{"title":"Vinyl promotions","description":"","products":[{"product_id":"ornette-coleman-the-shape-of-jazz-to-come","title":"Ornette Coleman - The Shape Of Jazz To Come (Speakers Corner)","description":"\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eOrnette Coleman - alto saxophone \u003cspan style=\"color: #ff8000;\"\u003e\u003ca data-mce-fragment=\"1\" style=\"color: #ff8000;\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/ornette-coleman\" title=\"Vinyl featuring Ornette Coleman\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/ornette-coleman\"\u003e[click here to see more vinyl featuring Ornette Coleman]\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eDon Cherry (cornet), Charlie Haden (bass), Billy Higgins (drums)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eWritten by Ornette Coleman\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Speaker corners\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eOriginal Label :  Atlantic\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eRecording: May 1959 at Radio Recorders, Hollywood, CA, by Bones Howe\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eProduction: Nesuhi Ertegun\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1959\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2021\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\u003cp\u003e                1. Lonely Woman\u003c\/p\u003e\n\u003cp\u003e                2. Eventually\u003c\/p\u003e\n\u003cp\u003e                3. Peace\u003c\/p\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003cp\u003e                1. Focus on Sanity\u003c\/p\u003e\n\u003cp\u003e                2. Congeniality\u003c\/p\u003e\n\u003cp\u003e                3. Chronology\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eAwards:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eRolling Stone 500 Greatest Albums of All Time - Rated 248\/500\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\" mce-data-marked=\"1\"\u003e\u003cstrong\u003eStereophile Records To Die For - 2012\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eReviews :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e« Ornette Coleman's Atlantic debut, The Shape of Jazz to Come, was a watershed event in the genesis of avant-garde jazz, profoundly steering its future course and throwing down a gauntlet that some still haven't come to grips with. The record shattered traditional concepts of harmony in jazz, getting rid of not only the piano player but the whole idea of concretely outlined chord changes. The pieces here follow almost no predetermined harmonic structure, which allows Coleman and partner Don Cherry an unprecedented freedom to take the melodies of their solo lines wherever they felt like going in the moment, regardless of what the piece's tonal center had seemed to be. Plus, this was the first time Coleman recorded with a rhythm section -- bassist Charlie Haden and drummer Billy Higgins -- that was loose and open-eared enough to follow his already controversial conception. Coleman's ideals of freedom in jazz made him a feared radical in some quarters; there was much carping about his music flying off in all directions, with little direct relation to the original theme statements. If only those critics could have known how far out things would get in just a few short years; in hindsight, it's hard to see just what the fuss was about, since this is an accessible, frequently swinging record. It's true that Coleman's piercing, wailing alto squeals and vocalized effects weren't much beholden to conventional technique, and that his themes often followed unpredictable courses, and that the group's improvisations were very free-associative. But at this point, Coleman's desire for freedom was directly related to his sense of melody -- which was free-flowing, yes, but still very melodic. Of the individual pieces, the haunting \"Lonely Woman\" is a stone-cold classic, and \"Congeniality\" and \"Peace\" aren't far behind. Any understanding of jazz's avant-garde should begin here. » AllMusic Review by Steve Huey\u003cbr\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eIt was John Lewis, pianist of the Modern Jazz Quartet, who brought Ornette Coleman to the renowned Atlantic label, having heard him play in Los Angeles. »Ornette Coleman is doing the only really new thing in jazz …« he reportedly said. The present initial Atlantic album was released just in time to coincide with the New York debut of the Coleman Quartet in November 1959. Lewis was sure that Coleman would open up new paths for jazz, and his opinion is reflected in the title of the album – \"The Shape Of Jazz To Come\". After the rather worn-out hard bop routine of the past years, this music was like a breath of fresh air. The fast numbers (\"Eventuality\", \"Chronology\") remind one of wildly hyped-up bebop. Other numbers (\"Congeniality\", \"Focus On Sanity\") juggle with catchy, almost folk like short motifs. This album contains two of Coleman’s most beautiful compositions: \"Peace\" and \"Lonely Woman\", which was later given lyrics and often heard in its vocal version. The Mulligan-Baker Quartet provided the model for the pianoless quartet – and when the band swings along once in a while with a moderato tempo, it is truly reminiscent of cool jazz. Be that as it may, the two wind instrumentalists just love the frenetic 'cry' and the intentionally 'imprecise' interplay. Clearly defined stanzas or traditional harmonic forms were not for them. The jazz musicologist Peter N. Wilson wrote: \"A record, which is not unjustifiably so entitled\" about this LP which was given 5 stars by the magazine Rolling Stone.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003e\u003cbr\u003eRatings :\u003c\/strong\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan\u003eAllmusic : 5\/5, Discogs \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\u003e4,06\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40399363932311,"sku":"SD 1317","price":30.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/ornette-coleman-the-shape-of-jazz-to-come-audiosoundmusic-1.jpg?v=1743329138"},{"product_id":"carla-thomas-the-queen-alone","title":"Carla Thomas - The Queen Alone","description":"\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003eCarla Thomas - vocal \u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/carla-thomas\" title=\"vinyl featuring Carla Thomas\" data-mce-fragment=\"1\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\"\u003e[click here to see more vinyl featuring Carla Thomas]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eWritten by Isaac Hayes (A2, A3, A4, A5, A6, B3), David Porter (A2, A3, A4, A5, A6, B3), Burt Bacharach (A1), Bob Hilliard (A1), Joe Shamwell (A2), Steve Cropper (A3), Eddie Floyd (B1), Alvertis Isbell (B1), Ben Weisman (B2), Clive Westlake (B2), Deanie Parker (B4), Homer Banks (B5), Allen Jones (B5)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Speakers Corner\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label :  Stax\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eRecorded in 1967 at Stax Studios, Memphis (TN)\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eProduced by Jim Stewart\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1967\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2018\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eTracks :\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eAny Day Now\u003c\/li\u003e\n\u003cli\u003eStop Thief\u003c\/li\u003e\n\u003cli\u003eI Take It My Baby\u003c\/li\u003e\n\u003cli\u003eI Want To Be Your Baby\u003c\/li\u003e\n\u003cli\u003eSomething Good (Is Going To Happen To You)\u003c\/li\u003e\n\u003cli\u003eWhen Tomorrow Comes\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eI’ll Always Have Faith In You\u003c\/li\u003e\n\u003cli\u003eAll I See Is You\u003c\/li\u003e\n\u003cli\u003eUnchanging Love\u003c\/li\u003e\n\u003cli\u003eGive Me Enough (To Keep Me Going)\u003c\/li\u003e\n\u003cli\u003eLie To Keep Me From Crying\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e« Carla Thomas was more than deserving of her title \"The Queen of Memphis Soul,\" but she was hardly oblivious to the sleeker, more pop-influenced sweet soul and uptown soul coming out of Detroit, Philadelphia and Chicago. One of her strongest albums, The Queen Alone isn't the work of someone who took a Memphis-only approach, but of someone who was well aware of what Gladys Knight, Dionne Warwick, Martha Reeves and others were up to. What's surprising is the fact that this album (reissued on CD in 1992) contains only two hits: the playful \"Something Good (Is Going to Happen to You),\" which made it to number 29 on Billboard's soul singles chart, and the idealistic, gospel-influenced ballad and number 11 R\u0026amp;B single \"I'll Always Have Faith in You.\" Songs ranging from the sweet and vulnerable \"I Want to Be Your Baby\" to the remorseful \"All I See Is You\" and the pessimistic \"Any Day Now\" (a song co-written by Burt Bacharach) weren't singles, but it wasn't for a lack of heartfelt singing. Drawing on both Southern and Northern soul, Queen Alone is a pleasant reminder that they were equally attractive options. » AllMusic Review by Alex Henderson\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e« Carla Thomas was Stax Records answer to the much more heralded crew of Motown female stars. Stax had Carla record with Otis Redding and she had hits as well with Rufus Thomas, her father. She deserved the moniker as the Queen of Memphis Soul. Carla had the proper blend of sweetness and sass to fit right in with the funky groove of Stax releases.\u003c\/p\u003e\n\u003cp\u003eSpeakers Corner, earlier this year, re-released, The Queen Alone, from 1967. With backing from Booker T and the Mgs, the Stax house band, and brass and string accompaniment, Thomas explores a mix of gospel influenced and pop fare of the period.  Six of the tracks were written by Isaac Hayes and David Porter of the Stax team.\u003c\/p\u003e\n\u003cp\u003eI found the Side B material to be more assertive and less of an attempt to channel traditional Motown than the Side A material. Her soulfulness is more effective without cloying strings that are utilized to present her as a chanteuse.\u003c\/p\u003e\n\u003cp\u003eThe album opens with Burt Bacharach’s “Any Day Now.” The orchestration drowns out Thomas’ vocals. It is followed by “Stop Thief” which is enhanced by some background vocalists to flesh out the lyrics. The upbeat “I Take It to My Baby” is upbeat and percussion driven. Next the ballad, “I Want to be Your Baby” is given a lush treatment with strings.\u003c\/p\u003e\n\u003cp\u003e“Something Good is Going to Happen to You” has a catchy arrangement with some call and response backing vocals. “When Tomorrow Comes” matches a Motown type presentation, quite silky, and the best tune on the A side. The flip side opens with “I’ll Always Have Faith in You.” It is a straight gospel type ballad arrangement and here, Carla is in her element. “All I See is You” builds up in intensity and its strings add rather than detract. “Unchanging Love” brings to mind Diana Ross, but is more earthy and heart felt.\u003c\/p\u003e\n\u003cp\u003e“Give Me Enough (To Keep Me Going)” utilizes a chamber type echo effect, that brought to mind something that Phil Spector might do, but in a much more scaled down version. “Lie to Keep Me From Crying” makes use of antiphony vocals.\u003c\/p\u003e\n\u003cp\u003eThis album seems like an effort from Stax to properly seek out which niche to market their Queen of Memphis soul. With that goal, they are partially successful here. » Jeff Krow, Audiophile Audition, Apr 25, 2018\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAmong all the majestic eminences in the music business, Carla Thomas reigned unmistakably as 'The Queen of Memphis Soul' on the Stax label with its special characteristics. The clear, dry and natural essential sound of this studio recording imparts the down-to-earth flair of the southern town Memphis and its musical tradition. With wonderful contemplation, the Queen begins her performance with a tautly arranged but pleasantly round and melting version of Burt Bacharach’s \"Any Day Now\". The reflective opening clearly signals that the human voice is of major importance here, no matter whether a restrained pulsating soul number (\"Stop Thief\") or a metallically ticking groove (\"I Take It To My Baby\") is on the track list. Even an occasional dip into the violin paint-pot (\"I Want To Be Your Baby\") is not an end in itself but serves exclusively to refine the diaphanous, gentle voice of the principal singer. In addition there is lush, groovy polyphony with a call-and-response concept (\"Somethings Good\") and intoxicating gospel-like antiphony (\"Lie To Keep Me From Crying\"), all good for keeping the soul of Soul together.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAllMusic : 4.5 \/ 5  ,  \u003c\/span\u003e\u003cspan\u003eDiscogs \u003c\/span\u003e: \u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e4,34\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5  , \u003c\/span\u003e\u003cspan\u003eRate Your Music \u003c\/span\u003e: \u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e3,53\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40403982188695,"sku":"S718","price":55.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/carla-thomas-the-queen-alone-audiosoundmusic-1.jpg?v=1743321290"},{"product_id":"aretha-franklin-unforgettable-a-tribute-to-dinah-washington","title":"Aretha Franklin - Unforgettable: A Tribute To Dinah Washington","description":"\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eAretha Franklin (piano, vocals) \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/aretha-franklin\" title=\"vinyl featuring Aretha Franklin\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/aretha-franklin\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Aretha Franklin]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eBuddy Lucas (hca, ts); Ernie Royal (tp); Bob Asher (tb); Teddy Charles (vib); Ernie Hayes (org, p); Paul Griffin (org)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eGeorge Duvivier - bass \u003ca title=\"Vinyl featuring George Duvivier\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/george-duvivier\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/george-duvivier\" data-mce-fragment=\"1\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-style=\"color: #ff8000;\" data-mce-fragment=\"1\"\u003e[click here to see more vinyl featuring George Duvivier]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eGary Chester (dr)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eWritten by \u003c\/strong\u003e\u003cstrong\u003eDinah Washington (B5), Irving Gordon (A1), Hank Williams (A2), Stanley Adams (A3), María Mendez Grever (A3), Johnny Mercer (A4), Doris Tauber (A4), Pearl Delaney (A5), Tom Delaney (A5), Leonard Feather (B1), Lionel Hampton (B1), Irving Berman (B2), Clyde Otis (B3), Ralph Rainger (B4), Leo Robin (B4), Henry Glover (B5), Morris Levy (B5), Titus Turner (B5)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Speakers Corner\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label :  Columbia\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eRecording: August 1964 in New York\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eProduction: Robert Mersey\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eOriginally released in 1964\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eReissued : May 2009\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eTracks :\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eUnforgettable\u003c\/li\u003e\n\u003cli\u003eCold, Cold Heart\u003c\/li\u003e\n\u003cli\u003eWhat A Diff'rence A Day Made\u003c\/li\u003e\n\u003cli\u003eDrinking Again\u003c\/li\u003e\n\u003cli\u003eNobody Knows The Way I Feel This Morning\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B : \u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eEvil Gal Blues\u003c\/li\u003e\n\u003cli\u003eDon't Say You're Sorry Again\u003c\/li\u003e\n\u003cli\u003eThis Bitter Earth\u003c\/li\u003e\n\u003cli\u003eIf I Should Lose You\u003c\/li\u003e\n\u003cli\u003eSoulville\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e« Since her youth Franklin had admired Dinah Washington, and it's a safe bet that the level of emotional commitment Washington brought to her work was a major influence on the blossoming style of Aretha, not to mention Washington's effortless sense of swing. Shortly before she died, Washington took appreciate notice of her acolyte as well. So Aretha's tribute to Washington is as logical as it is satisfying. Recorded when Aretha was just 21, UNFORGETTABLE is somewhat of a departure from her more R\u0026amp;B-oriented early work. However, the string arrangements of Johnny Mersey adn the jazzy bass work of George Duvivier mesh perfectly with Franklin's high-flying vocal fireworks. From the slow, subtle caress of \"What a Difference a Day Made\" to the organ-led blues of \"Nobody Knows the Way I Feel This Morning,\" the young Aretha is in total command of the material here, simultaneously paying homage to and progressing from the influence of Washington. » AllMusic Review by AllMusic\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e“Once Aretha Franklin started recording with Atlantic Records, her meteoric career was launched. She became a pop and r\u0026amp; b legend, dominating the music scene for decades. Like Ray Charles, she was able to take her gospel roots and transform them into artistic and commercial success. Her mesmerizing voice and emotional depth were unsurpassed. However, Franklin was originally signed to Columbia. From 1961-1967, Aretha released 9 albums that showcased her versatility in doo-wop, blues and jazz. Even with traditional material, she enjoyed some chart success. In 1964, Franklin recorded a tribute album (Unforgettable) to legendary singer Dinah Washington. In essence, this was handing off the torch from the recently deceased “Queen Of The Blues”  to her inevitable successor, “The Queen Of Soul”.\u003c\/p\u003e\n\u003cp\u003eSpeakers Corner Records has released a 180-gram vinyl re-mastering of Unforgettable. This album is stylishly produced with veteran session musicians and meticulous arrangements of Washington covers. While not possessing the visceral impact of her powerhouse future soul catalog, her prodigious talent emerges.  Side 1 opens with the eternal pop standard, “Unforgettable”. Nat “King” Cole initially popularized this song, but most agree that Dinah Washington’s 1959 version is historical. With a shading of tenor saxophone and Teddy Charles on vibes, strings add a tender counterpoint. Franklin glides into the first verse. While there is considerable subtlety in the vocals, the slow-burning intensity is there. Her deliberate phrasing with heart-aching, soulful accents build  until a rousing finish. “Cold Cold Heart” (by one of the greatest American songwriters, Hank Williams) has always been a country\/popular music crossover. This arrangement intermingles a country blues resonance with harmonica (Buddy Lucas), organ and piano-fueled gospel fervor. Aretha instinctively knows when to dial up the emotion, and the horns add some muscle. On another well-known song, “What A Diff’erence A Day Makes”, the singer’s precise elocution is timeless. Franklin channels the spirit of Washington on the jazz ballad, “Drinking Again”. It eventually transitions to soul testimony, reflecting the bitter melancholy of the context. A muted trumpet (Ernie Royal) and evocative saxophone (Buddy Lucas) complement the stellar vocals. In vintage 16-bar blues, “Nobody Knows The Way I Feel This Morning” is close to perfection. The listener can hear the visceral essence of “modern” Aretha Franklin as she brings this one home.\u003c\/p\u003e\n\u003cp\u003eSide 2 is compelling. “Evil Gal Blues” is a gritty performance and rivals the greats of this genre. A bigger swagger is augmented by Chicago-type horns and harmonica. This song (as pointed out by Leonard Feather in the incisive liner notes) became a staple of Aretha Franklin live performances throughout her career. It mirrors her larger-than-life musical persona. Switching gears, “Don’t Say Your Sorry Again” is pure torch song. The singer’s deep sentiment is balanced with a mellifluous trombone (Bob Asher) and gentle organ (Ernie Hayes). Additionally, various technical vocal skills, including vibrato are on display. There is an overt jazziness with Gary Chester’s crashing cymbals initiating a tempo change. Franklin covers back-to-back ballads (“This Bitter Earth”, “If I Should Lose You”) with commitment. The former showcases crystallized gospel wailing in homage to Mahalia Jackson (no doubt an inspiration to Washington and Franklin). The latter is equally moving (arranged like a 1950’s slow-dance orchestration) as Aretha displays her innate sense of timing. The finale (“Soulsville”) is revelatory. Here is the glimpse into the future of perhaps the greatest singer of all time. It is quintessential “Memphis-style” soul that simply blows the roof off. She not only offers incendiary lead vocals, but provides tracked-backup and piano. Even at the age of 21, her impactful artistry is clearly evident.\u003c\/p\u003e\n\u003cp\u003eSpeakers Corner has done an excellent job in re-mastering Unforgettable to 180-gram vinyl. The state-of-the-art 60’s Columbia Records “360 Sound” has been faithfully captured with a vibrant, balanced mix. The vinyl pressing is flawless, with no hisses or pops. The aforementioned Leonard Feather liner notes are insightful regarding the making of this album.” Robbie Gerson, Audiophile Audition, April 2020\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThese recordings were made before Aretha Franklin was honoured with such names as 'Lady Soul' or 'Soul Sister No. 1'. That the young, talented singer already possessed one of the most outstanding voices was confirmed by the great Dinah Washington who stated concisely but decisively: \"The girl has got soul.\"\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe present tribute album was recorded just a few months after Washington’s death and presents her most important and successful numbers, sung by her 23-year-old successor, who obviously feels quite comfortable when treading in the great singer’s footsteps. In \"Unforgettable\", a laid-back number with a string background, Aretha captivates the listener with her ever-changing vocal colouring and gospel-like ballad feeling. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIn the second number, \"Cold, Cold Heart\", there is already evidence of a shimmering, subliminal blues nuance which is shot through with pointed harp phrases and the 'sucking' sound of the Hammond organ. While an old-fashioned bluesy style supported by a powerful bigband is characteristic of \"Evil Gal Blues\", unconventional arrangements using obbligato trombone (\"Don’t Say You’re Sorry Again\") are also found in this fascinating and highly varied line-up of numbers. Now, more than 40 years after its release, this album pays tribute to two unforgettable interpreters of black music.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAllmusic : 4.5 \/ 5  ; \u003c\/span\u003e\u003cspan\u003eDiscogs \u003c\/span\u003e: \u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e4.00\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5 ; \u003c\/span\u003eAudiophile Audition : 4.5 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40405055340695,"sku":"CS 8963","price":79.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/aretha-franklin-unforgettable-a-tribute-to-dinah-washington-audiosoundmusic-1.jpg?v=1719851545"},{"product_id":"the-oscar-peterson-trio-exclusively-for-my-friends","title":"The Oscar Peterson Trio - Exclusively for My Friends - The Lost Tapes","description":"\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003eOscar Peterson - piano \u003cspan style=\"color: #ff8000;\"\u003e\u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/oscar-peterson\" title=\"vinyl featuring Oscar Peterson\" style=\"color: #ff8000;\" data-mce-fragment=\"1\"\u003e[click here to see more vinyl featuring Oscar Peterson]\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eRay Brown, Sam Jones - bass\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eEd Thigpen, Bobby Durham - drums\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eWritten by Michel Legrand (A5)   \u003cspan style=\"color: #ff8000;\"\u003e\u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/michel-legrand\" title=\"vinyl by Michel Legrand\" style=\"color: #ff8000;\" data-mce-fragment=\"1\"\u003e[click here to see more vinyl by Michel Legrand]\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eWritten by \u003c\/strong\u003e\u003cstrong\u003eOscar Peterson (A3, B5), Steve Allen (A1), Ray Brown (A1), Julian Robledo (A2), Dorothy Terriss (A2), Walter Gross (A4),  Jack Lawrence (A4), Jacques Demy (A5), Norman Gimbel (A5), Harold Arlen (A6), Ted Koehler (A6), Lee Adams (B1), Charles Strouse (B1), Ned Washington (B2), Victor Young (B2), Bobby Timmons (B3), Doc Pomus (B4), Mort Shuman (B4), Lorenz Hart (B6), Richard Rodgers (B6)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Speakers Corner\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label :  MPS\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eRecording: May 1965, November 1967 and October 1968 at H.G. Brunner-Schwer’s private studio’s in Villingen\/ Germany by H.-G. Brunner-Schwer\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003e Production: H.-G. Brunner-Schwer\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1995\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 1997\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\u003eGravy Waltz\u003c\/li\u003e\n\u003cli\u003eThree O'Clock in the Morning\u003c\/li\u003e\n\u003cli\u003eSqueaky's Blues\u003c\/li\u003e\n\u003cli\u003eTenderly\u003c\/li\u003e\n\u003cli\u003eI Will Wait for You\u003c\/li\u003e\n\u003cli\u003eLet's Fall in Love\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003ePut on a Happy Face\u003c\/li\u003e\n\u003cli\u003eStella by Starlight\u003c\/li\u003e\n\u003cli\u003eMoanin'\u003c\/li\u003e\n\u003cli\u003eNever Say Yes\u003c\/li\u003e\n\u003cli\u003eIt's Impossible\u003c\/li\u003e\n\u003cli\u003eMy Romance\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eTears of sorrow mingled with tears of joy as Oscar Peterson fans realized that the keyboard genius who had just recovered his health was still capable of amazing them all, although he had obviously forfeited some of his past vitality. This may well have induced MPS – the label with whom Oscar Petersen himself claimed to have made his best recordings – to search their archives for lost tapes from Peterson’s heydey. And lo and behold, a number of previously unreleased recordings were discovered which had been taped “exclusively for my friends” in the private studio in Villingen in 1965-1968.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe electric atmosphere of these live sessions before a mere handful of listeners proves once again just how at home the musicians felt in the Black Forest villa – as is borne out by the fact that Peterson’s usual trio formation alternated with his stand-in musicians of Sam Jones on the bass and Bobby Durham on the drums.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAnd now, exclusively for all jazz fans, these amazing tracks are available for the very first time on an LP filled with glorious sound. Whether long-time collector or jazz newcomer, one thing is certain: this album belongs in every collection!\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e : \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eDiscogs \u003c\/span\u003e: \u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e4,00\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5   ,  \u003c\/span\u003e\u003cspan\u003eRate Your Music \u003c\/span\u003e: \u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e4,08\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40405172617367,"sku":"529096-1","price":29.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/the-oscar-peterson-trio-exclusively-for-my-friends-the-lost-tapes-audiosoundmusic.jpg?v=1719851560"},{"product_id":"boz-scaggs-1969-self-titled","title":"Boz Scaggs - Boz Scaggs (Speakers Corner)","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBoz Scaggs (Guitar, Vocals) \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/boz-scaggs\" title=\"vinyl featuring Boz Scaggs\" data-mce-fragment=\"1\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\"\u003e[click here to see more vinyl featuring Boz Scaggs]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e Barry Beckett (Keyboards), Al Lester (Fiddle), Joe Arnold (Tenor Saxophone : A2 to B3), Gene \"Bowlegs\" Miller (Trumpet, Trombone : A2 to B3), James Mitchell (Baritone Saxophone : A2 to B3), David Hood (Bass), Duane \"Skydog\" Allman (Dobro, Slide Guitar), Roger Hawkins (Drums), Duane Allman (Guitar), Eddie Hinton Guitar), Jimmy Johnson (Guitar)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBacking Vocals (A1 to A3, A5 to B3) : Donna Thatcher, Jeannie Greene, Mary Holliday\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eWritten by \u003c\/strong\u003e\u003cstrong\u003eBoz Scaggs (A1, A2, A3, A4, A5, B3), Barry Beckett (A1, B3), Charles Chalmers (A6), D. Rhodes (A6), Jimmie Rodgers (B1)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, gatefold sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Speakers Corner\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Atlantic\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eRecorded in 1969 at Muscle Shoals Sound Recorders, Muscle Shoals, AL, by Martin Greene\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eProduced by Boz Scaggs, Jann Wenner \u0026amp; Marlin Greene\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eOriginally released in September 1969\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eReissued 2019\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eTracks : \u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eI'm Easy\u003c\/li\u003e\n\u003cli\u003eI'll Be Long Gone\u003c\/li\u003e\n\u003cli\u003eAnother Day (Another Letter)\u003c\/li\u003e\n\u003cli\u003eNow You're Gone\u003c\/li\u003e\n\u003cli\u003eFinding Her\u003c\/li\u003e\n\u003cli\u003eLook What I Got\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eWaiting For A Train\u003c\/li\u003e\n\u003cli\u003eLoan Me A Dime\u003c\/li\u003e\n\u003cli\u003eSweet Release\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e« Departing from the Steve Miller Band after a two-album stint, Boz Scaggs found himself on his own but not without support. Rolling Stone publisher Jann Wenner, his friend, helped him sign with Atlantic Records and the label had him set up shop in Muscle Shoals, recording his debut album with that legendary set of studio musicians, known for their down-and-dirty backing work for Aretha Franklin and Wilson Pickett, among many other Southern soul legends. The Muscle Shoals rhythm section, occasionally augmented by guitarist Duane Allman, gives this music genuine grit, but this isn't necessarily a straight-up blue-eyed soul record, even if the opening \"I'm Easy\" and \"I'll Be Long Gone\" are certainly as deeply soulful as anything cut at Muscle Shoals. Even at this early stage Scaggs wasn't content to stay in one place, and he crafted a kind of Americana fantasia here, also dabbling in country and blues along with the soul and R\u0026amp;B that grounds this record. If the country shuffle \"Now You're Gone\" sounds just slightly a shade bit too vaudeville for its own good, it only stands out because the rest of the record is pitch-perfect, from the Jimmie Rodgers cover \"Waiting for a Train\" and the folky \"Look What I Got!\" to the extended 11-minute blues workout \"Loan Me a Dime,\" which functions as much as a showcase for a blazing Duane Allman as it does for Boz. But even with that show-stealing turn, and even with the Muscle Shoals musicians giving this album its muscle and part of its soul, this album is still thoroughly a showcase for Boz Scaggs' musical vision, which even at this stage is wide and deep. It would grow smoother and more assured over the years, but the slight bit of raggedness suits the funky, down-home performances and helps make this not only a great debut, but also an enduring blue-eyed soul masterpiece. » AllMusic Review by Stephen Thomas Erlewine\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\"Boz Scaggs\" – not to be confused with the early Polydor recording entitled \"Boz\" from 1965 – is the first album in which the producers did everything right. Perhaps the most important participant of all is the legendary guitar Duane Allman, who paved the way for the highly talented Scaggs to enter the Muscle Shoals Sound Studios in Alabama. Top-class soul musicians were lined up for him who had performed as the house band for Aretha Franklin and Wilson Pickett. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe elite combo picked up their instruments immediately and offered a rich background sound in the bluesy \"I’m Easy\", with powerful rapid scale passages in the bass and fired-up winds. Inspired by the timbre of the blues, Scaggs sings a series of lyrical songs, sometimes backed by a small group of instruments – yet always well dosed and finely balanced. At times the organ whispers to the singer (\"I’ll Be Long Gone\"), elsewhere finely tuned voices pipe up in the background (\"Another Day\"). And then there are down-to-earth waves of warm sound from the slide guitar and cheerful sounds of the fiddle in the strophic country song \"Now You’re Gone\".\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eHighlights of the album are the yodelling hobo song \"Waiting For A Train\" and the blues number \"Loan Me A Dime\", a show of strength if ever there was one. Before the magazine Rolling Stone could rank the well-selling LP among the 500 Greatest Albums Of All Time, it had to be given a makeover and so a new sizzling mix was made in 1978. Scaggs had demanded the remix to enhance the quality of the recording. After this came nothing for a long, long time. Now this album is available for the first time after 1978 in freshly pressed vinyl!\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAllmusic : 4.3 \/ 5  , \u003c\/span\u003e\u003cspan\u003eDiscogs \u003c\/span\u003e:\u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e4,05\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5 ,  \u003c\/span\u003e\u003cspan\u003eRate Your Music \u003c\/span\u003e: \u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e3,50\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40405948661911,"sku":"SD19166","price":55.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/boz-scaggs-boz-scaggs-speaker-corners-audiosoundmusic-1.jpg?v=1719851583"},{"product_id":"william-bell-the-soul-of-a-bell","title":"William Bell - The Soul Of A Bell","description":"\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cbr\u003e\u003cbr\u003eWilliam Bell (voc)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eBooker T. Jones (keyb) \u003ca title=\"vinyl featuring Booket T. Jones\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/booker-t-jones\" data-mce-fragment=\"1\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\"\u003e[click here to see more vinyl featuring Booker T. Jones]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eIsaac Hayes (keyb) \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/isaac-hayes\" title=\"vinyl featuring Isaac Hayes\" data-mce-fragment=\"1\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\"\u003e[click here to see more vinyl featuring Isaac Hayes]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eJoe Arnold (as)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eAndrew Love (ts)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eWayne Jackson (tp)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eSteve Cropper (g)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003e Donald 'Duck' Dunn (b)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003e Al Jackson Jr. (dr)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by Booker T. Jones (A1, B5), William Bell (A2, B1, B2, B5), Chips Moman (A3), Dan Penn (A3), Jerry Butler (A4), Otis Redding (A4), Toussaint McCall (A5), John D. Loudermilk (A6), Booker T. Jones (B1), Isaac Hayes (B3), Joe Shamwell (B3, B5), Booker T. Jones (B4), David Porter (B4), Isaac Hayes (B4)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Speakers Corner\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Stax\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eRecorded in January and May 1967 at Stax Studios, Memphis (TN)\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eProduced by Jim Stewart\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1967\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2019\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eTracks :\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eEverybody Loves A Winner\u003c\/li\u003e\n\u003cli\u003eYou Don't Miss Your Water\u003c\/li\u003e\n\u003cli\u003eDo Right Woman--Do Right Man\u003c\/li\u003e\n\u003cli\u003eI've Been Loving You Too Long (To Stop Now)\u003c\/li\u003e\n\u003cli\u003eNothing Takes The Place Of You\u003c\/li\u003e\n\u003cli\u003eThen You Can Tell Me Goodbye\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eEloise (Hang On In There)\u003c\/li\u003e\n\u003cli\u003eAny Other Way\u003c\/li\u003e\n\u003cli\u003eIt's Happening All Over\u003c\/li\u003e\n\u003cli\u003eNever Like This Before\u003c\/li\u003e\n\u003cli\u003eYou're Such A Sweet Thang\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e« William Bell's history illustrates just how singles-oriented soul was in the 1960s. Though he'd enjoyed a hit in 1961 with \"You Don't Miss Your Water,\" it wasn't until 1967 that Stax finally released his first album, the magnificent The Soul of a Bell. From that classic and Bell's moderate hits \"Never Like This Before\" and \"Everybody Loves A Winner\" to heartfelt versions of \"Do Right Woman, Do Right Man\" and \"I've Been Loving You Too Long,\" everything on this album (reissued on CD in 1991) illustrates the gospel-drenched richness of Southern soul. Meanwhile, the influence of Motown and the Four Tops is hard to miss on the riveting single \"Eloise (Hang On In There),\" which should have been a major hit, but surprisingly, never even charted. The 2002 CD reissue adds alternate versions of \"You Don't Miss Your Water\" and \"Any Other Way\". » AllMusic Review by Alex Henderson\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e« The History of American soul music is deeply rooted in blues. Labels like Chess and Atlantic were the leading producers of this rapidly evolving musical style. In the 1960’s, the primary soul labels were Motown and Stax. Based in Memphis, Stax had built a reputation as an influential blues outfit, that catered to Southern-influenced music. Their famous studio on McLemore Avenue had a unique raw sound that was represented in the recordings. This set them apart from their competitors at Motown. Their distribution agreement with Atlantic (ATCO) contributed to the early commercial success. What put Stax on the map was Otis Redding. His intense vocals and the muscular arrangements made him a burgeoning superstar. Redding’s untimely death in 1967, dealt a blow to the label. That year other vocal stars began to emerge. One of them was Memphis native William Bell. His debut, The Soul Of A Bell showcased Bell’s singing and songwriting skills.\u003c\/p\u003e\n\u003cp\u003eSpeakers Corner Records has released a 180-gram re-mastered vinyl of The Soul Of A Bell. Backed by Booker T. \u0026amp; The M.G.’s, eleven soulful tunes (some written by Bell) come to life. Side 1 opens with a Bell\/Booker T. original “Everyone Loves A Winner”. In what is a scaled back arrangement, a gentle, soulful ambiance envelops the song. The time-tested narrative of loss is set against relaxed grooves. Bell captures the melancholy as he croons…”when you lose, you lose alone”. “You Don’t Miss Your Water” is trademark Stax with a gospel undercurrent provided by Booker T. Jones on piano and organ. Bell’s a gifted lyricist and it shows here. Everyone is familiar with “Do Right Woman-Do Right Man”. The song helped to launch the career of Aretha Franklin. Many others have covered this tune in the hopes of matching “The Queen Of Soul”. William Bell dials it back to reflect his mellow tone and restrained delivery. There are touches like jazzy horn\/sax and 2nd chorus backup vocals that add some texture. Bell can turn up the intensity, but always with understatement. This low-key soulful testimony is present on Otis Redding’s powerhouse, “I’ve Been Loving You Too Long (To Stop Now)”. Bell essentially injects mellowness in place of growling ferocity. There has always been a connection between country music and r \u0026amp; B. Toussaint McCall’s “Nothing Takes The Place Of You” managed to bridge these genres. Bell exudes the bluesy agony with heartfelt earnest. The category-defying continues on “Then You Can Tell Me Goodbye”. Recorded as a country and doo-wop hit, Bell distills the plaintive resignation with his dulcet vocal rumination.\u003c\/p\u003e\n\u003cp\u003eSide 2 considerably shifts gears to up tempo jams. “Eloise (Hang In There)” infuses 1960’s ebullience in quintessential Memphis aesthetics. Steve Cropper’s guitar licks permeate the funky, rhythmic sway of “Any Other Way”. Any laid-back tendencies are no longer part of the session. The vaunted Stax house band percolates on the Isaac Hayes’ joyful romp, “It’s Happening All Over”. The presence of Wayne Jackson (trumpet) and Andrew Love” is more prominent in the arrangement. The momentum keeps escalating on the accessible and hip-shaking “Never Like This Before”. Bell simply cuts loose here, He channels the presence of Otis Redding and Wilson Pickett with his own vocal prowess. “You’re Such A Sweet Thing” is a rollicking finale to this highlight-filled thirty-two minute album.\u003c\/p\u003e\n\u003cp\u003eSpeakers Corner Records has done a stellar job in re-mastering The Soul Of A Bell to 180-gram vinyl. The unfiltered essence of Stax is present and the mix is balanced. This pressing is meticulous with little surface noise. » Robbie Gerson, Audiophile Audition, May 5, 2021\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIt was as though William Bell had been born specially to impress us with the musical style that prevailed in his birthplace, Memphis. The story of his life certainly makes one sit up and take notice. Many years before his debut album was released on the now-legendary Stax label, Bell wrote songs for the independent label and contributed to the original sound of the South. His simply constructed (in the very best sense) music with its emphasis on demanding lyrics, such as the hit \"Everybody Loves A Winner\", is highly appealing to sensitive souls. And it gets even better. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eWith \"You Don’t Miss Your Water\" Bell wrote a classic example of a down-to-earth country-soul number with a whistling organ and broad waves of sound on the winds. Unlike the emotional Wilson Pickett, for example, Bell cultivated a more moderate form of expression. Instead of breathless staccato, his music flows along at a more even pace that does not shy away from grave and ponderous retrospection (\"I’ve Been Loving You Too Long\"). Sensitive words follow to the strains of a seething organ (\"Nothing Takes The Place Of You\") and in a sluggish yet clearly articulated statement (\"Then You Can Tell Me Goodbye\"). As a contrast, there are also powerful, and rocking catchy numbers such as \"Eloise\", while the pulsating rhythm and colourful background singing in \"Never Like This Before\" explores new territory. But as it should be, every single number has its own story to tell.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAllmusic : 5 \/ 5 ; \u003c\/span\u003e\u003cspan\u003eDiscogs \u003c\/span\u003e:\u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e4.46\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5 ; \u003c\/span\u003eAudiophile Audition : 4.5 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40406073540759,"sku":"S719","price":55.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/william-bell-the-soul-of-a-bell-audiosoundmusic-1.jpg?v=1719851584"},{"product_id":"the-doobie-brothers-the-captain-and-me","title":"The Doobie Brothers - The Captain and Me","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe Doobie Brothers \u003cspan style=\"color: #ff8000;\"\u003e\u003ca title=\"vinyl featurig The Doobie Brothers\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/the-doobie-brothers\" style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring the Doobie Brothers]\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTom Johnston (g, hca, synth, voc); Patrick Simmons (g, synth, voc); John Hartman (perc, dr, voc); Tiran Porter (b, voc); Michael Hossack (dr, cga, perc)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by Tom Johnston (A1, A2, A3, A4, B1, B5, B6), Patrick Simmons (A5, B1, B2, B3), John Hartman (B1), Michael Hossack (B1), Tiran Porter (B1), James Earl Luft (B4)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Speakers Corner\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Warner\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1973\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2007\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eNatural Thing\u003c\/li\u003e\n\u003cli\u003eLong Train Runnin'\u003c\/li\u003e\n\u003cli\u003eChina Grove\u003c\/li\u003e\n\u003cli\u003eDark Eyed Cajun Woman\u003c\/li\u003e\n\u003cli\u003eClear As The Driven Snow\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eWithout You\u003c\/li\u003e\n\u003cli\u003eSouth City Midnight Lady\u003c\/li\u003e\n\u003cli\u003eEvil Woman\u003c\/li\u003e\n\u003cli\u003eBusted Down Around O'Connelly Corners\u003c\/li\u003e\n\u003cli\u003eUkiah\u003c\/li\u003e\n\u003cli\u003eThe Captain and Me\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cp\u003e\u003cspan\u003e\u003c\/span\u003e« The Doobie Brothers' third long-player was the charm, their most substantial and consistent album to date, and one that rode the charts for a year. It was also a study in contrasts, Tom Johnston's harder-edged, bolder rocking numbers balanced by Patrick Simmons' more laid-back country-rock ballad style. The leadoff track, Johnston's \"Natural Thing,\" melded the two, opening with interlocking guitars and showcasing the band's exquisite soaring harmonies around a beautiful melody, all wrapped up in a midtempo beat -- the result was somewhere midway between Allman Brothers-style virtuosity and Eagles\/Crosby \u0026amp; Nash-type lyricism, which defined this period in the Doobies' history and gave them a well-deserved lock on the top of the charts. Next up was the punchy, catchy \"Long Train Runnin',\" a piece they'd been playing for years as an instrumental -- a reluctant Johnston was persuaded by producer Ted Templeman to write lyrics to it and record the song, and the resulting track became the group's next hit. The slashing, fast-tempo \"China Grove\" and \"Without You\" represented the harder side of the Doobies' sound, and were juxtaposed with Simmons' romantic country-rock ballads \"Clear as the Driven Snow,\" and \"South City Midnight Lady.\" Simmons also showed off his louder side with \"Evil Woman,\" while Johnston showed his more reflective side with \"Dark Eyed Cajun Woman,\" \"Ukiah\" and \"The Captain and Me\" -- the latter, a soaring rocker clocking in at nearly five minutes, features radiant guitars and harmonies, soaring ever higher and faster to a triumphant finish. » AllMusic Review by Bruce Eder\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe Doobie Brothers weren’t brothers, nor were they called Doobie. The band started life as Pud in 1969 in Chateau Liberté, a club in the mountains of California. The group took on the slang name for marihuana cigarettes (doobie) one year later. The Doobies’ music, however, never sounded like that of befuddled, half-stoned junkies. Heavy metal hard rock was their thing which made their record company Warner target the bikers of the rocker scene. The idea backfired, though, because the band had far more to offer than explosive hard rock.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe album \"The Captain And Me\" is considered to be the group’s most concentrated and versatile production since it contrasts aggressive, hard numbers with gentle ones full of melodiousness. The very first number, \"Natural Thing\", shows how winsome vocal folk music and electric guitar riffs can be amalgamated into rock music. Amongst these titles, decidedly angry numbers such as \"Without You\" and \"Evil Woman\" became real trailblazers. Now and then, an extensive harp solo or nonchalant licks from the acoustic guitar remind one of the pungent bluegrass style emanating from the South. That even the sweet wailing of the steel guitar (\"South City Midnight Lady\") finds room for expression seems quite logical in this well-thought-out musical concept.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAllmusic : 4.5 \/ 5  , \u003c\/span\u003e\u003cspan\u003eDiscogs \u003c\/span\u003e: \u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e3,89\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5 , \u003c\/span\u003e\u003cspan\u003eRate Your Music \u003c\/span\u003e: \u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e3,80\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40412680355991,"sku":"BS-2694","price":65.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/the-doobie-brothers-the-captain-and-me-audiosoundmusic-1.jpg?v=1719851677"},{"product_id":"harry-belafonte-with-miriam-makeba-an-evening-with-belafonte-makeba","title":"Harry Belafonte with Miriam Makeba - An Evening with Belafonte \u0026 Makeba","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eHarry Belafonte - vocal \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/harry-belafonte\" title=\"Vinyl featuring Harry Belafonte\" data-mce-fragment=\"1\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\"\u003e[click here to see more vinyl featuring Harry Belafonte]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eMiriam Makeba - vocal\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eJonas Gwangwa (arr, cond); Sam Brown, Eddie Diehl, Jay Berliner (g); William Salter (bass-violin); Auchee Lee, Solomon Ilori, Chief Bey, (perc)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eWritten by Miriam Makeba (A4), Jonas Gwangwa (B6), Dorothy Masuka (B2), William Salter (B3). Other songs are traditionnal songs from african tribes : Xhosa (A1), Zulu (A2, A3, A5, B4, B5), Sotho (B1).\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eArranged by Miriam Makeba (A1, A2, A6, B4) and Jonas Gwangwa (A3, A5, B1, B4, B5)\u003c\/strong\u003e\u003cstrong\u003e.\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Speakers Corner\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : RCA\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eRecorded in 1965 in RCA Victor’s Studios, New York\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eProduced by Andy Wiswell and Harry Belafonte\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eOriginally released in 1965\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eReissued in 2004\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eTracks :\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eTrain Song\u003c\/li\u003e\n\u003cli\u003eIn the Land of the Zulus\u003c\/li\u003e\n\u003cli\u003eHush, Hush\u003c\/li\u003e\n\u003cli\u003eTo Those We Love\u003c\/li\u003e\n\u003cli\u003eGive Us Our Land\u003c\/li\u003e\n\u003cli\u003eBeware, Verwoerd!\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eGone Are my Children\u003c\/li\u003e\n\u003cli\u003eHurry, Mama, Hurry!\u003c\/li\u003e\n\u003cli\u003eMy Angel\u003c\/li\u003e\n\u003cli\u003eCannon\u003c\/li\u003e\n\u003cli\u003eLullaby\u003c\/li\u003e\n\u003cli\u003eShow Me the Way, My Brother\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eSongs from Africa: Just by reading this subtitle, one might well ask oneself whether an album with such an unpretentious title would ever manage to find its way to the charts. But as soon as the disc is placed on the turntable, all doubts are dispelled that this collection of songs was actually one of the top sellers of its genre in the Sixties. The melodies, all of which stem from South African tribal songs, are treated lovingly to sensitive new arrangements. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIt goes without saying that the producers only wanted a minimum of background instrumentalists for these two star singers in order to preserve the original character of the songs. A little bit of guitar here, a touch of mouth organ there, and the soft rhythm of drums are all that are needed for the soft springy sound. Central to the authentic sound is a mixed chorus that mostly uses the traditional art of antiphonal singing with the soloists.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eSuch delightful sounds and harmony will make you want to put the stylus back on the groove again and again. This is addictive music of the world, which one can listen to for hours on end.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e : \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAllmusic : 4.5 \/ 5 , \u003c\/span\u003e\u003cspan\u003eDiscogs \u003c\/span\u003e:\u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e4,33\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5 , \u003c\/span\u003e\u003cspan\u003eRate Your Music \u003c\/span\u003e:\u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e3,46\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40413075964055,"sku":"LSP-3420","price":65.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/harry-belafonte-with-miriam-makeba-an-evening-with-belafonte-and-makeba-audiosoundmusic-1.jpg?v=1719851702"},{"product_id":"richard-strauss-symphonia-domestica-op-53-the-cleveland-orchestra-conducted-by-george-szell","title":"Richard Strauss - Symphonia Domestica - George Szell","description":"\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eRichard Strauss - \"Symphonia Domestica\", op. 53 \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eThe Cleveland Orchestra conducted by George Szell\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eLabel : Speakers Corner\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eOriginal Label : Columbia\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cspan\u003eRecorded January 10, 1964 at Severance Hall, Cleveland\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cspan\u003eProduction: Paul Myers\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cspan\u003eOriginally released in 1964\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cspan\u003eTracks :\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A : \u003cspan data-mce-fragment=\"1\"\u003eSymphonia Domestica, Op. 53\u003c\/span\u003e (Beginning)\u003c\/p\u003e\n\u003cp\u003eSide 2 : \u003cspan data-mce-fragment=\"1\"\u003eSymphonia Domestica, Op. 53\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e. \u003c\/span\u003e(Conclusion)\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eReviews :\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eConvinced of his own historical importance, Richard Strauss introduced himself to American soldiers as the \"Composer of the Rosenkavalier\" when they knocked on the door of his villa in Garmisch-Partenkirchen at the end of the Second World War. Already more than 40 years earlier, Strauss considered himself as interesting as Napoleon and Alexander the Great and defended his egocentric Opus 40 (\"Ein Heldenleben\") by saying that he didn’t see why he shouldn’t write a symphony about himself. The \"Symphonia Domestica\", op. 53 is a musical tribute to family life in the living room, at the dining table and in the bedroom, in which Strauss expresses in a strikingly lyrical tone. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eGeorge Szell and the Cleveland Orchestra conjure up a picture of a happy family life, and the harmonious relationship between father, mother and son, which is sometimes filled with’ joie de vivre’, gallantry, jubilation but also sometimes filled with disputes. Looking more closely at Strauss and his \"Symphonia Domestica\", listeners will find – alongside a familiar late-romantic musical language – clear echoes of his unique personal style. Wide intervals, a bold and vivacious treatment of the themes, surprising harmonic changes and not least exuberant melodiousness are unmistakable characteristics of this exhilarating music, which reflects the colossal ego of its composer.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eRatings :\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eDiscogs \u003c\/span\u003e: \u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e4,00\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40413775331479,"sku":"MS 6627","price":76.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/richard-strauss-symphonia-domestica-george-szell-audiosoundmusic-1.jpg?v=1719851702"},{"product_id":"brahms-alto-rhapsody-song-of-destiny-mahler-songs-of-a-wayfarer-bruno-walter","title":"Brahms - Alto Rhapsody, Song Of Destiny \/ Mahler - Songs Of A Wayfarer - Bruno Walter","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eJohannes Brahms: \"Alto Rhapsody\", \"Song Of Destiny\"\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eGustav Mahler: \"Songs Of A Wayfarer\" \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eMildred Miller (voc)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eThe Occidental College Concert Choir and the Columbia Symphony Orchestra conducted by Bruno Walter\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Speakers Corner\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Columbia\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eRecorded on June 1960 and January 1961 at Columbia Studios, Hollywood\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eProduced by John McClure\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eOriginally released in 1963\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eReissued in 2017\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eTracks :\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e1. Brahms: Alto Rhapsody, Op. 53\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e2. Brahms: Song Of Destiny, Op. 54\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003eSide B : Songs Of A Wayfarer (Leider Eines Fahrenden Gesellen)\u003c\/div\u003e\n\u003col\u003e\n\u003cli\u003eWenn Mein Schatz Hochzeit\u003c\/li\u003e\n\u003cli\u003eGing Heut' Morgen Über's Feld\u003c\/li\u003e\n\u003cli\u003eIch Hab' Ein Glühend' Messer\u003c\/li\u003e\n\u003cli\u003eDie Zwei Blauen Augen\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe \"Alto Rhapsody\", \"Song Of Destiny\" and \"Song Of A Wayfarer\". Each of these three vocal compositions is unique in its expression and construction, yet the frayed emotional worlds of all three works are connected by a multitude of fine threads. The \"Alto Rhapsody\", which Brahms wrote as a wedding gift for Clara Schumann’s daughter Julie, in whom he was himself in love, demonstrates with almost Wagnerian weight the anger that the disappointed Brahms must have felt while composing. The \"Song Of Destiny\" too, with its sonorous E major waves of harmony, soon announces in C minor the finiteness of existence as Hölderin’s poem demands.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e That finally a hopeful, conciliatory – though unsure – moment lingers is reflected in the musical means. Many emotions and vagaries are emulated in Mahler’s song cycle. The journeyman sets off on his wanderings in order to forget his unhappy liaison and strides through the ups and downs of mixed emotions and painful heartache. Drumrolls and march rhythms reflect the real world and sounds of nature, dissonances and a change between major and minor keys show the way from dreams, reality and feelings. The recording with Mildred Miller and the Columbia Symphony Orchestra under Bruno Walter has achieved reference status and is sure of a place in the TAS Super LP List given out by \"The Absolute Sound\".\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eDiscogs \u003c\/span\u003e: \u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e4,17\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40417751335063,"sku":"MS 6488","price":65.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/brahms-alto-rhapsody-song-of-destiny-mahler-songs-of-a-wayfarer-bruno-walter-audiosoundmusic-1.jpg?v=1719851709"},{"product_id":"brahms-schubert-the-marlboro-music-festival","title":"Brahms, Schubert - The Marlboro Music Festival","description":"\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003eJohannes Brahms - \u003c\/strong\u003e\u003cstrong data-mce-fragment=\"1\"\u003e \"Liebeslieder-Walzer\" op. 52\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eFranz Schubert: \"The Shepard On The Rock\" D 965\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eThe Marlboro Music Festival Orchestra, \u003c\/strong\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eRudolf Serkin (Piano), Leon Fleisher (\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003ePiano : A1 - A12, B1 - B6)\u003c\/span\u003e, Harold Wright (\u003cspan data-mce-fragment=\"1\"\u003eclarinet : B7\u003c\/span\u003e)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eBenita Valente (soprano),\u003c\/strong\u003e \u003cstrong\u003eMarlena Kleinman (Alto Vocals : \u003cspan data-mce-fragment=\"1\"\u003eA1 - A12, B1 - B6\u003c\/span\u003e), Martial Singher (Bass Vocals : \u003cspan data-mce-fragment=\"1\"\u003eA1 - A12, B1 - B6\u003c\/span\u003e), Benita Valente (Soprano Vocals : \u003cspan data-mce-fragment=\"1\"\u003eA1 - A12, B1 - B6\u003c\/span\u003e), Wayne Connor (Tenor Vocals : \u003cspan data-mce-fragment=\"1\"\u003eA1 - A12, B1 - B6\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\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv class=\"main_2FbVC\"\u003e\n\u003csection class=\"section_9nUx6 open_BZ6Zt\" id=\"release-credits\"\u003e\n\u003cdiv class=\"content_1TFzi\"\u003e\n\u003cul class=\"list_1HutQ\"\u003e\u003c\/ul\u003e\n\u003cbr\u003e\n\u003c\/div\u003e\n\u003c\/section\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\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLive\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Speakers Corner\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Columbia\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cspan\u003eRecording: August 1960 at Marlboro School of Music, Vermont (USA), by Fred Plaut\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eProduction: Howard H. Scott\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cspan\u003eOriginally released in 1961\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cspan\u003eReissued January 2016\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 data-mce-fragment=\"1\"\u003e\u003cspan\u003eTracks :\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A : Johannes Brahms - Liebeslieder-Walzer, Op. 52\u003c\/p\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e1. Rede, Madchen, Allzu, Liebes (Tell Me, Most Beloved Maiden)  \u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e2. Am Gesteine Rauscht Die Flut (Waves Break High Upon The Rock)          \u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e3. O Die Frauen (Ah, The Women)\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e4. Wie Des Abends Schone Rote (Like The Evening's Glowing Crimson)       \u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e5. Die Grune Hopfenranke (The Green Ivy)              \u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e6. Ein Kleiner, Hubscher Vogel (A Pretty Little Birdling Once)           \u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e7. Wohl Schon Bewandt War Es (All Was Well With Me Before)     \u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e8. Wenn So Lind Dein Auge Mir (When You Glanced So Tenderly)  \u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e9. Am Donaustrande (On The Banks Of The Danube)           \u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e10. O Wie Sanft Die Quelle (On How Gentle The Murmuring Stream)             \u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e11. Nein, Es Ist Nicht Auszukommen (No, It's More Than Flesh Can Bear)     \u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e12. Schlosser Aug, Und Mache Schlosser (Locksmith Up And Make Me Padlocks)\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cp\u003e\u003cspan\u003eSide B : Johannes Brahms - Liebeslieder-Walzer, Op. 52\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e1. Vogelein Durchrauscht Die Luft (Birds Are Winging Through The Air)      \u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e2. Sieh, Wi Ist Die Welle Klar (See How Brightly Gleams The Wave)              \u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e3. Nachtigall, Sie Singt So Schon (Nightengail, You Sing So Sweetly)             \u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e4. Ein Dunkeler Schact Is Liebe (Love Is A Pit Of Darkness) \u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e5. Nicht Wandel, Mein Licht (Light of My Life, Do Not Depart)         \u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e6. Es Bebet Das Gestrauche (The Branches Rustle Gently)  \u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e7. \u003cspan data-mce-fragment=\"1\"\u003eFranz Schubert - \u003c\/span\u003eThe Shepherd On The Rock, Op. 129\u003c\/div\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe waltz was perhaps the most important thing that the rather level-headed and conservative Johannes Brahms from Hamburg brought back with him from his sojourn in Vienna. In addition to his purely instrumental waltzes for the piano, he also composed the \"Liebeslieder Waltzes\" – uniquely folk like and highly original vocal joyfulness in ¾ time. The lyrics are taken from real life and tell of love, longing, desire, and suffering but also of anger and derision.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eJust how ideally this music fits in with the workshop atmosphere of the Marlboro Summer Music Festival is fully evident here. The musicians gathered around Rudolf Serkin sing the very finest Brahms – joyous, inspired yet completely relaxed – and reflect light upon all aspects of earthly existence. An excellent choice to complement these emotions is Schubert’s penultimate composition \"The Shepherd On The Rock\" D 965. This great and far-too-seldom performed lied is based on three poems, which are performed impressively and with brilliant musicality by the soloist Benita Valente. And last but not least, the addition of the clarinet, which functions both as a soloist as well as imitating the voice, lends the work its particular charm.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e : \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eDiscogs : 4 \/ 5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40418018295959,"sku":"MS 6236P","price":29.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/brahms-schubert-the-marlboro-music-festival-audiosoundmusic-1.jpg?v=1719851716"},{"product_id":"bizet-carmen-suite-larlesienne-suite-ernest-ansermet","title":"Bizet - Carmen Suite, L'Arlesienne Suite - Ernest Ansermet","description":"\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eGeorge Bizet - Carmen Suite, L'Arlesienne Suite\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eOrchestre de la Suisse Romande conducted by Ernest Ansermet\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Speakers Corner\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Decca\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eRecording: April and May 1958 at Victoria Hall, Geneva (Switzerland), by Roy Wallace\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eProduction: James Walker\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eOriginally released in 1958\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eReissued in 2012\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eTracks :\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A : Carmen Suite\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003ePrélude, Act 1\u003c\/li\u003e\n\u003cli\u003ePrélude, Act 4 (Aragonaise)\u003c\/li\u003e\n\u003cli\u003ePrélude, Act 3 (Intermezzo)\u003c\/li\u003e\n\u003cli\u003ePrélude, Act 2 (Les Dragons D'Alcala)\u003c\/li\u003e\n\u003cli\u003eScène Des Contrabandiers, Act 3\u003c\/li\u003e\n\u003cli\u003eHabanera, Act 1\u003c\/li\u003e\n\u003cli\u003eLa Garde Montante, Act 1\u003c\/li\u003e\n\u003cli\u003eDanse Bohème, Act 2\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e\u003cspan\u003eSide b : \u003c\/span\u003eL'Arlesienne Suite\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003ePrélude\u003c\/li\u003e\n\u003cli\u003eMinuetto\u003c\/li\u003e\n\u003cli\u003eAdagietto\u003c\/li\u003e\n\u003cli\u003eCarillon\u003c\/li\u003e\n\u003cli\u003eMenuet\u003c\/li\u003e\n\u003cli\u003eFarandole\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eReviews:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe 19th-century suites with their collection of favourite songs and instrumental excerpts from operas are the clear forerunners of today’s 'Best-Of' culture. The \"Carmen Suite\" was assembled after Bizet’s death and brought the operatic masterpiece into the concert hall. The overture is fresh and rousing, the toreador theme marches in proudly and purposefully, followed by the destiny motif in the minor key which burns itself into ones ear and mind. With every bar it becomes obvious that this suite is not so much a series of excerpts but rather the true substance of its creator’s musical ideas.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAll that remained of the five-act play \"L’Arlésienne\" after its unsuccessful premiere was Bizet’s incidental music, which he himself orchestrated lavishly and premiered with success. Similar to \"Carmen\", popular melodies are treated with the composer’s own unique style to make them ageless, and Ernest Ansermet and his orchestra stages them delightfully for all eternity.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eRatings :\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eDiscogs \u003c\/span\u003e: \u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e4,00\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40418271985815,"sku":"SXL 2037","price":120.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/bizet-carmen-suite-l-arlesienne-suite-ernest-ansermet-audiosoundmusic-1.jpg?v=1719851716"},{"product_id":"carl-orff-carmina-burana-eugen-jochum","title":"Carl Orff - Carmina Burana – Eugen Jochum","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003c\/strong\u003e\u003cstrong data-mce-fragment=\"1\"\u003eGundula Janowitz (\u003cspan data-mce-fragment=\"1\"\u003esoprano) \u003c\/span\u003e, Gerhard Stolze (tenor), Dietrich Fischer-Dieskau (baryton)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eChorus – Chor Der Deutschen Oper Berlin, Schöneberger Sängerknaben\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eChorus Master Walter Hagen-Groll and Gerhard Hellwig\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eOrchestra of the Deutsche Oper Berlin conducted by Eugen Jochum\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 : Deutsche Grammophon\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eRecorded October 1967 at the Ufa Studio, Berlin by Klaus Scheibe\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineered by Klaus Scheibe\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Gustav Rudolf Sellner and Dr. Hans Hirsch\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLiner Notes by Karl Schumann\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 June 1985\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eTracks :\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003e''O Fortuna'' ~ Carmina Burana \/ Fortuna Imperatrix Mundi\u003c\/li\u003e\n\u003cli\u003e''Fortune plango vulnera'' ~ Carmina Burana \/ Fortuna Imperatrix Mundi\u003c\/li\u003e\n\u003cli\u003e''Veris leta facies'' ~ Carmina Burana \/ 1. Primo vere\u003c\/li\u003e\n\u003cli\u003e''Omnia Sol temperat'' ~ Carmina Burana \/ 1. Primo vere\u003c\/li\u003e\n\u003cli\u003e''Ecce gratum'' ~ Carmina Burana \/ 1. Primo vere\u003c\/li\u003e\n\u003cli\u003eDance ~ Carmina Burana \/ Uf dem Anger\u003c\/li\u003e\n\u003cli\u003e''Floret silva nobilis'' ~ Carmina Burana \/ Uf dem Anger\u003c\/li\u003e\n\u003cli\u003e''Chramer, gip die varwe mir'' ~ Carmina Burana \/ Uf dem Anger\u003c\/li\u003e\n\u003cli\u003e''Swaz hie gat umbe'' - ''Chume, chum geselle min'' ~ Carmina Burana \/ Uf dem Anger\u003c\/li\u003e\n\u003cli\u003e''Were diu werlt alle min'' ~ Carmina Burana \/ Uf dem Anger\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003e''Estuans interius'' ~ Carmina Burana \/ 2. In Taberna\u003c\/li\u003e\n\u003cli\u003e''Olim lacus colueram'' ~ Carmina Burana \/ 2. In Taberna\u003c\/li\u003e\n\u003cli\u003e''Ego sum abbas'' ~ Carmina Burana \/ 2. In Taberna\u003c\/li\u003e\n\u003cli\u003e''In taberna quando sumus'' ~ Carmina Burana \/ 2. In Taberna\u003c\/li\u003e\n\u003cli\u003e''Amor volat undique'' ~ Carmina Burana \/ 3. Cour d'amours\u003c\/li\u003e\n\u003cli\u003e''Dies, nox et omnia'' ~ Carmina Burana \/ 3. Cour d'amours\u003c\/li\u003e\n\u003cli\u003e''Stetit puella'' ~ Carmina Burana \/ 3. Cour d'amours\u003c\/li\u003e\n\u003cli\u003e''Circa mea pectora'' ~ Carmina Burana \/ 3. Cour d'amours\u003c\/li\u003e\n\u003cli\u003e''Si puer cum puellula'' ~ Carmina Burana \/ 3. Cour d'amours\u003c\/li\u003e\n\u003cli\u003e''Veni, veni, venias'' ~ Carmina Burana \/ 3. Cour d'amours\u003c\/li\u003e\n\u003cli\u003e''In trutina'' ~ Carmina Burana \/ 3. Cour d'amours\u003c\/li\u003e\n\u003cli\u003e''Tempus est iocundum'' ~ Carmina Burana \/ 3. Cour d'amours\u003c\/li\u003e\n\u003cli\u003e''Dulcissime'' ~ Carmina Burana \/ 3. Cour d'amours\u003c\/li\u003e\n\u003cli\u003e''Ave formosissima'' ~ Carmina Burana \/ Blanziflor et Helena\u003c\/li\u003e\n\u003cli\u003e''O Fortuna'' ~ Carmina Burana \/ Fortuna Imperatrix Mundi\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eSung by world renowned soloists and conducted by the legendary Eugen Jochum, this recording of Carl Orff's Carmina Burana was authorised by the composer himself. It follows, therefore, that the present recording met with the high requirements of the composer himself and so represents an unusual collector's item. Orff intended not just to copy the medieval lyrics but to express the mood of that era. His highly rhythmic compositional style reflects the archaic character of the vocal line. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe listener experiences not only the vital primordial pulse of the music in this thrilling interpretation but also the mystery of Fate through the tender lyrical passages.\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eOrff's homage to wine, women and song of the Middle Ages, closely bound up with spring and love, is supported by balanced and precise sound technology. The listener is spirited away to the musical world of Carmina Burana by this recording.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eDiscogs \u003c\/span\u003e: \u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e4,43\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5  , \u003c\/span\u003e\u003cspan\u003eRate Your Music \u003c\/span\u003e: \u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e3,82\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40425285550231,"sku":"SLPM 139362","price":65.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/carl-orff-carmina-burana-eugen-jochum-audiosoundmusic-1.jpg?v=1719851769"},{"product_id":"rimsky-korsakov-granados-chabrier-moszkowski-ataulfo-argenta","title":"Espana - Rimsky-Korsakov, Granados, Chabrier, Moszkowski - Ataúlfo Argenta","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eNikolai Andreyevich Rimsky-Korsakov -\u003c\/span\u003e Capriccio espagnol\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003ePantaleón Enrique Joaquín Granados Campiña \u003c\/span\u003e- “Andaluza” Danza española No. 5\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eEmmanuel Chabrier \u003c\/span\u003e- “España”\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eMoritz Moszkowski \u003c\/span\u003e- Spanish Dances Book 1\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eThe London Symphony Orchestra conducted by Ataúlfo Argenta\u003c\/strong\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Speakers Corner\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Decca\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eRecording: December 1956 and January 1957, Kingsway Hall, London by Gordon Parry\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eProduction: Erik Smith\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eOriginally released in 1957\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eReissued in 1994\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eTracks:\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eCapriccio Espagnol, Op 34 (Rimsky Korsakov)\u003cbr\u003e\u003cbr\u003eFirst Movement: Alborada\/ Second Movement: Variazioni\/ Third Movement: Alborada\/ Fourth Movement: Scene e canto gigtano\/ Fifth Movement: Fandango asturiano\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003col start=\"2\"\u003e\n\u003cli\u003eANDALUSIA – Danza espanola No. 5 in E minor, Op. 37 (Granados)\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B\u003c\/p\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e1. Espana Rhapsody (Chabrier)\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e2. Spanish Dances (Book 1), Op. 12 (Moszkowski)\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 60px;\"\u003eNo. 1 in C major\/ No. 2 in G minor\/ No. 3 in A major\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 60px;\"\u003eNo. 4 in B flat major\/ No. 5 in D major\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 60px;\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 60px;\"\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cp\u003e\u003cstrong\u003eAwards:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eTAS AWARD\u003c\/strong\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp\u003eSonically, this record – made in 1956\/57 – is one of the best ever produced by DECCA. The listener is literally swept off his or her feet. To better enjoy this tremendous experience, we would advise listeners to put their feet up, relax, and listen with rapt attention. A “Do-not-disturb” sign on the door is to be recommended. The tremendous sound emanating from the loudspeakers immediately conveys the rousing nature of the music.\u003cbr\u003e\u003cbr\u003eConducted by Ataúlfo Argenta, the London Symphony Orchestra plays with a rare vitality, pure enjoyment, precision and lucidity. This is a carefully chosen medley of Spanish music which, interestingly enough, was mostly written by non-Spanish composers.\u003cbr\u003e\u003cbr\u003eAll in all, this has become a legendary recording, which caused quite a stir even in its mono version. The FFSS version ranks among the very best recordings ever issued.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eDiscogs : 4.47 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40425471148183,"sku":"SXL 2020","price":76.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/espana-rimsky-korsakov-granados-chabrier-moszkowski-ataulfo-argenta-audiosoundmusic-1.jpg?v=1719851769"},{"product_id":"mozart-eine-kleine-nachtmusik-divertimento-no-1-karl-munchinger","title":"Mozart - Eine Kleine Nachtmusik, Divertimento No. 1 - Karl Munchinger","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eWolfgang Amadeus Mozart - “Eine kleine Nachtmusik”, Divertimento No. 1 (“A Musical Joke”)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eStuttgart Chamber Orchestra conducted by Karl Münchinger\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Speakers Corner\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Decca\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cspan\u003eRecorded in November 1960 at Victoria Hall at Geneva by Roy Wallace\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cspan\u003eProduced by James Walker\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cspan\u003eOriginally released in 1961\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cspan\u003eReissued in 1994\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cspan\u003eTracks :\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A : Eine Kleine Nachtmusik\u003c\/p\u003e\n\u003cp\u003e                1. Allegro\u003c\/p\u003e\n\u003cp\u003e                2. Romance, Andante\u003c\/p\u003e\n\u003cp\u003e                3. Menuetto And Trio\u003c\/p\u003e\n\u003cp\u003e                4. Rondo, Allegro\u003c\/p\u003e\n\u003cp\u003eSide B : Divertimento No. 1 In D (A Musical Joke)\u003c\/p\u003e\n\u003cp\u003e                1. Allegro\u003c\/p\u003e\n\u003cp\u003e                2. Menuetto, Trio\u003c\/p\u003e\n\u003cp\u003e                3. Adagio Cantabile\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cspan\u003e                \u003c\/span\u003e\u003c\/strong\u003e4. Presto\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eReviews\u003c\/strong\u003e :\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eMozart wrote the Divertimento No. 1 at the age of six, while A Musical Joke and Eine kleine Nachtmusik were composed shortly before his death.\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eFrom what one hears, apparently only a few music lovers enjoy listening to Eine kleine Nachtmusik. Far too often has it been performed routinely rather than being filled with life. This recording is quite different: living up to his reputation, Karl Münchinger proves that this favourite can be imbued with significance.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe historical roote of the serenade lie in the suite which consists of varied contrasting dance movements. In the spirit of this tradition, Münchinger offers a clear and unfussed interpretation which is absolutely credible and has a freshness rarely heard. The ensemble plays both cheerfully and and wittily. In A Musical Joke, Mozart parodies amateurish composers of his own era, and the orchestra quite obviously participates in the fun.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThis LP is distinguished by its musical and tonal balance and is one of DECCA’s best sound recordings.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eRatings\u003c\/strong\u003e :\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eDiscogs : 4.47 \/ 5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40425700393111,"sku":"SXL2270","price":76.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/mozart-eine-kleine-nachtmusik-divertimento-no-1-karl-munchinger-audiosoundmusic-1.jpg?v=1719851769"},{"product_id":"carly-simon-boys-in-the-trees","title":"Carly Simon - Boys In The Trees","description":"\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eRARITY - unsealed\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003eVocals – Carly Simon \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/carly-simon\" title=\"Vinyl featuring Carly Simon\" data-mce-fragment=\"1\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\"\u003e[click here to see more vinyl featuring Carly Simon]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAlto Saxophone – George Young, Harvey Estrin\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eArranged By [Horns] – James Taylor (B1)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBaritone Saxophone – Jaroslav Jakubovic, Ronnie Cuber\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eConcertmaster – Gene Orloff\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFrench Horn – Brooks Tillotson, James Buffington\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStrings – Alan Shulman, Alfred Brown, Charles Libove, Frederick Buldrini, Gerald Tarack, Guy Lumia, Harold Kohon, Homer Mensch, Jesse Levy, Joe Malin, Jonathon Abramowitz*, Julien Barber, Kermit Moore, La Mar Alsop, Marvin Morgenstern, Mitsue Takayama, Paul Gershman, Ted Hoyle, Theodore Israel, Yoko Matsuo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTenor Saxophone – Michael Brecker\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTrombone – Barry Rogers, Eddie Bert\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTrumpet – Randy Brecker\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, gatefold jacket\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : unspecified\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Friday Music \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Elektra\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded at Atlantic Studios, New York\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineered \u0026amp; mixed by : Bobby Warner\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Arif Mardin\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by Friday Music's Joe Reagoso From Original Elektra Records Tapes\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1978\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2016\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eYou Belong To Me (feat. James Taylor)\u003c\/li\u003e\n\u003cli\u003eBoys In the Trees (feat. James Taylor)\u003c\/li\u003e\n\u003cli\u003eBack Down to Earth (James Taylor, guitar)\u003c\/li\u003e\n\u003cli\u003eDevoted To You (James Taylor, guitar)\u003c\/li\u003e\n\u003cli\u003eDe Bat (Fly In Me Face) (feat. James Taylor)\u003c\/li\u003e\n\u003cli\u003eHaunting\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eSide B:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eTranquillo (Melt My Heart) (feat. James Taylor)\u003c\/li\u003e\n\u003cli\u003eYou're the One\u003c\/li\u003e\n\u003cli\u003eIn A Small Moment\u003c\/li\u003e\n\u003cli\u003eOne Man Woman\u003c\/li\u003e\n\u003cli\u003eFor Old Times Sake\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e\"Her career revitalized by the success of \"Nobody Does It Better,\" the theme from The Spy Who Loved Me, Carly Simon returned to record-making with this classy Arif Mardin-produced session, backed by New York's best studio players (Steve Gadd, Eric Gale, Will Lee, Richard Tee, David Sanborn, the Brecker Brothers, etc.). Simon reached the Top Ten with \"You Belong to Me,\" a collaboration with Michael McDonald that showed both off at their best, and the album's other Top 40 single was another duet with husband James Taylor on the old Everly Brothers hit \"Devoted to You.\" Taylor also turned up writing and singing elsewhere to good effect. But what really made the album a winner was that Simon had had a couple of years to write some strong songs in her unflinching, reflective style, and she continued to explore the loves and mores of her age and class movingly.\" \u003cspan data-mce-fragment=\"1\"\u003eAllMusic Review by William Ruhlmann\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eAllMusic : 3 \/ 5 , Discogs : 3,77 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40795763638423,"sku":"FRM-6128","price":39.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/carly-simon-boys-in-the-trees-audiosoundmusic-1.jpg?v=1719852687"},{"product_id":"harry-nilsson-son-of-schmilsson","title":"Harry Nilsson - Son of Schmilsson (2LP, 45RPM)","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHarry Nilsson – vocals, electric piano (A1, B3, C1, D1), acoustic guitar (B2) \u003cspan style=\"color: #ff8000;\"\u003e\u003ca data-mce-fragment=\"1\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/harry-nilsson\" title=\"vinyl featuring harry nilsson\" style=\"color: #ff8000;\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/harry-nilsson\"\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\u003eNicky Hopkins – piano (A1–C3, D3)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eKlaus Voormann – bass guitar (A1, B1–C1, C3, D3), saxophone (A1, B3), electric guitar (C2)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRingo Starr (credited as Richie Snare) – drums (A1, C1, C3, D1,D3) \u003cspan data-mce-fragment=\"1\" style=\"color: #ff8000;\"\u003e\u003ca data-mce-fragment=\"1\" style=\"color: #ff8000;\" title=\"vinyl featuring Ringo Starr\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/ringo-starr\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/ringo-starr\"\u003e[click here to see more vinyl featuring Ringo Starr]\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePeter Frampton – electric guitar (B1-3, C3, D1), acoustic guitar (C1-2)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eChris Spedding – bouzouki (A2), electric guitar (C3, D1), acoustic guitar (C1-2)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMilt Holland – percussion (A1,C2)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJim Price – trumpet (A1, B3, D1), trombone (D1), horn arrangement (D1)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBobby Keys – saxophone (A1, B3, C3, D1)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLowell George – guitar (A1) \u003ca data-mce-fragment=\"1\" title=\"vinyl featuring Lowell George\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/lowell-george\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/lowell-george\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"color: #ff8000;\" 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\u003eDel Newman – string arrangements (A2, D3)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePop Arts String Quartet - strings (A2)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJohn Uribe – acoustic guitar (B1, C1-2), electric guitar (track D1)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRed Rhodes – pedal steel guitar (B1)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRay Cooper – percussion (B1, C2, D3), congas (C3), tambourine (D1)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eKirby Johnson – horn arrangements (B2, D3)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRichard Mackey – tuben\/French horn (B2)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eVincent DeRosa – tuben\/French horn (B2)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDavid Duke – tuben\/French horn (B2)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGeorge Harrison – slide guitar (B3) \u003ca data-mce-fragment=\"1\" title=\"vinyl featuring George Harrison\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/george-harrison\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/george-harrison\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"color: #ff8000;\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring George Harrison]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBarry Morgan – drums (B1, B3)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePaul Buckmaster – orchestral arrangement (C1)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\"Moxie\" – bass harmonica (C1)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRichard Perry – percussion (C1, D3), arrangements (D3)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSenior Citizens of the Stepney \u0026amp; Pinner Choir Club No. 6, London, England – choir (D2)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe Henry Krein Quartet with Klaus Voormann – rhythm section (D2)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHenry Krein – accordion (D2)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePaul Keogh – guitar (D3)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLes Thatcher – guitar (D3)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e2 LPs, gatefold\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 45RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12”\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : RTI\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : MOFI\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : RCA Victor\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded March–April 1972 in Trident Studios and Apple Studio, London, England; \"The Most Beautiful World in the World\" recorded at CTS Studios, London\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineered \u0026amp; mixed by Ken Scott\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Richard Perry\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by Krieg Wunderlich\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1972\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2021\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eTake 54\u003c\/li\u003e\n\u003cli\u003eRemember Christmas\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eJoy\u003c\/li\u003e\n\u003cli\u003eTurn On Your Radio\u003c\/li\u003e\n\u003cli\u003eYou're Breakin' My Heart\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide C:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eSpaceman\u003c\/li\u003e\n\u003cli\u003eThe Lottery Song\u003c\/li\u003e\n\u003cli\u003eAt My Front Door\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide D:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eAmbush\u003c\/li\u003e\n\u003cli\u003eI'd Rather Be Dead\u003c\/li\u003e\n\u003cli\u003eThe Most Beautiful World In The World\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\"Emboldened by a huge hit and hanging with Lennon and Ringo, Harry Nilsson was ready to let it all go when it came time to record a follow-up to Nilsson Schmilsson. The very title of Son of Schmilsson implies that it's a de facto sequel to its smash predecessor but, as always with Nilsson, don't take everything at face value. Yes, he's back with producer Richard Perry and he's working from the same gleefully melodic, polished pop\/rock territory as before, but this is an incredibly schizoid record, an album by an enormously gifted musician deciding that, since he's already going unhinged, he might as well indulge himself while he's at it. And, wow, are the results ever worth it. Opening with a song to a groupie -- he sang his balls off, baby, he nearly broke the microphone -- and ending with an ode to \"The Most Beautiful World in the World,\" this record careens all over the place, bouncing from one idea to another, punctuated with B-horror movie sound effects, bizarre humor, profanity, and belches. There are song parodies, seemingly straight piano ballads, vulgar hard rock, lovely love songs, and a cheerful singalong with retirees at an old folks home who all proclaim, \"I'd rather be dead than wet my bed.\" The sheer perversity of it all would be fascinating, yet if that's all it had to offer, it'd merely be a curiosity, the way his post-Pussy Cats records are. Instead, this is all married to a fantastic set of songs that illustrate what a skilled, versatile songsmith Nilsson was. No, it may not be the easiest album to warm to -- and it's just about the weirdest record to reach number 12 and go gold -- but if you appreciate Nilsson's musicality and weirdo humor, he never got any better.\" \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 : 4,03 \/ 5 , Discogs : 4,5 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40883976667287,"sku":"MFSL2-499","price":71.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/harry-nilsson-son-of-schmilsson-2lp-45rpm-audiosoundmusic-1.jpg?v=1719853281"},{"product_id":"miles-davis-boppin-the-blues","title":"Miles Davis – Bopping the Blues","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTrumpet – Miles Davis \u003ca title=\"vinyl featuring Miles Davis\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/miles-davis\" data-mce-fragment=\"1\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\"\u003e[click here to see more vinyl featuring Miles Davis]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eVocals – Ann Baker (A3-5, B4-6), Earl Coleman (A1-2, A6, B1-3)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBass – Tommy Potter\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDrums – Art Blakey \u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\"\u003e\u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/art-blakey\" title=\"Vinyl featuring Art Blakey\" style=\"color: #ff8000;\" data-mce-fragment=\"1\" target=\"_blank\"\u003e[click here to see more\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003evinyl featuring Art Blakey]\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGuitar – Connie Wainwright\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePiano – Linton Garner\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTenor Saxophone – Gene Ammons\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by Ann Baker (A3-5, B4-6), Earl Coleman (A1-2, A6, B1-3)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard jacket\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12”\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press :  Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel :  ORG Music\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Black Lion Records \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded at \u003cspan data-mce-fragment=\"1\"\u003eRadio Recorders, Hollywood, CA,\u003c\/span\u003e on \u003cspan data-mce-fragment=\"1\"\u003eOctober 18, 1946\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineered by Steve Hoffman\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Alan Bates\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by Bernie Grundman \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1987\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2013\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eDon't Sing Me The Blues (Take 1)\u003c\/li\u003e\n\u003cli\u003eDon't Sing Me The Blues (Take 2)\u003c\/li\u003e\n\u003cli\u003eI've Always Got The Blues (Take 1 Incomplete)\u003c\/li\u003e\n\u003cli\u003eI've Always Got The Blues (Take 2)\u003c\/li\u003e\n\u003cli\u003eI've Always Got The Blues (Take 3)\u003c\/li\u003e\n\u003cli\u003eDon't Explain To Me Baby (Take 1)\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eDon't Explain To Me Baby (Take 2)\u003c\/li\u003e\n\u003cli\u003eDon't Explain To Me Baby (Take 3)\u003c\/li\u003e\n\u003cli\u003eDon't Explain To Me Baby (Take 4)\u003c\/li\u003e\n\u003cli\u003eBaby, Won't You Make Up Your Mind (Take 1)\u003c\/li\u003e\n\u003cli\u003eBaby, Won't You Make Up Your Mind (Take 2)\u003c\/li\u003e\n\u003cli\u003eBaby, Won't You Make Up Your Mind (Take 3)\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 the CD was initially released, it had quite a few jazz collectors scratching their heads wondering why they had never heard of it. Previously unissued, these formerly unknown performances (just four songs with eight alternate takes) feature the vocals of Earl Coleman and Ann Baker in 1946 but the backup group is of great interest for it includes trumpeter Miles Davis and tenor-saxophonist Gene Ammons. It's not essential music but bop collectors will still want to pick it up.” AllMusic Review by Scott Yanow\u003c\/p\u003e\n\u003cp\u003eOne of Miles Davis' earliest recording sessions. The very first known instance of the famed trumpeter playing in an \"open\" style, and in a band with legendary tenor saxophonist Gene Ammons and drummer Art Blakey. Need any more be said? Very few jazz albums possess more historical import and wow-inspiring significance than Bopping the Blues, which documents a 1946 session in which Davis supported a group and two singers, Earl Coleman and Ann Baker, in a splendid bop affair. Yes, it's got that elusive Holy Grail quality.\u003c\/p\u003e\n\u003cp\u003eOriginally released by the U.K. label Black Lion, an imprint that specialized in resurrecting rare gems from U.S. jazz and blues legends, Bopping the Blues marks what are indisputably Davis' initial open-voiced contributions and a can't-miss opportunity for collectors and enthusiasts to get closer to the man and his music. Orchestrated by ORG, this historical reissue is afforded the ultimate in audiophile production standards, resulting in sonics and presentation befitting the museum-like worth of this record's existence.\u003c\/p\u003e\n\u003cp\u003eMastered from the original master tapes at Bernie Grundman Studios, cut by Chris Bellman and pressed at Pallas, the 180-gram LP was curated by legendary engineer Steve Hoffman and eq'd by Grundman himself. A better team you cannot find; every step involved serious quality-control measures to guarantee gorgeous sound.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eAllMusic 3.5 \/ 5  ,  Discogs 4.13 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40907002544279,"sku":"MD001048BL-LP00","price":35.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/miles-davis-bopping-the-blues-audiosoundmusic-1.jpg?v=1719853367"},{"product_id":"kc-and-the-sunshine-band","title":"KC and the Sunshine Band (MOFI Silver Label, 140g)","description":"\u003ch2\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eORDER LIMITED TO ONE ITEM PER CUSTOMER\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h2\u003e\n\u003cp\u003e\u003cstrong\u003eHarry Wayne Casey – keyboards, vocals\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJerome Smith – guitar\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRichard Finch – bass guitar, drum, percussion\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRobert Johnson – drums\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOliver C. Brown – percussion\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFermin Goytisolo – percussion\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eKen Faulk – trumpet\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eVinnie Tanno – trumpet\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMike Lewis – tenor saxophone\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWhit Sidener – baritone saxophone\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBeverly Champion – background vocals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMargaret Reynolds – background vocals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJeanette Williams – background vocals\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\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eLimited numbered edition\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : Silver Label (Copy of original Mastertape)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 140g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12”\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : RTI\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : MOFI\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : TK Records\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded 1974 - 1975\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by H. W. Casey and Richard Finch\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMastered by Paul Stubblebine\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 2010\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eLet It Go (Part One)\u003c\/li\u003e\n\u003cli\u003eThat's the Way (I Like It)\u003c\/li\u003e\n\u003cli\u003eGet Down Tonight\u003c\/li\u003e\n\u003cli\u003eBoogie Shoes\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eAin't Nothin' Wrong\u003c\/li\u003e\n\u003cli\u003eI'm So Crazy ('Bout You)\u003c\/li\u003e\n\u003cli\u003eWhat Makes You Happy\u003c\/li\u003e\n\u003cli\u003eI Get Lifted\u003c\/li\u003e\n\u003cli\u003eLet It Go (Part Two)\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e\"This self-titled effort wasn't the Florida band's first album (they'd recorded an underrated album in 1973 titled Do It Good), but it was the first K.C. collection to soar to the top of the charts. Fueled by such addictive funk hits as \"That's the Way (I Like It)\" and \"Get Down Tonight,\" the album established K.C. as one of the top stars of the disco era. But while K.C. was labeled a disco artist, the truth is that many of these slick yet gritty songs have more in common with the Ohio Players than Silver Convention or Donna Summer. When Rhino reissued this album on CD in 1995 as KC and the Sunshine Band...And More, the company generously included several early K.C. smokers (including \"I'm a Pushover\") from Do It Good as bonus tracks. The invigorating material proves that even before the outfit hit big, its distinctive sound had been established.\" \u003cspan data-mce-fragment=\"1\"\u003eAllMusic Review by Alex Henderson\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 : 3,96 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40932227514519,"sku":"MOFI1-012","price":55.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/kc-and-the-sunshine-band-mofi-silver-label-140g-audiosoundmusic-1.jpg?v=1719853509"},{"product_id":"cyndi-lauper-true-colors","title":"Cyndi Lauper - True Colors (MOFI Silver Label, Ultra Analog, Half-speed Mastering, 140g)","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eORDER LIMITED TO ONE ITEM PER CUSTOMER\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCyndi Lauper – lead vocals, arrangements, backing vocals (A4, B1-2, B5), jam box (B2), Emulator voice (B5)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJeff Bova – keyboards (A1, A3, A5, B3-5), arrangements (A1, A3, A5, B3-5)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePeter Wood – keyboards (A2, A4-5, B1), arrangements (A2, A4, B1, B4), additional keyboards (A3), synthesizer bass (B2)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJon Goldberger – sound effects (B2)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eNile Rodgers – guitars (A1)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJohn McCurry – guitars (A2-4, B3-5)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRick Derringer – guitars (A5, B3)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAdrian Belew – guitars (B1), arrangements (B1)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRobert Holmes – guitars (B1)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eNeil Jason – bass guitar (A2, A4, B1, B3)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJimmy Bralower – LinnDrum programming, arrangements (A1, A2, A5, B2-5), percussion (A4, B2), jam box (A4, B5)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAnton Fig – drums (A2, B1)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStephen Broughton Lunt – arrangements (A3)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLennie Petze – arrangements (A3, A5, B1-2, B5), percussion (B2), backing vocals (B5)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe Bangles – backing vocals (A1)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBilly Joel – backing vocals (A2)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAngela Clemmons-Patrick – backing vocals (A4, A5)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEllie Greenwich – backing vocals (B1)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAimee Mann – backing vocals (B3)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, gatefold jacket\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eLimited numbered edition\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : Silver Label (Copy of original Mastertape)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHalf-speed Mastering\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eGain 2 Ultra Analog\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 140g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12”\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : RTI\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : MOFI\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Portrait\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded November 22, 1985 – May 31, 1986 at The Power Station, New York City and The Hit Factory, New York City\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineered \u0026amp; mixed by Brian McGee \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Cyndi Lauper, Lennie Petze\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by Krieg Wunderlich\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1986\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 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\u003eChange of Heart\u003c\/li\u003e\n\u003cli\u003eMaybe He’ll Know\u003c\/li\u003e\n\u003cli\u003eBoy Blue\u003c\/li\u003e\n\u003cli\u003eTrue Colors\u003c\/li\u003e\n\u003cli\u003eCalm Inside the Storm\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\u003eWhat’s Going On\u003c\/li\u003e\n\u003cli\u003eIko Iko\u003c\/li\u003e\n\u003cli\u003eThe Faraway Nearby\u003c\/li\u003e\n\u003cli\u003e911\u003c\/li\u003e\n\u003cli\u003eOne Track Mind\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\"There were a few years in the mid-'80s when one couldn't go out for a cup of coffee without encountering Cyndi Lauper in one form or another. Her videos were playing constantly on MTV, her music was everywhere on the radio, and, best of all, children were even dressing up as Cyndi for Halloween. In retrospect, it was a Lauper-ish time but it was all over quite quickly; in fact, the period in the ultra-limelight didn't even span the period covered by two album releases, which means that this follow-up to her smash debut album was relegated to the also-ran pile, with sad results such as only one sort-of hit single (the title track) and nobody apparently interested in imitating the skirt she wore on the back cover photo, which seems like it is made of slashed-up concert posters. Kind of a shame since so much love and attention went into this album. Guest stars and high-dollar session musicians abound, including other '80s icons such as the Bangles and the manic Pee Wee Herman, who provides a great little answering-machine bit at the end of \"911.\" Lauper is a fantastic vocalist, meaning that any record producer worth hiring would be happy to dream up endless settings for her. This album is nothing if not ambitious, and some of the stretches really pay off, such as the ultimately endearing cover of Marvin Gaye's \"What's Going On.\" Other aspects date badly. For example, highly reverberated and artificial sounding drums and keyboards were really popular at the time, but a vocalist with a clear voice such as Lauper sounds much better in the context of real instruments with their warmer sounds. When it comes to tunes such as the nice Cajun number \"The Faraway Nearby,\" drums should have been turned way down and other instrumental colors brought up. Despite these sorts of problems, there really wasn't that much music recorded by this artist during her most popular period, so fans will no doubt want to own it all.\" \u003cspan data-mce-fragment=\"1\"\u003eAllMusic Review by Eugene Chadbourne\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eUltra Analog™\u003c\/strong\u003e : The GAIN 2 Ultra Analog™ Series stems from the use of the Gain 2 system, mastered at half speed from the original master tapes where possible, capturing and uncovering as before undiscovered sonic information.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHalf-speed mastering. \u003c\/strong\u003e\u003cspan\u003eIn half-speed mastering, the whole process is slowed down to half of the original speed. A typical 33 1\/3 rpm record is cut at 16 2\/3 rpm. The source material is also slowed down (reducing the pitch in the process) meaning the final record will still sound normal when played back. Slowing the whole process down allows more time, which means the end result sounds better and is more efficient — allowing engineering to minimize the effects of inherent limitations within the vinyl format. The result is a more accurate and more open high-frequency response in the half speed vinyl when compared with a normal speed recording.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eAllMusic : 3,5 \/ 5 , Discogs : 3,97 \/ 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":40934371000471,"sku":"MOFI1-028","price":55.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/cyndi-lauper-true-colors-mofi-silver-label-ultra-analog-half-speed-mastering-140g-audiosoundmusic-1.jpg?v=1719853529"},{"product_id":"claude-williamson-trio-autumn-in-new-york","title":"Claude Williamson Trio - Autumn In New York (Japanese edition)","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eORDER LIMITED TO ONE ITEM PER CUSTOMER\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eClaude Williamson, piano\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBill Crow, bass\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDavid Jones, drums\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eLimited edition\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12”\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eVenus Hyper Magnum Sound Direct Mix Stereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press :  Japanese Pressing\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel :  Venus\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label :  Venus\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded \u003cspan data-mce-fragment=\"1\"\u003eApril 22 \u0026amp; 23, 1995 \u003c\/span\u003eat Van Gelder Studio, Englewood Cliffs, New Jersey\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineered by Rudy Van Gelder\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Tetsuo Hara\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by Tetsuo Hara\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1995\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2021\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eLinear Motion\u003c\/li\u003e\n\u003cli\u003eAutumn In New York\u003c\/li\u003e\n\u003cli\u003eManhattan\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\u003eSamba Lhasa\u003c\/li\u003e\n\u003cli\u003eHow About You\u003c\/li\u003e\n\u003cli\u003eI Want To Be Happy\u003c\/li\u003e\n\u003cli\u003eOver The Rainbow\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eClaude Williamson and his trio of Bill Crow and David Jones join together to bring an album full of favorite standards as well as a few originals to their jazz-loving fans.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003c\/strong\u003eDiscogs 4.5\/5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40975026913431,"sku":"AVEN 0208","price":55.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/claude-williamson-trio-autumn-in-new-york-japanese-edition-audiosoundmusic-1.png?v=1719853622"},{"product_id":"eddie-higgins-quartet-my-funny-valentine","title":"Eddie Higgins Quartet - My Funny Valentine Volume 1 (Japanese edition)","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eORDER LIMITED TO ONE ITEM PER CUSTOMER\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEddie Higgins, piano\u003cspan style=\"color: #ff8000;\"\u003e \u003ca data-mce-fragment=\"1\" style=\"color: #ff8000;\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/eddie-higgins\" title=\"Vinyl featuring Eddie Higgins\"\u003e[click here to see more vinyl featuring \u003cspan data-mce-fragment=\"1\" color=\"#ff8000\"\u003eEddie Higgins]\u003c\/span\u003e\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eScott Hamilton, tenor sax\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJay Leonhart, bass\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJoe Ascione, drums\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eLimited Edition\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12”\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eVenus Hyper Magnum Sound Direct Mix Stereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press :  Japanese pressing\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel :  Venus\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Venus\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded at \u003cspan data-mce-fragment=\"1\"\u003eAvatar Studio, New York, on September 11 and 12, 2004\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003cstrong\u003eProduced by Tetsuo Hara, Todd Barkan\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by Shuji Kitamura, Tetsuo Hara\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 2006\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2021\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eYou'd Be So Nice To Come Home To\u003c\/li\u003e\n\u003cli\u003eI'm A Fool To Want You\u003c\/li\u003e\n\u003cli\u003eI Only Have Eyes For You\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e           \u003c\/p\u003e\n\u003cp\u003eSide B:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eAlone Together\u003c\/li\u003e\n\u003cli\u003eDon't Explain\u003c\/li\u003e\n\u003cli\u003eWhen Sunny Gets Blue\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThrough his numerous releases from Venus Records, Eddie Higgins has firmly established his position as one of the most celebrated veteran jazz pianists in Japan.\u003c\/p\u003e\n\u003cp\u003eHiggins has performed and recorded with many of the biggest names in jazz, including Coleman Hawkins, Jack Teagarden, Stan Getz, Dizzy Gillespie and Wayne Shorter. His discography as a bandleader include more than 25 recordings.\u003c\/p\u003e\n\u003cp\u003eHere Higgins is joined by his quartet consisting of Scott Hamilton on tenor sax, Jay Leonhart on bass, and Joe Ascione on drums.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eDiscogs 3.83\/5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40975523184791,"sku":"AVEN 0202","price":55.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/eddie-higgins-quartet-my-funny-valentine-volume-1-japanese-edition-audiosoundmusic-1.jpg?v=1719853638"},{"product_id":"dimitri-mitropoulos-berlioz-symphonie-fantastique","title":"Berlioz - Symphonie Fantastique - Dimitri Mitropoulos","description":"\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003eHector Berlioz - Symphonie Fantastique Op.14\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe New York Philharmonic Orchestra\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDimitri Mitropoulos - Conductor\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas GmbH in Germany\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\u003eRecorded February 1957 in New York City\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMastered by Kevin Gray \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1957\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2017\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003cp\u003e            I - Reveries; Passions\u003c\/p\u003e\n\u003cp\u003e            II - Un Bal\u003c\/p\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003cp\u003e            III - Scéne Aux Champs\u003c\/p\u003e\n\u003cp\u003e            IV - Marche Au Supplice\u003c\/p\u003e\n\u003cp\u003e            V Songe D'Une Nuit Du Sabbat\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e« Berlioz’s Symphonie Fantastique seems to bring out the best in performers and there are a large number of recommendable versions ranging from Pierre Monteux in 1930 to John Elliott Gardiner in 1990, of which this 1957 Mitropoulos version, from the early days of stereo, is an interesting example. The Symphony starts with a long Largo introduction, whose idée fixe acts as a leitmotif, here Mitropoulos moves forward without ever rushing and the use of antiphonal violins adds to the sense of dialogue between the instruments. In the main Allegro agitato e appassionato assai, Mitropoulos sees structure (it is in sonata-form) as opposed to episode, which means the fugato elements are given due weight and power and in the recapitulation the race to the quiet codetta is immensely exciting. Nor does he hang around in Un bal - which is effectively a scherzo – although he doesn’t quite swing and shape the rhythms in the way Martinon and Barbirolli (live with the Halle in 1967) do. The woodwind solos at the start of Scène aux champs are lacking in atmosphere, but the wonderful passage where the cor anglais intones the movements opening theme accompanied by four timpani depicting distant thunder, is beautifully realised.\u003c\/p\u003e\n\u003cp\u003eMitropoulos’s very straight approach to the Marche au supplice lacks the concentrated power of Martinon, or hell-for-leather excitement of Munch (Boston Symphony Orchestra) but again this fits in with his desire to emphasis form. Very much the same happens in the Songe d'une nuit du sabbat where the bells toll beautifully and there are no unwritten huge tempo changes, but a touch more devilry and flamboyance wouldn’t have gone amiss. »  Classical sources \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eDiscogs : 4.57 \/ 5   ,  Classical sources : Sound Balance: 4 Inner balance: 3 Detail and clarity: 3 Dynamic range: 2\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":41039237644439,"sku":"MS6030","price":76.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/berlioz-symphonie-fantastique-dimitri-mitropoulos-audiosoundmusic-1.jpg?v=1719854056"},{"product_id":"ry-cooder","title":"Ry Cooder","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRy Cooder - Vocals, Guitar, Bass, Mandolin \u003cspan style=\"color: #ff8000;\"\u003e\u003ca data-mce-fragment=\"1\" style=\"color: #ff8000;\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/ry-cooder\" title=\"vinyl featuring Ry Cooder\"\u003e[click here to see more vinyl featuring Ry Cooder]\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eVan Dyke Parks - Piano\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBobby Bruce – Violin\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eChris Ethridge Roy Estrada, Max Bennett – Bass\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJohn Barbata, Richie Hayward – Drums\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMilt Holland – Drums, percussions\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGloria Jones - backing vocals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\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\u003eRecord Press : Pallas GmbH in Germany\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 : Reprise Records\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded in 1970 at various studios by Bob Kovacs, Doug Botnick, Rudy Hill and Jim Lowe\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Lenny Waronker and Van Dyke Parks\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 2021\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eAlimony\u003c\/li\u003e\n\u003cli\u003eFrance Chance\u003c\/li\u003e\n\u003cli\u003eOne Meat Ball\u003c\/li\u003e\n\u003cli\u003eDo Re Mi\u003c\/li\u003e\n\u003cli\u003eMy Old Kentucky Home\u003c\/li\u003e\n\u003cli\u003eHow Can A Poor Man Stand Such Times And Live?\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eAvailable Space\u003c\/li\u003e\n\u003cli\u003ePig Meat\u003c\/li\u003e\n\u003cli\u003ePolice Dog Blues\u003c\/li\u003e\n\u003cli\u003eGoin' To Brownsville\u003c\/li\u003e\n\u003cli\u003eDark Is The Night\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e“When the name Ry Cooder comes up, it may seem familiar to casual listeners. But in music circles, this roots-based guitarist is revered by fellow artists. As a sideman, he has recorded with The Rolling Stones, Randy Newman, Linda Ronstadt, Van Morrison and Little Feat. His slide guitar imprint on rock history is significant. Additionally, Cooder has scored many films, including Paris, Texas, The Long Riders, Streets Of Fire, Johnny Handsome, Performance, Primary Colors and Trespass. He dubbed many of the guitar parts in the movie, Crossroads. Over the last five decades, Ry Cooder has released several recordings, showcasing his unique eclecticism and virtuosity.\u003c\/p\u003e\n\u003cp\u003eSpeakers Corner Records has released a 180-gram re-mastered vinyl of Ry Cooder’s self-titled 1970 debut. With the assistance of several contemporaries, RY Cooder represents an auspicious debut as a solo artist. He is presenting a modern connection and appreciation to blues. Side 1 opens with the humorous tune, “Alimony” (co-written by Robert Higgenbothem of “Hi-Heel Sneakers” fame). With electric slide and a lower-voice register, Cooder pleads his case before the judge. Touches of gospel backup singing (Gloria Jones) and barrelhouse piano (Van Dyke Parks) liven this up. “France Chance” (originally written and recorded under the title “Love Me Baby Blues” by Joe Calliciott ) is also sprightly with a syncopated tempo. Digging into another Americana genre tin pan alley, “One Meat Ball” has a pop-jazz resonance with an exotic melody line, again enunciating regrets for lack of money (“…get no bread with one meatball…”) with coyness. On “Do-Re_Mi”, Cooder shifts into social commentary from Woody Guthrie. It was an alarm bell to “dust bowl” migrants heading to California to escape poverty. A warning to not come here…”if you ain’t got the do-re-mi” is chilling 30 years later. The arrangement is modern with violins and feels like late 60’s early 70’s groups like The Band. Drawing on a then present-day musical source, “Old Kentucky Home” (from Randy Newman’s 12 Songs LP) is slowed down to back porch rhythm, but Cooder’s vocals effectively tell a heartfelt, funny story He is a natural conduit for Newman’s deadpan-infused irony. One of the highlights of this album is a cover of a 1929 protest song (“How Can A Poor Man Stand Such Times And Live”) written by Blind Alfred Reed. Cooder maintains the authenticity of the song, but with a folk-rock sensibility. His guitar licks are concise and visceral.\u003c\/p\u003e\n\u003cp\u003eSide 2 has a laid-back vibe. Cooder’s lone composition, “Available Space” is a stirring instrumental. A great slide guitar brings some funkiness to this country-blues format. If you’re going to select material from great American composers, then Hudie Ledbetter (a.k.a. Leadbelly) seems like an obvious choice. “Pigmeat” is performed with old-school laconic articulation. Hudbetter’s wry observations on “country versus city” always seem topical.  The brass accents emulate Louisiana musical styling. There are also a number from lesser-known blues artist Arthur “Blind” Blake. “Police Dog Blues” is acoustic Delta-inspired social reflection with classic lyrical imagery of “gamblin’”, “travelin’ man” and “police dogs”. But “Sleepy” John Estes is renowned and has influenced rockers like John Lennon, Bob Dylan and Robert Plant. “Goin’ To Brownsville” has become a standard. Cooder executes some of his finest work here with mandolin and electric slide in multi-tracking production. The finale is an instrumental, “Dark Is The Night” by the legendary Blind Willie Johnson. This blues man has been credited with popularizing slide guitar. Cooder’s pared-down arrangement (on slide) is atmospheric and translates the innate forlorn character of blues.\u003c\/p\u003e\n\u003cp\u003eSpeakers Corner Records has done an excellent job in re-mastering Ry Cooder to 180-gram vinyl. The overall mix is balanced with good stereo separation. Both acoustic and slide guitars sound natural with little distortion.” Robbie Gerson, Audiophile Audition, September 2021\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e« Already a seasoned music business veteran at the age of 22, Ry Cooder stepped out from behind the shadows of the likes of Jackie DeShannon, Taj Mahal, the Rolling Stones, and Captain Beefheart, signing his own deal with Warner Brothers records in 1969. Released the following year, Cooder's eponymous debut creates an intriguing fusion of blues, folk, rock \u0026amp; roll, and pop, filtered through his own intricate, syncopated guitar; Van Dyke Parks and Lenny Waronker's idiosyncratic production; and Parks and Kirby Johnson's string arrangements. And while he's still finding his feet as a singer, Cooder puts this unique blend across with a combination of terrific songs, virtuosic playing, and quirky, yet imaginative, arrangements. For material, Cooder, the son of folklorist parents, unearths ten gems -- spanning six decades dating back to the 1920s -- by legends such as Woody Guthrie, Blind Blake, Sleepy John Estes, and Leadbelly, as well as a current Randy Newman composition. Still, as great as his outside choices are, it's the exuberant charm of his own instrumental \"Available Space\" that nearly steals the show. Its joyful interplay between Cooder's slide, Van Dyke Parks' music hall piano, and the street-corner drumming creates a piece that is both loose and sophisticated. If \"Available Space\" is the record's most playful moment, its closer, \"Dark Is the Night,\" is the converse, with Cooder's stark, acoustic slide extracting every ounce of torment from Blind Willie Johnson's mournful masterpiece. Some of the eccentric arrangements may prove to be a bit much for both purists and pop audiences alike, but still, Cooder's need to stretch, tempered with a reverence for the past, helps to create a completely original work that should reward adventurous listeners. » AllMusic Review by Brett Hartenbach.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eAllMusic : 4 \/ 5 ,  Discogs : 4.12 \/ 5 \u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":41039342895255,"sku":"RS 6402","price":30.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/ry-cooder-audiosoundmusic-1.jpg?v=1743195902"},{"product_id":"michael-franks-the-art-of-tea","title":"Michael Franks - The Art Of Tea","description":"\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eMichael Franks – vocals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMichael Brecker – saxophone\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDavid Sanborn – saxophone\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJoe Sample – keyboards\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLarry Bunker – vibraphone\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLarry Carlton – guitar\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWilton Felder – bass\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJohn Guerin – drums\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJerry Steinholtz – congas\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\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 : Reprise Records\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded May 22 – June 9, 1975 at Capitol Recording Studios, Los Angeles, by Al Schmitt, Bruce Botnick and Lee Hershberg\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Tommy LiPuma\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 December 2021\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eNightmoves\u003c\/li\u003e\n\u003cli\u003eEggplant\u003c\/li\u003e\n\u003cli\u003eMonkey See - Monkey Do\u003c\/li\u003e\n\u003cli\u003eSt. Elmo's Fire\u003c\/li\u003e\n\u003cli\u003eI Don't Know Why I'm So Happy I'm Sad\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eJive\u003c\/li\u003e\n\u003cli\u003ePopsicle Toes\u003c\/li\u003e\n\u003cli\u003eSometimes I Just Forget To Smile\u003c\/li\u003e\n\u003cli\u003eMr. Blue\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e« After his debut on the tiny Brut Records (a short-lived record label of the famous cologne company), Michael Franks established both his unique sound and a recording process he has continued throughout his career. Primarily a jazz artist, Franks crossed over to pop and rock fans through heavy FM airplay beginning with The Art of Tea. Sensually suggestive and playful tracks, such as \"Popsicle Toes\" and \"Eggplant\" contain sly wordplay and almost Henry Mancini-like, breezy jazz-pop. Employing a similar approach as Steely Dan did with its music, Franks' singing and songwriting formed the basis of a sound rooted in the support of top-notch musicians, many of whom were the hottest studio jazz players on the scene. Here, the killer rhythm section of drummer John Guerin and bassist Wilton Felder is augmented by horn pros Michael Brecker and David Sanborn, with Franks and Larry Carlton handling all the guitar work. This winning combination of players, styles, singing, and songwriting would be reshuffled and refined over the years, but perhaps with no finer results than on this official major label debut. » AllMusic Review by Stephen J. Matteo\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e“As popular music evolved in the 1970’s, the different genres were changing. Jazz adopted electric instruments and synthesizers, creating a fusion sound that was smoother. The hard core rock scene was winding down. Heavy metal and punk music was still undefined in the future. More importantly, r \u0026amp; b moved away from the crossover dance music at Motown and the deeply gospel-rooted Memphis expression. A new hybrid, radio-friendly genre, quiet storm emerged. Incorporating elements of soul and jazz into a contemporary format. Marvin Gaye, Al Green, Barry White, Roberta Flack and Bill Withers were among the early proponents of this new movement. Another of these performers was songwriter and vocalist Michael Franks. In addition to recording with artists like Patti Austin, Brenda Russell and Art Garfunkel, he embarked on a three-decade career as a pop\/jazz vocalist. His breakthrough album, The Art Of Tea included his only charting single “Popsicle Toes”.\u003c\/p\u003e\n\u003cp\u003eSpeakers Corner Records has released a re-mastered 180-gram vinyl of The Art Of Tea. Backing up Frank’s silky tenor are first rate session players like David Sanborn, Joe Sample, Larry Carlton, Larry Bunker, Wilton Felder, John Guerin and Jerry Steinholz. Side One opens with the gentle sway of “Nightmoves”. Franks’ ethereal vocal delivery is framed by smooth electric piano and guitar. His delivery is straightforward and fits into the instrumental pocket. “Eggplant” has a finger-snapping cool vibe and Franks stretches out on vocals, while delivering a humorous, poetic take on love. Joe Sample’s electric piano is fluid and is matched by subtle guitar. Adding some muscle to the instrumentation, “Monkey See-Monkey Do” has a funky, pulse-driven beat with a soulful run on saxophone. Franks articulates a jazzy stream-of consciousness with topical, anecdotal references. “Switching gears, “St. Elmo’s Fire” is a romantic ballad with pop sentiment. Frank’s vocal phrasing is excellent and the overall relaxed structure offers the singer ample opportunity to showcase his innate vocal skills. On “I Don’t Know Why I’m So Happy I’m Sad”, he incorporates laid-back reflections on romance with clever rhyming framed by the understated instrumentals. \u003c\/p\u003e\n\u003cp\u003eSide Two kicks off with a jazzy attitude and up tempo music on “Jive”. The saxophone adds depth to the structure. Franks’ wordplay is clever and memorable. A certain highlight of the album is “Popsicle Toes”. Franks injects a whimsical, bluesy aesthetic into the jazzy arrangement. Touches like vibraphone enhance the atmospheric feel. Sample’s piano is glowing and offers deeper jazz accents. The band complements Franks’ vocal styling with cohesive play. With a rock tempo, “I Just Forgot To Smile” is more wry observations with quick-rhyme and numerous popular cultural references. The instrumental jamming on this one is excellent. The finale (“Mr. Blue”) shifts to romantic melancholy with a smoky saxophone, synthesizers and acoustic piano weaving a gossamer tapestry.\u003c\/p\u003e\n\u003cp\u003eThe Art Of Tea maintains its creative and commercial appeal 45 years after its initial release. Speakers Corner Records has done an exceptional job in re-mastering this to 180-gram vinyl. Franks’ dulcet, higher-register voice is captured with clarity and warmth. The instrumentation never upstages the vocals and the stereo separation is flawless.” Robbie Gerson, Audiophile Audition, September 2021\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 : 4.02 \/ 5 ; Audiophile Audition : 4.5 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":41041127014551,"sku":"MS 2230","price":30.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/michael-franks-the-art-of-tea-audiosoundmusic-1.jpg?v=1743196616"},{"product_id":"bob-dylan-bob-dylan-2lp-mono-ultra-analog-45-rpm","title":"Bob Dylan - Bob Dylan (2LP, Mono, Ultra Analog, Half-speed Mastering, 45 RPM)","description":"\u003cp\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eORDER LIMITED TO ONE ITEM PER CUSTOMER\u003c\/strong\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBob Dylan – vocals, acoustic guitar, harmonica \u003ca title=\"vinyl featuring Bob Dylan\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/bob-dylan\" style=\"color: #ff8000;\" data-mce-fragment=\"1\"\u003e[click here to see more vinyl featuring Bob Dylan]\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by Bob Dylan\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e2 LPs, gatefold sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eNumbered edition limited to 3,000 copies\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHalf-speed Mastering\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGain 2™ Ultra Analog\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 45RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12”\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMono\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : RTI\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : MOFI\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Columbia\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded \u003cspan data-mce-fragment=\"1\"\u003eNovember 20 and 22, 1961\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e in \u003c\/span\u003eColumbia Studio A, 799 Seventh Avenue, New York City\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by John Hammond\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by Krieg Wunderlich\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1962\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2018\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eYou're No Good\u003c\/li\u003e\n\u003cli\u003eTalkin' New York\u003c\/li\u003e\n\u003cli\u003eIn My Time Of Dyin'\u003c\/li\u003e\n\u003cli\u003eMan Of Constant Sorrow\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col start=\"5\"\u003e\n\u003cli\u003eFixin' To Die\u003c\/li\u003e\n\u003cli\u003ePretty Peggy-O\u003c\/li\u003e\n\u003cli\u003eHighway 51\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide C :\u003c\/p\u003e\n\u003col start=\"8\"\u003e\n\u003cli\u003eGospel Plow\u003c\/li\u003e\n\u003cli\u003eBaby, Let Me Follow You Down\u003c\/li\u003e\n\u003cli\u003eHouse Of The Risin' Sun \u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide D :\u003c\/p\u003e\n\u003col start=\"11\"\u003e\n\u003cli\u003eFreight Train Blues\u003c\/li\u003e\n\u003cli\u003eSong To Woody\u003c\/li\u003e\n\u003cli\u003eSee That My Grave Is Kept Clean\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e  \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e\"Bob Dylan's first album is a lot like the debut albums by the Beatles and the Rolling Stones -- a sterling effort, outclassing most, if not all, of what came before it in the genre, but similarly eclipsed by the artist's own subsequent efforts. The difference was that not very many people heard Bob Dylan on its original release (originals on the early-'60s Columbia label are choice collectibles) because it was recorded with a much smaller audience and musical arena in mind. At the time of Bob Dylan's release, the folk revival was rolling, and interpretation was considered more important than original composition by most of that audience. A significant portion of the record is possessed by the style and spirit of Woody Guthrie, whose influence as a singer and guitarist hovers over \"Man of Constant Sorrow\" and \"Pretty Peggy-O,\" as well as the two originals here, the savagely witty \"Talkin' New York\" and the poignant \"Song to Woody\"; and it's also hard to believe that he wasn't aware of Jimmie Rodgers and Roy Acuff when he cut \"Freight Train Blues.\" But on other songs, one can also hear the influences of Bukka White, Blind Lemon Jefferson, Blind Willie Johnson, and Furry Lewis, in the playing and singing, and this is where Dylan departed significantly from most of his contemporaries. Other white folksingers of the era, including his older contemporaries Eric Von Schmidt and Dave Van Ronk, had incorporated blues in their work, but Dylan's presentation was more in your face, resembling in some respects (albeit in a more self-conscious way) the work of John Hammond, Jr., the son of the man who signed Dylan to Columbia Records and produced this album, who was just starting out in his own career at the time this record was made. There's a punk-like aggressiveness to the singing and playing here. His raspy-voiced delivery and guitar style were modeled largely on Guthrie's classic '40s and early-'50s recordings, but the assertiveness of the bluesmen he admires also comes out, making this one of the most powerful records to come out of the folk revival of which it was a part. Within a year of its release, Dylan, initially in tandem with young folk\/protest singers like Peter, Paul \u0026amp; Mary and Phil Ochs, would alter the boundaries of that revival beyond recognition, but this album marked the pinnacle of that earlier phase, before it was overshadowed by this artist's more ambitious subsequent work. In that regard, the two original songs here serve as the bridge between Dylan's stylistic roots, as delineated on this album, and the more powerful and daringly original work that followed. One myth surrounding this album should also be dispelled here -- his version of \"House of the Rising Sun\" here is worthwhile, but the version that was the inspiration for the Animals' recording was the one by Josh White.\" AllMusic Review by Bruce Eder  \u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eUltra Analog™\u003c\/strong\u003e\u003cspan data-mce-fragment=\"1\"\u003e : The GAIN 2 Ultra Analog™ Series stems from the use of the Gain 2 system, mastered at half speed from the original master tapes where possible, capturing and uncovering as before undiscovered sonic information.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003cstrong\u003eHalf-speed mastering. \u003c\/strong\u003eIn half-speed mastering, the whole process is slowed down to half of the original speed. A typical 33 1\/3 rpm record is cut at 16 2\/3 rpm. The source material is also slowed down (reducing the pitch in the process) meaning the final record will still sound normal when played back. Slowing the whole process down allows more time, which means the end result sounds better and is more efficient — allowing engineering to minimize the effects of inherent limitations within the vinyl format. The result is a more accurate and more open high-frequency response in the half speed vinyl when compared with a normal speed recording.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eAllMusic : 4 \/ 5 , Discogs : 4,13 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":41053158146199,"sku":"MFSL2-458","price":71.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/bob-dylan-bob-dylan-2lp-mono-ultra-analog-half-speed-mastering-45-rpm-audiosoundmusic-1.jpg?v=1719854100"},{"product_id":"miles-davis-e-s-p-2lp-ultra-analog-45-rpm","title":"Miles Davis - E.S.P. (2LP, Ultra Analog, Half-speed Mastering, 45 RPM)","description":"\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eORDER LIMITED TO ONE ITEM PER CUSTOMER\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMiles Davis – trumpet \u003ca title=\"vinyl featuring Miles Davis\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/miles-davis\" data-mce-fragment=\"1\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\"\u003e[click here to see more vinyl featuring Miles Davis]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWayne Shorter – tenor saxophone \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/wayne-shorter\" title=\"vinyl featuring Wayne Shorter\" data-mce-fragment=\"1\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\"\u003e[click here to see more vinyl featuring Wayne Shorter]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHerbie Hancock – piano \u003ca title=\"vinyl featuring Herbie Hancock\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/herbie-hancock\" data-mce-fragment=\"1\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\"\u003e[click here to see more vinyl featuring Herbie Hancock]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRon Carter – bass \u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\"\u003e\u003ca style=\"color: #ff8000;\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/ron-carter\" title=\"Vinyl featuring Ron Carter\" data-mce-fragment=\"1\"\u003e[click here to see more vinyl featuring Ron Carter]\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTony Williams – drums\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e2 LPs, gatefold jacket\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eNumbered limited edition\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHalf-speed Mastering\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGain 2™ Ultra Analog\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 45RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12”\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : RTI\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : MOFI\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Columbia\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded \u003cspan data-mce-fragment=\"1\"\u003eJanuary 20–22, 1965\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003eat \u003c\/strong\u003e\u003cstrong\u003eColumbia Studios, Hollywood\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Irving Townsend\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by Krieg Wunderlich\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1965\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2016\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eE.S.P.\u003c\/li\u003e\n\u003cli\u003eEighty-One\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col start=\"3\"\u003e\n\u003cli\u003eLittle One\u003c\/li\u003e\n\u003cli\u003eR.J.\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eSide C :\u003c\/p\u003e\n\u003col start=\"5\"\u003e\n\u003cli\u003eAgitation\u003c\/li\u003e\n\u003cli\u003eIris\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eSide D :\u003c\/p\u003e\n\u003col start=\"7\"\u003e\n\u003cli\u003eMood\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAwards\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cb\u003eTAS Super LP List! Special Merit: Informal\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e\"ESP marks the beginning of a revitalization for Miles Davis, as his second classic quintet -- saxophonist Wayne Shorter, pianist Herbie Hancock, bassist Ron Carter, and drummer Tony Williams -- gels, establishing what would become their signature adventurous hard bop. Miles had been moving toward this direction in the two years preceding the release of ESP and he had recorded with everyone outside of Shorter prior to this record, but his addition galvanizes the group, pushing them toward music that was recognizably bop but as adventurous as jazz's avant-garde. Outwardly, this music doesn't take as many risks as Coltrane or Ornette Coleman's recordings of the mid-'60s, but by borrowing some of the same theories -- a de-emphasis of composition in favor of sheer improvisation, elastic definitions of tonality -- they created a unique sound that came to define the very sound of modern jazz. Certainly, many musicians have returned to this group for inspiration, but their recordings remain fresh, because they exist at this fine dividing line between standard bop and avant. On ESP, they tilt a bit toward conventional hard bop (something that's apparent toward the end of the record), largely because this is their first effort, but the fact is, this difference between this album and hard bop from the early '60s is remarkable. This is exploratory music, whether it's rushing by in a flurry of notes or elegantly reclining in Hancock's calm yet complex chords. The compositions are brilliantly structured as well, encouraging such free-form exploration with their elliptical yet memorable themes. This quintet may have cut more adventurous records, but ESP remains one of their very best albums.\" \u003cspan data-mce-fragment=\"1\"\u003eAllMusic Review by Stephen Thomas Erlewine \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eUltra Analog™\u003c\/strong\u003e\u003cspan data-mce-fragment=\"1\"\u003e : The GAIN 2 Ultra Analog™ Series stems from the use of the Gain 2 system, mastered at half speed from the original master tapes where possible, capturing and uncovering as before undiscovered sonic information.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003cstrong\u003eHalf-speed mastering. \u003c\/strong\u003eIn half-speed mastering, the whole process is slowed down to half of the original speed. A typical 33 1\/3 rpm record is cut at 16 2\/3 rpm. The source material is also slowed down (reducing the pitch in the process) meaning the final record will still sound normal when played back. Slowing the whole process down allows more time, which means the end result sounds better and is more efficient — allowing engineering to minimize the effects of inherent limitations within the vinyl format. The result is a more accurate and more open high-frequency response in the half speed vinyl when compared with a normal speed recording.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eAllMusic : 4,5 \/ 5 , Discogs : 4,51 \/ 5 \u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":41054251679895,"sku":"MFSL2-451","price":71.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/miles-davis-e-s-p-2lp-ultra-analog-half-speed-mastering-45-rpm-audiosoundmusic-1.jpg?v=1719854111"},{"product_id":"miles-davis-miles-in-the-sky-2lp-ultra-analog-45-rpm","title":"Miles Davis - Miles in the Sky (2LP, Ultra Analog, Half-speed Mastering, 45 RPM)","description":"\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eORDER LIMITED TO ONE ITEM PER CUSTOMER\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMiles Davis, trumpet \u003ca data-mce-fragment=\"1\" title=\"vinyl featuring Miles Davis\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/miles-davis\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/miles-davis\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"color: #ff8000;\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Miles Davis]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWayne Shorter, tenor saxophone \u003ca data-mce-fragment=\"1\" title=\"vinyl featuring Wayne Shorter\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/wayne-shorter\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/wayne-shorter\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"color: #ff8000;\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Wayne Shorter]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHerbie Hancock, piano, electric piano \u003ca data-mce-fragment=\"1\" title=\"vinyl featuring Herbie Hancock\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/herbie-hancock\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/herbie-hancock\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"color: #ff8000;\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Herbie Hancock]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRon Carter, bass \u003cspan data-mce-fragment=\"1\" style=\"color: #ff8000;\"\u003e\u003ca data-mce-fragment=\"1\" style=\"color: #ff8000;\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/ron-carter\" title=\"Vinyl featuring Ron Carter\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/ron-carter\"\u003e[click here to see more vinyl featuring Ron Carter]\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTony Williams, drums\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGeorge Benson, electric guitar on \"Paraphernalia\" \u003ca data-mce-fragment=\"1\" title=\"Vinyl featuring George Benson\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/george-benson\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/george-benson\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"color: #ff8000;\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring George Benson]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e2 LPs, gatefold sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eLimited numbered edition\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHalf-speed Mastering\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGain 2™ Ultra Analog\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 45RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12”\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : RTI\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : MOFI\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Columbia\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded \u003cspan data-mce-fragment=\"1\"\u003eJanuary 16 and May 15–17, 1968 at \u003c\/span\u003e\u003c\/strong\u003e\u003cstrong\u003eColumbia Studio B in New York City\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineered by Arthur Kendy, Frank Laico\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Teo Macero\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by Krieg Wunderlich\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1968\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 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\u003eStuff\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e           \u003c\/p\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col start=\"2\"\u003e\n\u003cli\u003eParaphernalia\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e           \u003c\/p\u003e\n\u003cp\u003eSide C :\u003c\/p\u003e\n\u003col start=\"3\"\u003e\n\u003cli\u003eBlack Comedy\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e           \u003c\/p\u003e\n\u003cp\u003eSide D :\u003c\/p\u003e\n\u003col start=\"4\"\u003e\n\u003cli\u003eCountry Son\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003col start=\"5\"\u003e\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAwards\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cb\u003eTAS Super LP List! Special Merit: Informal\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e“Mo-Fi's Miles reissues keep coming. Porgy and Bess another atmospheric Miles-Gil Evans collaboration dropped early 2020. While all of these Miles albums are musically significant and many are sonically excellent on both original pressings and on these reissues, the biggest sonic surprise was how much better the reissued quintet (Shorter, Hancock, Carter, Williams) recordings sound compared to the originals. Whatever happened in the original mastering has been vastly improved on Nefertiti, Miles in the Sky and Filles De Kilimanjaro. If you have originals and think, you're covered, you're not! Get these while you can.” Michael Fremer, Analog Planet\u003c\/p\u003e\n\u003cp\u003e\"With the 1968 album Miles in the Sky, Miles Davis explicitly pushed his second great quintet away from conventional jazz, pushing them toward the jazz-rock hybrid that would later become known as fusion. Here, the music is still in its formative stages, and it's a little more earth-bound than you might expect, especially following on the heels of the shape-shifting, elusive Nefertiti. On Miles in the Sky, much of the rhythms are straightforward, picking up on the direct 4\/4 beats of rock, and these are illuminated by Herbie Hancock's electric piano -- one of the very first sounds on the record, as a matter of fact -- and the guest appearance of guitarist George Benson on \"Paraphernalia.\" All of these additions are tangible and identifiable, and they do result in intriguing music, but the form of the music itself is surprisingly direct, playing as extended grooves. This meanders considerable more than Nefertiti, even if it is significantly less elliptical in its form, because it's primarily four long jams. Intriguing, successful jams in many respects, but even with the notable additions of electric instruments, and with the deliberately noisy \"Country Son,\" this is less visionary than its predecessor and feels like a transitional album -- and, like many transitional albums, it's intriguing and frustrating in equal measures.\" \u003cspan data-mce-fragment=\"1\"\u003eAllMusic Review by Stephen Thomas Erlewine\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eUltra Analog™\u003c\/strong\u003e\u003cspan data-mce-fragment=\"1\"\u003e : The GAIN 2 Ultra Analog™ Series stems from the use of the Gain 2 system, mastered at half speed from the original master tapes where possible, capturing and uncovering as before undiscovered sonic information.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003cstrong\u003eHalf-speed mastering. \u003c\/strong\u003eIn half-speed mastering, the whole process is slowed down to half of the original speed. A typical 33 1\/3 rpm record is cut at 16 2\/3 rpm. The source material is also slowed down (reducing the pitch in the process) meaning the final record will still sound normal when played back. Slowing the whole process down allows more time, which means the end result sounds better and is more efficient — allowing engineering to minimize the effects of inherent limitations within the vinyl format. The result is a more accurate and more open high-frequency response in the half speed vinyl when compared with a normal speed recording.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eAllMusic : 3,5 \/ 5 , Discogs : 4,43 \/ 5 ,  \u003cspan data-mce-fragment=\"1\"\u003eMichael Fremer : Music = 9\/11; Sound = 9\/11 \u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":41059396747415,"sku":"MFSL2-437","price":71.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/miles-davis-miles-in-the-sky-2lp-ultra-analog-half-speed-mastering-45-rpm-audiosoundmusic-1.jpg?v=1719854134"},{"product_id":"foreigner-double-vision-ultra-analog","title":"Foreigner - Double Vision (MOFI, Ultra Analog, Half-speed Mastering)","description":"\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eORDER LIMITED TO ONE ITEM PER CUSTOMER\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003ca title=\"vinyl featuring Foreigner\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/foreigner\"\u003e\u003cspan style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Foreigner]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLou Gramm – lead vocals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMick Jones – lead guitar, backing vocals, acoustic piano, lead vocals (4, 8)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eIan McDonald – guitars, keyboards, reeds, vocals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAl Greenwood – keyboards\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEd Gagliardi – bass, vocals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDennis Elliott – drums\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAdditional musicians\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eIan Lloyd – backing vocals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDavid Paich – string arrangements\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eLimited numbered edition\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHalf-speed Mastering\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGain 2™ Ultra Analog\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12”\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : RTI\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : MOFI\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Atlantic\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded \u003cspan data-mce-fragment=\"1\"\u003eDecember 1977 - March 1978 at Sound City, Los Angeles\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineered by David De Vore, Keith Olsen\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Ian McDonald, Keith Olsen, Mick Jones \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by Krieg Wunderlich\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1978\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2011\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eHot Blooded\u003c\/li\u003e\n\u003cli\u003eBlue Morning, Blue Day\u003c\/li\u003e\n\u003cli\u003eYou're All I Am\u003c\/li\u003e\n\u003cli\u003eBack Where You Belong\u003c\/li\u003e\n\u003cli\u003eLove Has Taken Its Toll\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col start=\"6\"\u003e\n\u003cli\u003eDouble Vision\u003c\/li\u003e\n\u003cli\u003eTramontane\u003c\/li\u003e\n\u003cli\u003eI Have Waited So Long\u003c\/li\u003e\n\u003cli\u003eLonely Children\u003c\/li\u003e\n\u003cli\u003eSpellbinder\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\"Foreigner promptly followed up its blockbuster debut with the equally successful Double Vision LP in 1978, which featured the FM mega-hits \"Hot Blooded\" and the driving title track. Opting not to mess with a good formula, the band wisely sticks to the polished hard rock sound that made its first record such a hit. Aside from the big singles, other highlights include the swaggering \"Love Has Taken Its Toll\" and the more restrained \"Blue Morning, Blue Day.\" As always, Lou Gramm's impeccable rock vocals lead the way, supported by Mick Jones' tasteful, arena-sized guitar riffs.\" \u003cspan data-mce-fragment=\"1\"\u003eAllMusic Review by Andy Hinds\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eUltra Analog™\u003c\/strong\u003e\u003cspan data-mce-fragment=\"1\"\u003e : The GAIN 2 Ultra Analog™ Series stems from the use of the Gain 2 system, mastered at half speed from the original master tapes where possible, capturing and uncovering as before undiscovered sonic information.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003cstrong\u003eHalf-speed mastering. \u003c\/strong\u003eIn half-speed mastering, the whole process is slowed down to half of the original speed. A typical 33 1\/3 rpm record is cut at 16 2\/3 rpm. The source material is also slowed down (reducing the pitch in the process) meaning the final record will still sound normal when played back. Slowing the whole process down allows more time, which means the end result sounds better and is more efficient — allowing engineering to minimize the effects of inherent limitations within the vinyl format. The result is a more accurate and more open high-frequency response in the half speed vinyl when compared with a normal speed recording.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eAllMusic : 4 \/ 5 , Discogs : 3,94 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":41087356698775,"sku":"MFSL1-341","price":49.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/foreigner-double-vision-ultra-analog-half-speed-mastering-audiosoundmusic-1.jpg?v=1719854251"},{"product_id":"frank-sinatra-sing-and-dance-with-frank-sinatra","title":"Frank Sinatra - Sing and dance with Frank Sinatra (Mono)","description":"\u003cdiv\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eORDER LIMITED TO ONE ITEM PER CUSTOMER\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp\u003e\u003cstrong\u003eFrank Sinatra - Vocals\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\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eA4, B5 : Hugo Winterhalter (conductor), Yank Lawson, Carl Poole, Russ Solomon (trumpets), John D'Agostino, Buddy Morrow aka Moe Zydecoff, William Pritchard (trombones), Ernie Caceres (baritone saxophone\/clarinet\/alto saxophone), Wolf Taninbaum, Henry Ross (tenor saxophone\/clarinet), Toots Mondello, Sid Cooper (alto saxophone\/clarinet), Johnny Guarnieri (piano), Al Caiola (guitar), Trigger Alpert (bass), Terry Snyder (drums)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eA1-3, A5-8, B3-4 : George Siravo (conductor), Billy Butterfield, Steve Lipkins, Carl Poole, Pinky Savitt (trumpets), George Arus, William Rausch (trombones), Ernie Caceres (baritone saxophone\/clarinet\/alto saxophone), Emmett Callen (alto saxophone), Art Drelinger (alto saxophone\/clarinet\/oboe\/bass clarinet), Leonard Hartman (tenor saxophone\/clarinet\/bass clarinet), Jimmy Horvath (alto saxophone), Jerry Jerome (tenor saxophone\/clarinet), Babe Russin (tenor saxophone), Hymie Schertzer (alto saxophone\/clarinet\/baritone saxophone), Ken Lane (piano\/celeste), Bernie Leighton (piano), Allan Reuss (guitar), Phil Stephens (bass), Johnny Blowers (drums)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, gatefold cover\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eLimited to 5,000 numbered copies\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12”\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMono\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : RTI\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Impex Records\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Columbia\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\u003cstrong\u003eat Columbia 30th Street Studio, New York City on July 10, 1949 (A4, B5), March 10, 1950 (B4), April 14, 1950 (A1, A5-6, B3) and April 24, 1950 (A2-3, A7-8)\u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eat \u003cspan data-mce-fragment=\"1\"\u003eRadio Recorders, Hollywood on July 19, 1951 (B1-2)\u003c\/span\u003e\u003c\/strong\u003e\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Andreas Meyer, Charles L. Granata\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by Matt Cavaluzzo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1950\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2020\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A - The Complete, Original 10-inch Album :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eLover\u003c\/li\u003e\n\u003cli\u003eIt's Only A Paper Moon\u003c\/li\u003e\n\u003cli\u003eMy Blue Heaven\u003c\/li\u003e\n\u003cli\u003eIt All Depends On You\u003c\/li\u003e\n\u003cli\u003eYou Do Something To Me\u003c\/li\u003e\n\u003cli\u003eShould I\u003c\/li\u003e\n\u003cli\u003eThe Continental\u003c\/li\u003e\n\u003cli\u003eWhen You're Smiling (The Whole World Smiles With You)\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eSide B - Bonus Tracks, Alternate Takes \u0026amp; Sessions :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eFarewell, Farewell To Love\u003c\/li\u003e\n\u003cli\u003eDeep Night\u003c\/li\u003e\n\u003cli\u003eYou Do Something To Me\u003c\/li\u003e\n\u003cli\u003eAmerican Beauty Rose\u003c\/li\u003e\n\u003cli\u003eIt All Depends On You\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAwards\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eTAS Super LP List! Special Merit: Informal\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e\"Sing and Dance with Sinatra (as it was originally called) was an incredibly important album by the singer on several counts. The original release was the singing legend's first original LP, but not his debut album -- that honor belongs to The Voice of Frank Sinatra, issued in 1945 as a set of 78-rpm LPs in a genuine \"album\" format (like a photo album), but Sing and Dance with Sinatra marked his first opportunity to work in the 33 1\/3-rpm medium, in modern high-fidelity, and cut an entire body of work in a then-new format that he would later thoroughly dominate. Additionally, the original eight songs on this album marked a serious change of pace for Sinatra who, across most of his history at Columbia and the first decade of his career, focused almost entirely on ballads. Instead, on Sing and Dance with Sinatra, he's doing what were then called \"rhythm numbers\": beat-driven, swinging tracks (hence the change in title of the album upon its reissue). Indeed, according to producer Mitch Miller in the annotation for the CD reissue of the album, this was the record where Sinatra -- then thoroughly identified as a romantic balladeer -- proved he could swing. That's the big surprise that awaits fans who may approach this title a little warily -- they get a good deal more than a glimpse of the Sinatra who came to redefine and dominate the popular music field in the '50s. The actual circumstances of the recording were unique, however -- according to Miller, the singer's voice had begun to break down during the initial recording sessions in April of 1950, and in order to salvage something from their work, the orchestral accompaniment -- arranged by George Siravo -- was recorded alone, and five months later the singer put down his vocals, in what was not only a first (and very rare) instance of Sinatra not working live in the studio with the orchestra, but also a highly irregular and downright out-of-bounds procedure under existing union rules. This was also a record that was cut during a seeming low point in the singer's career -- his sales were declining and he had begun losing a big chunk of the \"bobby-soxer\" audience whose wild enthusiasm had propelled his wartime and immediate postwar momentum -- and it all coincided with a period in which his film career, after a promising start at mid-decade, and despite the classic On the Town the previous year, had begun to sputter. So when it appeared in late 1950, Sing and Dance with Sinatra was timed badly enough and was also just different enough from what he was known for that it was ignored and overlooked even by the vast majority of fans -- who had turned his prior album into a chart-topper in 1945 -- and went on to become one of the singer's rarest and most obscure LPs. The album was generated from three sessions in April and September of 1950, and they show off Sinatra working in a somewhat harder, more rhythmically bracing mode than he was known for at the time -- in many ways, in sound and style, it anticipates the work on his Capitol albums of the mid-'50s, not only in Sinatra's singing but also in Siravo's arrangements, which are a significant departure from the lush sound that Axel Stordahl aimed for in most of his work with Sinatra at Columbia. The emphasis was on standards, including \"My Blue Heaven,\" \"It's Only a Paper Moon,\" and \"When You're Smiling,\" and though no one could have known it in 1950 -- when it seemed like a trip down a commercial blind alley -- the album did offer a glimpse of Sinatra's future sound and probably could have found an audience if it had been re-marketed. And Columbia would subsequently try to link it to his later work a little more firmly in the purchasing public's mind with his later Capitol sides by reissuing and expanding Sing and Dance with Frank Sinatra on 12\" LP as Swing and Dance with Frank Sinatra. The original is still special to hear today -- the content is so unusual in relation to the music for which he was known -- and the quality so high, and it's also a great showcase for the work of the much-underrated and unjustly overlooked George Siravo.\" \u003cspan data-mce-fragment=\"1\"\u003eAllMusic Review by Bruce Eder\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003e\"Unpacking and playing this mono classic were the record-collector's equivalent of enjoying a Michelin-rated meal in my living room. If that sounds like hype, consider the following. The music was transferred, restored and remastered in the analog domain from the original 15ips session tapes by Grammy-winning recording engineer Andres Meyer. Lacquers were then cut by Chris Bellman at Bernie Grundman Mastering in Hollywood, and the limited pressing run of 5000 copies was personally supervised by Rick Hashimoto at RTI. If that wasn't already enough talent, Impex hired the folks at Stoughton Printing (well-known for their stellar work with Intervention Records, among other labels) to reproduce the original cover in a luxuriously laminated tip-on gatefold and create a colorful 24-page liner-note booklet written by Frank Sinatra authority Charles L. Granata. I have a friend in the printing business who said the booklet's textured subheadings and glossy red and yellow paint effects are the result of a spare-no-expense process known as 'spot UV varnish' that must have boosted the production costs considerably. There's even a detailed rundown of each piece of equipment used in the production process, from the Studer tape decks to the Westrex cutter head driven by a refurbished Haeco vacuum-tube amplifier. About the only thing left to the imagination is what color socks Matt Cavaluzzo was wearing when he restored two of the original session lacquers. The obvious love and care invested in this project left me a bit in awe each time I lifted the gold Impex seal to remove the album from its protective vinyl envelope.\" Vance Hiner, The Audio Beat\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003e\"From the original analog tapes, this 70th Anniversary 180 gram commemorative release of Sing and Dance with Frank Sinatra is an absolute gem of a reissue. We have to thank IMPEX for taking on this project. There are many Frank Sinatra fans out there who are just as passionate about his early Columbia years as his later output from Capital and Reprise, but this music never seems to get the respect that it deserves. There has been plenty of excitement generated after the initial announcement. I am happy to say that we have been greatly rewarded after all the anticipation and patience! I also want to offer some big time congrats to Abey Fonn over at IMPEX and Chuck Granata, the acclaimed and highly respected Frank Sinatra historian and archivist. Their superb collaborative effort and leadership on this project has produced something quite memorable and well beyond expectations!\" - Robert S. Youman, Positive Feedback\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eAllMusic : 4 \/ 5 , Discogs : 4,59 \/ 5 , The Absolute Sound : 4\/5 Music , 4\/5 Sonics , \u003cspan data-mce-fragment=\"1\"\u003eThe Audio Beat: Music 4\/5, Sound 4\/5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":41090170388631,"sku":"IMP6036","price":45.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/frank-sinatra-sing-and-dance-with-frank-sinatra-mono-audiosoundmusic-1.png?v=1719854283"},{"product_id":"miles-davis-in-person-friday-and-saturday-nights-at-the-blackhawk-2lp","title":"Miles Davis In Person - Friday And Saturday Nights At The Blackhawk (2LP)","description":"\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eORDER LIMITED TO ONE ITEM PER CUSTOMER\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMiles Davis - trumpet \u003ca title=\"vinyl featuring Miles Davis\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/miles-davis\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/miles-davis\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Miles Davis]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHank Mobley – tenor saxophone  \u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e\u003ca href=\"https:\/\/www.audiosoundmusic.com\/fr\/collections\/hank-mobley\" title=\"Vinyl featuring Hank Mobley\" style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/fr\/collections\/hank-mobley\"\u003e[click here to see more vinyl featuring Hank Mobley]\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWynton Kelly – piano \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/wynton-kelly\" title=\"vinyl featuring Wynton Kelly\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/wynton-kelly\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Wynton Kelly]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePaul Chambers – bass \u003ca title=\"vinyl featuring Paul Chambers\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/paul-chambers\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/paul-chambers\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Paul Chambers]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJimmy Cobb – drums \u003ca title=\"Vinyl featuring Jimmy Cobb\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/jimmy-cobb\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/jimmy-cobb\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see other vinyl featuring Jimmy Cobb]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cp\u003e\u003cstrong\u003e2 LPs, gatefold jacket\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eLimited to 2,000 copies\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12”\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLive\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : RTI\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Impex Records\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Columbia\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded live on 21 \u0026amp; 22 April 1961 at The Blackhawk, San Francisco, CA\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineered by Russ Payne\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Teo Macero\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1961\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\u003col\u003e\n\u003cli\u003eWalkin’\u003c\/li\u003e\n\u003cli\u003eBye Bye Blackbird\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\u003eAll Of You\u003c\/li\u003e\n\u003cli\u003eNo Blues\u003c\/li\u003e\n\u003cli\u003eBye Bye (Theme)\u003c\/li\u003e\n\u003cli\u003eLove, I’ve Found You\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eSide C :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eWell You Needn’t\u003c\/li\u003e\n\u003cli\u003eFran-Dance\u003c\/li\u003e\n\u003cli\u003eSo What\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eSide D :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eOleo\u003c\/li\u003e\n\u003cli\u003eIf I Were A Bell\u003c\/li\u003e\n\u003cli\u003eNeo\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e\"The first of two sets recorded during a weekend in 1961 features the Miles Davis Quintet at a period of time when Hank Mobley was on tenor and the rhythm section was comprised of pianist Wynton Kelly, bassist Paul Chambers, and drummer Jimmy Cobb. What is most remarkable is the way Kelly fits into this particular blend of the Miles band. Kelly's interplay with Chambers is especially brilliant, because his sense of blues phrasing inside counterpoint harmony is edgy and large, with left-hand chords in the middle register rather than sharp right-hand runs to accentuate choruses. Davis himself has never played with more intensity and muscularity on record than he does here. He is absolutely fierce, both on the Friday night and Saturday night sets. Kelly plays more like a drummer than a pianist, using gorgeously percussive left-hand comps and fills to add bottom to the front line's solos. Mobley displays his bebop rather than hard bop and groove sides here, and reveals his intricate knowledge of the bop phraseology; he sounds free of the baggage and responsibility that he replaced John Coltrane and Cannonball Adderley. His solos on \"If I Were a Bell\" and \"No Blues\" are simply revelatory. This is an underappreciated group because of its relatively short life, but as evidenced here, the bandmembers swung fast and hard and never looked back. Hearing a dropped bassline, an out-of-time cymbal flourish, and a shortened series of phrases by Miles because he miscounted -- you guess the track -- adds to the charm of this being recorded as it was, without any cleanup. It is difficult to recommend this set over Saturday Night or vice versa; Miles fans will need both to fully appreciate how special this engagement with this particular band was.\" \u003cspan data-mce-fragment=\"1\"\u003eAllMusic Review by Thom Jurek\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eAllMusic : 4,5 \/ 5 , Discogs : 4,55 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":41104487514263,"sku":"IMP6009","price":71.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/miles-davis-in-person-friday-and-saturday-nights-at-the-blackhawk-2lp-audiosoundmusic-1.jpg?v=1719854336"},{"product_id":"lee-konitz-plays-with-the-gerry-mulligan-quartet","title":"Lee Konitz Plays With The Gerry Mulligan Quartet","description":"\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003eAlto Saxophone – Lee Konitz \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/lee-konitz\" title=\"vinyl featuring Lee Konitz\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/lee-konitz\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Lee Konitz]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBaritone Saxophone – Gerry Mulligan \u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cspan style=\"color: #ff8000;\"\u003e\u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/gerry-mulligan\" title=\"vinyl featuring gerry mulligan\" style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/gerry-mulligan\"\u003e[click here to see more vinyl featuring Gerry Mulligan]\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBass – Carson Smith, Joe Mondragon\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDrums – Larry Bunker\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTrumpet – Chet Baker \u003cspan style=\"color: #ff8000;\"\u003e\u003ca title=\"Vinyl featuring Chet Baker\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/chet-baker\" style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/chet-baker\"\u003e[click here to see more vinyl featuring Chet Baker]\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\u003c\/ul\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, gatefold jacket\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press :  RTI\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Blue Note Tone Poet\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Blue Note\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded in Los Angeles, 1 Feb. 1953 (A1, A5), recorded in Los Angeles, 30 Jan. 1953 (A2 - A4 ), The Haig, Hollywood, 23 Jan. 1953 (B1-B5)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineered by Rudy Van Gelder\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Joe Harley\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by Kevin Gray at Cohearent Audio\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1957\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2021\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eI Can't Believe That You're In Love With Me\u003c\/li\u003e\n\u003cli\u003eBroadway\u003c\/li\u003e\n\u003cli\u003eAlmost Like Being In Love\u003c\/li\u003e\n\u003cli\u003eSextet\u003c\/li\u003e\n\u003cli\u003eLady Be Good\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide Two:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eToo Marvelous For Words\u003c\/li\u003e\n\u003cli\u003eLover Man\u003c\/li\u003e\n\u003cli\u003eI'll Remember April\u003c\/li\u003e\n\u003cli\u003eThese Foolish Things\u003c\/li\u003e\n\u003cli\u003eAll The Things You Are\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003col\u003e\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eThe Blue Note Tone Poet Series was born out of Blue Note President Don Was' admiration for the exceptional audiophile Blue Note LP reissues presented by Music Matters. Was brought Joe Harley (from Music Matters), a.k.a. the \"Tone Poet,\" on board to curate and supervise a series of reissues from the Blue Note family of labels.\u003c\/p\u003e\n\u003cp\u003eThree giants of West Coast Jazz came together in this deeply swinging session recorded for the Pacific Jazz\/World Pacific label in 1953. Alto saxophone master Lee Konitz joins with the great Gerry Mulligan on baritone saxophone and legendary trumpeter Chet Baker on a half-live, half-studio program of standards along with one Mulligan original. The group is supported by bassists Carson Smith and Joe Mondragon with Larry Bunker on drums for this spontaneous and inventive jazz treasure.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRating\u003c\/strong\u003e: \u003c\/p\u003e\n\u003cp\u003eAllMusic 4.5\/5  ,  Discogs 4.31\/5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":41136227057815,"sku":"ABLU 501","price":49.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/lee-konitz-plays-with-the-gerry-mulligan-quartet-audiosoundmusic-1.jpg?v=1719854529"},{"product_id":"copy-of-belafonte-sings-the-blues-2lp-45rpm","title":"Carol Kidd - Both Sides Now","description":"\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eORDER LIMITED TO ONE ITEM PER CUSTOMER\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCarol Kidd - Vocals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePaul Harrison – Piano \u0026amp; arrangements\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGraeme Duffin – Guitar, bass, drums, backing vocals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSeonaid Aitken – Violia \u0026amp; violin\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eChristoff Fourie - Cello\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, gatefold jacket\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eLimited edition of 3,000 numbered copies\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\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 : Impex\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Impex\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded and engineered by Graeme Duffin at Foundry Music Lab FML\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Carol Kidd\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMastered by Kevin Gray at Cohearent Audio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 2019 (as a CD)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in June 2020 (first time as an LP)\u003cbr\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\u003eAnd So It Goes\u003c\/li\u003e\n\u003cli\u003eThe Dimming Of The Day\u003c\/li\u003e\n\u003cli\u003eTalking To The Moon\u003c\/li\u003e\n\u003cli\u003eBla Bla Bla\u003c\/li\u003e\n\u003cli\u003eBoth Sides Now\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eWhen I Dream\u003c\/li\u003e\n\u003cli\u003eIf I Had Any Pride Left At All\u003c\/li\u003e\n\u003cli\u003eI Let My Burden Go\u003c\/li\u003e\n\u003cli\u003eSomething Wonderful\u003c\/li\u003e\n\u003cli\u003eA Rock And A Hard Place\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\u003eCarol Kidd has been named 'Best Vocalist' at the British Jazz Awards on four occasions and was appointed MBE for Services to Jazz. In 2006, Carol was a winner of the prestigious Nordoff-Robbins Tartan Clef Music Award and in 2017 she received a Lifetime Achievement Award at the Scottish Jazz Awards.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eDiscogs : 4.8 \/ 5\u003c\/p\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":41929835184378,"sku":"IMP6040","price":55.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/carol-kidd-both-sides-now-audiosoundmusic-1.jpg?v=1719855336"},{"product_id":"copy-of-blood-sweat-tears-2lp-45rpm","title":"Blood Sweat \u0026 Tears - Blood Sweat \u0026 Tears  (2LP, 45RPM, MOFI, 1STEP, SuperVinyl)","description":"\u003ch2\u003e\n\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eORDER LIMITED TO ONE ITEM PER CUSTOMER\u003c\/strong\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003c\/h2\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003ca data-mce-fragment=\"1\" style=\"color: #ff8000;\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/blood-sweat-tears\" title=\"Blood, Sweat and Tears vinyl\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/blood-sweat-tears\" data-mce-style=\"color: #ff8000;\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e[click here to see Blood, Sweat \u0026amp; Tears' vinyl]\u003c\/strong\u003e\u003c\/a\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLead Vocals – David Clayton-Thomas (A1-2, B1 to D2)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGuitar, Harmonica, Vocals – Steve Katz\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAlto Saxophone, Piano – Fred Lipsius\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBass – Jim Fielder\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eChorus [BS\u0026amp;T Chorus] – Bobby Colomby, Dick Halligan\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDrums, Percussion, Vocals – Bobby Colomby\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOrgan, Piano, Flute, Trombone, Vocals – Dick Halligan\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTrombone, Recorder – Jerry Hyman\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTrumpet, Flugelhorn [Flügelhorn] – Chuck Winfield, Lew Soloff\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eArranged by Al Kooper (A2, B1, C2), Blood, Sweat And Tears, Dick Halligan (A1-3, B2-3, D2), Fred Lipsius (A2, B1, C2)\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e2 LPs, Box set\u003c\/strong\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eLimited numbered edition\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eUD1S (UltraDisc One-Step)\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 45 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : RTI\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : MOFI\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Columbia\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineered \u0026amp; mixed by : Fred Catero, Roy Halee\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by James William Guercio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMastered by Krieg Wunderlich\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1968\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2021\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eVariations On A Theme By Erik Satie\u003c\/li\u003e\n\u003cli\u003eSmiling Phases\u003c\/li\u003e\n\u003cli\u003eSometimes in Winter\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eMore and More\u003c\/li\u003e\n\u003cli\u003eAnd When I Die\u003c\/li\u003e\n\u003cli\u003eGod Bless The Child\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide C :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eSpinning Wheel\u003c\/li\u003e\n\u003cli\u003eYou've Made Me So Very Happy\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide D:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eBlues - Part II\u003c\/li\u003e\n\u003cli\u003eVariations On A Theme By Erik Satie\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAwards:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eTAS Super LP List! Special Merit: Informal\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eWinner of three Grammy Awards in 1970 : \"Album of the Year\", Best Arrangment for \"Spinning Wheel\" and Best Contemporary Instrumental Perfomance for \"Variations on a Theme by Erik Satie\"\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\"A classical feeling is imparted by the opening and closing tracks, which are adapted from one of Erik Satie’s Trois Gymnopedies by arranger Dick Halligan. They bookend this album—one of the most original in pop music ever—most successfully. This has always seemed to me one of the best-designed and performed of all the ‘60s rock efforts, and it’s great to have it in the ultimate fidelity of this newly-remastered 45 rpm version... In comparison with the Columbia SACD, the vinyl 45s win out. They have much more deep bass end and a warmer overall feeling than the SACD. On the 45s, there is absolutely no surface noise or distortion, except where intended on some of the instruments... ORG has established itself as the Rolls-Royce of the audiophile vinyl reissue genre.\" - John Henry, Audiophile Audition\u003c\/p\u003e\n\u003cp\u003e\"The difference between Blood, Sweat \u0026amp; Tears and the group's preceding long-player, Child Is Father to the Man, is the difference between a monumental seller and a record that was \"merely\" a huge critical success. Arguably, the Blood, Sweat \u0026amp; Tears that made this self-titled second album -- consisting of five of the eight original members and four newcomers, including singer David Clayton-Thomas -- was really a different group from the one that made Child Is Father to the Man, which was done largely under the direction of singer\/songwriter\/keyboard player\/arranger Al Kooper. They had certain similarities to the original: the musical mixture of classical, jazz, and rock elements was still apparent, and the interplay between the horns and the keyboards was still occurring, even if those instruments were being played by different people. Kooper was even still present as an arranger on two tracks, notably the initial hit \"You've Made Me So Very Happy.\" But the second BS\u0026amp;T, under the aegis of producer James William Guercio, was a less adventurous unit, and, as fronted by Clayton-Thomas, a far more commercial one. Not only did the album contain three songs that neared the top of the charts as singles -- \"Happy,\" \"Spinning Wheel,\" and \"And When I Die\" -- but the whole album, including an arrangement of \"God Bless the Child\" and the radical rewrite of Traffic's \"Smiling Phases,\" was wonderfully accessible. It was a repertoire to build a career on, and Blood, Sweat \u0026amp; Tears did exactly that, although they never came close to equaling this album.\" \u003cspan data-mce-fragment=\"1\"\u003eAllMusic Review by William Ruhlmann\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eUltraDisc One-Step :\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003eInstead of utilizing the industry-standard three-step lacquer process, Mobile Fidelity Sound Lab's new UltraDisc One-Step (UD1S) uses only one step, bypassing two processes of generational loss. While three-step processing is designed for optimum yield and efficiency, UD1S is created for the ultimate in sound quality. Just as Mobile Fidelity pioneered the UHQR (Ultra High-Quality Record) with JVC in the 1980s, UD1S again represents another state-of-the-art advance in the record-manufacturing process. MFSL engineers begin with the original master tapes and meticulously cut a set of lacquers. These lacquers are used to create a very fragile, pristine UD1S stamper called a \"convert.\" Delicate \"converts\" are then formed into the actual record stampers, producing a final product that literally and figuratively brings you closer to the music. By skipping the additional steps of pulling another positive and an additional negative, as done in the three-step process used in standard pressings, UD1S produces a final LP with the lowest noise floor possible today. The removal of the additional two steps of generational loss in the plating process reveals tremendous amounts of extra musical detail and dynamics, which are otherwise lost due to the standard copying process. The exclusive nature of these very limited pressings guarantees that every UD1S pressing serves as an immaculate replica of the lacquer sourced directly from the original master tape. Every conceivable aspect of vinyl production is optimized to produce the most perfect record album available today.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMoFi SuperVinyl:\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003eThe World's Quietest Surfaces and Cleanest Grooves: Developed by NEOTECH and RTI, MoFi SuperVinyl is the most exacting-to-specification vinyl compound ever created. Analog lovers have never seen (or heard) anything like it. Extraordinarily expensive and extremely painstaking to produce, the special proprietary compound addresses two specific areas of improvement: noise floor reduction and enhanced groove definition. The vinyl composition features a new carbonless dye (hold the disc up to the light and see) and produces the world's quietest surfaces. This high-definition formula also allows for the creation of cleaner grooves that are indistinguishable from the original lacquer. MoFi SuperVinyl provides the closest approximation of what the label's engineers hear in the mastering lab.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eAllMusic : 4,5 \/ 5 , Discogs : 4,06 \/ 5 \u003c\/p\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003ch1\u003e\u003cbr\u003e\u003c\/h1\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":42084078682362,"sku":"UD1S 2-016","price":215.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/blood-sweat-and-tears-2lp-45rpm-1step-supervinyl-audiosoundmusic-1.jpg?v=1719855874"},{"product_id":"beethoven-richter-vol-1-mono","title":"Sviatoslav Richter Vol. 1 - Beethoven (Mono)","description":"\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003eLudwig van Beethoven – Piano Sonata No. 8 In C Minor, Op. 13 (\"Pathétique\") and Eight Bagatelles\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSviatoslav Richter - Piano\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLimited edition\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : Black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMono\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Arvato (Germany)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Melodiya\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal label : Melodiya\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded in Moscow on 4th June 1959 (Sonata) and on 6th July 1959 (Bagatelles)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by M. Pilipov\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by T. Kazarnovskaya\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginaly released in 1959\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2014\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A : Piano Sonata No. 8 In C Minor, Op. 13 (\"Pathétique\")     \u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eGrave - Allegro di Molto E Con Brio\u003c\/li\u003e\n\u003cli\u003eAdagio Cantabile\u003c\/li\u003e\n\u003cli\u003e Rondo. Allegro\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B : Eight Bagatelles              \u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eF Major, Op. 33 No. 3 (Allegretto)\u003c\/li\u003e\n\u003cli\u003eC Major, Op. 33 No. 5 (Allegro Ma Non Troppo)\u003c\/li\u003e\n\u003cli\u003eC Major, Op. 119 No. 2 (Andante Con Moto)\u003c\/li\u003e\n\u003cli\u003eC Major, Op. 119 No. 7 (Allegro Ma Non Troppo)\u003c\/li\u003e\n\u003cli\u003eA Minor, Op. 119 No. 9 (Vivace Moderato)\u003c\/li\u003e\n\u003cli\u003eG Major, Op. 126 No. 1 (Andante Con Moto, Cantabile E Compiacevole)\u003c\/li\u003e\n\u003cli\u003eB Major, Op. 126 No. 4 (Presto)\u003c\/li\u003e\n\u003cli\u003eE Flat Major, Op. 126 No. 6 (Presto - Andante Amabile E Con Moto)\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\u003eA great artist of modern time\", that was how music critics spoke about Sviatoslav Richter's art even when he lived. A wonderful Musician and Man with the broadest interests, a pianist with a vast repertoire and an enormous palette of emotions and timbres not every orchestra could compete with. \"Richter's art is the one of mighty, gigantic passions\", wrote his contemporary, musicologist Gennady Tsypin.\u003c\/p\u003e\n\u003cp\u003eFirma Melodiya presents a long-playing album with Beethoven's works recorded by Richter. Sonata Pathétique and eight bagatelles were recorded in 1959.\u003c\/p\u003e\n\u003col\u003e\u003c\/ol\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":42099612057850,"sku":"MELLP 0055","price":24.5,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/sviatoslav-richter-vol-1-beethoven-mono-audiosoundmusic-1.jpg?v=1719855929"},{"product_id":"copy-of-beethoven-sviatoslav-richter-vol-1-mono","title":"Yuri Bashmet Vol. 1 - Brahms","description":"\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eJohannes Brahms - Sonata No. 1 for Viola and Piano in F minor, Op. 120 No. 1 and Sonata No. 2 for Viola and Piano in E flat major. Op. 120 No. 2\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eYuri Bashmet – Viola\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMikhail Muntian - Piano\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLimited edition\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : Black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLive\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Arvato (Germany)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Melodiya\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal label : Melodiya\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded live at the Grand Hall of Moscow Conservatory on 23 March, 1984\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineered by E. Shakhnazarian\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by M. Pilipov\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Natalia Storchak and Elena Rastegaeva\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginaly released in 2013\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2014\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A : Sonata No. 1 for Viola and Piano in F minor, Op. 120 No. 1\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eAllegro appassionato     \u003c\/li\u003e\n\u003cli\u003eAndante un poco Adagio            \u003c\/li\u003e\n\u003cli\u003eAllegretto grazioso        \u003c\/li\u003e\n\u003cli\u003eVivace  \u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B : Sonata No. 2 for Viola and Piano in E flat major. Op. 120 No. 2\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eAllegro amabile\u003c\/li\u003e\n\u003cli\u003eAllegro appassionato     \u003c\/li\u003e\n\u003cli\u003eAndante con moto – Allegro\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\u003eFirma Melodiya presents chamber music by Johannes Brahms performed by Yuri Bashmet and Mikhail Muntian. Two Viola Sonatas, Op. 120, by Johannes Brahms composed in 1894, signify an actual completion of the composer's creative life and the epoch of German music romanticism in general.\u003c\/p\u003e\n\u003cp\u003eThe name of Yuri Bashmet is known to any music aficionado. A viola player, conductor, teacher and tireless public figure, he has been an active performer for almost forty years, a performer of the entire viola repertoire of academic music and an initiator of numerous works by contemporary composers. Pianist Mikhail Muntian has been Yuri Bashmet's constant ensemble partner (along with Bashmet's teacher Fyodor Druzhinin, he took part in the premiere of Shostakovich's Viola Sonata). Their joint concert performances and recordings are notable for a splendid ensemble partnership, absolute integrity of performing ideas and in-depth comprehension of a musical text.\u003c\/p\u003e\n\u003col\u003e\u003c\/ol\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":42099765543162,"sku":"MELLP 0053","price":24.5,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/yuri-bashmet-vol-1-brahms-audiosoundmusic-1.jpg?v=1719855929"},{"product_id":"hibla-gerzmava-mono","title":"Hibla Gerzmava - Mozart, Verdi, Bellini, Strauss","description":"\u003ch2\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eORDER LIMITED TO ONE ITEM PER CUSTOMER\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h2\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWolfgang Amadeus Mozart – La clemenza di Tito – Ouverture\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWolfgang Amadeus Mozart – Vesperae solennes de confessore, K339 - Laudate Dominium\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGuiseppe Verdi – Otello – Willow Song and a prayer (Desdemona’s scene)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eVincenzo Bellini – Norma – Overture\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eVincenzo Bellini – Norma – Cavatina and Cabaletta\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRichard Strauss – Morgen ! Op. 27, N°2\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eViolin – Wladimir Spiwakow (B3)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eVocals (soprano) – Hibla Levarsovna Gerzmava (A2, A3, B2, B3)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eNational Philharmonic Orchestra Of Russia\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWladimir Spiwakow – Conductor\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eLimited edition of 1,000 numbered copies\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : Black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLive\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Arvato (Germany)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Melodiya\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal label : Melodiya\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded at the Svetlanov Hall of the Moscow International House of Music on October 14, 2013\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineered by S. Kruglov\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by E. Rastegaeva\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by Maxim Pilipov\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReleased in 2014\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eWolfgang Amadeus Mozart – La clemenza di Tito – Ouverture\u003c\/li\u003e\n\u003cli\u003eWolfgang Amadeus Mozart – Vesperae solennes de confessore, K339 - Laudate Dominium\u003c\/li\u003e\n\u003cli\u003eGuiseppe Verdi – Otello – Willow Song and a prayer (Desdemona’s scene)\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eVincenzo Bellini – Norma – Overture\u003c\/li\u003e\n\u003cli\u003eVincenzo Bellini – Norma – Cavatina and Cabaletta\u003c\/li\u003e\n\u003cli\u003eRichard Strauss – Morgen ! Op. 27, N°2\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReview\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp\u003eFirma Melodiya continues to acquaint music lovers with the performing art of the outstanding Russian singer Hibla Gerzmava. Now that the opera diva has conquered the world's most important opera stages and considering her busy tour schedule, her recitals where she combines new numbers in her repertoire with the operatic arias and scenes she performed previously but now receiving more profound, dramatic renditions are becoming real good news.\u003c\/p\u003e\n\u003cp\u003eThis record is Melodiya's first new vinyl project for the last 23 years featuring music performing art of the 21st century. It includes the brightest fragments from the concert of Hibla Gerzmava and the National Philharmonic Orchestra of Russia conducted by Vladimir Spivakov that took place on 14 October 2013 at the Svetlanov Hall of the Moscow International House of Music. The singer performed the aria from Mozart's Vesperae solennes de confessore, Norma's cavatina and cabaletta from Bellini's opera of the same name, Desdemona's scene and prayer from Verdi's Otello, and Richard Strauss's Morgen.\u003c\/p\u003e\n\u003col\u003e\u003c\/ol\u003e\n\u003col\u003e\u003c\/ol\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":42100278165754,"sku":"MELLP 0050","price":24.5,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/hibla-gerzmava-mozart-verdi-bellini-strauss-audiosoundmusic-1.jpg?v=1719855930"},{"product_id":"magomavev-arias-from-operas","title":"Muslim Magomavev - Arias from Operas","description":"\u003ch2\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eORDER LIMITED TO ONE ITEM PER CUSTOMER\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h2\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eCOMPILATION\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMuslim Magomavev - Vocal\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMoscow Radio Symphony (A1-4, B2-3, B5)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRussian Symphony Orchestra of Cinematography (A5, B1, B4, B6-7)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eConductor - Vladimír Tepleckij (B1), Niyazi Tagizade Hajibeyov (A1-4, B2-7)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eB1)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eLimited to 500 numbered copies\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : Black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Arvato (Germany)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Melodiya\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal label : Melodiya\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded in 1964 (A1-A5, B2-B7) and 1971 (B1)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineered by Victor Babushkin\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by M. Pilipov\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by E. Rastegaeva\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReleased in 2014\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eGioachino Rossini – Il Barbiere di Siviglia – Figaro’s cavatina\u003c\/li\u003e\n\u003cli\u003eWolfgang Amadeus Mozart – Don Giovanni – Aria\u003c\/li\u003e\n\u003cli\u003eWolfgang Amadeus Mozart – Le nozze di Figaro – Aria\u003c\/li\u003e\n\u003cli\u003eGeorges Bizet – Carmen – Toreador song\u003c\/li\u003e\n\u003cli\u003e Alexander Borodin – Prince Igor – Aria\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eCharles Gounod – Faust – Song in Russian\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003ePyotr Tchaikowsky – Eugene Onegin – Onegin’s arioso\u003c\/li\u003e\n\u003cli\u003eGiuseppe Verdi – Rigoletto – Aria\u003c\/li\u003e\n\u003cli\u003eGiuseppe Verdi – Aida – Amonasro’s scene\u003c\/li\u003e\n\u003cli\u003eRuggero Leoncavallo – Pagliaci – Prologue\u003c\/li\u003e\n\u003cli\u003eRuggero Leoncavallo – Zaza – Aria\u003c\/li\u003e\n\u003cli\u003eRuggero Leoncavallo – Zaza – Romance of Cascart\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReview\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp\u003eIn terms of popularity, only a few in domestic variety art could compete with Muslim Magomayev whose admirable baritone, high artistry and heartfelt generosity conquered generations of listeners. His range of capabilities was uncommonly wide - from operas to musicals, from Neapolitan songs to vocal works of Azerbaijani and Russian composers...,\" wrote Sviatoslav Belza in the foreword to the singer's book Melody Is My Love. In Magomayev's art, the borders and divisions between high and low, classical and popular appear as conditional and irrelevant as they never are he could win hearts with an operatic aria, a folk song or a pop tune in his own inimitable style.\u003c\/p\u003e\n\u003cp\u003eMuslim Magomayev combined operatic performances with popular music concerts for many years without being untrue to himself and preserving a high vocal mastery. A soloist of the Azerbaijani Theatre of Opera and Ballet, he was trained at Teatro alla Scala and performed on many of the opera stages of the Soviet Union, but rejected (what a rare case!) the invitation to the Bolshoi Theatre realizing the colossal responsibility of such a step. He could not and did not want to sacrifice his versatility and openness, his contact with millions of fans, his concert and studio work, his acting and composing career even on as a magnificent operatic altar as that.\u003c\/p\u003e\n\u003cp\u003eHis recordings of Russian and foreign classical opera music accomplished 50 years ago with a friend and companion, remarkable Azerbaijani composer and conductor Niyazi Tagizade Hajibeyov sound as bright and unexpectedly fresh today as they did then. Magomayev's skills of musical and acting transformation are striking and a probable object of envy to many of the celebrated operatic performers. A sparkling and ever cheerful Figaro (the singer polished his greatest part during his training in Italy); a Don Juan radiating masculine magnetism; a Prince Igor absorbed in heavy thought and with his heart directed to his loving wife; a firm Ethiopian leader Amonasro dreaming of revenge; a Méphistophélès finely playing with superstitious horror of the crowd; and a Rigoletto who is truly frightful in his despair - all the roles performed by Magomayev even in short fragments are united through profound humanness which makes us empathize the characters. He was one of the first Soviet singers to perform in the original languages although the language barrier was something that never existed between Magomayev and his audience.\u003c\/p\u003e\n\u003col\u003e\u003c\/ol\u003e\n\u003col\u003e\u003c\/ol\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":42100469334266,"sku":"MELLP 0041","price":37.5,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/muslim-magomavev-arias-from-operas-audiosoundmusic-1.jpg?v=1719855934"},{"product_id":"ravel-piano-trio-vol-2","title":"Ravel - Piano Trio Vol. 2 - Natalia Gutman, Sviatoslav Richter, Oleg Kagan","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eORDER LIMITED TO ONE ITEM PER CUSTOMER\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMaurice Ravel - Piano Trio In A Minor \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/maurice-ravel\" title=\"vinyl with Maurice Ravel's music\"\u003e\u003cspan style=\"color: rgb(255, 128, 0);\"\u003e[click here to see more vinyl with Maurice Ravel's music]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCello – Natalia Gutman\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePiano – Sviatoslav Richter\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eViolin – Oleg Kagan\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eLimited numbered edition\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : Black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLive\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Arvato (Germany)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Melodiya\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal label : Melodiya\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded live on 18th September 1983 in the Grand Hall Of The Moscow Conservatory\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineered by Igor Veprintsev\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by Maxim Pilipov\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Natalia Storchak\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReleased in 2014\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eModéré\u003c\/li\u003e\n\u003cli\u003ePantoum. Assez Vif\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003ePassacaille. Très Largo\u003c\/li\u003e\n\u003cli\u003eFinal. Animé\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReview:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eFirma Melodiya presents a recording of Ravel's piano trio performed by Oleg Kagan, Natalia Gutman and Sviatoslav Richter. Ravel created his trio for piano, violin and cello in the summer months of 1914 in a Basque village (the composer's mother was Basque), which is reflected in the themes of the first movement. The trio is notable for its virtuosic and technical freedom as regards each of the instruments. Thanks to that Ravel achieves truly orchestra effects. This peculiarity sets an especially complicated task for the performers.\u003c\/p\u003e\n\u003cp\u003eThe Kagan-Gutman-Richter line-up was formed in the 1970's and became one of the brightest phenomena of music performing art of this country. The three outstanding musicians performed in concert in Moscow and overseas, took part in the December Evenings Festival at the Pushkin Museum of Fine Arts and made recordings on a number of occasions. The unique artistic personality of each of the soloists did not prevent them from creating an amazing ensemble with clear sound, an integral performing style and profound implementation of the concepts. Their recordings are still a benchmark for musicians of the next generations.\u003c\/p\u003e\n\u003col\u003e\u003c\/ol\u003e\n\u003col\u003e\u003c\/ol\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":42100731674874,"sku":"MELLP 0035","price":32.5,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/ravel-piano-trio-vol-2-natalia-gutman-sviatoslav-richter-oleg-kagan-audiosoundmusic-1.jpg?v=1719855934"},{"product_id":"tchaikovsky-in-jazz","title":"Tchaikovsky in Jazz - Sergey Zhilin Trio","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\u003ePyotr Tchaikovsky\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eArranged by Yuri Markin\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSergey Zhilin Trio :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\u003cstrong\u003ePiano – Sergey Zhilin\u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eContrabass – Pavel Protasov\u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eDrums – Leonid Gusev\u003c\/strong\u003e\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eLimited to 200 numbered copies\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : Black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas (Germany)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Melodiya\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal label : Melodiya\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded and mixed at Fonograf Records Studios on 15-30 August 2009\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineered by S. Volkov\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMastered by U. Bogdanof\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Elena Rastegaeva\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 2009 (as a CD)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2014 (first time on LP)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eDecember. Christmas\u003c\/li\u003e\n\u003cli\u003eJanuray. At The Fireside\u003c\/li\u003e\n\u003cli\u003eJune. Barcarolle\u003c\/li\u003e\n\u003cli\u003eMarch. Song Of The Lark\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eOctober. The Autumn Song\u003c\/li\u003e\n\u003cli\u003eApril. A Snowdrop\u003c\/li\u003e\n\u003cli\u003eFebruary. Carnival\u003c\/li\u003e\n\u003cli\u003eNovember. Troika\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003col\u003e\u003c\/ol\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":42100883456250,"sku":"MELLP 0033","price":37.5,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/tchaikovsky-in-jazz-sergey-zhilin-trio-audiosoundmusic-1.jpg?v=1719855934"},{"product_id":"tchaikovsky-piano-concerto-n-2","title":"Emil Gilels Volume 1 - Tchaikovsky - Piano Concerto N°2","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\u003ePyotr Ilyich Tchaikovsky - Piano concerto No. 2 in G major, Op. 44\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePiano – Emil Gilels\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe USSR State Symphony Orchestra\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eConductor – Evgeni Svetlanov\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eLimited numbered edition\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : Black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLive\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas (Germany)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Melodiya\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal label : Melodiya\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded live at the Grand Hall of Moscow Conservatory on the 18th December, 1972\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineered by Michail Pachter\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMastered by Maxim Pilipov\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Elena Rastegaeva\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1985\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2014\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eAllegro brilliante e molto vivace              \u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eAndante non troppo\u003c\/li\u003e\n\u003cli\u003eAllegro con fuoco\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReview\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp\u003eFirma Melodiya continues a series of concert and studio recordings of one of the greatest pianists of the past era Emil Gilels. The musical world watched his career for half a century, from his first victory at the All-Union Competition of Performing Musicians in Moscow in 1933 to his last concert in Helsinki in 1985. His concerts in his home country and overseas, triumphant appearances at the world's most prestigious concert venues featuring famous orchestras and outstanding conductors, numerous recordings made in the USSR and beyond - in his lifetime, Gilels was a living legend for hundreds of thousands of listeners and millions of record collectors.\u003c\/p\u003e\n\u003cp\u003eAs a pianist of an apparent romantic nature, Emil Gilels exerted himself to the limit when he played live. Although these recordings may seem technically imperfect at times, they are of special interest to music lovers and connoisseurs.\u003c\/p\u003e\n\u003col\u003e\u003c\/ol\u003e\n\u003col\u003e\u003c\/ol\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":42100970717434,"sku":"MELLP 0032","price":37.5,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/emil-gilels-volume-1-tchaikovsky-piano-concerto-n2-audiosoundmusic-1.jpg?v=1719855934"},{"product_id":"evgeni-svetlanov-vol-1-tchaikovsky-winter-dreams","title":"Evgeni Svetlanov Vol.1 - Tchaikovsky - Winter Dreams","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 data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003ePyotr Tchaikovsky - Symphony No. 1 In G Minor, Op. 13 \"Winter Dreams\"           \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eThe USSR State Academic Symphony Orchestra\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eEvgeni Svetlanov - Conductor\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003e1LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eLimited numbered edition\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eRecord color : Black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eSpeed : 33RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eRecord Press : unspecified (Germany)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eLabel : Melodiya\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eOriginal label : Melodiya\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eRecorded in 1967\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eEngineered by Alexander Grosman\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eRemastered by Maxim Pilipov\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eProduced by Elena Rastegaeva\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eOriginally released in 1967\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eReissued in 2014\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eTracks :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eSide A :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eDaydreams on a Winter Journey. Allegro Tranquillo\u003c\/li\u003e\n\u003cli\u003eLand of Gloom, Land of Mist: Adagio Cantabile ma mon tanto\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp data-mce-fragment=\"1\"\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eScherzo. Allegro scherzando giocoso\u003c\/li\u003e\n\u003cli\u003eFinale. Andante lugubre - Allegro maestoso\u003c\/li\u003e\n\u003c\/ol\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":42101084553466,"sku":"MELLP 0015","price":37.5,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/evgeni-svetlanov-vol-1-tchaikovsky-winter-dreams-audiosoundmusic-1.jpg?v=1719855941"},{"product_id":"mendelssohn-violin-concerto-in-e-minor-bruch-scottish-fantasia-alfredo-campoli","title":"Mendelssohn - Violin Concerto In E Minor \u0026 Bruch - Scottish Fantasia - Alfredo Campoli","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFelix Mendelssohn - Violin Concerto In E Minor, Op. 64\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMAx Bruch - Scottish Fantasia, Op. 46\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAlfredo Campoli, violin\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe London Philharmonic Orchestra\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSir Adrian Boult, conductor\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g Virgin vinyl\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : Black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas (Germany)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Analogphonic\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal label : Decca\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMastered by Maarten de Boer\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1959\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A : Mendelssohn - Violin Concerto In E Minor, Op. 64\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003e1st Mov. Allegro Molto Appassionato\u003c\/li\u003e\n\u003cli\u003e2nd Mov. Andante\u003c\/li\u003e\n\u003cli\u003e3rd Mov. Allegro Molto Vivace\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B : Bruch - Scottish Fantasia, Op. 46\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eIntroduction\u003c\/li\u003e\n\u003cli\u003e1st Mov. Adagio Cantabile\u003c\/li\u003e\n\u003cli\u003e2nd Mov. Allegro\u003c\/li\u003e\n\u003cli\u003e3rd Mov. Andante Sostenuto\u003c\/li\u003e\n\u003cli\u003e4th Mov. Allegro Guerriero\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“Campoli plays most beautifully – the finale, in particular, is accurate and brilliant in the extreme... Campoli’s sweet-toned account of the Mendelssohn has given pleasure for many years. His lyrical feeling in the slow movement and his virtuosity in the finale are asself-evident as is the excellence of the accompaniment under Sir Adrian Boult. There are many felicitous touches and the distinguished soloist plays magnificently throughout. His account of the Bruch Scottish Fantasia is no less fine, and the recorded sound is amazingly fresh.” The Gramophone Magazine\u003c\/p\u003e\n\u003cp\u003e“Certainly the Mendelssohn Concerto was Campoli’s signature dish... and this 1958 stereo recording is much admired. Campoli’s tone is deliciously sweet and he has typically interesting ideas in the passagework. As ever the slow movement is the heart of things,with affectionate lyricism always to the fore. The finale is poised, fluent and fleet - but not flashily so. The Scottish Fantasy was a work Campoli only recorded once... Campoli is an expressive host, warmly moulding the ‘MacBruch’ tunes to delightful effect. The scherzo is played with pure panache and there are some lovely diminuendi in the Andante sostenuto. He was without doubt the most dashing British violinist of his generation.” Jonathan Woolf, MusicWeb International\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp\u003eDiscogs : 4.67 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":42111740903674,"sku":"LP43047","price":45.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/mendelssohn-violin-concerto-in-e-minor-and-bruch-scottish-fantasia-alfredo-campoli-audiosoundmusic-1.jpg?v=1719856366"},{"product_id":"dvorak-cello-concerto-in-b-minor-mstislav-rostropovich","title":"Dvorak - Cello Concerto in B minor - Mstislav Rostropovich","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\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAntonin Dvorak - Cello Concerto in B minor, Op. 104\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCello – Mstislav Rostropovich\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe Moscow Radio Symphony Orchestra\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eConductor - Gennadi Rozhdestvensky\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eLimited numbered edition\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : Black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLive\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Arvato (Germany)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Melodiya\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal label : Melodiya\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded live form the Grand Hall of the Moscow Conservatory in 1972\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineered by A. Shtilman\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMastered by Maxim Pilipov\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released 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\u003eAllegro\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eAdagio ma non troppo\u003c\/li\u003e\n\u003cli\u003eFinale. Allegro moderato\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp\u003eDiscogs : 3 \/ 5\u003c\/p\u003e\n\u003col\u003e\u003c\/ol\u003e\n\u003col\u003e\u003c\/ol\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":42131520880890,"sku":"MELLP 0037","price":32.5,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/dvorak-cello-concerto-in-b-minor-mstislav-rostropovich-audiosoundmusic-1.jpg?v=1719856417"},{"product_id":"antonio-lysy-at-the-broad-music-from-argentina","title":"Antonio Lysy - At The Broad Music From Argentina","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAntonio Lysy, cello\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe Capitol Ensemble\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBryan Pezzone, piano\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePablo Motta, bass\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLive\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : unspecified\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Yarlung\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Yarlung\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded at The Broad Stage, Santa Monica on June 8-9, 2009. \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineered by Kevin Gray, Steve Hoffman\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Bob Attiyeh\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by Steve Hoffman \u0026amp; Doug Sax\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 2010\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2011\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eAlberto Ginastera (1916-1983)\u003c\/li\u003e\n\u003cli\u003ePampeana No. 2\u003c\/li\u003e\n\u003cli\u003eLalo Schifrin (b.1932)\u003c\/li\u003e\n\u003cli\u003ePampas\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eAlberto Ginastera\u003c\/li\u003e\n\u003cli\u003eTriste\u003c\/li\u003e\n\u003cli\u003eAstor Piazzolla (1921-1992)\u003c\/li\u003e\n\u003cli\u003eLe Grand Tango\u003c\/li\u003e\n\u003cli\u003eOblivion\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAwards\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eTAS Super LP List! Special Merit: Informal\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eThe Absolute Sound 40th Anniversary Best Sounding Music!\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e11th Latin Grammy Award Winning Album!\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp\u003e\"Cellist Antonio Lysy and pianist Bryan Pezzone play gorgeously and are gorgeously recorded. Sonics are holographic in clarity and presence, rich in tonal splendor, and revealing of the venue (Santa Monica's The Broad Stage). Just listen to the deeply resonant cello pizzicatos that reverberate into silence at the end Schifrin's Pampas. This is one of the most realistic and beautiful records I've heard - ever.\" Mark Lehman, The Absolute Sound, December 2012\u003c\/p\u003e\n\u003cp\u003e\"Classical music recorded all-analog using purist microphone techniques are few these days. Here is one from Bob Attiyeh's Yarlung Records that is both sonically and musically exquisite... The stage is spacious, the mix of direct to reflected sound is ideal, the image solidity, stability and focus are life-like and the level of transparency and freedom from electronic artifacts are unsurpassed in my listening experience... If this recording doesn't move you emotionally you are brain dead. If you don't agree that this is one of the finest recordings you have ever heard, your system needs to go in for repairs. \" - Michael Fremer, Musicangle, June 2011\u003c\/p\u003e\n\u003cp\u003e“On the other side of the planet from the likes of Bartók and Kodály, composers were no less intrigued by the synthesis of nationalistic folk music with Western art music. Paving the way for a generation of composers in Argentina was Alberto Ginastera, from whom followed José Bragato, Osvaldo Golijov, Lalo Schifrin, and perhaps most recognized today, Astor Piazzolla. This Yarlung Records disc celebrates the extensive contributions these composers made to the cello repertoire. Cellist Antonio Lysy is joined by pianist Brian Pezzone, bassist Pablo Motta, and members of the Capitol Ensemble in this memorable survey they includes diverse works scored for cello solo, cello and piano, or cello and small ensemble. In all cases, Lysy's playing is exemplary. Not only does he toss off any technical difficulties with apparent ease, but also brings his heritage to the fore with brilliantly stylized interpretations filled with panache, passion, and Argentine flair. Despite the careful measures taken by Yarlung, and the detailed description provided of the recording process, the recorded sound quality is not always ideal. When Lysy is playing with his ensemble, the sound is vivid, warm, and well developed. When Lysy plays by himself, or sometimes with just cello and piano, the microphone seems to be very close to the cello and Lysy's sound comes out as flat and undeveloped. Still, Lysy's enjoyable program and near-flawless execution still merits listening.” AllMusic Review by Mike D. Brownell\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eAllMusic : 4,5 \/ 5 , Discogs : 4,15 \/ 5 , Michael Fremer : 11\/10 Music, 11\/10 Sonics\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":42151468826874,"sku":"YARLP95968","price":24.5,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/antonio-lysy-at-the-broad-music-from-argentina-audiosoundmusic-1.jpg?v=1719856679"},{"product_id":"james-matheson-string-quartet-color-field","title":"James Matheson String Quartet - Color Field (45RPM)","description":"\u003cp\u003e\u003cstrong\u003eBaird Dodge, violin\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGina Dibello, violin\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWeijing Wang, viola\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eYi Xin, cello\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eComposed by James Matheson \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\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 : 45 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLive\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : unspecified\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Yarlung\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Yarlung\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded at\u003c\/strong\u003e \u003cstrong\u003eSamueli Theater at Segerstrom Center for the Arts, California on November 3-4, 2015\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineered by Steve Hoffman \u0026amp; Bob Attiyeh\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Bob Attiyeh\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by Bernie Grundman\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReleased in 2016\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eTaught, Energetic\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eSlowly\u003c\/li\u003e\n\u003cli\u003eQuick, Breathless\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“Matheson’s String Quartet is an impressive piece of work. Thirty-two minutes long, it is brimming with ideas; the richness of their number is palpable…. The String Quartet is, perhaps first and foremost, beautifully orchestrated, the combination of instruments used to create one wondrous color after another. Motor rhythms and repeated patterns juice forward progress; these ideas move through tonal progressions, reaching plateaus of more static material (at least in the first two movements) – meditative, starry-skied, rapt. The quick finale is a syncopated romp.” Timothy Mangan, Orange County Register\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":42151724712186,"sku":"YARLP25668-45","price":24.5,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/james-matheson-string-quartet-color-field-45rpm-audiosoundmusic-1.jpg?v=1719856679"},{"product_id":"james-matheson-times-alone","title":"James Matheson - Times Alone (45RPM)","description":"\u003cp\u003e\u003cstrong\u003eLaura Strickling, soprano\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThomas Sauer, piano\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eComposed by James Matheson\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\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 : 45 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLive\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : unspecified\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Yarlung\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Yarlung\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded Samueli Theater at Segerstrom Center for the Arts, California on November 3, 2015\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineered by Steve Hoffman \u0026amp; Bob Attiyeh\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by Bernie Grundman\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReleased in 2016\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eI Have Walked Along Many Roads\u003c\/li\u003e\n\u003cli\u003eLast Night, As I Was Sleeping\u003c\/li\u003e\n\u003cli\u003eClouds Ripped Open\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eThe Wind, One Brilliant Day\u003c\/li\u003e\n\u003cli\u003eIs My Soul Asleep?\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\"Best of all are the cycle of five poems by the Spanish writer Antonio Machado (1875-1939), as translated by Robet Bly. Matheson doesn't merely 'set' the texts - he seems to take ownership of them like a singer-songwriter.\" Andrew Quinte, The Absolute Sound\u003c\/p\u003e\n\u003cp\u003e\"Strickling impressed with her powerful and expressive voice across a large range, her variety of timbre and character, and playful demeanor embodying lighter moments of this song-cycle.\" Classical Scene\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":42151943176442,"sku":"YARLP25669-45","price":24.5,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/james-matheson-times-alone-45rpm-audiosoundmusic-1.jpg?v=1719856679"},{"product_id":"james-matheson-violin-concerto","title":"James Matheson - Violin Concerto (45RPM)","description":"\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eBaird Dodge, violin soloist\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eChicago Symphony Orchestra\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEsa-Pekka Salonen, conductor\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\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 : 45 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLive\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : unspecified\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Yarlung\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Yarlung\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded live in Chicago Symphony Orchestra Hall on December 15, 2011\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded by Christopher Willis\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMixed by Arian Jansen, SonoruS Audio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineered by Steve Hoffman \u0026amp; Bob Attiyeh\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMastered by Bernie Grundman\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by: Bob Attiyeh\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReleased in 2016\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eCaprice\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eChaconne\u003c\/li\u003e\n\u003cli\u003eDance\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\"Matheson's concerto is a supercharged showpiece for virtuoso violinist and orchestra that connects with the listener on a visceral as well as intellectrual level. It keeps the soloist extremely busy as he negotiates a maze of vivid, colorful orchestral effects that ulimately are the most interesting aspect of the piece. While neo-romantic in overall flavor, Matheson is original enough to shun the feel-good bromides that consistute so much of today's 'new' classical music.\" - John von Rhein, Chicago Tribune\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":42169176064250,"sku":"YARLP65005-45","price":24.5,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/james-matheson-violin-concerto-45rpm-audiosoundmusic-1.jpg?v=1719856763"},{"product_id":"lifeline-quartet-lifeline-music-of-the-underground-railroad","title":"Lifeline Quartet Lifeline - Music Of The Underground Railroad (45RPM)","description":"\u003cp\u003e\u003cstrong\u003eTraditional songs\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eVocals – Michael Fitzgerald, Michelle Mayne-Graves, Quinton Fitzgerald, Walter Penniman II\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\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 : 45 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLive\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : unspecified\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Yarlung\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Yarlung\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded live in Samueli Theater at Segerstrom Center for the Arts, California on October 2018\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineered \u0026amp; mixed by Bernie Grundman\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by Steve Hoffman\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Bob Attiyeh\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReleased in 2020\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eIf I Can Help Somebody\u003c\/li\u003e\n\u003cli\u003eSteal Away To Jesus\u003c\/li\u003e\n\u003cli\u003eCanaan's Land - Fare Ye Well Medley\u003c\/li\u003e\n\u003cli\u003eWade In The Water\u003c\/li\u003e\n\u003cli\u003eTalk About A Child\u003c\/li\u003e\n\u003cli\u003eDeep River\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eHold On To The Gospel Plow\u003c\/li\u003e\n\u003cli\u003eNobody Knows The Trouble I've Seen\u003c\/li\u003e\n\u003cli\u003eDown By The Riverside\u003c\/li\u003e\n\u003cli\u003eMotherless Child\u003c\/li\u003e\n\u003cli\u003eAin't Goin' - Joshua Fit De' Battle\u003c\/li\u003e\n\u003cli\u003eSaints' Medley\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAwards:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eTAS Super LP List! Special Merit: Informal\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp\u003e“The sound is intensely three-dimensional, especially the sensation of being in the audience when the deserved applause comes after each performance. The singers appear before you effectively spread across the stage, bathed but not buried... tape playback bypassed Bernie's excellent board and went directly into the lathe so you are directly hearing what the microphone picked up. The opening track, 'If I Can Help Somebody' sung from a slave's POV and dedicated here to Harriet Tubman's 'ingenuity and generosity' will break your heart. The rest will put it back together.” Michael Fremer, Analog Planet\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eMichael Fremer : 9\/10 Music, 9\/10 Sonics\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":42169230557434,"sku":"YARLP52066-45","price":24.5,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/lifeline-quartet-lifeline-music-of-the-underground-railroad-45rpm-audiosoundmusic-1.jpg?v=1719856792"},{"product_id":"petteri-iivonen-art-of-the-violin","title":"Petteri Iivonen - Art of the Violin (Bach, Debussy, Ysaye)","description":"\u003cp\u003e\u003cstrong\u003ePeteri Iivonen, violin\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eKevin Fitz-Gerald, piano (B1-3)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\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\u003eLive\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : unspecified\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Yarlung\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Yarlung\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded in Alfred Newman Hall, Los Angeles on June 9-16, 2008\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineered \u0026amp; Produced by Bob Attiyeh\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMastered by Steve Hoffman \u0026amp; Doug Sax\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReleased in 2014\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eEugene Ysaye - Sonata No. 2 in A Minor - Obsession\u003c\/li\u003e\n\u003cli\u003eEugene Ysaye - Sonata No. 2 in A Minor - Malinconia\u003c\/li\u003e\n\u003cli\u003eEugene Ysaye - Sonata No. 2 in A Minor - Danse Des Ombres\u003c\/li\u003e\n\u003cli\u003e­ Eugene Ysaye - Sonata No. 2 in A Minor - Les Furies\u003c\/li\u003e\n\u003cli\u003eJohann Sebastian Bach - Partita No. 2 in D Minor, BWV 1004 - Ciaccona\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eClaude Debussy - Sonata for Violin and Piano in G Minor - Allegro Vivo\u003c\/li\u003e\n\u003cli\u003eClaude Debussy - Sonata for Violin and Piano in G Minor - Intermede: Fantasque et Leger\u003c\/li\u003e\n\u003cli\u003eClaude Debussy - Sonata for Violin and Piano in G Minor - Finale: Tres Anime\u003c\/li\u003e\n\u003cli\u003eDavid S. Lefkowitz - Eli Eli (Original Eli Eli folk tune by David Zehavi)\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“Yarlung Records is an organization that promotes young, undiscovered artists by producing their debut albums. What a find in Finnish-born violinist Petteri Iivonen. Brought to attention by famed violinist and pedagogue Hagai Shaham, Iivonen possesses a rare synthesis of skills for such a young artist: brilliant technique that does not overshadow instinctive musical decisions. His chosen program for his debut album is varied but logically tied together. It opens with Ysaÿe's Second Violin Sonata -- which begins with a direct quote from Bach's G minor Sonata -- and comes full circle to end with Bach's D minor Partita. In the center is Debussy's masterful Violin Sonata (the last work the French giant was to complete), the Sallinen Cadenze, Ysaÿe's Fourth Sonata, and the Lefkowitz Eli Eli, commissioned especially for Iivonen and this album. As diverse as the compositions are, so, too, are the different colors, temperaments, and moods of Iivonen's playing. The two Ysaÿe sonatas are bold and assertive, while the Bach is elegantly refined without becoming timid. His tone in both is rich, vibrant, and powerful. Iivonen completely changes gears in the Debussy and, along with pianist Kevin Fitz-Gerald, produces a suave, misty sound quality ideally suited for Debussy's late work. Just as exceptional as Iivonen's own playing and sound is the way Yarlung Records captures it. The liner notes even take the unusual step of detailing the precise setup used in the recording process. Yarlung favors a highly natural, unadorned sound quality that really lets Iivonen's inherent beauty and refinement shine through.” AllMusic Review by Mike D. Brownell\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eAllMusic : 4,5 \/ 5 , Discogs : 4 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":42169252839674,"sku":"YARLP95990","price":24.5,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/petteri-iivonen-art-of-the-violin-bach-debussy-ysaye-audiosoundmusic-1.jpg?v=1719856792"}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/collections\/vinyl-promotions-audiosoundmusic.jpg?v=1719851115","url":"https:\/\/www.audiosoundmusic.com\/collections\/promotion\/promotion.oembed?page=2","provider":"AudioSoundMusic","version":"1.0","type":"link"}