0pt 0cm;\"\u003e\u003cstrong\u003e\u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/beach-boys\" title=\"vinyl featuring The Beach Boys\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/beach-boys\"\u003e\u003cspan style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring the Beach Boys]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp style=\"margin: 0cm 0cm 12.0pt 0cm;\" data-mce-fragment=\"1\" data-mce-style=\"margin: 0cm 0cm 12.0pt 0cm;\"\u003e\u003cstrong\u003ePerformed by The Beach Boys : Brian Wilson (vocals, bass guitar, keyboards), Mike Love (vocals, percussion, saxophone, Electro-Theremin), Al Jardine (vocals, rhythm guitar, bass guitar), Bruce Johnston (vocals, keyboards, bass guitar), Dennis Wilson (vocals, drums, keyboards).\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by Brian Wilson (all tracks), Tony Asher (A1, A2, A3, A4, B1, B3, B4, B6), Mike Love (A5), Michael Ruff (A3), Terry Sachen (B2)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, Stoughton tip-on jackets\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 200g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMono\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Quality Record Pressings\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Analogue Productions \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Capitol\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded July 12, 1965 - April 13, 1966 at Columbia Studios (Hollywood, CA), Gold Star Recording Studios (Hollywood, CA), Sunset Sound Studios (Los Angeles, CA), Western Studios (Los Angeles, CA)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eMastered by Kevin Gray \u003cb data-mce-fragment=\"1\"\u003eat Cohearent Audio\u003c\/b\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eOriginally issued on May 16th, 1966 in mono\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eReissued in Nov 2015\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eTracks :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eWouldn’t It Be Nice\u003c\/li\u003e\n\u003cli\u003eYou Still Believe In Me\u003c\/li\u003e\n\u003cli\u003eThat’s Not Me\u003c\/li\u003e\n\u003cli\u003eDon’t Talk (Put Your Head On My Shoulder)\u003c\/li\u003e\n\u003cli\u003eI’m Waiting For The Day\u003c\/li\u003e\n\u003cli\u003eLet’s Go Away For Awhile\u003c\/li\u003e\n\u003cli\u003eSloop John B\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eGod Only Knows\u003c\/li\u003e\n\u003cli\u003eI Know There’s An Answer\u003c\/li\u003e\n\u003cli\u003eHere Today\u003c\/li\u003e\n\u003cli\u003eI Just Wasn’t Made For These Times\u003c\/li\u003e\n\u003cli\u003ePet Sounds\u003c\/li\u003e\n\u003cli\u003eCaroline No\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 data-mce-fragment=\"1\"\u003e\u003cb\u003eTAS Super LP List! Special Merit: Informal\u003c\/b\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cb\u003eMichael Fremer's 100 Recommended All-Analog LP Reissues Worth Owning - Ranked 55\/100!\u003c\/b\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cb\u003eRolling Stone 500 Greatest Albums of All Time - Rated 2\/500\u003cbr\u003e\u003c\/b\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cb\u003e\u003cbr\u003eRolling Stone 500 Greatest Songs of All Time - \"Sloop John B\" - Rated 278\/500\u003c\/b\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e1000 Recordings you must hear before you die - Ranked 61\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\u003cspan\u003e\"one of the most innovative recordings in rock\", 101 Albums that Changed Popular Music (2009)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\"It was \u003cem\u003ePet Sounds\u003c\/em\u003e that blew me out of the water…I love the album so much. I've just bought my kids each a copy of it for their education in life. I figure no one is educated musically 'til they've heard that album.\" – Paul McCartney\u003c\/p\u003e\n\u003cp\u003e\"All of us, Ginger (Baker), Jack (Bruce), and I consider \u003cem\u003ePet Sounds\u003c\/em\u003e to be one of the greatest pop LPs to ever be released. It encompasses everything that's ever knocked me out and rolled it all into one.\" – Eric Clapton\u003c\/p\u003e\n\u003cp\u003e\"Overall though, this new reissue is the best sounding of all. The bottom end has more weight and solidity and the instrumental separation and front to back layering is nothing short of astonishing compared to the pleasing mush offered up by other editions. ... Pet Sounds belongs in every serious rock record collection and if you're going to have but one version this one from Analogue Productions is the one to have.\"  Michael Fremer,\u003cspan\u003e \u003c\/span\u003eAnalogPlanet.com\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003c\/strong\u003e\"Produced, composed and arranged by Brian Wilson, \u003cem\u003ePet Sounds\u003c\/em\u003e stands as the Beach Boys' pinnacle. The album is brimming with beautiful ballads, exotic instrumentation, lush five-part harmonies, and aching sentimentality. Recorded largely with session players from L.A.'s fabled Wrecking Crew, \u003cem\u003ePet Sounds\u003c\/em\u003e was Wilson's chance to step away from songs about surfing and cars, instead crafting tender songs about adolescent love, both newfound and lost, as well as innocence and bewilderment. Analogue Productions' two-disc 45 RPM, 180-gram stereo album boasts exceptionally detailed separation and aptly showcases \u003cem\u003ePet Sounds\u003c\/em\u003e' shimmering sonics. Mark Linett produced this stereo mix with an assembled digital multi-track master that synched the original four-track instrumental master with the four- and eight-track vocal overdub master. It was then mixed to 15 ips 1\/4-inch analog tape with SR noise reduction. How good is it? Carol Kaye's picked Fender P-Bass is tight and punchy on the intro to \"God Only Knows,\" and the clarity reveals the swelling emotion of Carl Wilson's angelic lead vocal to announce that you've entered the Church of Rock 'n' Roll. Say amen.\" Greg Cahill, \u003cem\u003eThe Absolute Sound\u003c\/em\u003e, December 2017\u003c\/p\u003e\n\u003cp\u003e« The best Beach Boys album, and one of the best of the 1960s. The group here reached a whole new level in terms of both composition and production, layering tracks upon tracks of vocals and instruments to create a richly symphonic sound. Conventional keyboards and guitars were combined with exotic touches of orchestrated strings, bicycle bells, buzzing organs, harpsichords, flutes, Theremin, Hawaiian-sounding string instruments, Coca-Cola cans, barking dogs, and more. It wouldn't have been a classic without great songs, and this has some of the group's most stunning melodies, as well as lyrical themes which evoke both the intensity of newly born love affairs and the disappointment of failed romance (add in some general statements about loss of innocence and modern-day confusion as well). The spiritual quality of the material is enhanced by some of the most gorgeous upper-register male vocals (especially by Brian and Carl Wilson) ever heard on a rock record. \"Wouldn't It Be Nice,\" \"God Only Knows,\" \"Caroline No,\" and \"Sloop John B\" (the last of which wasn't originally intended to go on the album) are the well-known hits, but equally worthy are such cuts as \"You Still Believe in Me,\" \"Don't Talk,\" \"I Know There's an Answer,\" and \"I Just Wasn't Made for These Times.\" It's often said that this is more of a Brian Wilson album than a Beach Boys recording (session musicians played most of the parts), but it should be noted that the harmonies are pure Beach Boys (and some of their best). Massively influential upon its release (although it was a relatively low seller compared to their previous LPs), it immediately vaulted the band into the top level of rock innovators among the intelligentsia, especially in Britain, where it was a much bigger hit. » AllMusic Review by Richie Unterberger\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 : 5 \/ 5 ,  Rate your Music : 4.18 \/ 5\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eMichael Fremer : Music = 11\/11, Sound = 11\/11\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eGreg Cahill, The Absolute Sound : Music 5\/5, Sonics 4.5\/5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40374721216663,"sku":"AAPP 067M","price":120.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/the-beach-boys-pet-sounds-1lp-mono-33rpm-200g-audiosoundmusic-1.jpg?v=1719851398"},{"product_id":"the-mahavishnu-orchestra-the-inner-mounting-flame","title":"The Mahavishnu Orchestra - The Inner Mounting Flame (Black vinyl)","description":"\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eJohn McLaughlin - guitar \u003cspan data-mce-fragment=\"1\"\u003e\u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/john-mclaughlin\" title=\"vinyl featuring john mclaughlin\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/john-mclaughlin\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring John McLaughlin]\u003c\/span\u003e\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eJan Hammer (p); Jerry Goodman (v); Rick Laird (b); Billy Cobham (dr)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eWritten by John McLaughlin\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 :  Columbia\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eRecording: August 1971 in New York City by Don Puluse\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003cbr\u003e\u003cspan\u003eProduction: John McLaughlin\u003c\/span\u003e\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\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. Meeting Of The Spirits\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e2. Dawn\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e3. The Noonward Race\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e4. A Lotus On Irish Streams\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e5. Vital Transformation\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e6. The Dance Of Maya\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e7. You Know You Know\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e8. Awakening\u003c\/div\u003e\n\u003cp\u003e \u003cbr\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e« This is the album that made John McLaughlin a semi-household name, a furious, high-energy, yet rigorously conceived meeting of virtuosos that, for all intents and purposes, defined the fusion of jazz and rock a year after Miles Davis' Bitches Brew breakthrough. It also inadvertently led to the derogatory connotation of the word fusion, for it paved the way for an army of imitators, many of whose excesses and commercial panderings devalued the entire movement. Though much was made of the influence of jazz-influenced improvisation in the Mahavishnu band, it is the rock element that predominates, stemming directly from the electronic innovations of Jimi Hendrix. The improvisations, particularly McLaughlin's post-Hendrix machine-gun assaults on double-necked electric guitar and Jerry Goodman's flights on electric violin, owe more to the freakouts that had been circulating in progressive rock circles than to jazz, based as they often are on ostinatos on one chord. These still sound genuinely thrilling today on CD, as McLaughlin and Goodman battle Jan Hammer's keyboards, Rick Laird's bass, and especially Billy Cobham's hard-charging drums, whose jazz-trained technique pushed the envelope for all rock drummers. What doesn't date so well are the composed medium- and high-velocity unison passages that are played in such tight lockstep that they can't breathe. There is also time out for quieter, reflective numbers that are drenched in studied spirituality (\"A Lotus on Irish Streams\") or irony (\"You Know You Know\"); McLaughlin was to do better in that department with less-driven colleagues elsewhere in his career. Aimed with absolute precision at young rock fans, this record was wildly popular in its day, and it may have been the cause of more blown-out home amplifiers than any other record this side of Deep Purple. » AllMusic Review by Richard S. Ginell\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe liner notes for \"The Inner Mounting Flame\" were written by the guru Sri Chinmoy – now that’s a real sales point! The music too burns right from the very first note to the last as though it were licked by the flames of hell fire.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe wealth of ideas, sheer vitality and supreme soloistic virtuosity of the five top-notch musicians from four different countries is absolutely first class. In addition there is their truly dreamlike interplay; one could say they were born and grew up with the same 'spirit'. \"Meeting Of The Spirit\", \"The Dance Of Maya\" and \"You Know You Know\" are the highlights of this first Mahavishnu Orchestra.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAspiration – struggle, hope and desire – is seen as an inner mounting flame which takes man towards 'divine perfection'. Well, opinions differ of course. But what is certain is that this music from 1971 is still amazingly fresh and creative even 36 years later – and luckily it is available once again in the form of a vinyl disc.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAllmusic :  5 \/ 5 ,  \u003c\/span\u003e\u003cspan\u003eDiscogs \u003c\/span\u003e: \u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e4,41\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\u003e3,95\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40405095809175,"sku":"PC 31067","price":38.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/the-mahavishnu-orchestra-the-inner-mounting-flame-black-vinyl-audiosoundmusic-1.jpg?v=1719851555"},{"product_id":"carly-simon-no-secrets","title":"Carly Simon - No Secrets (Speakers Corner)","description":"\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003eCarly Simon - vocal, guitar, piano \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/carly-simon\" title=\"Vinyl featuring Carly Simon\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/carly-simon\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\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 data-mce-fragment=\"1\"\u003eJimmy Ryan (g,b); Bobby Keys (ts); Lowell George (g); Kirby Johnson (el-p); Peter Robinson (p); Bill Payne (org); Klaus Voorman (b); Andy Newmark, Jim Keltner (dr); orchestra \u0026amp; backing vocals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWriten by Carly Simon (A1, A2, A3, A4, A4, B1, B2, B3, B5), Jacob Brackman (B3), James Taylor (B4), Billy Mernit (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 : 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 : Elektra\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eRecording: September - October 1972 at Trident Studios, London, by Robin Geoffrey Cable\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eProduction: Richard Perry\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1972\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2020\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003e\u003cbr\u003e\u003cbr\u003eTracks :\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eThe Right Thing To Do\u003c\/li\u003e\n\u003cli\u003eThe Carter Family\u003c\/li\u003e\n\u003cli\u003eYou're So Vain\u003c\/li\u003e\n\u003cli\u003eHis Friends Are More Than Fond Of Robin\u003c\/li\u003e\n\u003cli\u003eWe Have No Secrets\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eEmbrace Me, You Child\u003c\/li\u003e\n\u003cli\u003eWaited So Long\u003c\/li\u003e\n\u003cli\u003eIt Was So Easy\u003c\/li\u003e\n\u003cli\u003eNight Owl\u003c\/li\u003e\n\u003cli\u003eWhen You Close Your Eyes\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« Carly Simon's best album, No Secrets was also her commercial breakthrough, topping the charts and going gold, along with its leadoff single, \"You're So Vain.\" That song set the album's saucy tone, with its air of sexually frank autobiography (\"You had me several years ago\/When I was still quite naïve\") and its reflections on the jet-set lifestyle. But Simon's honesty meant that her lyrical knife was double-edged; now that she felt she had found true love (\"The Right Thing to Do,\" another Top Ten hit, was her celebration of her relationship with James Taylor), she was as willing to acknowledge her own mistakes and regrets as she was to point fingers. But it wasn't only Simon's forthrightness that made the album work; it was also Richard Perry's simple, elegant pop\/rock production, which gave Simon's music a buoyancy it previously lacked. And Perry paid particular attention to Simon's vocals in a way that made her more engaging (or at least less grating) to listen to. » AllMusic Review by William Ruhlmann\u003c\/p\u003e\n\u003cp\u003e« Singer\/songwriter Carly Simon was a staple of the 70’s music scene, and maintained a successful career. Her sultry contralto was an effective vehicle for her introspective brand of pop. After being signed to Elektra in 1970, Simon released her self-titled debut in 1971. She received her first Grammy (Best New Artist), and had a commercial breakthrough with the single, “That’s The Way I Always Heard It Should Be”. The following album, Anticipation produced another hit with the title song (that was alleged to have been written in 15 minutes). Another plateau was reached with the release of the single, “You’re So Vain”. It rose to #1 on the Adult Contemporary charts and the album (No Secrets) spent 5 weeks at the top of the U.S. charts. Carly Simon’s career would span decades producing an additional Grammy and Oscar for the song “Let The River Flow”. She has released a trio of standards albums, has written several Children’s books and two memoirs.\u003c\/p\u003e\n\u003cp\u003eSpeakers Corner Records has released a re-mastered 180-gram vinyl of No Secrets. This is the epitome of early 70’s popular music, notable for its fastidious production (Richard Perry\/Trident Studios) and engineering (Robin Cable). With a stellar cadre of studio musicians, the album envelops the storytelling of Simon’s lyrical content with lavish sophistication. Side One opens with an affirmative love song, “The Right Thing To Do”. The rhythmic pop flow is complemented by the resonating vocals. Her phrasing is unusually precise and the string\/horn accompaniment expands the musical tapestry. It is a well-crafted song with a memorable coda. “Carter Family” is a straightforward childhood reflection (with a catchy 3\/4 time signature) displaying philosophical retrospection. A certain highlight of No Secrets is the wry “You’re So Vain”. With a bouncy groove, Carly appears to call out male-counterpart celebrities. As she intones, “…You had one eye on the mirror as you watched yourself gavotte…” the listener is engaged. Of course, the chorus refrain,”…You’re so vain, you probably think this song is about you! Don’t you, don’t you?…” is apropos to the context and features great backup vocals (including some harmony) by an uncredited (at the time) Mick Jagger. It is not surprising that the single hit the top of the charts. In a simpler arrangement, “His Friends Are More Than Fond Of Robin” revisits nostalgia of youth through with mature perspective. The title track exudes an atmospheric open sound, countered by a funky bass, tempo breaks with  shades of country eloquence. The clever lyrics explore the difference in sharing everything initially to measured reservations (“…Often I wish I never knew some of those secrets of yours…”).\u003c\/p\u003e\n\u003cp\u003eSide Two continues Simon’s narratives. “Embrace Me, You Child” is another meditation on childhood, and especially her father. Her earnest vocals and the graceful elegance of Paul Buckmaster’s arrangement bring prominence. Small touches like synth accents add atmospheric nuance. Switching gears, “Waited So Long” is a rocker with an unabashed declaration of emerging sexuality (“…Daddy, I’m no virgin, but I’ve already waited so long…”). This is a quintessential 70’s studio lineup with Nicky Hopkins (piano) leading an all-star band (including Lowell George on slide guitar, Billy Payne on organ) and the inimitable James Taylor singing backup. There is a nimble tempo break on the chorus. Easing down, “It Was So Easy” is country-infused self-examination with twangy electric guitar (Jimmy Ryan). Simon’s vocal agility shines through in tracked recording. In a gritty cover of James Taylor’s “Night Owl”, Carly flexes her rock credentials with a spirited performance. This is big-time L.A. Rock , with legendary singers like Bonnie Bramlett and Doris Troy (with help from Paul and Linda McCartney) distilling the essence of this genre. Again, Nicky Hopkins’ muscular piano drives the jam and the addition of Bobby Keys on tenor saxophone elevates this number. The finale, “When You Close Your Eyes” is a lovely ballad that captures the ethereal troubadour spirit. The stylish production by Buckmaster (with delicate woodwinds) adds glowing texture.\u003c\/p\u003e\n\u003cp\u003eSpeakers Corner Records has done a superb job in re-mastering No Secrets to 180-gram vinyl. The overall mix is superb (and a good set of stereo headphones will bear this out). Simon’s voice is rendered with pristine clarity and rich tone. The orchestrated enhancements are fluent and never overwhelm the centered vocals. It is a vibrant representation of a singer\/songwriter at the height of creativity. » Robbie Gerson, Audiophile Audition, Mar 9, 2020\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eCarly Simon’s unquestionably best album, \"No Secrets\", was also her commercial breakthrough. It topped the Billboard charts for over five weeks, thus quickly gaining gold status, as did the single release of \"You’re So Vain\". This song determined the album’s flippant tone, with its sexually unashamed autobiography (»You had me several years ago\/When I was still quite naïve«) and its observations on the lifestyle of the jet set. But Simon’s sincerity also meant that her lyricism was double-edged. Now that she thinks she has found true love, she expresses her joy over her relationship to James Taylor with \"The Right Thing To Do\", another top ten hit. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eOn the other hand she was just as willing to recognize her own mistakes and regretted pointing her finger at other people. It was not just Simon’s frankness that made the album a success, but also Richard Perry’s simple, elegant pop-rock production, which lent Simon’s music a vitality it never known before. Perry was mindful in particular of Simon’s vocals, making them more perceptive and stirring than in her other productions. And of course her fellow musicians, such as Paul and Linda McCartney, Mick Jagger, Klaus Voormann, Lowell George, Bobby Keys, Jim Keltner as well as her ex-husband James Taylor all contributed to the success of the album, which was awarded official platinum status by the Recording Industry Association of America.\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\u003e3,79\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\u003e3,39\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40405750415511,"sku":"EKS-75049","price":38.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/carly-simon-no-secrets-speaker-corners-audiosoundmusic-1.jpg?v=1719851571"},{"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":"the-doobie-brothers-minute-by-minute","title":"The Doobie Brothers - Minute By Minute","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 style=\"color: #ff8000;\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/the-doobie-brothers\" title=\"vinyl featurig The Doobie Brothers\"\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 (voc); Patrick Simmons (g, voc); Michael McDonald (keyb, voc); Jeffrey Baxter (g); Norton Buffalo (hca); Tiran Porter (b, voc); John Hartman, Keith Knudsen (dr); Bobby LaKind (cga)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by \u003c\/strong\u003e\u003cstrong\u003eMichael McDonald (A1, A2, A3, A4, B1, B2, B5), Kenny Loggins (A2, B2), Lester Abrams (A3, B1), Patrick Simmons (A4, A5, B2, B3, B4, B5), Jeff Baxter (A5, B5), Michael Ebert (A5), Rev. Patrick Henderson (B1), Ted Templeman (B2), Carole Bayer Sager (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 : Warner\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eRecorded in 1978 at Warner Bros.-Studios, North Hollywood\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eRecorded by Donn Landee and Loyd Clifft\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eProduced by Ted Templeman\u003cbr\u003e\u003c\/span\u003e\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 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\u003eSweet Feelin'\u003c\/li\u003e\n\u003cli\u003eOpen Your Eyes\u003c\/li\u003e\n\u003cli\u003eDependin' on You\u003c\/li\u003e\n\u003cli\u003eHere to Love You\u003c\/li\u003e\n\u003cli\u003eMinute by Minute\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eYou Never Change\u003c\/li\u003e\n\u003cli\u003eWhat A Fool Believes\u003c\/li\u003e\n\u003cli\u003eSteamer Lane Breakdown\u003c\/li\u003e\n\u003cli\u003eHow do the Fools Survive?\u003c\/li\u003e\n\u003cli\u003eDon't Stop to Watch the Wheels\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\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e« With Tom Johnston gone from the lineup because of health problems, this is where the \"new\" Doobie Brothers really make their debut, with a richly soulful sound throughout and emphasis on horns and Michael McDonald's piano more than on Patrick Simmons' or Jeff Baxter's guitars. Not that they were absent entirely, or weren't sometimes right up front in the mix, as the rocking, slashing \"Don't Stop to Watch the Wheels\" and the bluegrass-influenced \"Steamer Lane Breakdown\" demonstrate. But given the keyboards, the funky rhythms, and McDonald's soaring tenor (showcased best on \"What a Fool Believes\"), it's almost difficult to believe that this is the hippie bar band that came out of California in 1970. There's less virtuosity here than on the group's first half-dozen albums, but overall a more commercial sound steeped in white funk. It's still all pretty compelling even if its appeal couldn't be more different from the group's earlier work (i.e., The Captain and Me, etc.). The public loved it, buying something like three million copies, and the recording establishment gave Minute by Minute four Grammy Awards, propelling the group to its biggest success ever. » AllMusic Review by Bruce Eder\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eHow the Doobie Brothers came to form a 'family' is not only a fateful event but also a good story. While getting high on a marihuana joint (or doobie) that was passed from one to the other in a practice room, one of the group apparently uttered the following momentous words: »We are all Doobie brothers«. Later, when in possession of all his faculties, the co-founder of the group, Tom Johnston, was thinking along the lines of a Motown sound, with a bass line resembling that of Seals and Crofts, and vocals in the style of Stevie Wonder. That \"Minute By Minute\", the first album to appear in the post-Johnston era, so perfectly reflects the mature style of the group is mostly thanks to the two experienced former Steely Dan musicians Jeff “Skunk” Baxter and singer Michael McDonald.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eSubtle, gently electrified groove epitomizes the main focus of this album. Its laid back, colourful and glittering sounds are rounded out with powerful rhythms and warm sounds (\"What A Fool Believes\"). Solo vocals are layered over rolling chords on the piano, a snappy bass and a multi-voiced background to create an appealing harmony (\"Here To Love You\"). Perfectly tempered and accomplished solos from the lead guitar and saxophone are welcome extras that never drown out the impressive leader of the group. So much brotherliness on a record certainly deserved to be recognized with three Platinum Records and a Grammy Award.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings : \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAllMusic : 4 \/ 5 , \u003c\/span\u003e\u003cspan\u003eDiscogs \u003c\/span\u003e:\u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e3,83\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\u003e3,31\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40405843345559,"sku":"BSK3193","price":55.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/the-doobie-brothers-minute-by-minute-audiosoundmusic-1.jpg?v=1719851584"},{"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":"david-lindley-el-rayo-x","title":"David Lindley - El Rayo X","description":"\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eDavid Lindley (voc, g, b, v, lute); Jackson Browne, Jorge Calderón (voc); Garth Hudson (horns); Curt Bouterse (dulcimer); Bob Glaub, Reggie McBride (b); William 'Smitty' Smith, Billy Payne (org); Ian Wallace (dr); Ras Baboo (perc, voc, acc)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eWritten by \u003c\/strong\u003e\u003cstrong\u003eDavid Lindley (B1, B4, B6), Bob Fuller (A1, A4, A5), Boudleaux Bryant (A2), Felice Bryant (A2), K.C. Douglas (A3), Robert Geddins (A3), Phil Medley (A6), Bert Russell (A6), Jorge Calderón (B1), King Curtis (B2), Elmo Glick (B2), O'Kelly Isley (B2), Smokey Robinson (B3), Ronald White (B3), Solomon Feldthouse (B4), Nancy Lindley (B4), Huey \"Piano\" Smith (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 : 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\u003e\u003cstrong\u003e\u003cspan\u003eRecording: 1981 at Record One, Los Angeles, by Greg Ladanyi\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eProduction: Jackson Browne and Greg Ladanyi\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1981\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 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\u003cdiv style=\"padding-left: 30px;\"\u003e1. She Took Off My Romeos\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e2. Bye Bye Love\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e3. Mercury Blues\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e4. Quarter Of A Man\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e5. Ain't No Way\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e6. Twist And Shout\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e1. El Rayo-X\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e2. Your Old Lady\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e3. Don't Look Back\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e4. Petit Fleur\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e5. Tu-Ber-Cu-Lucas And The Sinus Blues\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e6. Pay The Man\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« By the time David Lindley made his move to a solo career, he was already a legend. Having toured and recorded with such names as Jackson Browne, Linda Ronstadt, and Crosby \u0026amp; Nash, his reputation as a multi-instrumentalist (on almost any stringed instrument) was awesome. Lindley scored a contract with Elektra Records and put together an excellent band that was able to keep up with his eclectic vision. Combining blues, rock \u0026amp; roll, Cajun, Zydeco, Middle Eastern music, and other elements, his debut album is an absolute joy. Lindley's version of \"Mercury Blues\" became an FM radio staple, and his slide guitar performances on this track alone are easily some of the finest of the decade. There are some wonderfully skewed originals on the record as well, making El Rayo-X one of the greatest rock music albums of its time. Fabulous. » AllMusic Review by Matthew Greenwald\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e« David Lindley is a legendary session musician and band leader. A distinguished multi-instrumentalist, he is widely known for his electric guitar, slide, fiddle, banjo, bass and mandolin work throughout his illustrious career. Lindley has done sessions for a wide array of performers, including Jackson Browne, Linda Ronstadt, James Taylor, Crosby \u0026amp; Nash, Dolly Parton, Bruce Springsteen, Warren Zevon, Bob Dylan, Toto, Rod Stewart, Curtis Mayfield and Joe Walsh. He has toured with many prominent rock artists and his unforgettable falsetto on “Stay” (from the Jackson Browne Running On Empty live album) is part of rock history. But Lindley began his career as a bandleader, fronting Kaleidoscope for five years in the 60’s. In 1981, he hit a creative peak when he formed the musically eclectic band, El Rayo X. For most of the decade, he performed and recorded with this band as lead singer and main instrumentalist. He embraced a world sound that incorporated reggae, blues, rock, soul, cajun, Middle Eastern, traditional folk and various other influences. His unrelenting search for musical inspiration and different instruments has sustained his career and legacy.\u003c\/p\u003e\n\u003cp\u003eSpeakers Corner has released a 180-gram of Lindley’s Asylum debut, El Rayo X. Nearly four decades later, the creative musical vision of this unique musician is visceral. With a who’s who of veteran musicians backing him, Lindley brings his humor-laced template to life. Side A opens with the slightly off-kilter reggae\/ska number “She Took Off My Romeos”. Written by Bob “Frizz” Fuller, the eccentric humor (“…I put on my smoking jacket, she took off my Romeos…”) reflects the essential combination of musicianship and goofiness that is David Lindley. His warbling tenor fits perfectly. Dipping into classic rock and roll, his version of The Everly Brothers’ “Bye Bye Love” is a slowed-down funky Jamaican\/Zydeco groove. The relaxed pulse, articulate guitar and vocals are impeccable. “Mercury Blues” is a blues standard by K.C. Douglas that has been covered by other rock artists (most notably Steve Miller). Lindley brings high energy vocals and big-time electric slide guitar riffs to sell this one. A second Fuller gem, “Quarter Of A Man” exudes phenomenal laid-back reggae hooks with tight percussion, bass line and a slight tempo uptick. It is infectious, with its deliberate cadence, and the absurd social commentary (within the context of being ”only a quarter of a man”) is hilarious. Keeping the “Frizz” vibe going, “Ain’t No Way” is typically unconventional with high-register vocals (including a terrific falsetto) and crisp guitar runs to surround the low-key tempo. There have been numerous versions of “Twist And Shout”, the perennial rock party song. Lindley does not disappoint as the accelerated ‘Island” arrangement features William D. “Smitty” Smith’s old-school pop organ runs and catchy backup vocals by Jackson Browne and Jorge Calderon.\u003c\/p\u003e\n\u003cp\u003eSide B opens with the no-holds-barred Tex-Mex (or rather Tex-Rayo X) title cut. With a crashing downbeat, Garth Hudson’s horns and keyboards add significant texture and loopy style Lindley handles the Spanish lyrics formidably in a tantalizingly concise 2:56. Laying down serious r \u0026amp; b, The Isley Brothers 1961 “Your Old Lady” is nasty. Lindley’s slide work is timeless and the sly lyrics (“…your old lady is my old lady, too…”) resonates in Rayo X grooves. If you’re going to cover a well-known Temptations song like “Don’t Look Back”, why not do it in full reggae mode? The exuberant instrumentation (with a cool bridge, percussion and rhythmic guitar ) is engaging. Lindley never fails to surprise the listener. “Petit Fleur”, sung entirely in French is a delicate, traditional early 20th century cajun waltz. Lindley’s exquisite vocals and nimble fiddle carry the day. Staying in Louisiana, the “re-tooling’ of Huey “Piano” Smith’s r \u0026amp; b classic (retitled Tu-Ber Cu-Lucas And The Sinus Blues”) is nothing short of a New Orleans house party. Punctuated rhythm breaks are merely another facet to the broad mosaic of this album. In a collection of terrific covers, a Lindley original, “Pay The Man” steals the show. With a deft touch, the reggae-inspired walking beat is complemented by peculiar fatalism (“…everybody got to pay the man…”) and dark humor (“…Sally had a baby, it almost drove her crazy. She dropped it in the river, now Sally is a happy girl…”). A whistle or recorder injects the right amount of jauntiness to balance this weird exploration.\u003c\/p\u003e\n\u003cp\u003eSpeakers Corner’s 180-gram vinyl re-mastering is excellent. The assortment of exotic stringed instruments are mixed with vibrant tonality. The electric slide has limited jaggedness and blends with the other instruments. Lindley’s reedy tenor is front and center in the mix, and sounds quirky with unexpected strength.\u003c\/p\u003e\n\u003cp\u003eDavid Lindley – El Rayo X is one of the greatest albums to emerge from the 80’s! » Robbie Gerson, Audiophile Audition, July 2021\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eWhen David Lindley commenced on his solo career with \"El Rayo-X\" in 1981, he had already established himself as a studio musician in numerous venues. His competent playing, which he had long cultivated in performance with Jackson Browne, Linda Ronstadt and Crosby \u0026amp; Nash, is concentrated here on this album like an x-ray beam. And what is more: the multi-instrumentalist worked on his early, forgotten attempts on the banjo and fiddle and took himself right up to the strings of the steel guitar.\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eHere are just a few examples of the many styles which are gathered here together on this album: After the off-beat reggae rhythm of \"She Took Off My Romeos\" follows one of the greatest guitar hits of the 80s – \"Bye, Bye Love\". Then comes \"Mercury Blues\" with its magnificently sharp and swift-paced guitar playing.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eNot only the rhythmic mix but also the instrumentation follows a cleverly devised plan and is tailor-made for each number. \"Quarter Of A Man\", a subtle colourful dance on the bass line, is just as impressive as the pointed jabs of the well-established organ in \"Ain’t No Way\". All in all, this is a lavishly produced rock album of its time and well worth the listening today.\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 class=\"ratingValue\"\u003e\u003cspan\u003e3.81\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5  ,  \u003c\/span\u003e\u003cspan\u003eRate Your Music \u003c\/span\u003e: \u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e3.56\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5 ; Audiophile Audition : 4.5 \/ 5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40406480552087,"sku":"5E-524","price":38.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/david-lindley-el-rayo-x-audiosoundmusic-1.jpg?v=1719851595"},{"product_id":"little-feat-time-loves-a-hero","title":"Little Feat - Time Loves A Hero","description":"\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cbr\u003e\u003cbr\u003eLowell George (g, voc) \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/lowell-george\" title=\"vinyl featuring Lowell George\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/lowell-george\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Lowell George]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eBill Payne (keyb, voc, perc); Paul Barrère (g, voc); Ken Gradney (b); Ritchie Hayward (dr, perc, voc); Sam Clayton (cga, perc, voc); Tower Of Power Horn Section\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eWritten by Paul Barrère (A1, A2, A4, B1, B4, B5), Ken Gradney (A2), Bill Payne (A2, arrangement A4, B2), Lowell George (A3, B4), Ken Gradney (A4), Richie Hayward (A4), Sam Clayton (A4), Fran Tate (B2), Terry Allen (B3)\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\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Warner\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eRecording: 1976-77 at Sunset Sound Studios, Warner Bros. Studios, Western Recorders, all Hollywood, CA, and Record Plant, Sausalito, CA, by Donn Landee\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eProduction: Ted Templeman\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1977\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2018\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eTracks :\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eHi Roller\u003c\/li\u003e\n\u003cli\u003eTime Loves A Hero\u003c\/li\u003e\n\u003cli\u003eRocket In My Pocket\u003c\/li\u003e\n\u003cli\u003eDay At The Dog Races\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eOld Folks Boogie\u003c\/li\u003e\n\u003cli\u003eRed Streamliner\u003c\/li\u003e\n\u003cli\u003eNew Delhi Freight Train\u003c\/li\u003e\n\u003cli\u003eKeepin' Up With The Joneses\u003c\/li\u003e\n\u003cli\u003eMissin' You\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e« When Little Feat headed into the studio to record Time Loves a Hero, tensions between the bandmembers -- more specifically, Lowell George and the rest of the band -- were at a peak. George had not only succumbed to various addictions, but he was growing restless with the group's fondness for extending their jams into territory strikingly reminiscent of jazz fusion. The rest of the group brought in Ted Templeman, who previously worked on their debut and produced Sailin' Shoes, to mediate the sessions. George wasn't thrilled with that, but that's probably not the only reason why his presence isn't large on this release -- all signs point to his frustration with the band, and he wasn't in great health, so he just didn't contribute to the record. He wrote one song, the pleasant but comparatively faceless \"Rocket in My Pocket,\" and collaborated with Paul Barrere on \"Keepin' Up with the Joneses.\" Barrere was responsible for the only bright moments on the album, the ingratiatingly silly \"Old Folks Boogie\" and, along with Bill Payne and Ken Gradney, the funky singalong title track. Elsewhere, Barrere and Payne come up dry, turning out generic pieces that are well played but not as memorable as comparable Doobie Brothers cuts from the same time. Then there's \"Day at the Dog Races,\" a lengthy fusion jam that Templeman and everyone in the band loved -- except for George, who, according to Bud Scoppa's liner notes in Hotcakes \u0026amp; Outtakes, disparagingly compared it to Weather Report. He was right -- no matter how well Feat play on this track, it comes across as self-serving indulgence, and the clearest sign on this muddled album that they had indeed lost the plot. » AllMusic Review by Stephen Thomas Erlewine\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eSpeakers Corner has released a re-mastered 180-gram vinyl of Little feat’s sixth studio album for Warners. Time Loves a Hero was recorded during a time of transition, one of Little Feat’s dysfunctional periods. Their primary songwriter, George contributed (as composer) to just two of the recorded tracks. But the overall superb musicianship of this Rock And Roll Hall Of Fame worthy band is on full display. Side 1 opens with a high voltage funk rocker (“Hi Roller”) by Paul Barrere. Featuring George on gritty lead vocal, the pumped up jam features Barrere’s electric guitar, muscle from Tower Of Power horns and a smoking organ from Billy Payne. This cut burns with intensity. The title track is a is a textured Latin-infused jazz rock jam with Payne handling lead vocals. The musical tapestry is expansive with keyboards, marimba and tight guitar chords. For those concerned with the smaller footprint of the band’s founder’s, “Rocket In My Pocket” should answer the call. Solely written by George, the coyly sultry lyrics and vocal delivery are brilliant. Any Little Feat fan can imagine him onstage, hand on hips moaning, “…the music was hot, my baby was not!”. The inherent funky syncopation (with nimble congas) and trademark slide guitar is vintage Feat.\u003c\/p\u003e\n\u003cp\u003eAt the other end of the spectrum is the jazz fusion-like instrumental “Day At The Dog Races”. The foray into this genre was a source of contention between George and the group. (In many instances, he would exit the stage during this number). But the instrumental largesse of Payne, Barrere, Hayward, Clayton and Gradney is showcased on this six-and-a-half minute jam. With a Spanish classical guitar intro, the band explodes into a furious high energy jam. Distorted guitar and electric piano riffs add a multi-faceted approach. There are jazzy chord modulations and fierce rhythm (Hayward, Clayton and Gradney). Barrere’s solos are potent, while Payne offers a stunningly lyrical acoustic piano before the cascading finish. Side 2 starts with classic Paul Barrere country funkiness on “Old Folks Boogie”. The southern vibe is palpable, especially on Barrere’s husky vocal and Payne’s New Orleans piano runs. “Red Steamliner” reverts to jazz rock. Payne’s reedy soulful vocal lead is framed by fusion progressions, guitars, electric piano and keyboards. All of the elements are rooted in 70’s aesthetics with high-end production (including interwoven backup vocals by Doobie Brothers members Patrick Simmons and Michael McDonald). This musical largesse is what has kept this band intact (with some personnel changes) 40 years after the death of Lowell George. The mercurial leader returns to the spotlight on “New Delhi Freight Train”. George’s impeccable “country boogie” depth is encapsulated in his heartfelt singing. The inherent hypnotic grooves that epitomize this iconic American band are enhanced by string accents. There is significant chemistry as George’s indelible vocal phrasing elevates this number. A Barrere\/George composition “Keepin’ Up With The Joneses” continues the melancholic funk. It is ironic that both of these Southern Roots practitioners are Southern California natives. Here, Barrere embraces a “Dixie Drawl” and Tower Of Power (with a saxophone solo by Lenny Pickett) adds to the aural tapestry. The finale, “Missin’ You” is pure folk Barrere (with dobro by Jeff “Skunk” Baxter).\u003c\/p\u003e\n\u003cp\u003eSpeakers Corner has done their customary superior vinyl re-mastering to 180-gram vinyl. The stereo separation is flawless. The focus on vocals and finer detail (acoustic guitar, piano, conga) is handled with technical delicacy. As the musical landscape expands (horns, strings, keyboards) the mix is crystalline, never muddled. The iconic impressionistic artwork of Neon Park is vibrant in 12” front and back cover. Time Loves A Hero may not among the essential Little Feat albums, but it is great music! » Robbie Gerson, Audiophile Audition, Mar 7, 2019\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThere are many dreamed-of and a number of dreamy records which reflect the American idea of freedom from a musical point of view. One of these was presented by frontman Lowell George and his superb group Little Feat in what the musical experts praised as a »symbiosis of anarchistic primitive folklore and rock finesse« (rororo Rocklexikon). The high standard which the musicians maintain over the two sides of the LP is established with \"Hi Roller\", a funky, energetic opening number. The multi-part title number \"Times Loves A Hero\" follows on with a more subdued tempo but with great dive and sophisticated percussion, which proves itself to be the most important element and governs the whole album.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eLittle Feat conjures with traditional forms, gets you on the dance floor with \"Old Folks Boogie\" and serves up a tasty mixture of honky-tonk and blues, which is refined with powerful guitar solos.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eJust like a picture puzzle, rhythmic figures and figurettes dart hither and thither out of the background of this handcrafted and stalwart filigree rock (\"Red Streamliner\", \"Keepin‘ Up With The Joneses\"). But simplicity and softness is also possible: The message in \"Missin‘ You\" needs nothing more than chords on the acoustic guitar and men’s voices with a southern sound.\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\u003e3,90\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\u003e3,42\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40406537601175,"sku":"BS 3015","price":30.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/little-feat-time-loves-a-hero-audiosoundmusic-1.jpg?v=1719851595"},{"product_id":"vangelis-heaven-and-hell","title":"Vangelis - Heaven And Hell","description":"\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eVangelis - keyboards, percussions\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eJon Anderson and the English Chamber Choir - vocals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eWritten by \u003c\/strong\u003e\u003cstrong\u003eVangelis (A1, A2, B1), Jon Anderson (A1, B1)\u003c\/strong\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 : RCA\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eRecording: September 1975 at Nemo Studios, London, by Alan Lucas\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003cbr\u003e\u003cspan\u003eProduction: Vangelis\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1975\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2018\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\u003cdiv style=\"padding-left: 30px;\"\u003e1. Heaven And Hell (Part 1)\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e2. So Long Ago, So Clear\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003cp style=\"padding-left: 30px;\"\u003e1. Heaven And Hell (Part 2)\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e« Those used to Vangelis' later and lighter synthesized outings may not be quite ready for this dark, thundering album. While it did provide us with the theme music for the TV series Cosmos and bring Jon Anderson into partnership with Vangelis (following an abortive approach to Vangelis joining Yes) on \"So Long Ago, So Clear,\" it also served up massed Gothic choirs and a musical depiction of all the tortures of the damned, with an impressive amount of string-driven shrieking. Even so, it's a brilliant piece of work that should not be absent from any Vangelis collection. » AllMusic Review by Steven McDonald\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eTechnical innovations in musical instruments and the development of tonal language have been continual subjects for deliberation from the 19th century onwards at the latest. Additional brain power is necessary to conciliate the two elements with the endless possibilities of electronic sound. In the end, the two factions cannot resolve on a conclusive opinion and the question remains as to whether art always results from skill.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eEvángelos Odysséas Papathanassíou, or Vangelis for short, always worked with the newest synthesizer equipment and pushed his cascades of sound to the very edge, right up to the point of electronic overkill. In contrast to many other electronics experimentalists of his time, Vangelis likes to »create important melodies and to develop them further, without going under in the technical equipment« (Stereo Review). Distant human voices, siren-like lost calls lead into oriental dance.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eA song – far removed from its era – somewhere between Gregorian music and antiphony – a will-o‘-the-wisp, shimmering sound. Polyphonic playing on the Bösendorfer reminds one that every form of musical expression from over the sands of time is welcome. Each listener must discover for himself what sounds heavenly or hellish. But let it be said: musically speaking, the one cannot be imagined without the other.\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\u003e3,96\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\u003e3,60\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40406571122839,"sku":"RS 1025","price":38.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/vangelis-heaven-and-hell-audiosoundmusic-1.jpg?v=1719851595"},{"product_id":"delaney-bonnie-friends-to-bonnie-from-delaney","title":"Delaney \u0026 Bonnie \u0026 Friends - To Bonnie From Delaney","description":"\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cbr\u003e\u003cbr\u003eDelaney Bramlett (g, voc); Bonnie Bramlett (voc); Duane Allman (g); Little Richard (p); Jim Gordon (keyb); Tommy McClure (b); Sammy Creason (dr); Sam Clayton (cga); Alan Estes (cga, perc); Jerry Jumonville (as); King Curtis (ts) \u0026amp; The Memphis Horns\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by Delaney Bramlett (A1, A2, A4c, A6, B3, B4), Mac Davis (A2), Steve Bogard (A3), Michael Utley (A3), erbert Lance (A4b), oody Payne (A4a), Charles Singleton (A4b), John Wallace (A4b), Ed Townsend (A5), Margaret Lewis (B1), Myrna Smith (B1), Enotris Johnson (B2), Richard Penniman (B2), Bobby Whitlock (B3), George Soulé (B5), Terry Woodford (B5), Barbara Keith (B6)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, gatefold sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Speakers Corner\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Atco\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"production_info\"\u003e\u003cstrong\u003eRecording: 1970 at Decca Studios, New York, by Don Casale, and Atlantic South-Criteria Studios, Miami Fl., by Ron Albert \u0026amp; Chuck Kirkpatrick\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eProduction: Delaney Bramlett, Jerry Wexler and Tom Dowd\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1970\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e Reissued in 2018\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv\u003eSide A :\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e1. Hard Luck And Troubles\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e2. God Knows I Love You\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e3. Lay Down My Burden\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e4. Medley : \u003c\/div\u003e\n\u003cdiv style=\"padding-left: 60px;\"\u003ea. Come On In My Kitchen\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 60px;\"\u003eb. Mama, He Treats Your Daughter Mean\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 60px;\"\u003ec.  Going Down The Road Feeling Bad\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e5. The Love Of My Man\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e6. They Call It Rock \u0026amp; Roll Music\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e7. Soul Shake\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e8. Miss Ann\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e9. Alone Together\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e10. Living On The Open Road\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e11. Let Me Be Your Man\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e12. Free The People\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cp\u003eReviews :\u003c\/p\u003e\n\u003cp\u003e« Delaney and Bonnie hit their pop-soul prime on this, their first Atlantic Records album. Buoyed by their acclaim from their first Elektra album, as well as their association with Eric Clapton, the group switched record labels and recorded this, probably their most definitive album. Backed by an awesome cast of musicians which included Jim Gordon (drums), Kenny Gradney (bass -- later of Little Feat), and many others, this record shows why anyone connected with the band became a tambourine-shaking convert to soul-based rhythm \u0026amp; blues rock. Some great vocal performances by Bonnie Bramlett, especially the low-down \"The Love of My Man,\" show why she was put in the same league as Janis Joplin. One of the more definitive albums of the period. » AllMusic Review by Matthew Greenwald\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e« In the annals of rock history, there has never been a duo as influential and under-appreciated as Delaney and Bonnie Bramlett. Their powerhouse amalgam of gospel, pop, rock and roll, country and blues helped to launch the roots-based Southern sound. Bramlett who was an influential guitarist (apparently inspired George Harrison on slide guitar) came to prominence with the Shindogs (the “house” band for the popular 60’s TV show Shindig that included Leon Russell.) Bonnie Bramlett was a blues singing prodigy who sang with Albert King at 14, and was a backup singer (an Ikette) for Ike And Tina Turner. With Russell’s help, Delaney and Bonnie signed a contract with Stax Records, releasing their debut, Home. After moving to Electra, the band (known as Delaney \u0026amp; Bonnie \u0026amp; Friends due to the revolving door of studio musicians anxious to be part of this phenomenon) broke through with Accept No Substitute.\u003c\/p\u003e\n\u003cp\u003eIn 1969, Delaney \u0026amp; Bonnie opened for Blind Faith and cultivated a stalwart fan in Eric Clapton. Clapton acknowledged that the duo “stole the show” every performance. They hit a commercial and critical apex with On Tour With Eric Clapton. While the public were minimally aware of the Bramletts, the rock music held them in reverence. Players like Clapton, Dave Mason (Traffic), Bobby Whitlock (Derek and The Dominoes), George Harrison, Greg Allman and Rita Coolidge (among many) were part of the “Friends”. In 1970, Delaney and Bonnie Bramlett signed with Atco (Atlantic) Records and produced an album with Jerry Wexler and Tom Dowd.\u003c\/p\u003e\n\u003cp\u003eTo Bonnie From Delaney is a representative collection of material for this unique band. With a jaw-dropping lineup of backing musicians, the album was critically received, yet somehow didn’t produce the expected stardom. Side A opens with a Delaney Bramlett’s original “Hard Luck And Troubles”. The rock\/soul\/blues structures are punctuated with modulated horn accents, vibrant bass and Delaney’s soulful vocals. The session players are top-notch as they initiate a tempo shift that rocks like a Sunday morning church celebration. In a surprising country-pop tune (co-written by Bramlett and Mac Davis), a pedal steel guitar and impeccably blended harmony vocals create a unique aesthetic. It is understandable why Bonnie Bramlett is so highly regarded as a soul singer. On “Lay My Burden Down” she draws on classic gospel reverence and offers an inspired “testimony”. It is nothing short of a tour-de-force, energetic and glowing. In a Delta-inspired acoustic medley, Delaney combines guitar and voice on the Robert Johnson standard, “Come On In My Kitchen”. Bonnie is equally bluesy with a wailing intonation on “Mama He Treats Your Daughter Mean”. The third piece, “Going Down The Road Feeling Bad”  features an agile slide guitar solo. In what feels like a traditional Stax arrangement, “Love Of My Man” is another incandescent vocal performance by Bonnie Bramlett. She maintains the fierceness of singers like Aretha Franklin and Otis Redding. Her growling, screaming interpretation is on a par with Janis Joplin. In a feel-good jam, “They Call It Rock And Roll Music” is 50’s bliss with sax runs and doo-wop vocals.\u003c\/p\u003e\n\u003cp\u003eSide B is a compelling procession of gospel rock. “Soul Shake” represented one of two Delaney and Bonnie songs (the other being “Never Ending Song Of Love) that made it to the charts. It is quintessential D \u0026amp; B with dynamic vocals (dual and trading off), propulsive drumming, horns and organ. The inimitable Little Richard (on one of his own compositions, “Miss Ann”) engages in old school r \u0026amp; b with rollicking notation that Delaney matches with raw enthusiasm on his vocals. There may never have been a male and female singing duo that packs a wallop like the Bramletts. Their high-octane performance on “Alone Together” is awe-inspiring and the various instrumental flourishes by the all-star “friends” is buoyantly graceful. The intensity gets ramped up another notch on “Living On The Open Road”. Delaney Bramlett’s signature slide licks and reedy, soulful vocals (which influenced Eric Clapton) energize this sprightly rocker. In a rare change of pace, “Let Me Be Your Man” has a slow-burning intensity. The gospel-tinged piano and organ, Delaney’s falsetto and spine-tingling backup vocals sell this one. With artistic elegance, the finale “Free The People” has an elegiac horn arrangement of the opening notes to “Rock Of Ages”. The New Orleans vibe permeates as Bonnie is dynamically gut-wrenching on the first verse and Delaney is equally prominent on the second. A second-line chorus helps bring To Bonnie From Delaney to a rousing conclusion. \u003c\/p\u003e\n\u003cp\u003eSpeakers Corner has done an excellent job in re-mastering this landmark recording to audiophile vinyl. The intended density of the original mix is intact, and showcases the layered sounds. The horns are amped up, and the bottom end drumming is tough and hard-driving. The organ and piano are understated in the mix. The two most prominent instruments (Delaney and Bonnie’s voices) are front and center, and never overshadowed by the expanded instrumental flourishes. » Robbie Gerson, Audiophile Audition, Apr 5, 2018\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe married couple and musical duo Delaney \u0026amp; Bonnie ignited critics, fans and famous musical colleagues to veritable bursts of exultation. Mick Jagger of the Rolling Stones talked matter-of-factly of »convincing white gospel song«, while Eric Clapton regarded the duo as the »best pop band in the world«. Clapton’s enthusiasm went so far that he invited the pair to accompany him on a peaceful tour of Europe and was booed by German fans because he stood in the background as a mere accompanist and did not play any solos. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe master of the guitar may have had good reasons for staying out of the limelight, if one is to believe the Chicago Daily News, who declared that Delaney \u0026amp; Bonnie were better than Aretha Franklin and Ray Charles together.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIndeed the combined voices in the arrangements are so closely knit that there is not a millimetre of space between the singer and backing. In \"Hard Luck And Troubles\", a dry cantankerous groove, the vocals cling to a sinewy bass line, criss-crossed by short chords on the organ. Gospel is celebrated spiritually, yet not too much so, in a rocking, rhythmic and dense interplay between the soloist and chorus. And what is more: the great ballad, hovering above a vibrating carpet of sound on the organ (\"The Love Of My Man\") and crisp, firm winds (\"Alone Together\") are included in this exquisite collection of great and even great songs.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eRatings :\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\u003e3,70\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\u003e3,49\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40406842900631,"sku":"SD 33-341","price":38.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/delaney-and-bonnie-and-friends-to-bonnie-from-delaney-audiosoundmusic-1.jpg?v=1719851606"},{"product_id":"tommy-bolin-private-eyes","title":"Tommy Bolin - Private Eyes","description":"\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eTommy Bolin - guitar, keyboards, vocal, piano \u003cspan style=\"color: #ff8000;\"\u003e\u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/tommy-bolin\" title=\"Vinyl featuring Tommy Bolin\" style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/tommy-bolin\"\u003e[click here to see other vinyl featuring Tommy Bolin]\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eMark Stein (keyb, voc); Norma Jean Bell (perc, voc, sax); Reggie McBride (b, voc); Bobby Berge (perc, dr); Bobbye Hall (perc); Carmine Appice (dr)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eWritten by \u003c\/strong\u003e\u003cstrong\u003eTommy Bolin (A1-3, B1-5), Jeff Cook (A2, B1-2, B4), John Tesar (B3)\u003c\/strong\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 : Columbia\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eRecording: June 1976 at Cherokee Recording Studios, Los Angeles, CA and Trident Studios, London by Tom La Tondre and Steve Taylor\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eProduction: Dennis MacKay \u0026amp; Tommy Bolin\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eOriginally released in 1976\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\u003cstrong\u003eTracks :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eBustin' Out For Rosey\u003c\/li\u003e\n\u003cli\u003eSweet Burgundy\u003c\/li\u003e\n\u003cli\u003ePost Toastee\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eShake The Devil\u003c\/li\u003e\n\u003cli\u003eGypsy Soul\u003c\/li\u003e\n\u003cli\u003eSomeday Will Bring Our Love Home\u003c\/li\u003e\n\u003cli\u003eHello Again\u003c\/li\u003e\n\u003cli\u003eYou Told Me That You Loved Me\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« After the breakup of Deep Purple in 1976, guitarist Tommy Bolin wasted little time beginning work on his second solo album, Private Eyes. While it was more of a conventional rock album than its predecessor, Teaser (which served primarily as a showcase for his guitar skills and contained several jazz\/rock instrumentals), it was not as potent. The performances aren't as inspired as those on Teaser or even those on Bolin's lone album with Deep Purple, Come Taste the Band, although there a few highlights could be found. The nine-minute rocker \"Post Toastee\" merges a long jam section with lyrics concerning the dangers of drug addiction, while \"Shake the Devil\" is similar stylistically. But Bolin wasn't simply a hard-rocker; he was extremely talented with other kinds of music: the quiet, acoustic-based compositions \"Hello, Again\" and \"Gypsy Soul,\" and the heartbroken ballad \"Sweet Burgundy.\" With his solo career starting to take shape (after the album's release, he opened for some of rock's biggest names: Peter Frampton, Jeff Beck, Rush, ZZ Top, etc.), Bolin's life was tragically cut short at the end of the year due to a drug overdose in Miami, FL. » AllMusic Review by Greg Prato\u003c\/p\u003e\n\u003cp\u003eIn the course of his sadly short life, Tommy Bolin was at least granted eight productive years during which he was able to contribute to what was probably the most innovative era of rock’n’roll. His outstanding skill on the guitar brought him legendary status during his lifetime when he replaced the - in many ways - unique Ritchie Blackmore as frontman with Deep Purple. Jon Lord, keyboarder with the group, once described Bolin as a »beautiful lost soul«, and as such he allows one a very private glimpse into his musical perspective in his second and final album.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThis is certainly dualistic: in numbers such as \"Post Toastee\" and \"Shake The Devil\" Bolin sings about drug problems in a dry rocker style that is enhanced by his superb guitar playing. But this hard rocker shows just how stylistically assured he is in more gentle realms, as in the highly melodic ballad \"Sweet Burgundy\", which makes for enjoyable listening. Bolin’s subtle fingering creates a natural and electrifying \"Gypsy Soul\" and his \"Hello, Again\" is narrated softly to the sound of old-fashioned strings and winds. The relaxed tone of the recording is quite typical of the notions of sound at that time and reminds one yet again that the great voices of rock are now heard in heaven.\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\u003e4,04\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\u003e3,61\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40406959751319,"sku":"PC 34329","price":38.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/tommy-bolin-private-eyes-audiosoundmusic-1.jpg?v=1719851606"},{"product_id":"harry-nilsson-aerial-ballet","title":"Harry Nilsson - Aerial Ballet","description":"\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003eHarry Nilsson - vocal \u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e\u003ca style=\"color: #ff8000;\" title=\"vinyl featuring harry nilsson\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/harry-nilsson\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/harry-nilsson\" data-mce-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 data-mce-fragment=\"1\"\u003eMilt Holland - percussions\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003ePlas Johnson (ww); Dennis Budimir, Al Casey (g); Michael Melvoin (hpd, org, p); Larry Knechtel (b,p); Jim Gordon (dr)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eWriten by Harry Nilsson (A1, A2, A3, A4, A5, B2, B3, B4, B5, B6, B7), Fred Neil (B1), Ian Freebairn-Smith (B6)\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 : 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\u003eRecording: 1967 and 1968 in RCA Victor's Music Center Of The World, Hollywood\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eProduction: Rick Jarrad\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 2017\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\u003cp\u003e                1. Good Old Desk\u003c\/p\u003e\n\u003cp\u003e                2. Don't Leave Me\u003c\/p\u003e\n\u003cp\u003e                3. Mr. Richland's Favorite Song\u003c\/p\u003e\n\u003cp\u003e                4. Little Cowboy\u003c\/p\u003e\n\u003cp\u003e                5. Together\u003c\/p\u003e\n\u003cp\u003eSide B\u003c\/p\u003e\n\u003cp\u003e                1. Everybody's Talkin'\u003c\/p\u003e\n\u003cp\u003e                2. I Said Goodbye To Me\u003c\/p\u003e\n\u003cp\u003e                3. Little Cowboy\u003c\/p\u003e\n\u003cp\u003e                4. Mr. Tinker\u003c\/p\u003e\n\u003cp\u003e                5. One\u003c\/p\u003e\n\u003cp\u003e                6. The Wailing Of The Willow\u003c\/p\u003e\n\u003cp\u003e                7. Bath\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e« As \"Good Old Desk\" opens Aerial Ballet with a cheerful saunter, it's clear that Harry Nilsson decided to pick up where he left off with his debut, offering another round of effervescent, devilishly clever pop, equal parts lite psychedelia, pretty ballads, and music hall cabaret. It's not a carbon copy, however. In one sense, he entrenches himself a little bit, emphasizing his lighter edges and humor, writing songs so cheerfully lightweight -- a love song about his mom and dad, an ode to his favorite desk, an address or two to a \"Little Cowboy\" -- that it may be a little too cloying for some tastes, even for fans of Pandemonium Shadow Show. Those are balanced by a couple major steps forward, namely \"Everybody's Talkin'\" and \"One.\" The former finds Nilsson adopting a rolling folk-pop backing for a Fred Neil song, making it into an instant, Grammy-winning classic. The latter was the greatest song he had written to date, a haunting tale of loneliness reminiscent of McCartney, yet with its own voice. These are the songs anchoring an album that may be a little lightweight, but it's engagingly, deliberately lightweight. If it's a bit dated, it wears its old charms well. » AllMusic Review by Stephen Thomas Erlewine\u003c\/p\u003e\n\u003cp\u003e« Prior to the advent of the early 1970’s singer\/songwriter culture in Southern California, there was Harry Nilsson. The Brooklyn native moved to Los Angeles and balanced his job in a bank with a desire to sing and perform original compositions. After some early songwriting successes with Little Richard, Phil Spector, Glen Campbell, The Yardbirds and The Monkees, Nilsson was signed to RCA Victor as a solo artist. With a three-and-a half octave range as a tenor, he developed a musical style that synthesized baroque psychedelic pop with Caribbean tempos, utilizing vocal overdubs. In 1967, Pandemonium Shadow Show was released to critical acclaim, but disappointing sales. However musical peers like The Beatles were enthusiastic fans and this provided momentum to his career. In 1968, Aerial Ballet fared considerably better, yielding two “hits”. The first, Fred Neiil’s “Everybody’s Takin’” was a minor hit. A year later it would make its way into the iconic movie “Midnight Cowboy” and earn Nilsson a Grammy. The second, “One” has become a standard.\u003c\/p\u003e\n\u003cp\u003eThe 70’s was the zenith of Harry Nilsson’s musical legacy. Albums like Nilsson Sings Newman, A Touch Of Schmilson (“Without You”, Coconut”), and A Little Touch Of Schmilson In The Night. were relatively successful. He embraced the American Songbook and his unique weird pop constructs made his songs accessible. Additionally, there were music scores for the cult movie Skidoo, Robert Altman’s Popeye, and the children’s animated TV film, The Point. Television aficionados will remember his theme from The Courtship Of Eddie’s Father (“Best Friend”). In his later career, Nilsson was still recording, but was more renowned for his hard partying in Los Angeles and the infamous Troubadour incident with John Lennon. Sadly, he passed away in 1994 at 52.\u003c\/p\u003e\n\u003cp\u003eSpeakers Corner has released a re-mastered 180-gram vinyl of Aerial Ballet. This was Nilsson’s third album, and represented a cohesive set of original compositions. The title was a reference to the singer’s circus grandparents and their high wire act. The quirky appeal of Harry is evident from the opening track, “My Old Desk”. With a “peppy” piano and tracked vocals, Nilsson elevates the mundane (“…My old desk does an arabesque…”) with eclectic imagery. There is a nuanced horn counterpoint and violins for texture. “Don’t Leave Me” is a winsome love song with a 60’s uptempo jazzy\/Latin chorus. Nilsson’s vocal flexibility shines on a well-placed falsetto. The non-verbal phrasing is uncanny. On “Mr. Richland’s Favorite Song” he uses a subtle vibrato as he tells a self-parody in 20’s\/30’s stylings. A trombone and “mouth trumpet” add just the right touch of weirdness.In a mere 1:22, “Little Cowboy” becomes an unforgettable lullaby, framed by a lovely vocal tenor. One could imagine Roy Rogers or Gene Autry humming this (excluding the unconventional overdubbed singing). At the other end of the spectrum, “Together” is arranged with pop and classical influences. The string accompaniment and trumpet approximate the George Martin Beatles era (like “Penny Lane”).\u003c\/p\u003e\n\u003cp\u003eSide Two begins with a pop masterpiece, Fred Neil’s “Everybody’s Talkin’”. The aching melancholy of this ode to loneliness is rendered perfectly by Nilsson’s lyrical voice. His Country \u0026amp; Western sensibility is countered by a sophisticated violin section. What cannot be understated is the vocal gymnastics with tricky falsetto and a “wa-wah” voiced run that is spine-tingling. It easily stands the test of time. “I Said Goodbye To Me” is a template for future pop music. The waltz-time tune has hushed lower-register vocals and another slight vibrato. There is a 52 second reprise of “Little Cowboy with whistling. On “Mr. Tinker”, the anecdotal everyman is explored with sensitivity. You can understand Nilsson’s rapport with Randy Newman. The loping descant melody line and tenuous halting singing is unique.\u003c\/p\u003e\n\u003cp\u003eMany people are familiar with “One”. The opening phrase “One is the loneliest number that you’ll ever do…” remains timeless. This version is superior to all others. starting with electric piano and voice, a cello is precisely added to the arrangement. Then woodwinds, harpsichord and flute expand the aural landscape. What feels like a pared down song is full and rich. The purity of the emotional singing is resonant and the return to electric piano and voice at the conclusion is beautiful. “The Wailing Of The Willow is a definite change of pace. The bossa nova rhythm and surprising chord changes lend a cinematic ambiance. Harry cuts loose on the finale (“Bath”) with big band, New Orleans-style doo-wah humor and impertinence.\u003c\/p\u003e\n\u003cp\u003eSpeakers Corner has done their customary stellar job at re-mastering Aerial Ballet to 180-gram vinyl. Nilsson’s signature tenor voice is captured with finesse and crispness. All of the instrumentation, including horns, woodwinds and strings are blended in without upstaging the vocals. Incredibly, the album barely covers 25 minutes (one track got pulled!). This album is pop history! » Robbie Gerson, Audiophile Audition, Jun 27, 2018\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eT\u003c\/span\u003e\u003cspan\u003eo define in a nutshell the music of Harry Nilsson in accordance with his personality can easily become a fiasco. The American singer-songwriter might well share his reputation as a multi-talented eccentric with a number of other musicians. However, his highly unusual style and his »satirical catchy pop songs [composed] with the sparkling eye of a cynic and the tearful eye of a nostalgic« (rororo Rock Lexicon) cannot be pigeonholed. Nilsson packaged derisive lines, spiced with a pinch of self-irony, in suspiciously pleasing yet carefully selected tunes.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e His cultivated and astonishingly supple voice basked to the full in bittersweet phrases, aided by elaborate, melting, slushy arrangements with strings and winds. Several of the wonderfully fresh numbers from \"Aerial Ballet\" reached top places in the charts. \"Everybody’s Talkin’\" became world-famous through its use in the film \"Midnight Cowboy\" and brought Nilsson his first Grammy award. The song \"One\" soared to the top ten of the charts. The other light and airy songs now invite you to create your very own hit list. Every single number makes great listening!\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cbr\u003eRatings\u003c\/strong\u003e :\u003cbr\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\u003e4,49\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\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40407063429271,"sku":"LSP-3956","price":45.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/harry-nilsson-aerial-ballet-audiosoundmusic-1.jpg?v=1719851616"},{"product_id":"chet-atkins-in-hollywood","title":"Chet Atkins - In Hollywood","description":"\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003eChet Atkins - guitar \u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e\u003ca title=\"vinyl featuring Chet Atkins\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/chet-atkins\" style=\"color: #ff8000;\" data-mce-style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/chet-atkins\"\u003e[click here to see more vinyl featuring Chet Atkins]\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eHoward Roberts (g); Jethro Burns (mand); Clifford Hils, George Callender (b); Larry Bunker, Jack Sperling (dr) \u0026amp; strings\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eWritten by Ross Bagdasarian (A1), Gilbert Bécaud (A2), Manny Curtis (A2), Pierre Delanoë (A2), George Duning (A3), Boudleaux Bryant (A4), Manuel Ponce (A5), Richard Maltby, Jr. (A6), Fats Waller (A6), Stanley Adams (B1), Hoagy Carmichael (B1), Charlie Chaplin (B2), Bert Reisfeld (B3), Jean Villard (B3), Don Titman (B4), Eric Spear (B6). B5 is a traditionnal song.\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 : RCA\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eRecording: October 1958 in Hollywood\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eProduction: Chet Atkins\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eOriginally released in 1961\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eReissued in 2020\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. Armen's Theme\u003c\/p\u003e\n\u003cp\u003e                2. Let It Be Me\u003c\/p\u003e\n\u003cp\u003e                3. Theme From \"Picnic\"\u003c\/p\u003e\n\u003cp\u003e                4. Theme From A Dream\u003c\/p\u003e\n\u003cp\u003e                5. Estrelita\u003c\/p\u003e\n\u003cp\u003e                6. Jitterbug Waltz \u003c\/p\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003cp\u003e                1. Little Old Lady\u003c\/p\u003e\n\u003cp\u003e                2. Limelight\u003c\/p\u003e\n\u003cp\u003e                3. The Three Bells\u003c\/p\u003e\n\u003cp\u003e                4. Santa Lucia\u003c\/p\u003e\n\u003cp\u003e                5. Greensleeves\u003c\/p\u003e\n\u003cp\u003e                6. Meet Mr. Callaghan\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003e« If the cover of At Home evokes the 1950s, the music on In Hollywood is the 1950s: a warm, cozy, sophisticated album of mood music in the best sense. Yet this is not an album of film music (though a handful of film themes turn up). Rather, it is exactly what the title indicates: Chet Atkins recording an album in a Hollywood studio, as opposed to the familiar haunts of Nashville. Here, he places his often affectingly lovely guitar licks in front of full, lush, sometimes inspired string arrangements by Dennis Farnon. Sometimes, Atkins appears all by himself, caressing \"Estrellita\" before the strings kick in, and his fingerpicking technique appears on a piquant treatment of \"Armen's Theme\" (originally a pre-Chipmunks hit for Ross Bagdasarian aka David Seville). Farnon is particularly good when he hooks onto a lush string motif and repeats it seductively on the \"Theme from Picnic,\" or follows Atkins' guitar in a broad, surpassingly lovely treatment of Fats Waller's \"Jitterbug Waltz\" -- the two most gorgeous tracks on the record. For some, this record might fall under the category of guilty pleasures, but a pleasure it is, one of the great make-out records of its time. » AllMusic Review by Richard S. Ginell\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e« Chet Atkins was a transcendent country music star. He worked his way up through the traditional country scene as a guitarist. He also played mandolin, fiddle banjo and ukulele. The list of artists he backed was extensive, including Hank Snow, The Carter Family, and Red Foley. Atkins was known for popularizing the Merle Travis guitar technique, using the thumb and two or three finger to pick. As a “hired hand” Atkins was good enough to be inducted into the Grand Old Opry in the 50’s. But Atkins’ musical legacy may have been defined by his work as a producer. Along with Owen Bradley and Bob Ferguson, Chet Atkins helped to define the Nashville sound, reducing fiddle and banjo instrumentation and injecting more dynamic sound mixes. Atkins won 14 Grammys and 9 Country Music Awards. He was inducted into the Rock And Roll Hall Of Fame and The Country Music Hall Of Fame.\u003c\/p\u003e\n\u003cp\u003eAtkins primarily considered himself a guitarist. His instrumental prowess encapsulated many other genres including jazz. Atkins once performed at The Newport Jazz Festival. In 1959, he surprised the country music establishment by recording an album in Hollywood with lush string arrangements. Chet Atkins In Hollywood (which was re-mixed in 1961 by Atkins) showed what a brilliant guitarist could do with a wide variety of compositions. Speakers Corner has re-mastered these sessions to 180-gram vinyl. Side 1 opens with a cover of the most unlikely song (“Armen’s Theme”) by Ross Bagdasarian Sr., later known as David Seville of Alvin And The Chipmunks fame. Atkins embraces the Armenian melodic context with his succinct playing and precise, syncopation. Starting with primal electric guitar, the gossamer strings begin the second verse. Then Atkins lays down some country strumming. “Let It Be Me” (originally written as “Je t’apppartiens” in 1955), enjoyed success in France and then as a smash hit for The Everly Brothers in 1960. It is impossible to clear out the over-the-top sentimental resonance, but Atkins’ echo-infused electric guitar is effective in “voicing” the melody. The strung accompaniment is restrained.\u003c\/p\u003e\n\u003cp\u003eOne of the most iconic film score moments is the William Holden\/Kim Novak dance scene in Picnic. The dramatic “Picnic “Theme” interlude (within the “Moonglow” tune) is re-purposed by “Mr. Guitar”, focusing solely on the theme song. Atkins succinct phrasing intermingles with the string counterpoint and approximates the sweeping romanticism that is at the core of this song (written by Morris Stoloff). It is forever stunning. A minor hit in 1958, Boudleau Bryant’s “Theme From A Dream” is a master class of graceful picking and updated studio engineering. Atkins’ agility and strength as a guitarist permit him to stand up to an entire string section. There are two up-tempo transitions that are mesmerizing. Atkins reaches out for eclecticism on Manuel Ponce’s “Estrellita”. It is core balladry, but with a lot of finesse and signature runs on guitar. Here, the strings impede the momentum slightly. Fats Waller’s “Jitterbug Waltz” showcases the visceral connection between jazz and country, in the hands of an accomplished musician. The string arrangements emphasize both harmony and counterpoint. Atkins approach is understated, but with great rhythmic complexity.\u003c\/p\u003e\n\u003cp\u003eSide 2 has interesting material from many diverse songwriters. Atkins executes a faithful rendition of Hoagy Carmichael’s “Little Old Lady”. The short intro and the trademark loping rhythm is a natural fit. The strings dress it up, similar to the Ray Noble Orchestra 1936 original. The catchy melody line and Americana roots are infectious. Atkins’ guitar bravado is polyrhythmic. Another inspired cover is Charlie Chaplin’s “Limelight”. Here the string augmentation works extremely well. The haunting melody is captured on guitar with a touch of Spanish flair and cinematic aesthetics. “The Three Bells” (a.k.a. “Little Jimmy Brown”) is another unusual selection. There have been so many covers (Floyd Cramer, The Andrew sisters, Andy Williams, The Browns, Elvis Presley, Dolly Parton, Perry Como among many others), that an instrumental seems like a breath of fresh air. Great musicians can take familiar tunes and turn them into personal statements. Atkins accomplishes this on both “Santa Lucia” and “Greensleeves”. His nimble fingering techniques and modern studio production are game changers. There is no better finale than “Meet Mr. Callaghan”. Recorded by Atkins’ (and everyone else’s) favorite guitarist Les Paul in 1952, Chet somehow combines an Irish jig with a country twang. In his inimitable style he infuses the chorus with jazzy notation.\u003c\/p\u003e\n\u003cp\u003eChet Atkins In Hollywood still has considerable artistic integrity. The audacity of combining the premier country guitarist with strings in Hollywood was a big gamble. It excels because of the phenomenal setlist and its instrumental brilliance. Also, the actual sound mix was progressive in 1961 and with the superior re-mastering at Speakers Corner is even better. The balance with the strings and Atkins is delicate and vibrant. The guitar echo and fade effects sound like a contemporary recording, not something from 1959 or 1961. The “very 60’s” Hollywood And Vine album cover with the “James Bondish” blonde and the electric guitar on the signpost is historical. The original liner notes include RCA Victor’s Living Stereo information and notes on 317X antistatic ingredient are glimpses into the legacy of analog recording. » Robbie Gerson, Audiophile Audition, Jun 28, 2018\u003c\/p\u003e\n\u003cp\u003eWhen stringed instruments are employed, it is often an indication that the protagonist is somewhat mature. It is an unwritten law that sooner or later every rock, jazz or folk musician will bathe in soft tones for once. Chet Atkins, however, was light years away from his artistic zenith, came up with a wealth of ideas and was in a great position with regards to recording facilities when he set down his Hollywood album in 1959. Two years earlier, “Mister Guitar” had become boss of the newly founded RCA Studio in Nashville. Here he recorded several records, which reflected his ideas of an appealing, catchy Nashville Sound as an answer to the declining rock and roll.\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe Hollywood numbers were by no means dynamite movie tracks or showstoppers. Dennis Farnon’s delicate, lush arrangements rather more pay homage to the maestro with his no-frills art of playing. The gentle Italo evergreen \"Santa Lucia\", Chaplin’s beautiful \"Limelight\" with its violins and the time-honoured \"Greensleeves\" – all of them flawlessly performed – are a real pleasure for the ears. Atkins greatly admired the superb string orchestra and two years later he re-recorded the album using the tapes from the Hollywood session to create this new version.\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  ,\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\u003e4,00\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\u003e3,55\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40410390593687,"sku":"LSP-1993","price":38.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/chet-atkins-in-hollywood-audiosoundmusic-1.jpg?v=1719851626"},{"product_id":"harry-belafonte-belafonte-at-carnegie-hall","title":"Harry Belafonte - Belafonte At Carnegie Hall (2LP, Speakers Corner)","description":"\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003eHarry Belafonte (voc) \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/harry-belafonte\" title=\"Vinyl featuring Harry Belafonte\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/harry-belafonte\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\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\"\u003eMillard Thomas, Raphael Boguslav (g); Norman Keenan (b); Danny Barrajanos (perc) \u0026amp; orchestra conducted by Robert Corman\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by Fred Brooks (A1), Lead Belly (A2, A3), Paul Campbell (A2, A4), C.C. Carter (B1), Bill Attaway (B2), Harry Belafonte (B2, D3), Lord Burgess (B3), Lord Melody (C1), William Attaway (C2), Irving Burgie (C2), Norman Span (C3), Frederick Edward Weatherly (C5), Tomas Mendez (D1),  Harry Thomas (D3). C4 and D2 are traditional songs.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e2 LPs, gatefold sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\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\u003cbr\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\u003eRecording: April 1959 live at Carnegie Hall, New York, by Bob Simpson\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eProduction: Bob Bollard\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eOriginally released in 1959\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eReissued in 2014\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 data-mce-fragment=\"1\"\u003eSide A :\u003c\/p\u003e\n\u003cp style=\"padding-left: 30px;\" data-mce-fragment=\"1\"\u003eAct 1: The Moods of the American Negro\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e              1.  Introduction – Darlin’ Cora\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e              2.  Sylvie\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e              3.  Cotton Fields\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e               4.  John Henry\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e               5.  Take My Mother Home\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eSide B :\u003c\/p\u003e\n\u003cp style=\"padding-left: 30px;\" data-mce-fragment=\"1\"\u003eAct 1: The Moods of the American Negro\u003c\/p\u003e\n\u003cp style=\"padding-left: 60px;\" data-mce-fragment=\"1\"\u003e1. The Marching Saints\u003c\/p\u003e\n\u003cp style=\"padding-left: 30px;\" data-mce-fragment=\"1\"\u003eAct 2: In The Caribbean\u003c\/p\u003e\n\u003cdiv data-mce-fragment=\"1\"\u003e               2. Day O\u003c\/div\u003e\n\u003cdiv data-mce-fragment=\"1\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv data-mce-fragment=\"1\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv data-mce-fragment=\"1\"\u003e               3. Jamaica Farewell\u003c\/div\u003e\n\u003cdiv data-mce-fragment=\"1\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv data-mce-fragment=\"1\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 60px;\" data-mce-fragment=\"1\"\u003e4. Man Piaba\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 60px;\" data-mce-fragment=\"1\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 60px;\" data-mce-fragment=\"1\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cp data-mce-fragment=\"1\"\u003e               5. All My Trials\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eSide C :\u003cbr\u003e\u003c\/p\u003e\n\u003cp style=\"padding-left: 30px;\" data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eAct 2: In The Caribbean\u003c\/span\u003e               \u003c\/p\u003e\n\u003cp style=\"padding-left: 60px;\" data-mce-fragment=\"1\"\u003e1 Mama Look A Boo Boo\u003c\/p\u003e\n\u003cp style=\"padding-left: 60px;\" data-mce-fragment=\"1\"\u003e2 Come Back Liza\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e               3 Man Smart (woman smarter)\u003c\/p\u003e\n\u003cp style=\"padding-left: 30px;\" data-mce-fragment=\"1\"\u003eAct 3: Round The World\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e                4 Hava Nageela\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e                5 Danny Boy\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e                6  Merci Bon Dieu (From The \"Haitian Suite\")\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eSide D :\u003c\/p\u003e\n\u003cp style=\"padding-left: 30px;\" data-mce-fragment=\"1\"\u003e\u003cspan\u003eAct 3: Round The World\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"padding-left: 60px;\" data-mce-fragment=\"1\"\u003e1 Cu Cu Ru Cu Cu Paloma\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e                2 Shenandoah\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e                3 Matilda\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e« The granddaddy of all live albums, this double-LP set captured the excitement of a Harry Belafonte concert at the height of his popularity. Sampled from two consecutive performances of identical material, Belafonte at Carnegie Hall was an anomaly at a time when only comedy albums were recorded outside of the studio environment. It wasn't the first live album ever made, but it was certainly the first to be a major financial and artistic success. It stayed on the best-selling album charts for over three years and remained in print until RCA discontinued pressing LPs. From the opening trumpet fanfare and brief orchestral overture to the epic 12-minute version of \"Matilda\" (which set a standard for audience participation), the album never lets up. It is exciting, poignant, thrilling, intimate, and at times, spontaneously hilarious. Belafonte's mastery in front of an audience was never better displayed than here, a mastery that resulted in him becoming one of the most popular concert draws in history. Producer Bob Bollard and orchestra leader Bob Corman deftly integrated the 47-piece orchestra into the performance but knew when to lie back to let Belafonte sing, accompanied by a small combo of two guitars, bass, and percussion. The concert is divided in three sections: \"Moods of the American Negro,\" \"In the Caribbean,\" and \"Around the World.\" All the hits are here: \"Day O,\" \"Jamaica Farewell,\" \"Mama Look a Boo Boo,\" and others, plus calypso, folk songs, chain gang songs, spirituals, and songs from other lands, representing a veritable best-of package of his first decade with RCA Victor. For sheer scope and genius of performance, this is the quintessential Belafonte package. » AllMusic Review by Cary Ginell\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan\u003eTo perform in Carnegie Hall must surely be the greatest ambition of every artist, regardless of his or her style of music. But it also presents an enormous challenge, because on such an evening 'good' isn’t good enough. The artist is not merely expected to perform to his or her usual high standard – the evening must be exceptional. Harry Belafonte, the charismatic and highly experienced performer, certainly managed to fulfil such expectations, as is testified to by the present double album, which has retained its place as a best-seller at the top of the charts over many years.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan\u003eThis performance contains three acts, as it were: Afro-American moods, Caribbean songs and excursions into music of the world. Belafonte is in top form and celebrates an exciting, sparkling festival of song, including spontaneous comic interludes, which arise from direct interaction with his enthralled and enthusiastic audience. He is brilliantly supported by Bob Corman and his 47-man orchestra, an ensemble which is reduced to a small combo when the maestro raises his husky voice. It goes without saying that all the favourites are there such as \"Jamaica Farewell\", \"Day-O\" and \"Mama Look A Boo Boo\", making this Carnegie Hall event one of the most mesmerizing live performances of all time, which captures the essence of the performer in his prime (All Music Guide). With this double album you too can sit in the audience and enjoy this great event.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan\u003eAllmusic : 5 \/5 , \u003c\/span\u003e\u003cspan\u003eDiscogs \u003c\/span\u003e: \u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e4,40\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5  , \u003c\/span\u003e\u003cspan\u003eRate Your Music \u003c\/span\u003e: \u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e3,81\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40410634158231,"sku":"LSO-6006","price":65.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/harry-belafonte-belafonte-at-carnegie-hall-2lp-180g-33rpm-speakers-corner-audiosoundmusic-1.jpg?v=1719851640"},{"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":"christine-perfect-christine-perfect","title":"Christine Perfect - Christine Perfect","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\u003eChristine Perfect (vocal, keyboards), Chris Harding (Drums, Percussion), Martin Dunsford (Bass guitar), Rick Hayward \u0026amp; Top Topham (alternating rhythm and lead guitars), John McVie (Bass), Danny Kirwan (guitar : B1), Andy Sylvester (bass : A5)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by C. Perfect (A3, A4, A5, B3, B4), W. Williamson (A1), D. Malone (A2), R. Hayward (A5), D. Kirwan (B1), C. Jackson (B2), W. Godfrey (B2), B. Hendricks (B4), C. Otis (B5), T.J. White (B6)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eArranged by Terry Noonan (A1, A2), John Bennett (B1), Derek Wadsworth (B3)\u003c\/strong\u003e \u003cbr\u003e\u003cbr\u003e\u003cbr\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 analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Pure Pleasure Records\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Blue Horizon\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded in August \u0026amp; December 1969 at CBS Recording Studios, Theobolds Road, London U.K. by \u003c\/strong\u003e\u003cstrong\u003eMike Ross\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Mike Vernon and Christine Perfect\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRe-Mastered by Ray Staff at Alchemy Studios, London U.K.\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 2006\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e1.Crazy ‘Bout You Baby\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e2. I’m On My Way\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e3. Let Me Go (Leave Me Alone)\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e4. Wait And See\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e5. Close To Me\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e6. I’d Rather Go Blind\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e1. When You Say\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e2. And That's Saying A lot\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e3. No Road Is The Right Road 4.For You\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e5. I'm Too Far Gone (To Turn Around)\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e6. I Want You\u003c\/div\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003cspan size=\"3\" face=\"Times New Roman\"\u003eChristine Perfect \u003c\/span\u003e\u003cspan size=\"3\" face=\"Times New Roman\"\u003eis a British born\u003c\/span\u003e\u003cspan size=\"3\" face=\"Times New Roman\"\u003e singer who worked with Spencer Davis in the early '60s and later fronted Chicken Shack before going off on her own with this solo album in 1970. By then she had also contributed to recordings by Fleetwood Mac and become romantically involved with the groups's bassist, John McVie. She then married McVie and officially joined the group, for which she served as a vocalist\/keyboardist\/songwriter, contributing some of Fleetwood Mac's biggest hits.\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan size=\"2\" face=\"Times New Roman\"\u003e\u003cspan\u003eIn 1976, Sire Records issued the first U.S. release of what had been a mega-import of the Blue Horizon 1970 UK release, an album called simply Christine Perfect, the maiden name of Christine McVie. You don't need a crystal ball to tell you the album is classic and tremendous ,the big surprise is that it didn't go multi-platinum in the States.\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan size=\"2\" face=\"Times New Roman\"\u003e\u003cspan\u003eThere are 12 tracks, and 'I'd Rather Go Blind' went Top Ten in the U.K. It deserved to. but there's more here than the very good reading of the Etta James hit that 'I'd Rather go Blind' was 'When you Say' has strings and production that sound hauntingly like a Marianne Faithful track on London or Nico's work on Immediate. The big difference is that, by the time this album was released in America, Christine McVie was pretty much a household name. It doesn't sound like Fleetwood Mac but surprise of surprises, John McVie and Danny Kirwan of The Mac are performing on that tune. 'Wait and See' is a real treasure,while 'And That's Saying a Lot' is such a shift in mood that it starts to sink in what a complex and complete recording this is.\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cspan size=\"2\" face=\"Times New Roman\"\u003e\u003cspan\u003e\"The listener really has to stand back from McVie's fame and just hear the music for what it is, a superb presentation by a commercial voice with solid backup.'No Road Is The Right Road' changes the vibe again, and maybe that's a result of the array of talent, from Chicken Shack (her original band), to Yardbirds guitarist Top Topham to Rick Heywood (later of Savoy Brown), 'For You' is neo-rockabilly with that Dave Edmunds sound from 'I Hear You Knocking'. but try on 'I'm Too Far Gone (To Turn Around'),what a stunner - Fleetwood Mac performing a '50's style ballad.This could have been such a huge hit when Fleetwood Mac started to flounder a bit after all the dysfunction dipping into the bag of old trticks would have been a neat ploy for radio play. \u003c\/span\u003e\u003c\/span\u003e\u003cspan size=\"2\" face=\"Times New Roman\"\u003e\u003cspan\u003eThere is much more to the Legendry Christine Perfect Album than just hype. With the Cover photos, and the phenomenal sounds within, when fans of Fleetwood Mac need a fix for their obession, this is the one to pull out and play.\" Joe Viglione.\u003c\/span\u003e\u003c\/span\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan size=\"2\" face=\"Times New Roman\"\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan size=\"2\" face=\"Times New Roman\"\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan size=\"2\" face=\"Times New Roman\"\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan size=\"2\" face=\"Times New Roman\"\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan size=\"2\" face=\"Times New Roman\"\u003e\u003cspan\u003e\u003cstrong\u003e\u003cbr\u003eRatings\u003c\/strong\u003e :\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan size=\"2\" face=\"Times New Roman\"\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan size=\"2\" face=\"Times New Roman\"\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan size=\"2\" face=\"Times New Roman\"\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan size=\"2\" face=\"Times New Roman\"\u003e\u003cspan\u003e\u003cbr\u003eAllmusic : 3 \/ 5\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40536279711895,"sku":"PPAN 7-63860","price":35.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/christine-perfect-christine-perfect-audiosoundmusic-1.jpg?v=1719851839"},{"product_id":"copy-of-the-beach-boys-pet-sounds","title":"The Beach Boys - Pet Sounds (1LP, Stereo, 33RPM, 180g)","description":"\u003cp data-mce-fragment=\"1\" style=\"margin: 0cm 0cm 12.0pt 0cm;\" data-mce-style=\"margin: 0cm 0cm 12.0pt 0cm;\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"margin: 0cm 0cm 12.0pt 0cm;\" data-mce-style=\"margin: 0cm 0cm 12.0pt 0cm;\"\u003e\u003cstrong\u003e\u003ca title=\"vinyl featuring The Beach Boys\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/beach-boys\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/beach-boys\"\u003e\u003cspan style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring the Beach Boys]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"margin: 0cm 0cm 12.0pt 0cm;\" data-mce-style=\"margin: 0cm 0cm 12.0pt 0cm;\"\u003e\u003cstrong\u003ePerformed by The Beach Boys : Brian Wilson (vocals, bass guitar, keyboards), Mike Love (vocals, percussion, saxophone, Electro-Theremin), Al Jardine (vocals, rhythm guitar, bass guitar), Bruce Johnston (vocals, keyboards, bass guitar), Dennis Wilson (vocals, drums, keyboards).\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by Brian Wilson (all tracks), Tony Asher (A1, A2, A3, A4, B1, B3, B4, B6), Mike Love (A5), Michael Ruff (A3), Terry Sachen (B2)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, Stoughton tip-on jackets\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 200g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003cbr\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\u003eStudi\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Quality Record Pressings\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Analogue Productions\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Capitol\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded July 12, 1965 - April 13, 1966 at Columbia Studios (Hollywood, CA), Gold Star Recording Studios (Hollywood, CA), Sunset Sound Studios (Los Angeles, CA), Western Studios (Los Angeles, CA)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eMastered by Kevin Gray \u003cb data-mce-fragment=\"1\"\u003eat Cohearent Audio\u003c\/b\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eOriginally issued on May 16th, 1966 in mono\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eReissued in 2016\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eTracks :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eWouldn’t It Be Nice\u003c\/li\u003e\n\u003cli\u003eYou Still Believe In Me\u003c\/li\u003e\n\u003cli\u003eThat’s Not Me\u003c\/li\u003e\n\u003cli\u003eDon’t Talk (Put Your Head On My Shoulder)\u003c\/li\u003e\n\u003cli\u003eI’m Waiting For The Day\u003c\/li\u003e\n\u003cli\u003eLet’s Go Away For Awhile\u003c\/li\u003e\n\u003cli\u003eSloop John B\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eGod Only Knows\u003c\/li\u003e\n\u003cli\u003eI Know There’s An Answer\u003c\/li\u003e\n\u003cli\u003eHere Today\u003c\/li\u003e\n\u003cli\u003eI Just Wasn’t Made For These Times\u003c\/li\u003e\n\u003cli\u003ePet Sounds\u003c\/li\u003e\n\u003cli\u003eCaroline No\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 data-mce-fragment=\"1\"\u003e\u003cb\u003eTAS Super LP List! Special Merit: Informal\u003c\/b\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cb\u003eRolling Stone 500 Greatest Albums of All Time - Rated 2\/500\u003cbr\u003e\u003c\/b\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cb\u003e\u003cbr\u003eRolling Stone 500 Greatest Songs of All Time - \"Sloop John B\" - Rated 278\/500\u003c\/b\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e1000 Recordings you must hear before you die - Ranked 61\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\u003cspan\u003e\"one of the most innovative recordings in rock\", 101 Albums that Changed Popular Music (2009)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\"It was \u003cem\u003ePet Sounds\u003c\/em\u003e that blew me out of the water…I love the album so much. I've just bought my kids each a copy of it for their education in life. I figure no one is educated musically 'til they've heard that album.\" – Paul McCartney\u003c\/p\u003e\n\u003cp\u003e\"All of us, Ginger (Baker), Jack (Bruce), and I consider \u003cem\u003ePet Sounds\u003c\/em\u003e to be one of the greatest pop LPs to ever be released. It encompasses everything that's ever knocked me out and rolled it all into one.\" – Eric Clapton\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003c\/strong\u003e\"Produced, composed and arranged by Brian Wilson, \u003cem\u003ePet Sounds\u003c\/em\u003e stands as the Beach Boys' pinnacle. The album is brimming with beautiful ballads, exotic instrumentation, lush five-part harmonies, and aching sentimentality. Recorded largely with session players from L.A.'s fabled Wrecking Crew, \u003cem\u003ePet Sounds\u003c\/em\u003e was Wilson's chance to step away from songs about surfing and cars, instead crafting tender songs about adolescent love, both newfound and lost, as well as innocence and bewilderment. Analogue Productions' two-disc 45 RPM, 180-gram stereo album boasts exceptionally detailed separation and aptly showcases \u003cem\u003ePet Sounds\u003c\/em\u003e' shimmering sonics. Mark Linett produced this stereo mix with an assembled digital multi-track master that synched the original four-track instrumental master with the four- and eight-track vocal overdub master. It was then mixed to 15 ips 1\/4-inch analog tape with SR noise reduction. How good is it? Carol Kaye's picked Fender P-Bass is tight and punchy on the intro to \"God Only Knows,\" and the clarity reveals the swelling emotion of Carl Wilson's angelic lead vocal to announce that you've entered the Church of Rock 'n' Roll. Say amen.\" Greg Cahill, \u003cem\u003eThe Absolute Sound\u003c\/em\u003e, December 2017\u003c\/p\u003e\n\u003cp\u003e« The best Beach Boys album, and one of the best of the 1960s. The group here reached a whole new level in terms of both composition and production, layering tracks upon tracks of vocals and instruments to create a richly symphonic sound. Conventional keyboards and guitars were combined with exotic touches of orchestrated strings, bicycle bells, buzzing organs, harpsichords, flutes, Theremin, Hawaiian-sounding string instruments, Coca-Cola cans, barking dogs, and more. It wouldn't have been a classic without great songs, and this has some of the group's most stunning melodies, as well as lyrical themes which evoke both the intensity of newly born love affairs and the disappointment of failed romance (add in some general statements about loss of innocence and modern-day confusion as well). The spiritual quality of the material is enhanced by some of the most gorgeous upper-register male vocals (especially by Brian and Carl Wilson) ever heard on a rock record. \"Wouldn't It Be Nice,\" \"God Only Knows,\" \"Caroline No,\" and \"Sloop John B\" (the last of which wasn't originally intended to go on the album) are the well-known hits, but equally worthy are such cuts as \"You Still Believe in Me,\" \"Don't Talk,\" \"I Know There's an Answer,\" and \"I Just Wasn't Made for These Times.\" It's often said that this is more of a Brian Wilson album than a Beach Boys recording (session musicians played most of the parts), but it should be noted that the harmonies are pure Beach Boys (and some of their best). Massively influential upon its release (although it was a relatively low seller compared to their previous LPs), it immediately vaulted the band into the top level of rock innovators among the intelligentsia, especially in Britain, where it was a much bigger hit. » AllMusic Review by Richie Unterberger\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 : 5 \/ 5 ,  Rate your Music : 4.18 \/ 5\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eGreg Cahill, The Absolute Sound : Music 5\/5, Sonics 4.5\/5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40606981882007,"sku":"AAPP 067","price":98.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/the-beach-boys-pet-sounds-1lp-stereo-33rpm-180g-audiosoundmusic-1.jpg?v=1719851878"},{"product_id":"copy-of-the-beach-boys-pet-sounds-stereo-33rpm","title":"The Beach Boys - Pet Sounds (2LP, Mono, 45RPM, 180g)","description":"\u003cp style=\"margin: 0cm 0cm 12.0pt 0cm;\" data-mce-fragment=\"1\" data-mce-style=\"margin: 0cm 0cm 12.0pt 0cm;\"\u003e\u003cstrong\u003e\u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/beach-boys\" title=\"vinyl featuring The Beach Boys\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/beach-boys\"\u003e\u003cspan style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring the Beach Boys]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp style=\"margin: 0cm 0cm 12.0pt 0cm;\" data-mce-fragment=\"1\" data-mce-style=\"margin: 0cm 0cm 12.0pt 0cm;\"\u003e\u003cstrong\u003ePerformed by The Beach Boys : Brian Wilson (vocals, bass guitar, keyboards), Mike Love (vocals, percussion, saxophone, Electro-Theremin), Al Jardine (vocals, rhythm guitar, bass guitar), Bruce Johnston (vocals, keyboards, bass guitar), Dennis Wilson (vocals, drums, keyboards).\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by Brian Wilson (all tracks), Tony Asher (A1, A2, A3, A4, B1, B3, C1, C2), Mike Love (B1), Michael Ruff (A3), Terry Sachen (C2)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e2 LPs,  gatefold Stoughton tip-on jackets \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003cbr\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\u003eMono\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Quality Record Pressings\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Analogue Productions\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Capitol\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded July 12, 1965 - April 13, 1966 at Columbia Studios (Hollywood, CA), Gold Star Recording Studios (Hollywood, CA), Sunset Sound Studios (Los Angeles, CA), Western Studios (Los Angeles, CA)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eMastered by Kevin Gray \u003cb data-mce-fragment=\"1\"\u003eat Cohearent Audio\u003c\/b\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eOriginally issued on May 16th, 1966 in mono\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eReissued in 2017\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eTracks :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eWouldn’t It Be Nice\u003c\/li\u003e\n\u003cli\u003eYou Still Believe In Me\u003c\/li\u003e\n\u003cli\u003eThat’s Not Me\u003c\/li\u003e\n\u003cli\u003eDon’t Talk (Put Your Head On My Shoulder)\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eI’m Waiting For The Day\u003c\/li\u003e\n\u003cli\u003eLet’s Go Away For Awhile\u003c\/li\u003e\n\u003cli\u003eSloop John B\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide C :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eGod Only Knows\u003c\/li\u003e\n\u003cli\u003eI Know There’s An Answer\u003c\/li\u003e\n\u003cli\u003eHere Today\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide D :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eI Just Wasn’t Made For These Times\u003c\/li\u003e\n\u003cli\u003ePet Sounds\u003c\/li\u003e\n\u003cli\u003eCaroline No\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAwards\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cb\u003e\u003cspan style=\"color: #ff2a00;\"\u003eRolling Stone 500 Greatest Albums of All Time - Rated 2\/500\u003c\/span\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/strong\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cb\u003e\u003cbr\u003eRolling Stone 500 Greatest Songs of All Time - \"Sloop John B\" - Rated 278\/500\u003c\/b\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e1000 Recordings you must hear before you die - Ranked 61\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\u003cspan\u003e\"one of the most innovative recordings in rock\", 101 Albums that Changed Popular Music (2009)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\"It was \u003cem\u003ePet Sounds\u003c\/em\u003e that blew me out of the water…I love the album so much. I've just bought my kids each a copy of it for their education in life. I figure no one is educated musically 'til they've heard that album.\" – Paul McCartney\u003c\/p\u003e\n\u003cp\u003e\"All of us, Ginger (Baker), Jack (Bruce), and I consider \u003cem\u003ePet Sounds\u003c\/em\u003e to be one of the greatest pop LPs to ever be released. It encompasses everything that's ever knocked me out and rolled it all into one.\" – Eric Clapton\u003c\/p\u003e\n\u003cp\u003e\"Produced, composed and arranged by Brian Wilson, \u003cem\u003ePet Sounds\u003c\/em\u003e stands as the Beach Boys' pinnacle. The album is brimming with beautiful ballads, exotic instrumentation, lush five-part harmonies, and aching sentimentality. Recorded largely with session players from L.A.'s fabled Wrecking Crew, \u003cem\u003ePet Sounds\u003c\/em\u003e was Wilson's chance to step away from songs about surfing and cars, instead crafting tender songs about adolescent love, both newfound and lost, as well as innocence and bewilderment. Analogue Productions' two-disc 45 RPM, 180-gram stereo album boasts exceptionally detailed separation and aptly showcases \u003cem\u003ePet Sounds\u003c\/em\u003e' shimmering sonics. Mark Linett produced this stereo mix with an assembled digital multi-track master that synched the original four-track instrumental master with the four- and eight-track vocal overdub master. It was then mixed to 15 ips 1\/4-inch analog tape with SR noise reduction. How good is it? Carol Kaye's picked Fender P-Bass is tight and punchy on the intro to \"God Only Knows,\" and the clarity reveals the swelling emotion of Carl Wilson's angelic lead vocal to announce that you've entered the Church of Rock 'n' Roll. Say amen.\" Greg Cahill, \u003cem\u003eThe Absolute Sound\u003c\/em\u003e, December 2017\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e« The best Beach Boys album, and one of the best of the 1960s. The group here reached a whole new level in terms of both composition and production, layering tracks upon tracks of vocals and instruments to create a richly symphonic sound. Conventional keyboards and guitars were combined with exotic touches of orchestrated strings, bicycle bells, buzzing organs, harpsichords, flutes, Theremin, Hawaiian-sounding string instruments, Coca-Cola cans, barking dogs, and more. It wouldn't have been a classic without great songs, and this has some of the group's most stunning melodies, as well as lyrical themes which evoke both the intensity of newly born love affairs and the disappointment of failed romance (add in some general statements about loss of innocence and modern-day confusion as well). The spiritual quality of the material is enhanced by some of the most gorgeous upper-register male vocals (especially by Brian and Carl Wilson) ever heard on a rock record. \"Wouldn't It Be Nice,\" \"God Only Knows,\" \"Caroline No,\" and \"Sloop John B\" (the last of which wasn't originally intended to go on the album) are the well-known hits, but equally worthy are such cuts as \"You Still Believe in Me,\" \"Don't Talk,\" \"I Know There's an Answer,\" and \"I Just Wasn't Made for These Times.\" It's often said that this is more of a Brian Wilson album than a Beach Boys recording (session musicians played most of the parts), but it should be noted that the harmonies are pure Beach Boys (and some of their best). Massively influential upon its release (although it was a relatively low seller compared to their previous LPs), it immediately vaulted the band into the top level of rock innovators among the intelligentsia, especially in Britain, where it was a much bigger hit. » AllMusic Review by Richie Unterberger\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 : 5 \/ 5 ,  Rate your Music : 4.18 \/ 5\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eGreg Cahill, The Absolute Sound : Music 5\/5, Sonics 4.5\/5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40607085592727,"sku":"AAPP 067M-45","price":130.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/the-beach-boys-pet-sounds-2lp-mono-45rpm-180g-audiosoundmusic-1.jpg?v=1719851878"},{"product_id":"quicksilver-messenger-service","title":"Quicksilver Messenger Service","description":"\u003cdiv\u003e\n\u003ch2\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eORDER LIMITED TO ONE ITEM PER CUSTOMER\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h2\u003e\n\u003cp\u003e\u003cstrong\u003eJohn Cipollina (guitar, vocals), Gary Duncan (guitar, vocals), Greg Elmore (drums, percussion), David Frieberg (bass, vocals)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003c\/div\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eLimited edition\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Pure Pleasure Records\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Capitol\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003eRecorded in\u003c\/span\u003e\u003c\/strong\u003e\u003c\/strong\u003e\u003cspan face=\"Times New Roman\"\u003e \u003c\/span\u003e\u003cstrong\u003eLos Angeles, October 25, 1967, December 6, 1967,  December 18,1967,  March 3, 1968\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003eProduced by \u003c\/span\u003e\u003c\/strong\u003eNick Gravenites, Harvey \u003c\/strong\u003e\u003cstrong\u003eBrooks \u0026amp; Pete\u003c\/strong\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003eOriginally released in 1968\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003eReissued Jan 2011\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cp\u003e\u003cstrong\u003eTracks :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv\u003e\u003cspan face=\"Times New Roman\"\u003eSide A :\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\n\u003cspan data-mce-fragment=\"1\"\u003e1.Pride of Man \u003cbr\u003e2. Light Your Windows \u003cbr\u003e3. Dino's Song \u003cbr\u003e4. Gold and Silver\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Times New Roman\"\u003eSide B :\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\n\u003cp\u003e\u003cspan\u003e1. Too Long \u003cbr\u003e2. The Fool\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\u003cspan style=\"color: #ff2a00;\" size=\"3\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan size=\"3\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cstrong\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« Quicksilver Messenger Service's debut effort was a little more restrained and folky than some listeners had expected, given their reputation for stretching out in concert. While some prefer the mostly live Happy Trails, this self-titled collection is inarguably their strongest set of studio material, with the accent on melodic folk-rock. Highlights include their cover of folksinger Hamilton Camp's \"Pride of Man,\" probably their best studio track; \"Light Your Windows,\" probably the group's best original composition; and founding member Dino Valenti's \"Dino's Song\" (Valenti himself was in jail when the album was recorded). \"Gold and Silver\" is their best instrumental jam, and the 12-minute \"The Fool\" reflects some of the best and worst traits of the psychedelic era. »vAllMusic Review by Richie Unterberger\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cbr\u003e\u003cbr\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 : 4.5 \/ 5 , Discogs : 4.34 \/ 5 \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003ch1\u003e\u003c\/h1\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40695060529303,"sku":"PPAN ST2904","price":35.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/quicksilver-messenger-service-audiosoundmusic-1.jpg?v=1719851993"},{"product_id":"peggy-lee-the-man-i-love","title":"Peggy Lee - The Man I Love (Mono)","description":"\u003cdiv\u003e\n\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eORDER LIMITED TO ONE ITEM PER CUSTOMER\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePeggy Lee (vocals) \u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003e\u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/peggy-lee\" title=\"vinyl and SACD featuring Peggy Lee\"\u003e\u003cspan style=\"color: rgb(255, 128, 0);\"\u003e[click here to see more products featuring Peggy Lee]\u003c\/span\u003e\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eOrchestra Conducted by\u003c\/span\u003e\u003cspan\u003e Frank Sinatra\u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/frank-sinatra\" title=\"vinyl \u0026amp; SACD featuring Frank Sinatra\"\u003e \u003cspan style=\"color: rgb(255, 128, 0);\"\u003e[click here to see more Vinyl\/SACD featuring Frank Sinatra]\u003c\/span\u003e\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eArranged by Nelson Riddle\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cdiv\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003cbr\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\u003c\/div\u003e\n\u003c\/div\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\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Pure Pleasure Records\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Capitol\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by \u003cspan data-mce-fragment=\"1\"\u003eRon McCaster at Capitol Studios\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003eOriginally released in 1957\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003eReissued March 2012\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\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\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\u003cp style=\"font-weight: 400;\"\u003e1.The Man I Love \u003cbr\u003e2.Please Be Kind \u003cbr\u003e3.Happiness Is a Thing Called Joe\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003e4. (Just \u003c\/span\u003eOne Way\u003cspan style=\"font-weight: 400;\"\u003e to Say) I Love You \u003cbr\u003e5.That's All 6.Something Wonderful\u003c\/span\u003e\u003c\/p\u003e\n\u003cbr\u003e\n\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\u003cspan face=\"Times New Roman\"\u003eSide B :\u003cbr\u003e\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\u003cp\u003e\u003cspan\u003e1.He's My Guy \u003cbr\u003e2.Then I'll Be Tired of You \u003cbr\u003e3.My Heart Stood Still\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003e4.If I Should Lose You \u003cbr\u003e5.There Is No Greater Love \u003cbr\u003e6.The Folks Who Live on the Hill\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\u003cspan size=\"3\" style=\"color: #ff2a00;\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan size=\"3\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp\u003e« Around the same time that Peggy Lee decamped her longtime label home, Capitol Records, for what turned out to be a five-year sojourn at Decca Records in 1952, an apparently washed-up Frank Sinatra signed with Capitol. In 1957, when Lee returned to Capitol, Sinatra had re-established himself as a major recording artist. Meanwhile, the recording world had changed with the emergence of the 12-inch LP as an industry standard. The Man I Love, Lee's first recording for Capitol in the format after re-signing, matched her with the company's flagship artist, Sinatra, who was credited as the album's conductor, his name printed on the front cover in the same size as Lee's. A year earlier, Sinatra had conducted his Tone Poems of Color album for Capitol, and though the singer did not read music and relied on arranger Nelson Riddle, he again proved himself able to make his intentions clear in working with Lee. The Man I Love is a concept album in the manner pioneered by Sinatra at Capitol, a group of 12 songs chosen to express a single theme. That theme, as the title suggests, is a woman's unwavering devotion to a man, as expressed in songs often composed by gilt-edged songwriters (Gershwin, Arlen, Rodgers, Kern, etc.) and taken from Broadway shows. That devotion is not starry eyed, however; in several songs, Lee acknowledges the flaws in her paramour (e.g., \"Something Wonderful\"), but then explains them away and reconfirms her commitment. In fact, toward the end she worries what she would do \"If I Should Lose You\" before declaring \"There Is No Greater Love\" and finally idealizing the long-term relationship in the closing song, \"The Folks Who Live on the Hill.\" It wouldn't be surprising to find that Sinatra directed Lee to sing like one of his favorite singers, Billie Holiday, since she often does, laying back in understated vocal performances to reinforce the near-victimhood of the woman depicted in the songs. Riddle supports these interpretations with lush string charts that hint of dark feelings. The result is a superb pairing of singer, conductor, and arranger on an album that re-conceives Lee as a Capitol recording artist in the Sinatra concept album mold. » AllMusic Review by William Ruhlmann\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eRatings\u003c\/strong\u003e : \u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan size=\"3\"\u003e\u003cspan size=\"3\"\u003e\u003cspan size=\"3\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eAllMusic : 3.5 \/ 5 , Discogs : 3.94 \/ 5\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003ch1\u003e\u003cbr\u003e\u003c\/h1\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40705720582295,"sku":"PPAN T864","price":35.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/peggy-lee-the-man-i-love-mono-audiosoundmusic-1.jpg?v=1719852017"},{"product_id":"boz-scaggs-silk-degrees","title":"Boz Scaggs - Silk Degrees (Pure Pleasure)","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eORDER LIMITED TO ONE ITEM PER CUSTOMER\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eBoz Scaggs - Vocals, guitar \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\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eDavid Paich (keyboards)\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eJeff Porcaro (drums)\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eDavid Hungate (bass)\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eFred Tackett (guitar)\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eLouis Shelton (guitar)\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eArranged by\u003c\/strong\u003e\u003c\/span\u003e\u003cspan\u003e \u003cstrong\u003eDavid Paich\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, gatefold sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eLimited edition\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Pure Pleasure\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Columbia\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded at Los Angeles at Davlen Sound Studios \u0026amp; Hollywood Sound by Tom Perry\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eProduced by Joe Wissert\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by \u003cspan data-mce-fragment=\"1\"\u003eRay Staff at \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003eAir Mastering, Lyndhurst Hall, London\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1976\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in June 2009\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\n\u003cspan data-mce-fragment=\"1\"\u003e1. What Can I Say\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e2. Georgia\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e3. Jump Street\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e4. What Do You Want the Girl To Do\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e5. Harbor Lights\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\u003cspan\u003e1. Lowdown\u003cbr data-mce-fragment=\"1\"\u003e2. It's Over\u003cbr data-mce-fragment=\"1\"\u003e3. Love Me Tomorrow\u003cbr data-mce-fragment=\"1\"\u003e4. Lido Shuffle\u003cbr data-mce-fragment=\"1\"\u003e5. We're All Alone\u003cbr\u003e \u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eReviews\u003c\/strong\u003e:\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e« Both artistically and commercially, Boz Scaggs had his greatest success with Silk Degrees. The laid-back singer hit the R\u0026amp;B charts in a big way with the addictive, sly \"Lowdown\" (which has been sampled by more than a few rappers and remains a favorite among baby-boomer soul fans) and expressed his love of smooth soul music almost as well on the appealing \"What Can I Say.\" But Scaggs was essentially a pop\/rocker, and in that area he has a considerable amount of fun on \"Lido Shuffle\" (another major hit single), \"What Do You Want the Girl to Do,\" and \"Jump Street.\" Meanwhile, \"We're All Alone\" and \"Harbor Lights\" became staples on adult contemporary radio. Though not remarkable, the ballads have more heart than most of the bland material dominating that format. » AllMusic Review by Alex Henderson\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eBoz Scaggs is a unique and marvellous singer. His soulful voice can be, in turn, silky-smooth and sensual or funky and upbeat, depending on the material, but it is always compelling. This voice comes through superbly on the ten great tunes featured on \"Silk Degrees\".\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eScaggs, a solid composer in its own right, wrote three tracks on his own, co-wrote five more with David Paich. Paich contributed the delightful \"Love Me Tomorrow\" by himself while the remaining tune is a cover of Allen Toussaint's excellent \"What Do You Want the Girl to Do\".\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe production is very slick and sophisticated thanks to the arrangements by future Toto's keyboardist David Paich, to the orchestral direction (strings and brass) by Sid Sharp, to the soulful back-up vocals and to the sheer artistry of all the musicians involved.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eStylistically, the compositions are a nice blend of Philly soul influenced pop and rock.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eA classic of elegant, well crafted music.\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eAllMusic : 5 \/ 5 , Discogs : 4 \/ 5 \u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40710059557015,"sku":"PPAN33920","price":35.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/boz-scaggs-silk-degrees-pure-pleasure-audiosoundmusic-1.jpg?v=1719852065"},{"product_id":"blood-sweat-tears","title":"Blood Sweat \u0026 Tears - Blood Sweat \u0026 Tears (Pure Pleasure)","description":"\u003cp\u003e\u003cspan style=\"color: #ff8000;\"\u003e\u003cstrong\u003e[\u003c\/strong\u003e\u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/blood-sweat-tears\" title=\"Blood, Sweat and Tears vinyl\" style=\"color: #ff8000;\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/blood-sweat-tears\"\u003e\u003cstrong\u003eClick here to see more Blood, Sweat \u0026amp; Tears' vinyl\u003c\/strong\u003e\u003c\/a\u003e\u003cstrong\u003e]\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDavid Clayton-Thomas: Vocals (Except \"Sometimes in Winter\")\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eSteve Katz: Guitar, Hamonica, Vocals (Lead on \"Sometimes in Winter\")\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eBobby Colomby: Drums, Percussion, Vocals\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eJim Fielder: Bass\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eFred Lipsius: Alto Saxaphone, Piano\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eLew Soloff: Trumpet, Fluegelhorn\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eChuck Winfield: Trumpet, Fluegelhorn\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eJerry Hyman: Trombone\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eDick Halligan: Organ, Piano, Flute, Trombone, Vocals\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, gatefold sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Pure Pleasure\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Columbia\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded \u003cspan data-mce-fragment=\"1\"\u003ebetween August 2, 1968 and \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003eOctober 22, 1968\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e by Roy Halee and Fred Catero\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan data-mce-fragment=\"1\"\u003eProduced by James William Guerico\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by \u003cspan data-mce-fragment=\"1\"\u003eRay Staff\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1968\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in July 2008\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\n\u003cspan data-mce-fragment=\"1\"\u003e1. Variations On A Theme By Erik Satie\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e2. Smiling Phases\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e3. Sometimes in Winter\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e4. More and More\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e5. And When I Die\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e6. God Bless The Child\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\u003cspan\u003e1. Spinning Wheel\u003cbr data-mce-fragment=\"1\"\u003e2. You've Made Me So Very Happy\u003cbr data-mce-fragment=\"1\"\u003e3. Blues - Part II\u003cbr data-mce-fragment=\"1\"\u003e4. Variations On A Theme By Erik Satie \u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\n\u003cspan\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\u003cspan\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/div\u003e\n\u003cp\u003e\u003cstrong\u003eAwards\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eWinner of three Grammy Awards in 1970 : \"Album of the Year\", Best Arrangment for \"Spinning Wheel\" and Best Contemporary Instrumental Perfomance for \"Variations on a Theme by Erik Satie\"\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003cstrong\u003e1000 Recordings you must hear before you die - Ranked 140\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp\u003e« The difference between Blood, Sweat \u0026amp; Tears and the group's preceding long-player, Child Is Father to the Man, is the difference between a monumental seller and a record that was \"merely\" a huge critical success. Arguably, the Blood, Sweat \u0026amp; Tears that made this self-titled second album -- consisting of five of the eight original members and four newcomers, including singer David Clayton-Thomas -- was really a different group from the one that made Child Is Father to the Man, which was done largely under the direction of singer\/songwriter\/keyboard player\/arranger Al Kooper. They had certain similarities to the original: the musical mixture of classical, jazz, and rock elements was still apparent, and the interplay between the horns and the keyboards was still occurring, even if those instruments were being played by different people. Kooper was even still present as an arranger on two tracks, notably the initial hit \"You've Made Me So Very Happy.\" But the second BS\u0026amp;T, under the aegis of producer James William Guercio, was a less adventurous unit, and, as fronted by Clayton-Thomas, a far more commercial one. Not only did the album contain three songs that neared the top of the charts as singles -- \"Happy,\" \"Spinning Wheel,\" and \"And When I Die\" -- but the whole album, including an arrangement of \"God Bless the Child\" and the radical rewrite of Traffic's \"Smiling Phases,\" was wonderfully accessible. It was a repertoire to build a career on, and Blood, Sweat \u0026amp; Tears did exactly that, although they never came close to equaling this album. » AllMusic Review by William Ruhlmann\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eAllMusic : 4.5 \/ 5 , Discogs : 4.26 \/ 5 \u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40710560252055,"sku":"PPAN CS9720","price":35.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/blood-sweat-and-tears-pure-pleasure-audiosoundmusic-1.jpg?v=1719852078"},{"product_id":"laura-nyro-new-york-tendaberry","title":"Laura Nyro - New York Tendaberry","description":"\u003cp\u003e\u003cstrong\u003eLaura Nyro (vocals and piano)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eConductor \u003c\/span\u003e\u003cspan\u003eJimmy Haskell\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eWritten and arranged by Laura Nyro\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, gatefold sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Pure Pleasure\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Columbia\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003e\u003cspan lang=\"EN-US\"\u003eRecorded \u003c\/span\u003e\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003eby\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\" lang=\"EN-US\"\u003eRoy Halee\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan data-mce-fragment=\"1\"\u003eProduced by Laura Nyro \u003cspan lang=\"EN-US\"\u003e\u0026amp; Roy Halee\u003c\/span\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan lang=\"EN-US\"\u003e\u003cspan\u003eRemastered by \u003cb data-mce-fragment=\"1\"\u003eRay Staff\u003c\/b\u003e\u003c\/span\u003e\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 class=\"product-details__product-description\" id=\"productDescription\" 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 1969\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in \u003cspan data-mce-fragment=\"1\"\u003eSeptember 2008\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\u003cdiv style=\"padding-left: 30px;\"\u003e\n\u003cspan\u003e1.You Don’t Love Me When I Cry \u003cbr\u003e\u003c\/span\u003e\u003cspan\u003e2.Captain For Dark Mornings \u003cbr\u003e3.Tom Cat Goodbye \u003cbr\u003e4. Mercy On Broadway \u003cbr\u003e5.Save The Country\u003c\/span\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\u003cspan\u003e1. Gibsom Street \u003cbr\u003e2.Time And Love \u003cbr\u003e3. The Man Who Sends Me Home \u003cbr\u003e4.Sweet Lovin’ Baby \u003cbr\u003e5. Captain Saint Lucifer \u003cbr\u003e6. New York Tendaberry\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e \u003cbr\u003e\n\u003c\/div\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eReviews\u003c\/strong\u003e:\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e« Although New York Tendaberry was nearly as strong a record as its predecessor, Eli and the Thirteenth Confession, it wasn't as accessible. In large part that's because, unlike her first two albums, it didn't have three or four songs that would become instantly recognizable hits in the hands of other artists. But it was also because the mood of the record was considerably darker and the production quite a bit starker. It was hardly a gloomy affair, but the emphasis was on soulful laments and arrangements that often featured, in part or whole, nothing but her voice and piano. Without at all sounding blatantly derived from gospel, it often sounded very much in the spirit of gospel in its fervid passion, though using melodies from a wide pop\/blues-soul canvas and addressing concerns far more secular and personal. There were crafty, dramatic punctuations of orchestration, yet these were far more subdued than they had been on the more jubilant Eli and the Thirteenth Confession. \"Save the Country\" (along with the upbeat section of \"Time and Love\") is really the only song here that has the immediate uplifting impact of her most famous early tunes, and even that track could have benefited from a less-bare setting. It's a rewarding album, but one that takes some effort to fully appreciate. The 2002 CD reissue adds two bonus tracks: the mono single version of \"Save the Country,\" which has a far fuller arrangement than the album take, and the jaunty, previously unreleased \"In the Country Way.\" » AllMusic Review by Richie Unterberger\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 : 4.38 \/ 5 \u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40711610859671,"sku":"KCS9737","price":35.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/laura-nyro-new-york-tendaberry-audiosoundmusic-1.jpg?v=1719852093"},{"product_id":"pete-brown-his-battered-ornaments-a-meal-you-can-shake-your-hands-with-in-the-dark","title":"Pete Brown \u0026 His Battered Ornaments - A Meal You Can Shake Your Hands With In The Dark (2LP)","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\u003ePete Brown, vocals, trumpet\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eChris Spedding, guitars\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eNisar A. Khan, tenor saxophone\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eDick Heckstall-Smith, tenor saxophone\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eCharlie Hart, organ\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eButch Porter, bass\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eRob Tait, drums\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003ePete Bailey, congas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e2 LPs, gatefold sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eLimited edition\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Pure Pleasure\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Harvest\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan data-mce-fragment=\"1\"\u003eRecorded at\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e Morgan Studios, \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003eWillesden, London \u0026amp; Sound Techniques, London\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 Andrew King and Dick Heckstall-Smith\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\"\u003eSean Magee \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003eat Abbey Road Studios\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 class=\"product-details__product-description\" id=\"productDescription\" 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 1969\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in \u003cspan data-mce-fragment=\"1\"\u003eMay 2012\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\n\u003col\u003e\n\u003cli\u003e\u003cspan\u003eDark Lady\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan\u003e2. The Old Man\u003c\/span\u003e\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003c\/div\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003cp style=\"padding-left: 60px;\"\u003e1\u003cspan data-mce-fragment=\"1\"\u003e. Station Song\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e2. The Politician\u003c\/span\u003e\u003c\/p\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cp\u003eSide C :\u003c\/p\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\n\u003col\u003e\n\u003cli\u003e\u003cspan\u003eRainy Taxi Girl\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan\u003eMorning Call\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan\u003eSandcastle\u003c\/span\u003e\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003c\/div\u003e\n\u003cp\u003eSide D :\u003c\/p\u003e\n\u003cp style=\"padding-left: 60px;\"\u003e1.\u003cspan\u003e Travelling Blues (Or The New Used Jew's Dues Blues)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eReviews\u003c\/strong\u003e:\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e« Pete Brown's debut album may not have been as accessible as those of Cream (for whom he often helped write material) or even the early Jack Bruce (for whom he continued to collaborate as a songwriter). There are similarities, however, though more to Bruce's solo work than to Cream. For one thing, there are those lyrics, which are of a far higher standard than heard on most rock songs, ranging from ominous impressionism to take-out-the-piss political satire. Then there's Brown's voice, which rather resembles a gruff Jack Bruce, and is effective though certainly not as smoothly melodic as Bruce's vocals. And then there's the music, which grew out of the same jazz-blues-rock community that gave birth to the Graham Bond Organisation, Cream, and Colosseum. In fact, two other alumni of that scene, Bond (on organ) and Dick Heckstall-Smith (on saxophone), are among the supporting players, as is a young Chris Spedding. There are also unusual psychedelic and Middle Eastern accents here and there in the arrangements, though tasteful and subdued. Because there aren't the pop hooks of the songs Brown had a hand with in Cream, and because Brown's voice is not that of your average rock frontman, it's not something that ever got a wide audience. But it has its rewards for those looking for something a little more avant-garde and intellectual than much late-'60s psychedelic-prog rock, including the fairly grooving \"Dark Lady\" (which musically resembles Graham Bond's work), \"Station Song\" (where the likeness to some of Jack Bruce's more mysterious tracks is highest), and the beguiling downward-spiral melody of \"Rainy Taxi Girl.\" Some of the bluesy tunes are more functional, but the 12-minute \"The Politician\" -- not the same as the Cream classic \"Politician\" penned by Brown and Bruce, though there are similarities -- is a highlight, as a very witty and scathing anti-establishment spoken word poem segueing into an off-kilter blues-rocker that exposes the \"politician\" for the lecherously hypocritical geezer he is. » AllMusic Review by Richie Unterberger\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eAllMusic : 4 \/ 5 , Discogs : 4.25 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40718478934167,"sku":"PPAN SHVL752","price":52.5,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/pete-brown-and-his-battered-ornaments-a-meal-you-can-shake-your-hands-with-in-the-dark-2lp-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":"the-beach-boys-holland","title":"The Beach Boys - Holland (2LP, 45 \u0026 33RPM, 200g)","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe Beach Boys \u003c\/strong\u003e\u003cstrong\u003e\u003ca title=\"vinyl featuring The Beach Boys\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/beach-boys\"\u003e\u003cspan style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring the Beach Boys]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eVocals – Alan Jardine (A2 to B4), Blondie Chaplin (A1 to B4), Brian Wilson (A2, A5, B4, C1-6), Carl Wilson (A1-3, A5 to C6), Dennis Wilson (A2 to B4), Mike Love (A2 to B4), Ricky Fataar (A1 to B4)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBacking Vocals : Billy Hinsche (A1), Bruce Johnston (A5), Diane Rovell (A2), Gerry Beckley (A1), Marilyn Wilson (A2), Tony Martin, Jr (A1)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDrums – Ricky Fataar (A1, A2, A3, A4, A5, B1, B2, B3)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDrums, Synthesizer, Piano – Brian Wilson (B4, C1, C2, C3, C4, C5, C6)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFlute – Charles Lloyd (A3, A4, A5)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGuitar – Tony Martin, Jr (A1, A2)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGuitar, Banjo – Alan Jardine (A2, A3, A4, A5, B1, B2, B3)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGuitar, Bass – Blondie Chaplin (A1, A2, A3, A4, A5, B1, B2, B3)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePercussion – Ricky Fataar (B4)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePiano – Dennis Wilson (2) (A2, A3, A4, A5, B1, B2, B3)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePiano, Electric Piano, Guitar – Carl Wilson (A1, A2, A3, A4, A5, B1, B2, B3, B4, C1, C2, C3, C4, C5, C6)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSlide Guitar – Ricky Fataar (A3)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStrings – Rogier Van Otterloo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSynthesizer – Ricky Fataar (B2)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSynthesizer [Bass] – Carl Wilson (A1, A2, A3, A4, A5, B1), Daryl Dragon (A1, A2, A3, A4, B2, B3, B4)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTambourine – Kevin Michaels (A1)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTenor Saxophone – Frank Mayes\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by Carl Wilson (A1, A2, B1 to B4), Jack Rieley (A1, A2, B1, B4), Mike Love (A3, B2 to B4)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e2 LPs, Tip-on style gatefold jacket by Stoughton Printing\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 200g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM (side A, B, C) \u0026amp; 45RPM (side D)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : \u003cspan\u003eQuality Record Pressings\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Analogue Productions\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Reprise Records\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineered by Rob Fabroni (A1, B2), Stephen Moffitt (A1-5, B3-4, C1-6)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Carl Wilson (C1-6), The Beach Boys (A1 to B4)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by Kevin Gray at Cohearent Audio\u003c\/strong\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003eOriginally released in 1973\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003eReissued in 2016\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cp\u003e\u003cstrong\u003eTracks :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv\u003e\u003cspan face=\"Times New Roman\"\u003eSide A :\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\n\u003col\u003e\n\u003cli\u003eSail On Sailor\u003c\/li\u003e\n\u003cli\u003eSteamboat\u003c\/li\u003e\n\u003cli\u003eCalifornia Saga \/ Big Sur\u003c\/li\u003e\n\u003cli\u003eCalifornia Saga \/ The Breaks Of Eagles\u003c\/li\u003e\n\u003cli\u003eCalifornia Saga \/ California\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Times New Roman\"\u003eSide B :\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\n\u003col\u003e\n\u003cli\u003eThe Trader\u003c\/li\u003e\n\u003cli\u003eLeaving This Town\u003c\/li\u003e\n\u003cli\u003eOnly With You\u003c\/li\u003e\n\u003cli\u003eFunky Pretty\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\u003cspan face=\"Times New Roman\"\u003eSide C :\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\n\u003col\u003e\n\u003cli\u003eMt. Vernon And Fairway - Theme\u003c\/li\u003e\n\u003cli\u003eI'm The Pied Piper - Instrumental\u003c\/li\u003e\n\u003cli\u003eBetter Get Back In Bed\u003c\/li\u003e\n\u003cli\u003eMagic Transistor Radio\u003c\/li\u003e\n\u003cli\u003eI'm The Pied Piper\u003c\/li\u003e\n\u003cli\u003eRadio Kingdom\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Times New Roman\"\u003eSide D :\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\n\u003col\u003e\n\u003cli\u003eSail On Sailor (45rpm)\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eReviews\u003c\/strong\u003e :\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp\u003e\u003cbr\u003e« What I can say is that Kevin Gray has been able to extract every last bit of information from whatever tape is in the box, and present it in a way that is pleasing and natural to the ear. ... in my opinion, the Analogue Productions pressings are now THE definitive issue of each Beach Boys album, and will be my reference copies until if and when something better comes along - which may be never. » -Lee Dempsey, Endless Summer Quarterly, Summer 2015 Edition\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp\u003e« The surprisingly weak result of a concerted effort by both band and label to push the Beach Boys back into the Top 40 (they succeeded, barely), Holland continued the muddy sound of Carl and the Passions - So Tough. The highlights here -- Carl's \"The Trader,\" Brian's \"Sail on, Sailor\" and \"Funky Pretty\" -- are marginally better than their immediate predecessors, though \"Leavin' This Town\" (from recent addition Blondie Chaplin) is rather tiresome. Also, Al Jardine and Mike Love's three-part \"California Saga\" shows the effects of their environmentalist spirituality left to bake in the sun a few minutes too long (though the conclusion, \"California,\" is a solid return to the harmony-laden sun-and-surf '60s). \"Only with You\" is yet another tender ballad given an excellent reading by Carl. [Holland was made available in 2000 on the two-fer compilation Carl and the Passions - So Tough\/Holland. » AllMusic Review by John Bush\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eRatings\u003c\/strong\u003e : \u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\u003cspan size=\"3\"\u003e\u003cspan size=\"3\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cspan\u003eAllMusic : 2.5 \/ 5 , Discogs : 3.96 \/ 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":40729383665815,"sku":"AAPP 071","price":135.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/the-beach-boys-holland-2lp-45-and-33rpm-200g-audiosoundmusic-1.jpg?v=1719852193"},{"product_id":"norah-jones-not-too-late","title":"Norah Jones - Not Too Late (200g, Analogue Productions)","description":"\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eNorah Jones - vocals, piano \u003ca data-mce-fragment=\"1\" title=\"vinyl featuring Norah Jones\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/norah-jones\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Norah Jones]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLee Alexander, bass\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eAndrew Borger, drums\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eAdam Levy, guitars\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eDaru Oda, background vocals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by  L. Alexander (A1 to A4, B1, B3, B7), Norah Jones\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP,  Gatefold tip-on jackets\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 200g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : \u003cspan data-mce-fragment=\"1\"\u003eQuality Record Pressings\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Analogue Productions\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Blue Note\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded at The Coop, NYC and Brooklyn Recording, NY \u003cspan data-mce-fragment=\"1\"\u003eby Tom Schick\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMastered by Greg Calbi\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Lee Alexander\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMixed at The Coop, NYC. \u003cspan data-mce-fragment=\"1\"\u003eby Lee Alexander, Tom Schick\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cdiv\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by Kevin Gray at Cohearent Audio\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003eOriginally released in 2007\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003eReissued in 2012\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cp\u003e\u003cstrong\u003eTracks :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv\u003e\u003cspan face=\"Times New Roman\"\u003eSide A :\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\n\u003cspan data-mce-fragment=\"1\"\u003e1. Wish I Could\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e2. Sinkin' Soon\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e3. The Sun Doesn't Like You\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e4. Until The End\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e5. Not My Friend\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e6. Thinking About You\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Times New Roman\"\u003eSide B :\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\n\u003cspan data-mce-fragment=\"1\"\u003e1. Broken\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e2. My Dear Country\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e3. Wake Me Up\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e4. Be My Somebody\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e5. Little Room\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e6. Rosie's Lullaby\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e7. Not Too Late\u003c\/span\u003e\u003cbr\u003e\n\u003col\u003e\u003c\/ol\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eReviews\u003c\/strong\u003e :\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp\u003e\u003cspan\u003e\"2007's \u003c\/span\u003e\u003cem\u003eNot Too Late\u003c\/em\u003e\u003cspan\u003e is an even more melancholic and intimately drawn set wherein the singer seems to have not quite gotten over the heartache and thinks maybe her former beau might come back. The album works to perfection, thanks to the deft arrangements, more spare and intimate than before, despite the inclusion of some horns and organ. It might be my favorite ... The records coming out of QRP are definitely living up to the pressing plant's early promise. This kind of drop dead black quiet is precisely what's required for Jones' music and QRP delivers it. Kevin Gray's mastering is equally superb.\" Michael Fremer, \u003c\/span\u003e\u003cem\u003eAnalogPlanet.com,\u003cspan\u003e \u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003eJanuary 24, 2013\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e« Recoils from fame usually aren't as subdued as Norah Jones' third album, Not Too Late, but such understatement is customary for this gentlest of singer\/songwriters. Not Too Late may not be as barbed or alienating as either In Utero or Kid A -- it's not an ornery intensification of her sound nor a chilly exploration of its furthest limits -- but make no mistake, it is indeed a conscious abdication of her position as a comfortable coffeehouse crooner and a move toward art for art's sake. And, frankly, who can blame Jones for wanting to shake off the Starbucks stigmata? Although a large part of her appeal has always been that she sounds familiar, like a forgotten favorite from the early '70s, Jones is too young and too much of a New York bohemian to settle into a role as a nostalgia peddler, so it made sense that she started to stretch a little after her 2004 sophomore set, Feels Like Home, proved that her surprise blockbuster 2002 debut, Come Away with Me, was no fluke. First, there was the cabaret country of her Little Willies side band, then there was her appearance on gonzo art rocker Mike Patton's Peeping Tom project, and finally there's this hushed record, her first containing nothing but original compositions. It's also her first album recorded without legendary producer Arif Mardin, who helmed her first two albums, giving them a warm, burnished feel that was nearly as pivotal to Jones' success has her sweet, languid voice. Mardin died in the summer of 2006, and in his absence, Jones recorded Not Too Late at the home studio she shares with her collaborator, bassist and boyfriend Lee Alexander. Although it shares many of the same sonic characteristics as Jones' first two albums, Not Too Late boasts many subtle differences that add up to a distinctly different aesthetic. Jones and Alexander have stripped Norah's music to its core. Gone are any covers of pop standards, gone are the studio pros, gone is the enveloping lushness that made Come Away with Me so easy to embrace, something that Not Too Late is most decidedly not. While this might not have the rough edges of a four-track demo, Not Too Late is most certainly music that was made at home with little or no consideration of an audience much larger than Jones and Alexander. It's spare, sometimes skeletal, often sleepy and lackadaisical, wandering from tunes plucked out on acoustic guitars and pianos to those with richer full-band arrangements. Norah Jones has never exactly been lively -- part of her charm was her sultry slowness, ideal for both Sunday afternoons and late nights -- but the atmosphere here is stultifying even if it's not exactly unpleasant. After all, unpleasantness seems to run contrary to Jones' nature, and even if she dabbles in Tom Waits-ian carnivalesque stomps (\"Sinkin' Soon\") or tentatively stabs at politics (\"My Dear Country\"), it never feels out of place; often, the shift is so subtle that it's hard to notice. That subtlety is the biggest Achilles' heel on Not Too Late, as it manifests itself in songs that aren't particularly distinctive or performances that are particularly varied. There are exceptions to the rule and they all arrive with full-band arrangements, whether it's the lazy jazz shuffle of \"Until the End,\" the country-tinged \"Be My Somebody,\" or the wonderful laid-back soul of \"Thinking About You.\" These are songs that not only sound full but they sound complete, songs that have a purposeful flow and are memorable for both their melody and sentiment. They would have been standouts on Feels Like Home, but here they are even more distinctive because the rest of the record plays like a sketchbook, capturing Jones and Alexander figuring out how to move forward after such great success. Instead of being the end result of those experiments, the completed painting after the sketch, Not Too Late captures their process, which is interesting if not quite compelling. But its very release is a clear statement of artistic purpose for Jones: its ragged, unfinished nature illustrates that she's more interested in pursuing her art than recycling Come Away with Me, and if this third album isn't as satisfying as that debut, it nevertheless is a welcome transitional effort that proves her artistic heart is in the right place. » AllMusic Review by Stephen Thomas Erlewine\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eRatings\u003c\/strong\u003e : \u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\u003cspan size=\"3\"\u003e\u003cspan size=\"3\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eAllMusic : 3 \/ 5 , Discogs : 4.11 \/ 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":40729766527127,"sku":"AAPP 044","price":65.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/norah-jones-not-too-late-200g-audiosoundmusic-1.jpg?v=1719852193"},{"product_id":"norah-jones-feels-like-home","title":"Norah Jones - Feels Like Home (200g)","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eVocals – Norah Jones \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/norah-jones\" title=\"vinyl featuring Norah Jones\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/norah-jones\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Norah Jones]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eVocals - Dolly Parton\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eElectric Piano [Wurlitzer] – Norah Jones\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOrgan [Pump] – Norah Jones, Rob Burger\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAccordion – Garth Hudson\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAcoustic Guitar – Adam Levy, Jesse Harris, Kevin Breit\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBacking Vocals – Adam Levy, Daru Oda, Kevin Breit\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBanjo [Banjolin] – Kevin Breit\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBass – Lee Alexander\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCello – Jane Scarpantoni\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDrums – Andrew Borger, Brian Blade, Levon Helm\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFlute – Daru Oda\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGuitar [Electric] – Adam Levy, Tony Scherr\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGuitar [Lap Steel] – Lee Alexander\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGuitar [Resonator] – Kevin Breit\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOrgan [Hammond] – Garth Hudson\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePercussion [Foot Tapping] – Kevin Breit\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePercussion [Slit Drum] – Andrew Borger\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePercussion [Snare Drum] – Andrew Borger\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eViola – David Gold\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by  L. Alexander (A1 to A4, B1, B3, B7), N. Jones\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP,  Gatefold tip-on jackets\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 200g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : \u003cspan data-mce-fragment=\"1\"\u003eQuality Record Pressings\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Analogue Productions\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Blue Note\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eRecorded at Allaire Studios, Shokan, NY and Avatar Studios, Sear Sound, and Sorcerer Sound, NYC\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineered by Aya Takemura, Dick Kondas, Matthew Cullen, Steve Mazur\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMixed by Jay Newland a\u003cspan data-mce-fragment=\"1\"\u003et Sear Sound, NYC\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Arif Mardin, Norah Jones\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by Kevin Gray at Cohearent Audio\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003eOriginally released in 2004\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003eReissued in 2012\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cp\u003e\u003cstrong\u003eTracks :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv\u003e\u003cspan face=\"Times New Roman\"\u003eSide A :\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e1. Sunrise\u003cbr data-mce-fragment=\"1\"\u003e2. What Am I To You?\u003cbr data-mce-fragment=\"1\"\u003e3. Those Sweet Words\u003cbr data-mce-fragment=\"1\"\u003e4. Carnival Town\u003cbr data-mce-fragment=\"1\"\u003e5. In The Morning\u003cbr data-mce-fragment=\"1\"\u003e6. Be Here To Love Me\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Times New Roman\"\u003eSide B :\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\n\u003cspan data-mce-fragment=\"1\"\u003e1. Creepin' In\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e2. Toes\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e3. Humble Me\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e4. Above Ground\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e5. The Long Way Home\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e6. The Prettiest Thing\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e7. Don't Miss You At All\u003c\/span\u003e\u003cbr\u003e\n\u003col\u003e\u003c\/ol\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eAwards\u003c\/strong\u003e :\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e2005 Grammy Awards: Best Female Pop Vocal Performance \u003c\/strong\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp\u003e\u003cspan\u003e\"2004's 'Feels Like Home' is an album filled with melancholic songs about self-doubt and a break-up. It includes a duet with Dolly Parton. Garth Hudson adds an accordion on one track. The final song \"Don't Miss You At All\" brought the inner turmoil to a fine finale. The album is like peeking into a diary or in some ways hiding under Norah's bed and sharing her intimate heartache. ... The records coming out of QRP are definitely living up to the pressing plant's early promise. This kind of drop dead black quiet is precisely what's required for Jones' music and QRP delivers it. Kevin Gray's mastering is equally superb.\" — Michael Fremer, \u003c\/span\u003e\u003cem\u003eAnalogPlanet.com, January 24, 2013\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e« It may be far too obvious to even mention that Norah Jones' follow-up to her 18-million-unit-selling, eight-Grammy-winning, genre-bending, super-smash album Come Away with Me has perhaps a bit too much to live up to. But that's probably the biggest conundrum for Jones: having to follow up the phenomenal success of an album that was never designed to be so hugely popular in the first place. Come Away with Me was a little album by an unknown pianist\/vocalist who attempted to mix jazz, country, and folk in an acoustic setting -- who knew? Feels Like Home could be seen as \"Come Away with Me Again\" if not for that fact that it's actually better. Smartly following the template forged by Jones and producer Arif Mardin, there is the intimate single \"Sunrise,\" some reworked cover tunes, some interesting originals, and one ostensible jazz standard. These are all good things, for also like its predecessor, Feels Like Home is a soft and amiable album that frames Jones' soft-focus Aretha Franklin voice with a group of songs that are as classy as they are quiet. Granted, not unlike the dippy albeit catchy hit \"Don't Know Why,\" they often portend deep thoughts but come off in the end more like heartfelt daydreams. Of course, Jones could sing the phone book and make it sound deep, and that's what's going to keep listeners coming back. » AllMusic Review by Matt Collar\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eRatings\u003c\/strong\u003e : \u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\u003cspan size=\"3\"\u003e\u003cspan size=\"3\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eAllMusic : 4 \/ 5 , Discogs : 4.2 \/ 5 \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003ch1\u003e\u003c\/h1\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40729874595991,"sku":"AAPP 043","price":70.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/norah-jones-feels-like-home-200g-audiosoundmusic-1.jpg?v=1719852192"},{"product_id":"the-crickets-buddy-holly-the-chirping-crickets-mono","title":"The Crickets \u0026 Buddy Holly - The Chirping Crickets (Mono, 200g)","description":"\u003cp\u003e\u003cstrong\u003eBuddy Holly – lead vocals, lead guitar, acoustic guitar on A5, backing vocals on A2\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJerry Allison – drums, card-box percussion and backing vocals on A2\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJoe B. Mauldin – contrabass, except on B1 and B2, backing vocals on A2\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eNiki Sullivan – rhythm guitar, except on A1, A2, A5, B1, B2 and B5, backing vocals on A2, B1 and B2\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLarry Welborn – contrabass on B1 and B2\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe Picks (Bill Pickering, John Pickering and Bob Lapham) - backing vocals, except on A2, B1 and B2\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRamona and Gary Tollett – backing vocals on B1 and B2\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP,  Gatefold, tip-on jackets from Stoughton Printing\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 200g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMono\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : \u003cspan data-mce-fragment=\"1\"\u003eQuality Record Pressings\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Analogue Productions\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Brunswick\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded February 25 – September 28, 1957\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Norman Petty\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by Kevin Gray at Cohearent Audio\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003eOriginally released in 1957\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003eReissued in 2017\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\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cp\u003e\u003cstrong\u003eTracks :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv\u003e\u003cspan face=\"Times New Roman\"\u003eSide A :\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e1. Oh, Boy!\u003cbr\u003e2. Not Fade Away\u003cbr\u003e3. You've Got Love\u003cbr\u003e4. Maybe Baby\u003cbr\u003e5. It's Too Late\u003cbr\u003e6. Tell Me How\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\n\u003cspan data-mce-fragment=\"1\"\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Times New Roman\"\u003eSide B :\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\n\u003cspan data-mce-fragment=\"1\"\u003e1. That'll Be the Day\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e2. I'm Lookin' For Someone To Love\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e3. An Empty Cup (And A Broken Date)\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e4. Send Me Some Lovin'\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e5. Last Night\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e6. Rock Me My Baby\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003col\u003e\u003c\/ol\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cp\u003e\u003cstrong\u003eAwards:\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e\u003cem\u003eRolling Stone\u003c\/em\u003e's 500 Greatest Albums of All time — No. 420\/500\u003c\/strong\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cbr\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eReviews\u003c\/strong\u003e :\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e\"...even if you've previously heard these tracks, you've not before heard them with the clarity, transparency and punch that you'll hear on this remarkable reissue...\" — Music = 10\/11; Sound = 8\/11 - Michael Fremer, AnalogPlanet.com\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\u003cp\u003e« The debut album by the Crickets and the only one featuring Buddy Holly released during his lifetime, The \"Chirping\" Crickets contains the group's number one single \"That'll Be the Day\" and its Top Ten hit \"Oh, Boy!.\" Other Crickets classics include \"Not Fade Away,\" \"Maybe Baby,\" and \"I'm Looking for Someone to Love.\" The rest of the 12 tracks are not up to the standard set by those five, but those five are among the best rock \u0026amp; roll songs of the 1950s or ever, making this one of the most significant album debuts in rock \u0026amp; roll history, ranking with Elvis Presley and Meet the Beatles. » AllMusic Review by William Ruhlmann\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp\u003e\"An equally impressive, classics-laden album to pair with Buddy Holly's eponymous LP, this included 'Oh Boy!,' 'Not Fade Away,' 'That'll Be The Day,' and nine others which inspired The Beatles, The Hollies, The Rolling Stones, The Searchers and every other British Invasion band. Sixty years after it appeared, this still sounds fresh and innovative, while Analogue Productions' superlative transfer is one of the best sounding I've heard yet - and I have been collecting Holly LPs for 52 years. Apparently this and its sibling will be issued as 45 RPM doubles — how can they possibly sound even better? This ranks as one of the greatest debut LPs ever.\"  Ken Kessler,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eHi Fi New\u003c\/em\u003es, February 2018.\u003c\/p\u003e\n\u003cp\u003e\"...the choice to purchase these Analogue Productions reissues boils down two considerations: whether you want the music configured as it was first released and whether these LPs sufficiently improve on the sound of earlier releases. ... Analogue Productions presents the original running order and artwork, and the covers, from Stoughton Printing, are first-rate. If all of that doesn't have you reaching for your wallet, then the improvement in sound should. Kevin Gray's remastering breathes new life into the music, enhancing tonality, dynamics and retrieval of inner detail. The sound of these reissues easily outstrips that of any prior releases.\" Dennis Davis,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eThe Audio Beat\u003c\/em\u003e, April 28, 2017\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003eRatings\u003c\/strong\u003e : \u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\u003cspan size=\"3\"\u003e\u003cspan size=\"3\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eAllMusic : 5 \/ 5 , Discogs : 4.5 \/ 5 , \u003cem data-mce-fragment=\"1\"\u003eHi Fi New\u003c\/em\u003es : Sound Quality: 90% , \u003cem data-mce-fragment=\"1\"\u003eThe Audio Beat : \u003c\/em\u003eSound = 4\/5; Music = 5\/5\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003ch1\u003e\u003cbr\u003e\u003c\/h1\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40729937870999,"sku":"AAPP 109","price":65.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/the-crickets-and-buddy-holly-the-chirping-crickets-mono-200g-audiosoundmusic-1.jpg?v=1719852203"},{"product_id":"eddie-money-eddie-money","title":"Eddie Money - Eddie Money (Hybrid SACD)","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEddie Money, vocals, keyboard, sax\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJimmy Lyon, guitar\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGary Mallaber, drums\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGene Pardue, drums\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLonnie Turner, bass\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBob (Pops) Popwell, bass\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAlan Pasqua, keyboard\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRandy Nichols, keyboard\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFreddie Webb, keyboard\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTom Scott, alto \u0026amp; tenor sax\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJo Baker, second vocal\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eWritten by Eddie Money (1, 3 to 11), W. \"Smokey\" Robinson (2), C. Solberg (3), J. Lyon (5 to 10), J. Nelson (9), D. Alexander (10)\u003c\/span\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 Hybrid SACD\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Analogue Productions\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Columbia\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded and m\u003cspan data-mce-fragment=\"1\"\u003eixed at the Record Plant, L.A. and CBS Recording Studios, S.F. \u003c\/span\u003eby Andy Johns\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineered by Mike Clink, Steven D. Smith\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Bruce Botnick\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by Ryan K. Smith at Sterling Sound\u003cbr\u003e\u003cbr\u003eSleeve Notes by Eddie Money\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003eOriginally released in 2016\u003cbr\u003e\u003cbr\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\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003eReissued in 2023\u003cbr\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\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cp\u003e\u003cstrong\u003eTracks :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv\u003e\n\u003cdiv style=\"padding-left: 40px;\"\u003e1. Two Tickets To Paradise\u003cbr\u003e2. You’ve Really Got A Hold On Me\u003cbr\u003e3. Wanna Be A Rock ‘n’ Roll Star\u003cbr\u003e4. Save A Little Room In Your Heart For Me\u003cbr\u003e5. So Good To Be In Love Again\u003cbr\u003e6. Baby Hold On\u003cbr\u003e7. Don’t Worry\u003cbr\u003e8. Jealousys\u003cbr\u003e9. Got To Get Another Girl\u003cbr\u003e10. Gamblin Man\u003cbr\u003e11. Call On Me\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eReviews\u003c\/strong\u003e :\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp\u003e« This strong debut benefits greatly from the expertise of veteran producer Bruce Botnick as well as the likes of former Steve Miller bassist Lonnie Turner and saxman Tom Scott. Guitarist Jimmy Lyon was to Money what Keith Scott was to Bryan Adams. Money, son of a New York City cop, had a rock \u0026amp; roll epiphany en route to following his dad's career path. The debut album, long on craft but not without inspiration, deservedly shot radio-ready tunes \"Two Tickets to Paradise\" and \"Baby Hold On\" up the charts, the latter helped by former Elvin Bishop songmate Jo Baker. The key tune is the spirited \"Wanna Be a Rock 'n' Roll Star,\" which spells out the game plan. » AllMusic Review by Mark Allan\u003c\/p\u003e\n\u003cp\u003eEdward Joseph Mahoney, a Brooklyn-born second-generation cop who eventually ditched his badge and gun to pursue his rock star dreams as Eddie Money — struck gold right off the bat with his 1977 self-titled debut album.\u003c\/p\u003e\n\u003cp\u003eThe record's leadoff single, \"Baby Hold On,\" was actually its biggest hit, but the follow-up single \"Two Tickets to Paradise,\" was a sort of spiritual cousin to Bruce Springsteen‘s \"Rosalita (Come Out Tonight).\" It's written from the perspective of a young guy who's desperately trying to convince his girlfriend to ignore her disapproving parents and come away with him \"on a trip so far away from here.\" With its smooth production, urgent uptempo chorus, and insistent melodic hook, \"Tickets\" was a natural for late '70s FM radio — where it found an immediate home, eventually working its way all the way up to No. 22 on the\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eBillboard\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eHot 100.\u003c\/p\u003e\n\u003cp\u003eAlthough Money might have written \"Two Tickets to Paradise\" to convince a specific girl to leave town with him, its title became shorthand for that end-of-the-work-week feeling you get when you've fulfilled all of your responsibilities to the Man and you're free to relax without obligations for a little while — like, say, at at an Eddie Money concert, where \"Tickets\" has remained a constant fixture of the set list for more than 30 years.\u003c\/p\u003e\n\u003cp\u003eWe've done this Analogue Productions issue up right with top-of-the-line remastering direct from the original analog tape by Ryan Smith at Sterling Sound — for phenomenal sonic quality — and a richly detailed, silent-background Quality Record Pressings 200 gram LP. None better.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eRatings\u003c\/strong\u003e : \u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan size=\"3\"\u003e\u003cspan size=\"3\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eAllMusic : 5 \/ 5 , Discogs : 4.27 \/ 5 \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cspan size=\"3\"\u003e\u003cspan size=\"3\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp\u003e\u003cstrong\u003eNotes:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThis music is dedicated to the memory of David Orwitz\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40733335322775,"sku":"CAPP 089 SA","price":49.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/eddie-money-eddie-money-hybrid-sacd-audiosoundmusic-1.jpg?v=1719852203"},{"product_id":"the-beach-boys-all-summer-long","title":"The Beach Boys - All Summer Long (Mono, 200g)","description":"\u003cp\u003e\u003cstrong\u003e\u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/beach-boys\" title=\"vinyl featuring The Beach Boys\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/beach-boys\"\u003e\u003cspan style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring the Beach Boys]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAl Jardine – harmony and backing vocals; bass guitar; electric rhythm guitar\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMike Love – lead and bass vocal\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBrian Wilson – lead, harmony and backing vocals; piano; electric piano, harpsichord; Hammond B3 organ; xylophones or marimba\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCarl Wilson – harmony and backing vocals, lead and rhythm guitars\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDennis Wilson – lead, harmony and backing vocals; drums; brushed drums; percussion; opening voice on \"Little Honda\"\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHal Blaine – timbales with brush, rim with thin stick, drums\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGlen Campbell – 6-string electric bass guitar\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSteve Douglas – tenor saxophone\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJay Migliori – baritone saxophone; piccolo or fife\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRay Pohlman – 6-string electric bass guitar\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP,  \u003cspan data-mce-fragment=\"1\"\u003eStoughton tip-on jackets\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 200g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMono\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : \u003cspan data-mce-fragment=\"1\"\u003eQuality Record Pressings\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Analogue Productions\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Capitol\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded on October 10, 1963, February 4 – May 19, 1964 at Western, Hollywood\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eProduced by Brian Wilson\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by Kevin Gray at Cohearent Audio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003eOriginally released in 1964\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003eReissued in 2015\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cp\u003e\u003cstrong\u003eTracks :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv\u003e\u003cspan face=\"Times New Roman\"\u003eSide A :\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e1. I Get Around\u003cbr data-mce-fragment=\"1\"\u003e2. All Summer Long\u003cbr data-mce-fragment=\"1\"\u003e3. Hushabye\u003cbr data-mce-fragment=\"1\"\u003e4. Little Honda\u003cbr data-mce-fragment=\"1\"\u003e5. We'll Run Away\u003cbr data-mce-fragment=\"1\"\u003e6. Carl's Big Chance\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Times New Roman\"\u003eSide B :\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e1. Wendy\u003cbr\u003e2. Do You Remember?\u003cbr\u003e3. Girls On The Beach\u003cbr\u003e4. Drive-In\u003cbr\u003e5. Our Favorite Recording Sessions\u003cbr\u003e6. Don't Back Down\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cbr\u003eReviews :\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp\u003e« The best pre-1965 Beach Boys album featured their brilliant number one single \"I Get Around,\" as well as other standout cuts in the beautifully sad \"Wendy,\" \"Little Honda\" (one of their best hot rod tunes, covered by the Hondells for a hit), and their remake of the late-'50s doo wop classic \"Hushabye.\" The nostalgic \"All Summer Long,\" another great production, seemed (whether intentionally or not) like a sort of farewell to the frivolous California beach culture that had supplied the lyrical grist for most of their music up to this point, with a longing, regretful chorus that was totally at odds with the bouncy arrangement. Other relatively little-known treasures are the sumptuous ballad \"Girls on the Beach,\" with some of their best early harmonizing, and \"Don't Back Down,\" with uncommonly anxious lyrics. You can't give an unqualified high rating, however, to an album that also contained such disposable filler as the \"Our Favorite Recording Sessions\" comedy bit and \"Do You Remember?,\" a \"let's-pay-tribute-to-rock's-early-days\" number with a sh*t-eating grin wide enough to qualify as an oldies radio ID jingle. [Little Deuce Coupe\/All Summer Long, a Capitol two-fer CD, combines this and Little Deuce Coupe onto one disc, adding the 45 version of \"Be True to Your School,\" alternate takes of \"Little Honda\" and \"Don't Back Down,\" and the previously unreleased \"All Dressed Up for School.\" » AllMusic Review by Richie Unterberger\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003eRatings : \u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\u003cspan size=\"3\"\u003e\u003cspan size=\"3\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eAllMusic : 4 \/ 5 , Discogs : 3.99 \/ 5 \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003ch1\u003e\u003c\/h1\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40733960405143,"sku":"AAPP 063M","price":65.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/the-beach-boys-all-summer-long-mono-200g-audiosoundmusic-1.jpg?v=1719852214"},{"product_id":"rush-power-windows","title":"Janis Ian - Breaking Silence (200g)","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAcoustic Guitar, Piano – Janis Ian \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/janis-ian\" title=\"vinyl featuring Janis Ian\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/janis-ian\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Janis Ian]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBass, Bass [Slide] – Chad Watson\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDrums, Percussion – Jim Brock\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eElectric Guitar – Dan Huff\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHarmonica [Solo] – Jim Hoke\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by Janis Ian\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP,  gatefold jacket\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 200g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : \u003cspan data-mce-fragment=\"1\"\u003eQuality Record Pressings\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Analogue Productions\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Capitol\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded \u003cspan data-mce-fragment=\"1\"\u003eat Nightingale Studio\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced, engineered and mixed by Jeff Balding at \u003cspan data-mce-fragment=\"1\"\u003eBill Schnee Studio\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e Mastered by Doug Sax\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Janis Ian, Jeff Balding\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003eOriginally released in 1992\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003eReissued in 2017\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cp\u003e\u003cstrong\u003eTracks :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv\u003e\u003cspan face=\"Times New Roman\"\u003eSide A :\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e1. All Roads To the River\u003cbr data-mce-fragment=\"1\"\u003e2. Ride Me Like A Wave\u003cbr data-mce-fragment=\"1\"\u003e3. Tattoo\u003cbr data-mce-fragment=\"1\"\u003e4. What About Love\u003cbr data-mce-fragment=\"1\"\u003e5. His Hands\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\n\u003cspan data-mce-fragment=\"1\"\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Times New Roman\"\u003eSide B :\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e1. Walking On Sacred Ground\u003cbr data-mce-fragment=\"1\"\u003e2. This Train Still Runs\u003cbr data-mce-fragment=\"1\"\u003e3. Through the Years\u003cbr data-mce-fragment=\"1\"\u003e4. This House\u003cbr data-mce-fragment=\"1\"\u003e5. Some People's Lives\u003cbr data-mce-fragment=\"1\"\u003e6. Breaking Silence\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eAwards\u003c\/strong\u003e :\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\n\u003cspan data-mce-fragment=\"1\"\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eMichael Fremer's 100 Recommended All-Analog LP Reissues Worth Owning - Rated 82\/100\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e\u003cspan color=\"#B12704\"\u003e\u003cb\u003eTAS Super LP List! Special Merit: Informal\u003c\/b\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/span\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eReviews\u003c\/strong\u003e :\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp\u003e« Breaking Silence finds Ian ditching her past waifishness for a confident, mature, contemporary acoustic approach relying mostly on spare guitar and piano textures. Opening with \"All Roads to the River\" (also recorded by John Mellencamp), Breaking Silence includes among its highlights the Holocaust-survivor tale \"Tattoo\" and the dramatic half-a cappella, half-syncopated-rocker title track. » AllMusic Review by Roch Parisien\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\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 : 4.5 \/ 5 , Discogs : 4.43 \/ 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":40734823645335,"sku":"AAPP 027","price":65.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/janis-ian-breaking-silence-200g-audiosoundmusic-1.jpg?v=1719852222"},{"product_id":"norah-jones-little-broken-hearts","title":"Norah Jones - ...Little Broken Hearts (2LP, 200g)","description":"\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eNorah Jones, vocals \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/norah-jones\" title=\"vinyl featuring Norah Jones\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/norah-jones\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Norah Jones]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe Sonus Quartet (B2, B3, D2, D3) : Alwyn Wright, Caroline Campbell, Juan Miguel Hernandez-Hachez, Vanessa Freebairn-Smith\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by Brian Burton, Norah Jones\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eArranged by [Strings] Brian Burton\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e2 LPs,  \u003cspan data-mce-fragment=\"1\"\u003eHeavy Cardboard Stock Packaging featuring 'Old-School' Tip-On Gatefold Sleeves\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 200g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : \u003cspan data-mce-fragment=\"1\"\u003eQuality Record Pressings\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Analogue Productions\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Blue Note\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded at Mondo Studio, Los Angeles and \u003c\/strong\u003e\u003cstrong\u003eElectro-Vox Recording Studios \u003c\/strong\u003e\u003cstrong\u003eby Kennie Takahashi, Todd Monfalcone\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMastered by Greg Calbi\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMixed by Kennie Takahashi\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Danger Mouse\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by Kevin Gray at Cohearent Audio\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003eOriginally released in 2012\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003eReissued in 2012\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cp\u003e\u003cstrong\u003eTracks :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv\u003e\u003cspan face=\"Times New Roman\"\u003eSide A :\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e1. Good Morning\u003cbr data-mce-fragment=\"1\"\u003e2. Say Goodbye\u003cbr data-mce-fragment=\"1\"\u003e3. Little Broken Hearts\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Times New Roman\"\u003eSide B :\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\n\u003cspan data-mce-fragment=\"1\"\u003e1. She's 22\u003cbr data-mce-fragment=\"1\"\u003e2. Take It Back\u003cbr data-mce-fragment=\"1\"\u003e3. After The Fall\u003c\/span\u003e\u003cbr\u003e\n\u003col\u003e\u003c\/ol\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\u003cspan face=\"Times New Roman\"\u003eSide C :\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e1. 4 Broken Hearts\u003cbr data-mce-fragment=\"1\"\u003e2. Travelin' On\u003cbr data-mce-fragment=\"1\"\u003e3. Out On The Road\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Times New Roman\"\u003eSide D :\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e1. Happy Pills\u003cbr data-mce-fragment=\"1\"\u003e2. Miriam\u003cbr data-mce-fragment=\"1\"\u003e3. All A Dream\u003c\/span\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eReviews\u003c\/strong\u003e :\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp\u003e« Exorcizing the ghost of a failed relationship via the time-honored tradition of the breakup album, Norah Jones luxuriates in beautiful misery on Little Broken Hearts. Liberated by the separation but not quite ready to let it go, Jones achieves a curious subdued tension here, dressing unadorned confessionals in softly stylized studio noir created with the assistance of producer Danger Mouse, who collaborated with her the year before on the collective Rome. Seeming opposites -- the classicist meets the futurist -- Jones and Danger Mouse are well matched, as both artists are not as set in their ways as their individual reputations would suggest. Jones began to drift away from the jazzy sophistication of Come Away with Me when she released the quietly adventurous Not Too Late way back in 2007, the year after Danger Mouse broke into the mainstream via Gnarls Barkley. In the ensuing half decade, the singer\/songwriter continued to dabble in different sounds and styles while the producer streamlined his electronic eccentricities, leaving them to meet at the crossroads of Little Broken Hearts, where he wrings out the pathos in her songs. The songs themselves hold little mystery -- all motivations are laid bare, there are no twists in the melodies or detours hidden within the structure -- so all the mystique derives from a production that amplifies the themes. Occasionally, Danger Mouse piles on his signature murk a little too thickly, weighing down such spare sad songs as \"She's 22\" and \"Miriam,\" yet his aural tapestries often lend the tunes a lilting melancholy they require and add dimension to the album's poppier moments (\"Happy Pills,\" \"Say Goodbye\"). Conversely, by placing so much emphasis on the stylish ever-shifting surfaces of its production, Little Broken Hearts never quite sinks in emotionally. Norah Jones may be pouring her heart out but it's been given an elegantly detailed sculpture that camouflages her pain. Listen closely and its evident, but it takes effort to ignore the alluring haze and hear the songs that lie beneath. » AllMusic Review by Stephen Thomas Erlewine\u003c\/p\u003e\n\u003cp\u003e\"Jones sings of heartbreak throughout with more contempt than we've ever heard from her before. ... It might be dark, but this stunning collection of anguish is the brightest she's shined in a long time.\" —\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eDigital Spy\u003c\/em\u003e, April 2012 \u003c\/p\u003e\n\u003cp\u003e\"Jones' most recent album,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eLittle Broken Hearts\u003c\/em\u003e, has 12 songs spread across two records. The original LPs were pressed on white vinyl, but no such gimmicks this time around. ... Our favorite Norah Jones album sounds better than ever in this form.\" — Review of the\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eNorah Jones Vinyl Collection\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eby Paul Sinclair,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eSuperDeluxeEdition.com\u003c\/em\u003e, January 2013\u003c\/p\u003e\n\u003cp\u003eNorah Jones’\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eLittle Broken Hearts\u003cspan\u003e \u003c\/span\u003e\u003c\/em\u003ewas created in collaboration with producer Brian \"Danger Mouse\" Burton, best known as the producing ace for Gnarls Barkley with singer Cee Lo Green. Jones and Danger Mouse wrote all of the material for the album together at the producer’s studio in Los Angeles, and the duo performed all of the instruments themselves. This is their second time working together — Jones previously appeared as a vocalist on\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eRome\u003c\/em\u003e, Danger Mouse’s collaboration with Italian composer Daniele Luppi. Though\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eLittle Broken Hearts\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eis the result of a partnership between Jones and Danger Mouse, the record will be credited only to her.\u003c\/p\u003e\n\u003cp\u003eThe album’s sound ranges from experimental chamber serenades to stark, electronic-embellished confessions. \"It’s obviously very different than anything Norah’s ever done,\" Burton says. \"I don’t know what people will think - I hope they like it, and she doesn’t lose a bunch of fans.\"\u003cstrong\u003e\u003cspan\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\"I’d never gone in with nothing and wrote songs from scratch, and I’d never played bass before on a record,\" Jones told \u003cem\u003eRolling Stone\u003c\/em\u003e. \"I was out of my comfort zone - but I was comfortable because we’re friends.\"\u003c\/p\u003e\n\u003cp\u003eAdds Burton, \"The best thing was having just the two of us on those first sessions, not a whole band. Norah had as many, if not more, great ideas than I did.\"\u003cbr\u003e\u003cbr\u003eOne of the boldest departures is \"Take It Back,\" which features fuzzed-out guitars and spooky, distorted vocals. \"I never knew how to get weird sounds,\" Jones says. \"It was all about finding a balance between those effects and making sure my voice was clear and sounded like me.\"\u003cbr\u003e\u003cbr\u003eIn its own quiet way, \u003cem\u003eLittle Broken Hearts\u003c\/em\u003e hews closer to heartbreak classics like Marvin Gaye’s \u003cem\u003eHere, My Dear\u003c\/em\u003e than to anything in Jones’ back catalog, \u003cem\u003eRolling Stone\u003c\/em\u003e reports, \"This time, I’ve been way less concerned with self-editing,\" Jones says. \"I’m not sad, but there’s a lot of hurt in there. And it felt great to say what I felt and put it down on tape. Doing that made me so happy! This album is all about saying things that needed to be said.\" \u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eRatings\u003c\/strong\u003e : \u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\u003cspan size=\"3\"\u003e\u003cspan size=\"3\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eAllMusic : 3.5 \/ 5 , Discogs : 4.2 \/ 5 \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003ch1\u003e\u003c\/h1\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40735248187543,"sku":"AAPP 046","price":75.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/norah-jones-little-broken-hearts-2lp-200g-audiosoundmusic-1.jpg?v=1719852223"},{"product_id":"the-beach-boys-surfer-girl","title":"The Beach Boys - Surfer Girl (Mono, 200g)","description":"\u003cp\u003e\u003cstrong\u003e\u003ca title=\"vinyl featuring The Beach Boys\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/beach-boys\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/beach-boys\"\u003e\u003cspan style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring the Beach Boys]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePerformed by The Beach Boys : Brian Wilson (vocals, bass guitar, keyboards), Mike Love (vocals, percussion, saxophone, Electro-Theremin), Al Jardine (vocals, rhythm guitar, bass guitar), Bruce Johnston (vocals, keyboards, bass guitar), Dennis Wilson (vocals, drums, keyboards).\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP,  \u003cspan data-mce-fragment=\"1\"\u003eStoughton tip-on jackets\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 200g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMono\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : \u003cspan data-mce-fragment=\"1\"\u003eQuality Record Pressings\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Analogue Productions\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Capitol\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded May–July 1963 at United Western Recorders, Hollywood\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by Kevin Gray at Cohearent Audio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003eOriginally released in 1963\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003eReissued in 2014\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cp\u003e\u003cstrong\u003eTracks :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv\u003e\u003cspan face=\"Times New Roman\"\u003eSide A :\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e1. Surfer Girl\u003cbr data-mce-fragment=\"1\"\u003e2. Catch A Wave\u003cbr data-mce-fragment=\"1\"\u003e3. The Surfer Moon\u003cbr data-mce-fragment=\"1\"\u003e4. South Bay Surfer\u003cbr data-mce-fragment=\"1\"\u003e5. The Rocking Surfer\u003cbr data-mce-fragment=\"1\"\u003e6. Little Deuce Coupe\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Times New Roman\"\u003eSide B :\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e1. In My Room\u003cbr data-mce-fragment=\"1\"\u003e2. Hawaii\u003cbr data-mce-fragment=\"1\"\u003e3. Surfer's Rule\u003cbr data-mce-fragment=\"1\"\u003e4. Our Car Club\u003cbr data-mce-fragment=\"1\"\u003e5. Your Summer Dream\u003cbr data-mce-fragment=\"1\"\u003e6. Boogie Woogie\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003eAwards\u003c\/strong\u003e :\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cspan style=\"color: #ff2a00;\"\u003e\u003cb\u003eMichael Fremer's 100 Recommended All-Analog LP Reissues Worth Owning - Rated 56\/100!\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cbr\u003e\u003cspan style=\"color: #ff2a00;\" color=\"#B12704\"\u003e\u003cb\u003eTAS Super LP List! Special Merit: Informal\u003c\/b\u003e\u003c\/span\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cspan style=\"color: #ff2a00;\" color=\"#B12704\"\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eIn 2017, Surfer Girl was ranked the 193rd greatest album of the 1960s by Pitchfork.\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cbr\u003eReviews\u003c\/strong\u003e :\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp\u003e\u003cspan\u003e\"Another step forward in terms of both overall sound and production finesse, with drums well-focused center stage and solid, three-dimensional vocals effectively spread across the soundstage and hovering transparently on cushions of air, makes a strong case for supremacy of the stereo mix. I've digitized at 96\/24 \"In My Room\" from a stereo test pressing Analogue Productions sent me late last year and when I play it for people at store events and at shows, it never fails to leave people almost paralyzed with pleasure-particularly among those for whom the A.M. radio is their only reference.\" \u003c\/span\u003e\u003cspan class=\"blurb\"\u003eMichael Fremer,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eAnalogPlanet.com\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e« Capitol pushed the Beach Boys for too much material in too short a time for the group to maintain as much quality control as would have been desirable. Consequently, most of their pre-1965 albums contain a high degree of filler, and thus stack up poorly next to those of such contemporaries as the Beatles, who were able to maintain high standards on almost all of their tracks. Surfer Girl does have some great tunes, including the title song, the hot rod ditty \"Little Deuce Coupe,\" and \"Catch a Wave\" (which could have been a substantial hit single on its own merits). Most significant of all is the gorgeous ballad \"In My Room,\" which anticipated future Beach Boys releases both in its sophisticated production (strings, organ, dense harmonies) and its personal, solipsistic lyrics. The rest is surprisingly mediocre filler, especially as at this point they were restricting their lyrical themes to beach culture almost exclusively; \"Your Summer Dream,\" with its unusual harmonies, is about the most interesting of the obscure tracks. If you're not a dedicated Beach Boys fan, though, you should pass, as you can find the first-rate tracks on best-of anthologies. » AllMusic Review by Richie Unterberger\u003c\/p\u003e\n\u003cp\u003e\"The sound is rich in detail, yet one of its key strengths is how \"mellow and romantic\" it sounds. While listening to these records, I was never fatigued. ... the AP Beach Boys significantly betters the original U.S. Capitol pressings that I've heard, with considerably more separation, detail, fullness and presence.\" — Jeff Wilson,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eThe Absolute Sound\u003c\/em\u003e, October 2015\u003c\/p\u003e\n\u003cp\u003e\"What I can say is that Kevin Gray has been able to extract every last bit of information from whatever tape is in the box, and present it in a way that is pleasing and natural to the ear. ... in my opinion, the Analogue Productions pressings are now THE definitive issue of each Beach Boys album, and will be my reference copies until if and when something better comes along — which may be never.\" — Lee Dempsey,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eEndless Summer Quarterly\u003c\/em\u003e, Summer 2015 Edition\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003eRatings\u003c\/strong\u003e : \u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\u003cspan size=\"3\"\u003e\u003cspan size=\"3\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eAllMusic : 3 \/ 5 , Discogs : 4.09 \/ 5 \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003ch1\u003e\u003c\/h1\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40735584878743,"sku":"AAPP 060M","price":99.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/the-beach-boys-surfer-girl-mono-200g-audiosoundmusic-1.jpg?v=1719852223"},{"product_id":"norah-jones-the-fall","title":"Norah Jones - The Fall (200g)","description":"\u003cp\u003e\u003cstrong\u003eNorah Jones – vocals, piano (A2, A5, A6, B1, B2, B4, B6), Wurlitzer electric piano (A1, B1), acoustic guitar (A3, A4, B2), electric guitar (A3–6, B1, B3, B5), tack piano (B2), glockenspiel (A6) \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/norah-jones\" title=\"vinyl featuring Norah Jones\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/norah-jones\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Norah Jones]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJohn Kirby - synthesizer (A1–3, B3 strings), tack piano (A1), piano (A2, B3), Casio (A3)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJames Poyser - Wurlitzer electric piano (A1), organ (B1)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMatt Stanfield - programming (A1, B4), synthesizer (B4)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eZac Rae – synthesizer (A3), Rhodes electric piano, vibraphone, marimba (A4), organ (A5, B2, B5), Marxophone (B1), clavinet (B5)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSam Cohen - electric guitar (A1, A5, B1)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSmokey Hormel - electric guitar (A1)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePeter Atanasoff - electric guitar (A2, B1, B3)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSasha Dobson - acoustic guitar (A3)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLyle Workman - acoustic guitar (A4), electric guitar (B5)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMarc Ribot – electric guitar (B1, B3), banjo (B3)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJon Graboff – pedal steel guitar (B2)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFrank Howard Swart – bass (A1, B1)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDave Wilder – bass (A2, A3, B3)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGus Seyffert – bass (A4, A5, B2, B5)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCatherine Popper – bass (A6)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTony Scherr – bass (B1)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMarco Giovino - drums (A1, BA)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRobert Di Pietro - drums (A1, A6, A7)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePete McNeal - drums (A2, A3, B3)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJoey Waronker - drums (A4, B5)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJames Gadson – drums (A2)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWill Sayles - percussion (A2–4, A7)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMike Martin - backing vocals (A4)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by Norah Jones\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP,  \u003cspan data-mce-fragment=\"1\"\u003eHeavy Cardboard Stock Packaging featuring 'Old-School' Tip-On Gatefold Sleeves\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 200g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : \u003cspan data-mce-fragment=\"1\"\u003eQuality Record Pressings\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Analogue Productions\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Blue Note\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded 2008 - 2009 at The Coop, NY, The Magic Shop, NY, Sunset Sound Recorders, CA, and House Of David, Nashville, TN.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Jacquire King and Tom Schick (A6, B4)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by Kevin Gray at Cohearent Audio\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003eOriginally released in 2009\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003eReissued in 2012\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cp\u003e\u003cstrong\u003eTracks :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv\u003e\u003cspan face=\"Times New Roman\"\u003eSide A :\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e1. Chasing Pirates\u003cbr data-mce-fragment=\"1\"\u003e2. Even Though\u003cbr data-mce-fragment=\"1\"\u003e3. Light As A Feather\u003cbr data-mce-fragment=\"1\"\u003e4. Young Blood\u003cbr data-mce-fragment=\"1\"\u003e5. I Wouldn't Need You\u003cbr data-mce-fragment=\"1\"\u003e6. Waiting\u003cbr data-mce-fragment=\"1\"\u003e7. It's Gonna Be\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Times New Roman\"\u003eSide B :\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\n\u003cspan data-mce-fragment=\"1\"\u003e1. You've Ruined Me\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e2. Back To Manhattan\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e3. Stuck\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e4. December\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e5. Tell Yer Mama\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e6. Man Of The Hour\u003c\/span\u003e\u003cbr\u003e\n\u003col\u003e\u003c\/ol\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eReviews\u003c\/strong\u003e :\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003ch3 class=\"review-author headline\"\u003e\u003c\/h3\u003e\n\u003cp data-mce-fragment=\"1\"\u003e« With The Fall, Norah Jones completes the transition away from her smooth cabaret beginnings and toward a mellowly arty, modern singer\/songwriter. Jones began this shift on 2007's Not Too Late, an album that gently rejected her tendencies for lulling, tasteful crooning, but The Fall is a stronger, more cohesive work, maintaining an elegantly dreamy state that's faithful to the crooner of Come Away with Me while feeling decidedly less classicist. Some of this could be attributed to Jones' choice of producer, Jacquire King, best-known for his work with Modest Mouse and Kings of Leon, but King hardly pushes Norah in a rock direction; The Fall does bear some mild echoes of Fiona Apple or Aimee Mann in ballad mode, but its arrangements never call attention to themselves, the way that some Jon Brion productions do. Instead, the focus is always on Jones' voice and songs, which are once again all originals, sometimes composed in conjunction with collaborators including her longtime colleagues Jesse Harris, Ryan Adams, and Will Sheff of Okkervil River. In addition to King's pedigree, the latter two co-writers suggest a slight indie bent to Jones' direction, which isn't an inaccurate impression -- there's certainly a late-night N.Y.C. vibe to these songs -- but it's easy to overstate the artiness of The Fall, especially when compared to Not Too Late, which wore its ragged ambitions proudly. Here, Jones ties up loose ends, unafraid to sound smooth or sultry, letting in just enough dissonance and discord to give this dimension, creating a subtle but rather extraordinary low-key record that functions as a piece of mood music but lingers longer, thanks to its finely crafted songs. » AllMusic Review by Stephen Thomas Erlewine\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp\u003e\"It's tricky reviewing the work of Jones, who — like Alicia Keys and Aimee Mann — has redefined the nature of the distaff soloist. Unlike their predecessors, epitomised by Carole King and others, then learning how to translate the freedoms of feminism into a new language, this Jones is traceable to Rickie Lee Jones and even Sade, both of whom have added a sense of ease and sa voir faire in place of the angst. Jones has always come across as more mature than her years could possibly account for, because she exhibits the sensibilities of the great stylists of the 1940s-1950s. Thus, she seems both modern and 'vintage' all at once. The result is simply gorgeous.\" Ken Kessler, \u003cem\u003eHi-Fi News\u003c\/em\u003e, August 2013\u003c\/p\u003e\n\u003cp\u003e\"\u003cem\u003eThe Fall\u003cspan\u003e \u003c\/span\u003e\u003c\/em\u003esounds particularly good — with Jones going for a different sonic palette ... The bass and general bottom end of tracks like 'Chasing Pirates' and 'Waiting' sounds exceptional on this vinyl pressing.\" — Review of the\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eNorah Jones Vinyl Collection\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eby Paul Sinclair,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eSuperDeluxeEdition.com\u003c\/em\u003e, January 2013\u003c\/p\u003e\n\u003cp\u003eNorah has taken a new direction on \u003cem\u003eThe Fall\u003c\/em\u003e, experimenting with different sounds and a new set of collaborators, including Jacquire King, a noted producer and engineer who has worked with Kings of Leon, Tom Waits and Modest Mouse. Richly detailed and vocally lush on 200-gram, super-silent vinyl from Analogue Productions, \u003cem\u003eThe Fall, \u003c\/em\u003eJones’\u003cem\u003e \u003c\/em\u003efourth album, may surprise some of Jones’ die-hard fans, \u003cem\u003eBillboard\u003c\/em\u003e magazine notes. During the 13-song set, Jones ditches the gentle piano playing of her previous work and tears into fresh, beat-savvy arrangements, playing plenty of electric guitar and exploring the piercing quality of Wurlitzer electric piano. Jones’ smoky voice and soulful veneer highlight the opening track and first single, \"Chasing Pirates.\"\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eJones displays a slinky kind of ambience on \"Light As a Feather (co-written with Ryan Adams). The social commentary \"It’s Gonna Be\" offers a garage-rock attitude, and \"You’ve Ruined Me\" has a rich Americana flavor. But Jones is still a little bit country (\"Tell Yer Mama\") and a little bit rock’n’roll (\"Stuck\"). Overall, writes reviewer Gary Graff, Jones straddles those lines in an entirely different manner than she ever has before.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eFor \u003cem\u003eThe Fall\u003c\/em\u003e, Jones enlisted several songwriting collaborators, including Ryan Adams and Okkervil River’s Will Sheff, as well as her frequent partners Jesse Harris and Richard Julian. Musicians include drummers Joey Waronker (Beck, R.E.M.) and James Gadson (Bill Withers), keyboardist James Poyser (Erykah Badu, Al Green) and guitarists Marc Ribot (Tom Waits, Elvis Costello) and Smokey Hormel (Johnny Cash, Joe Strummer).\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eRatings\u003c\/strong\u003e : \u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\u003cspan size=\"3\"\u003e\u003cspan size=\"3\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eAllMusic : 4.5 \/ 5 , Discogs : 4.11 \/ 5 ,  \u003cem data-mce-fragment=\"1\"\u003eHi-Fi News : \u003c\/em\u003eSound Quality: 89%,\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003ch1\u003e\u003c\/h1\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40736754761879,"sku":"AAPP 045","price":65.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/norah-jones-the-fall-200g-audiosoundmusic-1.jpg?v=1719852233"},{"product_id":"rickie-lee-jones-its-like-this","title":"Rickie Lee Jones - It's Like This (2LP, 45RPM, 200g)","description":"\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eAcoustic Guitar, Electric Guitar, Organ, Vocals – Rickie Lee Jones \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/rickie-lee-jones\" title=\"vinyl featuring Rickie Lee Jones\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/rickie-lee-jones\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Rickie Lee Jones]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAcoustic Bass – Michael Elizondo, Paul Nowinski, Richard Davis (A2)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAcoustic Guitar – John Pizzarelli\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBass Clarinet – Jeff Dellisant\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDrums – Carl Allen, Peter Erskine, Rick Marotta\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOrgan – Bruce Brody\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePercussion – Bashiri Johnson\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSaxophone – Alex Foster\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTrombone – Conrad Herwig\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cp\u003e\u003cstrong\u003e2 LPs,  standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 200g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 45 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : \u003cspan data-mce-fragment=\"1\"\u003eQuality Record Pressings\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Analogue Productions\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Prestige\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Bruce Brody, Rickie Lee Jones\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered at AcousTech\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003eOriginally released in 2000\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003eReissued in 2008\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cp\u003e\u003cstrong\u003eTracks :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv\u003e\u003cspan face=\"Times New Roman\"\u003eSide A :\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e1. Show Biz Kids\u003cbr data-mce-fragment=\"1\"\u003e2. Trouble Man\u003cbr data-mce-fragment=\"1\"\u003e3. For No One\u003cbr data-mce-fragment=\"1\"\u003e4. Smile\u003cbr data-mce-fragment=\"1\"\u003e5. Low Spark of High Heeled Boys\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Times New Roman\"\u003eSide B :\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\n\u003cspan\u003e1. On The Street Where You Live\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e2. I Can't Get Started\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e3. Up A Lazy River\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e4. Someone To Watch Over Me\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e5. Cycles\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e6. One Hand, One Heart\u003c\/span\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eAwards :\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cspan style=\"color: #ff2a00;\"\u003e\u003cb\u003eTAS Super LP List! Special Merit: Informal\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eReviews\u003c\/strong\u003e :\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp\u003e\"This lovely set of intimately arranged and meticulously recorded covers, originally issued in 2000, is precisely the kind of semi-obscure album in need of a quality all-analog reissue…The superbly natural sound produced by this record is what spending big bucks on an audio system is all about. Set the volume appropriately and Ms. Jones'll draw you into the studio for a personal song recital…This is one to savor.\" Michael Fremer, www.musicangle.com\u003c\/p\u003e\n\u003cp\u003e« Not since Billie Holiday has there been a vocalist who so completely transforms a song into her own. On It's Like This, eclectic folkie Rickie Lee Jones envelops standards, showtunes, '70s soul, and even slick jazz-rock, interpreting them with her familiar childlike, breathy shouts. In a very similar vein as 1991's Pop Pop, Jones pulls together a collection of diverse songs from throughout the 20th century and gives them a sparse, fragile spin, kind of like Diana Krall and Björk sharing coffee at an all-night diner. Produced by Bruce Brody (who has also worked with Maria McKee and Bette Midler), this album is really a showcase for the dynamic vocalist -- her voice pitching and yawing like a sloop far out at sea. Several notable artists scatter themselves unobtrusively throughout the album like Joe Jackson, Ben Folds, John Pizzarelli, and Taj Mahal; each lend a subtle bassline or harmony vocal, cautiously not stepping on any of Jones' delicate lines. Her passionate, earthy version of Marvin Gaye's \"blaxploitation\" hit \"Trouble Man\" is as soulful as her cover of the Beatles' \"For No One\" is pleading, each reaching out to the listener like a whisper from an inch away. Jones' unmistakable style is unlike anyone else's, and that fact alone will turn away some potential listeners; however, for fans of gentle jazz-pop, It's Like This is an intimate, dreamy wander through the songbooks of the last century. » AllMusic Review by Zac Johnson\u003c\/p\u003e\n\u003cp\u003e\"…this effort from 2000 shows Jones conjuring such magic with the material that she deserves as much attention for reworking standards as do Carly Simon or Linda Ronstadt. Kicking off with Steely Dan's 'Show Biz Kids,' and with appearances by Joe Jackson and Ben Folds, among the highpoints is the Beatles' 'For No One' that ranks as among the finest Beatles cover ever. And considering that they number in the tens of thousands, that's about as high as praise gets.\" Album of the Month, Ken Kessler, Hi-Fi News, April 2008\u003c\/p\u003e\n\u003cp\u003e\"The Rickie Lee Jones 45rpm is AWESOME UNREAL AMAZING!!! I have to get a backup copy. I'll play this one to death.\" – Danny Kaey, Positive-Feedback Online\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eRatings\u003c\/strong\u003e : \u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\u003cspan size=\"3\"\u003e\u003cspan size=\"3\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eAllMusic : 3 \/ 5 , Discogs : 4.14 \/ 5 ,  Michael Fremer : Music = 9\/11 Sound = 10\/11  ,  \u003cem data-mce-fragment=\"1\"\u003eHi-Fi News : \u003c\/em\u003eRecording = 5\/5 Performances = 5\/5\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003ch1\u003e\u003c\/h1\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40738465611927,"sku":"APP 51056","price":95.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/rickie-lee-jones-it-s-like-this-2lp-45rpm-200g-audiosoundmusic-1.jpg?v=1719852242"},{"product_id":"norah-jones-vinyl-collection-box-set","title":"Norah Jones - Vinyl Collection Box Set (6LP, 200g)","description":"\u003ch2\u003e\n\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eORDER LIMITED TO ONE ITEM PER CUSTOMER\u003c\/strong\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003c\/h2\u003e\n\u003cp\u003e\u003cstrong\u003eCOMPILATION\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eNorah Jones - vocals \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/norah-jones\" title=\"vinyl featuring Norah Jones\"\u003e\u003cspan style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Norah Jones]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e   \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e6 LPs,  \u003cspan data-mce-fragment=\"1\"\u003eBox set, heavy cardboard stock, tip-on, old-school gatefold sleeves\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 200g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : \u003cspan data-mce-fragment=\"1\"\u003eQuality Record Pressings\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Analogue Productions\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Blue Note\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by Kevin Gray at Cohearent Audio\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003eReleased in 2012\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eTracks :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cstrong\u003eCome Away with Me\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp\u003e               Side A\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eDon’t Know Why\u003c\/li\u003e\n\u003cli\u003eSeven Years\u003c\/li\u003e\n\u003cli\u003eCold Cold Heart\u003c\/li\u003e\n\u003cli\u003eFeelin’ the Same Way\u003c\/li\u003e\n\u003cli\u003eCome Away with Me\u003c\/li\u003e\n\u003cli\u003eShoot the Moon\u003c\/li\u003e\n\u003cli\u003eTurn Me On\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e               Side B\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eLonestar\u003c\/li\u003e\n\u003cli\u003eI’ve Got to See You Again\u003c\/li\u003e\n\u003cli\u003ePainter Song\u003c\/li\u003e\n\u003cli\u003eOne Flight Down\u003c\/li\u003e\n\u003cli\u003eNightingale\u003c\/li\u003e\n\u003cli\u003eThe Long Day is Over\u003c\/li\u003e\n\u003cli\u003eThe Nearness of You\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e\u003cstrong\u003eFeels Like Home\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e               Side A\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eSunrise\u003c\/li\u003e\n\u003cli\u003eWhat Am I to You\u003c\/li\u003e\n\u003cli\u003eThose Sweet Words\u003c\/li\u003e\n\u003cli\u003eCarnival Town\u003c\/li\u003e\n\u003cli\u003eIn The Morning\u003c\/li\u003e\n\u003cli\u003eBe Here to Love Me\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e               Side B\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eCreepin' In\u003c\/li\u003e\n\u003cli\u003eToes\u003c\/li\u003e\n\u003cli\u003eHumble Me\u003c\/li\u003e\n\u003cli\u003eAbove Ground\u003c\/li\u003e\n\u003cli\u003eThe Long Way Home\u003c\/li\u003e\n\u003cli\u003eThe Prettiest Thing\u003c\/li\u003e\n\u003cli\u003eDon't Miss You at All            \u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e\u003cstrong\u003eNot Too Late\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e               Side A\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eWish I Could\u003c\/li\u003e\n\u003cli\u003eSinkin' Soon\u003c\/li\u003e\n\u003cli\u003eThe Sun Doesn't Like You\u003c\/li\u003e\n\u003cli\u003eUntil the End\u003c\/li\u003e\n\u003cli\u003eNot My Friend\u003c\/li\u003e\n\u003cli\u003eThinking About You\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e               Side B\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eBroken\u003c\/li\u003e\n\u003cli\u003eMy Dear Country\u003c\/li\u003e\n\u003cli\u003eWake Me Up\u003c\/li\u003e\n\u003cli\u003eBe My Somebody\u003c\/li\u003e\n\u003cli\u003eLittle Room\u003c\/li\u003e\n\u003cli\u003eRosie's Lullaby\u003c\/li\u003e\n\u003cli\u003eNot Too Late\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e\u003cstrong\u003eThe Fall\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e               Side A\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eChasing Pirates\u003c\/li\u003e\n\u003cli\u003eEven Though\u003c\/li\u003e\n\u003cli\u003eLight as a Feather\u003c\/li\u003e\n\u003cli\u003eYoung Blood\u003c\/li\u003e\n\u003cli\u003eI Wouldn't Need You\u003c\/li\u003e\n\u003cli\u003eWaiting\u003c\/li\u003e\n\u003cli\u003eIt's Gonna Be\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e               Side B\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eYou've Ruined Me\u003c\/li\u003e\n\u003cli\u003eBack to Manhattan\u003c\/li\u003e\n\u003cli\u003eStuck\u003c\/li\u003e\n\u003cli\u003eDecember\u003c\/li\u003e\n\u003cli\u003eTell Your Mama\u003c\/li\u003e\n\u003cli\u003eMan of the Hour\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e\u003cstrong\u003eLittle Broken Hearts\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e               Side A\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eGood Morning\u003c\/li\u003e\n\u003cli\u003eSay Goodbye\u003c\/li\u003e\n\u003cli\u003eLittle Broken Hearts\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e               Side B\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eShe's 22\u003c\/li\u003e\n\u003cli\u003eTake It Back\u003c\/li\u003e\n\u003cli\u003eAfter The Fall\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e               Side C\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eBroken Hearts\u003c\/li\u003e\n\u003cli\u003eTravelin' On\u003c\/li\u003e\n\u003cli\u003eOut on the Road\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e               Side D\u003c\/p\u003e\n\u003cp\u003e       1.Happy Pills\u003cbr\u003e       2. Miriam\u003cbr\u003e       3. All a Dream    \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCovers\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e               Side A\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eSleepless Nights\u003c\/li\u003e\n\u003cli\u003eI’ll Be Your Baby Tonight\u003c\/li\u003e\n\u003cli\u003eJesus Etc.\u003c\/li\u003e\n\u003cli\u003eSweet Dreams\u003c\/li\u003e\n\u003cli\u003eCry Cry Cry\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e               Side B\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003ePicture In A Frame\u003c\/li\u003e\n\u003cli\u003eHands on the Wheel (with M. Ward)\u003c\/li\u003e\n\u003cli\u003eShe\u003c\/li\u003e\n\u003cli\u003eMy Blue Heaven\u003c\/li\u003e\n\u003cli\u003ePeace\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003eAwards\u003c\/strong\u003e:\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003c\/span\u003e\u003cstrong\u003e\u003cspan style=\"color: #ff2a00;\"\u003e2003 Grammy Award Winner :\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan style=\"color: #ff2a00;\"\u003e~ Record of the Year, Don't Know Why\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan style=\"color: #ff2a00;\"\u003e~ Album of the Year, Come Away With Me\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan style=\"color: #ff2a00;\"\u003e~ Song of the Year, Don't Know Why\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan style=\"color: #ff2a00;\"\u003e~ Best New Artist, Norah Jones\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan style=\"color: #ff2a00;\"\u003e~ Best Female Pop Vocal Performance, Don't Know Why\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan style=\"color: #ff2a00;\"\u003e~ Best Pop Vocal Album, Come Away With Me\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan style=\"color: #ff2a00;\"\u003e~ Best Engineered Album, Non-Classical, S. Husky Höskulds \u0026amp; Jay Newland, engineers\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan style=\"color: #ff2a00;\"\u003e~ Producer of the Year, Non-Classical, Arif Mardin, producer\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan style=\"color: #ff2a00;\"\u003e2005 Grammy Awards: Best Female Pop Vocal Performance (Feels like Home album)\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cbr\u003e\u003cstrong\u003e\u003c\/strong\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cbr\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp\u003e\"The packaging is exquisite, from the textured box to the highest quality graphics and paper on cardboard jackets. All is absolutely first-rate as are the pressings. The records coming out of QRP are definitely living up to the pressing plant's early promise. This kind of drop dead black quiet is precisely what's required for Jones's music and QRP delivers it. Kevin Gray's mastering is equally superb. ... I was surprised how easily and pleasurable it was to go through the whole box numerous times before writing it up. The sonics throughout are superb ...\" Michael Fremer, AnalogPlanet.com, January 24, 2013. \u003c\/p\u003e\n\u003cp\u003e\"As you might expect, (the records) sound excellent. ... This set embodies everything this blog believes in passionately. Holding the music in your hands. A lifetime of listening pleasure from the music is massively enhanced by the pleasure of owning a physical object. The ritual of pulling out the record you want to listen to from a box set, opening the thick gatefold jackets and placing the spotless, heavyweight vinyl record on the turntable platter, is of great value to many - convenience aside, how could a mouse-click on a computer or the swipe of your thumb on your 'smart phone' ever hope to compete when it comes to listening to music?\" - Review of the Norah Jones Vinyl Collection by Paul Sinclair, SuperDeluxeEdition.com, January 2013\u003c\/p\u003e\n\u003cp\u003eNorah Jones is the rare artist who has combined widespread critical acclaim with immense commercial success, winning nine Grammy Awards and selling 40 million albums in just a decade, while collaborating with artists from across the spectrum from jazz to hip hop, rock to country. Her pitch-perfect voice combined with her choice of the finest musicians along with top-flight producers such as Arif Mardin, Danger Mouse and Jacquire King have made her releases go-to demonstration discs for audiophile stereo systems. Now ten years into her already impressive career, she is releasing her fifth studio album Little Broken Hearts on May 1, 2012, produced by and co-written with five-time Producer of the Year Grammy nominee Danger Mouse, and to celebrate, Blue Note Records and Analogue Productions are collaborating to re-issue her entire catalog in limited edition audiophile LP.\u003c\/p\u003e\n\u003cp\u003eThe LP editions of the five albums — 2002's Come Away With Me, 2004's Feels Like Home, 2007's Not Too Late, 2009's The Fall and Norah's new album Little Broken Hearts — have all been re-mastered from the original sources by Kevin Gray at Cohearent Audio. The LPs are pressed on 200 Gram vinyl at Quality Record Pressings (fast gaining popular consensus as the best pressing plant in the world) and, keeping with Analogue Productions' standards, they're packaged in heavy cardboard stock, tip-on, old-school gatefold sleeves.\u003c\/p\u003e\n\u003cp\u003eIn addition to the individual releases, Analogue and Blue Note have produced this limited edition vinyl box set comprising all five titles plus a bonus album titled Covers, exclusive in LP format to this box set only. Covers includes 10 rare or unreleased interpretations of classics recorded throughout Norah's career. Artists covered include Bob Dylan, Johnny Cash, Tom Waits, Horace Silver, Wilco and more. The box set is wrapped in a textured paper that feels like linen.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e: \u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003eDiscogs : 4.62 \/ 5 ,  Michael Fremer Music = 9\/10 Sound = 9\/10\u003cbr\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003ch1\u003e\u003c\/h1\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40742362841239,"sku":"AAPP NJBOX 33","price":550.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/norah-jones-vinyl-collection-box-set-6lp-200g-audiosoundmusic-1.jpg?v=1719852271"},{"product_id":"the-beach-boys-surfin-safari","title":"The Beach Boys - Surfin' Safari (Mono, 200g)","description":"\u003cp\u003e\u003cstrong\u003e\u003ca title=\"vinyl featuring The Beach Boys\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/beach-boys\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/beach-boys\"\u003e\u003cspan style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring the Beach Boys]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003ePerformed by The Beach Boys : Brian Wilson (vocals, bass guitar, keyboards), Mike Love (vocals, percussion, saxophone, Electro-Theremin), Al Jardine (vocals, rhythm guitar, bass guitar), Bruce Johnston (vocals, keyboards, bass guitar), Dennis Wilson (vocals, drums, keyboards).\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP,  \u003cspan data-mce-fragment=\"1\"\u003eStoughton tip-on jackets\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 200g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMono\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : \u003cspan data-mce-fragment=\"1\"\u003eQuality Record Pressings\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Analogue Productions\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Capitol\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded \u003c\/strong\u003e\u003cstrong\u003eOctober 3, 1961; April 19, August 8, September 5–6, 1962 in Capitol Studios and Hite Morgan Studios, California\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by Kevin Gray at Cohearent Audio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Nick Venet\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003eOriginally released in 1962\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003eReissued in 2014\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cp\u003e\u003cstrong\u003eTracks :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv\u003e\u003cspan face=\"Times New Roman\"\u003eSide A :\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e1. Surfer Girl\u003cbr data-mce-fragment=\"1\"\u003e2. Catch A Wave\u003cbr data-mce-fragment=\"1\"\u003e3. The Surfer Moon\u003cbr data-mce-fragment=\"1\"\u003e4. South Bay Surfer\u003cbr data-mce-fragment=\"1\"\u003e5. The Rocking Surfer\u003cbr data-mce-fragment=\"1\"\u003e6. Little Deuce Coupe\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Times New Roman\"\u003eSide B :\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e1. In My Room\u003cbr data-mce-fragment=\"1\"\u003e2. Hawaii\u003cbr data-mce-fragment=\"1\"\u003e3. Surfer's Rule\u003cbr data-mce-fragment=\"1\"\u003e4. Our Car Club\u003cbr data-mce-fragment=\"1\"\u003e5. Your Summer Dream\u003cbr data-mce-fragment=\"1\"\u003e6. Boogie Woogie\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp\u003e\"These reissues restore whatever was really on the tapes — and given who was involved and where they were recorded, you can be sure the bass heard on these reissues was not added by Kevin Gray. ... As for the quality of these reissues, it's quite clear that, whether or not you like the sonic results, Analogue Productions sets the reissue standard. The company insists upon using analog master tapes (where available), not analog copies, it uses the best available artwork, and packages in 'Tip-on'TM jackets. It masters where the tapes are located using Kevin Gray in California, Ryan K. Smith in New York and Willem Makkee in Germany.\" — Michael Fremer, AnalogPlanet.com\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp\u003e\"The sound is rich in detail, yet one of its key strengths is how \"mellow and romantic\" it sounds. While listening to these records, I was never fatigued. ... the AP Beach Boys significantly betters the original U.S. Capitol pressings that I've heard, with considerably more separation, detail, fullness and presence.\" — Jeff Wilson, The Absolute Sound, October 2015\u003c\/p\u003e\n\u003cp\u003e\"What I can say is that Kevin Gray has been able to extract every last bit of information from whatever tape is in the box, and present it in a way that is pleasing and natural to the ear. ... in my opinion, the Analogue Productions pressings are now THE definitive issue of each Beach Boys album, and will be my reference copies until if and when something better comes along — which may be never.\" — Lee Dempsey, Endless Summer Quarterly, Summer 2015 Edition\u003c\/p\u003e\n\u003cp\u003eTo meet the standards of Analogue Productions, our Beach Boys album reissues had a mission to achieve: Present the band's music the way that Brian Wilson — famed co-founder, songwriter and arranger — intended. Mono mixes created under Wilson’s supervision were how the surf rockin’ California crew rose to fame! And we’ve got ‘em!\u003c\/p\u003e\n\u003cp\u003eFor the early part of the Beach Boys career, all of their singles were mixed and mastered and released only in the mono format — they didn't release a single in stereo until 1968. in those days, hits were made on AM radio in mono. And the mono of those times worked well for Wilson, who suffers from partial deafness. Still, apart from Surfin' Safari, which was mono only, the Beach Boys did turn in stereo masters on all of their early albums up until 1965. The Beach Boys Today was the first LP for which they only delivered a mono master.\u003c\/p\u003e\n\u003cp\u003eBottom line, the mono mixes were where Brian Wilson paid intense attention, and the dedication paid off!\u003c\/p\u003e\n\u003cp\u003eWe’ve taken 10 of the most classic, best-sounding Beach Boy titles ever and restored them to their mono glory!\u003c\/p\u003e\n\u003cp\u003eBut there’s no disputing that the close harmonies and one-of-a-kind rhythms of hits like “Surfer Girl,” “In My Room,” “Little Deuce Coupe” and more lend themselves naturally to stereo. So we’ve got your 2-channel needs covered with prime stereo mix versions as well.\u003c\/p\u003e\n\u003cp\u003eMastered by Kevin Gray, most from the original master tapes, and plated and pressed by Quality Record Pressings, the finest LP pressing facility in the world, these are awesome recordings to experience. And the look of each album befits its sonic superiority! Presented in \"old school\" Stoughton tip-on jackets, these time honored favorites shine brighter than the originals!\u003c\/p\u003e\n\u003cp\u003eWith this quiet QRP pressing of Surfin' Safari you'll enjoy the smash hit title cut as well as \"409,\"Summertime Blues\" and more as the fledgling Beach Boys proudly display their garage band roots in this, their debut album for Capitol Records.\u003c\/p\u003e\n\u003cp\u003eTheir classic songs epitomize the spirit of the California lifestyle and The Beach Boys have become an American icon to a worldwide audience. The Beach Boys' first hit \"Surfin'\" (1961) launched a string of chart-topping songs that spans nearly forty years and includes eternal anthems of American youth: \"Surfin' USA\", \"Surfer Girl\", \"Fun, Fun, Fun\", \"I Get Around\", \"California Girls\", \"Help Me Rhonda\", \"Barbara Ann\", \"Good Vibrations\", \"Wouldn't It Be Nice\", \"Rock and Roll Music\", \"Kokomo\" and more.\u003c\/p\u003e\n\u003cp\u003eTheir chart success alone would have earned The Beach Boys their spot in The Rock and Roll Hall of Fame (they were inducted in 1988), not to mention 32 RIAA Platinum and Gold record awards and worldwide sales estimated at more than 100 million. But The Beach Boys' story is one of not only commercial but also artistic success. Their unique blend of harmonies, musical arrangements and timeless lyrics still place the music of The Beach Boys among the All-Time Favorites of today's music critics. As an example, VH-1 named Pet Sounds as the No. 3 album in the Top 100 Albums in Rock 'n' Roll History, as judged in a poll of musicians, executives and journalists. The Beach Boys were honored at the 2001 Grammy Awards, receiving The Lifetime Achievement Award from the Recording Academy.\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e« The Beach Boys' debut album, recorded in an era in which little was expected of rock groups in the way of strong LP-length statements, is mostly thin and awkward in both the songwriting and production departments. The title track, their first true smash, is great, as is its flip side (\"409\"), which was not only a hit in its own right, but was the first vocal hot rod classic. \"Surfin',\" their debut single (and small national hit), is also good, and one of the few Beach Boys tracks that could be said to have a garage-like quality. Unfortunately, most of the other cuts (most of which are group originals) are substandard ditties, as Brian Wilson had a way to go before honing his compositional genius. It does, however, afford a glimpse of the group as they sounded when they were a true band in the studio, before most of their parts were played by session musicians. Two of the better cuts, \"The Shift\" and the instrumental \"Moon Dawg,\" have a grittier-than-usual surf rock base that would flower on 1963 hits like \"Surfin' U.S.A.\" [Surfin' Safari\/Surfin' U.S.A, a Capitol two-fer CD, combines this and Surfin' U.S.A. onto one disc, with the addition of three rare bonus cuts from the same era. » AllMusic Review by Richie Unterberger\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003eRatings\u003c\/strong\u003e : \u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\u003cspan size=\"3\"\u003e\u003cspan size=\"3\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eAllMusic : 2 \/ 5 , Discogs : 3.98 \/ 5 \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003ch1\u003e\u003c\/h1\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40742775947415,"sku":"AAPP 058M","price":127.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/the-beach-boys-surfin-safari-mono-200g-audiosoundmusic-1.jpg?v=1719852271"},{"product_id":"the-beach-boys-little-deuce-coupe","title":"The Beach Boys - Little Deuce Coupe (Stereo, 200g)","description":"\u003cp\u003e\u003cstrong\u003e\u003ca title=\"vinyl featuring The Beach Boys\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/beach-boys\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/beach-boys\"\u003e\u003cspan style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring the Beach Boys]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePerformed by The Beach Boys : Brian Wilson (vocals, bass guitar, keyboards), Mike Love (vocals, percussion, saxophone, Electro-Theremin), Al Jardine (vocals, rhythm guitar, bass guitar), Bruce Johnston (vocals, keyboards, bass guitar), Dennis Wilson (vocals, drums, keyboards).\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by Bobby Troup (B5), Brian Wilson, Gary Usher (A6), Mike Love (B3), Roger Christian (A1, A2, A4, A5, B1, B2, B4)\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP,  \u003cspan data-mce-fragment=\"1\"\u003e\"Old school\" Stoughton tip-on jackets\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 200g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : \u003cspan data-mce-fragment=\"1\"\u003eQuality Record Pressings\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Analogue Productions\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Capitol\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded at \u003cspan data-mce-fragment=\"1\"\u003eUnited Western Recorders on April 19, 1962 (\"409\") and January 5 – September 2, 1963\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Brian Wilson\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by Kevin Gray at Cohearent Audio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003eOriginally released in 1963\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003eReissued in 2015\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cp\u003e\u003cstrong\u003eTracks :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv\u003e\u003cspan face=\"Times New Roman\"\u003eSide A :\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e1. Little Deuce Coupe\u003cbr data-mce-fragment=\"1\"\u003e2. Ballad Of Ole' Betsy\u003cbr data-mce-fragment=\"1\"\u003e3. Be True To Your School\u003cbr data-mce-fragment=\"1\"\u003e4. Cherry, Cherry Coupe\u003cbr data-mce-fragment=\"1\"\u003e5. 409\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Times New Roman\"\u003eSide B :\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e1. Shut Down\u003cbr data-mce-fragment=\"1\"\u003e2. Spirit Of America\u003cbr data-mce-fragment=\"1\"\u003e3. Our Car Club\u003cbr data-mce-fragment=\"1\"\u003e4. No-Go Showboat\u003cbr data-mce-fragment=\"1\"\u003e5. A Young Man Is Gone\u003cbr data-mce-fragment=\"1\"\u003e6. Custom Machine\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cbr\u003eReviews\u003c\/strong\u003e :\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp\u003e\"Listening to the stereo version, I was struck by the separation, the wide soundscape, the detail, and the depth; I could imagine the voices filling a cathedral. ... The rich blending of the vocal harmonies on the stereo versions of 'Surfer Girl,' 'The Warmth of the Sun,' 'In My Room,' and other songs is praiseworthy ... the voices envelop you in a three-dimensional soundscape that can be mesmerizing.\" — Jeff Wilson, The Absolute Sound, October 2015\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp\u003e\"What I can say is that Kevin Gray has been able to extract every last bit of information from whatever tape is in the box, and present it in a way that is pleasing and natural to the ear. ... in my opinion, the Analogue Productions pressings are now THE definitive issue of each Beach Boys album, and will be my reference copies until if and when something better comes along — which may be never.\" — Lee Dempsey, Endless Summer Quarterly, Summer 2015 Edition\u003c\/p\u003e\n\u003cp\u003e\"Here you have a choice between mono and stereo versions. I think the mono version has it all over the stereo version, which, while not hard left\/right like early Beatles albums, still sounds as if the intent was to combine the elements to create a mono mix. The mono mix holds together far better in every way — particularly the way in which Dennis's drums are mixed and in the vocal integrity. ... Both the mono and stereo reissues sound open, transparent and full frequency.\" — Michael Fremer, AnalogPlanet.com.\u003c\/p\u003e\n\u003cp\u003eA musical legacy that began in Hawthorne, California and went on to conquer the world. Analogue Productions presents the ultimate pressings of 14 essential Beach Boys albums! Mastered by Kevin Gray, most from the original master tapes, and plated and pressed by Quality Record Pressings, the finest LP pressing facility in the world, these are awesome recordings to experience. And the look of each album befits its sonic superiority! Presented in \"old school\" Stoughton tip-on jackets, these time honored favorites shine brighter than the originals!\u003c\/p\u003e\n\u003cp\u003eSurfin' USA was the Beach Boys' real breakthough album, showing Brian Wilson asserting himself in the studio as both a premier songwriter and arranger on a set of material that was stronger than their Surfin' Safari debut.\u003c\/p\u003e\n\u003cp\u003eApart from Surfin' Safari, which was mono only, the Beach Boys did turn in stereo masters on all of their early albums up until 1965. The Beach Boys Today! was the first LP for which they only delivered a mono master.\u003c\/p\u003e\n\u003cp\u003eThe stereo editions of Surfin' USA, Surfer Girl, Little Deuce Coupe, Shut Down Vol. 2, All Summer Long, Beach Boys Christmas Album and Beach Boys Concert were all mixed in stereo by their own preferred engineer, Chuck Britz, ostensibly under the group's supervision.\u003c\/p\u003e\n\u003cp\u003e\"Brian may or may not have been present for those mixing sessions — evidence suggests that he trusted Chuck's skills enough to let him prepare those mixes on his own — but the group held onto their multitrack tapes and delivered stereo masters to Capitol, rather than allowing Capitol to prepare their own stereo versions. Later, when Brian was only delivering mono masters, Capitol would prepare the Duophonic pseudo stereo editions for the stereo market,\" says Alan Boyd, producer and Beach Boys' archivist.\u003c\/p\u003e\n\u003cp\u003eThe Beach Boys' practice of double-tracking their vocals really lends itself to stereo mixes. Split left and right, as they are on a lot of those early stereo versions, those doubled vocal parts can really envelop the listener, surrounding them with Wilsons, Loves and Jardines!\u003c\/p\u003e\n\u003cp\u003eAll of the newer stereo mixes on these remastered albums (The Beach Boys Today!, Summer Days (And Summer Nights!!), The Beach Boys' Party, Pet Sounds and Smiley Smile) were done by Mark Linett on behalf of the Beach Boys.\u003c\/p\u003e\n\u003cp\u003eBesides the hit title track on Surfin' USA and its popular drag-racing flip side (\"Shut Down\"), AllMusic.com notes that Surfin' USA has a lovely, heartbreaking ballad (\"Lonely Sea\") and a couple of strong Brian Wilson originals (\"The Noble Surfer\" and \"Farmer's Daughter\").\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp\u003e\"The sound is rich in detail, yet one of its key strengths is how \"mellow and romantic\" it sounds. While listening to these records, I was never fatigued. ... the AP Beach Boys significantly betters the original U.S. Capitol pressings that I've heard, with considerably more separation, detail, fullness and presence.\" — Jeff Wilson, The Absolute Sound, October 2015\u003c\/p\u003e\n\u003cp\u003e\"What I can say is that Kevin Gray has been able to extract every last bit of information from whatever tape is in the box, and present it in a way that is pleasing and natural to the ear. ... in my opinion, the Analogue Productions pressings are now THE definitive issue of each Beach Boys album, and will be my reference copies until if and when something better comes along — which may be never.\" — Lee Dempsey, Endless Summer Quarterly, Summer 2015 Edition\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e« Little Deuce Coupe was a concept album of sorts, in that most of the songs had something to do with cars and hot rod culture. That's a pretty thin train of thought to sustain for most of a record. What's worse, by the Beach Boys' own standards of hot rod tunes, most of the tracks are pretty trite and unimaginative, rating among their worst early material. Not only that, the three best cuts -- \"Little Deuce Coupe,\" \"409,\" and \"Shut Down\" -- had already been issued on LP. The most noteworthy of the other tracks was the Top Ten hit \"Be True to Your School,\" whose fine tune and arrangement are marred by sappy lyrics of faith and loyalty to one's high school. (The album version, oddly, is different from the superior single, which had the Honeys adding female cheerleader chants.) \"Spirit of America\" and \"A Young Man Is Gone\" (a James Dean tribute with Four Freshmen-style vocals) are moderately interesting numbers, but on the whole this is probably the worst early Beach Boys album, with the possible exception of Surfin' Safari (and their 1964 Christmas LP, which doesn't really count). [Little Deuce Coupe\/All Summer Long, a Capitol two-fer CD, combines this and Little Deuce Coupe onto one disc, adding the 45 version of \"Be True to Your School,\" alternate takes of \"Little Honda\" and \"Don't Back Down,\" and the previously unreleased \"All Dressed Up for School.\" » AllMusic Review by Richie Unterberger\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003eRatings : \u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\u003cspan size=\"3\"\u003e\u003cspan size=\"3\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eAllMusic : 2 \/ 5 , Discogs : 3.92 \/ 5 \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003ch1\u003e\u003c\/h1\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40743028555927,"sku":"AAPP 061","price":70.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/the-beach-boys-little-deuce-coupe-stereo-200g-audiosoundmusic-1.jpg?v=1719852298"},{"product_id":"the-beach-boys-shut-down-volume-2-stereo","title":"The Beach Boys - Shut Down Volume 2 (Stereo, 200g)","description":"\u003cp\u003e\u003cstrong\u003e\u003ca title=\"vinyl featuring The Beach Boys\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/beach-boys\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/beach-boys\"\u003e\u003cspan style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring the Beach Boys]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAl Jardine - backing vocals (A1-3, A5, B1-3), bass guitar (A1-3, A6, B1-3), rhythm electric guitar (A5)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMike Love - lead vocals (A1, A3, B2-3, B5), backing vocals (A1–3, A5, B1-3), tenor saxophone (B2)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBrian Wilson – lead vocals (A2, A5, B1, B3), backing vocals (A1–3, A5, B1-3), piano (A1–3, A5–6, B1-6), \u003c\/strong\u003e\u003cstrong\u003eHammond organ (A1)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCarl Wilson – lead vocals (A2, A5), backing vocals (A1–3, A5, B1–3), electric guitar (A1–3, A5–6, B2-3)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDennis Wilson – lead vocals (A6), backing vocals (A1–3, A5, B1–3), drums (A1–3, A5–6, B2-3, B6), floor tom (B2)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRay Pohlman – 6-string bass guitar (A1), bass guitar (A5, B1)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHal Blaine – drums (A1, B1), tambourine (A1), bell-tree (A5), percussion (A5), timpani (B1)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSteve Douglas – tenor saxophone (A1, A5, B1)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJay Migliori – baritone saxophone (A1, A5, B1)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLeon Russell – piano (B1), tack piano (B1)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBill Pitman – archtop acoustic guitar (B1)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTommy Tedesco – electric guitar (B1)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJimmy Bond – double bass (B1)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFrank Capp – glockenspiel (B1), temple blocks (B1), castanets (B1)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAl de Lory – piano (B1)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePlas Johnson – tenor saxophone (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,  \u003cspan data-mce-fragment=\"1\"\u003e\"Old school\" Stoughton tip-on jackets\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 200g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : \u003cspan data-mce-fragment=\"1\"\u003eQuality Record Pressings\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Analogue Productions\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Capitol\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded at \u003c\/strong\u003e\u003cstrong\u003eJanuary 1–10, February 19–20, 1964 at United Western Recorders and Gold Star Studios, Hollywood\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Brian Wilson\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by Kevin Gray at Cohearent Audio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003eOriginally released in 1964\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003eReissued in 2015\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cp\u003e\u003cstrong\u003eTracks :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv\u003e\u003cspan face=\"Times New Roman\"\u003eSide A :\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e1. Fun, Fun, Fun\u003cbr data-mce-fragment=\"1\"\u003e2. Don't Worry Baby\u003cbr data-mce-fragment=\"1\"\u003e3. In The Parkin' Lot\u003cbr data-mce-fragment=\"1\"\u003e4. \"Cassius\" Love Vs \"Sonny\" Wilson\u003cbr data-mce-fragment=\"1\"\u003e5. The Warmth Of The Sun\u003cbr data-mce-fragment=\"1\"\u003e6. This Car Is Mine\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Times New Roman\"\u003eSide B :\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e1. Why Do Fools Fall In Love\u003cbr data-mce-fragment=\"1\"\u003e2. Pom, Pom Play Girl\u003cbr data-mce-fragment=\"1\"\u003e3. Keep An Eye On Summer\u003cbr data-mce-fragment=\"1\"\u003e4. Shut Down, Part II\u003cbr data-mce-fragment=\"1\"\u003e5. Louie, Louie\u003cbr data-mce-fragment=\"1\"\u003e6. Denny's Drums\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cbr\u003eReviews\u003c\/strong\u003e :\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp\u003e\"These reissues restore whatever was really on the tapes — and given who was involved and where they were recorded, you can be sure the bass heard on these reissues was not added by Kevin Gray. ... As for the quality of these reissues, it's quite clear that, whether or not you like the sonic results, Analogue Productions sets the reissue standard. The company insists upon using analog master tapes (where available), not analog copies, it uses the best available artwork, and packages in 'Tip-on'\u003csup\u003eTM\u003c\/sup\u003e jackets. It masters where the tapes are located using Kevin Gray in California, Ryan K. Smith in New York and Willem Makkee in Germany.\" — \u003cspan class=\"blurb\"\u003eMichael Fremer, \u003cem\u003eAnalogPlanet.com\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\"Listening to the stereo version, I was struck by the separation, the wide soundscape, the detail, and the depth; I could imagine the voices filling a cathedral. ... The rich blending of the vocal harmonies on the stereo versions of 'Surfer Girl,' 'The Warmth of the Sun,' 'In My Room,' and other songs is praiseworthy ... the voices envelop you in a three-dimensional soundscape that can be mesmerizing.\" — Jeff Wilson,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eThe Absolute Sound\u003c\/em\u003e, October 2015\u003c\/p\u003e\n\u003cp\u003e\"What I can say is that Kevin Gray has been able to extract every last bit of information from whatever tape is in the box, and present it in a way that is pleasing and natural to the ear. ... in my opinion, the Analogue Productions pressings are now THE definitive issue of each Beach Boys album, and will be my reference copies until if and when something better comes along — which may be never.\" — Lee Dempsey,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eEndless Summer Quarterly\u003c\/em\u003e, Summer 2015 Edition\u003c\/p\u003e\n\u003cp\u003e« Another erratic early album from the Beach Boys; few other rock LPs have such a wide gap between the best and worst material. On the good side, you have absolute classics in the Chuck Berry-ish \"Fun, Fun, Fun\" and the superb \"Don't Worry Baby,\" one of the most advanced pop productions of 1964 with its breathtaking harmonies and unusual lyric. \"The Warmth of the Sun\" is one of the most melodic (and melancholic) ballads they ever recorded, and \"Why Do Fools Fall in Love\" is one of their best oldies covers. Yet the rest reduces the oceanic scale of the classics to dishwater, whether they're throwaway hot rod tunes and instrumentals, innocuous high-school romantic ditties, or a soulless cover of \"Louie Louie.\" When this album hit the racks in early 1964, the Beatles were proving that you could make LPs that were all killer, no filler; the Beach Boys would soon be forced to up their ante. » AllMusic Review by Richie Unterberger\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cbr\u003eRatings\u003c\/strong\u003e : \u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\u003cspan size=\"3\"\u003e\u003cspan size=\"3\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eAllMusic : 3 \/ 5 , Discogs : 3.95 \/ 5 \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003ch1\u003e\u003c\/h1\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40743562870935,"sku":"AAPP 062","price":65.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/the-beach-boys-shut-down-volume-2-stereo-200g-audiosoundmusic-1.jpg?v=1719852298"},{"product_id":"the-beach-boys-the-beach-boys-party-stereo","title":"The Beach Boys - The Beach Boys' Party! (Stereo, 200g)","description":"\u003cp\u003e\u003cstrong\u003e\u003ca title=\"vinyl featuring The Beach Boys\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/beach-boys\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/beach-boys\"\u003e\u003cspan style=\"color: #ff8000;\"\u003e\u003cbr\u003e\u003cbr\u003e[click here to see more vinyl featuring the Beach Boys]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAl Jardine – vocals, acoustic 6 and 12 string guitars, ashtray\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBruce Johnston – vocals, electric bass\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMike Love – vocals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBrian Wilson – vocals, bass, piano, bongos\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCarl Wilson – vocals, acoustic 6 and 12 string guitars, bass\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDennis Wilson – vocals, bongos, castanet, harmonica \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP,  \u003cspan data-mce-fragment=\"1\"\u003e\"Old school\" Stoughton tip-on jackets\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 200g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : \u003cspan data-mce-fragment=\"1\"\u003eQuality Record Pressings\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Analogue Productions\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Capitol\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded on September 8–27, 1965 at United Western Recorders, Hollywood\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Brian Wilson\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by Kevin Gray at Cohearent Audio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003eOriginally released in 1966\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003eReissued in 2016\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cp\u003e\u003cstrong\u003eTracks :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv\u003e\u003cspan face=\"Times New Roman\"\u003eSide A :\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e1. Hully Gully\u003cbr\u003e2. I Should Have Known Better\u003cbr\u003e3. Tell Me Why\u003cbr\u003e4. Papa-Oom-Mow-Mow\u003cbr\u003e5. Mountain Of Love\u003cbr\u003e6. You've Got To Hide Your Love Away\u003cbr\u003e7. Devoted To You\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Times New Roman\"\u003eSide B :\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e1. Alley Oop\u003cbr data-mce-fragment=\"1\"\u003e2. There's No Other (Like My Baby)\u003cbr data-mce-fragment=\"1\"\u003e3. Medley: I Get Around \/ Little Deuce Coup\u003cbr data-mce-fragment=\"1\"\u003e4. The Times They Are A-Changin'\u003cbr data-mce-fragment=\"1\"\u003e5. Barbara Ann\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003eReviews :\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp\u003e\"Capitol Records, which had already released ten Beach Boys albums in three years, was bugging the group for product that it could release in time for the 1965 Christmas season. To buy time while Brian Wilson began conceiving the Pet Sounds masterpiece, the group issued a set of covers, mostly of the '50s rock and R\u0026amp;B they had listened to as schoolboys. Packaged as if it had been recorded at an actual party, it was in fact recorded in the studio, with friends and romantic partners adding sounds and vocals to create an informal atmosphere. With the exception of a bass guitar, all the instruments were acoustic; the acoustic guitar-and-bongo arrangements, in fact, give this a hootenanny campfire feel. In recent years, this album has gone up a few notches in critical esteem, praised for its loose, casual feel and insight into the group's influences...It does have the massive hit 'Barbara Ann,' which actually features Dean Torrence (of Jan \u0026amp; Dean) on much of the lead vocals; other highlights include 'Mountain of Love,' an unexpected version of 'The Times They Are a-Changin',' and three Beatles covers.\" -Richie Unterberger, allmusic.com\u003c\/p\u003e\n\u003cp\u003e\"What I can say is that Kevin Gray has been able to extract every last bit of information from whatever tape is in the box, and present it in a way that is pleasing and natural to the ear. ... in my opinion, the Analogue Productions pressings are now THE definitive issue of each Beach Boys album, and will be my reference copies until if and when something better comes along — which may be never.\" — Lee Dempsey,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eEndless Summer Quarterly\u003c\/em\u003e, Summer 2015 Edition\u003c\/p\u003e\n\u003cp\u003eA musical legacy that began in Hawthorne, California and went on to conquer the world. Analogue Productions presents the ultimate pressings of 14 essential Beach Boys albums! Mastered by Kevin Gray, most from the original master tapes, and plated and pressed by Quality Record Pressings, the finest LP pressing facility in the world, these are awesome recordings to experience. And the look of each album befits its sonic superiority! Presented in \"old school\" Stoughton tip-on jackets, these time honored favorites shine brighter than the originals!\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eThe Beach Boys Party!\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003estereo mix was created in 2012 from the original 3-track master tapes.\u003c\/p\u003e\n\u003cp\u003eApart from \u003cem\u003eSurfin' Safari\u003c\/em\u003e, which was mono only, the Beach Boys did turn in stereo masters on all of their early albums up until 1965. The Beach Boys \u003cem\u003eToday!\u003c\/em\u003e was the first LP for which they only delivered a mono master.\u003c\/p\u003e\n\u003cp\u003eThe stereo editions of \u003cem\u003eSurfin' USA, Surfer Girl, Little Deuce Coupe, Shut Down Vol. 2, All Summer Long, Beach Boys Christmas Album and Beach Boys Concert\u003c\/em\u003e were all mixed in stereo by their own preferred engineer, Chuck Britz, ostensibly under the group's supervision.\u003c\/p\u003e\n\u003cp\u003e\"Brian may or may not have been present for those mixing sessions — evidence suggests that he trusted Chuck's skills enough to let him prepare those mixes on his own — but the group held onto their multitrack tapes and delivered stereo masters to Capitol, rather than allowing Capitol to prepare their own stereo versions. Later, when Brian was only delivering mono masters, Capitol would prepare the Duophonic pseudo stereo editions for the stereo market,\" says Alan Boyd, producer and Beach Boys' archivist.\u003c\/p\u003e\n\u003cp\u003eAll of the newer stereo mixes on these remastered albums (The Beach Boys \u003cem\u003eToday!\u003c\/em\u003e, \u003cem\u003eSummer Days (And Summer Nights!!)\u003c\/em\u003e, \u003cem\u003eThe Beach Boys' Party\u003c\/em\u003e, \u003cem\u003ePet Sounds\u003c\/em\u003e and \u003cem\u003eSmiley Smile)\u003c\/em\u003e were done by Mark Linett on behalf of the Beach Boys.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003eRatings : \u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\u003cspan size=\"3\"\u003e\u003cspan size=\"3\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eAllMusic : 3.5 \/ 5 , Discogs : 3.79 \/ 5 \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003ch1\u003e\u003c\/h1\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40744460353687,"sku":"AAPP 066","price":70.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/the-beach-boys-the-beach-boys-party-stereo-200g-audiosoundmusic-1.jpg?v=1719852303"},{"product_id":"the-beach-boys-surfs-up-stereo","title":"The Beach Boys - Surf's up","description":"\u003cp\u003e\u003cstrong\u003e\u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/beach-boys\" title=\"vinyl featuring The Beach Boys\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/beach-boys\"\u003e\u003cspan style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring the Beach Boys]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAl Jardine - backing vocals, bass guitar, rhythm electric guitar (A5)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMike Love - lead  \u0026amp; backing vocals, tenor saxophone (B2)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBrian Wilson – lead \u0026amp; backing vocals, piano, \u003c\/strong\u003e\u003cstrong\u003eHammond organ\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCarl Wilson – lead \u0026amp; backing vocals, electric guitar\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDennis Wilson – \u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003elead \u0026amp; backing vocals, drums\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP,  gatefold \u003cspan data-mce-fragment=\"1\"\u003e\"Old school\" Stoughton tip-on jackets\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\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 : \u003cspan data-mce-fragment=\"1\"\u003eQuality Record Pressings\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Analogue Productions\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Capitol\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded November 1966 – July 1971 at Sunset Sound, Western, and Columbia, Los Angeles\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by the Beach Boys\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMixed by Mark Linett\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by Kevin Gray at Cohearent Audio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003eOriginally released in 1971\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003eReissued in 2016\u003cbr\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\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\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cp\u003e\u003cstrong\u003eTracks :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv\u003e\u003cspan face=\"Times New Roman\"\u003eSide A :\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003col\u003e\n\u003cli\u003eDon't Go Near The Water\u003c\/li\u003e\n\u003cli\u003eLong Promised Road\u003c\/li\u003e\n\u003cli\u003eTake A Load Off Your Feet\u003c\/li\u003e\n\u003cli\u003eDisney Girls (1957)\u003c\/li\u003e\n\u003cli\u003eStudent Demonstration Time\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\n\u003cspan data-mce-fragment=\"1\"\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Times New Roman\"\u003eSide B :\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003col\u003e\n\u003cli\u003eFeel Flows\u003c\/li\u003e\n\u003cli\u003eLookin' At Tomorrow (A Welfare Song)\u003c\/li\u003e\n\u003cli\u003eA Day In The Life Of A Tree\u003c\/li\u003e\n\u003cli\u003e'Til I Die\u003c\/li\u003e\n\u003cli\u003eSurf's Up\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003c\/div\u003e\n\u003cdiv\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 217\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e\u003cb\u003e\u003cspan class=\"421441414-17032005\"\u003e\u003cspan size=\"2\" color=\"#ff0000\" face=\"Arial\"\u003eStereophile Records to Die For - 2013\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp\u003e\"While the consensus deems Pet Sounds to be The Beach Boys' greatest achievement, I derive much more joy from this 1971 release. Issued when the band was considered so unhip as to be beyond redemption, it featured Bruce Johnston's heartbreakingly gorgeous 'Disney Girls (1957),' famously covered by Art Garfunkel, 'Long Promised Road,' 'Til I Die,' 'Feel Flows' and the luscious title track.\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eSurf's Up\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003erestored the band's credibility, despite Brian Wilson not dominating the proceedings. It sounds equally glorious on SACD. It was recorded for surround sound, to be heard via a Dynaco Quadaptor. Pity Acoustic Sounds didn't  issue that mix, too!\" — Sound Quality = 91% - Ken Kessler,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eHiFi News\u003c\/em\u003e, \"Years Best\" Yearbook 2017\u003c\/p\u003e\n\u003cp\u003e« The Beach Boys' post-1966 catalog is littered with LPs that barely scraped the charts upon release but matured into solid fan favorites despite -- and occasionally, because of -- their many and varied eccentricities. Surf's Up could well be the definitive example, beginning with the cloying \"Don't Go Near the Water\" and ending a bare half-hour later with the baroque majesty of the title track (originally written in 1966). The album is a virtual laundry list of each uncommon intricacy that made the Beach Boys' forgotten decade such a bittersweet thrill -- the fluffy yet endearing pop (od)ditties of Brian Wilson, quasi-mystical white-boy soul from brother Carl, and the downright laughable songwriting on tracks charting Mike Love's devotion to Buddhism and Al Jardine's social\/environmental concerns. Those songs are enjoyable enough, but the last three tracks are what make Surf's Up such a masterpiece. The first, \"A Day in the Life of a Tree,\" is simultaneously one of Brian's most deeply touching and bizarre compositions; he is the narrator and object of the song (though not the vocalist; co-writer Jack Rieley lends a hand), lamenting his long life amid the pollution and grime of a city park while the somber tones of a pipe organ build atmosphere. The second, \"'Til I Die,\" isn't the love song the title suggests; it's a haunting, fatalistic piece of pop surrealism that appeared to signal Brian's retirement from active life. The album closer, \"Surf's Up,\" is a masterpiece of baroque psychedelia, probably the most compelling track from the SMiLE period. Carl gives a soulful performance despite the surreal wordplay, and Brian's coda is one of the most stirring moments in his catalog. Wrapped up in a mess of contradictions, Surf's Up defined the Beach Boys' tumultuous career better than any other album. » AllMusic Review by John Bush\u003c\/p\u003e\n\u003cp\u003e\"The original Artisan Sound mastering is masterful and if you have a clean one, you're all set. This reissue is not quite as transparent but the inner detail resolution is superior as is the bottom end. If I had to guess which album(s) were cut from 'best available' as opposed to master tapes I'd pick this one simply because the top end is not as open and airy. If you don't have an original you won't know you're missing something, and you are getting inner detail and bottom end weight the original lacks.\" — Michael Fremer,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eAnalogPlanet.com\u003c\/em\u003e.\u003c\/p\u003e\n\u003cp\u003e\"While the consensus deems\u003cspan\u003e \u003c\/span\u003e\u003cem\u003ePet Sounds\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eto be The Beach Boys' greatest achievement, I derive much more joy from this 1971 release. Issued when the band was considered so unhip as to be beyond redemption, it featured Bruce Johnston's heartbreakingly gorgeous 'Disney Girls (1957),' famously covered by Art Garfunkel, 'Long Promised Road,' 'Till I Die,' 'Feel Flows' and the luscious title track.\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eSurf's Up\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003erestored the band's credibility, despite Brian Wilson not dominating the proceedings. It sounds equally glorious on SACD. Audiophiles will note it was recorded for surround sound, to be heard via a Dynaco Quadaptor. Pity Acoustic Sounds didn't use that mix, too!\" Ken Kessler,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eHiFi News\u003c\/em\u003e, December 2016\u003c\/p\u003e\n\u003cp\u003e\"What I can say is that Kevin Gray has been able to extract every last bit of information from whatever tape is in the box, and present it in a way that is pleasing and natural to the ear. ... in my opinion, the Analogue Productions pressings are now THE definitive issue of each Beach Boys album, and will be my reference copies until if and when something better comes along — which may be never.\" — Lee Dempsey,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eEndless Summer Quarterly\u003c\/em\u003e, Summer 2015 Edition\u003c\/p\u003e\n\u003cp\u003eA musical legacy that began in Hawthorne, California and went on to conquer the world. Analogue Productions presents the ultimate pressings of 14 essential Beach Boys albums! Mastered by Kevin Gray, most from the original master tapes, and plated and pressed by Quality Record Pressings, the finest LP pressing facility in the world, these are awesome recordings to experience. And the look of each album befits its sonic superiority! Presented in \"old school\" Stoughton tip-on jackets, these time honored favorites shine brighter than the originals!\u003c\/p\u003e\n\u003cp\u003eWorth noting on\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eSurf's Up\u003c\/em\u003e is Stephen Desper's engineering work — the entire album was mixed to a center channel quad matrix that he was developing at the time.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eSurf's Up\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003ehit the Top 30 on its first release, reaching No. 29 on the\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eBillboard\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eLP charts — the highest chart placement the group had had since 1967. At the time of its release, Surf's Up was hailed by many as a comeback for The Beach Boys, who were beginning to attract raves for their live performances, including highly acclaimed sets at New York's legendary Carnegie Hall.\u003c\/p\u003e\n\u003cp\u003eCarl Wilson makes solid contributions on\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eSurf's Up\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003ewith \"Long Promised Road\" and \"Feel Flows,\" and the album also features stellar tracks by Al Jardine and Mike Love, as well as Bruce Johnston's most enduring composition, the gently nostalgic \"Disney Girls (1957),\" but the album's twin jewels are both from Brian Wilson — \"Til I Die\" and the title track — one of the centerpieces of the then-unreleased\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eSmile\u003cspan\u003e \u003c\/span\u003e\u003c\/em\u003e(cowritten by lyricist Van Dyke Parks and here given that album's \"Child Is Father to the Man\" as a glorious coda.) \u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eSurf's Up\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003etrack \"A Day in the Life of a Tree\" is the first in a series of Brian's songs that close the album. It's simultaneously one of Brian Wilson's most deeply touching and unusual compositions; he is the narrator and object of the song (though not the vocalist; co-writer Jack Rieley lends a hand), lamenting his long life amid the pollution and grime of a city park while the somber tones of a pipe organ build atmosphere. \"Til I Die,\" isn't the love song the title suggests; it's a haunting, fatalistic piece of pop surrealism that appeared to signal Brian's retirement from active life.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003eRatings\u003c\/strong\u003e : \u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\u003cspan size=\"3\"\u003e\u003cspan size=\"3\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eAllMusic : 4 \/ 5 , Discogs : 4.21 \/ 5 ,   HiFi News : Sound Quality = 91% \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":40748021219479,"sku":"AAPP 070","price":65.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/the-beach-boys-surf-s-up-audiosoundmusic-1.jpg?v=1719852347"},{"product_id":"various-artists-the-wonderful-sounds-of-male-vocals","title":"The Wonderful Sounds Of Male Vocals (2LP)","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCOMPILATION\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e2 LPs,  Gatefold, Deluxe, Stoughton Tip-On Jacket. Liner Notes By Michael Fremer\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 \u0026amp; Live\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : \u003cspan data-mce-fragment=\"1\"\u003eQuality Record Pressings\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Analogue Productions\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by Ryan K. Smith at Sterling Sound\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003eReleased in 2020\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cbr\u003eTracks :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv\u003e\n\u003cp\u003eSide A:\u003c\/p\u003e\n\u003cp style=\"padding-left: 60px;\"\u003eI'm Confessin' (That I Love You) - Dean Martin\u003c\/p\u003e\n\u003cp style=\"padding-left: 60px;\"\u003eArms Of A Woman - Amos Lee\u003c\/p\u003e\n\u003cp style=\"padding-left: 60px;\"\u003eSilver Blue - JD Souther\u003c\/p\u003e\n\u003cp style=\"padding-left: 60px;\"\u003eTry Me One More Time - Tennessee Ernie Ford\u003c\/p\u003e\n\u003cp style=\"padding-left: 60px;\"\u003eIt Feels Like Rain - Aaron Neville\u003c\/p\u003e\n\u003cp\u003eSide B:\u003c\/p\u003e\n\u003cp style=\"padding-left: 60px;\"\u003eAmie - Pure Prairie League\u003c\/p\u003e\n\u003cp style=\"padding-left: 60px;\"\u003e(I Left My Heart) In San Francisco - Tony Bennett with Ralph Sharon \u0026amp; His Orchestra \u003cstrong data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cspan style=\"color: #ff8000;\"\u003e\u003ca data-mce-fragment=\"1\" style=\"color: #ff8000;\" title=\"vinyl featuring Tony Bennett\" href=\"https:\/\/www.audiosoundmusic.com\/fr\/collections\/tony-bennett\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/fr\/collections\/tony-bennett\"\u003e[click here to see more vinyl featuring Tony Bennett]\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp style=\"padding-left: 60px;\"\u003eBlue Bayou - Roy Orbison \u003cstrong data-mce-fragment=\"1\"\u003e\u003ca data-mce-fragment=\"1\" title=\"vinyl featuring Roy Orbison\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/roy-orbison\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/roy-orbison\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"color: #ff8000;\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Roy Orbison]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp style=\"padding-left: 60px;\"\u003eGeorgia On My Mind - Willie Nelson \u003cstrong data-mce-fragment=\"1\"\u003e\u003ca data-mce-fragment=\"1\" title=\"vinyl featuring Willie Nelson\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/willie-nelson\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/willie-nelson\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"color: #ff8000;\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Willie Nelson]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp style=\"padding-left: 60px;\"\u003eSympathy For A Train - Willis Alan Ramsey\u003c\/p\u003e\n\u003cp\u003eSide C:\u003c\/p\u003e\n\u003cp style=\"padding-left: 60px;\"\u003eRamblin' Boy (Live at Carnegie Hall) - Pete Seeger (The Weavers)\u003c\/p\u003e\n\u003cp style=\"padding-left: 60px;\"\u003eIn My Room (Stereo Version) - The Beach Boys \u003ca data-mce-fragment=\"1\" title=\"vinyl featuring The Beach Boys\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/beach-boys\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/beach-boys\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"color: #ff8000;\" data-mce-style=\"color: #ff8000;\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e[click here to see more vinyl featuring the Beach Boys]\u003c\/strong\u003e\u003c\/span\u003e\u003c\/a\u003e\u003c\/p\u003e\n\u003cp style=\"padding-left: 60px;\"\u003eBrand New '64 Dodge - Greg Brown\u003c\/p\u003e\n\u003cp style=\"padding-left: 60px;\"\u003eScarlet Ribbons - Harry Belafonte \u003cstrong data-mce-fragment=\"1\"\u003e\u003ca data-mce-fragment=\"1\" title=\"Vinyl featuring Harry Belafonte\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/harry-belafonte\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/harry-belafonte\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"color: #ff8000;\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Harry Belafonte]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp style=\"padding-left: 60px;\"\u003e(There'll Be) Peace In The Valley (For Me) [Take 3] - Elvis Presley \u003cstrong data-mce-fragment=\"1\"\u003e\u003ca data-mce-fragment=\"1\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/elvis-presley\" title=\"vinyl featuring Elvis Presley\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/elvis-presley\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"color: #ff8000;\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Elvis Presley]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide D:\u003c\/p\u003e\n\u003cp style=\"padding-left: 60px;\"\u003eLosing Hand - Harry Belafonte \u003cstrong data-mce-fragment=\"1\"\u003e\u003ca data-mce-fragment=\"1\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/harry-belafonte\" title=\"Vinyl featuring Harry Belafonte\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/harry-belafonte\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"color: #ff8000;\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Harry Belafonte]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp style=\"padding-left: 60px;\"\u003eSpanish Jack - Willy DeVille\u003c\/p\u003e\n\u003cp style=\"padding-left: 60px;\"\u003eFever - Elvis Presley \u003cstrong data-mce-fragment=\"1\"\u003e\u003ca data-mce-fragment=\"1\" title=\"vinyl featuring Elvis Presley\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/elvis-presley\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/elvis-presley\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"color: #ff8000;\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Elvis Presley]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp style=\"padding-left: 60px;\"\u003eDid Somebody Make A Fool Out Of You - Tony Joe White\u003c\/p\u003e\n\u003cp style=\"padding-left: 60px;\"\u003eCoconut - Harry Nilsson \u003cstrong data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"color: #ff8000;\" data-mce-style=\"color: #ff8000;\"\u003e\u003ca data-mce-fragment=\"1\" style=\"color: #ff8000;\" title=\"vinyl featuring harry nilsson\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/harry-nilsson\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/harry-nilsson\" data-mce-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 style=\"padding-left: 30px;\"\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAward\u003c\/strong\u003e :\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eTAS Super LP List! Special Merit: Informal\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp\u003e\"Analogue Productions returns with another in its very popular 'Wonderful Sounds' series that began with a Christmas compilation and followed up in 2018 with a female vocalist assemblage. Like those two, AP's Chad Kassem selected the tunes from among titles he's licensed over the years for whole album reissues on SACD and AAA vinyl.... Use this compilation as a 'listening booth' to discover unfamiliar music or just enjoy song after great well-recorded 'demo quality' song. While some like Aaron Neville's cover of John Hiatt's 'Feels Like Rain' and The Beach Boys' 'In My Room' will be familiar others probably won't be — like Willis Alan Ramsey's 'Sympathy for a Train,' Willy DeVille's 'Spanish Jack' and perhaps JD Souther's 'Silver Blue' (with Stanley Clarke on bass). Many fans of Belafonte at Carnegie Hall have never heard the encore 'Scarlet Ribbons,' which is here too.\" Michael Fremer, AnalogPlanet.com.\u003c\/p\u003e\n\u003cp\u003e\"Can't stop exploring The Wonderful Sounds Of Male Vocals! The album is stunning not only because of the exemplary high standard of recording it showcases, but also because of the satisfying range of artists and music genres presented across the four sides. There are wonderful surprises to discover as well as wonderful sounds.\" — Kevin Howlett\u003c\/p\u003e\n\u003cp\u003eKevin Howlett is an award-winning U.K.-based radio producer and writer. He's been closely associated with The Beatles throughout his long career, having written numerous books about the group as well as making radio documentaries about them for the BBC and Apple Corps. He was deeply involved in the recent super-deluxe editions of Sgt. Pepper, \"The White Album\" and Abbey Road, both writing the books and researching the original session tapes. Other artists and companies Howlett has documented for radio or in books include David Bowie, Leonard Cohen, Paul Simon, Jimmy Webb, Frank Zappa, Elektra Records and Ortofon.\u003c\/p\u003e\n\u003cp\u003eReady for another go with A-list caliber demo tracks chosen by the man himself, Acoustic Sounds founder and CEO Chad Kassem? Here in our Analogue Productions Wonderful Sounds series, we have a treat for you — following up on The Wonderful Sounds of Christmas, and Female Vocals, we've put together The Wonderful Sounds of Male Vocals — stone-cold killers from the first song to the last\u003c\/p\u003e\n\u003cp\u003eWhen you want to show off your hi-fi system's potential, why waste time with multiple LPs? Skip the searching, un-sleeving, re-sleeving and more — and give your audiophile friends what they like to hear. Grab this album and you'll hear show stoppers by Amos Lee, Dean Martin, Aaron Neville, Roy Orbison, Willie Nelson, Pure Prairie League, Harry Belafonte, Pete Seeger, The Beach Boys, Willy DeVille, Greg Brown, JD Souther, Tennessee Ernie Ford, Tony Bennett, Harry Nilsson, Tony Joe White — and what would a male vocal compilation be without the truly great Elvis Presley? Just how good older recordings can sound when the touch of an exceptional mastering engineer is involved is demonstrated by the matchless Ryan K. Smith at Sterling Sound.\u003c\/p\u003e\n\u003cp\u003eLike others in our Wonderful Sounds series, this album works well as entertainment and as a great sampler of the LPs, mostly released by Analogue Productions.\u003c\/p\u003e\n\u003cp\u003eMichael Fremer, of AnalogPlanet.com and Stereophile Magazine, walks you through each track and its historic place with very thorough and entertaining liners.\u003c\/p\u003e\n\u003cp\u003ePlating and pressing was done at Quality Record Pressings, where Gary Salstrom and his crew manufacture the world's best-sounding LPs with their exceptionally quiet playing surfaces.\u003c\/p\u003e\n\u003cp\u003eFrom \"Fever\" to \"Spanish Jack,\" and \"Amie\" to \"Blue Bayou\" and everything in-between — \"Georgia on My Mind,\" \"(I Left My Heart) In San Francisco,\" \"Silver Blue\" and more — you'll be relishing this LP with each play. Make the easy selection and enjoy listening.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003eRatings\u003c\/strong\u003e : \u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\u003cspan size=\"3\"\u003e\u003cspan size=\"3\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eDiscogs : 4.78 \/ 5 ,  Michael Fremer : 10\/11 Music, 10\/11 Sonics\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003ch1\u003e\u003c\/h1\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40750345060503,"sku":"AAPP 131","price":125.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/the-wonderful-sounds-of-male-vocals-2lp-audiosoundmusic-1.jpg?v=1719852369"},{"product_id":"al-stewart-past-present-future","title":"Al Stewart - Past Present Future","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAcoustic Guitar – Al Stewart \u003ca title=\"vinyl \u0026amp; SACD featuring AI Stewart\" href=\"https:\/\/www.audiosoundmusic.com\/fr\/collections\/al-stewart\"\u003e\u003cspan style=\"color: rgb(255, 128, 0);\"\u003e[click here to see more products featuring AI Stewart]\u003c\/span\u003e\u003c\/a\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAcoustic Guitar [2nd] – Isaac Guillory, Peter Berryman\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAcoustic Guitar – Isaac Guillory\u003c\/strong\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBacking Vocals – John Donelly, Kevin Powers, Krysia Kocjan, Mick Welton\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBass – Brian Odgers, Bruce Thomas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eConcertina – Alistair Anderson\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDrums – John Wilson\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eElectric Guitar – Tim Renwick\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eKeyboards – Bob Andrews, Bob Sargeant, Peter Woods, Rick Wakeman, Tim Hinkley\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMandolin – Dave Swarbrick, Haim Romano\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePercussion – Frank Ricotti, Roger Meddows Taylor\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePiano Accordion – Peter Woods\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSteel Drums – Lennox James, Luciano Bravo, Michael Oliver\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSteel Guitar - B.J. Cole\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSynthesizer – Francis Monkman\u003c\/strong\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eArranged by Richard Hewson\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by Al Stewart\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 : \u003c\/strong\u003e\u003cstrong\u003eunspecified\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 : CBS\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded at Trident Sound Studios Interpak I by Shorewood Packaging Co. Ltd., England\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineered \u0026amp; mixed by  Mike Stone\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by John Anthony\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by Friday Music's Joe Reagoso from Original Janus Records Tapes\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 2015\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eOld Admirals\u003c\/li\u003e\n\u003cli\u003eWarren Harding\u003c\/li\u003e\n\u003cli\u003eSoho (Needless to Say)\u003c\/li\u003e\n\u003cli\u003eThe Last Day of June 1934\u003c\/li\u003e\n\u003cli\u003ePost World War Two Blues\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eRoads to Moscow\u003c\/li\u003e\n\u003cli\u003eTerminal Eyes\u003c\/li\u003e\n\u003cli\u003eNostradamus\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 good as portions of it were, Orange was essentially a transitional effort, the necessary bridge to Past, Present \u0026amp; Future, the record where Al Stewart truly begins to discover his voice. This is largely through his decision to indulge his fascination with history and construct a concept album that begins with \"Old Admirals\" and ends with \"Nostradamus\" and his predictions for the future. A concept like this undoubtedly will strike prog warning bells in the minds of most listeners but, ironically, he has stripped back most of the prog trappings from Orange, settling into a haunting folk bed for these long, winding tales. If anything, this results in an album that is a bit too subdued, but even so, it's apparent that Stewart has finally found his muse, focusing his songwriting and intent to a greater extent than ever before. Now, the key was to find the same sense of purpose in record-making -- he didn't quite get it here, but he would the next time around.\" \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 : 3 \/ 5 , Discogs : 3,91 \/ 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":40789403959447,"sku":"FRM-3063","price":55.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/al-stewart-past-present-future-audiosoundmusic-1.jpg?v=1727532300"},{"product_id":"al-stewart-time-passages","title":"Al Stewart - Time Passages","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAcoustic Guitar – Al Stewart \u003ca title=\"vinyl \u0026amp; SACD featuring AI Stewart\" href=\"https:\/\/www.audiosoundmusic.com\/fr\/collections\/al-stewart\"\u003e\u003cspan style=\"color: rgb(255, 128, 0);\"\u003e[click here to see more products featuring AI Stewart]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAcoustic Guitar [2nd] – Isaac Guillory, Peter Berryman\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAcoustic Guitar – Isaac Guillory\u003c\/strong\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBacking Vocals – John Donelly, Kevin Powers, Krysia Kocjan, Mick Welton\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBass – Brian Odgers, Bruce Thomas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eConcertina – Alistair Anderson\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDrums – John Wilson\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eElectric Guitar – Tim Renwick\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eKeyboards – Bob Andrews, Bob Sargeant, Peter Woods, Rick Wakeman, Tim Hinkley\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMandolin – Dave Swarbrick, Haim Romano\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePercussion – Frank Ricotti, Roger Meddows Taylor\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePiano Accordion – Peter Woods\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSteel Drums – Lennox James, Luciano Bravo, Michael Oliver\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSteel Guitar - B.J. Cole\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSynthesizer – Francis Monkman\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eArranged by Richard Hewson\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by Al Stewart\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, gatefold sleeve\u003c\/strong\u003e \u003c\/p\u003e\n\u003cp\u003e\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 : \u003c\/strong\u003e\u003cstrong\u003eunspecified\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 : RCA Victor\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Alan Parsons\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by Friday Music's Joe Reagoso From Original 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 2015\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eTime Passages\u003c\/li\u003e\n\u003cli\u003eValentina Way\u003c\/li\u003e\n\u003cli\u003eLife In Dark Water\u003c\/li\u003e\n\u003cli\u003eA Man For All Seasons           \u003cbr\u003e\n\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B\u003c\/p\u003e\n\u003col start=\"5\"\u003e\n\u003cli\u003eAlmost Lucy\u003c\/li\u003e\n\u003cli\u003eThe Palace Of Versailles\u003c\/li\u003e\n\u003cli\u003eTimeless Skies\u003c\/li\u003e\n\u003cli\u003eSong On The Radio\u003c\/li\u003e\n\u003cli\u003eEnd Of The Day\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\"Year of the Cat brought Al Stewart a genuine worldwide smash with its title track, and for its successor, he did make a few concessions. These, however, were slight -- just a slight increase of soft rock productions, an enhancement of the lushness that marked not only Year of the Cat but also Modern Times. These happened to be welcome adjustments to Stewart's sound, since they increased the dreamy continental elegance at the core of his work. And that's why Time Passages is the equal of Year of the Cat -- it may be more streamlined, but the adjustments to his sound and the concessions to the mainstream just increase the soft grace of his eloquent historical pop epics. It's possible to view this as too precious, because it is pitched at an audience who believes the common-day concerns of pop are piffle, but this is exceptionally well-crafted, from Stewart's songs, where even three-minute songs seem like epics, to Alan Parsons' cinematic arrangements and productions. This added concentration on the texture of the recording, ensuring that it was clean, spacious, and gentle, with a welcoming surface. Of course, this means that Time Passages can work very well as background music, but it also reveals much upon concentrated listening -- enough to make it stand proudly next to Modern Times and Year of the Cat as one of Al Stewart's very best albums.\" \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 : 3,87 \/ 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":40789583397015,"sku":"FRM-4190","price":55.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/al-stewart-time-passages-audiosoundmusic-1.jpg?v=1727532510"},{"product_id":"al-stewart-year-of-the-cat","title":"Al Stewart - Year Of The Cat","description":"\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003eGuitar, Keyboards – Al Stewart  \u003ca title=\"vinyl \u0026amp; SACD featuring AI Stewart\" href=\"https:\/\/www.audiosoundmusic.com\/fr\/collections\/al-stewart\"\u003e\u003cspan style=\"color: rgb(255, 128, 0);\"\u003e[click here to see more products featuring AI Stewart]\u003c\/span\u003e\u003c\/a\u003e \u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGuitar – Peter White, Tim Renwick\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eKeyboards – Don Lobster, Peter Wood\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAlto Saxophone – Phil Kenzie\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBacking Vocals – David Pack, John Perry, Stuart, Tony Rivers\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBass – George Ford\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDrums, Percussion – Stuart Elliot\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHarmonica – Graham Smith\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eKeyboards – Al Stewart, Don Lobster, Peter Wood\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTriangle – Marion Driscoll\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eViolin – Bobby Bruce\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eArranged by Andrew Powell\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by Al Stewart\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 : \u003c\/strong\u003e\u003cstrong\u003eRTI\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 : RCA Victor\u003c\/strong\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded at Abbey Road Studios\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Alan Parsons\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 1976\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2012\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\u003cdiv style=\"padding-left: 30px;\"\u003e1 Lord Grenville\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e2 On The Border\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e3 Midas Shadow\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e4 Sand In Your Shoes\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e5 If It Doesn't Come Naturally, Leave It\u003c\/div\u003e\n\u003cp\u003eSide B:\u003c\/p\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e1 Flying Sorcery\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e2 Broadway Hotel\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e3 One Stage Before\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e4 Year Of The Cat\u003c\/div\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\"Al Stewart had found his voice on Past, Present \u0026amp; Future and found his sound on Modern Times. He then perfected it all on 1976's Year of the Cat, arguably his masterpiece. There is no overarching theme here, as there was on its two immediate predecessors, but the impossible lushness of Alan Parsons' production and Stewart's evocative Continental narratives give the record a welcome feeling of cohesion that keeps the record enchanting as it moves from \"Lord Grenville\" to \"Midas Shadow\" to \"Broadway Hotel,\" before it ends with the haunting title track. Along the way, Stewart doesn't dwell too deeply in any area, preferring to trace out mysteries with his evocative lyrical imagery and a spinning array of self-consciously sophisticated music, songs that evoke American and European folk and pop with a deliberate grace. This could be unbearably precious if it didn't work so well. Stewart is detached from his music, but only in the sense that he gives this album a stylish elegance, and Parsons is his perfect foil, giving the music a rich, panoramic sweep that mimics Stewart's globe-trotting songs. The result is a tremendous example of how good self-conscious progressive pop can be, given the right producer and songwriter -- and if you're a fan of either prog or pop and haven't given Al Stewart much thought, prepare to be enchanted.\" \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 : 4,01 \/ 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":40789685698711,"sku":"FRM-7022","price":80.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/al-stewart-year-of-the-cat-audiosoundmusic-1.jpg?v=1727532696"},{"product_id":"billy-joel-streetlife-serenade","title":"Billy Joel - Streetlife Serenade","description":"\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eKeyboards, Synthesizer [Moogs] – Billy Joel \u003cspan style=\"color: #ff8000;\"\u003e \u003ca data-mce-fragment=\"1\" style=\"color: #ff8000;\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/billy-joel\" title=\"vinyl featuring billy joel\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/billy-joel\"\u003e[click here to see more vinyl featuring Billy Joel]\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGuitar – Al Hertzberg, Art Munson, Don Evans, Gary Dalton, Mike Deasy, Michael Stewart, Richard Bennett, Roj Rathor\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBass – Emory Gordy, Larry Knechtel, Wilton Felder\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCongas – Joe Clayton\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDrums – Ron Tutt\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOrgan – William Smith\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePedal Steel Guitar, Banjo – Tom Whitehorse\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eArranged by Billy Joel, Michael Stewar\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by Billy Joel\u003cspan\u003e \u003c\/span\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 : RTI\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Friday Music\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Columbia\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded at Devonshire Studios by Ron Malo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Michael Stewart\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by Friday Music's Joe Reagoso \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1974\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2014\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eStreetlife Serenader\u003c\/li\u003e\n\u003cli\u003eLos Angelenos\u003c\/li\u003e\n\u003cli\u003eThe Great Suburban Showdown\u003c\/li\u003e\n\u003cli\u003eRootbeer Rag\u003c\/li\u003e\n\u003cli\u003eRoberta\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\u003eThe Entertainer\u003c\/li\u003e\n\u003cli\u003eLast of The Big Time Spenders\u003c\/li\u003e\n\u003cli\u003eWeekend Song\u003c\/li\u003e\n\u003cli\u003eSouvenir\u003c\/li\u003e\n\u003cli\u003eThe Mexican Connection\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\"Piano Man gave Billy Joel his long-desired big hit, but it also somewhat threw him for a loop. He had been driven on Piano Man, determined to deliver an album that established him as both a serious artist and a commercial contender. Having achieved at least one of those goals (critics never gave Joel much credit), he had to release another album quickly if he wanted to keep his profile high, which he did. The problem is, Joel had put all of his best songs on Piano Man, leaving him with a shortage of material. Furthermore, promotional duties ate up his time, leaving him little to write new songs. As a result, Streetlife Serenade, the crucial third album, was a bit of a slump. Stylistically, it was a reiteration of its predecessor's Tumbleweed Connection obsessions, spiked with, of all things, Rockford Files synthesizers and ragtime pulled from The Sting. That isn't a facetious reference, either -- it's no coincidence that the record's single and best song, \"The Entertainer,\" shares a title with the Scott Joplin rag that provided The Sting with a main theme. Joel is attempting a grand Americana lyrical vision, stretching from the Wild West through the Depression to \"Los Angelenos\" and \"The Great Suburban Showdown.\" It doesn't work, not only because of his shortcomings as a writer, but because he didn't have the time to pull it all together. There are no less than two instrumentals, and even if \"Root Beer Rag\" (yet another sign of The Sting's influence) is admittedly enjoyable, they're undeniably fillers, as is much of the second side. Since he has skills, he's able to turn out a few winners -- \"Roberta,\" a love song in the vein of Cold Spring Harbor, the mournful \"Streetlife Serenader,\" and the stomping \"Los Angelenos\" -- but it was the astonishingly bitter \"The Entertainer,\" where he not only disparages his own role, but is filled with venom over \"Piano Man\" being released in a single edit, that made the subtext clear: he'd had enough with California, enough with the music industry, enough with being a sensitive singer\/songwriter. It was time for Billy to say goodbye to Hollywood and head back home to New York.\" AllMusic Review by Stephen Thomas Erlewine \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eAllMusic : 3 \/ 5 , Discogs : 3,76 \/ 5\u003c\/p\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003ch1\u003e\u003c\/h1\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40793303941271,"sku":"FRM-33146","price":55.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/billy-joel-streetlife-serenade-audiosoundmusic-1.jpg?v=1719852654"},{"product_id":"billy-joel-the-bridge","title":"Billy Joel - The Bridge","description":"\u003cp\u003e\u003cstrong\u003eMusic By, Lyrics By, Keyboards, Synthesizer [Moogs] – Billy Joel \u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cspan style=\"color: #ff8000;\"\u003e\u003ca title=\"vinyl featuring billy joel\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/billy-joel\" style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/billy-joel\"\u003e[click here to see more vinyl featuring Billy Joel]\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGuitar – Al Hertzberg, Art Munson, Don Evans, Gary Dalton, Mike Deasy, Michael Stewart*, Richard Bennett, Roj Rathor\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBass – Emory Gordy, Larry Knechtel, Wilton Felder\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCongas – Joe Clayton\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDrums – Ron Tutt\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOrgan – William Smith\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePedal Steel Guitar, Banjo – Tom Whitehorse\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eArranged by Billy Joel, Michael Stewart\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by Billy Joel\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 : RTI\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Friday Music\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Columbia\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded at Devonshire Studios by Ron Malo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Michael Stewart\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by Friday Music's Joe Reagoso \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1974\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2014\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\u003eStreetlife Serenader\u003c\/li\u003e\n\u003cli\u003eLos Angelenos\u003c\/li\u003e\n\u003cli\u003eThe Great Suburban Showdown\u003c\/li\u003e\n\u003cli\u003eRootbeer Rag\u003c\/li\u003e\n\u003cli\u003eRoberta\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\u003eThe Entertainer\u003c\/li\u003e\n\u003cli\u003eLast of The Big Time Spenders\u003c\/li\u003e\n\u003cli\u003eWeekend Song\u003c\/li\u003e\n\u003cli\u003eSouvenir\u003c\/li\u003e\n\u003cli\u003eThe Mexican Connection\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eReviews :\u003c\/p\u003e\n\u003cp\u003e“Piano Man gave Billy Joel his long-desired big hit, but it also somewhat threw him for a loop. He had been driven on Piano Man, determined to deliver an album that established him as both a serious artist and a commercial contender. Having achieved at least one of those goals (critics never gave Joel much credit), he had to release another album quickly if he wanted to keep his profile high, which he did. The problem is, Joel had put all of his best songs on Piano Man, leaving him with a shortage of material. Furthermore, promotional duties ate up his time, leaving him little to write new songs. As a result, Streetlife Serenade, the crucial third album, was a bit of a slump. Stylistically, it was a reiteration of its predecessor's Tumbleweed Connection obsessions, spiked with, of all things, Rockford Files synthesizers and ragtime pulled from The Sting. That isn't a facetious reference, either -- it's no coincidence that the record's single and best song, \"The Entertainer,\" shares a title with the Scott Joplin rag that provided The Sting with a main theme. Joel is attempting a grand Americana lyrical vision, stretching from the Wild West through the Depression to \"Los Angelenos\" and \"The Great Suburban Showdown.\" It doesn't work, not only because of his shortcomings as a writer, but because he didn't have the time to pull it all together. There are no less than two instrumentals, and even if \"Root Beer Rag\" (yet another sign of The Sting's influence) is admittedly enjoyable, they're undeniably fillers, as is much of the second side. Since he has skills, he's able to turn out a few winners -- \"Roberta,\" a love song in the vein of Cold Spring Harbor, the mournful \"Streetlife Serenader,\" and the stomping \"Los Angelenos\" -- but it was the astonishingly bitter \"The Entertainer,\" where he not only disparages his own role, but is filled with venom over \"Piano Man\" being released in a single edit, that made the subtext clear: he'd had enough with California, enough with the music industry, enough with being a sensitive singer\/songwriter. It was time for Billy to say goodbye to Hollywood and head back home to New York.” AllMusic Review by Stephen Thomas Erlewine\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eRatings :\u003c\/p\u003e\n\u003cp\u003eAllMusic : 3 \/ 5 , Discogs : 3,76 \/ 5\u003c\/p\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003ch1\u003e\u003c\/h1\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40793449332887,"sku":"FRM-33146","price":55.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/billy-joel-the-bridge-audiosoundmusic-1.jpg?v=1719852654"},{"product_id":"copy-of-boz-scaggs-boz-scaggs-speaker-corners","title":"Boz Scaggs - Boz Scaggs (Friday Music)","description":"\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\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/boz-scaggs\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\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\u003eBarry 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\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 : 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 : Atlantic\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eRecording: 1969 at Muscle Shoals Sound Recorders, Muscle Shoals, AL, by Martin Greene\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eProduction: Boz Scaggs, Jann Wenner \u0026amp; Marlin Greene\u003cbr\u003e\u003c\/span\u003e\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 1969\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\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\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 : 4.5 \/ 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":40793893306519,"sku":"FRM 9003","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-friday-music-audiosoundmusic-1.jpg?v=1719852662"}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/collections\/vinyl-pop-audiosoundmusic.jpg?v=1719851111","url":"https:\/\/www.audiosoundmusic.com\/collections\/pop.oembed?page=13","provider":"AudioSoundMusic","version":"1.0","type":"link"}