{"title":"Rock vinyl","description":"","products":[{"product_id":"zappa-88-the-last-u-s-show-frank-zappa","title":"Franck Zappa - The Last U.S. Show (4LP, Box set)","description":"\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003eFrank Zappa (lead guitar, vocals, Synclavier), Mike Keneally (guitar, synthesizer, vocals), Ike Willis (rhythm guitar, synthesizer, vocals), Scott Thunes (electric bass, Minimoog), Bobby Martin (keyboards, vocals), Ed Mann (vibraphone, marimba, electronic percussion), Chad Wackerman (drums, electronic percussion, liner notes), Walt Fowler (trumpet, flugelhorn, synthesizer), Bruce Fowler (trombone, Paul Carman (alto saxophone, soprano saxophone, baritone saxophone), Albert Wing (tenor saxophone), Kurt McGettrick (baritone saxophone, bass saxophone, contrabass clarinet).\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"margin: 0cm 0cm 12.0pt 0cm;\" data-mce-style=\"margin: 0cm 0cm 12.0pt 0cm;\"\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-size: 10.5pt; font-family: 'Segoe UI', sans-serif;\" data-mce-style=\"font-size: 10.5pt; font-family: 'Segoe UI',sans-serif; color: #212b36;\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-size: 10.5pt; font-family: 'Segoe UI', sans-serif;\" data-mce-style=\"font-size: 10.5pt; font-family: 'Segoe UI',sans-serif; color: #212b36;\"\u003eWritten by Franck Zappa (A2, A3, A4, B1, B2, B3, C1, C2, C3, C4, C5, D2, D5), \u003c\/span\u003e\u003c\/strong\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-size: 10.5pt; font-family: 'Segoe UI', sans-serif;\" data-mce-style=\"font-size: 10.5pt; font-family: 'Segoe UI',sans-serif; color: #212b36;\"\u003eJohn Lennon (F2, G2), \u003c\/span\u003e\u003c\/strong\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-size: 10.5pt; font-family: 'Segoe UI', sans-serif;\" data-mce-style=\"font-size: 10.5pt; font-family: 'Segoe UI',sans-serif; color: #212b36;\"\u003ePaul McCartney (F2, G2), \u003c\/span\u003e\u003c\/strong\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-size: 10.5pt; font-family: 'Segoe UI', sans-serif;\" data-mce-style=\"font-size: 10.5pt; font-family: 'Segoe UI',sans-serif; color: #212b36;\"\u003eIgor Stravinsky (D3), \u003c\/span\u003e\u003c\/strong\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-size: 10.5pt; font-family: 'Segoe UI', sans-serif;\" data-mce-style=\"font-size: 10.5pt; font-family: 'Segoe UI',sans-serif; color: #212b36;\"\u003eBela Bartok (D4), Maurice Ravel (H2), \u003c\/span\u003e\u003c\/strong\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-size: 10.5pt; font-family: 'Segoe UI', sans-serif;\" data-mce-style=\"font-size: 10.5pt; font-family: 'Segoe UI',sans-serif; color: #212b36;\"\u003eDouglass Cross (B4), \u003c\/span\u003e\u003c\/strong\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-size: 10.5pt; font-family: 'Segoe UI', sans-serif;\" data-mce-style=\"font-size: 10.5pt; font-family: 'Segoe UI',sans-serif; color: #212b36;\"\u003eGeorge C. Cory Junior (B4), \u003c\/span\u003eRay Evans (D7), Jerry Livingston (D7), Jimmy Page (G1), Robert Plant (G1), Gregg Allman (H1), Katharine Lee \u003cspan data-mce-fragment=\"1\"\u003eBates (H3), Samuel A. Ward (H3).\u003c\/span\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"margin: 0cm 0cm 12.0pt 0cm;\" data-mce-style=\"margin: 0cm 0cm 12.0pt 0cm;\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"margin: 0cm 0cm 12.0pt 0cm;\" data-mce-style=\"margin: 0cm 0cm 12.0pt 0cm;\"\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-size: 10.5pt; font-family: 'Segoe UI', sans-serif;\" data-mce-style=\"font-size: 10.5pt; font-family: 'Segoe UI',sans-serif; color: #212b36;\"\u003e4 LPs, box set\u003c\/span\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"margin: 0cm 0cm 12.0pt 0cm;\" data-mce-style=\"margin: 0cm 0cm 12.0pt 0cm;\"\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-size: 10.5pt; font-family: 'Segoe UI', sans-serif;\" data-mce-style=\"font-size: 10.5pt; font-family: 'Segoe UI',sans-serif; color: #212b36;\"\u003eOriginal analog Master tape : YES\u003c\/span\u003e\u003c\/strong\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-size: 10.5pt; font-family: 'Segoe UI', sans-serif;\" data-mce-style=\"font-size: 10.5pt; font-family: 'Segoe UI',sans-serif; color: #212b36;\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003e\u003cstrong\u003eLive\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003e\u003cstrong\u003eRecord Press : Optimal Media\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"font-variant-ligatures: normal; font-variant-caps: normal; orphans: 2; text-align: start; widows: 2; -webkit-text-stroke-width: 0px; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial; word-spacing: 0px; margin: 0cm 0cm 12.0pt 0cm;\" data-mce-style=\"font-variant-ligatures: normal; font-variant-caps: normal; orphans: 2; text-align: start; widows: 2; -webkit-text-stroke-width: 0px; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial; word-spacing: 0px; margin: 0cm 0cm 12.0pt 0cm;\"\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-size: 10.5pt; font-family: 'Segoe UI', sans-serif;\" data-mce-style=\"font-size: 10.5pt; font-family: 'Segoe UI',sans-serif; color: #212b36;\"\u003eLabel : Zappa Records\u003c\/span\u003e\u003c\/strong\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-size: 10.5pt; font-family: 'Segoe UI', sans-serif;\" data-mce-style=\"font-size: 10.5pt; font-family: 'Segoe UI',sans-serif; color: #212b36;\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"font-variant-ligatures: normal; font-variant-caps: normal; orphans: 2; text-align: start; widows: 2; -webkit-text-stroke-width: 0px; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial; word-spacing: 0px; margin: 0cm 0cm 12.0pt 0cm;\" data-mce-style=\"font-variant-ligatures: normal; font-variant-caps: normal; orphans: 2; text-align: start; widows: 2; -webkit-text-stroke-width: 0px; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial; word-spacing: 0px; margin: 0cm 0cm 12.0pt 0cm;\"\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-size: 10.5pt; font-family: 'Segoe UI', sans-serif;\" data-mce-style=\"font-size: 10.5pt; font-family: 'Segoe UI',sans-serif; color: #212b36;\"\u003eOriginal Label : Zappa Records\u003c\/span\u003e\u003c\/strong\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-size: 10.5pt; font-family: 'Segoe UI', sans-serif;\" data-mce-style=\"font-size: 10.5pt; font-family: 'Segoe UI',sans-serif; color: #212b36;\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"font-variant-ligatures: normal; font-variant-caps: normal; orphans: 2; text-align: start; widows: 2; -webkit-text-stroke-width: 0px; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial; word-spacing: 0px; margin: 0cm 0cm 12.0pt 0cm;\" data-mce-style=\"font-variant-ligatures: normal; font-variant-caps: normal; orphans: 2; text-align: start; widows: 2; -webkit-text-stroke-width: 0px; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial; word-spacing: 0px; margin: 0cm 0cm 12.0pt 0cm;\"\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003e\u003cstrong\u003e\u003cspan data-mce-fragment=\"1\"\u003eAll tracks recorded on March 25, 1988 at Nassau Coliseum, Uniondale, New York, except track G1, recorded March 23, 1988 at Tonson Center, Towson, Maryland, \u0026amp; track H1, recorded March 16, 1988 at Civic Center, Providence Rhode Island.\u003c\/span\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003e\u003cstrong\u003eReleased in June 2021\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"margin: 0cm 0cm 12.0pt 0cm;\" data-mce-style=\"margin: 0cm 0cm 12.0pt 0cm;\"\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-size: 10.5pt; font-family: 'Segoe UI', sans-serif;\" data-mce-style=\"font-size: 10.5pt; font-family: 'Segoe UI',sans-serif; color: #212b36;\"\u003eTracks :\u003c\/span\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003eSide A\u003c\/span\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli style=\"color: rgb(230, 230, 230);\"\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003eWe Are Doing Voter Registration Here\u003c\/span\u003e\u003c\/li\u003e\n\u003cli style=\"color: rgb(230, 230, 230);\"\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003eThe Black Page (New Age Version)\u003c\/span\u003e\u003c\/li\u003e\n\u003cli style=\"color: rgb(230, 230, 230);\"\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003eI Ain’t Got No Heart\u003c\/span\u003e\u003c\/li\u003e\n\u003cli style=\"color: rgb(230, 230, 230);\"\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003eLove Of My Life\u003c\/span\u003e\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003eSide B\u003c\/span\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli style=\"color: rgb(230, 230, 230);\"\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003eInca Roads\u003c\/span\u003e\u003c\/li\u003e\n\u003cli style=\"color: rgb(230, 230, 230);\"\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003eSharleena\u003c\/span\u003e\u003c\/li\u003e\n\u003cli style=\"color: rgb(230, 230, 230);\"\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003eWho Needs The Peace Corps?\u003c\/span\u003e\u003c\/li\u003e\n\u003cli style=\"color: rgb(230, 230, 230);\"\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003eI Left My Heart In San Francisco (Cory\/Cross)\u003c\/span\u003e\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003eSide C\u003c\/span\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli style=\"color: rgb(230, 230, 230);\"\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003eDickie’s Such An Asshole\u003c\/span\u003e\u003c\/li\u003e\n\u003cli style=\"color: rgb(230, 230, 230);\"\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003eWhen The Lie’s So Big\u003c\/span\u003e\u003c\/li\u003e\n\u003cli style=\"color: rgb(230, 230, 230);\"\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003eJesus Thinks You’re A Jerk\u003c\/span\u003e\u003c\/li\u003e\n\u003cli style=\"color: rgb(230, 230, 230);\"\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003eSofa #1\u003c\/span\u003e\u003c\/li\u003e\n\u003cli style=\"color: rgb(230, 230, 230);\"\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003eOne Man, One Vote\u003c\/span\u003e\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003eSide D\u003c\/span\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli style=\"color: rgb(230, 230, 230);\"\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003eHappy Birthday, Chad!\u003c\/span\u003e\u003c\/li\u003e\n\u003cli style=\"color: rgb(230, 230, 230);\"\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003ePackard Goose Pt. I\u003c\/span\u003e\u003c\/li\u003e\n\u003cli style=\"color: rgb(230, 230, 230);\"\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003eRoyal March From “L’Histoire Du Soldat” (Stravinsky)\u003c\/span\u003e\u003c\/li\u003e\n\u003cli style=\"color: rgb(230, 230, 230);\"\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003eTheme From The Bartok Piano Concerto #3 (Bartok)\u003c\/span\u003e\u003c\/li\u003e\n\u003cli style=\"color: rgb(230, 230, 230);\"\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003ePackard Goose Pt. II\u003c\/span\u003e\u003c\/li\u003e\n\u003cli style=\"color: rgb(230, 230, 230);\"\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003eThe Torture Never Stops Pt. I\u003c\/span\u003e\u003c\/li\u003e\n\u003cli style=\"color: rgb(230, 230, 230);\"\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003eTheme From “Bonanza” (Evans \u0026amp; Livingston)\u003c\/span\u003e\u003c\/li\u003e\n\u003cli style=\"color: rgb(230, 230, 230);\"\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003eLonesome Cowboy Burt\u003c\/span\u003e\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003eSide E\u003c\/span\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli style=\"color: rgb(230, 230, 230);\"\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003eThe Torture Never Stops Pt. II\u003c\/span\u003e\u003c\/li\u003e\n\u003cli style=\"color: rgb(230, 230, 230);\"\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003eCity Of Tiny Lites\u003c\/span\u003e\u003c\/li\u003e\n\u003cli style=\"color: rgb(230, 230, 230);\"\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003ePound For A Brown PT. I\u003c\/span\u003e\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003eSide F\u003c\/span\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli style=\"color: rgb(230, 230, 230);\"\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003ePound For A Brown PT. II\u003c\/span\u003e\u003c\/li\u003e\n\u003cli style=\"color: rgb(230, 230, 230);\"\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003eThe Beatles Medley (Lennon\/McCartney)\u003c\/span\u003e\u003c\/li\u003e\n\u003cli style=\"color: rgb(230, 230, 230);\"\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003ePeaches En Regalia\u003c\/span\u003e\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003eSide G\u003c\/span\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli style=\"color: rgb(230, 230, 230);\"\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003eStairway To Heaven (Page\/Plant)\u003c\/span\u003e\u003c\/li\u003e\n\u003cli style=\"color: rgb(230, 230, 230);\"\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003eI Am The Walrus (Lennon\/McCartney)\u003c\/span\u003e\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003eSide H\u003c\/span\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli style=\"color: rgb(230, 230, 230);\"\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003eWhipping Post (Allman)\u003c\/span\u003e\u003c\/li\u003e\n\u003cli style=\"color: rgb(230, 230, 230);\"\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003eBolero (Ravel)\u003c\/span\u003e\u003c\/li\u003e\n\u003cli style=\"color: rgb(230, 230, 230);\"\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003eAmerica The Beautiful (\u003cspan data-mce-fragment=\"1\"\u003eBates\/Ward\u003c\/span\u003e)\u003c\/span\u003e\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eReviews\u003c\/strong\u003e :\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003eAs Travers writes in the liner notes, “Start with the fulcrum of the 1981-1984 touring bands (Robert, Scott \u0026amp; Chad), bring back Ike Willis, add the Synclavier digital workstation, a 5-piece horn section with multi-instrumentalist Mike Keneally and you have what FZ famously described as “The Best Band You Never Heard In Your Life.” While saying “never heard” might have been a bit of hyperbole, it wasn’t far off as the short-lived band (four months of rehearsal in 1987\/1988, followed by a tour from February through June 1988) only played a few dozen shows on the East Coast and Europe before disbanding. Nonetheless, the shows they did play together were electrifying and a masterclass in musicianship.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003eWith Zappa on lead guitar, vocals, and wielding his new obsession the Synclavier, he led the proceedings through a career-spanning set, backed by a stellar cast of veteran band members and newly added members: Mike Keneally (guitar, synth, vocals), Scott Thunes (electric bass, Minimoog), Ike Willis (rhythm guitar, synth, vocals), Chad Wackerman (drums, electronic percussion), Ed Mann (vibes, marimba, electronic percussion), Robert Martin (keyboards, vocals) and the cracking horn section of Walt Fowler (trumpet, flugel horn, synth), Bruce Fowler (trombone), Paul Carman (alto, soprano and baritone sax), Albert Wing (tenor sax) and Kurt McGettrick (baritone and bass sax, contrabass clarinet). The band prepped nearly 100 songs and the sets were wide ranging, spanning tunes from the first Mothers of Invention albums, but with characteristically updated and often times ever-evolving arrangements (“I Ain’t Got No Heart,” “Love Of My Life,” “Who Needs The Peace Corps?”), to new compositions created for the ‘88 tour (“Jesus Thinks You’re A Jerk” and “When The Lie’s So Big”) as well as classical compositions (Bartók, Ravel, Stravinsky) that Zappa liked to play to expose his audiences to music he appreciated. In addition to the inclusion of the 5-piece horn section and it being Keneally’s only tour, the concerts also included extensive use of sampling through the then current machine, the Synclavier, which Zappa took on the road for the first time, as well as percussionists Mann and Wackerman’s use of electronic sounds in their set ups.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003eZappa ’88: The Last U.S. Show includes all of this and many more highlights such as fan favorites, “Peaches En Regalia,” “The Black Page” “Inca Roads,” “Sharleena” “Sofa #1” and “Pound For A Brown.” It also includes a horn-laden cover of The Beatles’ “I Am The Walrus,” and the first official release of the highly sought after “The Beatles Medley,” which features the band performing the music of The Beatles’ “Norwegian Wood,” “Lucy In The Sky With Diamonds” and “Strawberry Fields Forever” with the lyrics completely changed to reflect the then-recent sex scandal of televangelist Jimmy Swaggart. The bawdy lyrics poke fun at the hypocritical minister and was part of Zappa’s agenda to demystify televangelists.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003eJust how Zappa felt it was important to rail against toxically prude self-appointed culture protectors and whatever hypocrisy or hypocrite rankled him that day, he was also a motivator of positive action, passionate about causes, especially voting rights, making it his mission to get his audiences to register to vote. With a presidential election looming, Zappa offered voter registration on the tour, aided by The League of Women Voters. Fans were encouraged to vote before the show or during a special 20-minute intermission in the middle of the two-hour plus concert, which would start with Zappa triggering the Synclavier to play a piece of music. In Uniondale it was “One Man, One Vote.” Notably, the version here is a different mix than the studio version released on Frank Zappa Meets The Mothers Of Prevention. Zappa 88: The Last U.S. Show kicks off with Zappa extolling the importance of voting and encouraging the unregistered to sign up at the show by registering someone live on stage. It was followed by a representative from Governor Mario Cuomo’s office reading a message congratulating “Mr. Zappa for the important work you are doing encouraging your audiences and others to register and vote.”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003e“Sadly after the European run was over,” as Travers pens in the liners, “Frank Zappa chose to disband the group and cancel the rest of the tour, reportedly forfeiting $400,000.00 in revenue and depriving additional audiences the opportunity to witness how special this group really was. With all of the time and money spent to prepare and promote the tour, not to mention the potential within the talented band and crew, now in 2021, it’s an even more historic loss considering FZ was to never tour again.”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eRatings\u003c\/strong\u003e :\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003eDiscogs : 4.85 \/ 5  ,  Rate your music : 4.0 \/ 5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40376226054295,"sku":"ZR20036-1","price":70.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/franck-zappa-the-last-u-s-show-4lp-box-set-audiosoundmusic-1.jpg?v=1719851418"},{"product_id":"blood-sweat-tears-child-is-father-to-the-man","title":"Blood, Sweat \u0026 Tears - Child Is Father To The Man","description":"\u003cp\u003e\u003ca title=\"vinyl from Blood, Sweat \u0026amp; Tears\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/blood-sweat-tears\"\u003e\u003cstrong\u003e\u003cspan style=\"color: #ff8000;\"\u003e[Click here to see more vinyl from Blood, Sweat \u0026amp; Tears]\u003c\/span\u003e\u003c\/strong\u003e\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAl Kooper (Organ, Piano, Synthesizer, Vocals), Fred Lipsius (Alto Saxophone, Piano), Jim Fielder (Bass), Bobby Colomby (Drums, Percussion, Vocals), Steve Katz (Guitar, Acoustic Guitar, Lute, Vocals), Dick Halligan (Trombone), Jerry Weiss (Trumpet, Flugelhorn).\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eWritten by \u003c\/strong\u003e\u003cstrong\u003eAl Kooper (A1, A2, A4, B3, B4, B5), L. Beckett (A3), T. Buckley (A3), H. Nilsson (A5), R. Newman (A6), I. Levine (B1), S. Katz (B2), G. Goffin (B6), C. King (B6)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Speakers Corner\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label :  Columbia\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eRecording: November 11, 1967 - December 20, 1967 by Fred Catero\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eProduction : John Simon\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eOriginally released in February 1968\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eReissued Jan 2007\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\u003eOverture\u003c\/li\u003e\n\u003cli\u003eI Love You More Than You'll Ever Know\u003c\/li\u003e\n\u003cli\u003eMorning Glory\u003c\/li\u003e\n\u003cli\u003eMy Days Are Numbered\u003c\/li\u003e\n\u003cli\u003eWithout Her\u003c\/li\u003e\n\u003cli\u003eJust One Smile\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eI Can't Quit Her\u003c\/li\u003e\n\u003cli\u003eMeagan's Gypsy Eyes\u003c\/li\u003e\n\u003cli\u003eSomethin' Goin' On\u003c\/li\u003e\n\u003cli\u003eHouse in the Country\u003c\/li\u003e\n\u003cli\u003eThe Modern Adventures Of Plato, Diogenes And Freud\u003c\/li\u003e\n\u003cli\u003eSo Much Love\/ Underture\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« Child Is Father to the Man is keyboard player\/singer\/arranger Al Kooper's finest work, an album on which he moves the folk-blues-rock amalgamation of the Blues Project into even wider pastures, taking in classical and jazz elements (including strings and horns), all without losing the pop essence that makes the hybrid work. This is one of the great albums of the eclectic post-Sgt. Pepper era of the late '60s, a time when you could borrow styles from Greenwich Village contemporary folk to San Francisco acid rock and mix them into what seemed to have the potential to become a new American musical form. It's Kooper's bluesy songs, such as \"I Love You More Than You'll Ever Know\" and \"I Can't Quit Her,\" and his singing that are the primary focus, but the album is an aural delight; listen to the way the bass guitar interacts with the horns on \"My Days Are Numbered\" or the charming arrangement and Steve Katz's vocal on Tim Buckley's \"Morning Glory.\" Then Kooper sings Harry Nilsson's \"Without Her\" over a delicate, jazzy backing with flügelhorn\/alto saxophone interplay by Randy Brecker and Fred Lipsius. This is the sound of a group of virtuosos enjoying itself in the newly open possibilities of pop music. Maybe it couldn't have lasted; anyway, it didn't. » AllMusic Review by William Ruhlmann\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThere’ll be disappointment in store for those who expect to hear the voice of David Clayton-Thomas when listening to the present Blood, Sweat And Tears LP, \"Child Is Father To The Man\". Experts will know however that on the group’s very first album they will get to hear the excellent Al Kooper. The man is far more than a singer, for he not only plays the piano and various other keyboards but has also composed almost all the numbers and made the arrangements for the string ensemble.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eBluesy pieces such as \"I Love You More ...\" and \"I Can’t Quit Her\", and the vocals from Al Kooper are the real gems here, although the whole album – held in the tradition of the Beatles’ \"Sgt. Pepper\" – is a real pleasure from beginning to end. The amalgamation of pop, classic and jazz, which was made so popular in the Sixties by such groups as Chicago Transit Authority, Colosseum and Soft Machine, is here combined by Blood, Sweat And Tears with the acid-folk-rock mix emanating from San Francisco. It even had the potential to become a new American form of music. It is interesting to note that the LP achieved gold status after the release of \"B, S\u0026amp;T 2\", which brought the earlier album to the attention of the record-buying public.\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eJust put any prejudices aside! Then jazz and pop fans will then find that they have discovered one of the very best and most enjoyable albums from the late Sixties.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAllmusic : 5 \/ 5 ,   \u003c\/span\u003e\u003cspan\u003eDiscogs \u003c\/span\u003e: \u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e4,10\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5  ,  \u003c\/span\u003e\u003cspan\u003eRate Your Music \u003c\/span\u003e:  \u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e3,67\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40405120221335,"sku":"CS 9619","price":38.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/blood-sweat-and-tears-child-is-father-to-the-man-audiosoundmusic-1.jpg?v=1719851555"},{"product_id":"warren-zevon-stand-in-the-fire","title":"Warren Zevon - Stand In The Fire","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWarren Zevon (voc, g, p)  \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/warren-zevon\" title=\"vinyl featuring Waren Zevon\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/warren-zevon\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Warren Zevon]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eZeke Zirngiebel (g, voc); David Landau (g); Bob Harris (synth, p, voc); Roberto Piñón (b, voc); Marty Stinger (dr)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by Warren Zevon (A1), Bruce Springsteen (A2), Warren Zevon (A2, A3, A4, A5, B1, B2, B3, B3, B4), LeRoy P. Marinell (A3, A5), Waddy Wachtel (A5), E. McDaniel (B5)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Speakers Corner\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Asylum\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eRecording: August 1980 live at The Roxy Theatre in West Hollywood, CA., by Billy Youdelman and Greg Ladanyi\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003cbr\u003e\u003cspan\u003eProduction: Greg Ladanyi \u0026amp; Warren Zevon\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1980\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2019\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eTracks :\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003cp\u003e                1. Stand In The Fire\u003c\/p\u003e\n\u003cp\u003e                2. Jeannie Needs A Shooter\u003c\/p\u003e\n\u003cp\u003e                3. Excitable Boy\u003c\/p\u003e\n\u003cp\u003e                4. Mohammed's Radio\u003c\/p\u003e\n\u003cp\u003e                5. Werewolves Of London\u003c\/p\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003cp\u003e                1. Lawyers, Guns And Money\u003c\/p\u003e\n\u003cp\u003e                2. The Sin\u003c\/p\u003e\n\u003cp\u003e                3. Poor Poor Pitiful Me\u003c\/p\u003e\n\u003cp\u003e                4. I'll Sleep When I'm Dead\u003c\/p\u003e\n\u003cp\u003e                5. Bo Diddley's A Gunslinger\/Bo Diddley\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e« After the release of Warren Zevon's fourth album, Bad Luck Streak in Dancing School, he was clean and sober for the first time in years, and on-stage he was determined to make the most of his newfound strength and self-control. While his songs long had a dark and frantic undercurrent, Zevon was now capable of playing a no-holds-barred rock show where he could bring the sharper edges of his music to the forefront. Anyone who saw Zevon on what he called \"The Dog Ate the Part We Didn't Like Tour\" can attest to the fact he was in superb form, playing music that rocked hard while displaying intelligence, passion, and a sharply corrosive wit, and Stand in the Fire, recorded during a five-night stand at L.A.'s Roxy near the end of the tour, captures Zevon and his band at their peak. The musicians (anchored by flashy lead guitarist David Landau) pour out these tunes with plenty of fire, and the songs rock a lot harder than anything Zevon had summoned in the studio at that point. And the artist proved he was a superb rock \u0026amp; roll frontman on this tour, singing with mean-spirited glee (for a change, \"Werewolves of London\" and \"I'll Sleep When I'm Dead\" sound just as menacing as they were meant to be) and spewing hilarious bile at every turn (his ad-libbed \"the Ayatollah has his problems, too\" on \"Mohammed's Radio\" alone is worth the price of admission). The set list is dominated by Zevon's better-known tunes of the period, though there are two otherwise unrecorded originals (the OK title cut and the blazing \"The Sin\"), and a rave-up encore on \"Bo Diddley's a Gunslinger\" that revels in the joyous surrealism of the lyrics, and if one might have hoped for a more imaginative selection of material, these guys nail everything on deck. No one argues that Warren Zevon is a gifted singer and songwriter, but Stand in the Fire proves that, when he wants to, he can also rock with the best of 'em. » AllMusic Review by Mark Deming\u003c\/p\u003e\n\u003cp\u003e« Warren Zevon forged a career of relentless hard-edged rock music, only matched by his equally reckless lifestyle. Born in Chicago, he moved to California and at one point briefly studied piano with Igor Stravinsky. But late 60’s wanderlust took over and Zevon moved to Los Angeles. There he became the band leader for a re-formed Everly Brothers. His initial success as a songwriter and recording artist proved elusive as his 1969 debut, Wanted Dead Or Alive did not chart. But in 1976, Warren Zevon (produced by Jackson Browne) provided critical acclaim, if not robust sales. Songs like the junkie lament, “Carmelita”, Americana-infused “Frank And Jesse James” and rockers like “Mohammed’s Radio” and “Desperados Under The Eaves” made him a favorite of contemporaries (Bonnie Raitt, Linda Ronstadt, Browne, Glen Frey and Don Henley). Several covers by Ronstadt provided a mainstream outlet for his rocker legacy. Zevon played piano and guitar while delivering vocals with a strong baritone voice. Subsequent albums like Excitable Boy (“Werewolves Of London”, “Lawyers Guns And Money”) and Bad Luck Streak In Dancing School were relevant, but never brought sustained record sales. Additionally his “erudite sociopathy” became rooted in a self-destructive lifestyle that resulted in strained relations and long hiatuses. He collaborated with notable songwriters (Bruce Springsteen) and counterculture writers (Hunter Thompson, Carl Hiaasen). The dysfunctional contexts of his life translated into memorable songs like “The Mutineer”, “Life’ll Kill Ya”, and “Detox Mansion’. Though he would have an occasional second or third wind, broad stardom never happened. His untimely death in 2003 ended a truly unique legacy.\u003c\/p\u003e\n\u003cp\u003eSpeakers Corner records has released a 180-gram re-mastered vinyl of Zevon’s 1980 live album, Stand In The Fire. This album was recorded in August 1980 over a five date residency at the famed Roxy Theater. Many rock performers have meticulously crafted stage personas that differ from their real lives. Zevon is not one of them. He performed as he lived, unrestrained and at times, over-the-top. Side One opens with a new title song. The up tempo hard rocker features prominent rock guitars (with a touch of synthesizer), a catchy “call and response” first chorus, and droning coda. Zevon intones, “All I wanna do is rock you…”. Continuing to rock out, “Jennie Needs a Shooter” (from his then current album Bad Luck Streak) is co-written with Springsteen and explores working class romanticism with factory girl and outlaw references. Of course, there is some Zevon mayhem in the mix. Switching to piano, the band delivers the jaunty hooks of “Excitable Boy”. Zevon delivers malevolent imagery with jagged vocals and trademark scream. The band shines with doo-wop back up vocals and dramatic stops. There is minimal repartee from the singer. In a lyrical transition, “Mohammed’s Radio” is self-reflective and updated with topical subjects like Jimmy Carter. At the core, it is signature Zevon with rolling piano, complex lyrics and sparkling 2-part harmony at the finish. “Werewolves Of London” is a song for the ages. It is quintessential to this songwriter. The allusions to bizarre cultural touchstones like Lon Chaney, Trader Vic’s and beef chow mein are comically adroit. He refreshes the context with call outs to Jackson Browne, Brian DePalma and James Taylor in relating the story of a creature, mutilating an old lady in Soho, or Kent, or Mayfair, England. The band is tight and Zevon’s vibrato is a nice touch.\u003c\/p\u003e\n\u003cp\u003eSide Two amps up the rock spirit of this live music. “Lawyers, Guns And Money” are the perfect metaphors for Zevon’s songwriting.  The 3-chord anthemic bedlam is represented with crashing guitars and growling vocals. It is a gritty film noir narrative that is unique to this performer. The band sustains the hard-charging dynamics on “The Sin”. Zevon’s verve is similar to punk music. It would influence his later work. Another terrific composition, “Poor Poor Pitiful Me” may be the ultimate L.A. rock opus with weird nods to Jesse James and a waring blender. Lines like “…These young girls won’t let me be. Lord have mercy on me…” distills the essence of rock and roll lifestyle. On a seemingly autobiographical note, “I’ll Sleep When I’m Dead” with a thumping beat is a celebratory, not cautionary tale of excess, replete with Bombay gin, “medicine” and a 44 magnum. On this track, the band is incendiary. The finale (“Bo Diddley’s A Gunslinger\/Bo Diddley”) is a two-part homage to a rock and roll pioneer“. With Zevon-esque flair, Bo Diddley appears at the O.K. Corral. The “hand jive” tempo riff is timeless and artists continue to feed off this hook to this day.\u003c\/p\u003e\n\u003cp\u003eSpeakers Corner Records has done their customary superior job in re-mastering Stand In The Fire to 180-gram vinyl. The stereo separation is excellent. The overall mix is clear, but still exhibits some of the rawness of live acoustics, especially with the trio of guitar players. Zevon’s deep voice is centered in the mix and is both crisp and gruff depending on the moment. In the words of Zevon “ain’t that pretty at all”, but it has a visceral resonance. The vinyl pressing from Pallas\/Germany is flawless with no hisses or pops and minimal surface noise. » Robbie Gerson, Audiophile Audition, Jan 1, 2020\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eWarren Zevon had toured for quite some time as a songwriter in the rock scene, released a few singles and landed a flop with his debut LP in 1969 before the tide finally turned. Roughly ten years later, his live album – put together from a five-day residency at the Roxy Theater in West Hollywood – entered the annals of vinyl history as one of the best live albums of all time and was awarded four stars by the magazine Rolling Stone. Ambiguously entitled by the comprehensively educated Zevon, who had been confronted with the tough side of show business, \"Stand In The Fire\" delivers genial simple pure and straightforward rock right from the start, which hit the public with a vengeance. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eFull of vim and elation, the band pours out the significant, biting verses with fire (\"Jeannie Needs A Shooter\") and fuels the emotional inferno with high-speed bursts of rock (\"Excitable Boy\"). Zevon proves his skills as a singer and songwriter in the ballad-like yet powerful \"Mohammed’s Radio\". In a direct comparison to this number we have the forthright, no-nonsense hit \"Werewolves Of London\" with its close harmonies. Just how Zevon manages to succeed in getting his delicate voice and lyrics over to the public is shown in the powerful mix of heavy and honky-tonk (\"I’ll Sleep When I’m Dead\") and finally in the thunderous final number – \"Bo Didley’s A Gunslinger\" – with its percussive and metrically complicated antiphony.\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 ,  \u003c\/span\u003e\u003cspan\u003eDiscogs \u003c\/span\u003e: \u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e4,14\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\u003e3,88\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40405801173143,"sku":"5E-519","price":38.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/warren-zevon-stand-in-the-fire-audiosoundmusic-1.jpg?v=1719851584"},{"product_id":"david-lindley-el-rayo-x","title":"David Lindley - El Rayo X","description":"\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eDavid Lindley (voc, g, b, v, lute); Jackson Browne, Jorge Calderón (voc); Garth Hudson (horns); Curt Bouterse (dulcimer); Bob Glaub, Reggie McBride (b); William 'Smitty' Smith, Billy Payne (org); Ian Wallace (dr); Ras Baboo (perc, voc, acc)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eWritten by \u003c\/strong\u003e\u003cstrong\u003eDavid Lindley (B1, B4, B6), Bob Fuller (A1, A4, A5), Boudleaux Bryant (A2), Felice Bryant (A2), K.C. Douglas (A3), Robert Geddins (A3), Phil Medley (A6), Bert Russell (A6), Jorge Calderón (B1), King Curtis (B2), Elmo Glick (B2), O'Kelly Isley (B2), Smokey Robinson (B3), Ronald White (B3), Solomon Feldthouse (B4), Nancy Lindley (B4), Huey \"Piano\" Smith (B5)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Speakers Corner\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Asylum\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eRecording: 1981 at Record One, Los Angeles, by Greg Ladanyi\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eProduction: Jackson Browne and Greg Ladanyi\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1981\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2019\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eTracks :\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e1. She Took Off My Romeos\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e2. Bye Bye Love\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e3. Mercury Blues\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e4. Quarter Of A Man\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e5. Ain't No Way\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e6. Twist And Shout\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e1. El Rayo-X\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e2. Your Old Lady\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e3. Don't Look Back\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e4. Petit Fleur\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e5. Tu-Ber-Cu-Lucas And The Sinus Blues\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e6. Pay The Man\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e« By the time David Lindley made his move to a solo career, he was already a legend. Having toured and recorded with such names as Jackson Browne, Linda Ronstadt, and Crosby \u0026amp; Nash, his reputation as a multi-instrumentalist (on almost any stringed instrument) was awesome. Lindley scored a contract with Elektra Records and put together an excellent band that was able to keep up with his eclectic vision. Combining blues, rock \u0026amp; roll, Cajun, Zydeco, Middle Eastern music, and other elements, his debut album is an absolute joy. Lindley's version of \"Mercury Blues\" became an FM radio staple, and his slide guitar performances on this track alone are easily some of the finest of the decade. There are some wonderfully skewed originals on the record as well, making El Rayo-X one of the greatest rock music albums of its time. Fabulous. » AllMusic Review by Matthew Greenwald\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e« David Lindley is a legendary session musician and band leader. A distinguished multi-instrumentalist, he is widely known for his electric guitar, slide, fiddle, banjo, bass and mandolin work throughout his illustrious career. Lindley has done sessions for a wide array of performers, including Jackson Browne, Linda Ronstadt, James Taylor, Crosby \u0026amp; Nash, Dolly Parton, Bruce Springsteen, Warren Zevon, Bob Dylan, Toto, Rod Stewart, Curtis Mayfield and Joe Walsh. He has toured with many prominent rock artists and his unforgettable falsetto on “Stay” (from the Jackson Browne Running On Empty live album) is part of rock history. But Lindley began his career as a bandleader, fronting Kaleidoscope for five years in the 60’s. In 1981, he hit a creative peak when he formed the musically eclectic band, El Rayo X. For most of the decade, he performed and recorded with this band as lead singer and main instrumentalist. He embraced a world sound that incorporated reggae, blues, rock, soul, cajun, Middle Eastern, traditional folk and various other influences. His unrelenting search for musical inspiration and different instruments has sustained his career and legacy.\u003c\/p\u003e\n\u003cp\u003eSpeakers Corner has released a 180-gram of Lindley’s Asylum debut, El Rayo X. Nearly four decades later, the creative musical vision of this unique musician is visceral. With a who’s who of veteran musicians backing him, Lindley brings his humor-laced template to life. Side A opens with the slightly off-kilter reggae\/ska number “She Took Off My Romeos”. Written by Bob “Frizz” Fuller, the eccentric humor (“…I put on my smoking jacket, she took off my Romeos…”) reflects the essential combination of musicianship and goofiness that is David Lindley. His warbling tenor fits perfectly. Dipping into classic rock and roll, his version of The Everly Brothers’ “Bye Bye Love” is a slowed-down funky Jamaican\/Zydeco groove. The relaxed pulse, articulate guitar and vocals are impeccable. “Mercury Blues” is a blues standard by K.C. Douglas that has been covered by other rock artists (most notably Steve Miller). Lindley brings high energy vocals and big-time electric slide guitar riffs to sell this one. A second Fuller gem, “Quarter Of A Man” exudes phenomenal laid-back reggae hooks with tight percussion, bass line and a slight tempo uptick. It is infectious, with its deliberate cadence, and the absurd social commentary (within the context of being ”only a quarter of a man”) is hilarious. Keeping the “Frizz” vibe going, “Ain’t No Way” is typically unconventional with high-register vocals (including a terrific falsetto) and crisp guitar runs to surround the low-key tempo. There have been numerous versions of “Twist And Shout”, the perennial rock party song. Lindley does not disappoint as the accelerated ‘Island” arrangement features William D. “Smitty” Smith’s old-school pop organ runs and catchy backup vocals by Jackson Browne and Jorge Calderon.\u003c\/p\u003e\n\u003cp\u003eSide B opens with the no-holds-barred Tex-Mex (or rather Tex-Rayo X) title cut. With a crashing downbeat, Garth Hudson’s horns and keyboards add significant texture and loopy style Lindley handles the Spanish lyrics formidably in a tantalizingly concise 2:56. Laying down serious r \u0026amp; b, The Isley Brothers 1961 “Your Old Lady” is nasty. Lindley’s slide work is timeless and the sly lyrics (“…your old lady is my old lady, too…”) resonates in Rayo X grooves. If you’re going to cover a well-known Temptations song like “Don’t Look Back”, why not do it in full reggae mode? The exuberant instrumentation (with a cool bridge, percussion and rhythmic guitar ) is engaging. Lindley never fails to surprise the listener. “Petit Fleur”, sung entirely in French is a delicate, traditional early 20th century cajun waltz. Lindley’s exquisite vocals and nimble fiddle carry the day. Staying in Louisiana, the “re-tooling’ of Huey “Piano” Smith’s r \u0026amp; b classic (retitled Tu-Ber Cu-Lucas And The Sinus Blues”) is nothing short of a New Orleans house party. Punctuated rhythm breaks are merely another facet to the broad mosaic of this album. In a collection of terrific covers, a Lindley original, “Pay The Man” steals the show. With a deft touch, the reggae-inspired walking beat is complemented by peculiar fatalism (“…everybody got to pay the man…”) and dark humor (“…Sally had a baby, it almost drove her crazy. She dropped it in the river, now Sally is a happy girl…”). A whistle or recorder injects the right amount of jauntiness to balance this weird exploration.\u003c\/p\u003e\n\u003cp\u003eSpeakers Corner’s 180-gram vinyl re-mastering is excellent. The assortment of exotic stringed instruments are mixed with vibrant tonality. The electric slide has limited jaggedness and blends with the other instruments. Lindley’s reedy tenor is front and center in the mix, and sounds quirky with unexpected strength.\u003c\/p\u003e\n\u003cp\u003eDavid Lindley – El Rayo X is one of the greatest albums to emerge from the 80’s! » Robbie Gerson, Audiophile Audition, July 2021\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eWhen David Lindley commenced on his solo career with \"El Rayo-X\" in 1981, he had already established himself as a studio musician in numerous venues. His competent playing, which he had long cultivated in performance with Jackson Browne, Linda Ronstadt and Crosby \u0026amp; Nash, is concentrated here on this album like an x-ray beam. And what is more: the multi-instrumentalist worked on his early, forgotten attempts on the banjo and fiddle and took himself right up to the strings of the steel guitar.\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eHere are just a few examples of the many styles which are gathered here together on this album: After the off-beat reggae rhythm of \"She Took Off My Romeos\" follows one of the greatest guitar hits of the 80s – \"Bye, Bye Love\". Then comes \"Mercury Blues\" with its magnificently sharp and swift-paced guitar playing.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eNot only the rhythmic mix but also the instrumentation follows a cleverly devised plan and is tailor-made for each number. \"Quarter Of A Man\", a subtle colourful dance on the bass line, is just as impressive as the pointed jabs of the well-established organ in \"Ain’t No Way\". All in all, this is a lavishly produced rock album of its time and well worth the listening today.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e : \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAllMusic : 4.5 \/ 5  ,  \u003c\/span\u003e\u003cspan\u003eDiscogs \u003c\/span\u003e: \u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e3.81\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5  ,  \u003c\/span\u003e\u003cspan\u003eRate Your Music \u003c\/span\u003e: \u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e3.56\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5 ; Audiophile Audition : 4.5 \/ 5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40406480552087,"sku":"5E-524","price":38.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/david-lindley-el-rayo-x-audiosoundmusic-1.jpg?v=1719851595"},{"product_id":"dr-john-gris-gris","title":"Dr. John - Gris-Gris","description":"\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eDr. John - vocal, keyboards, percussions \u003cspan data-mce-fragment=\"1\" style=\"color: #ff8000;\"\u003e\u003ca data-mce-fragment=\"1\" style=\"color: #ff8000;\" title=\"vinyl featuring Dr. John\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/dr-john\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/dr-john\"\u003e[click here to see more vinyl featuring Dr. John]\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eHarold Battiste (b, cl, perc, arr); Plas Johnson (sax); Lonnie Boulden (fl); Steve Mann (g, bjo); Richard Washington (perc); Bob West (b); John Boudreaux (dr); Mo \"Dido\" Pedido (cga)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by Dr. John Creaux (A1, A2, A3, A4, B2, B3), Harold Battiste (A2, B1), Jessie Hill (A3)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Speakers Corner\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Atco\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eRecording: 1967 at Gold Star Studios, Los Angeles\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eProduction: Harold Battiste\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1968\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2018\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eTracks :\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A : \u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eGris-Gris Gumbo Ya Ya\u003c\/li\u003e\n\u003cli\u003eDanse Kalinda Ba Doom\u003c\/li\u003e\n\u003cli\u003eMama Roux\u003c\/li\u003e\n\u003cli\u003eDanse Fambeaux\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eCroker Courtbullion\u003c\/li\u003e\n\u003cli\u003eJump Sturdy\u003c\/li\u003e\n\u003cli\u003eI Walk On Guilded Splinters\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAwards:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eRolling Stone 500 Greatest Albums of all Time - Ranked No. 143\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e1000 Recordings you must hear before you die - Ranked 122\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« Dr. John's Gris-Gris is among the most enduring recordings of the psychedelic era; it sounds as mysterious and spooky in the 21st century as it did in 1968. It is the album where Mac Rebennack established a stage identity that has served him well. A respected studio ace in his native New Orleans, Rebennack was scuffling in L.A. Gris-Gris was his concept, an album that wove various threads of New Orleans music together behind the character of \"Dr. John,\" a real voodoo root doctor from the 19th century. Harold Batiste, another ex-pat New Orleanian and respected arranger in Hollywood, scored him some free studio time left over from a Sonny \u0026amp; Cher session. They assembled a crack band of NOLA exiles and session players including saxophonist Plas Johnson, singers Jessie Hill and Shirley Goodman, and guitarist\/mandolinist Richard \"Didimus\" Washington. Almost everyone played percussion. Gris-Gris sounds like a post-midnight ceremony recorded in the bayou swamp instead of L.A.'s Gold Star Studio where Phil Spector cut hits. The atmosphere is thick, smoky, serpentine, foreboding. Rebennack inhabits his character fully, delivering Creole French and slang English effortlessly in the grain of his half-spoken, half-sung voice. He is high priest and trickster, capable of blessing, cursing, and conning. On the opening incantation \"Gris-Gris Gumbo Ya Ya,\" Dr. John introduces himself as the \"night tripper\" and boasts of his medicinal abilities accompanied by wafting reverbed mandolins, hand drums, a bubbling bassline, blues harmonica, skeletal electric guitar, and a swaying backing chorus that blurs the line between gospel and soul. On \"Danse Kalinda Boom,\" a calliope-sounding organ, Middle Eastern flute, Spanish-tinged guitars, bells, claves, congas, and drums fuel a wordless chorus in four-part chant harmony as a drum orgy evokes ceremonial rites. The sound of NOLA R\u0026amp;B comes to the fore in the killer soul groove of the breezy \"Mama Roux.\" \"Croker Courtboullion\" is an exercise in vanguard jazz. Spectral voices, electric guitars, animal cries, flute, and moody saxophone solos and percussion drift in and out of the spacy mix. The set's masterpiece is saved for last, the nearly nearly eight-minute trance vamp in \"I Walk on Gilded Splinters\" (covered by everyone from Humble Pie, Cher, and Johnny Jenkins to Paul Weller and Papa Mali). Dr. John is brazen about the power of his spells in a slippery, evil-sounding boast. Congas, tom-toms, snaky guitar, and harmonica underscore his juju, while a backing chorus affirms his power like mambo priestesses in unison. A ghostly baritone saxophone wafts through the turnarounds. Droning blues, steamy funk, and loopy R\u0026amp;B are inseparably entwined in its groove. Remarkably, though rightfully considered a psychedelic masterpiece, there is little rock music on Gris-Gris. Its real achievement -- besides being a classic collection of startlingly deep tunes -- is that it brought New Orleans' cultural iconographies and musical traits to the attention of an emergent rock audience. » AllMusic Review by Thom Jurek\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eHis grandmother is purported to have transported objects using her spiritual powers and it is said that she sometimes floated through the room. Her grandson Malcolm Rebenneck was fully aware of his unique features when he appeared under the name of Dr. John, a voodoo healer in the 19th century, and was the first person to transcend from pitch-black spheres to psychedelic music as its high priest, so to speak.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIn the seven magical musical numbers of \"Gris-gris\", the root doctor conjures up a potent mixture of creole melodies, primeval heathen sounds, a pinch of mardi-gras and New Orleans jazz and even undreamt-of sounds. \"Gumbo Ya Ya\", a dragging procession with archaic sing-song, shows that suggestive Afro sounds are what rule in this album. And to play with them, to soften them here and there, or to enhance them with dance-like expression and voices from afar (\"Danse Fambeaux\") is all part of the programme in this collection of artistic treasures. In between raspy sounds there are flattering, intimate tones such as the springy, gentle and forward-looking \"Croker Courtbullion\".\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe equation Witchcraft = Masterwork certainly applies to this unrivalled album, which is listed at No. 143 in the 500 Greatest Albums of all Time by the magazine Rolling Stone.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eRatings :\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\u003e4,47\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\u003e3,81\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40406724903063,"sku":"SD 33-234","price":38.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/dr-john-gris-gris-audiosoundmusic-1.jpg?v=1743197616"},{"product_id":"the-j-geils-band-self-title","title":"The J. Geils Band - Self titled","description":"\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cbr\u003e\u003cbr\u003ePeter Wolf (voc); Seth Justman (p, org); Magic Dick (hca); Danny Klein (b); Stephen Bladd (dr, voc)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by Peter Wolf (A1, A4, B3, B4), Seth Justman (A1, B3, B4), Jerome Geils (A2, A4), Juke Joint Jimmy (A3), John Lee Hooker (A5), Al Perkins (B1), Dave Clark (B1), Otis Rush (B1), Robert Rogers (B2), Smokey Robinson (B2), Walter Price (B5), Albert Collins (B6)\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 : Atlantic\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eRecording: August 1970 at A\u0026amp;R Studios, New York, by Jay Messina\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eProduction: Dave Crawford \u0026amp; Brad Shapiro\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1970\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2018\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eTracks :\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eWait\u003c\/li\u003e\n\u003cli\u003eIce Breaker (For The Big \"M\")\u003c\/li\u003e\n\u003cli\u003eCruisin' For A Love\u003c\/li\u003e\n\u003cli\u003eHard Drivin' Man\u003c\/li\u003e\n\u003cli\u003eServes You Right To Suffer\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eHomework\u003c\/li\u003e\n\u003cli\u003eFirst I Look At The Purse\u003c\/li\u003e\n\u003cli\u003eWhat's Your Hurry\u003c\/li\u003e\n\u003cli\u003eOn Borrowed Time\u003c\/li\u003e\n\u003cli\u003ePack Fair And Square\u003c\/li\u003e\n\u003cli\u003eSno-Cone\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 J. Geils Band's self-titled debut serves notice that rock \u0026amp; roll wasn't dead in 1970 despite the best efforts of the singer\/songwriter brigade. Though it sounds a bit reserved in the light of the albums that followed, compared to the majority of bands on the scene, it was a nonstop blast of energy, fun, and sweat. Featuring the hipster jive of singer Peter Wolf, the amazing afro and harp chops of Magic Dick, the fret-burning work of J. Geils, and the jack of many trades Seth Justman (keys, compositions, backing vocals), the Geils Band rips through some classic blues by the likes of Otis Rush (\"Homework\"), Walter Price (\"Pack Fair and Square\"), and John Lee Hooker (a slow-burning \"Serves You Right to Suffer\"), old Motown gems (\"First I Look at the Purse\"), and originals that stand up well next to the covers (\"Wait,\" \"What's Your Hurry,\" and future live favorite \"Hard Drivin' Man\"). A nice mix of nostalgia, intensity, and bar band excitement, the album serves as fair warning that the Geils Band was on the scene and was ready to bring back the good-time spirit of the juke joint, the abandon of the early rock \u0026amp; roll scene, and the high energy of the late-'60s concert halls. » AllMusic Review by Tim Sendra\u003c\/p\u003e\n\u003cp\u003e« Originally an acoustic blues band out of Worcester Mass in the late 60’s, The J Geils Band became “the” rock band of Boston. When the group assembled its classic lineup (J Geils\/guitar; Peter Wolf\/ vocals;Seth Justman\/piano, organ; Richard “Magic Dick” Salwitz\/harmonica; Danny Klein\/bass and Stephen Bladd\/drums), they were on their way to stardom. Their gritty version of rhythm \u0026amp; blues-inspired rock (that included soul and doo wop) connected with audiences and their rock and roll counterpoints. Their commercial breakthrough occurred on the 1973 album, Bloodshot which featured the single “Give It To Me”. In 1975, Nightmares…And Other Tales From The Vinyl Jungle produced another hit, “Must Of Got Lost”. The singles increases commercial exposure, and launched them as the opening act for The Rolling Stones, Peter Frampton and Rod Stewart. J Geils Band’s live performances became legendary, fueled by the antics of Peter Wolf’s “microphone vaulting” and a “lead harp” player (Magic Dick). In an unlikely turn of events, this “everyman’s band” became hugely successful in the 1980’s. Radio and MTV-friendly songs like “Freeze Frame”, “Love Stinks” and “Angel In The Centerfold” cemented their legacy. This popular acceptance led to fame, but as with most bands, they disbanded. While there were occasional reunions, the seminal days of the J Geil Bands were over.\u003c\/p\u003e\n\u003cp\u003eSpeakers Corner has released a 180-gram vinyl upgrade of the Atlantic debut of J Geils Band. In barely over 33 minutes, the tough-as-nails musical distillation of rhythm and blues is given new life. While the band doesn’t necessarily break new ground, their version of blues rock is effective. Side One opens with a Wolf\/Justman composition, “Wait”. It is straight-ahead blues. The vaunted lead harp (Magic Mike) and gritty vocals tell the tale. There is a call \u0026amp; response and foot stomp. The original material stands up to the covers on this album. An instrumental “Ice-Breaker” exudes a Memphis-style r \u0026amp; b vibe. Geils has a sizzling guitar solo, and is followed by Magic Dick and Seth Justman on organ. Concise (a mere 2:15), it epitomizes the roots of band. “Cruisin’ For A Love” feels like Chicago blues with a New York City lyrical context. A piercing harp and blues piano lead into Geil’s searing distorted guitar solo. On “Hard Drivin’ Man”, the group adopts an accelerated tempo in a country blues romp. Things get down and nasty on John Lee Hooker’s “Serves You Right To Suffer”. Wolf’s lower-register vocals and phrasing are an obvious shout out to John Lee. Again, Magic Dick contributes a slow-burning solo, and Geils’ run is incendiary. At 5:01 it is the longest cut on the album). It showcases a pedigree, developed from jamming in a lot of bars.\u003c\/p\u003e\n\u003cp\u003eSide Two continues the tribute to blues legends with a rollicking cover of Otis Rush’ “Homework”. injecting blues dialect into adolescence (“ Can’t do my homework anymore”) is amusing, and Wolf’s raw vocals sell it. Geil’s unleashes another ripping solo. Back to vintage soul, The Contours’ clever hit, “First I Look At The Purse” (co-written by Smokey Robinson) features great vocal harmonies, back beat and the classic harp\/guitar sound. Wolf has an affinity for soul music and it is palpable on his singing. “What’s Your Hurry” (another original) emulates 60’s soul with stylish electric guitar hooks and a cowbell. There is a discernible fuller sound. “On Borrowed Time” is almost like a vintage Stax recording with a slowed-down, pulsating arrangement. The band connects with 50’s Rock \u0026amp; Roll spirit on “Pack Fair And Square”. it is explosive with the attitude of original rockers like Bill Haley, or Jerry Lee Lewis. As usual, Magic Dick blows the house away on harp. The finale is a second instrumental, Albert Collins’ “Sno-Cone”. Geils, Magic and Justman (great organ fills) percolate and drummer Bladd gets a well-deserved solo.\u003c\/p\u003e\n\u003cp\u003eJ Geils Band was an auspicious debut. Their musical craftsmanship is prominent. The vinyl upgrade is excellent, with a centered mix that showcases the unfiltered power of a hard-driving Rock “N” Soul band. A unique combination of electric guitar, organ (and piano at times) and harmonica perfectly frame the emotional vocals. » Robbie Gerson, Audiophile Audition, Mar 12, 2019\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIn the wake of Woodstock and the flight of impassioned music groups to the perhaps most fertile, colourful but also somewhat intellectual decade of rock’n’roll, Jerome Geils had clearly found his musical niche. There are not many bands that could entertain unpretentiously, he stated and let loose with his sextet under his own name to create brash, extrovert rock. The amalgamation of authentic blues and showy rock’n’roll, fed with a fervid veneration of such blues greats as Muddy Waters, Junior Wells and Chuck Berry was so compelling that the group could easily have passed as a black band.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eBlack, earthy and with casually interposed phrases on the befitting harmonica, the Geils Band gives their premiere in the world of the blues with \"Waits\". In the very next number (\"Ice Breaker\") the keyboarder Seth Justman hots up the action with a meaty organ groove while 'Magic' Dick Salwitz gives his utmost on his blues harp with top notes and unbelievable bursts of fire coming from the realms of rhythm \u0026amp; blues. Not to forget the boss, who launches powerful riffs and chordal cascades on his guitar. Friends of honest, down-to-earth music from this era shouldn’t miss out on this debut album.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAllMusic : 4.5 \/ 5  ,  \u003c\/span\u003e\u003cspan\u003eDiscogs \u003c\/span\u003e:\u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e4,17\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\u003e3,63\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40406787358871,"sku":"SD 8275","price":45.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/the-j-geils-band-self-titled-audiosoundmusic-1.jpg?v=1719851606"},{"product_id":"elvis-presley-elvis-golden-records","title":"Elvis Presley - Elvis' Golden Records (Mono)","description":"\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eCOMPILATION\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eElvis Presley - guitar, vocals \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/elvis-presley\" title=\"vinyl featuring Elvis Presley\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/elvis-presley\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Elvis Presley]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eThe Jordanaires (vocals) and various bands\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eWritten by Jerome Leiber (A1, A2, A5, A6, B5), Mike Stoller (A1, A2, A5, A6, B5), Elvis Presley (A3, A4, B1, B4), Otis Blackwell (A3, B1), Mae Boren Axton (A4), Tommy Durden (A4), Bernard Weinman (A7), Lee Rosenberg (A7), Fred Fisher (B2), George Brown (B2), William Raskin (B2), Bernie Lowe (B3), Karl Mann (B3), Vera Matson (B4), Aaron Schroeder (B6), Cliff Owens (B6), George Mysels (B7), Lou Kosloff (B7)\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\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMono\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Speakers Corner\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : RCA\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eRecording: January 1956 - September 1957 in Hollywood, New York and Nashville in mono\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eProduction: Steve Sholes\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 2016\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eTracks :\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003cp\u003e                1. Hound Dog\u003c\/p\u003e\n\u003cp\u003e                2. Loving You\u003c\/p\u003e\n\u003cp\u003e                3 . All Shook Up\u003c\/p\u003e\n\u003cp\u003e                4. Heartbreak Hotel\u003c\/p\u003e\n\u003cp\u003e                5. Jailhouse Rock\u003c\/p\u003e\n\u003cp\u003e                6. Love Me\u003c\/p\u003e\n\u003cp\u003e                7. Too Much           \u003c\/p\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003cp\u003e                1. Don't Be Cruel\u003c\/p\u003e\n\u003cp\u003e                2. That's When Your Heartaches Begin\u003c\/p\u003e\n\u003cp\u003e                3. (Let Me Be Your) Teddy Bear\u003c\/p\u003e\n\u003cp\u003e                4. Love Me Tender\u003c\/p\u003e\n\u003cp\u003e                5. Treat Me Nice\u003c\/p\u003e\n\u003cp\u003e                6. Anyway You Want Me (That's How I Will Be)\u003c\/p\u003e\n\u003cp\u003e                7. I Want You, I Need You, I Love You\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e« This was rock \u0026amp; roll's first greatest-hits album, and it set the standard for all others to follow. As originally conceived, it was a 14-song collection of most of the King's biggest hits up to that time, released on the eve of his start of military service -- a dearth of material being in the offing, it seemed only logical to assemble these hits. Each of the 14 songs had earned a Gold record award for a million sales, a record unequaled at that time by anyone else in rock \u0026amp; roll. The album wasn't intended as a history lesson, so \"Hound Dog\" and \"Loving You\" precede \"Heartbreak Hotel\" -- the 1997 remastering also tampers with the concept a bit, adding six bonus tracks. Elvis' singing never sounded richer or more expressive, and one can fully appreciate in vivid detail the delicate nuances of his phrasing on songs like \"Too Much.\" On the downside, the remastering has made the sound so clean on some of the harder songs that some of the raw, \"dirty\" ambience that characterized this stuff on the radio and the original 45s is lacking. Still, Scotty Moore's groundbreaking lead guitar part on \"Hound Dog\" and the Jordanaires' backup singing never came through more sharply or cleanly, and the all-important rhythm section is almost upfront in the mix. Those who own the first Elvis box from RCA, covering the '50s masters may hesitate to pick up this or the other parts of this latest remastered series, but the sound has been upgraded one more level, and Elvis' Golden Records does give a bite-sized glimpse of where Elvis had come from and where he was going (for better or worse) musically on the eve of heading into the Army. » AllMusic Review by Bruce Eder\u003c\/p\u003e\n\u003cp\u003e\"Have we got the lot?\" The King of Rock’n’Roll certainly didn't need to ask whether his entourage had collected together all their favourite hits. They had gathered them all together - a collection of \"Golden Records\", rather like a selection box of favourite chocolates, greedily swallowed down and enjoyed to the full. And how they loved them all - whether 'complete works' collectors or fans. To this very day, this collection from 1958 is quite set apart from the normal 'best of' collections. It shines out like a precious jewel among mere pebbles.\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThis was the first of four Gold volumes, and it set the standard for those to come. Before any of the immemorable songs came to be included, they had to have sold at least a million copies and won an undeniable and unforgettable reputation as a heart-string plucker. To name a title is more than superfluous. It's quite enough just to listen and enjoy. Whoever wants the ultimate basic Elvis collection can’t go wrong here.\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 : 3.5 \/ 5 ,  \u003c\/span\u003e\u003cspan\u003eDiscogs \u003c\/span\u003e: \u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e4,23\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\u003e4,24\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40410135593111,"sku":"LPM-1707","price":38.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/elvis-presley-elvis-golden-records-speaker-corners-black-vinyl-mono-audiosoundmusic-1.jpg?v=1719851627"},{"product_id":"blue-oyster-cult-tyranny-and-mutation","title":"Blue Oyster Cult - Tyranny And Mutation","description":"\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003eJ. Bouchard (Bass, Vocals, Keyboards), A. Bouchard (Drums, Vocals), D. (Buck Dharma) Roeser (Guitar, Vocals), A. Lanier (Keyboards, Rhythm Guitar), E. Bloom (Vocals, Guitar, Synthesizer)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by \u003c\/strong\u003e\u003cstrong\u003eAlbert Bouchard (A2, A4, B1, B2, B4), Eric Bloom (A1, A2, B1, B3), Richard Meltzer (A1, B3), Sandy Pearlman (A1, A2, A4, B4), Donald Roeser (A1, A4, B3), Albert Bouchard (A2, A4, B1, B2, B4), Joe Bouchard (A2, A3, A4, B2), Jeff Bouchard (A3), Patti Smith (B1)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve, insert\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\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 : Columbia\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eRecording: 1972 at Columbia Studios, New York City, by Tim Geelan\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003cbr\u003e\u003cspan\u003eProduction: Murray Krugman \u0026amp; Sandy Pearlman\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eReissued August 2016\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eTracks :\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eThe Red \u0026amp; The Black\u003c\/li\u003e\n\u003cli\u003eO.D.'d On Life Itself\u003c\/li\u003e\n\u003cli\u003eHot Rails To Hell\u003c\/li\u003e\n\u003cli\u003e7 Screaming Diz-Busters\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eBaby Ice Dog\u003c\/li\u003e\n\u003cli\u003eWings Wetted Down\u003c\/li\u003e\n\u003cli\u003eTeen Archer\u003c\/li\u003e\n\u003cli\u003eMistress Of The Salmon Salt (Quicklime Girl)\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« On Tyranny and Mutation, Blue Öyster Cult achieved the seemingly impossible: they brightened their sound and deepened their mystique. The band picked up their tempos considerably on this sophomore effort, and producers Sandy Pearlman and Murray Krugman added a lightning bolt of high-end sonics to their frequency range. Add to this the starling lyrical contributions of Pearlman, rock critic Richard Meltzer, and poet-cum-rocker Patti Smith (who was keyboardist Allen Lanier's girlfriend at the time), the split imagery of Side One's thematic, \"The Red\" and Side Two's \"The Black,\" and the flip-to-wig-city, dark conspiracy of Gawlik's cover art, and an entire concept was not only born and executed, it was received. The Black side of Tyranny and Mutation is its reliance on speed, punched-up big guitars, and throbbing riffs such as in \"The Red and the Black,\" \"O.D'd on Life Itself,\" \"Hot Rails to Hell,\" and \"7 Screaming Diz-Busters,\" all of which showcased the biker boogie taken to a dizzyingly extreme boundary; one where everything flies by in a dark blur, and the articulations of that worldview are informed as much by atmosphere as idea. This is screaming, methamphetamine-fueled rock \u0026amp; roll that was all about attitude, mystery, and a sense of nihilistic humor that was deep in the cuff. Here was the crossroads: the middle of rock's Bermuda triangle where BÖC marked the black cross of the intersection between New York's other reigning kings of mystery theater and absurd excess: the Velvet Underground and Kiss -- two years before their first album -- and the \" 'it's all F#$\u0026amp;%* so who gives a rat's ass\" attitude that embodied the City's punk chic half-a-decade later. On the Red Side, beginning with the syncopated striations of \"Baby Ice Dog,\" in which Allen Lanier's piano was as important as Buck Dharma's guitar throb, elements of ambiguity and bluesy swagger enter into the mix. Eric Bloom was the perfect frontman: he twirled the words around in his mouth before spitting them out with requisite piss-and-vinegar, and a sense of decadent dandy that underscored the music's elegance, as well as its power. He was at ease whether the topic was necromancy, S\u0026amp;M, apocalyptic warfare, or cultural dissolution. By the LP's end, on \"Mistress of the Salmon Salt,\" Bloom was being covered over by a kind of aggressively architected psychedelia that kept the '60s at bay while embracing the more aggressive, tenser nature of the times. While BÖC's Secret Treaties is widely recognized as the Cult's classic album, one would do well to consider Tyranny and Mutation in the same light. » AllMusic Review by Thom Jurek\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eLet's look back nostalgically to the days when influential DJs presented their precious wares on the radio, which were lapped up by listeners and music pirates alike. That progressive, perhaps psycho, rockers such as the Blue Öyster Cult led a somewhat niche existence makes one all the more eager to listen to the truly awesome discs recorded by this group in their early days. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAn important start was made with the re-release of BÖC's \"Secret Treaties\" (Columbia KC 32858), which is now followed by \"Tyranny And Mutation\" - another great disc. Although the band offers a mix of slightly subdued, milder pieces, the opening number \"The Red \u0026amp; The Black\" makes it fully clear that we are in for a dizzy roller-coaster ride here. Subsequently the Black side with its straightforward guitar riffs is mixed together with a complex melody and results in an amazingly colourful sound (\"O.D.'d On Life Itself\"), it is refreshingly naive, full of feisty complicated rock (\"Baby Ice Dog\"), and soars to celestial heights in \"Wings Wetted Down\" with its polyphonic male voices.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAfter the death of 'Lemmy' Kilmister in 2015, we can now enjoy only one group with a heavy-metal Umlaut in its name. But who wants to wait around until some radio DJ puts this great chunk of meaty rock’n’roll on the turntable?\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\u003e4,15\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\u003e3,77\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40410311524503,"sku":"KC 32017","price":38.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/blue-oyster-cult-tyranny-and-mutation-audiosoundmusic-1.jpg?v=1719851627"},{"product_id":"carlos-santana-john-mclaughlin-love-devotion-surrender","title":"Carlos Santana \u0026 John McLaughlin - Love Devotion Surrender (Speakers Corner)","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eJohn McLaughlin - guitar, piano \u003cspan data-mce-fragment=\"1\"\u003e\u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/john-mclaughlin\" title=\"vinyl featuring john mclaughlin\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/john-mclaughlin\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring John McLaughlin]\u003c\/span\u003e\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eCarlos Santana - guitar \u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[c\u003c\/span\u003e\u003ca style=\"color: #ff8000;\" title=\"Vinyl featuring Carlos Santana\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/carlos-santana\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/carlos-santana\"\u003elick here to see more vinyl featuring Carlos Santana]\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eLarry Young (org); Doug Rauch (b); Armando Peraza (cga); Billy Cobham, Don Alias, Jan Hammer, Mike Shrieve (dr)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by John McLaughlin (A3, B2) and John Coltrane (A1-2)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eB1 is a traditional song.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, Gatefold sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Speakers Corner\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Columbia\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eRecording: 1973 by Glen Kolotkin\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eProduction: John McLaughlin \u0026amp; Carlos Santana\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eOriginally released in 1973\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eReissued in 2015\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\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\u003eA Love Supreme\u003c\/li\u003e\n\u003cli\u003eNaima\u003c\/li\u003e\n\u003cli\u003eThe Life Divine\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003cp\u003e        1. Let Us Go Into the House of the Lord\u003cbr\u003e        2. Meditation\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp\u003e« A hopelessly misunderstood record in its time by Santana fans -- they were still reeling from the radical direction shift toward jazz on Caravanserai and praying it was an aberration -- it was greeted by Santana devotees with hostility, contrasted with kindness from major-league critics like Robert Palmer. To hear this recording in the context of not only Carlos Santana's development as a guitarist, but as the logical extension of the music of John Coltrane and Miles Davis influencing rock musicians -- McLaughlin, of course, was a former Davis sideman -- this extension makes perfect sense in the post-Sonic Youth, post-rock era. With the exception of Coltrane's \"Naima\" and McLaughlin's \"Meditation,\" this album consists of merely three extended guitar jams played on the spiritual ecstasy tip -- both men were devotees of guru Shri Chinmoy at the time. The assembled band included members of Santana's band and the Mahavishnu Orchestra in Michael Shrieve, Billy Cobham, Doug Rauch, Armando Peraza, Jan Hammer (playing drums!), and Don Alias. But it is the presence of the revolutionary jazz organist Larry Young -- a colleague of McLaughlin's in Tony Williams' Lifetime band -- that makes the entire project gel. He stands as the great communicator harmonically between the two very different guitarists whose ideas contrasted enough to complement one another in the context of Young's aggressive approach to keep the entire proceeding in the air. In the acknowledgement section of Coltrane's \"A Love Supreme,\" which opens the album, Young creates a channel between Santana's riotous, transcendent, melodic runs and McLaughlin's rapid-fire machine-gun riffing. Young' double-handed striated chord voicings offered enough for both men to chew on, leaving free-ranging territory for percussive effects to drive the tracks from underneath. Check \"Let Us Go Into the House of the Lord,\" which was musically inspired by Bobby Womack's \"Breezing\" and dynamically foreshadowed by Pharoah Sanders' read of it, or the insanely knotty yet intervallically transcendent \"The Life Divine,\" for the manner in which Young's organ actually speaks both languages simultaneously. Young is the person who makes the room for the deep spirituality inherent in these sessions to be grasped for what it is: the interplay of two men who were not merely paying tribute to Coltrane, but trying to take his ideas about going beyond the realm of Western music to communicate with the language of the heart as it united with the cosmos. After three decades, Love Devotion Surrender still sounds completely radical and stunningly, movingly beautiful. » AllMusic Review by Thom Jurek\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eFor some, \"Love Devotion Surrender\" is an album where, exceptionally, John McLaughlin plays the piano and organist Jan Hammer plays the drums. For others, it is the most spiritual album ever by Carlos Santana. And though both disciples were shown the way and inspired by the same guru (Sri Chinmoy) at one and the same time, this album is filled with the spirit of John Coltrane. In order to communicate their differing understanding and interpretation of Trane's music, the two musicians formed a 'project band' made up of members of Santana's ensemble and the Mahavishnu Orchestra. In their performance of \"Love Supreme\", Santana's somewhat dragging melody-maker role amalgamates with McLaughlin's high-speed staccato to a viscous drive. This approach functions just as well in slow motion: Coltrane's miniature, slow composition \"Naima\" is performed in a flowing and inspired manner by the duo on their acoustic guitars.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003cspan\u003eThe arrangements carry Santana's hallmark: the occasionally somewhat intellectual but certainly not long-pondered-over sound is enhanced by the sound of agitated congo beats and the chanted vocals are heard as if from afar. By the time fans of Santana's major albums have got to the expansive gospel song \"Let Us Go Into The House\", they will have rediscovered their Carlos and his timeless solos once again. It is apparent that love and devotion are by no means just memorials of a time gone by but a surrender to oneself in its most perfect form.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAllmusic : 4.5 \/ 5 ,  \u003c\/span\u003e\u003cspan\u003eDiscogs \u003c\/span\u003e: \u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e4,05\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5 , \u003c\/span\u003e\u003cspan\u003eRate Your Music \u003c\/span\u003e: \u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e3,77\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40410483916951,"sku":"KC 32034","price":38.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/carlos-santana-and-john-mclaughlin-love-devotion-surrender-black-vinyl-speakers-corner-audiosoundmusic-1.jpg?v=1719851626"},{"product_id":"blue-oyster-cult-secret-treaties","title":"Blue Oyster Cult - Secret Treaties","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEric Bloom (Lead Vocals, Keyboards, Guitar), Joe Bouchard (Bass, Vocals), Albert Bouchard (Drums, Vocals), Allen Lanier (Keyboards, Rhythm Guitar, Synthesizer), Donald (Buck Dharma) Roeser (Lead Guitar, Vocals)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eWritten by \u003c\/strong\u003e\u003cstrong\u003eAlbert Bouchard (A1, A3, B1, B3, B4), Patti Smith (A1), Eric Bloom (A2, A3, A4, B2, B3), Sandy Pearlman (A2, A3, A4, B3, B4), Donald Roeser (A4, B2, B3), Richard Meltzer (B1, B2), Joe Bouchard (B4)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve, insert\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Speakers Corner\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Columbia\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eRecording: 1974 by Tim Geelan and Jerry Smith\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eProduction: Murray Krugman and Sandy Pearlman\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eRemastered by Willem Makkee\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eOriginally released in April 1974\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eReissued July 2014\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eTracks :\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003cp\u003e                1. Career Of Evil\u003c\/p\u003e\n\u003cp\u003e                2. Subhuman\u003c\/p\u003e\n\u003cp\u003e                3. Dominance And Submission\u003c\/p\u003e\n\u003cp\u003e                4. ME 262\u003c\/p\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003cp\u003e                1. Cagey Cretins\u003c\/p\u003e\n\u003cp\u003e                2. Harvester Of Eyes\u003c\/p\u003e\n\u003cp\u003e                3. Flaming Telepaths\u003c\/p\u003e\n\u003cp\u003e                4. Astronomy\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« While the speed-freak adrenaline heaviness and shrouded occult mystery of Tyranny and Mutation is the watermark for Blue Öyster Cult's creative invention, it is Secret Treaties that is widely and critically regarded as the band's classic. Issued in 1974, Secret Treaties is the purest distillation of all of BÖC's strengths. Here the songs are expansive, and lush in their textures. The flamboyance is all here, and so are the overdriven guitar riffs provided by Buck Dharma and Eric Bloom. But there is something else, texturally, that moves these songs out from the blackness and into the shadows. Perhaps it's the bottom-heavy mix by producer and lyricist Sandy Pearlman, with Allen Lanier's electric piano and Joe Bouchard's bass coming to rest in an uneasy balance with the twin-guitar attack. Perhaps it's in the tautness of songwriting and instrumental architectures created by drummer Albert Bouchard, Bloom, and Don Roeser (Buck Dharma). Whatever it is, it offers the Cult a new depth and breadth. While elements of psychedelia have always been a part of the band's sound, it was always enfolded in proto-metal heaviness and biker boogie. Here, BÖC created their own brand of heavy psychedelic noir to diversify their considerably aggressive attack. Listen to \"Subhuman\" or \"Dominance and Submission.\" Their minor chord flourishes and multi-tracked layered guitars and Bouchard's constantly shimmering cymbals and snare work (he is the most underrated drummer in rock history) and elliptical lyrics -- that Pearlman put out in front of the mix for a change -- added to the fathomless dread and mystery at the heart of the music. Elsewhere, on \"Cagey Cretins\" and \"Harvester of Eyes\" (both with lyrics by critic Richard Meltzer), the razor-wire guitar riffs were underscored by Lanier's organ, and their sci-fi urgency heightened by vocal harmonies. But it is on \"Flaming Telepaths,\" with its single-chord hypnotic piano line that brings the lyric \"Well, I've opened up my veins too many times\/And the poison's in my heart in my heart and in my mind\/Poison's in my bloodstream\/Poison's in my pride\/I'm after rebellion\/I'll settle for lives\/Is it any wonder that my mind is on fire?\" down into the maelstrom and wreaks havoc on the listener. It's a stunner, full of crossing guitar lines and an insistent, demanding rhythmic throb. The set closes with the quark strangeness of \"Astronomy,\" full of melancholy, dread, and loss that leaves the listener unsettled and in an entirely new terrain, having traveled a long way from the boasting rockery of \"Career of Evil\" that began the journey. It's a breathless rock monolith that is all dark delight and sinister pleasure. While the Cult went on to well-deserved commercial success with Agents of Fortune an album later, the freaky inspiration that was offered on their debut, and brought to shine like a black jewel on Tyranny and Mutation, was fully articulated as visionary on Secret Treaties. » AllMusic Review by Thom Jurek\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eBack in the days of hard rock and surrounded by fierce competitors with such great names as the Doors, Black Sabbath and the Rolling Stones, a band had to attract attention with far more than histrionic pathos, biker boogie, an adept lead guitarist and a sharp-tongued singer. The band Blue Öyster Cult, founded on Long Island in 1971, possessed all this and much more, relating short scenarios in their lyrics, which conjured up people’s imagination. Rolling Stone magazine enthused that it was \"like listenin’ to Hitchcock and Kubrick swap stories about their wet dreams\", and that the group \"mix aesthetics and ass-kicking rock to such good advantage\".\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIn their third studio album \"Secret Treaties\", BÖC reached the pinnacle of their musical evolution with such memorable songs as \"Career Of Evil\", \"Subhuman\" and \"Astronomy\". The lyrics have literary value but are certainly not intended for sensitive souls – the phrases are direct and intentionally drily articulated. The music is as blatant and extroverted as the lyrics: the guitar sound is steely and straightforward, occasionally padded out with a see-sawing Hammond groove, and topped again and again by wonderfully rough string solos that speak the language of hard, merciless and full-bodied rock.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e : \u003c\/p\u003e\n\u003cp\u003eAllmusic : 4.5 \/ 5  ,\u003cstrong\u003e \u003c\/strong\u003e\u003cspan\u003eDiscogs \u003c\/span\u003e:\u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e4,22\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\u003e4,07\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40410573832343,"sku":"KC 32858","price":38.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/blue-oyster-cult-secret-treaties-audiosoundmusic-1.jpg?v=1719851639"},{"product_id":"carlos-santana-amigos","title":"Santana - Amigos (Speakers Corner)","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCarlos Santana – guitars, background vocals, percussion, congas, güiro  \u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\"\u003e[c\u003c\/span\u003e\u003ca style=\"color: #ff8000;\" title=\"Vinyl featuring Carlos Santana\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/carlos-santana\" data-mce-fragment=\"1\"\u003elick here to see more vinyl featuring Carlos Santana]\u003c\/a\u003e\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGreg Walker – vocals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTom Coster – acoustic piano, Fender Rhodes electric piano, Hammond organ, Moog synthesizer, ARP Pro Soloist, ARP Odyssey, ARP String Ensemble, Hohner Clavinet D6, background vocals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDavid Brown – bass guitar\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLeon \"Ndugu\" Chancler – drums, timbales, Remo Rototoms, percussion, congas, background vocals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eArmando Peraza – congas, bongos, background vocals, vocal on \"Gitano\"\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eIvory Stone – background vocals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJulia Tillman Waters – background vocals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMaxine Willard Waters – background vocals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eWritten by \u003c\/strong\u003e\u003cstrong\u003eDavid Rubinson (A1), Leon Ndugu Chancler (A1, A2, B2), Tom Coster (A1, A2, A3, B2, B3), Carlos Santana (A3, B3), Armando Peraza (B1), David Brown (B4), Ray Gardner (B4)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, gatefold sleeve\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Speakers Corner\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Columbia\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eRecording: 1976 at Wally Heider Recording Studios, San Francisco, by Fred Catero and David Rubinson\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003cbr\u003e\u003cspan\u003eProduction: David Rubinson \u0026amp; Friends, Inc.\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eOriginally released in 1976\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eReissued in 2013\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\u003eDance Sister Dance\u003c\/li\u003e\n\u003cli\u003eTake Me With You\u003c\/li\u003e\n\u003cli\u003eLet Me\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eGitano\u003c\/li\u003e\n\u003cli\u003eTell Me Are You Tired\u003c\/li\u003e\n\u003cli\u003eEuropa\u003c\/li\u003e\n\u003cli\u003eLet It Shine\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\"By the release of Amigos, the Santana band's seventh album, only Carlos Santana and David Brown remained from the band that conquered Woodstock, and only Carlos had been in the band continuously since. Meanwhile, the group had made some effort to arrest its commercial slide, hiring an outside producer, David Rubinson, and taking a tighter, more up-tempo, and more vocal approach to its music. The overt jazz influences were replaced by strains of R\u0026amp;B\/funk and Mexican folk music. The result was an album more dynamic than any since Santana III in 1971. \"Let It Shine\" (number 77), an R\u0026amp;B-tinged tune, became the group's first chart single in four years, and the album returned Santana to Top Ten status.\" AllMusic Review by William Ruhlmann\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eSantana’s music is like the game of Mikado – a tight bundle of pieces in various styles that is difficult to handle, even for experienced musicians. No whether the sticks are labelled funk, jazz, rock, R \u0026amp; B, or folk: when you try to pick out just one of these, the whole lot vibrates alongside.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIt seems relatively simple (and is often attempted) to try and sort out track lists according to more or less commercially oriented compilations. And having fastidiously set up the ranking and astutely discussed it in your circle of friends, you can sit back and enjoy the brilliant guitar sound of such blockbusters as \"Caravanserai\" (Columbia KC 31610) or \"Welcome\" (Columbia PC 32455) – quality rules the day!\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIn his seventh album the guitar guru is once again surrounded by numerous freshly recruited supporting musicians and the star producer David Rubinson. The latter watches carefully over the development of this project, which is highly reminiscent of the early Santana sound. A perceptible infatuation with the vocals, or the wealth of buzzing, pulsating, clattering, clicking rhythms, or yet again the inimitable bubbling, frothy guitar solos: a Santana LP is simply unthinkable without all this. Why then should one try to pick out the various styles, genres or consumer groups when this record belongs to his best and most important six, seven – or maybe even eight? At the end of the day, we all remain amigos with Santana.\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 ,  \u003c\/span\u003e\u003cspan\u003eDiscogs \u003c\/span\u003e: \u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e3,91\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5   , \u003c\/span\u003e\u003cspan\u003eRate Your Music \u003c\/span\u003e: \u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e3,37\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40410773094551,"sku":"PC 33576","price":38.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/santana-amigos-speaker-corners-audiosoundmusic-1.jpg?v=1719851655"},{"product_id":"carlos-santana-buddy-miles-live","title":"Carlos Santana \u0026 Buddy Miles - Live! (Speaker Corners)","description":"\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cbr\u003e\u003cbr\u003eCarlos Santana (g) \u003cspan data-mce-fragment=\"1\" style=\"color: #ff8000;\" data-mce-style=\"color: #ff8000;\"\u003e[c\u003c\/span\u003e\u003ca data-mce-fragment=\"1\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/carlos-santana\" title=\"Vinyl featuring Carlos Santana\" style=\"color: #ff8000;\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/carlos-santana\" data-mce-style=\"color: #ff8000;\"\u003elick here to see more vinyl featuring Carlos Santana]\u003c\/a\u003e\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eBuddy Miles (dr, voc); Robert Hogins (org); Luis Gasca (tp); Hadley Caliman (sax, fl); Neal Schon (g); Ron Johnson (b); Coke Escovedo (perc); Gregg Errico (dr); Victor Pantoja, Michael Carabello (cga)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWriten by Buddy Miles (A2, A4, A5, B1), John McLaughlin (A1), Carlos Santana (B1), S. Henry (A3), G. Errico (B1), R. Johnson (B1)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, gatefold sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLive\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Speakers Corner\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Columbia\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eRecording: January 1972 live in the Diamond Head Crater, Hawaii, USA,\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eProduction: Carlos Santana \u0026amp; Buddy Miles\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eOriginally released in 1972\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eReissued in 2013\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\u003eMarbles\u003c\/li\u003e\n\u003cli\u003eLava\u003c\/li\u003e\n\u003cli\u003eEvil Ways\u003c\/li\u003e\n\u003cli\u003eFaith Interlude\u003c\/li\u003e\n\u003cli\u003eThem Changes\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eFree Form Funkafide Filth\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« From December 1971 to April 1972, Carlos Santana and several other members of Santana toured with drummer\/vocalist Buddy Miles, a former member of the Electric Flag and Jimi Hendrix's Band of Gypsys. The resulting live album contained both Santana hits (\"Evil Ways\") and Buddy Miles hits (\"Changes\"), plus a 25-minute, side-long jam titled \"Free Form Funkafide Filth.\" It was not, perhaps, the live album Santana fans had been waiting for, but at this point in its career, the band could do no wrong. The album went into the Top Ten and sold a million copies. » AllMusic Review by William Ruhlmann\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e : \u003c\/p\u003e\n\u003cp\u003eAllmusic : 4 \/ 5 ,  \u003cspan\u003eDiscogs \u003c\/span\u003e: \u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e3,93\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\u003e3,62\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40410884112535,"sku":"KC 31308","price":38.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/carlos-santana-and-buddy-miles-live-speaker-corners-audiosoundmusic-1.jpg?v=1719851655"},{"product_id":"carlos-santana-welcome","title":"Santana - Welcome (Speakers Corner)","description":"\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eCarlos Santana - guitar, vocals  \u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[c\u003c\/span\u003e\u003ca style=\"color: #ff8000;\" title=\"Vinyl featuring Carlos Santana\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/carlos-santana\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/carlos-santana\"\u003elick here to see more vinyl featuring Carlos Santana]\u003c\/a\u003e\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eJohn McLaughlin - guitar \u003cspan data-mce-fragment=\"1\"\u003e\u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/john-mclaughlin\" title=\"vinyl featuring john mclaughlin\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/john-mclaughlin\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring John McLaughlin]\u003c\/span\u003e\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eTom Coster (keyb, voc); Jules Broussard (sax); David Brown (b); Armando Peraza (perc, voc); José Chepitó Areas (perc); Michael Shrieve (dr)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWriten by Carlos Santana (A1, A2, B1, B2, B3), Richard Kermode (A2, B2), José \"Chepito\" Areas (A3), Tom Coster (A4, B1, B2), Michael Shrieve (A4, A5), Herbie Mann (B1), John McLaughlin (B3), Doug Rauch (B3), John Coltrane (B4)\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, gatefold sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Speakers Corner\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Colombia\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eRecording: April - June 1973 by Glen Kolotkin\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eProduction: Carlos Santana, Maitreya Michael Shrieve and Tom Coster\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eOriginally released in 1973\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eReissued in 2012\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eTracks :\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eGoing Home\u003c\/li\u003e\n\u003cli\u003eLove, Devotion and Surrender\u003c\/li\u003e\n\u003cli\u003eSamba de Sausalito\u003c\/li\u003e\n\u003cli\u003eWhen I Look into Your Eyes\u003c\/li\u003e\n\u003cli\u003eYours Is the Light\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eMother Africa\u003c\/li\u003e\n\u003cli\u003eLight of Life\u003c\/li\u003e\n\u003cli\u003eFlame Sky\u003c\/li\u003e\n\u003cli\u003eWelcome\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e« The mark that the recording of Caravanserai and Love Devotion Surrender had left on Carlos Santana was monumental. The issue of Welcome, the band's fifth album and its first with the new lineup, was a very ambitious affair and was regarded by traditional fans of Santana with even more strangeness than its two predecessors. However, issued as it was at the end of 1973, after Miles had won a Grammy for Bitches Brew and after Weather Report, Return to Forever, and Seventh House had begun to win audiences from the restless pool of rock fans, Santana began to attract the attention of critics as well as jazz fans seeking something outside of the soul-jazz and free jazz realms for sustenance. The vibe that carried over from the previously mentioned two albums plus the addition of vocalist Leon Thomas to the fold added a bluesy, tougher edge to the sound showcased on Caravanserai. The band's hard root was comprised of Carlos, drummer Michael Shrieve, bassist Doug Rauch, and keyboard king Tom Coster. Add to this the percussion section of Armando Peraza and Chepito Areas as well as a second keyboard by Richard Kermode, and space was the place. The John Coltrane influence that inspired the Santana\/John McLaughlin pairing on Love Devotion Surrender echoes here on \"Going Home,\" the album's opening track, arranged by Coltrane's widow, pianist and harpist Alice. The deeper jazz fusion\/Latin funk edge is articulated on the track \"Samba de Sausalito,\" and to a much more accessible degree on \"Love, Devotion \u0026amp; Surrender,\" which features Thomas growling through the choruses and also features Wendy Haas, a keyboardist on Love Devotion Surrender who is enlisted here as a second vocalist. In fact, her pairing with Thomas on Shrieve's \"When I Look Into Your Eyes\" is nothing less than beatific. McLaughlin makes a return appearance here on the stunningly beautiful guitar spiritual \"Flame Sky.\" Brazilian song diva Flora Purim is featured on \"Yours Is the Light,\" a gorgeous Afro-Brazilian workout that embraces Cuba son, samba, and soul-jazz. Welcome also marked the first appearance of French soprano saxophonist Jules Broussard on a Santana date. He would later collaborate with Carlos and Alice Coltrane on Illuminations. Ultimately, Welcome is a jazz record with rock elements, not a rock record that flirted with jazz and Latin musical forms. It is understandable why Santana punters would continue to be disenchanted, however. Welcome was merely ahead of its time as a musical journey and is one of the more enduring recordings the band ever made. This is a record that pushes the envelope even today and is one of the most inspired recordings in the voluminous Santana oeuvre. » AllMusic Review by Thom Jurek\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eMany of Santana’s rock-addict fans could well have understood the inviting word \"Welcome\" on the white LP cover as an attempt to break away from the spiritual aura of his previous album \"Love Devotion Surrender\". And the musicians certainly managed to produce a rich Latin feeling, with such titles as \"Samba De Sausalito\" and \"Yours Is The Light\". But luckily their concessions did not alienate them from their die-hard fans in that they came up with a sort of copy of the rhythmical \"Caravanserai\" (Columbia KC 31610). They truly attempted something new. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eEncouraged by the success of the jazz-fusion formula created by Miles Davis and his disciples, Santana combined his virtuoso guitar playing with specially chosen electronic features. The amazingly acrobatic jazz vocalists Leon Thomas and Wendy Haas contributed complicated, quirky parts and the maestro himself vies with John McLaughlin in a dense conflict carried out on their instruments in \"Flame Sky\". This is an album with a strong intellectual drive and offers the discerning listener a dazzling blend of Latin, jazz and fusion.\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 , \u003c\/span\u003e\u003cspan\u003eDiscogs \u003c\/span\u003e:\u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e4,04\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5  ,  \u003c\/span\u003e\u003cspan\u003eRate Your Music \u003c\/span\u003e: \u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e3,58\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40411247542423,"sku":"PC 32455","price":38.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/santana-welcome-speakers-corner-audiosoundmusic-1.jpg?v=1719851655"},{"product_id":"mike-bloomfield-al-kooper-and-stephen-stills-super-session","title":"Mike Bloomfield, Al Kooper and Stephen Stills - Super Session","description":"\u003ch3\u003e\u003c\/h3\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMike Bloomfield, Stephen Stills (el-g) \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/stephen-stills\" title=\"vinyl featuring Stephen Stills\"\u003e\u003cspan style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Stephen Stills]\u003c\/span\u003e\u003c\/a\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e Al Kooper (p, org, voc, g, el-g); Barry Goldberg (el-p); Harvey Brooks (b); Eddie Hoh (dr)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by M. Bloomfield (A1, A4, A5), Al Kooper (A1, A4, A5), J. Ragavoy (A2), M. Shuman (A2), C. Mayfield (A3), Bob Dylan (B1), D. Leitch (B2), W. Cobb (B3), H. Brooke (B4)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\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\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\u003eProduction: Al Kooper\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eOriginally released in 1968\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eReissued 2008\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\u003eAlbert’s Shuffle\u003c\/li\u003e\n\u003cli\u003eStop\u003c\/li\u003e\n\u003cli\u003eMan’s Temptation\u003c\/li\u003e\n\u003cli\u003eHis Holy Modal Majesty\u003c\/li\u003e\n\u003cli\u003eReally\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eIt Takes A Lot To Laugh, It Takes A Train To Cry\u003c\/li\u003e\n\u003cli\u003eSeason Of The Witch\u003c\/li\u003e\n\u003cli\u003eYou Don’t Love Me\u003c\/li\u003e\n\u003cli\u003eHarvey’s Tune\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e« As the Beatles' Sgt. Pepper's Lonely Hearts Club Band (1967) had done a year earlier, Super Session (1968) initially ushered in several new phases in rock \u0026amp; roll's concurrent transformation. In the space of months, the soundscape of rock shifted radically from short, danceable pop songs to comparatively longer works with more attention to technical and musical subtleties. Enter the unlikely all-star triumvirate of Al Kooper (piano\/organ\/ondioline\/vocals\/guitars), Mike Bloomfield (guitar), and Stephen Stills (guitar) -- all of whom were concurrently \"on hiatus\" from their most recent engagements. Kooper had just split after masterminding the groundbreaking Child Is Father to the Man (1968) version of Blood, Sweat \u0026amp; Tears. Bloomfield was fresh from a stint with the likewise brass-driven Electric Flag, while Stills was late of Buffalo Springfield and still a few weeks away from a full-time commitment to David Crosby and Graham Nash. Although the trio never actually performed together, the long-player was notable for idiosyncratically featuring one side led by the team of Kooper\/Bloomfield and the other by Kooper\/Stills. The band is fleshed out with the powerful rhythm section of Harvey Brooks (bass) and Eddie Hoh (drums) as well as Barry Goldberg (electric piano) on \"Albert's Shuffle\" and \"Stop.\" The Chicago blues contingency of Bloomfield, Brooks, and Goldberg provide a perfect outlet for the three Kooper\/Bloomfield originals -- the first of which commences the project with the languid and groovy \"Albert's Shuffle.\" The guitarist's thin tone cascades with empathetic fluidity over the propelling rhythms. Kooper's frisky organ solo alternately bops and scats along as he nudges the melody forward. The same can be said of the interpretation of \"Stop,\" which had originally been a minor R\u0026amp;B hit for Howard Tate. Curtis Mayfield's \"Man's Temptation\" is given a soulful reading that might have worked equally well as a Blood, Sweat \u0026amp; Tears cover. At over nine minutes, \"His Holy Modal Majesty\" is a fun trippy waltz and includes one of the most extended jams on the Kooper\/Bloomfield side. The track also features the hurdy-gurdy and Eastern-influenced sound of Kooper's electric ondioline, which has a slightly atonal and reedy timbre much like that of John Coltrane's tenor sax. Because of some health issues, Bloomfield was unable to complete the recording sessions and Kooper contacted Stills. Immediately his decidedly West Coast sound -- which alternated from a chiming Rickenbacker intonation to a faux pedal steel -- can be heard on the upbeat version of Bob Dylan's \"It Takes a Lot to Laugh, It Takes a Train to Cry.\" One of the album's highlights is the scintillating cover of \"Season of the Witch.\" There is an undeniable synergy between Kooper and Stills, whose energies seems to aurally drive the other into providing some inspired interaction. Updating the blues standard \"You Don't Love Me\" allows Stills to sport some heavily distorted licks, which come off sounding like Jimi Hendrix. This is one of those albums that seems to get better with age and that gets the full reissue treatment every time a new audio format comes out. This is a super session indeed. » AllMusic Review by Lindsay Planer\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe musicians are aiming high with their desire for a “Super Session”, for it’s not something that can be planned. Only when the time, place, and audience play along, when one’s lucky star is shining brightly, and the musicians have a good day, then one of music’s great moments might be captured on tape. Not forgetting the recording technicians who also have to be in the mood!\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIn 1968 this all happened to be the case with the majority of the nine numbers on the Columbia LP: \"Season Of The Witch\" (written by Donovan) in its present version is one of them, as well as \"You Don’t Love Me\" and the Dylan classic \"It Takes A Lot To Laugh, It Takes A Train To Cry\". All in all, one must consider the numbers with Steve Stills as most successful in the sense of a session because here each musician inspires the others. In the super session with Kooper and Bloomfield, the guitarist stands in the limelight while the other musicians back him up.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eVery often the three soloists even surpass the greatest moments of their own groups (Al Kooper’s Blood, Sweat \u0026amp; Tears; Mike Bloomfield’s Electric Flag; Steven Stills’s Buffalo Springfield). In 1968 the magazine Rolling Stone judged this album to be one of the best releases of the year: an accolade which is completely justified and is still valid to this day. What better reason to get your copy of this “highly recommended” album without delay.\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\u003e4,22\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\u003e3,84\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40412538896535,"sku":"CS 9701","price":38.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/mike-bloomfield-al-kooper-and-stephen-stills-super-session-audiosoundmusic-1.jpg?v=1719851677"},{"product_id":"carlos-santana-caravanserai","title":"Santana - Caravanserai (Speakers Corner)","description":"\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cbr\u003e\u003cbr\u003eCarlos Santana - guitar, percussions  \u003cspan style=\"color: #ff8000;\" data-mce-style=\"color: #ff8000;\" data-mce-fragment=\"1\"\u003e[c\u003c\/span\u003e\u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/carlos-santana\" title=\"Vinyl featuring Carlos Santana\" style=\"color: #ff8000;\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/carlos-santana\" data-mce-style=\"color: #ff8000;\" data-mce-fragment=\"1\"\u003elick here to see more vinyl featuring Carlos Santana]\u003c\/a\u003e\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eHadley Caliman (sax); Gregg Rolie (org, p); Wendy Haas (p); Tom Coster (el-p); Neal Schon (g); , Douglas Rauch (g,b); Tom Rutley (b); Mike Shrieve (dr); Jose Chepito Areas, Armando Peraza (perc)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by Carlos Santana (A2-4, A5-6, B2),Tom Rutley (A1), Neal Schon (A1, A5, A6), Michael Shrieve (A1, A4, B2, B4), Doug Rauch (A2-3), Gregg Rolie (A2-5), José \"Chepito\" Areas (B1), James Mingo Lewis (B1, B3), Antônio Carlos Jobim (B2)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, gatefold sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Speakers Corner\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Columbia\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eRecorded in February and May 1972\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eEngineered by Glen Kolotkin, Mike Larner\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003e\u003cspan\u003eProduced by Carlos Santana and Michael Shrieve\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eOriginallly released in Oct 1972\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eReissued in 2008\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\u003eEternal Caravan Of Reincarnation\u003c\/li\u003e\n\u003cli\u003eWaves Within\u003c\/li\u003e\n\u003cli\u003eLook Up (To See What's Coming Down)\u003c\/li\u003e\n\u003cli\u003eJust In Time To See The Sun\u003c\/li\u003e\n\u003cli\u003eSong Of The Wind\u003c\/li\u003e\n\u003cli\u003eAll The Love Of The Universe\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eFuture Primitive\u003c\/li\u003e\n\u003cli\u003eStone Flower\u003c\/li\u003e\n\u003cli\u003eLa Fuente Del Ritmo\u003c\/li\u003e\n\u003cli\u003eEvery Step Of The Way\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« Drawing on rock, salsa, and jazz, Santana recorded one imaginative, unpredictable gem after another during the 1970s. But Caravanserai is daring even by Santana's high standards. Carlos Santana was obviously very hip to jazz fusion -- something the innovative guitarist provides a generous dose of on the largely instrumental Caravanserai. Whether its approach is jazz-rock or simply rock, this album is consistently inspired and quite adventurous. Full of heartfelt, introspective guitar solos, it lacks the immediacy of Santana or Abraxas. Like the type of jazz that influenced it, this pearl (which marked the beginning of keyboardist\/composer Tom Coster's highly beneficial membership in the band) requires a number of listenings in order to be absorbed and fully appreciated. But make no mistake: this is one of Santana's finest accomplishments. » AllMusic Review by Alex Henderson\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eTo attempt to categorise Carlos Santana’s music is, for the prophets of rock music, rather like dancing on the edge of a volcano. While the New York Times acclaimed the band as a reincarnation of Dizzy Gillespie’s Cuban-jazz bigband from the end of the Forties, the specialist magazine Rolling Stone spoke of a \"methadrine trip without visions«. Organ-player Gregg Rolie offered a very simple explanation of the origins of the highly differentiated sound colouring and the throb and chirp of the Afro-Cuban polyrhythms: he succinctly remarked that each member of the multi-cultural band »just played the music which he had grown up with\".\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003cspan\u003eJust how thrilling this sounds is already evident from the first number on the disc, with its sounds of nature, twisted rhythms, and little snatches of melody, which – as in several other titles – remains spellbinding even without the fascinating drive of Santana’s lead-sound. Of course there is plenty of solo material on the guitar which manifests itself in exuberant improvisations with a fusion of rock, salsa and jazz elements. When listening to this well-oiled rhythm machine, one quite rightly gets the impression that this unique band has stretched itself to its limits, and it is not by mere coincidence that they split up shortly afterwards. What has remained is one of the most powerful Santana records ever made.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAllMusic : 4.5 \/ 5 ,  \u003c\/span\u003e\u003cspan\u003eDiscogs \u003c\/span\u003e: \u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e4,27\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\u003e3,92\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40412604498071,"sku":"KC 31610","price":38.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/santana-caravanserai-audiosoundmusic-1.jpg?v=1719851677"},{"product_id":"elvis-presley-elvis-christmas-album","title":"Elvis Presley - Elvis' Christmas Album (Mono)","description":"\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003eElvis Presley - guitar, vocals \u003ca data-mce-fragment=\"1\" title=\"vinyl featuring Elvis Presley\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/elvis-presley\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/elvis-presley\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"color: #ff8000;\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Elvis Presley]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eThe Jordanaires - vocals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by Jerry Leiber (A1), Mike Stoller (A1), Irving Berlin (A2), Gene Autry (A3), Oakley Haldeman (A3), Kim Gannon (A4), Walter Kent (A4), Buck Ram (A4), Bill Hayes (A5), Jay Johnson (A6), Claude Demetrius (A6), Aaron Schroeder (A6), Phillip Brooks (B1), Lewis Redner (B1), Franz Gruber (B2), Joseph Mohr (B2), Rev. Thomas A. Dorsey (B3, B5), Ervin Drake (B4), Irvin Graham (B4), Jimmy Shirl (B4), Al Stillman (B4), Stuart Hamblen (B6)\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\u003eMono\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : 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\u003eOriginally released in 1957\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\u003e\u003cspan\u003eTracks :\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A : \u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eSanta Claus Is Back In Town\u003c\/li\u003e\n\u003cli\u003eWhite Christmas\u003c\/li\u003e\n\u003cli\u003eHere Comes Santa Claus (Right Down Santa Claus Lane)\u003c\/li\u003e\n\u003cli\u003eI'll Be Home For Christmas\u003c\/li\u003e\n\u003cli\u003eBlue Christmas\u003c\/li\u003e\n\u003cli\u003eSanta Bring My Baby Back (To Me)\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eO Little Town Of Bethlehem\u003c\/li\u003e\n\u003cli\u003eSilent Night\u003c\/li\u003e\n\u003cli\u003e(There'll Be) Peace in the Valley (For Me)\u003c\/li\u003e\n\u003cli\u003eI Believe\u003c\/li\u003e\n\u003cli\u003eTake My Hand, Precious Lord\u003c\/li\u003e\n\u003cli\u003eIt Is No Secret (What God Can Do)\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« Elvis' 1957 original Christmas album is one of his most inspired early outings and the first time he tackled anything resembling a thematic concept. Split evenly between rockers and bluesy numbers like \"Santa Claus Is Back in Town,\" \"Blue Christmas,\" and \"Santa Bring My Baby Back to Me,\" perennials like \"White Christmas,\" \"I'll Be Home for Christmas,\" and \"Silent Night,\" and straight-ahead gospel favorites like \"I Believe,\" \"Peace in the Valley\" and \"Take My Hand, Precious Lord,\" the disc revealed a different side of the rocker for the first time on a public instead conditioned to expect something outrageous. One of the King's shining moments, this is quite simply still one of the best holiday albums available. » AllMusic Review by Cub Koda\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003c\/span\u003e\u003cspan\u003eWild rock’n’roll and Christian spirituality at Christmastide are impossible to bring together musically, one might think. But Elvis, who in the Fifties was climbing as steadily up the ladder of success as Father Christmas coursed the sky in his sleigh, certainly pulled off this feat in his \"Christmas Album\" with its mixture of popular Christmas songs and seasonal evergreens. The 'King' delivers a rocking version of \"Santa Claus Is Back In Town\" just as successfully as \"Peace In The Valley\", an inspirational gospel song praising nature. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eOf course it goes without saying that \"White Christmas\" – the most-recorded Christmas hit, which in the Bing Crosby version alone achieved sales of 35 million – is included on the album. And Elvis’s sentimental interpretation of \"Silent Night\" may well have made its contribution to the immortality of the former truck driver from Tennessee. Back on this earth the original LP exchanges hands for around US$ 500 when the gift tag is still attached. And because it’s Christmas, the coveted sticker can be found on the re-release.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAllmusic : 4.5 \/ 5  ,  \u003c\/span\u003e\u003cspan\u003eDiscogs \u003c\/span\u003e: \u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e3,90\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5 , \u003c\/span\u003e\u003cspan\u003eRate Your Music \u003c\/span\u003e:\u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e3,45\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40412734193815,"sku":"LOC-1035","price":38.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/elvis-presley-elvis-christmas-album-mono-audiosoundmusic-1.jpg?v=1719851688"},{"product_id":"toto-iv","title":"Toto IV","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cspan style=\"color: #ff8000;\"\u003e\u003ca title=\"vinyl featuring Toto\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/toto\" style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/toto\"\u003e[click here to see more vinyl featuring Toto]\u003c\/a\u003e\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003eSteve Porcaro, David Paich (keyb, voc); Steve Lukather (g, voc); Bobby Kimball (voc); David Hungate (b); Jeff Porcaro (dr, perc)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten  by David Paich (A1, A2, B1, B2, B3, B4, B5), Bobby Kimball (A2, A4), Steve Lukather (A2, A3, A4, B1), Steve Porcaro (A4, A5, B1), Jeff Porcaro (B3, B5), Bobby Kimball (B4)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Speakers Corner\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Columbia\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eRecording: 1982 at Sunset Sound, Los Angeles, by David Leonard, Peggy McCreary \u0026amp; Terry Christian and Record One, Los Angeles, by Jamie Ledner, Niko Bolas \u0026amp; Lon LeMaster\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eProduced by Toto\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eOriginally released in 1982\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eReissued in 2007\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\u003eRosanna\u003c\/li\u003e\n\u003cli\u003eMake Believe\u003c\/li\u003e\n\u003cli\u003eI Won't Hold You Back\u003c\/li\u003e\n\u003cli\u003eGood For You\u003c\/li\u003e\n\u003cli\u003eIt's A Feeling\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eAfraid Of Love\u003c\/li\u003e\n\u003cli\u003eLovers In The Night\u003c\/li\u003e\n\u003cli\u003eWe Made It\u003c\/li\u003e\n\u003cli\u003eWaiting For Your Love\u003c\/li\u003e\n\u003cli\u003eAfrica\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« It was do or die for Toto on the group's fourth album, and they rose to the challenge. Largely dispensing with the anonymous studio rock that had characterized their first three releases, the band worked harder on its melodies, made sure its simple lyrics treated romantic subjects, augmented Bobby Kimball's vocals by having other group members sing, brought in ringers like Timothy B. Schmit, and slowed down the tempo to what came to be known as \"power ballad\" pace. Most of all, they wrote some hit songs: \"Rosanna,\" the old story of a lovelorn lyric matched to a bouncy beat, was the gold, Top Ten comeback single accompanying the album release; \"Make Believe\" made the Top 30; and then, surprisingly, \"Africa\" hit number one ten months after the album's release. The members of Toto may have more relatives who are NARAS voters than any other group, but that still doesn't explain the sweep they achieved at the Grammys, winning six, including Album of the Year and Record of the Year (for \"Rosanna\"). Predictably, rock critics howled, but the Grammys helped set up the fourth single, \"I Won't Hold You Back,\" another soft rock smash and Top Ten hit. As a result, Toto IV was both the group's comeback and its peak; it remains a definitive album of slick L.A. pop for the early '80s and Toto's best and most consistent record. Having made it, the members happily went back to sessions, where they helped write and record Michael Jackson's Thriller. » AllMusic Review by William Ruhlmann\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAnyone who gives the dull name “Four” to their rock album must either be very sure of success or already have resigned. The group Toto may well have experienced such extremes as there was an enormous cleft between their amazing financial success and the crushing negative opinions voiced by the critics. Billboard criticised the superficial lyrics as being void of any sort of emotional weight while the Los Angeles Times aimed their fire at the musicians themselves, slamming them as dubious artists with a commercialised mentality.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eTo this Toto struck back with their fourth album, which was an unparalleled success and brought them six Grammy awards. For a whole ten months \"Africa\" reigned at Number 1 on the charts and together with the super-hit \"Rosanna\" the two smash hits were a constant presence, backed up by a collection of impressive rock classics. A trip to the record shop is all that is needed to prove that this is unlikely to change in the near future. The bright red cover with its depiction of a sword will catch your eye, as though saying: It’s got to be the Fourth!\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\u003e\u003cspan\u003eRate Your Music \u003c\/span\u003e: \u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e3,38\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40412806611095,"sku":"FC 37728","price":38.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/toto-iv-audiosoundmusic-1.jpg?v=1719851688"},{"product_id":"janis-joplin-i-got-dem-ol-kozmic-blues-again-mama","title":"Janis Joplin - I Got Dem Ol' Kozmic Blues Again Mama!","description":"\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eJanis Joplin - vocal \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/janis-joplin\" title=\"vinyl featuring Janis Joplin\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/janis-joplin\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Janis Joplin]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eCornelius \"Snooky\" Flowers, Terry Clements (sax); Luis Gasca (tr); Richard Kermode, Gabriel Mekler (org); Sam Andrew (g); Brad Campbell (b); Maury Baker, Lonnie Castille (dr)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eWritten by Jerry Ragovoy (A1), Chip Taylor (A1), Richard Barrett (A2), Janis Joplin (A3, B2), Nick Gravenites (A4), Barry Gibb (B1), Robin Gibb (B1), Gabriel Mekler (B2), Lorenz Hart (B3), Richard Rodgers (B3), Nick Gravenites (B4)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Speakers Corner\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Columbia\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eRecording: June - August 1969 by Sy Mitchell, Jerry Hochman, and Alex Kazanegras\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eProduction: Gabriel Mekler\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eOriginally released in 1969\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eReissued in July 2007\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\u003eTry (Just A Little Bit Harder)\u003c\/li\u003e\n\u003cli\u003eMaybe\u003c\/li\u003e\n\u003cli\u003eOne Good Man\u003c\/li\u003e\n\u003cli\u003eAs Good As You've Been To This World\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B : \u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eTo Love Somebody\u003c\/li\u003e\n\u003cli\u003eKozmic Blues\u003c\/li\u003e\n\u003cli\u003eLittle Girl Blue\u003c\/li\u003e\n\u003cli\u003eWork Me Lord\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\u003eWhen Janis Joplin died in October 1970 at the early age of 27, thus involuntarily confirming the beatnik adage »live fast, love hard, die young«, it was only a matter of time before she was crowned the “Queen of Rock”. Of greater importance than this posthumous entry into rock ’n’ roll’s hall of fame is the recognition during her lifetime of her explosive vocal style, which – so Vogue – \"turned the whole history of singing upside down\".\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eJanis Joplin’s discography is just as short and changeable as her life. After two LP releases with the standard 'cast' of rock musicians in the band Big Brother And The Holding Company, with whose excellent musical support she obtained her first recording contract with Columbia Records in 1968, the company provided her with a group augmented with organ and winds. Their intention was to broaden her vocal expression with blues and funk elements, which, however, her most loyal fans regarded as betrayal of the ideals of rock music. Rock fans in the Old World were less critical, especially since Joplin and her Kozmic Blues Band went on a two-month tour of Europe. For those Woodstock fans whose ears are still ringing with the band’s full, meaty wind sound and Janis’s bluesy soul singing, this album is an absolute must.\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 : 3 \/ 5  ,  \u003c\/span\u003e\u003cspan\u003eDiscogs \u003c\/span\u003e: \u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e4,29\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":40412849832087,"sku":"CS 9913","price":38.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/janis-joplin-i-got-dem-ol-kozmic-blues-again-mama-audiosoundmusic-1.jpg?v=1719851688"},{"product_id":"elvis-presley-from-elvis-in-memphis","title":"Elvis Presley - From Elvis In Memphis","description":"\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eElvis Presley - vocals, guitar, piano \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/elvis-presley\" title=\"vinyl featuring Elvis Presley\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/elvis-presley\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Elvis Presley]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eRonnie Milsap (p); Bobby Emmons (org); Reggie Young (g, el-g); Tommy Cogbill, Mike Leech (b); Gene Chrisman (dr); The Memphis Horns and background vocals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eWritten by Al Owen (A1), Dallas Frazier (A1), Kenneth Gamble (A2), Leon Huff (A2), Jerry Butler (A2), Horton (A3), Eddy Arnold (A3), Thomas C. Dilbeck (A3), Bobby George (A4), Vern Stovall (A4), Johnny Tillotson (A5), Clarence E. Snow (A6), Bernie Baum (B1), Bill Giant (B1), Florence Kaye (B1), John Hartford (B2), J. Lantz (B3), E.Miller (B3), A. L. Owens (B4), Dallas Frazier (B4), Bob Hilliard (B5), Burt Bacharach (B5), Scott Davis (B6)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Speakers Corner\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : RCA\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded January–February 1969 at American Sound Studio, Memphis, Tennessee\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eEngineered by Al Pachucki\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eProduced by Felton Jarvis and Chips Moman\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eOriginally released in 1969\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eReissued in August 2003\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\u003eWearin' that Loved Look\u003c\/li\u003e\n\u003cli\u003eOnly the Strong Survive\u003c\/li\u003e\n\u003cli\u003eI'll Hold You in My Heart\u003c\/li\u003e\n\u003cli\u003eLong Black Limousine\u003c\/li\u003e\n\u003cli\u003eIt Keeps Right On A-Hurtin'\u003c\/li\u003e\n\u003cli\u003eI'm Movin On\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003ePower of My Love\u003c\/li\u003e\n\u003cli\u003eGentle on My Mind\u003c\/li\u003e\n\u003cli\u003eAfter Loving You\u003c\/li\u003e\n\u003cli\u003eTrue Love Travels on a Gravel Road\u003c\/li\u003e\n\u003cli\u003eAny Day Now\u003c\/li\u003e\n\u003cli\u003eIn the Ghetto\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eAwards:\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eRolling Stone 500 Greatest Albums of All Time - Ranked 322\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e“After a 14-year absence from Memphis, Elvis Presley returned to cut what was certainly his greatest album (or, at least, a tie effort with his RCA debut LP from early 1956). The fact that From Elvis in Memphis came out as well as it did is something of a surprise, in retrospect -- Presley had a backlog of songs he genuinely liked that he wanted to record and had heard some newer soul material that also attracted him, and none of it resembled the material that he'd been cutting since his last non-soundtrack album, six years earlier. And he'd just come off of the NBC television special which, although a lot of work, had led him to the realization that he could be as exciting and vital a performer in 1969 as he'd been a dozen years before. And for what was practically the last time, the singer cut his manager, Tom Parker, out of the equation, turning himself over to producer Chips Moman. The result was one of the greatest white soul albums (and one of the greatest soul albums) ever cut, with brief but considerable forays into country, pop, and blues as well. Presley sounds rejuvenated artistically throughout the dozen cuts off the original album, and he's supported by the best playing and backup singing of his entire recording history.” AllMusic Review by Bruce Eder\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\u003e5,00\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5  , \u003c\/span\u003e\u003cspan\u003eRate Your Music \u003c\/span\u003e:\u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e3,90\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40413136879767,"sku":"LSP-4155","price":38.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/elvis-presley-from-elvis-in-memphis-audiosoundmusic-1.jpg?v=1719851702"},{"product_id":"top-topham-ascension-heights","title":"Top Topham - Ascension Heights","description":"\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eTop Topham (lead guitar), John Marshall (drums), Colin Allen (drums on “Ridin’ The blinds”), Herbie Flowers, Eddie Tripp, Brian Odges (bass guitar), Rick Hayward (rhythm guitar), Pete Wingfield, Steve Gray (piano, organ), Duster Bennett (Harmonica), Top Topham, Mike Vernon (percussion), Greg Bowen, Nigel Carter, Terry Noonan, Butch Hudson (trumpets), Jack Thirlwell, Chris Pyne, Danny Elwood (trombones), Steve Gregory, Alan Skidmore, Don Honeywell, Danny Moss, Tony Coe (saxes), Lesley, Sue, Annette “Bones” (vocal group).\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten Top Topham (A2, A3, A4, B1, B4, B5), Bill Doggett (A5), Clifford Scott (A5), Julian Dash (B2), Buddy Feyne (B2), Erskine Hawkins (B2), William Johnson (B2)\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 : Pure Pleasure Records\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Blue Horizon\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eRecorded in 1970 at the CBS Studios in New Bond Street, London.\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRe-mastering by Ray Staff at Air Mastering, Lyndhurst Hall, London\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eOriginally released in 1970\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eTracks :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e1. Sawbuk\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e2. Mini-Minor-Mo\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e3. Hop House\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e4. Ridin’ The Blinds\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e 5.Hot Ginger 6. Funks Elegy\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cp\u003e Side B :\u003c\/p\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e1. Ascension Heights\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e2. Tuxedo Junction\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e3. Globetrottin’\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e4. Spider Drag\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e5.Mean Old Pullman 6. How Sweet It Is (To Be Loved By You)\u003c\/div\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e\"The object was to try and do a British Stax 'thing'. I think that \"Funks Elegy\" is heading in the direction I want to go - although (for me) the most satisfying track is our arrangement of 'Tuxedo Junction'.\" - Top Topham (in interview regarding Ascension Heights with Jerry Gilbert of Melody Maker)\u003c\/p\u003e\n\u003cp\u003e\"(he) liked Topham's phrasing, which is down to earth melody, over a funky beat - far away from the progressive trait (of the day). I hope this name remains at the fore, as this album is easy to get into and nice to live with. \" - Jerry Gilbert, Melody Maker, 1970\u003c\/p\u003e\n\u003cp\u003e\"an ambitious and breathtakingly original project that 'married' blues, rock and jazz\". - Mike Oldfield, 1992\u003c\/p\u003e\n\u003cp\u003e\"The sound is excellent late sixties stereo studio, which means instruments are heavily “box placed” left and right and phantomed dead center. Topham’s electric guitar floats thick and holographically three dimensionally well in front of the other instruments. His acoustic is closely miked, ultra-vivid and rock solid. The horns sound great, the bass lines are deep and taut and that horse hoof will “clop” its way through your skull if you crank it up too high. \" - Michael Fremer, www.musicangle.com, Music 8, Sound 9\u003c\/p\u003e\n\u003cp\u003e\"This LP’s rarity value alone commands attention: Topham was the Yardbirds’ founder guitarist, who had to leave the band because he was only 15. By 1969, at the age of 22, he delivered this solo LP, a long-forgotten take on the blues, far removed from the Yardbirds. Despite its Blue Horizon pedigree, it’s not of the Brit Blues school per se and is a stylistic mish-mash, more akin to Andrew Loog Oldham’s covers of the Stones’ canon, but its worth to Yardbirds hard-core is unparalleled.\" - Ken Kessler, Hi-Fi News, Sound Quality Rating: 70%\u003c\/p\u003e\n\u003cp\u003eAt the pimply age of 15, Surrey-born Anthony \"Top\" Topham stepped onto stage in May 1963 at the Eel Pie Island Club in Twickenham with his new blues-wailing band - THE YARDBIRDS. A few months later he was replaced with ERIC CLAPTON and after that a certain JEFF BECK and JIMMY PAGE also joined that volatile crew. When you consider what a staggering influence CREAM, BECK and LED ZEPPELIN have had on everything in rock then and now - it's a damn shame that Top Topham got musically lost in the mix somehow and has never been given the catalyst credit he so deserves.\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40535751065751,"sku":"7-63857","price":35.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/top-topham-ascension-heights-audiosoundmusic-1.jpg?v=1719851830"},{"product_id":"christine-perfect-christine-perfect","title":"Christine Perfect - Christine Perfect","description":"\u003ch2\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eORDER LIMITED TO ONE ITEM PER CUSTOMER\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h2\u003e\n\u003cp\u003e\u003cstrong\u003eChristine Perfect (vocal, keyboards), Chris Harding (Drums, Percussion), Martin Dunsford (Bass guitar), Rick Hayward \u0026amp; Top Topham (alternating rhythm and lead guitars), John McVie (Bass), Danny Kirwan (guitar : B1), Andy Sylvester (bass : A5)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by C. Perfect (A3, A4, A5, B3, B4), W. Williamson (A1), D. Malone (A2), R. Hayward (A5), D. Kirwan (B1), C. Jackson (B2), W. Godfrey (B2), B. Hendricks (B4), C. Otis (B5), T.J. White (B6)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eArranged by Terry Noonan (A1, A2), John Bennett (B1), Derek Wadsworth (B3)\u003c\/strong\u003e \u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eLimited edition\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Pure Pleasure Records\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Blue Horizon\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded in August \u0026amp; December 1969 at CBS Recording Studios, Theobolds Road, London U.K. by \u003c\/strong\u003e\u003cstrong\u003eMike Ross\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Mike Vernon and Christine Perfect\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRe-Mastered by Ray Staff at Alchemy Studios, London U.K.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1970\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2006\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e1.Crazy ‘Bout You Baby\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e2. I’m On My Way\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e3. Let Me Go (Leave Me Alone)\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e4. Wait And See\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e5. Close To Me\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e6. I’d Rather Go Blind\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e1. When You Say\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e2. And That's Saying A lot\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e3. No Road Is The Right Road 4.For You\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e5. I'm Too Far Gone (To Turn Around)\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e6. I Want You\u003c\/div\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003cspan size=\"3\" face=\"Times New Roman\"\u003eChristine Perfect \u003c\/span\u003e\u003cspan size=\"3\" face=\"Times New Roman\"\u003eis a British born\u003c\/span\u003e\u003cspan size=\"3\" face=\"Times New Roman\"\u003e singer who worked with Spencer Davis in the early '60s and later fronted Chicken Shack before going off on her own with this solo album in 1970. By then she had also contributed to recordings by Fleetwood Mac and become romantically involved with the groups's bassist, John McVie. She then married McVie and officially joined the group, for which she served as a vocalist\/keyboardist\/songwriter, contributing some of Fleetwood Mac's biggest hits.\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan size=\"2\" face=\"Times New Roman\"\u003e\u003cspan\u003eIn 1976, Sire Records issued the first U.S. release of what had been a mega-import of the Blue Horizon 1970 UK release, an album called simply Christine Perfect, the maiden name of Christine McVie. You don't need a crystal ball to tell you the album is classic and tremendous ,the big surprise is that it didn't go multi-platinum in the States.\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan size=\"2\" face=\"Times New Roman\"\u003e\u003cspan\u003eThere are 12 tracks, and 'I'd Rather Go Blind' went Top Ten in the U.K. It deserved to. but there's more here than the very good reading of the Etta James hit that 'I'd Rather go Blind' was 'When you Say' has strings and production that sound hauntingly like a Marianne Faithful track on London or Nico's work on Immediate. The big difference is that, by the time this album was released in America, Christine McVie was pretty much a household name. It doesn't sound like Fleetwood Mac but surprise of surprises, John McVie and Danny Kirwan of The Mac are performing on that tune. 'Wait and See' is a real treasure,while 'And That's Saying a Lot' is such a shift in mood that it starts to sink in what a complex and complete recording this is.\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cspan size=\"2\" face=\"Times New Roman\"\u003e\u003cspan\u003e\"The listener really has to stand back from McVie's fame and just hear the music for what it is, a superb presentation by a commercial voice with solid backup.'No Road Is The Right Road' changes the vibe again, and maybe that's a result of the array of talent, from Chicken Shack (her original band), to Yardbirds guitarist Top Topham to Rick Heywood (later of Savoy Brown), 'For You' is neo-rockabilly with that Dave Edmunds sound from 'I Hear You Knocking'. but try on 'I'm Too Far Gone (To Turn Around'),what a stunner - Fleetwood Mac performing a '50's style ballad.This could have been such a huge hit when Fleetwood Mac started to flounder a bit after all the dysfunction dipping into the bag of old trticks would have been a neat ploy for radio play. \u003c\/span\u003e\u003c\/span\u003e\u003cspan size=\"2\" face=\"Times New Roman\"\u003e\u003cspan\u003eThere is much more to the Legendry Christine Perfect Album than just hype. With the Cover photos, and the phenomenal sounds within, when fans of Fleetwood Mac need a fix for their obession, this is the one to pull out and play.\" Joe Viglione.\u003c\/span\u003e\u003c\/span\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan size=\"2\" face=\"Times New Roman\"\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan size=\"2\" face=\"Times New Roman\"\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan size=\"2\" face=\"Times New Roman\"\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan size=\"2\" face=\"Times New Roman\"\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan size=\"2\" face=\"Times New Roman\"\u003e\u003cspan\u003e\u003cstrong\u003e\u003cbr\u003eRatings\u003c\/strong\u003e :\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan size=\"2\" face=\"Times New Roman\"\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan size=\"2\" face=\"Times New Roman\"\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan size=\"2\" face=\"Times New Roman\"\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan size=\"2\" face=\"Times New Roman\"\u003e\u003cspan\u003e\u003cbr\u003eAllmusic : 3 \/ 5\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40536279711895,"sku":"PPAN 7-63860","price":35.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/christine-perfect-christine-perfect-audiosoundmusic-1.jpg?v=1719851839"},{"product_id":"quicksilver-messenger-service-happy-trails","title":"Quicksilver Messenger Service - Happy Trails","description":"\u003cdiv\u003e\n\u003ch2 data-mce-fragment=\"1\"\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\u003cstrong\u003eJohn Cipollina (guitar, vocals), Gary Duncan (guitar, vocals), Greg Elmore (drums), David Freiberg (bass, vocals)\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"color: #ff2a00;\"\u003eLimited edition\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\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 : Pure Pleasure Records\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Capitol\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003eRecorded l\u003cspan data-mce-fragment=\"1\"\u003eive at Fillmore East And West and Golden State Recorders , S.F.; Nov. 19, 1968\u003c\/span\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003eOriginally released in 1969\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003eReissued in \u003cspan data-mce-fragment=\"1\"\u003eJune 2009\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cp\u003e\u003cstrong\u003eTracks :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv\u003e\u003cspan face=\"Times New Roman\"\u003eSide A :\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\n\u003cspan data-mce-fragment=\"1\"\u003e1. Who Do You Love - Part 1\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e2. When You Love\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e3. Where You Love\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e4. How You Love\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e5. Which Do You Love\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e6. Who Do You Love - Part 2\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Times New Roman\"\u003eSide B :\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\n\u003cp data-mce-fragment=\"1\"\u003e1. Mona\u003cbr data-mce-fragment=\"1\"\u003e2. Maiden of the Cancer Moon\u003cbr data-mce-fragment=\"1\"\u003e3. Calvary\u003cbr data-mce-fragment=\"1\"\u003e4. Happy Trails\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003cstrong\u003eAwards\u003c\/strong\u003e:\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan size=\"3\" style=\"color: #ff2a00;\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan size=\"3\" style=\"color: #ff2a00;\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cb\u003eRolling Stone 500 Greatest Albums of All Time - Rated 189\/500\u003cbr\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan size=\"3\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp\u003e\"If you weren't there, this is the next best thing: the definitive live recording of the mid-Sixties San Francisco psychedelic-ballroom experience. Mostly taped at the two Fillmores, in San Francisco and New York, Quicksilver Messenger Service's second album captures twin guitarists, John Cipollina and Gary Duncan, in high, bright flight, making rare magic from a couple of old Bo Diddley numbers (\"Mona,\" \"Who Do You Love?\"), while the gorgeous, composed intricacies of \"Maiden of the Cancer Moon\" and the acid-flamenco studio epic \"Calvary\" prove that psychedelia was not just about tripping out.\" \u003cspan\u003e- www.rollingstone.com\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\"...this is an excellent reissue that will bring good musical cheer and acid flashbacks to aging and not so aging analog loving hippies worldwide.\"\u003cb\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e- Michael Fremer, www.musicangle.com\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e« Without question, this follow-up to Quicksilver Messenger Service's self-titled debut release is the most accurate in portraying the band on vinyl in the same light as the group's critically and enthusiastically acclaimed live performances. The album is essentially centered around the extended reworkings of Bo Diddley's \"Who Do You Love?\" and \"Mona,\" as well as the lesser lauded -- yet no less intense -- contribution of Gary Duncan's (guitar\/vocals) \"Calvary.\" This album is the last to feature the original quartet incarnation of QMS. The collective efforts of John Cipollina (guitar\/vocals), Greg Elmore (percussion), David Freiberg (bass\/vocals), and the aforementioned Duncan retain the uncanny ability to perform with a psychedelic looseness of spirit, without becoming boring or in the least bit pretentious. The side-long epic \"Who Do You Love?\" suite is split into an ensemble introduction and coda as well as four distinct sections for the respective bandmembers. The perpetually inventive chops of QMS are what is truly on display here. The musicians' unmitigated instrumental prowess and practically psychic interaction allow them to seamlessly weave into and back out of the main theme. Yet all the while, each player takes center stage for uncompromising solos. \"Mona\" and its companion, \"Calvary,\" continue in much the same fashion. Here the members of QMS play off each other to form a cohesive unit. This track also contains some of Cipollina's finest and most memorable fretwork. He is able to summon sonic spirits from his guitar in a way that is unlike any of his Bay Area contemporaries. A prime example of his individuality is the frenetic \"Maiden of the Cancer Moon\" -- ascending from the remnants of \"Mona.\" The angst and energy in Cipollina's guitar work and line upon line of technical phrasing could easily be considered the equal of a Frank Zappa guitar solo. The brief title track, a cover of Roy Rogers and Dale Evans' \"Happy Trails,\" seems almost insignificant in the wake of such virtuoso playing. It clears the sonic palette and also bids adieu to this particular fab foursome of psychedelia. » AllMusic Review by Lindsay Planer\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eRatings\u003c\/strong\u003e : \u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\u003cspan size=\"3\"\u003e\u003cspan size=\"3\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eAllMusic : 5 \/ 5 , Discogs : 4.24 \/ 5 , Michael Fremer : Music 8, Sound 8\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003ch1\u003e\u003c\/h1\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40694948855959,"sku":"APPR 120","price":35.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/quicksilver-messenger-service-happy-trails-audiosoundmusic-1.jpg?v=1719851983"},{"product_id":"quicksilver-messenger-service","title":"Quicksilver Messenger Service","description":"\u003cdiv\u003e\n\u003ch2\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eORDER LIMITED TO ONE ITEM PER CUSTOMER\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h2\u003e\n\u003cp\u003e\u003cstrong\u003eJohn Cipollina (guitar, vocals), Gary Duncan (guitar, vocals), Greg Elmore (drums, percussion), David Frieberg (bass, vocals)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003c\/div\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eLimited edition\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Pure Pleasure Records\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Capitol\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003eRecorded in\u003c\/span\u003e\u003c\/strong\u003e\u003c\/strong\u003e\u003cspan face=\"Times New Roman\"\u003e \u003c\/span\u003e\u003cstrong\u003eLos Angeles, October 25, 1967, December 6, 1967,  December 18,1967,  March 3, 1968\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003eProduced by \u003c\/span\u003e\u003c\/strong\u003eNick Gravenites, Harvey \u003c\/strong\u003e\u003cstrong\u003eBrooks \u0026amp; Pete\u003c\/strong\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003eOriginally released in 1968\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003eReissued Jan 2011\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cp\u003e\u003cstrong\u003eTracks :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv\u003e\u003cspan face=\"Times New Roman\"\u003eSide A :\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\n\u003cspan data-mce-fragment=\"1\"\u003e1.Pride of Man \u003cbr\u003e2. Light Your Windows \u003cbr\u003e3. Dino's Song \u003cbr\u003e4. Gold and Silver\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Times New Roman\"\u003eSide B :\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\n\u003cp\u003e\u003cspan\u003e1. Too Long \u003cbr\u003e2. The Fool\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\u003cspan style=\"color: #ff2a00;\" size=\"3\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan size=\"3\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eReviews\u003c\/strong\u003e :\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp\u003e« Quicksilver Messenger Service's debut effort was a little more restrained and folky than some listeners had expected, given their reputation for stretching out in concert. While some prefer the mostly live Happy Trails, this self-titled collection is inarguably their strongest set of studio material, with the accent on melodic folk-rock. Highlights include their cover of folksinger Hamilton Camp's \"Pride of Man,\" probably their best studio track; \"Light Your Windows,\" probably the group's best original composition; and founding member Dino Valenti's \"Dino's Song\" (Valenti himself was in jail when the album was recorded). \"Gold and Silver\" is their best instrumental jam, and the 12-minute \"The Fool\" reflects some of the best and worst traits of the psychedelic era. »vAllMusic Review by Richie Unterberger\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eRatings\u003c\/strong\u003e : \u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\u003cspan size=\"3\"\u003e\u003cspan size=\"3\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eAllMusic : 4.5 \/ 5 , Discogs : 4.34 \/ 5 \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003ch1\u003e\u003c\/h1\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40695060529303,"sku":"PPAN ST2904","price":35.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/quicksilver-messenger-service-audiosoundmusic-1.jpg?v=1719851993"},{"product_id":"roger-waters-amused-to-death","title":"Roger Waters - Amused To Death (2LP, 33RPM, 200g)","description":"\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003eA1 - The Ballad Of Bill Hubbard\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eGuitar – Jeff Beck\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eKeyboards, Percussion [Programming] – Patrick Leonard\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003ePercussion – Luis Conte\u003c\/div\u003e\n\u003cp style=\"padding-left: 30px;\"\u003eVocals – Alf Razzell\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eA2 - What God Wants, Part I\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eArranged By [Choir], Keyboards – Patrick Leonard\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eBacking Vocals – Doreen Chanter, Katie Kissoon, N'Dea Davenport, Natalie Jackson\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eBass Guitar – Randy Jackson\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eConductor [London Welsh Chorale] – Kenneth Bowen\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eDrums – Graham Broad\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eGuitar [Arpeggio] – Geoff Whitehorn\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eGuitar [Chorus] – Tim Pierce\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eRhythm Guitar [Acoustic], Electric Guitar – Andy Fairweather Low\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eSoloist, Guitar – Jeff Beck\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eVocals, Synthesizer [Emu], Bass [Intro] – Roger Waters\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cp\u003e\u003cstrong\u003eA3 Perfect Sense, Part I\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eAcoustic Guitar – Bruce Gaitsch\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eBass Guitar – James Johnson\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eConductor, Arranged By [Strings] – John Dupree\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eDrums – Graham Broad\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eGuitar [Intro] – Steve Lukather\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eGuitar [Low Grunting] – Rick DiFonso\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eKeyboards, Voice [2nd Sportscaster] – Patrick Leonard\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003ePedal Steel Guitar – B.J. Cole\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003ePercussion – Luis Conte\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eSnare, Hihat – Brian MacLeod\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eVocals – P.P. Arnold\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eVocals, Synthesizer – Roger Waters\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eVoice [HAL 9000 Deactivation Scene] – Douglas Rain\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eVoice [Sportscaster, The Voice Of The Nba] – Marv Albert\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cp\u003e\u003cstrong\u003eA4 Perfect Sense, Part II\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eAcoustic Guitar – Bruce Gaitsch\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eBass Guitar – James Johnson\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eConductor, Arranged By [Strings] – John Dupree\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eDrums – Graham Broad\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eGuitar [Intro] – Steve Lukather\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eGuitar [Low Grunting] – Rick DiFonso\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eKeyboards, Voice [2nd Sportscaster] – Patrick Leonard\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003ePedal Steel Guitar – B.J. Cole\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003ePercussion – Luis Conte\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eSnare, Hihat – Brian MacLeod\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eVocals – P.P. Arnold\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eVocals, Synthesizer – Roger Waters\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eVoice [Sportscaster, The Voice Of The Nba] – Marv Albert\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cp\u003e\u003cstrong\u003eB1 The Bravery Of Being Out Of Range\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eBacking Vocals – Lynn Fiddmont-Linsey, Natalie Jackson\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eBass Guitar – John Pierce\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eDrums – Denny Fongheiser\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eGuitar – Tim Pierce\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eOrgan [Hammond], Synthesizer – Patrick Leonard\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eVocals, Twelve-String Guitar – Roger Waters\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003eB2 Late Home Tonight, Part I\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eBass Guitar – James Johnson\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eConductor, Arranged By [National Philharmonic Orchestra Limited] – Michael Kamen\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eCornet – Steve Sidwell\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eDrums, Percussion – Graham Broad\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eGuitar, Backing Vocals – Andy Fairweather Low\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003ePercussion – Luis Conte\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eVocals – Roger Waters\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cp\u003e\u003cstrong\u003eB3 Late Home Tonight, Part II\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eBass Guitar – James Johnson\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eConductor, Arranged By [National Philharmonic Orchestra Limited] – Michael Kamen\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eCornet – Steve Sidwell\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eDrums, Percussion – Graham Broad\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eGuitar, Backing Vocals – Andy Fairweather Low\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003ePercussion – Luis Conte\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eVocals – Roger Waters\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cp\u003e\u003cstrong\u003eB4 Too Much Rope\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eBacking Vocals – Doreen Chanter, Jessica Leonard, Jordan Leonard, Katie Kissoon\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eBacking Vocals [End] – Screaming Kids (2)\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eBass Guitar – James Johnson\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eConductor, Arranged By [National Philharmonic Orchestra Limited] – Michael Kamen\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eDrums – Graham Broad\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eGuitar – Geoff Whitehorn\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eGuitar [Additional] – Steve Lukather\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eKeyboards – Patrick Leonard\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003ePercussion – Luis Conte\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eTwelve-String Guitar [Rickenbacker 12 Strings Played With A Feather] – Andy Fairweather Low\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eVocals – Roger Waters\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cp\u003e\u003cstrong\u003eB5 What God Wants, Part II\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eAcoustic Guitar [Rhythm], Electric Guitar – Andy Fairweather Low\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eArranged By [Choir], Keyboards – Patrick Leonard\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eBacking Vocals – Doreen Chanter, Katie Kissoon\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eBass Guitar – Randy Jackson (2)\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eDrums – Graham Broad\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eLead Guitar – Tim Pierce\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003ePerformer [Tv Evangelist] – Charles Fleischer\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eVocals – Roger Waters\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cp\u003e\u003cstrong\u003eC1 What God Wants, Part III\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eArranged By [Choir], Keyboards – Patrick Leonard\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eBass Guitar – James Johnson\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eConductor [London Welsh Chorale] – Kenneth Bowen\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eConductor, Arranged By [National Philharmonic Orchestra Limited] – Michael Kamen\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eDrums – Graham Broad\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eGuitar – Geoff Whitehorn\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003ePercussion – Luis Conte\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eSoloist, Guitar – Jeff Beck\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eVocals – Roger Waters\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cp\u003e\u003cstrong\u003eC2 Watching TV\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eAcoustic Guitar – Andy Fairweather Low\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eBass Guitar [Upright \u0026amp; Electric] – John Patitucci\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eDulcimer, Lute, Oboe, Bass, Other [Zhen] – Guo Yi, The Peking Brothers\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eElectric Guitar – Jeff Beck\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003ePiano [Acoustic] – Patrick Leonard\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eVocals – Don Henley\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eVocals, Acoustic Guitar – Roger Waters\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cp\u003e\u003cstrong\u003eC3 Three Wishes\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eBacking Vocals – Doreen Chanter, Katie Kissoon\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eBass Guitar – James Johnson\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eDrums – Graham Broad\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eGuitar [Chorus Leslie] – Tim Pierce\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eKeyboards – Patrick Leonard\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eOrgan [Hammond] – John \"Rabbit\" Brundrick\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003ePercussion – Luis Conte\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eRhythm Guitar, Twelve-String Guitar [Feathered 12-Strings] – Andy Fairweather Low\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eSoloist, Guitar – Jeff Beck\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eVocals – Roger Waters\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cp\u003e\u003cstrong\u003eD1 It's A Miracle\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eArranged By [Choir], Piano, Synthesizer – Patrick Leonard\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eBacking Vocals – Jim Haas, Jon Joyce, Stan Laurel\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eBass Guitar – James Johnson\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eConductor [London Welsh Chorale] – Kenneth Bowen\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eDrums – Jeff Porcaro\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eGuitar – Jeff Beck\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eVocals, Bass – Roger Waters\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cp\u003e\u003cstrong\u003eD2 Amused To Death\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eBacking Vocals – Doreen Chanter, Katie Kissoon\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eBass Guitar – James Johnson\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eDrums – Graham Broad\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eElectric Guitar – Geoff Whitehorn\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eKeyboards – Patrick Leonard\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eSoloist, Guitar – Jeff Beck\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eVocals – Alf Razzell, Rita Coolidge\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eVocals, Acoustic Guitar – Roger Waters\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e2 LPs, Gatefold jacket \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 200g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : \u003cspan data-mce-fragment=\"1\"\u003eQuality Record Pressings\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Analogue Productions\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Columbia\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded\u003cspan\u003e \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e1987–1992 \u003c\/span\u003eby Nick Griffiths\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineers : Hayden Bendall, Jerry Jordan, Stephen McLaughlan, Sean O'Dwyer, Andy Bradfield, Brian Burrows, Chris Brown (8), Dary Sulich, Jeremy Wheatley, John Lowson, Marc Moreau, Mike Bosley, Ross Donaldson, Roy Sweeting, Steve Heinke\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Patrick Leonard, Roger Waters, Nick Griffiths\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered and Mixed by James Guthrie\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003eOriginally released in 19992\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003eReissued in July 2015\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cp\u003e\u003cstrong\u003eTracks :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv\u003e\u003cspan face=\"Times New Roman\"\u003eSide A :\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\n\u003cspan\u003e1. The Ballad of Bill Hubbard\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e2. What God Wants, Part I\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e3. Perfect Sense, Part I\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e4. Perfect Sense, Part II\u003c\/span\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Times New Roman\"\u003eSide B :\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\n\u003cspan\u003e1. The Bravery of Being Out of Range\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e2. Late Home Tonight, Part I\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e3. Late Home Tonight, Part II\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e4. Too Much Rope\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e5. What God Wants, Part II\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\u003cspan face=\"Times New Roman\"\u003eSide C :\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\n\u003cspan\u003e1. What God Wants, Part III\u003cbr data-mce-fragment=\"1\"\u003e2. Watching TV\u003cbr data-mce-fragment=\"1\"\u003e3. Three Wishes\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Times New Roman\"\u003eSide D :\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\n\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003e1. It's A Miracle\u003cbr\u003e2. Amused To Death\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan size=\"3\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan size=\"3\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\u003cspan size=\"3\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cstrong\u003e\u003cbr\u003eAwards\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003e:\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan size=\"3\" style=\"color: #ff2a00;\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cb\u003eTAS Super LP List! Special Merit: Informal\u003c\/b\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cspan size=\"3\" style=\"color: #ff2a00;\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eGrammy Award for Best Surround Sound Album\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cspan size=\"3\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan size=\"3\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan size=\"3\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cspan size=\"3\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp\u003e« War is Roger Waters' great muse, the impetus for so much of his work, including the semi-autobiographical 1979 opus The Wall. The Final Cut, his last album with Pink Floyd, functioned as an explicit sequel to The Wall, but 1992's Amused to Death acts as something of a coda, a work where Waters revisits his obsessions -- both musical and lyrical -- and ties them together with the masterful touch of a mature artist. Certainly, Waters' narrative of a society filtering all manners of ugliness through a television screen isn't as sci-fi silly as that of its immediate predecessor Radio K.A.O.S., but a greater point in its favor is that it's a richer affair than that stiff, synthesized relic of the late '80s. Working with Patrick Leonard -- a veteran collaborator of Madonna's who also dabbled with the latter-day David Gilmour-led Pink Floyd -- Waters gives Amused to Death forward momentum, an aspect conspicuously absent from the still, meditative The Final Cut and Pros and Cons of Hitchhiking, both of which seemed to be comprised of song poems. The tunes on Amused aren't quite hooky or melodic but they do have structure, as does the production by Waters, Leonard, and Nick Griffiths. The tapestry of found sounds, choirs, televisions, washes of organ, lonely acoustic guitars, and blues leads by Jeff Beck does recall Floyd at their '70s peak, but Amused to Death sounds grander and more expansive; it's a creature of the CD age, using up every one of its available 72 minutes. At this length, it's a mere ten minutes shorter than The Wall, and although it can sometimes feel indulgent, it never feels excessive. Unlike the other two Waters solo albums -- or The Final Cut, which is a Waters project masquerading as a Floyd album -- Amused to Death feels cohesive and complete as an anti-war rock opera. If it winds up being Waters' last original rock album, so be it: it is a masterpiece in the sense that it brings together all of his obsessions in one grand, but not unwieldy, package. » AllMusic Review by Stephen Thomas Erlewine\u003c\/p\u003e\n\u003cp\u003e\"In some ways, this is even better than\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eThe Wall\u003c\/em\u003e. Waters got a lot of top performers to play on the album, usually behind his singing and speaking of the lyrics .... Guitarist Jeff Beck is heard frequently in the album, with his special virtuosity on eight of the tracks. ... (Waters is) certainly at his cynical best here - and without him Pink Floyd — never mind the general doom and gloom — wouldn't have been the top rock group it is and was.\" —\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eAudiophile Audition\u003c\/em\u003e, Jan. 12, 2016.\u003c\/p\u003e\n\u003cp\u003e\"Despite the bombast and conceit, this long-time audiophile favorite sounds outstanding in this 200-gram vinyl edition. Back in the day you needed some pretty heady drugs to make DSOTM sound this good, and the stellar line-up of musicians, with Jeff Beck on eight tracks, makes for a pharmaceutical-free audiophile amusement ride. The LP surfaces are dead quiet too, allowing you to hear every nuance of cricket chirp and dog bark.\"  Dennis D. Davis,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eHi-Fi +\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\"I have the original double vinyl issue of this, that until recently went for upwards of $600, and this reissue beats that one in every possible way ... The QSound\u003csup\u003eTM\u003c\/sup\u003e\u003cspan\u003e \u003c\/span\u003e\"surround sound\" is more intensely drawn, dynamics are staggering, deep bass is monumental and the depth and width of the cinematic soundstage is beyond that of every other record I can think of in my collection. The 200g QRP pressing I got (sealed) was perfectly quiet and flat and after sitting through all four sides I felt as if I'd experienced a 3D IMAX movie, only with greater sonic intensity and dimensionality.\" \u003cspan class=\"blurb\"\u003eMichael Fremer,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eAnalogPlanet.com.\u003cspan\u003e \u003c\/span\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003eRatings\u003c\/strong\u003e : \u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\u003cspan size=\"3\"\u003e\u003cspan size=\"3\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eAllMusic : 4.5 \/ 5 , Discogs : 4.69 \/ 5 ,  Michael Fremer : \u003cspan class=\"blurb\" data-mce-fragment=\"1\"\u003eMusic = 9\/11; Sound = 11\/11   ,  Dennis D. Davis, \u003cem data-mce-fragment=\"1\"\u003eHi-Fi + : \u003c\/em\u003eRecording = 9.5\/10; Music = 8.5\/10\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003ch1\u003e\u003c\/h1\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40727831117975,"sku":"AAPP 468761","price":95.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/roger-waters-amused-to-death-2lp-33rpm-200g-audiosoundmusic-1.jpg?v=1719852192"},{"product_id":"dr-john-dr-johns-gumbo","title":"Dr. John - Dr. John's Gumbo","description":"\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eDr. John, vocals, piano, keyboards\u003cspan style=\"color: #ff8000;\"\u003e \u003ca data-mce-fragment=\"1\" style=\"color: #ff8000;\" title=\"vinyl featuring Dr. John\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/dr-john\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/dr-john\"\u003e[click here to see more vinyl featuring Dr. John]\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eRonnie Barron, keyboards, organ, piano, vocals\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eHarold Battiste, Jr., clarinet, saxophone\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eSidney George, harmonica, saxophone\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eMorris Bechamin, saxophone, vocals\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eJimmy Calhoun, bass\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eFred Staehle, drums, percussion\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eRichard Washington, percussion\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, Tip-on style gatefold jacket by Stoughton Printing\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : \u003cspan data-mce-fragment=\"1\"\u003eQuality Record Pressings\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Analogue Productions\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Atco (Atlantic)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineers : Gary Brandt, Keith Olsen\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMastered by George Piros\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Harold Battiste, Jerry Wexler\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by Kevin Gray at Cohearent Audio\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003eOriginally released in 1972\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003eReissued in 2016\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cp\u003e\u003cstrong\u003eTracks :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv\u003e\u003cspan face=\"Times New Roman\"\u003eSide A :\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\n\u003cspan\u003e1. Iko Iko\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e2. Blow Wind Blow\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e3. Big Chief\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e4. Somebody Changed The Lock\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e5. Mess Around\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e6. Let The Good Times Roll\u003c\/span\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Times New Roman\"\u003eSide B :\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\u003cspan\u003e1. Junko Partner\u003cbr data-mce-fragment=\"1\"\u003e2. Stack-A-Lee\u003cbr data-mce-fragment=\"1\"\u003e3. Tipitina\u003cbr data-mce-fragment=\"1\"\u003e4. Those Lonely Lonely Nights\u003cbr data-mce-fragment=\"1\"\u003e5. Huey Smith Medley [High Blood Pressure \/ Don't You Just Know It \/ Well I'll Be John Brown]\u003cbr data-mce-fragment=\"1\"\u003e6. Little Liza Jane\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\u003cspan size=\"3\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan size=\"3\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cstrong\u003eAwards\u003c\/strong\u003e :\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cspan size=\"3\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan size=\"3\" style=\"color: #ff2a00;\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cstrong\u003eNo. 404 on \u003cem\u003eRolling Stone\u003c\/em\u003e's list of 500 Greatest Albums of All Time!\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan size=\"3\" style=\"color: #ff2a00;\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cstrong\u003eTAS Super LP List! Special Merit: Informal\u003cbr\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cspan size=\"3\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan size=\"3\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan size=\"3\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cspan size=\"3\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp\u003e« Dr. John's Gumbo bridged the gap between post-hippie rock and early rock \u0026amp; roll, blues, and R\u0026amp;B, offering a selection of classic New Orleans R\u0026amp;B, including \"Tipitina\" and \"Junko Partner,\" updated with a gritty, funky beat. There aren't as many psychedelic flourishes as there were on his first two albums, but the ones that are present enhance his sweeping vision of American roots music. And that sly fusion of styles makes Dr. John's Gumbo one of Dr. John's finest albums. » AllMusic Review by Stephen Thomas Erlewine\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cem\u003eDr. John's Gumbo\u003c\/em\u003e is the fifth album by New Orleans singer and pianist Dr. John, a tribute to the music of his native city. The album is a collection of covers of New Orleans classics, played by a major figure in the city's music.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cem\u003eDr John's Gumbo\u003c\/em\u003e was released in 1972 and is in many ways a tribute by Dr. John, aka the Night Tripper, to his hometown New Orleans. It features excellent interpretations of New Orleans traditionals (\"Iko Iko\", \"Tipitina\", \"Junko Partner\" and \"Stack-O-Lee\") and contemporary R\u0026amp;B written or played by the likes of Huey Piano Smith (\"Blow Wind Blow\" and \"Huey Smith Medley\") and Earl King (\"Big Chief\" and \"Those Lonely Lonely Nights\").\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eDr. John delivers a strong set of infectious songs drenched in good vibes and spiced with a pinch of voodoo. His eccentric (stage) appearance adds unique color to his stature as master of the ivories and as an entertainer.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eThis great album receives the full Analogue Productions reissue treatment here, starting with Kevin Gray's remaster from the original analog tapes. Then we back that up with 200-gram plating and pressing on super-silent vinyl by our own Quality Record Pressings. Finally it's all housed in a tip-on gatefold jacket from Stoughton Printing. Deluxe all the way; you'll be ecstatic with the results!\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eRatings\u003c\/strong\u003e : \u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\u003cspan size=\"3\"\u003e\u003cspan size=\"3\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eAllMusic : 4.5 \/ 5 , Discogs : 4.4 \/ 5 \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003ch1\u003e\u003c\/h1\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40729269534871,"sku":"AAPP 093","price":65.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/dr-john-dr-john-s-gumbo-audiosoundmusic-1.jpg?v=1719852193"},{"product_id":"king-crimson-in-the-court-of-the-crimson-king","title":"King Crimson - In The Court Of The Crimson King","description":"\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eRobert Fripp, guitar\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eIan McDonald, reeds, woodwind, vibes, keyboards, mellotron, vocals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGreg Lake, bass guitar, lead vocals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMichael Giles, drums, percussion, vocals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePeter Sinfield, words, illumination\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP,  Gatefold jacket, booklet\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan style=\"color: #ff2a00;\"\u003eLimited to 2,000 copies\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 200g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : \u003cspan data-mce-fragment=\"1\"\u003ethe Vinyl Factory (UK)\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Panegyric\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Island Records\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineers : Robin Thompson \u0026amp; Tony Page\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by King Crimson\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemixed by Steven Wilson and Robert Fripp\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCut by Jason Mitchell at Loud Mastering\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003eOriginally released in 1969\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003eReissued in 2015\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cp\u003e\u003cstrong\u003eTracks :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv\u003e\u003cspan face=\"Times New Roman\"\u003eSide A :\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003col\u003e\n\u003cli\u003e21st Century Schizoid Man\u003c\/li\u003e\n\u003cli\u003eI Talk To The Wind\u003c\/li\u003e\n\u003cli\u003eEpitaph\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Times New Roman\"\u003eSide B :\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\n\u003cspan data-mce-fragment=\"1\"\u003e1. \u003c\/span\u003eMoonchild\u003cbr\u003e2. The Court Of The Crimson King\u003cbr\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003cbr\u003e\u003c\/span\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp\u003e\u003cstrong\u003eAwards:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e1000 Recordings you must hear before you die - Ranked 168\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e\u003cspan\u003eStereophile Records To Die For - 2007\u003c\/span\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cbr\u003e\u003cstrong\u003e\u003c\/strong\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp\u003e« The group's definitive album, and one of the most daring debut albums ever recorded by anybody. At the time, it blew all of the progressive\/psychedelic competition (the Moody Blues, the Nice, etc.) out of the running, although it was almost too good for the band's own good -- it took King Crimson nearly four years to come up with a record as strong or concise. Ian McDonald's Mellotron is the dominant instrument, along with his saxes and Fripp's guitar, making this a somewhat different-sounding record from everything else they ever did. And even though that Mellotron sound is muted and toned down compared to their concert work of the era (e.g., Epitaph), it is still fierce and overpowering, on an album highlighted by strong songwriting (most of it filled with dark and doom-laden visions), the strongest singing of Greg Lake's entire career, and Fripp's guitar playing that strangely mixed elegant classical, Hendrix-like rock explosions, and jazz noodling. Lineup changes commenced immediately upon the album's release, and Fripp would ultimately be the only survivor on later King Crimson records. » AllMusic Review by Bruce Eder\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003eRatings\u003c\/strong\u003e : \u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\u003cspan size=\"3\"\u003e\u003cspan size=\"3\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eAllMusic : 5 \/ 5 , Discogs : 4.54 \/ 5 \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003ch1\u003e\u003c\/h1\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40730065404055,"sku":"KCLP1","price":29.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/king-crimson-in-the-court-of-the-crimson-king-audiosoundmusic-1.jpg?v=1719852203"},{"product_id":"jimi-hendrix-the-cry-of-love","title":"Jimi Hendrix - The Cry Of Love","description":"\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eJimi Hendrix – lead vocals, guitar, backing vocals on \"In from the Storm\", piano on \"Freedom\", production, mixing on \"Freedom\", \"Nightbird Flying\", \"Ezy Ryder\", \"Astro Man\", \"Belly Button Window\" \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/jimi-hendrix\" title=\"vinyl featuring Jimi Hendrix\"\u003e\u003cspan style=\"color: #ff8000;\"\u003e[Click here to see more vinyl featuring Jimi Hendrix]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBilly Cox – bass guitar on all tracks (except \"My Friend\", \"Belly Button Window\")\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMitch Mitchell – drums on all tracks (except \"Ezy Ryder\", \"My Friend\", \"Belly Button Window\"), posthumous production, mixing on \"Angel\"\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJuma Sultan – percussion on \"Freedom\", \"Astro Man\"\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe Ghetto Fighters a.k.a. Arthur and Albert Allen – backing vocals on \"Freedom\"\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBuzzy Linhart – vibraphone on \"Drifting\"\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBuddy Miles – drums on \"Ezy Ryder\"\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBilly Armstrong – percussion on \"Ezy Ryder\"\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSteve Winwood – backing vocals on \"Ezy Ryder\"\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eChris Wood – backing vocals on \"Ezy Ryder\"\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eNoel Redding – bass guitar on \"My Friend\"\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eKenny Pine – twelve-string guitar on \"My Friend\"\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJimmy Mayes – drums on \"My Friend\"\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStephen Stills – piano on \"My Friend\"\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePaul Caruso a.k.a. Gers – harmonica on \"My Friend\"\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEmeretta Marks – backing vocals on \"In from the Storm\"\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by Jimi Hendrix\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP,  Gatefold jacket\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 200g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : \u003cspan data-mce-fragment=\"1\"\u003eQuality Record Pressings\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Legacy\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 at Electric Lady Studios, New York City\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Eddie Kramer, Jimi Hendrix, Mitch Mitchell\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by Bernie Grundman\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003eOriginally released in 1971\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003eReissued in 2015\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cp\u003e\u003cstrong\u003eTracks :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv\u003e\u003cspan face=\"Times New Roman\"\u003eSide A :\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e1. Freedom\u003cbr data-mce-fragment=\"1\"\u003e2. Drifting\u003cbr data-mce-fragment=\"1\"\u003e3. Ezy Ryder\u003cbr data-mce-fragment=\"1\"\u003e4. Night Bird Flying\u003cbr data-mce-fragment=\"1\"\u003e5. My Friend\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Times New Roman\"\u003eSide B :\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e1. Straight Ahead\u003cbr data-mce-fragment=\"1\"\u003e2. Astro Man\u003cbr data-mce-fragment=\"1\"\u003e3. Angel\u003cbr data-mce-fragment=\"1\"\u003e4. In From the Storm\u003cbr data-mce-fragment=\"1\"\u003e5. Belly Button Window\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cbr\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003eReviews\u003c\/strong\u003e :\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp\u003e« This was the first of the posthumous releases in the Jimi Hendrix catalog and probably the best as it collected most of the studio tracks that were either completed or very near completion before Hendrix died. Some of these tunes, like \"Angel\" and \"Ezy Rider,\" have become well-known pieces in the Hendrix canon, but they sit alongside lesser-known gems like \"Night Bird Flying\" and the Dylanesque \"My Friend.\" Cry of Love as an album has been rendered as a footnote, since the Hendrix estate has recompiled, to Hendrix's specifications, First Rays of the New Rising Sun. This (originally) double-album set contains not only the entire Cry of Love LP, but the best studio tracks from Rainbow Bridge, War Heroes, and Crash Landing, presented in drastically improved sound. » AllMusic Review by Sean Westergaard\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003eRatings\u003c\/strong\u003e : \u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\u003cspan size=\"3\"\u003e\u003cspan size=\"3\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eAllMusic : 4 \/ 5 , Discogs : 4.5 \/ 5 \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003ch1\u003e\u003c\/h1\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40733708386455,"sku":"88843091781","price":29.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/jimi-hendrix-the-cry-of-love-audiosoundmusic-1.jpg?v=1719852203"},{"product_id":"leon-russell-carney","title":"Leon Russell - Carney (200g)","description":"\u003cp\u003e \u003cstrong\u003eLeon Russell – vocals, guitar, bass guitar, piano\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDon Preston – guitar, vocals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJoey Cooper – guitar\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCarl Radle – bass guitar\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eChuck Blackwell, Jim Keltner – drums\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJohn Gallie – Hammond organ\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by Leon Russell\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP,  Heavyweight tip-on old-style jacket from Stoughton Printing\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 200g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : \u003cspan data-mce-fragment=\"1\"\u003eQuality Record Pressings\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Analogue Productions\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Capitol\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded Skyhill Studios ; Muscle Shoals Sound Studios ; Paradise Studios, Grand Lake Of The Cherokees\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Denny Cordell, Leon Russell\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by Kevin Gray at Cohearent Audio\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003eOriginally released in 1972\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003eReissued in 2017\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cp\u003e\u003cstrong\u003eTracks :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv\u003e\u003cspan face=\"Times New Roman\"\u003eSide A :\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e1. Tight Rope\u003cbr data-mce-fragment=\"1\"\u003e2. Out in the Woods\u003cbr data-mce-fragment=\"1\"\u003e3. Me and Baby Jane\u003cbr data-mce-fragment=\"1\"\u003e4. Manhattan Island Serenade\u003cbr data-mce-fragment=\"1\"\u003e5. Cajun Love Song\u003cbr data-mce-fragment=\"1\"\u003e6. Roller Derby\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Times New Roman\"\u003eSide B :\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e1. Carney\u003cbr data-mce-fragment=\"1\"\u003e2. Acid Annapolis\u003cbr data-mce-fragment=\"1\"\u003e3. If the Shoe Fits\u003cbr data-mce-fragment=\"1\"\u003e4. My Cricket\u003cbr data-mce-fragment=\"1\"\u003e5. This Masquerade\u003cbr data-mce-fragment=\"1\"\u003e6. Magic Mirror\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eReviews\u003c\/strong\u003e :\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp\u003e« \"Tight Rope\" leads off Carney, and it's not just his biggest hit, it offers an excellent introduction to an off-kilter, confused, fascinating album. In a sense, it consolidates his two extremes, offering a side of fairly straightforward roots rock before delving headfirst into twisted psychedelia on the second side. On the whole, the second side deflates the first side, since it's just too fuzzy -- it's intriguing, at least in parts, but it never adds up to anything. Besides, the first side is already odd enough, but in a meaningful way; here, his fascination with Americana sideshows is married to songs that work, instead of just being vehicles for tripping in the studio. Of course, part of what makes Carney interesting is that it contains a bit of both, but interesting doesn't equal compelling, as the whole of Carney bears out. » AllMusic Review by Stephen Thomas Erlewine\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eRatings\u003c\/strong\u003e : \u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\u003cspan size=\"3\"\u003e\u003cspan size=\"3\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eAllMusic : 3 \/ 5 , Discogs : 4.00 \/ 5 \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003ch1\u003e\u003c\/h1\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40734206918807,"sku":"AAPP 110","price":65.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/leon-russell-carney-200g-audiosoundmusic-1.jpg?v=1719852214"},{"product_id":"the-vaughan-brothers-family-style","title":"The Vaughan Brothers - Family Style (200g)","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJimmie Vaughan – guitar, lap steel guitar, vocals, organ\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStevie Ray Vaughan – guitar, vocals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAl Berry – bass\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLarry Aberman – drums\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDoyle Bramhall – drums\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eNile Rodgers – guitar, producer\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRichard Hilton – organ\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTawatha Agee – vocals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFrank Simms – vocals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGeorge Simms – vocals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBrenda White-King – vocals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCurtis King Jr. – vocals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePreston Hubbard – upright bass\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStan Harrison – tenor saxophone\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eArranged By [Horns] Nile Rodgers\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP,  gatefold jacket\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 200g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : \u003cspan data-mce-fragment=\"1\"\u003eQuality Record Pressings\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Analogue Productions\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Epic\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded at Ardent Studios, Memphis TN; The Dallas Sound Lab, Dallas TX. \/ Mixed at Skyline Studios, NY\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced and mixed by Nile Rodgers\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by Ryan Smith at Sterling Sound\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003eOriginally released in 1990\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003eReissued in 2017\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cp\u003e\u003cstrong\u003eTracks :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv\u003e\u003cspan face=\"Times New Roman\"\u003eSide A :\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e1. Hard To Be\u003cbr data-mce-fragment=\"1\"\u003e2. White Boots\u003cbr data-mce-fragment=\"1\"\u003e3. D\/FW\u003cbr data-mce-fragment=\"1\"\u003e4. Good Texan\u003cbr data-mce-fragment=\"1\"\u003e5. Hillbillies From Outerspace\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Times New Roman\"\u003eSide B :\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\n\u003cspan data-mce-fragment=\"1\"\u003e2. Long Way From Home\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e3. Tick Tock\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e4. Telephone Song\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e5. Baboom\/Mama Said\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e6. Brothers\u003c\/span\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eAwards\u003c\/strong\u003e :\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eThe album Family Style won The Vaughan Brothers a Grammy in 1990 in the category \"Best Contemporary Blues Recording\". The track \"D \/ FW\" was awarded a Grammy for \"Best Rock Instrumental Performance\" the same year.\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eReviews\u003c\/strong\u003e :\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp\u003e« With slick production from Nile Rodgers and employing neither guitarist's band (Double Trouble nor the Fabulous Thunderbirds), this is bluesy, but far from purist. Jimmie makes his vocal debut on \"White Boots\" and \"Good Texan,\" and the brothers blur the lines between their expected guitar styles -- Stevie sometimes going for a less sustainy twang, Jimmie moving into Albert King territory. When standard blues is the order of the day (the slow instro \"Brothers\"), the key word is \"standard\" -- bordering on run-of-the-mill. Instrumentals \"D\/FW\" and \"Hillbillies from Outer Space\" fare better -- offering ZZ Top crunch and Santo \u0026amp; Johnny steel, respectively. » AllMusic Review by Dan Forte\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eRatings\u003c\/strong\u003e : \u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\u003cspan size=\"3\"\u003e\u003cspan size=\"3\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eAllMusic : 3 \/ 5 , Discogs : 4.01 \/ 5 \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003ch1\u003e\u003cbr\u003e\u003c\/h1\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40736957923479,"sku":"AAPB100","price":65.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/the-vaughan-brothers-family-style-200g-audiosoundmusic-1.jpg?v=1719852233"},{"product_id":"alice-coopers-greatest-hits","title":"Alice Cooper's Greatest Hits","description":"\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eCOMPILATION\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eVocals – Alice Cooper\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/alice-cooper\" title=\"vinyl featuring Alice Cooper\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/alice-cooper\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Alice Cooper]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBass – Denny\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDrums – Neal\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGuitar – G.B., Mike\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, gatefold sleeve\u003c\/strong\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : \u003c\/strong\u003e\u003cstrong\u003eunspecified\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Friday Music\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Warner Bros\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Nimbus 9 Productions Limited\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by Friday Music's Joe Reagoso at Capitol Records From Original Warner Bros. Tapes\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1974\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2013\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide One:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eI’m Eighteen\u003c\/li\u003e\n\u003cli\u003eIs It My Body\u003c\/li\u003e\n\u003cli\u003eDesperado\u003c\/li\u003e\n\u003cli\u003eUnder My Wheels\u003c\/li\u003e\n\u003cli\u003eBe My Lover\u003c\/li\u003e\n\u003cli\u003eSchool’s Out\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eSide Two:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eHello Hooray\u003c\/li\u003e\n\u003cli\u003eElected\u003c\/li\u003e\n\u003cli\u003eNo More Mr. Nice Guy\u003c\/li\u003e\n\u003cli\u003eBillion Dollar Babies\u003c\/li\u003e\n\u003cli\u003eTeenage Lament ‘74\u003c\/li\u003e\n\u003cli\u003eMuscle Of Love\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eReviews :\u003c\/p\u003e\n\u003cp\u003e\"With the future of the original Alice Cooper band in doubt by mid-1974 (they would soon break up for good with Alice going solo), Warner Bros. decided to issue a best-of compilation entitled Greatest Hits. If you're a newcomer to Alice, this 12-track compilation is a must-hear -- all the selections are exceptional. While many have chosen to focus primarily on Cooper's theatrics over the years, the original bandmembers were indeed supreme rock songwriters; such anthems as \"I'm Eighteen,\" \"Under My Wheels,\" \"School's Out,\" and \"No More Mr. Nice Guy\" are unquestionably among the finest hard rock tracks of all time. And the other selections prove to be just as strong -- \"Is It My Body,\" \"Desperado,\" \"Be My Lover,\" \"Elected,\" \"Billion Dollar Babies,\" and \"Muscle of Love\" are all outstanding as well. The only criticism of the original release is that the collection overlooked the band's key album tracks never issued as singles.\" \u003cspan data-mce-fragment=\"1\"\u003eAllMusic Review by Greg Prato\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eRatings :\u003c\/p\u003e\n\u003cp\u003eAllMusic : 5 \/ 5 , Discogs : 4,15 \/ 5\u003c\/p\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003ch1\u003e\u003c\/h1\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40789748547735,"sku":"FRM-2803","price":55.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/alice-cooper-s-greatest-hits-audiosoundmusic-1.jpg?v=1719852620"},{"product_id":"alice-cooper-killer-vinyl","title":"Alice Cooper - Killer","description":"\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eVocals, Harmonica – Alice Cooper\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/alice-cooper\" title=\"vinyl featuring Alice Cooper\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/alice-cooper\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Alice Cooper]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003cstrong\u003eBacking Vocals – Reggie Vincent\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBass, Vocals – Dennis Dunaway\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDrums, Vocals – Neal Smith\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLead Guitar – Glen Buxton\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOther [Boa Constrictor] – Kachina\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eKeyboards, Synthesizer [Mini-moog] – Bob Ezrin\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRhythm Guitar, Vocals, Piano, Organ – Michael Bruce\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTechnician [Recording Technician] – Joe Lopes\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eArranged by [String And Horn Arrangements] Bob Ezrin\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, gatefold sleeve\u003c\/strong\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Rainbo Records\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Friday Music\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Warner Bros\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded at RCA, Chicago \u003c\/strong\u003e\u003cstrong\u003eby Brian Christian\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Bob Ezrin\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by Friday Music's Joe Reagoso at Capitol Records From Original Warner Bros. Tapes\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1971\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2012\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\u003eUnder My Wheels\u003c\/li\u003e\n\u003cli\u003eBe My Lover\u003c\/li\u003e\n\u003cli\u003eHalo of Flies\u003c\/li\u003e\n\u003cli\u003eDesperado\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\u003eYou Drive Me Nervous\u003c\/li\u003e\n\u003cli\u003eYeah, Yeah, Yeah\u003c\/li\u003e\n\u003cli\u003eDead Babies\u003c\/li\u003e\n\u003cli\u003eKiller\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eReviews :\u003c\/p\u003e\n\u003cp\u003e\"Alice Cooper wasted little time following up the breakthrough success of Love It to Death with another album released the same year, Killer. Again, producer Bob Ezrin was on board and helps the group solidify their heavy rock (yet wide-ranging) style even further. The band's stage show dealt with the macabre, and such disturbing tracks as \"Dead Babies\" and the title track fit in perfectly. Other songs were even more exceptional, such as the perennial barnstorming concert standard \"Under My Wheels,\" the melodic yet gritty \"Be My Lover,\" and the tribute to their fallen friend Jim Morrison, \"Desperado.\" The long and winding \"Halo of Flies\" correctly hinted that the band would be tackling more complex song structures on future albums, while \"You Drive Me Nervous\" and \"Yeah, Yeah, Yeah\" showed that Alice Cooper hadn't completely abandoned their early garage rock direction. With Killer, they became one of the world's top rock bands and concert attractions; it rewarded them as being among the most notorious and misunderstood entertainers, thoroughly despised by grownups.\" \u003cspan data-mce-fragment=\"1\"\u003eAllMusic Review by Greg Prato\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eRatings :\u003c\/p\u003e\n\u003cp\u003eAllMusic : 4,5 \/ 5 , Discogs : 4,18 \/ 5\u003c\/p\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003ch1\u003e\u003c\/h1\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40789827584151,"sku":"FRM 2567","price":55.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/alice-cooper-killer-audiosoundmusic-1.jpg?v=1719852619"},{"product_id":"alice-cooper-schools-out","title":"Alice Cooper - School's Out","description":"\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eVocals – Alice Cooper\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/alice-cooper\" title=\"vinyl featuring Alice Cooper\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/alice-cooper\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Alice Cooper]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong style=\"font-size: 0.875rem;\"\u003eBass, Vocals – Dennis Dunaway\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDrums, Vocals – Neal Smith\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLead Guitar – Glen Buxton\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRhythm Guitar – Michael Bruce\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 : Rainbo Records\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Friday Music\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Warner Bros\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded at Record Plant, N.Y.C. by \u003c\/strong\u003e\u003cstrong\u003eRoy Cicala, Shelly Yakus\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Bob Ezrin\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by Joe Reagoso At Friday Music Studios\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 2009\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A:\u003c\/p\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e1 School's Out\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e2 Alma Mater\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e3 Blue Turk\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e4 Grande Finale\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\u003c\/div\u003e\n\u003cp\u003eSide B:\u003c\/p\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e1. Gutter Cat Vs. The Jets\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e2. Luney Tune\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e3. My Stars\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e4. Public Animal #9\u003c\/div\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAwards\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eRolling Stone 500 Greatest Songs of All Time — \"School's Out\" — Rated 326\/500!\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\"School's Out catapulted Alice Cooper into the hard rock stratosphere, largely due to its timeless, all-time classic title track. But while the song became Alice's highest-charting single ever (reaching number seven on the U.S. charts) and recalled the brash, three-and-a-half-minute garage rock of yore, the majority of the album signaled a more complex compositional directional for the band. Unlike Cooper's previous releases (Love It to Death, Killer), which contained several instantly identifiable hard rock classics, School's Out appears to be a concept album, and aside from the aforementioned title track anthem, few of the other tracks have ever popped up in concert. That's not to say they weren't still strong and memorable; while such cuts as \"Gutter Cat vs. the Jets,\" \"Street Fight,\" \"My Stars,\" and \"Grande Finale\" came off like mini-epics with a slightly progressive edge, Alice Cooper still managed to maintain their raw, unrefined punk edges, regardless. Other highlights included the rowdy \"Public Animal #9,\" the mid-paced \"Luney Tune,\" and the sinister, cabaret-esque \"Blue Turk.\"\" \u003cspan data-mce-fragment=\"1\"\u003eAllMusic Review by Greg Prato\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 : 4,06 \/ 5 \u003c\/p\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003ch1\u003e\u003c\/h1\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40789928018071,"sku":"FRM 9113","price":55.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/alice-cooper-school-s-out-audiosoundmusic-1.jpg?v=1719852620"},{"product_id":"alice-cooper-the-alice-cooper-show","title":"Alice Cooper - The Alice Cooper Show","description":"\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003eAlice Cooper, vocals\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/alice-cooper\" title=\"vinyl featuring Alice Cooper\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/alice-cooper\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Alice Cooper]\u003c\/span\u003e\u003c\/a\u003e\u003cbr\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eDick Wagner, guitars, vocals\u003cbr\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003ePrakash John, bass, vocals\u003cbr\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eFred Mandel, keyboards\u003cbr\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eSteve Hunter, guitars\u003cbr\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003ePentti (Whitey) Glan, drums\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by A. Cooper (A2 to B5), B. Ezrin (A1, A4, B2, B4), D. Dunaway (A1, A2, A5, B5), D. Wagner (A3, A6, B2 to B4), G. Buxton (A2, A5, B5), M. Bruce (A1, A2, A4, A5, B1, B5), N. Smith (A2, A5, B5)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, gatefold sleeve\u003c\/strong\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\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 : Friday Music\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Warner Bros\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded live on the 1977 tour by Pete Carlson \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Bob Ezrin, Brian Christian\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by Friday Music's Joe Reagoso From Original Warner Bros. Tapes\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1977\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2013\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\u003eUnder My Wheels\u003c\/li\u003e\n\u003cli\u003eEighteen\u003c\/li\u003e\n\u003cli\u003eOnly Women Bleed\u003c\/li\u003e\n\u003cli\u003eSick Things\u003c\/li\u003e\n\u003cli\u003eIs It My Body\u003c\/li\u003e\n\u003cli\u003eI Never Cry\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\u003eBillion Dollar Babies\u003c\/li\u003e\n\u003cli\u003eDevil’s Food\/The Black Widow\u003c\/li\u003e\n\u003cli\u003eYou and Me\u003c\/li\u003e\n\u003cli\u003eI Love the Dead\/Go to Hell\/Wish You Were Here\u003c\/li\u003e\n\u003cli\u003eSchool’s Out\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eReviews :\u003c\/p\u003e\n\u003cp\u003e\"During the early '70s, the original Alice Cooper put on amazing live shows, cranking out mega-decibel hard rock anthems and combining theatrics with high-energy performances. But after the band split up in 1974, Alice went in a much more theatrical direction, almost as if the music were secondary to the live performance. Despite the fact that the original band excelled in a live setting, a live album from the era was never issued; AC's first live release turned out to be 1977's Alice Cooper Show. The album wasn't culled from the best performances of his most recent tour; instead it was limited to a pair of shows at the Aladdin Hotel in Nevada. Alice was still in the throes of alcoholism, and all the contributing factors add up to a largely lackluster live collection. Sure, such classics as \"Under My Wheels,\" \"Eighteen,\" \"Billion Dollar Babies,\" and \"School's Out\" benefit from a crowd's presence, but the production and the performances are pretty darn flat and uninspired throughout.\" \u003cspan data-mce-fragment=\"1\"\u003eAllMusic Review by Greg Prato\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eRatings :\u003c\/p\u003e\n\u003cp\u003eAllMusic : 2 \/ 5 , Discogs : 3,76 \/ 5\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003ch1\u003e\u003c\/h1\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40792886706327,"sku":"FRM- 3138","price":55.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/alice-cooper-the-alice-cooper-show-audiosoundmusic-1.jpg?v=1719852630"},{"product_id":"alice-cooper-the-last-temptation","title":"Alice Cooper - The Last Temptation (Blue vinyl)","description":"\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eVocals – Alice Cooper\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/alice-cooper\" title=\"vinyl featuring Alice Cooper\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/alice-cooper\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Alice Cooper]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBacking Vocals – Brett Hudson, Craig Copeland, Lou Merlino, Mark Hudson\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBass, Backing Vocals – Greg Smith\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDrums – David Uosikkinen\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGuitar, Backing Vocals – Stef Burns\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eKeyboards [Additional] – John Purdell (A5, B3, B4)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eKeyboards, Backing Vocals – Derek Sherinian\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, gatefold sleeve\u003c\/strong\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : blue\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : RTI\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Friday Music\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Epic\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eA1, B1, B2, B5 r\u003c\/strong\u003e\u003cstrong\u003eecorded by Andy Wallace a\u003cspan data-mce-fragment=\"1\"\u003et Music Grinder Studios, Hollywood, CA and Sony Recording Studios, Santa Monica, CA\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eA5, B3, B4 \u003c\/strong\u003e\u003cstrong\u003erecorded by Duane Baron a\u003cspan data-mce-fragment=\"1\"\u003et Devonshire Studios, N. Hollywood, CA and Music Grinder Studios, Hollywood, CA\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eA2 to A4 recorded by\u003cspan\u003e \u003c\/span\u003eJohn Agnello\u003cspan\u003e \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003eat Record One Studios, Sherman Oaks, CA and Sony Recording Studios, Santa Monica, CA.\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineered \u0026amp; mixed by Steve Escallie and Andy Wallace\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Andy Wallace (A1, B1, B2, B5), Don Fleming (A2 to A4), Duane Baron \u0026amp;, John Purdell (A5, B3, B4)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by Friday Music's Joe Reagoso\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1994\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2020\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-Sideshow\u003c\/p\u003e\n\u003cp\u003e            2-Nothing’s Free\u003c\/p\u003e\n\u003cp\u003e            3-Lost In America\u003c\/p\u003e\n\u003cp\u003e            4-Bad Place Alone\u003c\/p\u003e\n\u003cp\u003e            5-You’re My Temptation\u003c\/p\u003e\n\u003cp\u003e           \u003c\/p\u003e\n\u003cp\u003eSIDE B\u003c\/p\u003e\n\u003cp\u003e            1-Stolen Prayer\u003c\/p\u003e\n\u003cp\u003e            2-Unholy War\u003c\/p\u003e\n\u003cp\u003e            3-Lullaby\u003c\/p\u003e\n\u003cp\u003e            4-It’s Me\u003c\/p\u003e\n\u003cp\u003e            5-Cleansed By Fire\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eReviews :\u003c\/p\u003e\n\u003cp\u003e\"Though Alice Cooper's 1989 comeback gave him his first hit album in over a decade, the Trash record left some diehard fans disappointed, as did 1991's Hey Stoopid. Many listeners felt that Cooper had sold himself short, now completely focusing on sleazy sexual anthems, making him just another face in the heavy metal crowd. By the time The Last Temptation was released in 1994, the hair band fad that had fueled Cooper's return was dead, and Cooper was obviously aware of its downfall -- the album sounds almost nothing like its two predecessors. Instead of relating to such albums as Motley Crue's Dr. Feelgood, Last Temptation seems more similar to Ozzy Osbourne's No More Tears. Thematically, the record returns to mostly conceptual songs, such as \"Nothing's Free,\" \"You're My Temptation,\" and \"Cleansed by Fire.\" Though the album still has a few goofy interruptions, such anthems as \"Lost in America\" nonetheless boast more originality than anything off of Hey Stoopid or Trash. Far surpassing anything Cooper recorded in almost 20 years, The Last Temptation is unquestionably some of his best work.\" \u003cspan data-mce-fragment=\"1\"\u003eAllMusic Review by Barry Weber\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eRatings :\u003c\/p\u003e\n\u003cp\u003eAllMusic : 4 \/ 5 , Discogs : 4,06 \/ 5\u003c\/p\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003ch1\u003e\u003c\/h1\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40792916590743,"sku":"FRM-52771","price":55.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/alice-cooper-the-last-temptation-blue-vinyl-audiosoundmusic-1.jpg?v=1719852631"},{"product_id":"alice-cooper-classicks-the-best-of-alice-cooper","title":"Alice Cooper - Classicks (Black \u0026 Blue Swirl vinyl)","description":"\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eCOMPILATION\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eVocal - Alice Cooper \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/alice-cooper\" title=\"vinyl featuring Alice Cooper\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/alice-cooper\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Alice Cooper]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBass – Hugh McDonald (A1, A2, A4, B8), T-Bone Caradonna (B2 to B7)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDrums – Jonathan Mover (B2 to B7), Mickey Curry (A2 to A4, B8)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGuitar – Al Pitrelli (B2 to B7), Pete Freezin' (B2 to B7), Stef Burns (A2 to A5, A7, B1, B8)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eKeyboards – Derek Sherinian (A5, A7 to B7)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, Tri-Fold sleeve, \u003cspan data-mce-fragment=\"1\"\u003e24\"x24\" album front cover poster\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : Blue \u0026amp; Black Swirl\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 \u0026amp; Studio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : RTI\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Friday Music\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Epic\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCompiled by Frankie Larocka, Brian Lima \u0026amp; Tom (Smitty) Smith\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by Joe Reagoso\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1995\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in February 2024\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003ePoison\u003c\/li\u003e\n\u003cli\u003eHey Stoopid\u003c\/li\u003e\n\u003cli\u003eFeed My Frankenstein\u003c\/li\u003e\n\u003cli\u003eLove's A Loaded Gun\u003c\/li\u003e\n\u003cli\u003eStolen Prayer\u003c\/li\u003e\n\u003cli\u003eHouse Of Fire\u003c\/li\u003e\n\u003cli\u003eIt's Me\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\u003eUnder My Wheels (Live)\u003c\/li\u003e\n\u003cli\u003eBillion Dollar Babies (Live)\u003c\/li\u003e\n\u003cli\u003eI'm Eighteen (Live)\u003c\/li\u003e\n\u003cli\u003eNo More Mr. Nice Guy (Live)\u003c\/li\u003e\n\u003cli\u003eOnly Women Bleed (Live)\u003c\/li\u003e\n\u003cli\u003eSchool's Out (Live)\u003c\/li\u003e\n\u003cli\u003eLost In America\u003c\/li\u003e\n\u003cli\u003eFire\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eReviews :\u003c\/p\u003e\n\u003cp\u003e“1995's Classicks is another in a long line of Alice Cooper best-of compilations, and it includes both live and studio material. Featured are such late-'80s and early-'90s favorites as \"Poison,\" \"Hey Stoopid,\" \"House of Fire,\" and a great duet with Soundgarden's Chris Cornell, \"Stolen Prayer,\" among others. While the live material is advertised as being issued officially for the first time on CD, it turns out that it comprises nothing more than the exact versions lifted from Alice's 1989 home video Alice Cooper Trashes the World. Still, you can never go wrong with any version of such early-'70s anthems as \"Under My Wheels,\" \"Billion Dollar Babies,\" \"I'm Eighteen,\" \"No More Mr. Nice Guy,\" \"School's Out,\" and the ballad \"Only Women Bleed.\" While the album's title may be a bit misleading (only six of the 14 tracks are true classics), and while it isn't in the same league as 1974's Greatest Hits, hardcore Cooper fans will find a decent collection in Classicks.” AllMusic Review by Greg Prato\u003c\/p\u003e\n\u003cp\u003eAfter an Amazing Run Of Top-Charting Smash Hit Albums and Singles, Epic Records Honored Rock Hall of Famer And Superstar Alice Cooper With a New Greatest Hits Album In 1995 “Classicks”, Which Features The Biggest Songs From His Arena Rock\/ Heavy Metal Albums “Trash” “Hey Stoopid” and “The Last Temptation.” Plus as a Bonus, Superlative Live Classic Hit Tracks are also on board From His “Trashes The World” Concert Video.\u003c\/p\u003e\n\u003cp\u003eAlong with Ace Producers Like Desmond Child, Peter Collins and Andy Wallace, Alice Cooper Truly delivered some of The Finest Hard Rock Ever For This Stellar Collection. Featuring Classic Rock Smashes Like “Posion” “Feed My Frankenstein” “Lost in America” and “House Of Fire”, The “Classicks” Collection Is Truly A Crowd Pleaser.\u003c\/p\u003e\n\u003cp\u003eAs A Bonus, You Also Will Hear Stunning Live Performances Of Smash Hits Like “School’s Out,” “I’m Eighteen,” “Only Women Bleed” “Under My Wheels” As Well As An Album Only Version Of Jimi Hendrix’s “Fire.” In Total, Making Alice Cooper’s “Classicks” One Of The Most Enduring Rock And Roll Best Of Collections In Recent Classic Rock History.\u003c\/p\u003e\n\u003cp\u003eAs Cd’s Were The Medium Of Choice In The Mid 90’s, The Album Was Never Released On Vinyl In North America …That Is Until Now. Friday Music Is Very Proud To Offer Another Exciting Installment In Our Alice Cooper 180 Gram Audiophile Vinyl Series With The Classic 1995 Smash Album \"Classicks.\"\u003c\/p\u003e\n\u003cp\u003eImpeccably Mastered By Joe Reagoso (Alice Cooper\/David Bowie\/Deep Purple) And Pressed By R.T.I. On Super Limited Translucent Red \u0026amp; Black Swirl Audiophile Vinyl, This 25th Anniversary Limited Edition First Time 180 Gram Lp Is Also Presented In A First Time Highly Collectible Deluxe Tri-Fold Cover With The Original Artwork Now Detailed In The Album Format.\u003c\/p\u003e\n\u003cp\u003eAs Another Bonus For This First Run, We Are Also Including A Very Limited Huge 24” X 24” Front Cover Poster To Enhance Your Alice Cooper Listening Experience.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eRatings :\u003c\/p\u003e\n\u003cp\u003eAllMusic : 2.5 \/ 5 , Discogs : 4,15 \/ 5\u003c\/p\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003ch1\u003e\u003c\/h1\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40792953389207,"sku":"FRM-67219 Blue","price":55.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/alice-cooper-classicks-black-and-blue-swirl-vinyl-audiosoundmusic-1.jpg?v=1719852630"},{"product_id":"copy-of-alice-cooper-classicks-blue-vinyl","title":"Alice Cooper - Classicks (Red \u0026 Black Swirl vinyl)","description":"\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003eCOMPILATION\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eVocal - Alice Cooper \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/alice-cooper\" title=\"vinyl featuring Alice Cooper\"\u003e\u003cspan style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Alice Cooper]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBass – Hugh McDonald (A1, A2, A4, B8), T-Bone Caradonna (B2 to B7)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDrums – Jonathan Mover (B2 to B7), Mickey Curry (A2 to A4, B8)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGuitar – Al Pitrelli (B2 to B7), Pete Freezin' (B2 to B7), Stef Burns (A2 to A5, A7, B1, B8)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eKeyboards – Derek Sherinian (A5, A7 to B7)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, Tri-Fold sleeve, \u003cspan data-mce-fragment=\"1\"\u003e24\"x24\" album front cover poster\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : Translucent Red \u0026amp; Black Swirl\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 \u0026amp; Studio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : RTI\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Friday Music\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Epic\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCompiled by Frankie Larocka, Brian Lima \u0026amp; Tom (Smitty) Smith\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by Joe Reagoso\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1995\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2019\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003ePoison\u003c\/li\u003e\n\u003cli\u003eHey Stoopid\u003c\/li\u003e\n\u003cli\u003eFeed My Frankenstein\u003c\/li\u003e\n\u003cli\u003eLove's A Loaded Gun\u003c\/li\u003e\n\u003cli\u003eStolen Prayer\u003c\/li\u003e\n\u003cli\u003eHouse Of Fire\u003c\/li\u003e\n\u003cli\u003eIt's Me\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\u003eUnder My Wheels (Live)\u003c\/li\u003e\n\u003cli\u003eBillion Dollar Babies (Live)\u003c\/li\u003e\n\u003cli\u003eI'm Eighteen (Live)\u003c\/li\u003e\n\u003cli\u003eNo More Mr. Nice Guy (Live)\u003c\/li\u003e\n\u003cli\u003eOnly Women Bleed (Live)\u003c\/li\u003e\n\u003cli\u003eSchool's Out (Live)\u003c\/li\u003e\n\u003cli\u003eLost In America\u003c\/li\u003e\n\u003cli\u003eFire\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“1995's Classicks is another in a long line of Alice Cooper best-of compilations, and it includes both live and studio material. Featured are such late-'80s and early-'90s favorites as \"Poison,\" \"Hey Stoopid,\" \"House of Fire,\" and a great duet with Soundgarden's Chris Cornell, \"Stolen Prayer,\" among others. While the live material is advertised as being issued officially for the first time on CD, it turns out that it comprises nothing more than the exact versions lifted from Alice's 1989 home video Alice Cooper Trashes the World. Still, you can never go wrong with any version of such early-'70s anthems as \"Under My Wheels,\" \"Billion Dollar Babies,\" \"I'm Eighteen,\" \"No More Mr. Nice Guy,\" \"School's Out,\" and the ballad \"Only Women Bleed.\" While the album's title may be a bit misleading (only six of the 14 tracks are true classics), and while it isn't in the same league as 1974's Greatest Hits, hardcore Cooper fans will find a decent collection in Classicks.” AllMusic Review by Greg Prato\u003c\/p\u003e\n\u003cp\u003eAfter an Amazing Run Of Top-Charting Smash Hit Albums and Singles, Epic Records Honored Rock Hall of Famer And Superstar Alice Cooper With a New Greatest Hits Album In 1995 “Classicks”, Which Features The Biggest Songs From His Arena Rock\/ Heavy Metal Albums “Trash” “Hey Stoopid” and “The Last Temptation.” Plus as a Bonus, Superlative Live Classic Hit Tracks are also on board From His “Trashes The World” Concert Video.\u003c\/p\u003e\n\u003cp\u003eAlong with Ace Producers Like Desmond Child, Peter Collins and Andy Wallace, Alice Cooper Truly delivered some of The Finest Hard Rock Ever For This Stellar Collection. Featuring Classic Rock Smashes Like “Posion” “Feed My Frankenstein” “Lost in America” and “House Of Fire”, The “Classicks” Collection Is Truly A Crowd Pleaser.\u003c\/p\u003e\n\u003cp\u003eAs A Bonus, You Also Will Hear Stunning Live Performances Of Smash Hits Like “School’s Out,” “I’m Eighteen,” “Only Women Bleed” “Under My Wheels” As Well As An Album Only Version Of Jimi Hendrix’s “Fire.” In Total, Making Alice Cooper’s “Classicks” One Of The Most Enduring Rock And Roll Best Of Collections In Recent Classic Rock History.\u003c\/p\u003e\n\u003cp\u003eAs Cd’s Were The Medium Of Choice In The Mid 90’s, The Album Was Never Released On Vinyl In North America …That Is Until Now. Friday Music Is Very Proud To Offer Another Exciting Installment In Our Alice Cooper 180 Gram Audiophile Vinyl Series With The Classic 1995 Smash Album \"Classicks.\"\u003c\/p\u003e\n\u003cp\u003eImpeccably Mastered By Joe Reagoso (Alice Cooper\/David Bowie\/Deep Purple) And Pressed By R.T.I. On Super Limited Translucent Red \u0026amp; Black Swirl Audiophile Vinyl, This 25th Anniversary Limited Edition First Time 180 Gram Lp Is Also Presented In A First Time Highly Collectible Deluxe Tri-Fold Cover With The Original Artwork Now Detailed In The Album Format.\u003c\/p\u003e\n\u003cp\u003eAs Another Bonus For This First Run, We Are Also Including A Very Limited Huge 24” X 24” Front Cover Poster To Enhance Your Alice Cooper Listening Experience.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eAllMusic : 2.5 \/ 5 , Discogs : 4,15 \/ 5\u003c\/p\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003ch1\u003e\u003c\/h1\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40793089867927,"sku":"FRM-67219 Red","price":55.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/alice-cooper-classicks-red-and-black-swirl-vinyl-audiosoundmusic-1.jpg?v=1719852630"},{"product_id":"copy-of-alice-cooper-the-last-temptation","title":"America - America","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eRarity - Sealed\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003ca title=\"vinyl and SACD featuring America]\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/america\"\u003e\u003cspan style=\"color: rgb(255, 128, 0);\"\u003e[click here to see more products featuring America]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDewey Bunnell – lead and backing vocals, 6-string acoustic guitar (except on \"Here\" and \"Never Found the Time\")\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGerry Beckley – bass (except on \"Three Roses\" and \"A Horse with No Name\"), 6 and 12-string acoustic guitars (except on \"Sandman\", \"I Need You\" and \"Pigeon Song\"), lead and backing vocals (except on \"Pigeon Song\"), electric guitar and chimes on \"Clarice\", piano on \"I Need You\" and \"Clarice\"\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDan Peek – 6 and 12-string acoustic guitars (except on \"A Horse with No Name\", \"I Need You\", \"Clarice\" and \"Pigeon Song\"), lead and backing vocals (except on \"Pigeon Song\"), electric guitar (on \"Sandman\", \"Donkey Jaw\" and \"I Need You\"), piano on \"Never Found the Time\", bass on \"A Horse with No Name\" and \"Three Roses\"\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRay Cooper – percussion\u003cspan style=\"color: #ff8000;\"\u003e \u003ca data-mce-fragment=\"1\" style=\"color: #ff8000;\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/ry-cooder\" title=\"vinyl featuring Ry Cooder\"\u003e\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDave Atwood – drums on \"Sandman\", \"Here\", \"I Need You\" and \"Donkey Jaw\"\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eKim Haworth – drums on \"A Horse with No Name\"\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDavid Lindley – electric guitar on \"Children\", steel guitar on \"Rainy Day\"\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by Dewey Bunnel (A1-5, B6), Gerry Beckley (A6, B1, B4), Dan Peek (B3, B5) \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Rainbo Records\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Friday Music\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Warner Bros\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded at Trident Studios, London, England\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineered \u0026amp; mixed by Ken Scott\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Ian Samwell, Jeff Dexter\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by Joe Reagoso\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1971\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2008\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eRiverside\u003c\/li\u003e\n\u003cli\u003eSandman\u003c\/li\u003e\n\u003cli\u003eThree Roses\u003c\/li\u003e\n\u003cli\u003eChildren\u003c\/li\u003e\n\u003cli\u003eA Horse With No Name\u003c\/li\u003e\n\u003cli\u003eHere\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col start=\"7\"\u003e\n\u003cli\u003eI Need You\u003c\/li\u003e\n\u003cli\u003eRainy Day\u003c\/li\u003e\n\u003cli\u003eNever Found The Time\u003c\/li\u003e\n\u003cli\u003eClarice\u003c\/li\u003e\n\u003cli\u003eDonkey Jaw\u003c\/li\u003e\n\u003cli\u003ePigeon Song\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e\"America's debut album is a folk-pop classic, a stellar collection of memorable songs that would prove influential on such acts as the Eagles and Dan Fogelberg. Crosby, Stills \u0026amp; Nash are the group's obvious stylistic touchstone here, especially in the vocal harmonies used (compare the thick chordal singing of \"Sandman\" and \"Children\" to CS\u0026amp;N's \"You Don't Have to Cry\" and \"Guinevere\") and the prominent use of active strummed acoustic guitar arrangements (contrast \"Riverside\" to CS\u0026amp;N's \"Suite: Judy Blue Eyes\"). America's intricate interplay of acoustic guitar textures is more ambitious than that of their influences, however. Performance quality is usually good, though on occasion sloppily executed or out of tune (especially on the openings to \"Donkey Jaw\" and \"I Never Found the Time\"). Lengthy instrumental introductions (\"Donkey Jaw\"), middle improvisatory interludes (\"Here\"), and closings (\"Clarice\") are frequently encountered. Most of these selections boast highly unusual and inventive chord progressions that work well without drawing undue attention to themselves. Lyrics are sometimes trite (\"I need you\/Like the flower needs the rain\") or obscure (\"He flies the sky\/Like an eagle in the eye\/Of a hurricane that's abandoned\"), but the music more than makes up for any verse problems; only the odd \"Pigeon Song\" seems an unsalvageable misstep. Sound quality here has a covered, intimate feel that lends a ghostly aura to this release. Chart hits from this album include the spectrally loping \"A Horse with No Name,\" the squarishly tuneful \"I Need You,\" and the nervously dour \"Sandman.\" Other highlights include the buoyantly charming \"Three Roses,\" the yearningly lovely \"Rainy Day,\" and the quietly ringing \"Clarice.\" In spite of its flaws, this platter is very highly recommended.\" \u003cspan data-mce-fragment=\"1\"\u003eAllMusic Review by David Cleary\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eAllMusic : 4 \/ 5 , Discogs : 3,96 \/ 5\u003c\/p\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003ch1\u003e\u003cbr\u003e\u003c\/h1\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40793111003287,"sku":"FRM 9001","price":75.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/america-america-audiosoundmusic-1.jpg?v=1780676764"},{"product_id":"bad-company-holy-water","title":"Bad Company - Holy Water (Translucent Blue vinyl)","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eBad Company :\u003c\/strong\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cspan style=\"color: #ff8000;\"\u003e\u003ca data-mce-fragment=\"1\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/bad-company\" title=\"vinyl featuring Bad Company\" style=\"color: #ff8000;\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/bad-company\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e[click here  to see more vinyl by Bad Company]\u003c\/strong\u003e\u003c\/a\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eVocals – Brian Howe\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGuitar – Mick Ralphs\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDrums – Simon Kirke\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBass – Felix Krish\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBacking vocals – Lea Hart\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003cstrong\u003eOrgan [Hammond], Percussion, Guitar , Backing vocals – Terry Thomas\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : Translucent Blue\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 : ATCO\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded at Farmyard Studios by \u003c\/strong\u003e\u003cstrong\u003eAndrew Scarth, Tony Harris\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMixed by Rafe McKenna, Terry Thomas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Terry Thomas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1990\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2021\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\u003eHoly Water\u003c\/li\u003e\n\u003cli\u003eWalk Through Fire\u003c\/li\u003e\n\u003cli\u003eStranger Stranger\u003c\/li\u003e\n\u003cli\u003eIf You Needed Somebody\u003c\/li\u003e\n\u003cli\u003eFearless\u003c\/li\u003e\n\u003cli\u003eLay Your Love On Me\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col start=\"7\"\u003e\n\u003cli\u003eBoys Cry Tough\u003c\/li\u003e\n\u003cli\u003eWith You In A Heartbeat\u003c\/li\u003e\n\u003cli\u003eI Don't Care\u003c\/li\u003e\n\u003cli\u003eNever Too Late\u003c\/li\u003e\n\u003cli\u003eDead Of The Night\u003c\/li\u003e\n\u003cli\u003eI Can't Live Without You\u003c\/li\u003e\n\u003cli\u003e100 Miles\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eReviews :\u003c\/p\u003e\n\u003cp\u003e\"Bad Company's last platinum album, Holy Water is a formulaic yet reasonably engaging collection of AOR hard rock. Although the only original members on Holy Water are guitarist Mick Ralphs and drummer Simon Kirke, the band does a fair job of approximating the sound of classic Bad Company while adding enough elements of '80s pop-metal to make the record appealing to teenagers who grew up on power ballads. And the band does turn in a first-rate power ballad with \"If You Needed Somebody,\" which rose all the way to number 16 on the singles chart. Surprisingly, that was one of three hits from the album -- \"Holy Water\" and \"Walk Through Fire\" also received a fair amount of airplay. What that success signals is not a creative rebirth for Bad Company, but that the group knew how to follow a formula very well. Holy Water hasn't aged as well as their original hit albums -- instead of the clean, ballsy attack of Bad Company and Straight Shooter, it's awash in echo and synths -- but it is a finely crafted, big-budget record of the late '80s and early '90s. It's just as indicative of its era as Bad Company is.\" \u003cspan data-mce-fragment=\"1\"\u003eAllMusic Review by Stephen Thomas Erlewine\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eRatings :\u003c\/p\u003e\n\u003cp\u003eAllMusic : 3 \/ 5 , Discogs : 3,88 \/ 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":40793203900567,"sku":"FRMLP91371","price":55.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/bad-company-holy-water-translucent-blue-vinyl-audiosoundmusic-1.png?v=1719852655"},{"product_id":"blackfoot-strikes","title":"Blackfoot - Strikes (Red vinyl)","description":"\u003cp\u003e\u003cstrong\u003eLead Vocals, Lead Guitar, Acoustic Guitar – Rick Medlocke\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLead Guitar, Acoustic Guitar – Charlie Hargrett\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBacking Vocals – Brandye\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBass, Vocals – Greg T. Walker\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDrums, Vocals – Jackson Spires\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eKeyboards – Pat McCaffrey\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLead Guitar, Acoustic Guitar – Charlie Hargrett\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePercussion – Henry H. Bomb Weck\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by Charlie Hargrett (A5), Jackson Spires (A1, A3, A5, B2, B4), Rick Medlocke (A1, A3, A5, B2, B4)\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 : red\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 : ATCO\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded at Subterranean Studio, Ann Arbor, Michigan with Artisan Mobil \/ Sound Suite Studios, Detroit, Mich. \/ Bee Jay Studios, Orlando, Fla.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineered by Henry Weck\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Al Nalli, Henry Weck\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by Joe Reagoso at Friday Music Studios and Capitol Mastering\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1979\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2018\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\u003eRoad Fever\u003c\/li\u003e\n\u003cli\u003eI Got A Line On You\u003c\/li\u003e\n\u003cli\u003eLeft Turn On A Red Light\u003c\/li\u003e\n\u003cli\u003ePay My Dues\u003c\/li\u003e\n\u003cli\u003eBaby Blue\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\u003eWishing Well\u003c\/li\u003e\n\u003cli\u003eRun And Hide\u003c\/li\u003e\n\u003cli\u003eTrain, Train (Prelude)\u003c\/li\u003e\n\u003cli\u003eTrain, Train\u003c\/li\u003e\n\u003cli\u003eHighway Song\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eReviews :\u003c\/p\u003e\n\u003cp\u003e\"After missing the boat with Lynyrd Skynyrd (for whom he played drums early on), guitarist\/singer Rick Medlocke formed Blackfoot, arguably the first all-Native American rock group. The band struggled for almost a decade, playing run-of-the-mill Southern rock that they eventually injected with extra volume and attitude before signing with Atco, for whom they recorded their 1979 breakthrough Strikes. Known as a ferocious live unit and probably the heaviest of Southern rock bands (see opener \"Road Fever\"), Strikes also proved that Blackfoot could write great melodies for the gloomy \"Left Turn on a Red Light\" and the inspired cover version of Free's \"Wishing Well.\" But the band's biggest hit would come in the form of the seven-minute \"Highway Song,\" a tune that was admittedly very reminiscent of Skynyrd's \"Freebird\" and that helped drive the album to gold status. Also of note is the harmonica performance of Shorty Medlocke (Rick's grandfather) on his own blues, \"Train, Train.\"\" \u003cspan data-mce-fragment=\"1\"\u003eAllMusic Review by Eduardo Rivadavia\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eRatings :\u003c\/p\u003e\n\u003cp\u003eAllMusic : 4,5 \/ 5 , Discogs : 3,94 \/ 5\u003c\/p\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003ch1\u003e\u003c\/h1\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40793516310679,"sku":"FRM-38112","price":55.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/blackfoot-strikes-red-vinyl-audiosoundmusic-1.jpg?v=1719852654"},{"product_id":"blood-sweat-tears-1","title":"Blood Sweat \u0026 Tears 3","description":"\u003ch2\u003e\u003ca title=\"Blood, Sweat and Tears vinyl\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/blood-sweat-tears\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/blood-sweat-tears\"\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eClick here to see Blood, Sweat \u0026amp; Tears' vinyl\u003c\/strong\u003e\u003c\/span\u003e\u003c\/a\u003e\u003c\/h2\u003e\n\u003cp\u003e\u003cstrong\u003eDavid Clayton-Thomas (vocals)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSteve Katz (vocals, guitar)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDick Halligan (Fred Lipsius (saxophone, piano)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLew Soloff, Chuck Winfield (trumpet, flugelhorn)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJerry Hyman (trombone)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJim Fielder (bass)\u003c\/strong\u003e\u003cbr\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 : RTI\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Friday Music\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Columbia\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded by Lou Waxman\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMixed by Roy Halee\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Bobby Colomby, Roy Halee\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by Friday Music's Joe Reagoso\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1970\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2015\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eHi-De-Ho\u003c\/li\u003e\n\u003cli\u003eThe Battle\u003c\/li\u003e\n\u003cli\u003eLucretia MacEvil\u003c\/li\u003e\n\u003cli\u003eLucretia's Reprise\u003c\/li\u003e\n\u003cli\u003eFire and Rain\u003c\/li\u003e\n\u003cli\u003eLonesome Suzie\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eSymphony for the Devil\/Sympathy for the Devil\u003c\/li\u003e\n\u003cli\u003eHe's A Runner\u003c\/li\u003e\n\u003cli\u003eSomethin' Comin' On\u003c\/li\u003e\n\u003cli\u003e40,000 Headmen\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\"Blood, Sweat \u0026amp; Tears had a hard act to follow in recording their third album. Nevertheless, BS\u0026amp;T constructed a convincing, if not quite as impressive, companion to their previous hit. David Clayton-Thomas remained an enthusiastic blues shouter, and the band still managed to put together lively arrangements, especially on the Top 40 hits \"Hi-De-Ho\" and \"Lucretia Mac Evil.\" Elsewhere, they re-created the previous album's jazzing up of Laura Nyro (\"He's a Runner\") and Traffic (\"40,000 Headmen\"), although their pretentiousness, on the extended \"Symphony\/Sympathy for the Devil,\" and their tendency to borrow other artists' better-known material (James Taylor's \"Fire and Rain\") rather than generating more of their own, were warning signs for the future. In the meantime, BS\u0026amp;T 3 was another chart-topping gold hit.\" \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 : 3,81 \/ 5\u003c\/p\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003ch1\u003e\u003c\/h1\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40793580929175,"sku":"FRM-30090","price":55.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/blood-sweat-and-tears-3-audiosoundmusic-1.jpg?v=1719852662"},{"product_id":"blood-sweat-tears-4","title":"Blood Sweat Tears 4 (Blue vinyl)","description":"\u003ch2\u003e\u003ca 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\"\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eClick here to see Blood, Sweat \u0026amp; Tears' vinyl\u003c\/strong\u003e\u003c\/span\u003e\u003c\/a\u003e\u003c\/h2\u003e\n\u003cp\u003e\u003cstrong\u003eLead Vocals – David Clayton-Thomas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAcoustic Guitar, Guitar, Harmonica, Mandolin – Steve Katz\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDrums, Percussion – Bobsby Colomby*\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eElectric Bass – Jim Fielder\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOrgan, Trombone, Piano, Flute – Dick Halligan\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePiano, Organ, Clarinet, Alto Saxophone – Fred Lipsius\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTrombone, Tuba, Horns – Dave Bargeron\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTrumpet, Flugelhorn – Chuck Winfield, Lewis Soloff\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eArranged by Dick Halligan (A2, A4, A5, B1, B4), Fred Lipsius (A1, A3, A6, B2, B3, B6)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, tri-fold 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 : blue\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 : Columbia\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMixed by Roy Halee\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Roy Halee, Bobby Colomby, Don Heckman\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1971\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 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\u003eGo Down Gamblin'\u003c\/li\u003e\n\u003cli\u003eCowboys And Indians\u003c\/li\u003e\n\u003cli\u003eJohn The Baptist (Holy John)\u003c\/li\u003e\n\u003cli\u003eRedemption\u003c\/li\u003e\n\u003cli\u003eLisa, Listen To Me\u003c\/li\u003e\n\u003cli\u003eA Look To My Heart (Instrumental)\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eHigh On A Mountain\u003c\/li\u003e\n\u003cli\u003eValentine's Day\u003c\/li\u003e\n\u003cli\u003eTake Me In Your Arms (Rock Me A Little While)\u003c\/li\u003e\n\u003cli\u003eFor My Lady\u003c\/li\u003e\n\u003cli\u003eMama Gets High\u003c\/li\u003e\n\u003cli\u003eA Look To My Heart (Duet)\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\"Having relied largely on outside songwriting for its last two wildly successful albums, Blood, Sweat \u0026amp; Tears decided (as many groups had before) to bring some of that song publishing income into the family by writing their own material. Singer David Clayton-Thomas contributed the Top 40 hit \"Go Down Gamblin',\" and he and keyboard player Dick Halligan collaborated on another chart entry, \"Lisa, Listen to Me.\" Ex-bandleader Al Kooper even contributed a track, \"John the Baptist (Holy John).\" But Side two was given over largely to songs by guitarist Steve Katz that were substandard, and the band's cohesion seemed to be disintegrating. Although the album scraped the Top Ten briefly and went gold, it marked the end of BS\u0026amp;T's period of wide commercial success on records. By the next outing, Clayton-Thomas had quit and the band's heyday was behind it.\" \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 : 2 \/ 5 , Discogs : 3,82 \/ 5\u003c\/p\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003ch1\u003e\u003c\/h1\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40793629163671,"sku":"FRM-30590","price":55.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/blood-sweat-tears-4-blue-vinyl-audiosoundmusic-1.jpg?v=1719852662"},{"product_id":"blood-sweat-tears-2","title":"Blood Sweat \u0026 Tears - Blood Sweat \u0026 Tears (Friday Music)","description":"\u003ch2\u003e\n\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003c\/h2\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff8000;\"\u003e\u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/blood-sweat-tears\" title=\"Blood, Sweat and Tears vinyl\" style=\"color: #ff8000;\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/blood-sweat-tears\"\u003e\u003cstrong\u003e[click here to see more vinyl featuring Blood, Sweat \u0026amp; Tears]\u003c\/strong\u003e\u003c\/a\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLead Vocals – David Clayton-Thomas (A1, A2, A4 to B4)\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, A4, B2), Blood, Sweat And Tears, Dick Halligan (A1 to A3, A5, A6, B4), Fred Lipsius (A2, A4, B1, B2)\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, gatefold sleeve\u003c\/strong\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : RTI\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Friday Music\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Columbia\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\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\u003eRemastered by Joe Reagoso\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\u003cbr\u003e\u003c\/strong\u003e \u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\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\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\u003e \u003c\/p\u003e\n\u003cp\u003eSide B :\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\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\u003eWinner of three Grammy Awards in 1970 : \"Album of the Year\", Best Arrangment for \"Spinning Wheel\" and Best Contemporary Instrumental Perfomance for \"Variations on a Theme by Erik Satie\"\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003cstrong\u003e1000 Recordings you must hear before you die - Ranked 140\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e\"The difference between Blood, Sweat \u0026amp; Tears and the group's preceding long-player, Child Is Father to the Man, is the difference between a monumental seller and a record that was \"merely\" a huge critical success. Arguably, the Blood, Sweat \u0026amp; Tears that made this self-titled second album -- consisting of five of the eight original members and four newcomers, including singer David Clayton-Thomas -- was really a different group from the one that made Child Is Father to the Man, which was done largely under the direction of singer\/songwriter\/keyboard player\/arranger Al Kooper. They had certain similarities to the original: the musical mixture of classical, jazz, and rock elements was still apparent, and the interplay between the horns and the keyboards was still occurring, even if those instruments were being played by different people. Kooper was even still present as an arranger on two tracks, notably the initial hit \"You've Made Me So Very Happy.\" But the second BS\u0026amp;T, under the aegis of producer James William Guercio, was a less adventurous unit, and, as fronted by Clayton-Thomas, a far more commercial one. Not only did the album contain three songs that neared the top of the charts as singles -- \"Happy,\" \"Spinning Wheel,\" and \"And When I Die\" -- but the whole album, including an arrangement of \"God Bless the Child\" and the radical rewrite of Traffic's \"Smiling Phases,\" was wonderfully accessible. It was a repertoire to build a career on, and Blood, Sweat \u0026amp; Tears did exactly that, although they never came close to equaling this album.\" \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 : 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":40793693782167,"sku":"FRM-9720","price":55.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/blood-sweat-and-tears-friday-music-audiosoundmusic-1.jpg?v=1719852662"},{"product_id":"bobby-darin-the-bobby-darin-story-greatest-hits","title":"Bobby Darin - The Bobby Darin Story-Greatest Hits","description":"\u003cp\u003e\u003cstrong\u003eCOMPILATION\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : RTI\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Friday Music\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : ATCO Records\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by Friday Music's Joe Reagoso From Original Atlantic Records Stereo Tapes\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 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\u003eSplish Splash\u003c\/li\u003e\n\u003cli\u003eEarly In The Morning\u003c\/li\u003e\n\u003cli\u003eQueen Of The Hop\u003c\/li\u003e\n\u003cli\u003ePlain Jane\u003c\/li\u003e\n\u003cli\u003eDream Lover\u003c\/li\u003e\n\u003cli\u003eMack The Knife\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eBeyond The Sea\u003c\/li\u003e\n\u003cli\u003eClementine\u003c\/li\u003e\n\u003cli\u003eBill Bailey\u003c\/li\u003e\n\u003cli\u003eArtificial Flowers\u003c\/li\u003e\n\u003cli\u003eSomebody To Love\u003c\/li\u003e\n\u003cli\u003eLazy River\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eReviews :\u003c\/p\u003e\n\u003cp\u003e\"Released in the early '60s, here's the first part of Darin's career told by the vocalist himself in a 12-song greatest-hits collection that really works. The narration inserts still function well after all these years, making you realize that this was originally a vinyl album, as Darin negotiates from rock \u0026amp; roller to finger-snapping lounge lizard. Oddly enough, there's a production error at the end that snips off the last tune, \"Lazy River,\" marring an otherwise interesting reissue.\" \u003cspan data-mce-fragment=\"1\"\u003eAllMusic Review by Cub Koda\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eRatings :\u003c\/p\u003e\n\u003cp\u003eAllMusic : 3 \/ 5 , Discogs : 3,95 \/ 5\u003c\/p\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003ch1\u003e\u003c\/h1\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40793765150871,"sku":"FRM-33131","price":55.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/bobby-darin-the-bobby-darin-story-greatest-hits-audiosoundmusic-1.jpg?v=1719852662"},{"product_id":"bread-the-best-of-bread","title":"Bread - The Best of Bread (Translucent Gold vinyl)","description":"\u003cp\u003e\u003cstrong\u003eDavid Gates (vocals, bass guitar, guitar, keyboards, violin, viola, percussion), \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJimmy Griffin (vocals, guitar, keyboards, percussion)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMike Botts (drum)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLarry Knechtel (keyboards, bass guitar, guitar, and harmonica)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by David Gates (A1 to B2, B4), James Griffin (B2, B3, B5), Robb Royer (B3, B5, B6)\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 : Translucent Gold\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\u003eEngineered \u0026amp; mixed by Armin Steiner\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by David Gates\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by Joe Reagoso At Capitol Mastering \u0026amp; Friday Music Studios\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 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\u003cdiv style=\"padding-left: 30px;\"\u003e1 Make It With You\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e2 Everything I Own\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e3 Diary\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e4 Baby I'm-A Want You\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e5 It Don't Matter To Me\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e6 If\u003c\/div\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eSide B : \u003c\/p\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e1 Mother Freedom\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e2 Down On My Knees\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e3 Too Much Love\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e4 Let Your Love Go\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e5 Look What You've Done\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e6 Truckin'\u003c\/div\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e\"Rhino's 2001 collection, The Best of Bread, is the definitive single-disc collection of Bread's hits, spanning 20 tracks and all of the group's hits, including lesser-known hits that didn't reach the heights of \"Make It with You,\" \"Everything I Own,\" \"If,\" or \"Baby I'm a Want You.\" Though this isn't as comprehensive as Rhino's double-disc set -- which means it doesn't contain the David Gates solo cuts that the first one does -- it still provides most casual listeners with all the Bread they'd need, in a highly listenable fashion, too.\" \u003cspan data-mce-fragment=\"1\"\u003eAllMusic Review by Stephen Thomas Erlewine\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eAllMusic : 4,5 \/ 5 , Discogs : 3,87 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40794061308055,"sku":"FRM 75056 Gold","price":55.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/bread-the-best-of-bread-translucent-gold-vinyl-audiosoundmusic-1.jpg?v=1719852677"},{"product_id":"brian-wilson-brian-wilson-blue-vinyl","title":"Brian Wilson - Brian Wilson (Blue vinyl)","description":"\u003cp\u003e\u003cstrong\u003eVocal Arrangement, Lead Vocals, Bells, Electronics [Emulator], Glockenspiel, Organ, Wind Chimes – Brian Wilson\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAccordion – Frank Morocco\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAcoustic Guitar [Steel String], Banjo, Mandolin – The Baystate Bluegrass Band\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAcoustic Guitar, Backing Vocals, Electric Guitar, Harmonica – Andy Paley\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBaritone Saxophone – Jay Migliori\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBass – Andy Paley, Jeff Lynne, The Baystate Bluegrass Band\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBass [Six-string] – Jeff Lynne\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBells [Jingle Bells] – Andrew Dean\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCello, Drums [Emu Tympani], Guitar [Synth Guitar] – Rob Mounsey\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCymbal, Performer [Hi-hat] – Tris Imboden\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDrum Programming, Shaker – Jimmy Bralower\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDrums – Andy Paley, Michael Bernard, Tris Imboden\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFlute – Hymen Katz, Michael Andreas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGuitar – Dean Parks, Elliot Easton, Jeff Lynne\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHorns, Saxophone [Saxophone Solo] – Larry Williams\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eKeyboards – Andrew Dean, Andy Paley, Brian Wilson, Jeff Bova, Jeff Lynne, Michael Bernard, Philippe Saisse, \u003c\/strong\u003e\u003cstrong\u003eLarry Williams, Robbie Condor, Steve Lindsey\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eKeyboards [Fairlight] – Todd Herreman\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePercussion – Andrew Dean, Andy Paley, Brian Wilson, Carol Steele, Michael Bernard\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePiano – Brian Wilson, Rob Mounsey\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePiccolo Flute – Hymen Katz\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSaw, Violin – Tony Salvage\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSaxophone – Michael Andreas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTrumpet – Harry Kim, Lance Buller, Stuart Blumberg\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eVibraphone [Vibes] – Andrew Dean, Brian Wilson\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by Alexandra Morgan (A2, A6 to B1), Andy Paley (B1, B3, B4), Brian Wilson, Eugene E. Landy (A1 to A3, A7, B1)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, gatefold sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : Blue\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 : Sire\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineered \u0026amp; mixed by : Josh Abbey (pistes : A2 to B4), Mark Linett (pistes : A2 to B4)\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Brian Wilson, Russ Titelman (pistes : A1, A3 to A5, A7, B1)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by Friday Music's Joe Reagoso and Ron McMaster from original Sire Records tapes\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1988\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2013\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \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\u003eLove and Mercy\u003c\/li\u003e\n\u003cli\u003eWalkin' the Line\u003c\/li\u003e\n\u003cli\u003eMelt Away\u003c\/li\u003e\n\u003cli\u003eBaby Let Your Hair Grow Long\u003c\/li\u003e\n\u003cli\u003eLittle Children\u003c\/li\u003e\n\u003cli\u003eOne for the Boys\u003c\/li\u003e\n\u003cli\u003eThere's So Many\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eNight Time\u003c\/li\u003e\n\u003cli\u003eLet It Shine\u003c\/li\u003e\n\u003cli\u003eMeet Me in My Dreams Tonight\u003c\/li\u003e\n\u003cli\u003eRio Grande\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\"Brian Wilson's first solo album created a good share of media hoopla upon its release. This was not necessarily because of the music, but simply because his very existence -- or, at least, proof of his existence via his first fully engaged recording project in about a decade -- was greeted as a cause for celebration. Although it did not shift tons of units, it did spark a landslide of ecstatic-to-charitable reviews, largely because so many critics were eager to latch on to any evidence that Wilson's musical genius was still intact. Viewed more coldly after the hype faded, this self-titled release is an odd, flawed creation, certainly leagues above the Beach Boys' post-'70s output, yet certainly leagues below Wilson's best work with that group in the '60s. While he retained his gift for catchy melodies and dense, symphonic production, there was a forced stiffness to both the songwriting and execution. Much of the blame for the album's mixed success can be laid upon its sterile, synthesizer-laden arrangements and echoing percussion, which epitomized some of the less attractive aspects of late-'80s production. However, the songs were not among Wilson's best, either, their hooks pleasant but easily fading from memory, the lyrics full of ambiguous romantic optimism completely belied by the nervous, mannered vocals. The concluding eight-minute suite, \"Rio Grande,\" was a self-conscious and, again, only partially successful attempt to match the grandeur of the miniature conceptual pieces Wilson was penning in the Smile era. For all that, it remains the best album of Wilson's solo career, principally because he has recorded so little material since then, and written even less.\" \u003cspan data-mce-fragment=\"1\"\u003eAllMusic Review by Richie Unterberger\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 : 3,94 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40795461288087,"sku":"FRM-25669","price":55.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/brian-wilson-brian-wilson-blue-vinyl-audiosoundmusic-1.jpg?v=1719852676"},{"product_id":"captain-beefheart-and-his-magic-band-mirror-man","title":"Captain Beefheart And His Magic Band - Mirror Man","description":"\u003cp\u003e\u003cstrong\u003eVocals, Harmonica, Oboe – Captain Beefheart\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBass – Jerry Handsley\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDrums – Drumbo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGuitar – Alex St. Claire Snouffer, Antennae Jimmy Simmons\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by Don Van Vliet\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, die-cut 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 : 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 : Buddah Records\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded in 1967 (not \"one night in 1965\" as stated on back-cover).\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Bob Krasnow\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by Friday Music's Joe Reagoso from Authorized Buddah Records Tapes\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1971\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 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\u003eTarotplane\u003c\/li\u003e\n\u003cli\u003eKandy Korn\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003e25th Century Quaker\u003c\/li\u003e\n\u003cli\u003eMirror Man\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 Mirror Man Sessions features the complete remastered contents of Mirror Man, albeit in a resequenced running order, and fills out the rest of the CD with a number of bonus tracks taken from additional recordings, both finished and unfinished, made around the same time for what would have been a double album titled It Comes to You in a Plain Brown Wrapper. As a listening experience, the package will appeal more to those who value the instrumental Beefheart; the Mirror Man album is, of course, essentially a 50-plus-minute jam session, containing as it does only four songs, and the bonus tracks -- many of which appeared on the One Way label's reissue of Safe as Milk -- mostly consist of jams and instrumentals which push the boundaries of conventional blues-rock, with a Beefheart vocal tossed in here and there. Some may miss Beefheart's surreal poetry, gruff vocals, and\/or free jazz influence, while others may find it fascinating to hear the Magic Band simply letting go and cutting loose.\" \u003cspan data-mce-fragment=\"1\"\u003eAllMusic Review by Steve Huey\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 : 4,23 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40795654062231,"sku":"FRM-5077","price":55.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/captain-beefheart-and-his-magic-band-mirror-man-audiosoundmusic-1.jpg?v=1719852687"},{"product_id":"carlos-santana-john-mclaughlin-love-devotion-surrender-translucent-gold","title":"Carlos Santana \u0026 John McLaughlin - Love Devotion Surrender (Translucent Gold vinyl)","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eJohn McLaughlin - guitar, piano \u003cspan data-mce-fragment=\"1\"\u003e\u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/john-mclaughlin\" title=\"vinyl featuring john mclaughlin\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/john-mclaughlin\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring John McLaughlin]\u003c\/span\u003e\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eCarlos Santana - guitar \u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[c\u003c\/span\u003e\u003ca style=\"color: #ff8000;\" title=\"Vinyl featuring Carlos Santana\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/carlos-santana\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/carlos-santana\"\u003elick here to see more vinyl featuring Carlos Santana]\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003e Larry Young (org); Doug Rauch (b); Armando Peraza (cga); Billy Cobham, Don Alias, Jan Hammer, Mike Shrieve (dr)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by John McLaughlin (A3, B2) and John Coltrane (A1-2)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eB1 is a traditional song.\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 : Translucent gold \u0026amp; red swirl\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 : Friday Music\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Columbia\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eRecording: 1973 by Glen Kolotkin\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eProduction: John McLaughlin \u0026amp; Carlos Santana\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eOriginally released in 1973\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eReissued in 2015\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\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\u003eA Love Supreme\u003c\/li\u003e\n\u003cli\u003eNaima\u003c\/li\u003e\n\u003cli\u003eThe Life Divine\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003cp\u003e        1. Let Us Go Into the House of the Lord\u003cbr\u003e        2. Meditation\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp\u003e« A hopelessly misunderstood record in its time by Santana fans -- they were still reeling from the radical direction shift toward jazz on Caravanserai and praying it was an aberration -- it was greeted by Santana devotees with hostility, contrasted with kindness from major-league critics like Robert Palmer. To hear this recording in the context of not only Carlos Santana's development as a guitarist, but as the logical extension of the music of John Coltrane and Miles Davis influencing rock musicians -- McLaughlin, of course, was a former Davis sideman -- this extension makes perfect sense in the post-Sonic Youth, post-rock era. With the exception of Coltrane's \"Naima\" and McLaughlin's \"Meditation,\" this album consists of merely three extended guitar jams played on the spiritual ecstasy tip -- both men were devotees of guru Shri Chinmoy at the time. The assembled band included members of Santana's band and the Mahavishnu Orchestra in Michael Shrieve, Billy Cobham, Doug Rauch, Armando Peraza, Jan Hammer (playing drums!), and Don Alias. But it is the presence of the revolutionary jazz organist Larry Young -- a colleague of McLaughlin's in Tony Williams' Lifetime band -- that makes the entire project gel. He stands as the great communicator harmonically between the two very different guitarists whose ideas contrasted enough to complement one another in the context of Young's aggressive approach to keep the entire proceeding in the air. In the acknowledgement section of Coltrane's \"A Love Supreme,\" which opens the album, Young creates a channel between Santana's riotous, transcendent, melodic runs and McLaughlin's rapid-fire machine-gun riffing. Young' double-handed striated chord voicings offered enough for both men to chew on, leaving free-ranging territory for percussive effects to drive the tracks from underneath. Check \"Let Us Go Into the House of the Lord,\" which was musically inspired by Bobby Womack's \"Breezing\" and dynamically foreshadowed by Pharoah Sanders' read of it, or the insanely knotty yet intervallically transcendent \"The Life Divine,\" for the manner in which Young's organ actually speaks both languages simultaneously. Young is the person who makes the room for the deep spirituality inherent in these sessions to be grasped for what it is: the interplay of two men who were not merely paying tribute to Coltrane, but trying to take his ideas about going beyond the realm of Western music to communicate with the language of the heart as it united with the cosmos. After three decades, Love Devotion Surrender still sounds completely radical and stunningly, movingly beautiful. » AllMusic Review by Thom Jurek\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eFor some, \"Love Devotion Surrender\" is an album where, exceptionally, John McLaughlin plays the piano and organist Jan Hammer plays the drums. For others, it is the most spiritual album ever by Carlos Santana. And though both disciples were shown the way and inspired by the same guru (Sri Chinmoy) at one and the same time, this album is filled with the spirit of John Coltrane. In order to communicate their differing understanding and interpretation of Trane's music, the two musicians formed a 'project band' made up of members of Santana's ensemble and the Mahavishnu Orchestra. In their performance of \"Love Supreme\", Santana's somewhat dragging melody-maker role amalgamates with McLaughlin's high-speed staccato to a viscous drive. This approach functions just as well in slow motion: Coltrane's miniature, slow composition \"Naima\" is performed in a flowing and inspired manner by the duo on their acoustic guitars.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003cspan\u003eThe arrangements carry Santana's hallmark: the occasionally somewhat intellectual but certainly not long-pondered-over sound is enhanced by the sound of agitated congo beats and the chanted vocals are heard as if from afar. By the time fans of Santana's major albums have got to the expansive gospel song \"Let Us Go Into The House\", they will have rediscovered their Carlos and his timeless solos once again. It is apparent that love and devotion are by no means just memorials of a time gone by but a surrender to oneself in its most perfect form.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAllmusic : 4.5 \/ 5 ,  \u003c\/span\u003e\u003cspan\u003eDiscogs \u003c\/span\u003e: \u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e4,05\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5 \u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40795712946327,"sku":"FRM 32034 Translucent Gold","price":55.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/carlos-santana-and-john-mclaughlin-love-devotion-surrender-translucent-gold-vinyl-friday-music-audiosoundmusic-1.jpg?v=1719852687"},{"product_id":"carlos-santana-john-mclaughlin-love-devotion-surrender-black-vinyl-friday-music","title":"Carlos Santana \u0026 John McLaughlin - Love Devotion Surrender (Friday Music)","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eJohn McLaughlin - guitar, piano \u003cspan data-mce-fragment=\"1\"\u003e\u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/john-mclaughlin\" title=\"vinyl featuring john mclaughlin\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/john-mclaughlin\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring John McLaughlin]\u003c\/span\u003e\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eCarlos Santana - guitar \u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[c\u003c\/span\u003e\u003ca style=\"color: #ff8000;\" title=\"Vinyl featuring Carlos Santana\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/carlos-santana\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/carlos-santana\"\u003elick here to see more vinyl featuring Carlos Santana]\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eLarry Young (org); Doug Rauch (b); Armando Peraza (cga); Billy Cobham, Don Alias, Jan Hammer, Mike Shrieve (dr)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by John McLaughlin (A3, B2) and John Coltrane (A1-2)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eB1 is a traditional song.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, Gatefold jacket\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 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 : Friday Music\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Columbia\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eRecording: 1973 by Glen Kolotkin\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eProduction: John McLaughlin \u0026amp; Carlos Santana\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eOriginally released in 1973\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eReissued in 2015\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\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\u003eA Love Supreme\u003c\/li\u003e\n\u003cli\u003eNaima\u003c\/li\u003e\n\u003cli\u003eThe Life Divine\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003cp\u003e        1. Let Us Go Into the House of the Lord\u003cbr\u003e        2. Meditation\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp\u003e« A hopelessly misunderstood record in its time by Santana fans -- they were still reeling from the radical direction shift toward jazz on Caravanserai and praying it was an aberration -- it was greeted by Santana devotees with hostility, contrasted with kindness from major-league critics like Robert Palmer. To hear this recording in the context of not only Carlos Santana's development as a guitarist, but as the logical extension of the music of John Coltrane and Miles Davis influencing rock musicians -- McLaughlin, of course, was a former Davis sideman -- this extension makes perfect sense in the post-Sonic Youth, post-rock era. With the exception of Coltrane's \"Naima\" and McLaughlin's \"Meditation,\" this album consists of merely three extended guitar jams played on the spiritual ecstasy tip -- both men were devotees of guru Shri Chinmoy at the time. The assembled band included members of Santana's band and the Mahavishnu Orchestra in Michael Shrieve, Billy Cobham, Doug Rauch, Armando Peraza, Jan Hammer (playing drums!), and Don Alias. But it is the presence of the revolutionary jazz organist Larry Young -- a colleague of McLaughlin's in Tony Williams' Lifetime band -- that makes the entire project gel. He stands as the great communicator harmonically between the two very different guitarists whose ideas contrasted enough to complement one another in the context of Young's aggressive approach to keep the entire proceeding in the air. In the acknowledgement section of Coltrane's \"A Love Supreme,\" which opens the album, Young creates a channel between Santana's riotous, transcendent, melodic runs and McLaughlin's rapid-fire machine-gun riffing. Young' double-handed striated chord voicings offered enough for both men to chew on, leaving free-ranging territory for percussive effects to drive the tracks from underneath. Check \"Let Us Go Into the House of the Lord,\" which was musically inspired by Bobby Womack's \"Breezing\" and dynamically foreshadowed by Pharoah Sanders' read of it, or the insanely knotty yet intervallically transcendent \"The Life Divine,\" for the manner in which Young's organ actually speaks both languages simultaneously. Young is the person who makes the room for the deep spirituality inherent in these sessions to be grasped for what it is: the interplay of two men who were not merely paying tribute to Coltrane, but trying to take his ideas about going beyond the realm of Western music to communicate with the language of the heart as it united with the cosmos. After three decades, Love Devotion Surrender still sounds completely radical and stunningly, movingly beautiful. » AllMusic Review by Thom Jurek\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eFor some, \"Love Devotion Surrender\" is an album where, exceptionally, John McLaughlin plays the piano and organist Jan Hammer plays the drums. For others, it is the most spiritual album ever by Carlos Santana. And though both disciples were shown the way and inspired by the same guru (Sri Chinmoy) at one and the same time, this album is filled with the spirit of John Coltrane. In order to communicate their differing understanding and interpretation of Trane's music, the two musicians formed a 'project band' made up of members of Santana's ensemble and the Mahavishnu Orchestra. In their performance of \"Love Supreme\", Santana's somewhat dragging melody-maker role amalgamates with McLaughlin's high-speed staccato to a viscous drive. This approach functions just as well in slow motion: Coltrane's miniature, slow composition \"Naima\" is performed in a flowing and inspired manner by the duo on their acoustic guitars.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003cspan\u003eThe arrangements carry Santana's hallmark: the occasionally somewhat intellectual but certainly not long-pondered-over sound is enhanced by the sound of agitated congo beats and the chanted vocals are heard as if from afar. By the time fans of Santana's major albums have got to the expansive gospel song \"Let Us Go Into The House\", they will have rediscovered their Carlos and his timeless solos once again. It is apparent that love and devotion are by no means just memorials of a time gone by but a surrender to oneself in its most perfect form.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAllmusic : 4.5 \/ 5 ,  \u003c\/span\u003e\u003cspan\u003eDiscogs \u003c\/span\u003e: \u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e4,05\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5 , \u003c\/span\u003e\u003cspan\u003eRate Your Music \u003c\/span\u003e: \u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e3,77\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40795737981079,"sku":"FRM 32034 Black","price":55.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/carlos-santana-and-john-mclaughlin-love-devotion-surrender-black-vinyl-friday-music-audiosoundmusic-1.jpg?v=1719852687"},{"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":"carly-simon-hotcakes","title":"Carly Simon - Hotcakes","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCarly Simon – lead vocals, acoustic guitar (A1, A3, B2), acoustic piano (A2–5, B1, B4, B5), Fender Rhodes (A2), whistle (A2), backing vocals (A5, B3) \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/carly-simon\" title=\"Vinyl featuring Carly Simon\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/carly-simon\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Carly Simon]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eKenny Ascher – acoustic piano (A1, B2, B4), Hammond organ (B1)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDr. John – acoustic piano (B3), Hammond organ (B3)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDavid Spinozza – electric guitar (A1, A3, A4, B2)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJames Taylor – acoustic guitar (A2, A4, A5, B1, B2, B5), backing vocals (A5), horn arrangements and conductor (A6), lead vocals (B3)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBucky Pizzarelli – electric guitar (A2)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJimmy Ryan – acoustic guitar (A4, A5, B5), electric guitar (B1, B5)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRobbie Robertson – electric guitar (B3)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eKlaus Voormann – bass guitar (A1, A3, A5, B1, B2, B3, B5)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRichard Davis – string bass (A2)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLarry Brean – slap bass (A4)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRick Marotta – drums (A1)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJim Keltner – drums (A3, A4, B3, B5)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJim Gordon – drums (A5)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBilly Cobham – drums (A6)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAndy Newmark – drums (B1)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRuss Kunkel – drums (B2)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRalph MacDonald – congas (A2), percussion (A3, B5)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGeorge Devens – cabasa (A2)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePaul Buckmaster – string and woodwind arrangements (A1, A5, B1, B2, B4, B5), conductor (A1, A5, B1, B2, B4, B5)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHoward Johnson – baritone saxophone (A6), tuba (A6)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBobby Keys – tenor saxophone (A6), baritone saxophone (B3)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMichael Brecker – tenor saxophone (B3)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBarry Rogers – trombone (A6)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSteve Madaio – trumpet (A6)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLani Groves – backing vocals (A3, B5)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCarl Hall – backing vocals (A3, B5)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTasha Thomas – backing vocals (A3, B5)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTodd Graff – backing vocals (A3)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLucy Simon – backing vocals (A3)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBenny Diggs – backing vocals (A4)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRevelation – backing vocals (A4)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRichard Perry – backing vocals (A4)\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\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 The Hit Factory, N.Y.C. (Oct.-Nov., 1973) Producers Workshop, Los Angeles (Sept., 1973)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineered \u0026amp; mixed by : Blaise Castellano\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Richard Perry\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by Friday Music's Joe Reagoso from Original Elektra Records Tapes\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1974\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 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\u003eSafe And Sound\u003c\/li\u003e\n\u003cli\u003eMind On My Man\u003c\/li\u003e\n\u003cli\u003eThink I’m Gonna Have A Baby\u003c\/li\u003e\n\u003cli\u003eOlder Sister\u003c\/li\u003e\n\u003cli\u003eJust Not True\u003c\/li\u003e\n\u003cli\u003eHotcakes\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e           \u003c\/p\u003e\n\u003cp\u003eSide B\u003c\/p\u003e\n\u003col start=\"7\"\u003e\n\u003cli\u003eMisfit\u003c\/li\u003e\n\u003cli\u003eForever My Love\u003c\/li\u003e\n\u003cli\u003eMockingbird\u003c\/li\u003e\n\u003cli\u003eGrownup\u003c\/li\u003e\n\u003cli\u003eHaven’t Got Time For The Pain\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\"A glowing, pregnant Carly Simon smiles out from the cover of Hotcakes, one of her biggest selling albums, which featured the gold single \"Mockingbird,\" a duet with her husband James Taylor that effectively remade the old Inez and Charlie Foxx hit and bested it on the charts. The album also included another hit, \"Haven't Got Time For The Pain,\" as well as \"Misfit,\" in which a wife implores her carousing husband to come home, and \"Think I'm Gonna Have A Baby,\" which celebrated the joys of same. With such tracks, Hotcakes was an autobiographical concept album that defined domestic bliss at a time when Simon's listeners also were catching their breath and turning inward.\" \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 : 4 \/ 5 , Discogs : 3,65 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40795793883287,"sku":"FRM-71002","price":55.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/carly-simon-hotcakes-audiosoundmusic-1.jpg?v=1719852699"}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/collections\/vinyl_a6aa8a9a-f9dc-429b-be4c-aa7ca04785fd.jpg?v=1719821148","url":"https:\/\/www.audiosoundmusic.com\/collections\/rock\/audiophile.oembed?page=22","provider":"AudioSoundMusic","version":"1.0","type":"link"}