{"title":"Stereophile records to die for","description":"","products":[{"product_id":"ella-and-louis-ella-fitzgerald-louis-armstrong","title":"Ella Fitzgerald and Louis Armstrong - Ella and Louis (2LP, 45RPM, Mono, Analogue Productions)","description":"\u003cp style=\"margin: 0cm 0cm 12.0pt 0cm;\" data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp style=\"margin: 0cm 0cm 12.0pt 0cm;\" data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp style=\"margin: 0cm 0cm 12.0pt 0cm;\" data-mce-fragment=\"1\"\u003e\u003cstrong\u003eLouis Armstrong - trumpet, vocals \u003cspan style=\"color: #ff8000;\"\u003e\u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/louis-armstrong\" title=\"vinyl featuring Louis Armstrong\" style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Louis Armstrong]\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp style=\"margin: 0cm 0cm 12.0pt 0cm;\" data-mce-fragment=\"1\"\u003e\u003cstrong\u003eElla Fitzgerald - vocals \u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\"\u003e\u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/ella-fitzgerald\" title=\"vinyl featuring Ella Fitzgerald\" style=\"color: #ff8000;\" data-mce-fragment=\"1\"\u003e[click here to see more vinyl featuring Ella Fitzgerald]\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp style=\"margin: 0cm 0cm 12.0pt 0cm;\" data-mce-fragment=\"1\"\u003e\u003cstrong\u003eOscar Peterson - piano \u003cspan style=\"color: #ff8000;\"\u003e\u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/oscar-peterson\" title=\"vinyl featuring Oscar Peterson\" style=\"color: #ff8000;\" data-mce-fragment=\"1\"\u003e[click here to see more vinyl featuring Oscar Peterson]\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp style=\"margin: 0cm 0cm 12.0pt 0cm;\" data-mce-fragment=\"1\"\u003e\u003cstrong\u003eLouie Bellson (drums), Ray Brown (bass), Barrett Deems (drums), Herb Ellis (guitar), Ed Hall (clarinet), Dale Jones (bass), Billy Kyle (piano), Buddy Rich (drums), Trummy Young (trombone)\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by Paul James (A1), Kay Swift (A1), Irving Berlin (A2, C3), John Blackburn (A3), Karl Suessdorf (A3), George \u0026amp; Ira Gershwin (B1, C1), Jerry Livingston (B2), Al J. Neiburg (B2), Marty Symes (B2), Walter Gross (B3), Jack Lawrence (B3), Mitchell Parish (C2), Frank Perkins (C2), Hoagy Carmichael (D1), Ned Washington (D1), Vernon Duke (D2), E.Y. \"Yip\" Harburg (D2)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e2 LPs, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 45 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMono\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Quality Record Pressings\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Analogue Productions\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Verve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded August 16, 1956 in Capitol Studios, Hollywood, CA\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMastered by George Marino at Sterling Sound\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProducer : Norman Granz\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1956\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2011\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eCan't We Be Friends\u003c\/li\u003e\n\u003cli\u003eIsn't This a Lovely Day\u003c\/li\u003e\n\u003cli\u003eMoonlight in Vermont\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eThey can't take that away from Me\u003c\/li\u003e\n\u003cli\u003eUnder a Blanket of Blue\u003c\/li\u003e\n\u003cli\u003eTenderly\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide C :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eA Foggy Day\u003c\/li\u003e\n\u003cli\u003eStars Fell on Alabama\u003c\/li\u003e\n\u003cli\u003eCheek to Cheek\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide D :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eThe Nearness of You\u003c\/li\u003e\n\u003cli\u003eApril In Paris\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cheader\u003e\n\u003cp\u003e\u003cstrong\u003eAwards:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eTAS Super LP List! Special Merit: Informal\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/header\u003e\u003cheader\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e2013 Stereophile Magazine Record to Die For\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003c\/header\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e\"All hail Analogue Productions, the audiophile record company in Salina, Kansas, for hiring the best engineers to invent a new formula for pressing vinyl. The results are simply staggering. Check out the 45rpm remaster of the 1956 Ella \u0026amp; Louis (Fitzgerald \u0026amp; Armstrong). If you have a good stereo, you'll swear they're in the room!\" — Fred Kaplan, Slate, December 2011\u003c\/p\u003e\n\u003cp\u003e« Ella and Louis is an inspired collaboration, masterminded by producer Norman Granz. Both artists were riding high at this stage in their careers, and Granz assembled a stellar quartet of Oscar Peterson (piano), Buddy Rich (drums), Herb Ellis (guitar) and Ray Brown (bass). Equally inspired was the choice of material, with the gruffness of Armstrong's voice blending like magic with Fitzgerald's stunningly silky delivery. Outstanding are Irving Berlin's \"Cheek to Cheek\" and \"Isn't This a Lovely Day,\" and everything else works like a dream, with the golden star going to the Gershwin brothers' \"They Can't Take That Away from Me.\" Gentle and sincere, this is deserving of a place in every home. » AllMusic Review by Rovi Staff\u003c\/p\u003e\n\u003cp\u003e\"\u003cspan data-mce-fragment=\"1\"\u003eElla was the most popular female jazz singer in the U.S. for over a half century, selling over 40 million albums. Louis was considered one of the founders of jazz, and was known around the world as Satchmo. He had toned down his earlier whooping and shoveling sort of delivery a bit, but it’s still the same old Satchmo. The two perform 30 of their favorite songs together on this Blu-ray, in a musical match made in heaven. The Great American Songbook is the source of most of the tunes, and their delivery shows the world just how these songs should be sung.\" John Sunier, Audiophile Audition, \u003cspan class=\"published\" data-mce-fragment=\"1\"\u003eDec 29, 2013\u003c\/span\u003e\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 : 4.6 \/ 5  , Rate your Music : 3.81 \/ 5\u003c\/p\u003e\n\u003cp\u003eMichael Fremer : 8 \/ 10 for Music, 9 \/ 10 for Sound\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40375825006743,"sku":"AVRJ4003-45","price":95.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/ella-fitzgerald-and-louis-armstrong-ella-and-louis-2lp-45rpm-180g-audiosoundmusic-1.jpg?v=1719851398"},{"product_id":"ornette-coleman-the-shape-of-jazz-to-come","title":"Ornette Coleman - The Shape Of Jazz To Come (Speakers Corner)","description":"\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eOrnette Coleman - alto saxophone \u003cspan style=\"color: #ff8000;\"\u003e\u003ca data-mce-fragment=\"1\" style=\"color: #ff8000;\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/ornette-coleman\" title=\"Vinyl featuring Ornette Coleman\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/ornette-coleman\"\u003e[click here to see more vinyl featuring Ornette Coleman]\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eDon Cherry (cornet), Charlie Haden (bass), Billy Higgins (drums)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eWritten by Ornette Coleman\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Speaker corners\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eOriginal Label :  Atlantic\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eRecording: May 1959 at Radio Recorders, Hollywood, CA, by Bones Howe\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eProduction: Nesuhi Ertegun\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1959\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2021\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003cp\u003e                1. Lonely Woman\u003c\/p\u003e\n\u003cp\u003e                2. Eventually\u003c\/p\u003e\n\u003cp\u003e                3. Peace\u003c\/p\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003cp\u003e                1. Focus on Sanity\u003c\/p\u003e\n\u003cp\u003e                2. Congeniality\u003c\/p\u003e\n\u003cp\u003e                3. Chronology\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eAwards:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eRolling Stone 500 Greatest Albums of All Time - Rated 248\/500\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\" mce-data-marked=\"1\"\u003e\u003cstrong\u003eStereophile Records To Die For - 2012\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eReviews :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e« Ornette Coleman's Atlantic debut, The Shape of Jazz to Come, was a watershed event in the genesis of avant-garde jazz, profoundly steering its future course and throwing down a gauntlet that some still haven't come to grips with. The record shattered traditional concepts of harmony in jazz, getting rid of not only the piano player but the whole idea of concretely outlined chord changes. The pieces here follow almost no predetermined harmonic structure, which allows Coleman and partner Don Cherry an unprecedented freedom to take the melodies of their solo lines wherever they felt like going in the moment, regardless of what the piece's tonal center had seemed to be. Plus, this was the first time Coleman recorded with a rhythm section -- bassist Charlie Haden and drummer Billy Higgins -- that was loose and open-eared enough to follow his already controversial conception. Coleman's ideals of freedom in jazz made him a feared radical in some quarters; there was much carping about his music flying off in all directions, with little direct relation to the original theme statements. If only those critics could have known how far out things would get in just a few short years; in hindsight, it's hard to see just what the fuss was about, since this is an accessible, frequently swinging record. It's true that Coleman's piercing, wailing alto squeals and vocalized effects weren't much beholden to conventional technique, and that his themes often followed unpredictable courses, and that the group's improvisations were very free-associative. But at this point, Coleman's desire for freedom was directly related to his sense of melody -- which was free-flowing, yes, but still very melodic. Of the individual pieces, the haunting \"Lonely Woman\" is a stone-cold classic, and \"Congeniality\" and \"Peace\" aren't far behind. Any understanding of jazz's avant-garde should begin here. » AllMusic Review by Steve Huey\u003cbr\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eIt was John Lewis, pianist of the Modern Jazz Quartet, who brought Ornette Coleman to the renowned Atlantic label, having heard him play in Los Angeles. »Ornette Coleman is doing the only really new thing in jazz …« he reportedly said. The present initial Atlantic album was released just in time to coincide with the New York debut of the Coleman Quartet in November 1959. Lewis was sure that Coleman would open up new paths for jazz, and his opinion is reflected in the title of the album – \"The Shape Of Jazz To Come\". After the rather worn-out hard bop routine of the past years, this music was like a breath of fresh air. The fast numbers (\"Eventuality\", \"Chronology\") remind one of wildly hyped-up bebop. Other numbers (\"Congeniality\", \"Focus On Sanity\") juggle with catchy, almost folk like short motifs. This album contains two of Coleman’s most beautiful compositions: \"Peace\" and \"Lonely Woman\", which was later given lyrics and often heard in its vocal version. The Mulligan-Baker Quartet provided the model for the pianoless quartet – and when the band swings along once in a while with a moderato tempo, it is truly reminiscent of cool jazz. Be that as it may, the two wind instrumentalists just love the frenetic 'cry' and the intentionally 'imprecise' interplay. Clearly defined stanzas or traditional harmonic forms were not for them. The jazz musicologist Peter N. Wilson wrote: \"A record, which is not unjustifiably so entitled\" about this LP which was given 5 stars by the magazine Rolling Stone.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003e\u003cbr\u003eRatings :\u003c\/strong\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan\u003eAllmusic : 5\/5, Discogs \u003c\/span\u003e: \u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e4,49\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5, \u003c\/span\u003e\u003cspan\u003eRate Your Music \u003c\/span\u003e: \u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e4,06\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40399363932311,"sku":"SD 1317","price":30.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/ornette-coleman-the-shape-of-jazz-to-come-audiosoundmusic-1.jpg?v=1743329138"},{"product_id":"ry-cooder-paradise-and-lunch","title":"Ry Cooder - Paradise And Lunch","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eRy Cooder - guitar, mandoline, bass, vocal \u003cspan style=\"color: #ff8000;\"\u003e\u003ca title=\"vinyl featuring Ry Cooder\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/ry-cooder\" style=\"color: #ff8000;\" data-mce-fragment=\"1\"\u003e[click here to see more vinyl featuring Ry Cooder]\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eEarl Hines - piano\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eMilt Holland - drums, percussions\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eRonnie Barron (p, org); Plas Johnson (as); Oscar Brashear (crt); Red Callender, John Duke (b); Russ Titelman, Chris Ethridge (el-b); Jim Keltner (dr)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by Russ Titelman (A2), Ry Cooder (A2), Washington Phillips (A2), Willie McTell (A3), Bobby Womack (A5), Shirley Womack (A5), J.B. Lenoir (B1), Jim Dickinson (B1), Sidney Bailey (B1), Bobby Miller (B2), Bacharach (B3), Hilliard (B3), Arthur Blake (B4). A1 and A4 are traditional songs\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 : Reprise\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eRecording: 1974 at the Warner Brothers Studios in North Hollywood and Burbank (USA), by Lee Herschberg\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eProduction: Lenny Waronker \u0026amp; Russ Titelman\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eOriginally released in 1974\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\u003cdiv style=\"padding-left: 30px;\"\u003e1. Tamp 'Em Up Solid\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e2. Tattler\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e3. Married Man's A Fool\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e4. Jesus On The Mainline\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e5. It's All Over Now\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e1. I'm A Fool For A Cigarette \/ Feelin' Good\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e2. If Walls Could Talk\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e3. Mexican Divorce\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e4. Ditty Wa Ditty\u003cbr\u003e\u003cbr\u003e\n\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\u003cb\u003e\u003cstrong\u003e\u003cspan class=\"421441414-17032005\"\u003e\u003cspan size=\"2\" color=\"#ff0000\" face=\"Arial\"\u003eStereophile Records to Die For - 2013\u003c\/span\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e« Ry Cooder understands that a great song is a great song, whether it was written before the Depression or last week. Still, at the same time he isn't afraid to explore new avenues and possibilities for the material. Like his three previous records, Paradise and Lunch is filled with treasures which become part of a world where eras and styles converge without ever sounding forced or contrived. One may think that an album that contains a traditional railroad song, tunes by assorted blues greats, and a Negro spiritual alongside selections by the likes of Bobby Womack, Burt Bacharach, and Little Milton may lack cohesiveness or merely come across as a history lesson, but to Cooder this music is all part of the same fabric and is as relevant and accessible as anything else that may be happening at the time. No matter when it was written or how it may have been done in the past, the tracks, led by Cooder's brilliant guitar, are taken to new territory where they can coexist. It's as if Washington Phillips' \"Tattler\" could have shared a place on the charts with Womack's \"It's All Over Now\" or Little Milton's \"If Walls Could Talk.\" That he's successful on these, as well as the Salvation Army march of \"Jesus on the Mainline\" or the funky, gospel feel of Blind Willie McTell's \"Married Man's a Fool,\" is not only a credit to Cooder's talent and ingenuity as an arranger and bandleader, but also to the songs themselves. The album closes with its most stripped-down track, an acoustic guitar and piano duet with jazz legend Earl \"Fatha\" Hines on the Blind Blake classic \"Ditty Wah Ditty.\" Here both musicians are given plenty of room to showcase their instrumental prowess, and the results are nothing short of stunning. Eclectic, intelligent, and thoroughly entertaining, Paradise and Lunch remains Ry Cooder's masterpiece. » AllMusic Review by Brett Hartenbach\u003c\/p\u003e\n\u003cp\u003e« Ry Cooder’s Paradise And Lunch was released in 1974 to critical acclaim. Backed by a stellar ensemble of jazz (with no less than Earl Hines one one track) and rock musicians, it represented the stylized, modern blues contexts that imbue Cooder’s music. Speakers Corner has re-mastered this classic album to 180-gram vinyl and it is terrific! Side One opens with an update of “Tamp ‘Em Up Solid”. The jaunty laid-back grooves are framed by exquisite acoustic guitar picking. The ever-present “Sunday” undertones  bask in gospel backup vocals and the gentle roll of a train cadence. Washington Phillip’s “Tattler”is revisited by infectious island rhythms and playful ambiance. The switch to electric maintains the low-keyed elegance. Within the rock community, there is a genuine respect for the roots of blues music. Cooder is among the most supportive in this endeavor.\u003c\/p\u003e\n\u003cp\u003eThe homage continues with a country-based cover of Blind Willie McTell’s “Married Man’s A Fool”. The amalgam of roots and gospel (and there is an “Amen Brother!”) is reminiscent of the time period with groups like The Band. Cooder’s guitar solo is fluid and dynamic. Drilling down to pure gospel, “Jesus On The Mainline” is nothing short of inspired testimony. There are New Orleans-like horns for additional texture and Cooder’s slide work is steeped in blues integrity. In a change of pace,“It’s All Over Now” steals the show. The mixture of funky country and Caribbean nuances has the feel of a 2nd line celebration, but with cool restraint. Ronnie Barron shines on piano and organ. This Bobby Womack song has seen many translations, and they are all noteworthy.\u003c\/p\u003e\n\u003cp\u003eSide Two is equally prominent in establishing authenticity and musical vision. A medley (“I’m A Fool For Cigarettes\/Feelin’ Good”) feels like traditional blues homage (J.B. Lenoir, Sydney bailey, Jim Dickinson) with foot stomping Delta resonance. Cooder puts on a virtuosic display with acoustic guitar and mandolin. His idiosyncratic vocal intonation fits the musical arrangements. There is a winsome quality that permeates this upbeat translation. Bobby Miller’s “If Walls Could Talk” (first recorded by Little Milton) is a joyful 12-bar romp with counter vocals and a potent slide solo. Another pleasant surprise is the evocative Drifters hit, “Mexican Divorce” (an early Bury Bacharach tune). The tight-knit arrangement features Cooder’s winsome, heartfelt vocals, marimba and violin. It creates a cinematic “border town” mood with  festive agility. The versatility of Cooder is always on display. The finale, “Ditty Wa Ditty” is a brilliant duet with “trumpet style” jazz piano legend Earl Hines. This iconic slice of Americana was written by Willie Dixon and recorded by Bo Diddley in 1956 for Checker Records. The mythical town alluded to in the title was part of the African-American songwriting culture. Hines’ signature rolls and Cooder’s punctuated riffs elevate the anecdotal song. It is an appropriate close to an unforgettable album.\u003c\/p\u003e\n\u003cp\u003eSpeakers Corner has done a superb job in re-mastering Paradise And Lunch to audiophile vinyl. The subtlety of analog mixing is captured with the right amount of vibrancy. The guitars and mandolin are crisp, warm and devoid of unnecessarily augmented studio effects. Hines’ piano sounds like a vintage recording. The percussion and bass are dialed back. Horns blend in effortlessly without any shrillness. Like any great recording, it gets better with each additional play. » Robbie Gerson, Audiophile Audition, Jun 27, 2018\u003c\/p\u003e\n\u003cp\u003eThe LP \"Paradise And Lunch\" begins with gospel-like grooves that smell of native soil. The faint smell of a wooden church from pioneering days wafts out of the processional antiphonal song \"Jesus On The Mainline\" and a healthy 12-bar blues paints a picture of what silent witnesses could tell if they could (\"If Walls Could Talk\"). Cooder and his sidemen felt themselves perfectly at home when adventuring further afield and this is testified to in the laid-back calypso rhythm of \"It’s All Over Now\" and the clip-clop of \"Mexican Divorce\".\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThis wonderful album is highly recommended for each and every number, but if you want a tip for a very special track, then just listen to the ragtime piano rolls in Bo Diddley’s \"Ditty Wah Ditty\".\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\u003e3,73\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40407121887383,"sku":"MS 2179","price":38.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/ry-cooder-paradise-and-lunch-audiosoundmusic-1.jpg?v=1719851616"},{"product_id":"earth-wind-fire-thats-the-way-of-the-world","title":"Earth, Wind \u0026 Fire - That's The Way Of The World (Speakers Corner)","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEarth, Wind \u0026amp; Fire \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/earth-wind-fire\" title=\"vinyl featuring Earth, Wind \u0026amp; Fire\"\u003e\u003cspan style=\"color: #ff8000;\"\u003e[Click here to see more vinyl featuring Earth, Wind \u0026amp; Fire]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMaurice White (voc, perc, dr); Verdine White (voc, b, perc); Philip Bailey (voc, cga, perc); Larry Dunn (p, org, synth); Al McKay (g, perc); Ralph Johnson (dr, perc); Johnny Graham (g); Fred White (dr, perc)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by Maurice White (A1, A2, A3, A4, B1, B2, B3), Philip Bailey (A1, A3, B1, B2, B4), Larry Dunn (A1, A3, A4, B3, B4), Charles Stepney (A2, B1, B2), Verdine White (A2, A3), Al McKay (A3), Michael Mazzarella (B2), Louise Anglin (B4)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, gatefold 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: 1975 at Caribou Ranch in Nederland, Colorado (USA), by Curt Wittig\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003cbr\u003e\u003cspan\u003eProduction: Maurice White\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released 1975\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2012\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eTracks :\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003cp\u003e                1. Shining Star\u003c\/p\u003e\n\u003cp\u003e                2. That’s the Way of the World\u003c\/p\u003e\n\u003cp\u003e                3. Happy Feelin’\u003c\/p\u003e\n\u003cp\u003e                4. All About Love\u003c\/p\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003cp\u003e                1. Yearnin’ Learnin’\u003c\/p\u003e\n\u003cp\u003e                2. Reasons\u003c\/p\u003e\n\u003cp\u003e                3. Africano\u003c\/p\u003e\n\u003cp\u003e                4. See the Ligh\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAwards\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cb\u003eRolling Stone 500 Greatest Albums of All Time - Rated 486\/500!\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cb\u003eRolling Stone 500 Greatest Songs of All Time - That's The Way Of The World - Rated 337\/500!\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cb\u003e\u003cstrong\u003e1000 Recordings You Must Hear Before You Die - Ranked 347\u003c\/strong\u003e\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cb\u003e\u003cstrong\u003e\u003cspan class=\"421441414-17032005\"\u003e\u003cspan size=\"2\" color=\"#ff0000\" face=\"Arial\"\u003eStereophile Records to Die For - 2014\u003c\/span\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eMore than three million albums sold in the USA alone\u003c\/strong\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\"Earth, Wind \u0026amp; Fire has delivered more than its share of excellent albums, but if a person could own only one EWF release, the logical choice would be \u003cem\u003eThat's the Way of the World\u003c\/em\u003e, which was the band's best album as well as its best-selling. \u003cem\u003eOpen Our Eyes\u003c\/em\u003e had been a major hit and sold over half a million units, but it was\u003cem\u003eWorld\u003c\/em\u003e that established EWF as major-league, multi-platinum superstars. Fueled by gems ranging from the sweaty funk of 'Shining Star' and 'Yearnin' Learnin' to the gorgeous ballad 'Reasons' and the unforgettable title song, EWF's sixth album sold at least five million units. And some of the tracks that weren't major hits, such as the exuberant 'Happy Feelin' and the gospel-influenced 'See the Light,' are equally powerful. There are no dull moments on \u003cem\u003eWorld\u003c\/em\u003e, one of the strongest albums of the 1970s and EWF's crowning achievement.\" — \u003cem\u003eAll Music Guide\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\"Before he got into African thumb pianos and otherworldly philosophizing, EWF founder Maurice White was a session drummer at Chess Studios. EWF's sixth album is make-out music of the gods.\"\u003cem\u003e - rollingstone.com\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eAllmusic : 4.5 \/ 5  ,  \u003cspan\u003eDiscogs \u003c\/span\u003e:\u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e4,12\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\u003e3,70\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40411203109015,"sku":"PC 33280","price":38.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/earth-wind-and-fire-that-s-the-way-of-the-world-speakers-corner-audiosoundmusic-1.jpg?v=1719851654"},{"product_id":"nat-king-cole-after-midnight","title":"Nat King Cole - After Midnight (2LP, Mono)","description":"\u003cbr\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e\u003cspan size=\"3\" face=\"Times New Roman\"\u003e\u003cbr\u003e\u003cbr\u003eTracks C3, C4, D1, D2, D3 \u0026amp; D4 are bonus material not found on original LP\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e\u003cspan size=\"3\" face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan size=\"3\" face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan size=\"3\" face=\"Times New Roman\"\u003eNat King Cole - Piano and Vocals \u003cspan data-mce-fragment=\"1\" style=\"color: #ff8000;\"\u003e\u003ca data-mce-fragment=\"1\" style=\"color: #ff8000;\" title=\"vinyl featuring Nat King Cole\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/nat-king-cole\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/nat-king-cole\"\u003e[click here to see more vinyl featuring Nat King Cole]\u003c\/a\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan size=\"3\" face=\"Times New Roman\"\u003e\u003cbr\u003eJohn Collins (Guitar), Charlie Harris (Bass), Lee (Leonidas) Young (Drums), \u003c\/span\u003e\u003cspan size=\"3\" face=\"Times New Roman\"\u003eWillie Smith (Alto Saxophone), Harry \"Sweets\" Edison (Trumpet), Stuff Smith (Violin), Juan Tizol (Trombone), \u003c\/span\u003e\u003cspan size=\"3\" face=\"Times New Roman\"\u003eJack Costanza (Congas,Bongos)\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan size=\"3\" face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan size=\"3\" face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan size=\"3\" face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan size=\"3\" face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp\u003e\u003cstrong\u003e2 LPs, gatefold sleeve\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMono\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Pure Pleasure Records\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Capitol\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan size=\"2\"\u003eRecorded at Capitol Studios, Los Angeles, Calafornia U.S.A on \u003c\/span\u003e\u003cspan size=\"2\"\u003e\u003cspan face=\"Times New Roman\"\u003e15\u003csup\u003eth\u003c\/sup\u003e August and 24\u003csup\u003eth\u003c\/sup\u003e September 1956\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan size=\"2\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003eRemastered by \u003cspan data-mce-fragment=\"1\"\u003eRon McMaster, Steve Hoffman \u0026amp; Kevin Grey\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan\u003eProduced by \u003c\/span\u003e\u003cspan\u003eLee Gillette\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan data-mce-fragment=\"1\"\u003eOriginally released in 1956\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\"\u003eReissued in 2006\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 :\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 style=\"font-weight: 400;\"\u003e\u003cspan\u003e1. Just You, Just Me\u003cbr\u003e2. Sweet Lorraine\u003cbr\u003e3. Sometimes I’m Happy\u003cbr\u003e4. Caravan\u003cbr\u003e5. It’s Only A Paper Moon\u003c\/span\u003e\u003c\/p\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. \u003c\/span\u003e\u003cspan size=\"2\"\u003e\u003cspan face=\"Times New Roman\"\u003eYou’re Looking At Me\u003cbr\u003e2. The Lonely One\u003cbr\u003e3. Don’t Let It Go To Your Head\u003cbr\u003e4. I Know That You\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan face=\"Times New Roman\" size=\"3\"\u003e5 .Know\/ Blame It On My Youth\u003c\/span\u003e\u003c\/p\u003e\n\u003cdiv\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/div\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\u003cp style=\"font-weight: 400;\"\u003e\u003cspan\u003e1. \u003c\/span\u003e\u003cspan size=\"2\"\u003e\u003cspan face=\"Times New Roman\"\u003eWhen I Grow To Old To Dream\u003cbr\u003e2. Route 66\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan size=\"2\"\u003e\u003cspan face=\"Times New Roman\"\u003e3. I Was A Little Too Lonely (And You Were A Little \u003c\/span\u003e\u003c\/span\u003e\u003cspan\u003e\u003cspan size=\"2\"\u003e\u003cspan face=\"Times New Roman\"\u003eToo Late)\u003cbr\u003e4. You Can Depend On Me\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Times New Roman\"\u003eSide D :\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\n\u003cp\u003e\u003cspan\u003e1. What Is There To Say\u003cbr\u003e2. Two Loves Have I\u003cbr\u003e3. Candy\u003cbr\u003e4. You’re Looking At Me (alternate take)\u003c\/span\u003e\u003c\/p\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\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eAwards\u003c\/strong\u003e:\u003cbr\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\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\u003eStereophile Records To Die For - 2011\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\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\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\u003cspan size=\"3\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp\u003e« Nat \"King\" Cole' s music is the perfect combination of romantic charm and musical invention. Cole is renowed for his big production numbers and pop hits such hits as \"Stardust\" , but he was also an accomplished and unique jazz pianist and excelled in a small-group setting. After Midnight's album cover states that this is a \"trio\" release. However, Cole is actually paired up with his trio plus five guest soloists (saxaphone.trombone,trumpet,procussion and violin). The dubious credits don't matter that much. This is precious music and without doubt, one of Cole's best records. Included here are wonderful and intimate renditions of Cole favourites \"Sweet Lorraine\", \"(Get your kicks on) Route 66\" and many others. Trombonist Juan Tizol performs a beautiful version of his Afro-Cuban tune \"Caravan\", and Cole and violinist Stuff Smith trade some hot licks on the up-tempo \"I Know\". For anybody looking into understand the depth and breadth of Cole's jazz roots, this disc is an excellent point of departure.\u003c\/p\u003e\n\u003cp style=\"font-weight: 400;\"\u003eOne of the unfortunate consequences of Nat \"King\" Cole's exquisite career as a vocalist is that many fans have forgotten what an exceptional pianist he was. Moreover, Cole influenced pianists as chronologically and geographically divergent as Oscar\u003cstrong style=\"font-weight: 600;\"\u003e\u003cspan\u003e \u003c\/span\u003eP\u003c\/strong\u003e\u003cstrong style=\"font-weight: 600;\"\u003eeterson\u003c\/strong\u003e,\u003cspan\u003e \u003c\/span\u003eBrazil's\u003cspan\u003e \u003c\/span\u003e\u003cstrong style=\"font-weight: 600;\"\u003eTan\u003c\/strong\u003e\u003cstrong style=\"font-weight: 600;\"\u003eia Maria\u003c\/strong\u003e, and\u003cspan\u003e \u003c\/span\u003e\u003cstrong style=\"font-weight: 600;\"\u003eDiana Krall\u003c\/strong\u003e. After Midnight serves up equal doses of\u003cspan\u003e \u003c\/span\u003e\u003cstrong style=\"font-weight: 600;\"\u003eCole\u003c\/strong\u003e's vocals and piano playing. From the lush beauty of \"What Is There To Say\" to the mid-tempo swing of \"When I Grow Too Old To Dream\" to the lightening quick \"I Know That You Know\",\u003cspan\u003e \u003c\/span\u003e\u003cstrong style=\"font-weight: 600;\"\u003eCole\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003econfirms his place in both Popular Vocalist history and Jazz Piano history as well. In a recording featuring such luminaries as\u003cspan\u003e \u003c\/span\u003e\u003cstrong style=\"font-weight: 600;\"\u003eHarry\u003c\/strong\u003e\u003cstrong style=\"font-weight: 600;\"\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/strong\u003e\u003cstrong style=\"font-weight: 600;\"\u003e\"Sweets\"\u003cspan\u003e \u003c\/span\u003eEdison\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003eon trumpet, and the often forgotten violinist\u003cspan\u003e \u003c\/span\u003e\u003cstrong style=\"font-weight: 600;\"\u003eStuff Smith\u003c\/strong\u003e, After Midnight is the perfect offering for any fan of the\u003cspan\u003e \u003c\/span\u003e\u003cstrong style=\"font-weight: 600;\"\u003eNat \"King\u003c\/strong\u003e\"\u003cspan\u003e \u003c\/span\u003e\u003cstrong style=\"font-weight: 600;\"\u003eCole\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003eTrio as well as those fans who are more familiar with Cole as a vocalist. A perfect blend is found here.\"\u003cspan\u003e \u003c\/span\u003eL. J. Allen\u003cbr\u003e\u003cbr\u003e\u003cbr\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 : \u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan size=\"3\"\u003e\u003cspan size=\"3\"\u003e\u003cspan size=\"3\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eDiscogs : 4.67 \/ 5 \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003ch1\u003e\u003c\/h1\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40706087780503,"sku":"PPAN W782","price":52.5,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/nat-king-cole-after-midnight-2lp-mono-audiosoundmusic-1.jpg?v=1719852028"},{"product_id":"keb-mo-back-by-popular-demand","title":"Keb’ Mo’ - Peace... Back by Popular Demand","description":"\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eKeb Mo, guitar, dobro\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eJames Harrah, guitar\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eJeff Paris, Hammond organ, electric piano, keyboards, acoustic piano\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eReggie McBride, bass\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eStephen Ferrone, drums\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003ePaulinho da Costa, percussion\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eLon Price, saxophone\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eBrian Schwartoz, trumpet, flugelhorn\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eNicholas Lane, trombone\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eNikka Costa, scat vocal (A1, A3)\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003ePhilip Ingram, backing vocals\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eWill Wheaton, backing vocals\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Pure Pleasure\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : EPIC\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eRecorded by \u003c\/span\u003eMark Johnson at Conway Studios, Hollywood, CA ; The Village Recorders, West Los Angeles, CA ; House Of Blues Studio, Encino, CA ; Stu Stu Studio, West Los Angeles, CA.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan lang=\"EN-US\"\u003eMixed by M\u003cspan data-mce-fragment=\"1\"\u003eark Johnson \u0026amp; \u003c\/span\u003eKeb’ Mo’\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003eat The Village Recorders.\u003c\/span\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan lang=\"EN-US\"\u003eAdditional Engineering by Mark Johnson at \u003c\/span\u003e\u003cspan lang=\"EN-US\"\u003eStu Stu Studio, West Los Angeles, CA\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan lang=\"EN\"\u003e\u003cstrong\u003e\u003cspan\u003eProduced by Keb’ Mo’\u003c\/span\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by \u003cspan data-mce-fragment=\"1\"\u003eRay Staff at Air Mastering, Lyndhurst Hall, London\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv class=\"product-details-module product-details__general-info\"\u003e\n\u003cdiv class=\"product-details-module__content\"\u003e\n\u003cdiv id=\"productDescription\" class=\"product-details__product-description\" itemprop=\"description\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 2004\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in \u003cspan data-mce-fragment=\"1\"\u003eMarch 2009\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\n\u003cspan data-mce-fragment=\"1\"\u003e1. For What It's Worth\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e2. Wake Up Everybody\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e3. People Got To Be Free\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e4. Talk\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e5. What's Happening Brother\u003c\/span\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\u003cspan\u003e1. The Times They Are a Changin'\u003cbr data-mce-fragment=\"1\"\u003e2. Get Together\u003cbr data-mce-fragment=\"1\"\u003e3. Someday We'll All Be Free\u003cbr data-mce-fragment=\"1\"\u003e4. (What's So Funny 'Bout0 Peace, Love and Understanding\u003cbr data-mce-fragment=\"1\"\u003e5. Imagine\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e \u003cbr\u003e\n\u003c\/div\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAwards\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eStereophile Records To Die For - 2006\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e:\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e« Peace...Back by Popular Demand finds Keb' Mo' covering nine classic protest and peace songs from the 1960s and early '70s, and what is immediately apparent is how well these songs translate forward into the current political milieu. This is an album where the songs themselves are the stars, and Keb' Mo' wisely takes a low-key and measured vocal approach to each of them, letting the messages take hold over light soul-jazz backings, with just enough funk in the horn charts to give the arrangements some push. It's hard to argue with the song selection, but as an interpreter, Mo' seldom makes any of these tracks his own, and behind each stands the ghostly but clear memory of the original version. Perhaps that would be unavoidable under any circumstances, because songs like John Lennon's \"Imagine\" and Marvin Gaye's \"What's Happening Brother\" are so perfectly realized in the original recordings, but if the idea here is to give the messages of these songs a new cachet in a new era, then only a couple of them are given a redefinition by Mo' that would allow it. One that does work in a new guise is the opening track, a spunky, light soul rendition of Stephen Stills' \"For What It's Worth.\" The song seems to have gained wisdom and import as the years have passed, and in the hands of Keb' Mo' it becomes both universal and danceable. Less successful is Nick Lowe's \"(What's So Funny About) Peace, Love and Understanding,\" which is also given a heavy makeover, emerging in a swampy string band version that makes the song feel somehow less urgent. The cover here of Gaye's \"What's Happening Brother\" works because Mo' stays close to the original template, and given that Gaye pretty much invented the jazzy soul approach on his classic What's Going On album (an album that hardly needs redefinition to be vital in a contemporary setting), this is a wise choice. Delivering a perfectly nuanced vocal on Donny Hathaway's \"Someday We'll All Be Free,\" Mo' brings out the hard-earned wisdom and hope inherent in the song's lyrics, as well as preserving its natural elegance. The simple vocal-and-piano approach to Bob Dylan's \"The Times They Are A-Changin'\" strips the song of its defiant swagger, replacing it with a kind of cautious -- but hopeful -- resignation that is surprisingly effective in shining a different kind of light on the lyrics. There is one Keb' Mo' original on the album, \"Talk,\" which takes as its premise a one-on-one talk with the President of the United States, a notion that will seem like science fiction for most listeners. Obviously Mo' isn't trying to top the Hit Parade with anything here, and his effort to bring these important songs into a new light is laudable. Peace...Back by Popular Demand is not a major album, but it does have some major things to say, or re-say, in this case, and it serves as a reminder that every era could use (and deserves) some peace. » AllMusic Review by Steve Leggett\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eAllMusic : 3 \/ 5 , Discogs : 4.12 \/ 5 , Hi-Fi News, Sound Quality : 93%\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40717191151767,"sku":"92687","price":35.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/keb-mo-peace-back-by-popular-demand-audiosoundmusic-1.jpg?v=1719852136"},{"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":"saint-saens-symphony-no-3-charles-munch","title":"Saint-Saens - Symphony No.3 - Charles Munch (200g)","description":"\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eThe Symphony No. 3 in C minor, Op. 78 composed by Camille Saint-Saëns\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eBerj Zamkochian, organ\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eLeo Litwin, piano\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eBernard Zighera, piano\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cstrong\u003eBoston Symphony Orchestra\u003cbr\u003e\u003c\/strong\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cstrong\u003eCharles Munch, conductor \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP,  \u003cspan data-mce-fragment=\"1\"\u003estandard sleeves\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 200g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : \u003cspan data-mce-fragment=\"1\"\u003eQuality Record Pressings\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Analogue Productions\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : RCA\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded on April 5–6, 1959 at Symphony Hall, Boston.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by Ryan Smith at Sterling Sound\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003eOriginally released in 1959\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003eReissued in 2014\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\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. 1st Movement: Adagio; Allegro Moderato\u003cbr data-mce-fragment=\"1\"\u003e2. 1st Movement: Adagio; Allegro Moderato - Concluded\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\n\u003cspan data-mce-fragment=\"1\"\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Times New Roman\"\u003eSide B :\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e1. 2nd Movement: Allegro moderato; Presto Moestoso\u003cbr data-mce-fragment=\"1\"\u003e2. 2nd Movement: Allegro moderato: Presto Maestoso\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eAwards\u003c\/strong\u003e :\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eWinner of a Gruvy Award, chosen by AnalogPlanet's editor, Michael Fremer, for vinyl records that are musically and sonically outstanding and are also well mastered and pressed\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e\u003cb\u003e\u003cspan class=\"421441414-17032005\"\u003e\u003cspan size=\"2\" color=\"#ff0000\" face=\"Arial\"\u003eStereophile Records to Die For - 2013\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003cbr\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\u003cbr\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp\u003e\u003cspan\u003e\"So far, Analogue Productions' series of outstanding reissues have avoided the missteps of the previous Classic Records issues, instead offering real improvements over the originals. ... The latest release, of this title and the Offenbach Gaite Parisienne (LSC 1817), keeps a perfect track record of outstanding Living Stereo releases by Analogue Productions. Pristine surfaces and better-defined layers of sound along with much finer texture add up to a wonderful experience of the famous Organ Symphony. The original is almost coarse sounding compared to this reissue. While the Offenbach reissue does not eclipse the original in all areas, the original remains very expensive and the reissue is superb.\" Dennis D. Davis,\u003c\/span\u003e\u003cem\u003e\u003cspan\u003e \u003c\/span\u003eHi-Fi +\u003c\/em\u003e\u003cspan\u003e, Issue 119\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cbr\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\"\u003eDiscogs : 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","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40734045339799,"sku":"AAPC 2341","price":65.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/saint-saens-symphony-no-3-charles-munch-200g-audiosoundmusic-1.jpg?v=1719852214"},{"product_id":"sonny-boy-williamson-keep-it-to-ourselves","title":"Sonny Boy Williamson II - Keep It To Ourselves (1LP, 33RPM, 200g)","description":"\u003cdiv\u003e\n\u003cp\u003e\u003cstrong\u003eHarmonica, Vocals – Sonny Boy Williamson II\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePiano – Memphis Slim\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDrums – Billie Stepney (A5)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGuitar – Matt Guitar Murphy\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eVocals – Memphis Slim (B2)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by Sonny Boy Williamson II (A2 to B5)\u003cbr\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP,  Deluxe gatefold tip-on jacket\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 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 : Alligator Records\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded at \u003c\/strong\u003e\u003cstrong\u003eRosenberg Studio on November 1, 1963.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by \u003cb data-mce-fragment=\"1\"\u003eKevin Gray at Cohearent Audio\u003cbr\u003e\u003c\/b\u003e\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\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\n\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003eReissued in 2012\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003cbr\u003eTracks :\u003c\/strong\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cbr\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. The Sky Is Crying\u003cbr data-mce-fragment=\"1\"\u003e2. Don't Let Your Right Hand Know\u003cbr data-mce-fragment=\"1\"\u003e3. Coming Home To You Baby\u003cbr data-mce-fragment=\"1\"\u003e4. The Story of Sonny Boy Williamson\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Times New Roman\"\u003eSide B :\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\n\u003cspan\u003e1. Gettin' Together\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e2. Little Girl\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e3. I Can't Understand\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e4. Slowly Walk Close To Me\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e5. I Wonder Do I Have A Friend\u003c\/span\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003eAwards\u003c\/strong\u003e:\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan style=\"color: #ff2a00;\"\u003eStereophile 1992 records to die for\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cbr\u003eReviews\u003c\/strong\u003e :\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp\u003e« An intimate 1963 collection of Sonny Boy Williamson in solo and duet (with guitarist Matt Murphy) formats; on three tracks, pianist Memphis Slim hops aboard. This delightful addendum to Williamson's electric output of the same era was cut in Denmark and first issued on Storyville. » AllMusic Review by Bill Dahl\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAn American blues harmonica player, singer and songwriter, from Mississippi. One of the greatest bluesmen ever. His harp, vocals, and songwriting have never been surpassed. All his records are classics, but this one is truly unique — it's the cream of two rare, acoustic albums cut in Denmark in 1963. Gentle, personal blues with brilliant harmonica, accompanied by only Matt Guitar Murphy and Memphis Slim on piano. \u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cbr\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e : \u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\u003cspan size=\"3\"\u003e\u003cspan size=\"3\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eAllMusic : 4 \/ 5 , Discogs : 4.49 \/ 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":40747558404247,"sku":"APB 036","price":65.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/sonny-boy-williamson-ii-keep-it-to-ourselves-1lp-33rpm-200g-audiosoundmusic-1.jpg?v=1719852332"},{"product_id":"fritz-reiner-rimsky-korsakoff-scheherazade","title":"Rimsky-Korsakov - Scheherazade - Fritz Reiner - Chicago Symphony Orchestra (1LP, 33RPM, 200g)","description":"\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003eNikolaï Rimski-Korsakov - \u003c\/strong\u003e\u003cstrong\u003eScheherazade Op. 35\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSidney Harth, violin solo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eChicago Symphony Orchestra\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFritz Reiner, conductor\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP,  standard \u003cspan data-mce-fragment=\"1\"\u003esleeves\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 200g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : \u003cspan data-mce-fragment=\"1\"\u003eQuality Record Pressings\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Analogue Productions\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : RCA\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eRecorded in Orchestra Hall, Chicago, on February 8, 1960\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by Ryan Smith at Sterling Sound\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eProduced by Richard Mohr\u003c\/span\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003eOriginally released in 1960\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 2013\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cp\u003e\u003cstrong\u003eTracks :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv\u003e\u003cspan face=\"Times New Roman\"\u003eSide A : \u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 60px;\"\u003e1. The Sea And Sinbads Ship\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 60px;\"\u003e2. The Story Of The Kalender Prince\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\n\u003cspan data-mce-fragment=\"1\"\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Times New Roman\"\u003eSide B : \u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 60px;\"\u003e\n\u003cp\u003e1. \u003cspan data-mce-fragment=\"1\"\u003eThe Young Prince And The Young Princess\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e2. Festival In Bagdad; The Sea; The Ship Goes To Pieces On A Rock Surmounted By A Bronze Warrior\u003c\/span\u003e\u003c\/p\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\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eAwards\u003c\/strong\u003e :\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e\u003cb\u003eTAS Super LP List! Special Merit: Classical\u003cbr\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e\u003cb\u003e\u003cspan\u003eWinner of a Gruvy Award, chosen by AnalogPlanet's editor, Michael Fremer, for vinyl records that are \u003c\/span\u003e\u003cspan\u003emusically and sonically outstanding and are also well mastered and pressed.\u003c\/span\u003e\u003c\/b\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eNamed a 2015 Record To Die For by Stereophile magazine\u003c\/strong\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp\u003e\"This ravishing beauty, originally released in 1960 or fifty three years ago, has been a long-time audiophile classic. It's also considering to be among the finest if not the finest performance on record or any other format... Both the music and the sound are transportive, making this easy to recommend even if you think you don't like 'classical' music. If you're looking for a way 'in' here it is!\" - Michael Fremer, analogplanet.com\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\"These are the best vinyl releases of RCA LPs I've yet heard.\" — Jonathan Valin, executive editor, \u003c\/span\u003e\u003cem\u003eThe Absolute Sound\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\"Reiner's reading of Scheherazade is the pinnacle of grace, precision, delicacy, and drama, and it's no wonder it commands the highest prices in the market for used shaded dogs. The late Harry Pearson once told me that he could learn anything he needed to know about an audio component by playing the final movement of this recording... When I spun them [Analogue Productions RCA Living Stereo 200g LP reissues], I was floored. After comparing them to early shaded-dog pressings of the same recordings, I felt the only area in which the originals were still superior was the subtle, additional layer of air and sparkle in the highs (master-tape age, perhaps?). But the reissues' quality and extension of bass and high-level dynamic contrasts were superior. And the surfaces of the new pressings are so quiet they let each subtle midrange detail emerge from a \"black\" background. At times, the background is so silent I have to do a double take to verify that the needle is still in the groove and the platter is still turning.\" - Robert J. Reina, 2015 Stereophile Magazine Record to Die For!\u003c\/p\u003e\n\u003cp\u003e\"...The second movement is just ravishing in the beauty of the Chicago's playing and Reiner's romantic approach; there is some staccato triple-tonguing done by trumpeter Adolph Herseth in the fourth movement that should leave you, if not him, breathless. But let it just be said that, after you hear this, no other Scheherazade will ever replace it in your affections.\" - Harry Pearson, The Absolute Sound, June\/July 2007\u003c\/p\u003e\n\u003cp\u003e \u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003eRatings\u003c\/strong\u003e : \u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\u003cspan size=\"3\"\u003e\u003cspan size=\"3\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eDiscogs : 4.65 \/ 5  , Michael Fremer : 10\/11 Music, 10\/11 Sound\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":40747603624087,"sku":"AAPC2446","price":65.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/rimsky-korsakov-scheherazade-fritz-reiner-chicago-symphony-orchestra-1lp-33rpm-200g-audiosoundmusic-1.jpg?v=1719852332"},{"product_id":"gil-evans-gil-evans-and-ten","title":"Gil Evans - Gil Evans and Ten","description":"\u003cp\u003e\u003cstrong\u003eGil Evans, piano \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/gil-evans\" title=\"Vinyl featuring Gill Evans\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/gil-evans\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Gil Evans]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSteve Lacy, saxophone\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLee Konitz, saxophone \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/lee-konitz\" title=\"vinyl featuring Lee Konitz\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/lee-konitz\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Lee Konitz]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJimmy Cleveland, trombone\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : \u003cspan data-mce-fragment=\"1\"\u003eQuality Record Pressings\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Analogue Productions\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Prestige\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded at Van Gelder Studio, Englewood Cliffs, New Jersey by Rudy Van Gelder on \u003cspan data-mce-fragment=\"1\"\u003eSept. 6, (A1) Sept. 27 and Oct. 10, 1957.\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by \u003cb data-mce-fragment=\"1\"\u003eKevin Gray\u003c\/b\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003eOriginally released in 1957\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003eReissued in 2022\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\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 style=\"padding-left: 30px;\"\u003e\n\u003col\u003e\n\u003cli\u003eRemember\u003c\/li\u003e\n\u003cli\u003eElla Speed\u003c\/li\u003e\n\u003cli\u003eBig Stuff\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Times New Roman\"\u003eSide B :\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 60px;\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cbr\u003e1. Nobody's Heart\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 60px;\"\u003e2. Just One Of Those Things\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 60px;\"\u003e3. If You Could See Me Now\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 60px;\"\u003e4. Jambangle\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eAwards\u003c\/strong\u003e :\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cspan style=\"color: #ff2a00;\"\u003e\u003cb\u003eMichael Fremer's 100 Recommended All-Analog LP Reissues Worth Owning - Rated 22\/100!\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eStereophile Records To Die For - 2010\u003c\/strong\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp\u003e\"Part of Analogue Productions' series of 25 of the rarest and best sounding Prestige titles recorded by Rudy Van Gelder, this important reissue dates to 1957 and presents for the first time on vinyl in stereo Gil Evans' debut as both the leader of his own recording session as well as the pianist. ... Remastered by Kevin Gray and impeccably pressed at QRP, the sound is excellent. Tonally rich and warm, but not overly fat or golden, with an airy and expansive soundstage in which the main instruments occupy the front section, layering back to the supporting players, with the drums and bass (mostly) at rear. The horns, especially, are creamy-lush, drums have plenty of snap, and there's a terrific sense of balance and completeness to the whole.\" Wayne Garcia,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eThe Absolute Sound\u003c\/em\u003e, May-June 2017\u003c\/p\u003e\n\u003cp\u003e\"I was so pleased with the job Analogue Productions did with their reissue of\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eOut of the Cool\u003c\/em\u003e, Evans's 1960 Impulse! album, that I immediately ordered their vinyl edition of\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eGil Evans \u0026amp; Ten\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003ewhen it became available. This is the recording's first release on vinyl in stereo ... The new LP more sharply presents Steve Lacy's soprano sax in Cole Porter's \"Just One of Those Things,\" and the instrument plays better against Evans's percussive piano lines. I could hear the band easing in behind Evans in the early moments of the track, and it sounded more dynamic as the arrangement built. Evans's high notes about two-thirds of the way through sound fuller, rounder toned, and more emphatic on the Analogue Productions LP. ... this new pressing reveals more depth and warmth in the sound, and lets me feel as if I'm closer to the band, and able to hear more of what's going on in the music.\" Joseph Taylor,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eSoundStageUltra.com\u003c\/em\u003e.\u003c\/p\u003e\n\u003cp\u003e« Although arranger Gil Evans had been active in the major leagues of jazz ever since the mid-'40s and had participated in Miles Davis' famous Birth of the Cool recordings, Gil Evans \u0026amp; Ten was his first opportunity to record as a leader. The set features a typically unusual 11-piece unit consisting of two trumpets, trombonist Jimmy Cleveland, Bart Varsalona on bass trombone, French horn player Willie Ruff, Steve Lacy on soprano, altoist Lee Konitz, Dave Kurtzer on bassoon, bassist Paul Chambers, and either Nick Stabulas or Jo Jones on drums, plus the leader's sparse piano. As good an introduction to his work as any, this program includes diverse works ranging from Leadbelly to Leonard Bernstein, plus Evans' own \"Jambangle.\" The arranger's inventive use of the voices of his rather unique sidemen make this a memorable set. » AllMusic Review by Scott Yanow\u003c\/p\u003e\n\u003cp\u003eIn 1957, Miles Davis, high on the success of his recent collaborations with his old friend Gil Evans, persuaded Prestige Records to give Evans his own record date. Evans packed the resulting album with the brilliance that music insiders had recognized since his days as an arranger for Claude Thornhill in the 1940s and his work on Davis’\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eBirth of the Cool\u003cspan\u003e \u003c\/span\u003e\u003c\/em\u003erecordings. Writing for only 11 instruments, Evans used his wizardry with dynamics, motion and harmonic voicings to create orchestral effects suggesting a substantially larger orchestra. His settings stimulated his musicians to inspired improvisation. Among the soloists are trombonist Jimmy Cleveland, saxophonists Steve Lacy and Lee Konitz, and Evans himself, making his first recorded appearance as a pianist.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e : \u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\u003cspan size=\"3\"\u003e\u003cspan size=\"3\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eAllMusic : 5 \/ 5 , Discogs : 4.58 \/ 5 , The Absolute Sound : Music = 4\/5; Sonics = 4\/5\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan size=\"3\"\u003e\u003cspan size=\"3\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eSoundStageUltra : Musical Performance = 4 1\/2 Stars; Sound Quality = 4 1\/2 Stars; Overall Enjoyment = 4 1\/2 Stars\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":40747955355799,"sku":"APRJ 7120","price":50.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/gil-evans-gil-evans-and-ten-200g-audiosoundmusic-1.jpg?v=1719852339"},{"product_id":"the-beach-boys-surfs-up-stereo","title":"The Beach Boys - Surf's up","description":"\u003cp\u003e\u003cstrong\u003e\u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/beach-boys\" title=\"vinyl featuring The Beach Boys\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/beach-boys\"\u003e\u003cspan style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring the Beach Boys]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAl Jardine - backing vocals, bass guitar, rhythm electric guitar (A5)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMike Love - lead  \u0026amp; backing vocals, tenor saxophone (B2)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBrian Wilson – lead \u0026amp; backing vocals, piano, \u003c\/strong\u003e\u003cstrong\u003eHammond organ\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCarl Wilson – lead \u0026amp; backing vocals, electric guitar\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDennis Wilson – \u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003elead \u0026amp; backing vocals, drums\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP,  gatefold \u003cspan data-mce-fragment=\"1\"\u003e\"Old school\" Stoughton tip-on jackets\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : \u003cspan data-mce-fragment=\"1\"\u003eQuality Record Pressings\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Analogue Productions\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Capitol\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded November 1966 – July 1971 at Sunset Sound, Western, and Columbia, Los Angeles\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by the Beach Boys\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMixed by Mark Linett\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by Kevin Gray at Cohearent Audio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003eOriginally released in 1971\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003eReissued in 2016\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cp\u003e\u003cstrong\u003eTracks :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv\u003e\u003cspan face=\"Times New Roman\"\u003eSide A :\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003col\u003e\n\u003cli\u003eDon't Go Near The Water\u003c\/li\u003e\n\u003cli\u003eLong Promised Road\u003c\/li\u003e\n\u003cli\u003eTake A Load Off Your Feet\u003c\/li\u003e\n\u003cli\u003eDisney Girls (1957)\u003c\/li\u003e\n\u003cli\u003eStudent Demonstration Time\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\n\u003cspan data-mce-fragment=\"1\"\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Times New Roman\"\u003eSide B :\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003col\u003e\n\u003cli\u003eFeel Flows\u003c\/li\u003e\n\u003cli\u003eLookin' At Tomorrow (A Welfare Song)\u003c\/li\u003e\n\u003cli\u003eA Day In The Life Of A Tree\u003c\/li\u003e\n\u003cli\u003e'Til I Die\u003c\/li\u003e\n\u003cli\u003eSurf's Up\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAwards\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e1000 Recordings You Must Hear Before You Die - Ranked 217\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e\u003cb\u003e\u003cspan class=\"421441414-17032005\"\u003e\u003cspan size=\"2\" color=\"#ff0000\" face=\"Arial\"\u003eStereophile Records to Die For - 2013\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp\u003e\"While the consensus deems Pet Sounds to be The Beach Boys' greatest achievement, I derive much more joy from this 1971 release. Issued when the band was considered so unhip as to be beyond redemption, it featured Bruce Johnston's heartbreakingly gorgeous 'Disney Girls (1957),' famously covered by Art Garfunkel, 'Long Promised Road,' 'Til I Die,' 'Feel Flows' and the luscious title track.\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eSurf's Up\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003erestored the band's credibility, despite Brian Wilson not dominating the proceedings. It sounds equally glorious on SACD. It was recorded for surround sound, to be heard via a Dynaco Quadaptor. Pity Acoustic Sounds didn't  issue that mix, too!\" — Sound Quality = 91% - Ken Kessler,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eHiFi News\u003c\/em\u003e, \"Years Best\" Yearbook 2017\u003c\/p\u003e\n\u003cp\u003e« The Beach Boys' post-1966 catalog is littered with LPs that barely scraped the charts upon release but matured into solid fan favorites despite -- and occasionally, because of -- their many and varied eccentricities. Surf's Up could well be the definitive example, beginning with the cloying \"Don't Go Near the Water\" and ending a bare half-hour later with the baroque majesty of the title track (originally written in 1966). The album is a virtual laundry list of each uncommon intricacy that made the Beach Boys' forgotten decade such a bittersweet thrill -- the fluffy yet endearing pop (od)ditties of Brian Wilson, quasi-mystical white-boy soul from brother Carl, and the downright laughable songwriting on tracks charting Mike Love's devotion to Buddhism and Al Jardine's social\/environmental concerns. Those songs are enjoyable enough, but the last three tracks are what make Surf's Up such a masterpiece. The first, \"A Day in the Life of a Tree,\" is simultaneously one of Brian's most deeply touching and bizarre compositions; he is the narrator and object of the song (though not the vocalist; co-writer Jack Rieley lends a hand), lamenting his long life amid the pollution and grime of a city park while the somber tones of a pipe organ build atmosphere. The second, \"'Til I Die,\" isn't the love song the title suggests; it's a haunting, fatalistic piece of pop surrealism that appeared to signal Brian's retirement from active life. The album closer, \"Surf's Up,\" is a masterpiece of baroque psychedelia, probably the most compelling track from the SMiLE period. Carl gives a soulful performance despite the surreal wordplay, and Brian's coda is one of the most stirring moments in his catalog. Wrapped up in a mess of contradictions, Surf's Up defined the Beach Boys' tumultuous career better than any other album. » AllMusic Review by John Bush\u003c\/p\u003e\n\u003cp\u003e\"The original Artisan Sound mastering is masterful and if you have a clean one, you're all set. This reissue is not quite as transparent but the inner detail resolution is superior as is the bottom end. If I had to guess which album(s) were cut from 'best available' as opposed to master tapes I'd pick this one simply because the top end is not as open and airy. If you don't have an original you won't know you're missing something, and you are getting inner detail and bottom end weight the original lacks.\" — Michael Fremer,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eAnalogPlanet.com\u003c\/em\u003e.\u003c\/p\u003e\n\u003cp\u003e\"While the consensus deems\u003cspan\u003e \u003c\/span\u003e\u003cem\u003ePet Sounds\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eto be The Beach Boys' greatest achievement, I derive much more joy from this 1971 release. Issued when the band was considered so unhip as to be beyond redemption, it featured Bruce Johnston's heartbreakingly gorgeous 'Disney Girls (1957),' famously covered by Art Garfunkel, 'Long Promised Road,' 'Till I Die,' 'Feel Flows' and the luscious title track.\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eSurf's Up\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003erestored the band's credibility, despite Brian Wilson not dominating the proceedings. It sounds equally glorious on SACD. Audiophiles will note it was recorded for surround sound, to be heard via a Dynaco Quadaptor. Pity Acoustic Sounds didn't use that mix, too!\" Ken Kessler,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eHiFi News\u003c\/em\u003e, December 2016\u003c\/p\u003e\n\u003cp\u003e\"What I can say is that Kevin Gray has been able to extract every last bit of information from whatever tape is in the box, and present it in a way that is pleasing and natural to the ear. ... in my opinion, the Analogue Productions pressings are now THE definitive issue of each Beach Boys album, and will be my reference copies until if and when something better comes along — which may be never.\" — Lee Dempsey,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eEndless Summer Quarterly\u003c\/em\u003e, Summer 2015 Edition\u003c\/p\u003e\n\u003cp\u003eA musical legacy that began in Hawthorne, California and went on to conquer the world. Analogue Productions presents the ultimate pressings of 14 essential Beach Boys albums! Mastered by Kevin Gray, most from the original master tapes, and plated and pressed by Quality Record Pressings, the finest LP pressing facility in the world, these are awesome recordings to experience. And the look of each album befits its sonic superiority! Presented in \"old school\" Stoughton tip-on jackets, these time honored favorites shine brighter than the originals!\u003c\/p\u003e\n\u003cp\u003eWorth noting on\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eSurf's Up\u003c\/em\u003e is Stephen Desper's engineering work — the entire album was mixed to a center channel quad matrix that he was developing at the time.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eSurf's Up\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003ehit the Top 30 on its first release, reaching No. 29 on the\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eBillboard\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eLP charts — the highest chart placement the group had had since 1967. At the time of its release, Surf's Up was hailed by many as a comeback for The Beach Boys, who were beginning to attract raves for their live performances, including highly acclaimed sets at New York's legendary Carnegie Hall.\u003c\/p\u003e\n\u003cp\u003eCarl Wilson makes solid contributions on\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eSurf's Up\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003ewith \"Long Promised Road\" and \"Feel Flows,\" and the album also features stellar tracks by Al Jardine and Mike Love, as well as Bruce Johnston's most enduring composition, the gently nostalgic \"Disney Girls (1957),\" but the album's twin jewels are both from Brian Wilson — \"Til I Die\" and the title track — one of the centerpieces of the then-unreleased\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eSmile\u003cspan\u003e \u003c\/span\u003e\u003c\/em\u003e(cowritten by lyricist Van Dyke Parks and here given that album's \"Child Is Father to the Man\" as a glorious coda.) \u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eSurf's Up\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003etrack \"A Day in the Life of a Tree\" is the first in a series of Brian's songs that close the album. It's simultaneously one of Brian Wilson's most deeply touching and unusual compositions; he is the narrator and object of the song (though not the vocalist; co-writer Jack Rieley lends a hand), lamenting his long life amid the pollution and grime of a city park while the somber tones of a pipe organ build atmosphere. \"Til I Die,\" isn't the love song the title suggests; it's a haunting, fatalistic piece of pop surrealism that appeared to signal Brian's retirement from active life.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003eRatings\u003c\/strong\u003e : \u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\u003cspan size=\"3\"\u003e\u003cspan size=\"3\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eAllMusic : 4 \/ 5 , Discogs : 4.21 \/ 5 ,   HiFi News : Sound Quality = 91% \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003ch1\u003e\u003cbr\u003e\u003c\/h1\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40748021219479,"sku":"AAPP 070","price":65.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/the-beach-boys-surf-s-up-audiosoundmusic-1.jpg?v=1719852347"},{"product_id":"paul-desmond-with-strings-desmond-blue","title":"Paul Desmond with Strings - Desmond Blue","description":"\u003cdiv\u003e\n\u003cp\u003e\u003cstrong\u003ePaul Desmond - saxophone \u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\"\u003e\u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/paul-desmond\" title=\"vinyl featuring Paul Desmond\" style=\"color: #ff8000;\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/paul-desmond\" data-mce-fragment=\"1\"\u003e[click here to see more vinyl featuring Paul Desmond]\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJim Hall, guitar \u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cspan style=\"color: #ff8000;\"\u003e\u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/jim-hall\" title=\"vinyl featuring Jim Hall\" style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/jim-hall\"\u003e[click here to see more vinyl featuring Jim Hall]\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\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 : RCA\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded at Webster Hall, New York City by\u003c\/strong\u003e\u003cstrong\u003e Ray Hall\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by George Avakian\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by Ray Staff at Air Mastering, Lyndhurst Hall, London.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1962\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in May 2013\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eSide A :\u003c\/span\u003e\u003c\/p\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e1.My Funny Valentine\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e2.Desmond Blue\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e3.Then I'll Be Tired Of You\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e4.I've Got You Under My Skin\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e5.Late Lament\u003c\/div\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eSide B\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eI Should Care\u003c\/li\u003e\n\u003cli\u003eLike Someone In Love\u003c\/li\u003e\n\u003cli\u003eIll Wind\u003c\/li\u003e\n\u003cli\u003eBody And Soul\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAwards\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eStereophile Records To Die For - 2007\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\"As intended, this album presents alto sax specialist Paul Desmond as never featured before, with the backing of a string orchestra. The record, filled with such beautiful jazz standards as \"My Funny Valentine,\" \"I've Got You Under My Skin,\" and \"Body and Soul,\" is very rich in texture, yet subtle and mellow overall in mood. It's unyielding purpose: to soothe the souls of its listeners. Desmond's style and tone shine with an alluring quality, and the record is filled with melodies that don't fail to stimulate the sophisticated jazz listener. Desmond's melodies are eloquently detailed and charmingly spun in the midst of the string orchestra arranged and conducted by Bob Prince. The legendary Jim Hall is featured as guest guitarist, playing yet another scintillating role and using his classic comping style. Hall is perhaps the most highly respected of all jazz guitarists for his good taste and witty inventiveness. Desmond has always been most familiar to the jazz public for his sweeping scale passages and his seemingly effortless spontaneity during periods of improvisation, although here he is often featured in a more lyrical ballad style on such romantic tunes as \"My Funny Valentine,\" \"Late Lament,\" and \"Then I'll Be Tired of You.\" This album is a highly innovative and meticulously crafted work, reflecting the ongoing success of both Desmond and Hall within the 1960s and the cool jazz period. Both of these musicians spent time working with Dave Brubeck and later lent themselves to many of Antonio Carlos Jobim's bossa nova projects. The arrangements are extraordinary throughout this collection, including the charming \"Valentine,\" which begins with a fantastic Elizabethan flavor. The intro sets up the mood to carry Desmond into the first chorus, which then glides into a 20th century style. The tune \"I Should Care\" is \"a shimmering debt to Ibert and one of the most imaginative blendings you will ever hear of strings, reeds, French horn and harp,\" according to the liner notes. The tone of the album: lush, reflective, thought-provoking, and soul-stirring. This work is quite a plus for any listener and especially those who consider themselves avid fans of Paul Desmond.\" AllMusic Review by Shawn M. Haney\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eAllMusic : 3 \/ 5 , Discogs : 4,21 \/ 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":40771476816023,"sku":"PPAN LSP-2438","price":35.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/paul-desmond-with-strings-desmond-blue-audiosoundmusic-1.jpg?v=1719852532"},{"product_id":"ike-tina-turner-feel-good","title":"Ike \u0026 Tina Turner - Feel Good","description":"\u003ch2\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eORDER LIMITED TO ONE ITEM\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h2\u003e\n\u003cp\u003e\u003cstrong\u003eTina Tuner, vocal \u003cspan style=\"color: #ff8000;\"\u003e\u003ca title=\"vinyl featuring Tina Turner\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/tina-turner\" style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/tina-turner\"\u003e[click here to see more vinyl featuring Tina Turner]\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eIke Turner, guitar\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by Jesse G. James (A3), John Lennon \u0026amp; Paul McCartney (B2), Tina Turner (A1 to B1, B3 to 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\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 : United Artists\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded at Bolic Sound, March 1972 by Barry Keene, Ike Turner, Jim Saunders\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Gerhard Augustin, Ike Turner\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by Sean Magee at Abbey Road 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 2012\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eChopper\u003c\/li\u003e\n\u003cli\u003eKay Got Laid (Joe Got Paid)\u003c\/li\u003e\n\u003cli\u003eFeel Good\u003c\/li\u003e\n\u003cli\u003eI Like It\u003c\/li\u003e\n\u003cli\u003eIf You Can Hully Gully (I Can Hully Gully Too)\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\u003eBlack Coffee\u003c\/li\u003e\n\u003cli\u003eShe Came In Through The Bathroom Window\u003c\/li\u003e\n\u003cli\u003eIf I Knew Then (What I Know Now)\u003c\/li\u003e\n\u003cli\u003eYou Better Think Of Something\u003c\/li\u003e\n\u003cli\u003eBolic\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAwards\u003c\/strong\u003e : \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan style=\"color: #ff2a00;\"\u003e2014 Stereophile Magazine Record to Die For!\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e\"Pure Pleasure has captured the vibrant raw energy of Ike \u0026amp; Tina Turner. The overall sound is edgy and has a live \"feel\". There is no attempt to smooth out Turner's vocals. The dense, brawny mix fits the instrumentation. This is the kind of music that comes alive on vinyl!\"\u003cb data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003c\/b\u003e\u003cspan data-mce-fragment=\"1\"\u003eRobbie Gerson, Audiophile Audition\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\"Feel Good, not Superfly, is the sound of early-'70s pimping -- even when the tempo slows down, which happens rarely, it's for a slow blues grind, not a ballad, and songs like Tina's \"Kay Got Laid (Joe Got Paid)\" make no apologies for mythologizing pimps. This results in a supremely sleazy, utterly addictive record, one that's relentless in its rhythms and fearless in its funk as Ike lays down nasty rock \u0026amp; roll guitar -- check his solos on \"Feel Good,\" where he's as elastic as rubber -- and Tina tears it up with pure, unbridled passion. Feel Good is quintessentially '70s -- the fuzztoned funk practically conjures up platform shoes and mile-wide collars -- but it doesn't belong to any one sound, it casually draws from Southern soul, James Brown funk, black pride, Superfly style and juke joint R\u0026amp;B, a sound that is uniquely identified with Ike \u0026amp; Tina. And while this contains no flat-out classics like \"Nutbush City Limits\" or \"Proud Mary,\" as an album Feel Good undoubtedly ranks among their very best: it's a non-stop party.\" \u003cspan data-mce-fragment=\"1\"\u003eAllMusic Review by Stephen Thomas Erlewine\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eAllMusic : 4,5 \/ 5 , Discogs : 4,03 \/ 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":40789135982743,"sku":"PPAN UAS5598","price":45.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/ike-and-tina-turner-feel-good-audiosoundmusic-1.jpg?v=1719852606"},{"product_id":"chicago-chicago-transit-authority","title":"Chicago - Chicago Transit Authority (2LP, Red vinyl)","description":"\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003ca title=\"vinyl featuring Chicago\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/chicago\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/chicago\"\u003e\u003cspan style=\"color: #ff8000;\"\u003e[click here to see more products featuring Chicago]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePeter Cetera : bass, vocals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTerry Kath : guitar, vocals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRobert Lamm : keyboards, vocals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLee Loughnane : trumpet\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJames Pankow : trombone\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWalter Parazaider : saxophone, woodwinds\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDanny Seraphine : drums\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003cstrong\u003e2 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 : 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 : RTI\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Friday Music \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Columbia\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded at Columbia Recording Studios by \u003c\/strong\u003e\u003cstrong\u003eFred Catero\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by James William Guercio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by Joe Reagoso And Lee Loughnane From Chicago\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1969\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2024\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \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 Introduction\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e2 Does Anybody Really Know What Time It Is?\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e3 Beginnings\u003c\/div\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e1 Questions 67 And 68\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e2 Listen\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e3 Poem 58\u003c\/div\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eSide C :\u003c\/p\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e1 Free Form Guitar\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e2 South California Purples\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e3 I'm A Man\u003c\/div\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eSide D :\u003c\/p\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e1 Prologue, August 29, 1968\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e2 Someday (August 29, 1968)\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e3 Liberation\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\u003e1000 Recordings you must hear before you die - Ranked 162\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eStereophile Records To Die For - 2008\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e\"Few debut albums can boast as consistently solid an effort as the self-titled Chicago Transit Authority (1969). Even fewer can claim to have enough material to fill out a double-disc affair. Although this long- player was ultimately the septet's first national exposure, the group was far from the proverbial \"overnight sensation.\" Under the guise of the Big Thing, the group soon to be known as CTA had been honing its eclectic blend of jazz, classical, and straight-ahead rock \u0026amp; roll in and around the Windy City for several years. Their initial non-musical meeting occurred during a mid-February 1967 confab between the original combo at Walter Parazaider's apartment on the north side of Chi Town. Over a year later, Columbia Records staff producer James Guercio became a key supporter of the group, which he rechristened Chicago Transit Authority. In fairly short order the band relocated to the West Coast and began woodshedding the material that would comprise this title. In April of 1969, the dozen sides of Chicago Transit Authority unleashed a formidable and ultimately American musical experience. This included an unheralded synthesis of electric guitar wailin' rock \u0026amp; roll to more deeply rooted jazz influences and arrangements. This approach economized the finest of what the band had to offer -- actually two highly stylized units that coexisted with remarkable singularity. On the one hand, listeners were presented with an incendiary rock \u0026amp; roll quartet of Terry Kath (lead guitar\/vocals), Robert Lamm (keyboards\/vocals), Peter Cetera (bass\/vocals), and Danny Seraphine (drums). They were augmented by the equally aggressive power brass trio that included Lee Loughnane (trumpet\/vocals), James Pankow (trombone), and the aforementioned Parazaider (woodwind\/vocals). This fusion of rock with jazz would also yield some memorable pop sides and enthusiasts' favorites as well. Most notably, a quarter of the material on the double album -- \"Does Anybody Really Know What Time It Is?,\" \"Beginnings,\" \"Questions 67 and 68,\" and the only cover on the project, Steve Winwood's \"I'm a Man\" -- also scored as respective entries on the singles chart. The tight, infectious, and decidedly pop arrangements contrast with the piledriving blues-based rock of \"Introduction\" and \"South California Purples\" as well as the 15-plus minute extemporaneous free for all \"Liberation.\" Even farther left of center are the experimental avant-garde \"Free Form Guitar\" and the politically intoned and emotive \"Prologue, August 29, 1968\" and \"Someday (August 29, 1968).\" The 2003 remastered edition of Chicago Transit Authority offers a marked sonic improvement over all previous pressings -- including the pricey gold disc incarnation.\" \u003cspan data-mce-fragment=\"1\"\u003eAllMusic Review by Lindsay Planer\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eRatings :\u003c\/p\u003e\n\u003cp\u003eAllMusic : 4 \/ 5 , Discogs : 4,16 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40805491900567,"sku":"FRM-8 Red","price":105.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/chicago-chicago-transit-authority-2lp-red-vinyl-audiosoundmusic-1.jpg?v=1719852752"},{"product_id":"jeff-beck-truth","title":"Jeff Beck - Truth (2LP, 45RPM)","description":"\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eORDER LIMITED TO ONE ITEM PER CUSTOMER\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJeff Beck – electric guitars, acoustic guitar on \"Greensleeves\"; pedal steel guitar on \"Shapes of Things\"; bass guitar on \"Ol' Man River\"; lead vocals on \"Tallyman\" and \"Hi Ho Silver Lining\", co-lead vocals on \"Let Me Love You\" \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/jeff-beck\" title=\"vinyl featuring Jeff Beck\" data-mce-fragment=\"1\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\"\u003e[click here to see more vinyl featuring Jeff Beck]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRod Stewart – lead vocals, backing vocals on \"Hi Ho Silver Lining\", possible backing vocal on \"Tallyman\" \u003cspan style=\"color: #ff8000;\"\u003e\u003ca title=\"vinyl featuring Rod Stewart\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/rod-stewart\" style=\"color: #ff8000;\" data-mce-fragment=\"1\"\u003e[click here to see more vinyl featuring Rod Stewart]\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRonnie Wood – bass guitar \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/ronnie-wood\" title=\"vinyl featuring Ronnie Wood\"\u003e\u003cspan style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Ronnie Wood]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMicky Waller – drums\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJohn Paul Jones – bass guitar on \"Hi Ho Silver Lining\" and \"Beck's Bolero\"; Hammond organ on \"Ol' Man River\" and \"You Shook Me\"; arrangements on \"Hi Ho Silver Lining\"\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eNicky Hopkins – piano on \"Morning Dew\", \"You Shook Me\", \"Beck's Bolero\" and \"Blues Deluxe\"\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\"You Know Who\" (Keith Moon) – drums on \"Beck's Bolero\"; timpani on \"Ol' Man River\"\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e2 LPs, gatefold sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 45RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12”\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : unspecified\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : MOFI\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Columbia\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded 16 May 1966 and 14–26 May 1968 at Studio Abbey Road, Olympic and De Lane Lea, London\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineered \u0026amp; mixed by Ken Scott\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Mickie Most\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by Krieg Wunderlich \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1968\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2021\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\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 128\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e\u003cspan class=\"421441414-17032005\"\u003e\u003cspan size=\"2\" color=\"#ff0000\" face=\"Arial\"\u003eStereophile Records to Die For - 2019\u003c\/span\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eShapes Of Things\u003c\/li\u003e\n\u003cli\u003eLet Me Love You\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eMorning Dew\u003c\/li\u003e\n\u003cli\u003eYou Shook Me\u003c\/li\u003e\n\u003cli\u003eOl' Man River\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide C:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eGreensleeves\u003c\/li\u003e\n\u003cli\u003eRock My Plimsoul\u003c\/li\u003e\n\u003cli\u003eBeck's Bolero\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide D:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eBlues Deluxe\u003c\/li\u003e\n\u003cli\u003eI Ain't Superstitious\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eReviews :\u003c\/p\u003e\n\u003cp\u003e\"Despite being the premiere of heavy metal, Jeff Beck's Truth has never quite carried its reputation the way the early albums by Led Zeppelin did, or even Cream's two most popular LPs, mostly as a result of the erratic nature of the guitarist's subsequent work. Time has muted some of its daring, radical nature, elements of which were appropriated by practically every metal band (and most arena rock bands) that followed. Truth was almost as groundbreaking and influential a record as the first Beatles, Rolling Stones, or Who albums. Its attributes weren't all new -- Cream and Jimi Hendrix had been moving in similar directions -- but the combination was: the wailing, heart-stoppingly dramatic vocalizing by Rod Stewart, the thunderous rhythm section of Ron Wood's bass and Mickey Waller's drums, and Beck's blistering lead guitar, which sounds like his amp is turned up to 13 and ready to short out. Beck opens the proceedings in a strikingly bold manner, using his old Yardbirds hit \"Shapes of Things\" as a jumping-off point, deliberately rebuilding the song from the ground up so it sounds closer to Howlin' Wolf. There are lots of unexpected moments on this record: a bone-pounding version of Willie Dixon's \"You Shook Me\"; a version of Jerome Kern's \"Ol' Man River\" done as a slow electric blues; a brief plunge into folk territory with a solo acoustic guitar version of \"Greensleeves\" (which was intended as filler but audiences loved); the progressive blues of \"Beck's Bolero\"; the extended live \"Blues Deluxe\"; and \"I Ain't Superstitious,\" a blazing reworking of another Willie Dixon song. It was a triumph -- a number 15 album in America, astoundingly good for a band that had been utterly unknown in the U.S. just six months earlier -- and a very improbable success.\" \u003cspan data-mce-fragment=\"1\"\u003eAllMusic Review by Bruce Eder\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eRatings :\u003c\/p\u003e\n\u003cp\u003eAllMusic : 5 \/ 5 , Discogs : 4,27 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40885960016023,"sku":"MFSL2-502","price":139.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/jeff-beck-truth-2lp-45rpm-audiosoundmusic-1.jpg?v=1719853294"},{"product_id":"iron-butterfly-in-a-gadda-da-vida-ultra-analog-45-rpm","title":"Iron Butterfly - In-A-Gadda-Da-Vida (Ultra Analog, Half-speed Mastering, Number 2814)","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003e\u003cstrong\u003eRARITY\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cbr\u003eErik Brann – guitar, vocals (A4)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRon Bushy – drums, percussion\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLee Dorman – bass guitar, backing vocals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDoug Ingle – Vox Continental organ, vocals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAll arrangements by Iron Butterfly \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eLimited to 3,000 numbered copies (Number : 2814)\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHalf-speed Mastering\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eGAIN 2 Ultra Analog™ LP \u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12”\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Record Technology Incorporated\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : MOFI\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : ATCO Records\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded first half of 1968 (side two was recorded on May 27, 1968) in Gold Star Studios, Hollywood, California and Ultra-Sonic Studios, Hempstead, New York\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineered \u0026amp; mixed by Jim Hilton\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Jim Hilton\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by Krieg Wunderlich\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1968\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2021\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eMost Anything You Want\u003c\/li\u003e\n\u003cli\u003eFlowers and Beads\u003c\/li\u003e\n\u003cli\u003eMy Mirage\u003c\/li\u003e\n\u003cli\u003eTermination\u003c\/li\u003e\n\u003cli\u003eAre You Happy\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eIn-A-Gadda-Da-Vida\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAwards:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e1000 Recordings you must hear before you die - Ranked 123\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e\u003cspan class=\"421441414-17032005\"\u003e\u003cspan face=\"Arial\" color=\"#ff0000\" size=\"2\"\u003eStereophile Records to Die For - 2020\u003c\/span\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e\"With its endless, droning minor-key riff and mumbled vocals, \"In-A-Gadda-Da-Vida\" is arguably the most notorious song of the acid rock era. According to legend, the group was so stoned when they recorded the track that they could neither pronounce the title \"In the Garden of Eden\" or end the track, so it rambles on for a full 17 minutes, which to some listeners sounds like eternity. But that's the essence of its appeal -- it's the epitome of heavy psychedelic excess, encapsulating the most indulgent tendencies of the era. Iron Butterfly never matched the warped excesses of \"In-A-Gadda-Da-Vida,\" either on their debut album of the same name or the rest of their catalog, yet they occasionally made some enjoyable fuzz guitar-driven psychedelia that works as a period piece. The five tracks that share space with their magnum opus on In-A-Gadda-Da-Vida qualify as good artifacts, and the entire record still stands as the group's definitive album, especially since this is the only place the full-length title track is available.\" \u003cspan data-mce-fragment=\"1\"\u003eAllMusic Review by Stephen Thomas Erlewine\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eUltra Analog™\u003c\/strong\u003e : The GAIN 2 Ultra Analog™ Series stems from the use of the Gain 2 system, mastered at half speed from the original master tapes where possible, capturing and uncovering as before undiscovered sonic information.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHalf-speed mastering. \u003c\/strong\u003e\u003cspan\u003eIn half-speed mastering, the whole process is slowed down to half of the original speed. A typical 33 1\/3 rpm record is cut at 16 2\/3 rpm. The source material is also slowed down (reducing the pitch in the process) meaning the final record will still sound normal when played back. Slowing the whole process down allows more time, which means the end result sounds better and is more efficient — allowing engineering to minimize the effects of inherent limitations within the vinyl format. The result is a more accurate and more open high-frequency response in the half speed vinyl when compared with a normal speed recording.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eAllMusic : 4,5 \/ 5 , Discogs : 4,03 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40934062555287,"sku":"MFSL1-368","price":125.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/iron-butterfly-in-a-gadda-da-vida-ultra-analog-half-speed-mastering-audiosoundmusic-1.jpg?v=1719853522"},{"product_id":"the-b-52s-the-b-52s","title":"The B-52's - The B-52's (MOFI Silver Label, 140g)","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e\u003cbr\u003eORDER LIMITED TO ONE ITEM PER CUSTOMER\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eKate Pierson – vocals, organ, keyboard bass, additional guitar (A2, B3)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFred Schneider – vocals, walkie-talkie, toy piano (A3), keyboard bass (B3)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eKeith Strickland – drums, percussion, Claire sounds\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCindy Wilson – vocals, bongos, tambourine, additional guitar (B2)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRicky Wilson – guitars, smoke alarm\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eLimited numered edition\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : Silver Label (Copy of original Mastertape)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 140g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12”\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : RTI\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : MOFI\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Warner Bros\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded at Compass Point Studios\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineered \u0026amp; mixed by : Robert Ash\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Chris Blackwell\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by PS\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 2011\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003ePlanet Claire\u003c\/li\u003e\n\u003cli\u003e52 Girls\u003c\/li\u003e\n\u003cli\u003eDance This Mess Around\u003c\/li\u003e\n\u003cli\u003eRock Lobster\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\u003eLava\u003c\/li\u003e\n\u003cli\u003eThere's a Moon in the Sky (Called the Moon)\u003c\/li\u003e\n\u003cli\u003eHero Worship\u003c\/li\u003e\n\u003cli\u003e6060-842\u003c\/li\u003e\n\u003cli\u003eDowntown\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\u003eRanked #198 on Rolling Stones's 500 greatest albums of all time\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan style=\"color: #ff2a00;\"\u003e1000 Recordings You Must Hear Before You Die - Ranked 431\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cspan class=\"421441414-17032005\"\u003e\u003cspan face=\"Arial\" color=\"#ff0000\" size=\"2\"\u003eStereophile Records to Die For - 2016\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/strong\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e\"Even in the weird, quirky world of new wave and post-punk in the late '70s, the B-52's' eponymous debut stood out as an original. Unabashed kitsch mavens at a time when their peers were either vulgar or stylish, the Athens quintet celebrated all the silliest aspects of pre-Beatles pop culture -- bad hairdos, sci-fi nightmares, dance crazes, pastels, and anything else that sprung into their minds -- to a skewed fusion of pop, surf, avant-garde, amateurish punk, and white funk. On paper, it sounds like a cerebral exercise, but it played like a party. The jerky, angular funk was irresistibly danceable, winning over listeners dubious of Kate Pierson and Cindy Wilson's high-pitched, shrill close harmonies and Fred Schneider's campy, flamboyant vocalizing, pitched halfway between singing and speaking. It's all great fun, but it wouldn't have resonated throughout the years if the group hadn't written such incredibly infectious, memorable tunes as \"Planet Claire,\" \"Dance This Mess Around,\" and, of course, their signature tune, \"Rock Lobster.\" These songs illustrated that the B-52's' adoration of camp culture wasn't simply affectation -- it was a world view capable of turning out brilliant pop singles and, in turn, influencing mainstream pop culture. It's difficult to imagine the endless kitschy retro fads of the '80s and '90s without the B-52's pointing the way, but The B-52's isn't simply an historic artifact -- it's a hell of a good time.\" \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 : 5 \/ 5 , Discogs : 4,33 \/ 5 , Audio Beat Rated 4.5\/5 Music, 4.5\/5 Sound\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":40936529428631,"sku":"MOFI 1-014","price":65.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/the-b-52-s-the-b-52-s-mofi-silver-label-140g-audiosoundmusic-1.jpg?v=1719853552"},{"product_id":"duke-ellington-meets-coleman-hawkins-2lp-45rpm","title":"Duke Ellington Meets Coleman Hawkins (2LP, 45RPM)","description":"\u003cdiv\u003e\n\u003ch2\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eORDER LIMITED TO ONE ITEM PER CUSTOMER\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h2\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cbr\u003e\u003cstrong\u003eDuke Ellington, piano \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/duke-ellington\" title=\"Vinyl featuring Duke Ellington\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/duke-ellington\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Duke Ellington]\u003c\/span\u003e\u003c\/a\u003e\u003cbr\u003e\u003c\/strong\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cstrong\u003eColeman Hawkins, tenor saxophone \u003ca title=\"Vinyl featuring Coleman Hawkins\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/coleman-hawkins\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/coleman-hawkins\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Coleman Hawkins]\u003c\/span\u003e\u003c\/a\u003e\u003cbr\u003e\u003c\/strong\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cstrong\u003eJohnny Hodges, alto saxophone\u003cbr\u003e\u003c\/strong\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cstrong\u003eHarry Carney, baritone saxophone, bass clarinet\u003cbr\u003e\u003c\/strong\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cstrong\u003eRay Nance, violin, cornet\u003cbr\u003e\u003c\/strong\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cstrong\u003eLawrence Brown, trombone\u003cbr\u003e\u003c\/strong\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cstrong\u003eAaron Bell, bass\u003cbr\u003e\u003c\/strong\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cstrong\u003eSam Woodyard, drums\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv class=\"tabs-contents\"\u003e\u003c\/div\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e2 LP, Gatefold jacket\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\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 : 45RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12”\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press :  Schallplattenfabrik Pallas GmbH\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 :  Impulse !\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded \u003cspan data-mce-fragment=\"1\"\u003e 18 August, 1962 \u003c\/span\u003eat Van Gelder Studio, Englewood Cliffs, New Jersey \u003c\/strong\u003e\u003cstrong\u003eby Rudy Van Gelder\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Bob Thiele\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by Kevin Gray \u0026amp; Steve Hoffman at AcousTech\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1963\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2010\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A:\u003c\/p\u003e\n\u003cp\u003e    Limbo Jazz\u003c\/p\u003e\n\u003cp\u003e    Mood Indigo\u003c\/p\u003e\n\u003cp\u003eSide B:\u003c\/p\u003e\n\u003cp\u003e    Ray Charles' Place\u003c\/p\u003e\n\u003cp\u003e    Wanderlust\u003c\/p\u003e\n\u003cp\u003eSide C:\u003c\/p\u003e\n\u003cp\u003e    You Dirty Dog\u003c\/p\u003e\n\u003cp\u003e    Self Portrait (Of The Bean)\u003c\/p\u003e\n\u003cp\u003eSide D:\u003c\/p\u003e\n\u003cp\u003e    The Jeep Is Jumpin'\u003c\/p\u003e\n\u003cp\u003e    The Ricitic\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAwards\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e\u003cspan class=\"421441414-17032005\"\u003e\u003cspan face=\"Arial\" color=\"#ff0000\" size=\"2\"\u003eStereophile Records to Die For - 2021\u003c\/span\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\"This set documents a historic occasion. Although Coleman Hawkins had been an admirer of Duke Ellington's music for at least 35 years at this point and Ellington had suggested they record together at least 20 years prior to their actual meeting in 1962, this was their first (and only) meeting on record. Although it would have been preferable to hear the great tenor performing with the full orchestra, his meeting with Ellington and an all-star group taken out of the big band does feature such greats as Ray Nance on cornet and violin, trombonist Lawrence Brown, altoist Johnny Hodges, and baritonist Harry Carney. High points include an exuberant \"The Jeep Is Jumpin',\" an interesting remake of \"Mood Indigo,\" and a few new Ellington pieces. This delightful music is recommended in one form or another.\" AllMusic Review by Scott Yanow\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRating:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eAllMusic 5\/5  ,  Discogs 4.45\/5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":41002420895895,"sku":"AIPJ 26","price":149.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/duke-ellington-meets-coleman-hawkins-2lp-45rpm-audiosoundmusic-1.jpg?v=1719853849"},{"product_id":"let-no-man-write-my-epitaph-2lp-45rpm-200g","title":"Ella Fitzgerald - Let No Man Write My Epitaph (2LP, 45RPM, 200g)","description":"\u003cdiv\u003e\n\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eFrom The columbia Pictures Film \"Let No Man Write My Epitaph\"\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eVocals – Ella Fitzgerald \u003cspan style=\"color: #ff8000;\"\u003e\u003ca data-mce-fragment=\"1\" title=\"vinyl featuring Ella Fitzgerald\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/ella-fitzgerald\" style=\"color: #ff8000;\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/ella-fitzgerald\"\u003e[click here to see more vinyl featuring Ella Fitzgerald]\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePiano – Paul Smith\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by Sonny Burke (A1), Paul Francis Webster (A1), Earl Brent (A2), Matt Dennis (A2), Gus Arnheim (A3), Arthur Freed (A3), Abe Lyman (A3), Dorothy Fields (B1), Jimmy McHugh (B1), Ted Fio Rito (B2), Sam M. Lewis (B2), Frances Langford (B2), Joe Young (B2), Ray Noble (B3), Ernie Burnett (B4), George Norton (B4), Johnny Burke (C1), Erroll Garner (C1), Maxwell Anderson (C2), Kurt Weill (C2), Harold Arlen (C3), Johnny Mercer (C3), Burt Kalmar (D1), Harry Ruby (D1), Ted Snyder (D1), George Bassman (D2), Ned Washington (D2-3), Jimmy McHugh (D3)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cp\u003e\u003cstrong\u003e2 LPs, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 200g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 45RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12''\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press :  Quality Record Pressings\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel :  Analogue Productions\u003c\/strong\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label :  Verve records\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded April 14–19, 1960 at United Western Recorders, Hollywood, Los Angeles:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Norman Granz\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by George Marino at Sterling Sound\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1960\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2013\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eBlack Coffee\u003c\/li\u003e\n\u003cli\u003eAngel Eyes\u003c\/li\u003e\n\u003cli\u003eI Cried for You\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eI Can't Give You Anything But Love\u003c\/li\u003e\n\u003cli\u003eThen You've Never Been Blue\u003c\/li\u003e\n\u003cli\u003eI Hadn't Anyone Till You\u003c\/li\u003e\n\u003cli\u003eMy Melancholy Baby\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide C:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eMisty\u003c\/li\u003e\n\u003cli\u003eSeptember Song\u003c\/li\u003e\n\u003cli\u003eOne for my Baby (And One More for the Road)\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide D:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eWho's Sorry Now\u003c\/li\u003e\n\u003cli\u003eI'm Getting Sentimental Over You\u003c\/li\u003e\n\u003cli\u003eReach for Tomorrow\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAwards:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e\u003cb\u003e\u003cspan class=\"421441414-17032005\"\u003e\u003cspan face=\"Arial\" color=\"#ff0000\" size=\"2\"\u003eStereophile Records to Die For - 2014\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\"I almost didn't review this review — after all, it was released by Analogue Productions on the same day as Ben Webster's \u003cem\u003eSoulville ..\u003c\/em\u003e. But if \u003cem\u003eSoulville \u003c\/em\u003ewas everything I hoped for, \u003cem\u003eEpitaph \u003c\/em\u003eis the over-achiever. Ella recorded a series of her 'greatest hits' for the soundtrack of this entirely forgettable movie, a few of which were used. Ella played a singing piano player, so she recorded the songs with only piano backing by Paul Smith. ... Recorded in 1960 at the United Western Recorders in Hollywood, which produced great sounding hits for everyone from Nat King Cole to the Beach Boys, this has always been recognized as one of Ella's best sounding records, and was released long ago by Classic Records. This new mastering by the late George Marino at Sterling Sound easily bests that earlier effort. Great music recorded during the golden age of recording at one of the great studios, mastered to perfection.\" Dennis D. Davis, \u003cem\u003eHi-Fi+\u003c\/em\u003e, Issue 104\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003c\/strong\u003e\"This is a most unusual Ella Fitzgerald recording. Recorded around the time when she performed some of these songs for the film Let No Man Write My Epitaph, the masterful singer is heard in duets with pianist Paul Smith interpreting 13 songs (even \"I Cried for You,\" \"I Can't Give You Anything But Love,\" and \"Who's Sorry Now?\") at slow expressive tempos. Listeners who feel that Ella Fitzgerald was mostly a scat singer who had trouble giving the proper emotional intensity to lyrics will be surprised by this sensitive and often-haunting set.\" AllMusic Review by Scott Yanow\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRating:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eAllMusic 4\/5  ,  Discogs 4.61 \/ 5  ,  HiFi+:\u003cstrong data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003c\/strong\u003eRecording = 10\/10; Music = 10\/10 \u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":41022180753559,"sku":"AVRJ 4043-45","price":180.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/ella-fitzgerald-let-no-man-write-my-epitaph-2lp-45rpm-200g-audiosoundmusic-1.jpg?v=1719853924"},{"product_id":"copy-of-duke-ellington-meets-coleman-hawkins-2lp-45rpm","title":"Duke Ellington Meets Coleman Hawkins (1LP, 33RPM)","description":"\u003cdiv\u003e\n\u003ch2\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eORDER LIMITED TO ONE ITEM PER CUSTOMER\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h2\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eDuke Ellington, piano \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/duke-ellington\" title=\"Vinyl featuring Duke Ellington\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/duke-ellington\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Duke Ellington]\u003c\/span\u003e\u003c\/a\u003e\u003cbr\u003e\u003c\/strong\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cstrong\u003eColeman Hawkins, tenor saxophone \u003ca title=\"Vinyl featuring Coleman Hawkins\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/coleman-hawkins\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/coleman-hawkins\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Coleman Hawkins]\u003c\/span\u003e\u003c\/a\u003e\u003cbr\u003e\u003c\/strong\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cstrong\u003eJohnny Hodges, alto saxophone\u003cbr\u003e\u003c\/strong\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cstrong\u003eHarry Carney, baritone saxophone, bass clarinet\u003cbr\u003e\u003c\/strong\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cstrong\u003eRay Nance, violin, cornet\u003cbr\u003e\u003c\/strong\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cstrong\u003eLawrence Brown, trombone\u003cbr\u003e\u003c\/strong\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cstrong\u003eAaron Bell, bass\u003cbr\u003e\u003c\/strong\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cstrong\u003eSam Woodyard, drums\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv class=\"tabs-contents\"\u003e\u003c\/div\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, gatefold old-style tip-on jackets\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12”\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : \u003c\/strong\u003e\u003cstrong\u003eQuality Record Pressings\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Acoustic Sounds Series\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label :  Impulse !\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded \u003cspan data-mce-fragment=\"1\"\u003e 18 August, 1962 \u003c\/span\u003eat Van Gelder Studio, Englewood Cliffs, New Jersey \u003c\/strong\u003e\u003cstrong\u003eby Rudy Van Gelder\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Bob Thiele\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by Ryan K. Smith\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1963\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2022\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A:\u003c\/p\u003e\n\u003cp\u003e    Limbo Jazz\u003c\/p\u003e\n\u003cp\u003e    Mood Indigo\u003c\/p\u003e\n\u003cp\u003e    Ray Charles' Place\u003c\/p\u003e\n\u003cp\u003e    Wanderlust\u003c\/p\u003e\n\u003cp\u003eSide B:\u003c\/p\u003e\n\u003cp\u003e    You Dirty Dog\u003c\/p\u003e\n\u003cp\u003e    Self Portrait (Of The Bean)\u003c\/p\u003e\n\u003cp\u003e    The Jeep Is Jumpin'\u003c\/p\u003e\n\u003cp\u003e    The Ricitic\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAwards\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e\u003cspan class=\"421441414-17032005\"\u003e\u003cspan face=\"Arial\" color=\"#ff0000\" size=\"2\"\u003eStereophile Records to Die For - 2021\u003c\/span\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\"This set documents a historic occasion. Although Coleman Hawkins had been an admirer of Duke Ellington's music for at least 35 years at this point and Ellington had suggested they record together at least 20 years prior to their actual meeting in 1962, this was their first (and only) meeting on record. Although it would have been preferable to hear the great tenor performing with the full orchestra, his meeting with Ellington and an all-star group taken out of the big band does feature such greats as Ray Nance on cornet and violin, trombonist Lawrence Brown, altoist Johnny Hodges, and baritonist Harry Carney. High points include an exuberant \"The Jeep Is Jumpin',\" an interesting remake of \"Mood Indigo,\" and a few new Ellington pieces. This delightful music is recommended in one form or another.\" AllMusic Review by Scott Yanow\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRating:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eAllMusic 5\/5  ,  Discogs 4.45\/5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":41024643629207,"sku":"AIMP 79501","price":49.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/duke-ellington-meets-coleman-hawkins-1lp-33rpm-audiosoundmusic-1.jpg?v=1719853953"},{"product_id":"bob-dylan-blonde-on-blonde","title":"Bob Dylan - Blonde on Blonde (3LP, Box set, Ultra Analog, Half-speed Mastering, 45RPM)","description":"\u003ch2\u003e\u003cbr\u003e\u003c\/h2\u003e\n\u003cp\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eORDER LIMITED TO ONE ITEM PER CUSTOMER\u003c\/strong\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBob Dylan – vocals, guitar, harmonica, piano \u003ca title=\"vinyl featuring Bob Dylan\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/bob-dylan\" style=\"color: #ff8000;\" data-mce-fragment=\"1\"\u003e[click here to see more vinyl featuring Bob Dylan]\u003c\/a\u003e\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBill Aikins – keyboards\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWayne Butler – trombone\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eKenneth Buttrey – drums\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRick Danko or Bill Lee – bass guitar (New York)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBobby Gregg – drums (New York)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePaul Griffin – piano (New York)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJerry Kennedy – guitar\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAl Kooper – organ, guitar\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCharlie McCoy – bass guitar, guitar, harmonica, trumpet\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWayne Moss – guitar, vocals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHargus \"Pig\" Robbins – piano, keyboards\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRobbie Robertson – guitar, vocals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHenry Strzelecki – bass guitar\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJoe South – bass guitar, guitar\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e3 LPs, box set\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\u003eHalf-speed Mastering\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eGAIN 2 Ultra Analog™ LP \u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 45RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12”\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : RTI\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : MOFI\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Columbia\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded \u003cspan data-mce-fragment=\"1\"\u003eJanuary – June 1966 \u003c\/span\u003eat Columbia Recording Studios, Nashville\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineered by \u003c\/strong\u003e\u003cstrong\u003eAl Kooper, '\u003c\/strong\u003e\u003cstrong\u003ePig'\u003c\/strong\u003e\u003cstrong\u003e Robbins, Joe South, Kenny Buttrey, and The Band'\u003c\/strong\u003e\u003cstrong\u003es Rick Danko and Robbie Robertson\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Bob Johnston\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by Krieg Wunderlich\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1966\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\u003eRainy Day Women #12 \u0026amp; 35\u003c\/li\u003e\n\u003cli\u003ePledging My Time\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eVisions of Johanna\u003c\/li\u003e\n\u003cli\u003eOne of Must Know (Sooner or Later)\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide C:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eI Want You\u003c\/li\u003e\n\u003cli\u003eStuck Inside of Mobile with the Memphis Blues Again\u003c\/li\u003e\n\u003cli\u003eLeopard-Skin Pill-Box Hat\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide D:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eJust Like a Woman\u003c\/li\u003e\n\u003cli\u003eMost Likely You Go Your Way and I’ll Go Mine\u003c\/li\u003e\n\u003cli\u003eTemporary Like Achilles\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide E:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eAbsolutely Sweet Marie\u003c\/li\u003e\n\u003cli\u003e4th Time Around\u003c\/li\u003e\n\u003cli\u003eObviously 5 Believers\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide F:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eSad Eyed Lady of the Lowlands\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAwards\u003c\/strong\u003e\u003cspan\u003e:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eRolling Stone 500 Greatest Albums of All Time - Rated 38\/500\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eRolling Stone 500 Greatest Songs of All Time - \"Visions of Johanna\" - Rated 413\/500, \"Just Like A Woman\" - Rated 232\/500\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e\u003cspan\u003eWinner of a Gruvy Award, chosen by AnalogPlanet's editor, Michael Fremer, for vinyl records that are \u003c\/span\u003e\u003cspan\u003emusically and sonically outstanding and are also well mastered and pressed.\u003c\/span\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e\u003cspan\u003e\u003cb\u003eMichael Fremer's 100 Recommended All-Analog LP Reissues Worth Owning - Rated 67\/100!\u003c\/b\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e\u003cspan color=\"#B12704\"\u003e\u003cb\u003eTAS Super LP List! Special Merit: Informal\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan color=\"#B12704\"\u003e\u003cb\u003e2014 Stereophile Magazine Record to Die For!\u003c\/b\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e1000 Recordings you must hear before you die - Ranked 64\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e\"If Highway 61 Revisited played as a garage rock record, the double album Blonde on Blonde inverted that sound, blending blues, country, rock, and folk into a wild, careening, and dense sound. Replacing the fiery Michael Bloomfield with the intense, weaving guitar of Robbie Robertson, Bob Dylan led a group comprised of his touring band the Hawks and session musicians through his richest set of songs. Blonde on Blonde is an album of enormous depth, providing endless lyrical and musical revelations on each play. Leavening the edginess of Highway 61 with a sense of the absurd, Blonde on Blonde is comprised entirely of songs driven by inventive, surreal, and witty wordplay, not only on the rockers but also on winding, moving ballads like \"Visions of Johanna,\" \"Just Like a Woman,\" and \"Sad Eyed Lady of the Lowlands.\" Throughout the record, the music matches the inventiveness of the songs, filled with cutting guitar riffs, liquid organ riffs, crisp pianos, and even woozy brass bands (\"Rainy Day Women #12 \u0026amp; 35\"). It's the culmination of Dylan's electric rock \u0026amp; roll period -- he would never release a studio record that rocked this hard, or had such bizarre imagery, ever again.\" \u003cspan data-mce-fragment=\"1\"\u003eAllMusic Review by Stephen Thomas Erlewine\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eUltra Analog™\u003c\/strong\u003e\u003cspan data-mce-fragment=\"1\"\u003e : The GAIN 2 Ultra Analog™ Series stems from the use of the Gain 2 system, mastered at half speed from the original master tapes where possible, capturing and uncovering as before undiscovered sonic information.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003cstrong\u003eHalf-speed mastering. \u003c\/strong\u003eIn half-speed mastering, the whole process is slowed down to half of the original speed. A typical 33 1\/3 rpm record is cut at 16 2\/3 rpm. The source material is also slowed down (reducing the pitch in the process) meaning the final record will still sound normal when played back. Slowing the whole process down allows more time, which means the end result sounds better and is more efficient — allowing engineering to minimize the effects of inherent limitations within the vinyl format. The result is a more accurate and more open high-frequency response in the half speed vinyl when compared with a normal speed recording.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eAllMusic : 5 \/ 5 , Discogs : 4,57 \/ 5  ,  \u003cspan data-mce-fragment=\"1\"\u003eMichael Fremer : 10\/11 Music, 10\/11 Sound\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":41047117463703,"sku":"MFSL3-45009","price":139.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/bob-dylan-blonde-on-blonde-3lp-box-set-ultra-analog-half-speed-mastering-45rpm-audiosoundmusic-1.jpg?v=1719854078"},{"product_id":"miles-davis-kind-of-blue-2lp-ultra-analog-45-rpm","title":"Miles Davis - Kind of Blue (2LP, Box set, Ultra Analog, Half-speed Mastering, 45 RPM)","description":"\u003ch2\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eORDER LIMITED TO ONE ITEM PER CUSTOMER\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h2\u003e\n\u003cp\u003e\u003cstrong\u003eMiles Davis, trumpet, band leader \u003ca title=\"vinyl featuring Miles Davis\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/miles-davis\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/miles-davis\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Miles Davis]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJulian \"Cannonball\" Adderley, alto sax (except on \"Blue in Green\")\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJohn Coltrane, tenor sax \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/john-coltrane\" title=\"vinyl featuring John Coltrane\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/john-coltrane\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring John Coltrane]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePaul Chambers, double bass \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/paul-chambers\" title=\"vinyl featuring Paul Chambers\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/paul-chambers\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Paul Chambers]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBill Evans, piano (except \"Freddie Freeloader\") \u003ca title=\"Vinyl featuring Bill Evans\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/bill-evans\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/bill-evans\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[\u003cspan style=\"color: #ff8000;\" color=\"#ff8000\" data-mce-fragment=\"1\"\u003eclick here to see more vinyl featuring \u003c\/span\u003e\u003cspan color=\"#ff8000\" data-mce-fragment=\"1\"\u003eBill Evans]\u003c\/span\u003e\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWynton Kelly, piano (\"Freddie Freeloader\")\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJimmy Cobb, drums \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/jimmy-cobb\" title=\"Vinyl featuring Jimmy Cobb\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/jimmy-cobb\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see other vinyl featuring Jimmy Cobb]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by Miles Davis\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e2 LPs, box set\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eNumbered limited edition\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHalf-speed Mastering\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGain 2™ Ultra Analog\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 45RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12”\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : RTI\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : MOFI\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Columbia\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded at \u003cspan data-mce-fragment=\"1\"\u003eColumbia 30th Street Studio, New York City on March 2, 1959 (A1 to B2) and April 22, 1959 (C1 \u0026amp; D1)\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineered by Fred Plaut\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Irving Townsend\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by Krieg Wunderlich\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1959\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2021\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003cp style=\"padding-left: 30px;\"\u003e1.So What\u003c\/p\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col start=\"2\"\u003e\n\u003cli\u003eFreddie Freeloader\u003c\/li\u003e\n\u003cli\u003eBlue in Green\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide C :\u003c\/p\u003e\n\u003col start=\"4\"\u003e\n\u003cli\u003eAll Blues\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide D :\u003c\/p\u003e\n\u003col start=\"5\"\u003e\n\u003cli\u003eFlamenco Sketches\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\u003eMichael Fremer's 100 Recommended All-Analog LP Reissues Worth Owning - Rated 17\/100!\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eTAS Super LP List! Special Merit: Informal\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e\u003cb\u003eThe Absolute Sound 40th Anniversary Best Sounding Music!\u003c\/b\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eRolling Stone 500 Greatest Albums of All Time - Rated 31\/500!\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e1000 Recordings you must hear before you die - Ranked 21\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eStereophile Records To Die For - 2007\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\"Kind of Blue isn't merely an artistic highlight for Miles Davis, it's an album that towers above its peers, a record generally considered as the definitive jazz album. To be reductive, it's the Citizen Kane of jazz -- an accepted work of greatness that's innovative and entertaining. That may not mean it's the greatest jazz album ever made, but it certainly is a universally acknowledged standard of excellence. Why does Kind of Blue posses such a mystique? Perhaps it's that this music never flaunts its genius. It lures listeners in with the slow, luxurious bassline and gentle piano chords of \"So What.\" From that moment on, the record never really changes pace -- each tune has a similar relaxed feel, as the music flows easily. Yet Kind of Blue is more than easy listening. It's the pinnacle of modal jazz -- tonality and solos build from chords, not the overall key, giving the music a subtly shifting quality. All of this doesn't quite explain why seasoned jazz fans return to this record even after they've memorized every nuance. They return because this is an exceptional band - Miles, Coltrane, Bill Evans, Cannonball Adderly, Paul Chambers, Jimmy Cobb, and Wynton Kelly -- one of the greatest in history, playing at the peak of its power. As Evans said in the original liner notes for the record, the band did not play through any of these pieces prior to recording. Davis laid out the themes and chords before the tape rolled, and then the band improvised. The end results were wondrous, filled with performances that still crackle with vitality. Few albums of any genre manage to work on so many different levels, but Kind of Blue does. It can be played as background music, yet it amply rewards close listening. It is advanced music that is extraordinarily enjoyable. It may be a stretch to say that if you don't like Kind of Blue, you don't like jazz -- but it's hard to imagine it as anything other than a cornerstone of any jazz collection.\" \u003cspan data-mce-fragment=\"1\"\u003eAllMusic Review by Stephen Thomas Erlewine \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eUltra Analog™\u003c\/strong\u003e\u003cspan data-mce-fragment=\"1\"\u003e : The GAIN 2 Ultra Analog™ Series stems from the use of the Gain 2 system, mastered at half speed from the original master tapes where possible, capturing and uncovering as before undiscovered sonic information.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHalf-speed mastering. \u003c\/strong\u003e\u003cspan\u003eIn half-speed mastering, the whole process is slowed down to half of the original speed. A typical 33 1\/3 rpm record is cut at 16 2\/3 rpm. The source material is also slowed down (reducing the pitch in the process) meaning the final record will still sound normal when played back. Slowing the whole process down allows more time, which means the end result sounds better and is more efficient — allowing engineering to minimize the effects of inherent limitations within the vinyl format. The result is a more accurate and more open high-frequency response in the half speed vinyl when compared with a normal speed recording.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eAllMusic : 5 \/ 5 , Discogs : 4,75 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":41054470111383,"sku":"MFSL2-45-011","price":125.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/miles-davis-kind-of-blue-2lp-box-set-ultra-analog-half-speed-mastering-45-rpm-audiosoundmusic-1.jpg?v=1719854110"},{"product_id":"love-forever-changes-2lp-ultra-analog-45-rpm","title":"Love - Forever Changes (2LP, Ultra Analog, Half-speed Mastering, 45 RPM)","description":"\u003ch2\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e\u003cbr\u003eORDER LIMITED TO ONE ITEM PER CUSTOMER\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h2\u003e\n\u003cp\u003e\u003cstrong\u003eArthur Lee – guitar, vocal\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBryan MacLean – guitar, vocal\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJohnny Echols – guitar\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eKen Forssi – bass\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMichael Stuart-Ware – drums, percussion\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCarol Kaye – bass guitar on \"Andmoreagain\" and \"The Daily Planet\"\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDon Randi – keyboards on \"Andmoreagain\" and \"The Daily Planet\"; piano on \"Old Man\" and \"Bummer in the Summer\"; harpsichord on \"The Red Telephone\"\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBilly Strange – electric rhythm guitar on \"Andmoreagain\" and \"The Daily Planet\"\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHal Blaine – drums on \"Andmoreagain\" and \"The Daily Planet\"\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eNeil Young – arranger on \"The Daily Planet\"[52]\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDavid Angel – arranger, orchestrations\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStrings – Robert Barene, Arnold Belnick, James Getzoff, Marshall Sosson, Darrel Terwilliger (violins); Norman Botnick (viola); Jesse Ehrlich (cello); Chuck Berghofer (string bass)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHorns – Bud Brisbois, Roy Caton, Ollie Mitchell (trumpets); Richard Leith (trombone)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e2 LPs, gatefold sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eLimited numbered edition\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHalf-speed Mastering\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGain 2™ Ultra Analog\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 45RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12”\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : RTI\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : MOFI\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Elektra\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded \u003cspan data-mce-fragment=\"1\"\u003eJune 9 – September 25, 1967 at Sunset Sound Recorders, Hollywood, California\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan data-mce-fragment=\"1\"\u003eEngineered by Bruce Botnick \u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Arthur Lee, Bruce Botnick\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by Krieg Wunderlich\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1967\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\u003eAlone Again Or\u003c\/li\u003e\n\u003cli\u003eA House Is Not A Motel\u003c\/li\u003e\n\u003cli\u003eAndmoreagain\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e Side B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eThe Daily Planet\u003c\/li\u003e\n\u003cli\u003eOld Man\u003c\/li\u003e\n\u003cli\u003eThe Red Telephone\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide C :\u003cbr\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eMaybe The People Would Be The Times Or Between Clark And Hilldale\u003c\/li\u003e\n\u003cli\u003eLive And Let Live\u003c\/li\u003e\n\u003cli\u003eThe Good Humor Man He Sees Everything Like This\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide D :\u003cbr\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eBummer In The Summer\u003c\/li\u003e\n\u003cli\u003eYou Set The Scene\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 180\/500\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eRolling Stone 500 Greatest Songs of All Time - \"Alone Again Or\" - Ranked 442\/500\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eMojo: The 100 Greatest Albums Ever Made 11\/100 - (1995)\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 87\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\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e\"Love's Forever Changes made only a minor dent on the charts when it was first released in 1967, but years later it became recognized as one of the finest and most haunting albums to come out of the Summer of Love, which doubtless has as much to do with the disc's themes and tone as the music, beautiful as it is. Sharp electric guitars dominated most of Love's first two albums, and they make occasional appearances here on tunes like \"A House Is Not a Motel\" and \"Live and Let Live,\" but most of Forever Changes is built around interwoven acoustic guitar textures and subtle orchestrations, with strings and horns both reinforcing and punctuating the melodies. The punky edge of Love's early work gave way to a more gentle, contemplative, and organic sound on Forever Changes, but while Arthur Lee and Bryan MacLean wrote some of their most enduring songs for the album, the lovely melodies and inspired arrangements can't disguise an air of malaise that permeates the sessions. A certain amount of this reflects the angst of a group undergoing some severe internal strife, but Forever Changes is also an album that heralds the last days of a golden age and anticipates the growing ugliness that would dominate the counterculture in 1968 and 1969; images of violence and war haunt \"A House Is Not a Motel,\" the street scenes of \"Maybe the People Would Be the Times or Between Clark and Hillsdale\" reflects a jaded mindset that flower power could not ease, the twin specters of race and international strife rise to the surface of \"The Red Telephone,\" romance becomes cynicism in \"Bummer in the Summer,\" the promise of the psychedelic experience decays into hard drug abuse in \"Live and Let Live,\" and even gentle numbers like \"Andmoreagain\" and \"Old Man\" sound elegiac, as if the ghosts of Chicago and Altamont were visible over the horizon as Love looked back to brief moments of warmth. Forever Changes is inarguably Love's masterpiece and an album of enduring beauty, but it's also one of the few major works of its era that saw the dark clouds looming on the cultural horizon, and the result was music that was as prescient as it was compelling.\" \u003cspan data-mce-fragment=\"1\"\u003eAllMusic Review by Mark Deming\u003c\/span\u003e\u003c\/p\u003e\n\u003col start=\"4\"\u003e\u003c\/ol\u003e\n\u003col start=\"5\"\u003e\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eUltra Analog™\u003c\/strong\u003e\u003cspan data-mce-fragment=\"1\"\u003e : The GAIN 2 Ultra Analog™ Series stems from the use of the Gain 2 system, mastered at half speed from the original master tapes where possible, capturing and uncovering as before undiscovered sonic information.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003cstrong\u003eHalf-speed mastering. \u003c\/strong\u003eIn half-speed mastering, the whole process is slowed down to half of the original speed. A typical 33 1\/3 rpm record is cut at 16 2\/3 rpm. The source material is also slowed down (reducing the pitch in the process) meaning the final record will still sound normal when played back. Slowing the whole process down allows more time, which means the end result sounds better and is more efficient — allowing engineering to minimize the effects of inherent limitations within the vinyl format. The result is a more accurate and more open high-frequency response in the half speed vinyl when compared with a normal speed recording.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eAllMusic : 5 \/ 5 , Discogs : 4,63 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":41060100767895,"sku":"MFSL2-402","price":95.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/love-forever-changes-2lp-ultra-analog-half-speed-mastering-45-rpm-audiosoundmusic-1.jpg?v=1719854159"},{"product_id":"copy-of-ry-cooder-chicken-skin-music-ultra-analog","title":"Ry Cooder - Paradise and Lunch (Ultra Analog, Half-speed Mastering)","description":"\u003ch2\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eORDER LIMITED TO ONE ITEM PER CUSTOMER\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h2\u003e\n\u003cp\u003e\u003cstrong\u003eRy Cooder (g, mand, b, voc) \u003cspan style=\"color: #ff8000;\"\u003e\u003ca title=\"vinyl featuring Ry Cooder\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/ry-cooder\" style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/ry-cooder\"\u003e[click here to see more vinyl featuring Ry Cooder]\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRonnie Barron (p, org); Earl Hines (p); Plas Johnson (as); Oscar Brashear (crt); Red Callender, John Duke (b); Russ Titelman, Chris Ethridge (el-b); Milt Holland (dr, perc); Jim Keltner (dr)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by Russ Titelman (A2), Ry Cooder (A2), Washington Phillips (A2), Willie McTell (A3), Bobby Womack (A5), Shirley Womack (A5), J.B. Lenoir (B1), Jim Dickinson (B1), Sidney Bailey (B1), Bobby Miller (B2), Bacharach (B3), Hilliard (B3), Arthur Blake (B4). A1 and A4 are traditional songs\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, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eLimited numbered edition\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHalf-speed Mastering\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGain 2™ Ultra Analog\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 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 : MOFI\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Reprise\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecording: 1974 at the Warner Brothers Studios in North Hollywood and Burbank (USA), by Lee Herschberg\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Lenny Waronker, Russ Titelman\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by Krieg Wunderlich\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1974\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2017\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eTamp 'Em Up Solid\u003c\/li\u003e\n\u003cli\u003eTattler\u003c\/li\u003e\n\u003cli\u003eMarried Man's A Fool\u003c\/li\u003e\n\u003cli\u003eJesus On The Mainline\u003c\/li\u003e\n\u003cli\u003eIt's All Over Now\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\u003eI'm A Fool For A Cigarette \/ Feelin' Good\u003c\/li\u003e\n\u003cli\u003eIf Walls Could Talk\u003c\/li\u003e\n\u003cli\u003eMexican Divorce\u003c\/li\u003e\n\u003cli\u003eDitty Wa Ditty\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAwards\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cb\u003e\u003cstrong\u003e\u003cspan class=\"421441414-17032005\"\u003e\u003cspan face=\"Arial\" color=\"#ff0000\" size=\"2\"\u003eStereophile Records to Die For - 2013\u003c\/span\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e : \u003c\/p\u003e\n\u003cp\u003e« Ry Cooder understands that a great song is a great song, whether it was written before the Depression or last week. Still, at the same time he isn't afraid to explore new avenues and possibilities for the material. Like his three previous records, Paradise and Lunch is filled with treasures which become part of a world where eras and styles converge without ever sounding forced or contrived. One may think that an album that contains a traditional railroad song, tunes by assorted blues greats, and a Negro spiritual alongside selections by the likes of Bobby Womack, Burt Bacharach, and Little Milton may lack cohesiveness or merely come across as a history lesson, but to Cooder this music is all part of the same fabric and is as relevant and accessible as anything else that may be happening at the time. No matter when it was written or how it may have been done in the past, the tracks, led by Cooder's brilliant guitar, are taken to new territory where they can coexist. It's as if Washington Phillips' \"Tattler\" could have shared a place on the charts with Womack's \"It's All Over Now\" or Little Milton's \"If Walls Could Talk.\" That he's successful on these, as well as the Salvation Army march of \"Jesus on the Mainline\" or the funky, gospel feel of Blind Willie McTell's \"Married Man's a Fool,\" is not only a credit to Cooder's talent and ingenuity as an arranger and bandleader, but also to the songs themselves. The album closes with its most stripped-down track, an acoustic guitar and piano duet with jazz legend Earl \"Fatha\" Hines on the Blind Blake classic \"Ditty Wah Ditty.\" Here both musicians are given plenty of room to showcase their instrumental prowess, and the results are nothing short of stunning. Eclectic, intelligent, and thoroughly entertaining, Paradise and Lunch remains Ry Cooder's masterpiece. » AllMusic Review by Brett Hartenbach\u003c\/p\u003e\n\u003cp\u003e \u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eUltra Analog™\u003c\/strong\u003e : The GAIN 2 Ultra Analog™ Series stems from the use of the Gain 2 system, mastered at half speed from the original master tapes where possible, capturing and uncovering as before undiscovered sonic information.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHalf-speed mastering. \u003c\/strong\u003e\u003cspan\u003eIn half-speed mastering, the whole process is slowed down to half of the original speed. A typical 33 1\/3 rpm record is cut at 16 2\/3 rpm. The source material is also slowed down (reducing the pitch in the process) meaning the final record will still sound normal when played back. Slowing the whole process down allows more time, which means the end result sounds better and is more efficient — allowing engineering to minimize the effects of inherent limitations within the vinyl format. The result is a more accurate and more open high-frequency response in the half speed vinyl when compared with a normal speed recording.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eAllMusic : 4.5 \/ 5  , Discogs :  4,00 \/ 5  , Rate Your Music :  3,73 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":41075196985495,"sku":"MFSL1-449","price":65.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/ry-cooder-paradise-and-lunch-ultra-analog-half-speed-mastering-audiosoundmusic-1.jpg?v=1719854207"},{"product_id":"michel-legrand-and-his-orchestra-featuring-miles-davis-legrand-jazz-2lp","title":"Michel Legrand and his Orchestra, featuring Miles Davis - Legrand Jazz (2LP, 45RPM)","description":"\u003cdiv\u003e\n\u003ch2\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eORDER LIMITED TO ONE ITEM PER CUSTOMER\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h2\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cbr\u003eTrumpet :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp style=\"padding-left: 30px;\"\u003e\u003cstrong\u003eMiles Davis (A1, B3, C1, D1) \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/miles-davis\" title=\"vinyl featuring Miles Davis\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/miles-davis\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Miles Davis]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp style=\"padding-left: 30px;\"\u003e\u003cstrong\u003eArt Farmer (A3, B2, D3) \u003cspan style=\"color: #ff8000;\"\u003e\u003ca style=\"color: #ff8000;\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/art-farmer\" title=\"Vinyl featuring Art Farmer\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/art-farmer\" target=\"_blank\"\u003e[click here to see more vinyl featuring Art Farmer]\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp style=\"padding-left: 30px;\"\u003e\u003cstrong\u003e Donald Byrd (A3, B2, D3) \u003cspan style=\"color: #ff8000;\"\u003e\u003ca style=\"color: #ff8000;\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/donald-byrd\" title=\"vinyl featuring Donald Byrd\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/donald-byrd\"\u003e[click here to see more vinyl featuring Donald Byrd]\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp style=\"padding-left: 30px;\"\u003e\u003cstrong\u003eErnie Royal (A3, B2, D3)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp style=\"padding-left: 30px;\"\u003e\u003cstrong\u003eJoe Wilder (A3, B2, D3)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAlto Saxophone – Gene Quill (A3, B2, D3)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAlto Saxophone - Phil Woods (A1, A3, B2-3, C1, D1, D3) \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/phil-wood\" title=\"vinyl featuring Phil Woods\"\u003e\u003cspan style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Phil Woods]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBaritone Saxophone – Teo Macero (A3, B2, D3)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBaritone Saxophone, Bass Clarinet – Jerome Richardson (A1, B3, C1, D1)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBass – George Duvivier (A2, B1, C2, D2) \u003ca title=\"Vinyl featuring George Duvivier\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/george-duvivier\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/george-duvivier\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring George Duvivier]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBass - Milt Hinton (A3, B2, D3) \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/milt-hinton\" title=\"Vinyl featuring Milt Hinton\"\u003e\u003cspan style=\"color: #ff8000;\"\u003e[Click here to see more vinyl featuring Milt Hinton]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBass - Paul Chambers (3) (A1, B3, C1, D1) \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/paul-chambers\" title=\"vinyl featuring Paul Chambers\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/paul-chambers\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Paul Chambers]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBass, Tuba – Major Holley (A2, B2, C2, D2)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDrums – Don Lamond (A2, B1, C2, D2), Kenny Dennis (A1, B3, C1, D1), Osie Johnson (A3, B2, D3)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFlute – Herbie Mann (A1, A2, B1, B3, C1, C2, D1, D2) \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/herbie-mann\" title=\"Vinyl featuring Herbie Mann\"\u003e\u003cspan style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Herbie Mann]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFrench Horn – James Buffington (A3, B2, D3)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGuitar – Barry Galbraith (A1, B3, C1, D1)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHarp – Betty Glamann (A1, B3, C1, D1)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePiano – Bill Evans (A1, B3, C1, D1) \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/bill-evans\" title=\"Vinyl featuring Bill Evans\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/bill-evans\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[\u003cspan color=\"#ff8000\" style=\"color: #ff8000;\" data-mce-fragment=\"1\"\u003eclick here to see more vinyl featuring \u003c\/span\u003e\u003cspan color=\"#ff8000\" data-mce-fragment=\"1\"\u003eBill Evans]\u003c\/span\u003e\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePiano - Hank Jones (A2, B1, C2, D2) \u003ca title=\"Vinyl featuring Hank Jones\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/hank-jones\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/hank-jones\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Hank Jones]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePiano -\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003eNat Pierce (A3, B2, D3)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTenor Saxophone – Ben Webster (A2, B1, C2, D2) \u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e\u003ca title=\"Vinyl featuring Ben Webster\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/ben-webster\" style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\" target=\"_blank\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/ben-webster\"\u003e[click here to see more vinyl featuring Ben Webster]\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTenor Saxophone - John Coltrane (A1, B3, C1, D1) \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/john-coltrane\" title=\"vinyl featuring John Coltrane\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/john-coltrane\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring John Coltrane]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTenor Saxophone - Seldon Powell (A3, B2, D3)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTrombone – Billy Byers (A2, B1, C2, D2), Eddie Bert (A2, B1, C2, D2), Frank Rehak (A2, A3, B1, B2, C2, D2), Jimmy Cleveland (A2-3, B1-2, C2, D2-3)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eVibraphone [Vibraharp] – Don Elliot (A3, B2, D3), Eddie Costa (A1, B3, C1, D1)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eConductor, Arranged by Michel Legrand \u003cspan style=\"color: #ff8000;\"\u003e\u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/michel-legrand\" title=\"vinyl by Michel Legrand\" style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/michel-legrand\"\u003e[click here to see more vinyl by Michel Legrand]\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by Fats Waller (A1), Django Reinhardt (A2), Dizzy Gillespie (A3), Count Basie (B1), Benny Goodman (B2), John Lewis (B3), Jelly Roll Morton (C1), Earl Hines (C2), Thelonious Monk (D1), Duke Ellington (D2), Bix Beiderbecke (D3)\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cp\u003e\u003cstrong\u003e2 LPs, gatefold jacket, l\u003cspan data-mce-fragment=\"1\"\u003earge format booklet with new art and appreciation by Tom Schnabel\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eLimited to 3,000 copies\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 45RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12”\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : RTI\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Impex Records\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Columbia\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded in New York City on \u003c\/strong\u003e\u003cstrong\u003e\u003cspan\u003eJune 25, 1958 (A1, B3, C1, D1), \u003c\/span\u003e\u003cspan\u003eJune 27, 1958 (A2, B1, C2, D2), \u003c\/span\u003e\u003cspan\u003eJune 30, 1958 (A3, B2, D3)\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineered \u003cspan data-mce-fragment=\"1\"\u003eby Mark Wilder at Battery Studios, New York\u003c\/span\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Abey Fonn, Robert Bantz\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by Bob Donnelly and Chris Bellman \u003cspan data-mce-fragment=\"1\"\u003eusing Bernie Grundman Mastering's all-tube cutting system, Hollywood, CA.\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1958\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 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\u003eThe Jitterbug Waltz (Fats Waller)\u003c\/li\u003e\n\u003cli\u003eNuages (Django Reinhardt)\u003c\/li\u003e\n\u003cli\u003eNight In Tunisia (Dizzy Gillespie)\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eBlue And Sentimental (Count Basie)\u003c\/li\u003e\n\u003cli\u003eStompin' At The Savoy (Benny Goodman)\u003c\/li\u003e\n\u003cli\u003eDjango (John Lewis)\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide C :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eWild Man Blues (Jelly Roll Morton)\u003c\/li\u003e\n\u003cli\u003eRosetta (Earl Hines)\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide D :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003e'Round Midnight (Thelonious Monk)\u003c\/li\u003e\n\u003cli\u003eDon't Get Around Much Anymore (Duke Ellington)\u003c\/li\u003e\n\u003cli\u003eIn A Mist (Bix Beiderbecke)\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAwards\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e2019 \u003cem\u003ePositive Feedback\u003c\/em\u003e Writers Choice Award!\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eVoted The LA \u0026amp; OC Audio Society 2019 Audiophile Recording of the Year Award for Reissue LP!\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eStereophile Records To Die For - 2012\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e\"This is the 45rpm version of IMPEX's 2017 33 1\/3 all-analog reissue of Michel Legrand's somewhat overlooked musical and sonic treasure featuring many of the greatest jazz artists of the era. Nothing other than Legrand's passing has changed since the original reissue review, so I'm just repeating it, other than to add that it sounds even 'Legrander' at 45rpm, though if you already own IMPEX's 33 1\/3 version, it's not really necessary to buy it again, unless you must! An enticement might be the now glossy laminated jacket and gatefold booklet with a very useful and informed essay by KCRW's Tom Schnabel. This IMPEX reissue is sourced from an 'analog mix-down transfer of the original 1958 work tape by Mark Wilder at Battery Studios' and cut by Chris Bellman and Bob Donnelly at Bernie Grundman Mastering on Grundman's all-tube mastering system. I have a clean, original 6-Eye pressing that this superbly pressed reissue betters in every way. This will make both your stereo and your heart sing. Some of the greatest jazz musicians of that or any era wailing and clearly having a Legrand time. Limited to 3000 [numbered] copies. Don't miss it!\"\u003cspan\u003e - Michael Fremer, Analog Planet\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\"Michel Legrand has spent most of his life as a composer in the studios and for films, but this release is a jazz classic. Legrand took 11 famous jazz compositions and arranged them for three different groups. Tenor great Ben Webster, flutist Herbie Mann, four trombonists, and a rhythm section perform pieces by Duke Ellington, Earl Hines, Django Reinhardt (\"Nuages\"), and the Count Basie-associated \"Blue and Sentimental.\" A big band with trumpeters Art Farmer and Donald Byrd and altoist Phil Woods plays \"Stompin' at the Savoy,\" \"A Night in Tunisia,\" and Bix Beiderbecke's \"In a Mist.\" The most famous session has Miles Davis, John Coltrane, Phil Woods, Herbie Mann, pianist Bill Evans, harp, vibes, baritone, and a rhythm section performing music by Thelonious Monk, John Lewis, Jelly Roll Morton (\"Wild Man Blues\"), and Fats Waller's \"Jitterbug Waltz.\" Throughout this superlative album, the arrangements are colorful and unusual, making one wish that Legrand had recorded more jazz albums through the years.\" \u003cspan data-mce-fragment=\"1\"\u003eAllMusic Review by Scott Yanow\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\"I'm very much falling in love with 45 RPM LPs. I'm also very much falling in love with IMPEX Records and their recent series of vinyl releases. Merge this format and this label together and you have a real winner: Legrand Jazz. This is a pressing that could possibly take its place as one of the crown jewels in your entire jazz LP collection. Legrand Jazz is the very essence of what audiophile records can be and should be!\u003c\/p\u003e\n\u003cp\u003e\"Yes, 45 RPM LPs might be a pain to flip through, but my goodness they are certainly worth it in my humble opinion. The latest and greatest from IMPEX, Mobile Fidelity and Analogue Productions continue to set new bench marks as in some cases they are difficult if not impossible to differentiate from their reel to reel counterparts (when available for comparison). With the latest surge of incredible sounding reel to reel tapes hitting the market, I did consider reel to reel as the gold standard right behind the master tapes. These new 45 RPM releases are now in the team picture too.\u003c\/p\u003e\n\u003cp\u003e\"IMPEX has a long respected legacy in the audiophile vinyl market and thanks to the business and production leadership of Abey Fonn and the distribution support of Kevin Berg over at Elusive Disc, they continue to step up their game. This includes the fairly recent 33 RPM releases of Another Time, Another Place by Jennifer Warnes, Lo Que Dice Mi Cantar by Trio Palabras and Friday Night In San Francisco by John McLaughlin, Al Di Meola, and Paco De Lucia.\u003c\/p\u003e\n\u003cp\u003e\"Now we have Legrand Jazz in 45 RPM. Released in 1958 on the Columbia label and recorded at the renowned Columbia Records 30th Street Studios, it was arranged and conducted by the French jazz enthusiast Michel Legrand. Musicians included Miles Davis, John Coltrane, Bill Evans, Paul Chambers, Hank Jones, Art Farmer, Donald Byrd, Phil Woods, Ben Webster, Herbie Mann, Milt Hinton, Frank Rehak, Jimmy Cleveland, and Joe Wilder amongst many more superstars.\u003c\/p\u003e\n\u003cp\u003e\"This IMPEX stereo reissue is sourced from the original 1958 work tape by Mark Wilder at Battery Studios and cut by Chris Bellman and Bob Donnelly at Bernie Grundman Mastering. This was an end to end all analog effort including an all tube mastering system. The icing on the cake is the latest and greatest 180 gram vinyl utilized by RTI. Talk about low noise and black backgrounds!\u003c\/p\u003e\n\u003cp\u003e\"Most of these tracks are fairly familiar jazz standards with a very laid back and soothing emphasis, but you will be hard pressed not to immediately fall in love with the arrangements and the subtle but addictive way that Legrand brings out all the skills and powerful voices of these iconic musicians.\u003c\/p\u003e\n\u003cp\u003e\"There are so many highlights that its difficult to point to any track in particular. However, one of my favorites is \"Blue and Sentimental.\" Ben Webster (tenor sax) stands stage left and Frank Rehak (trombone) stands stage right in a very expressive if not alluring duet of alternating solos. The instruments are so three dimensional and rich with proper timbre and weight that your eyes might just swell up as you imagine the rye whiskey and cigarette smoke whirling around you. Yep, it's a studio but the quality of this recording and your imagination will take you to another place.\u003c\/p\u003e\n\u003cp\u003e\"\"Django\" is still another slice of French Kharma. Miles Davis and Bill Evans float through this track with as much cool and refinement as you will ever hear from them in their quintessential albums together or on their own. That classic muted trumpet sounds better than ever with no edge or tilted emphasis--just layers of wonderful harmonic bloom and foggy ease. Piano is weighty and detailed with plenty of rhythmic expression and subtle bursts of life. Circling and swirling throughout is Betty Glamann on harp that provides another interesting mix and counter to that provided by Davis and Evans. Just exquisite stuff.\u003c\/p\u003e\n\u003cp\u003e\"Legrand Jazz is an absolute keeper and deserves to be in every music lover's collection. This goes for both the jazz aficionados out there and even those with other interests but who love to dabble with something very special. Production is limited so I'd jump on the purchase before its too late.\"\u003cspan\u003e \u003c\/span\u003e- Robert S. Youman, Positive Feedback, October 28, 2019\u003c\/p\u003e\n\u003cp\u003e“Impex released the reissue in a 33 RPM platter, and we gave it the highest ratings for recording and music back in Issue 153. This new 45 RPM two-disc set demonstrates that all top ratings are not created equal. Instrumental texture is the biggest beneficiary of the new mastering by Chris Bellman at Bernie Grundman Mastering - Ben Webster should always sound juicy, but here he is downright succulent. Add a more seamless soundstage and this is a perfect artefact of Columbia's wedding of the best recording engineers, decks, microphones and hall. In addition, the new fold-out cover embraces a handsome booklet.” Dennis Davis, Hi-Fi+\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eAllMusic : 4,5 \/ 5 , Discogs : 4,56 \/ 5 , \u003cspan data-mce-fragment=\"1\"\u003eMichael Fremer : Music 10\/11, Sound 11\/11\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":41095634845847,"sku":"IMP6028-45","price":95.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/michel-legrand-and-his-orchestra-featuring-miles-davis-legrand-jazz-2lp-45rpm-audiosoundmusic-1.jpg?v=1719854318"},{"product_id":"earth-wind-fire-thats-the-way-of-the-world-impex","title":"Earth, Wind \u0026 Fire - That's The Way Of The World (IMPEX)","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eORDER LIMITED TO ONE ITEM PER CUSTOMER\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEarth, Wind and Fire \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/earth-wind-fire\" title=\"vinyl featuring Earth, Wind \u0026amp; Fire\"\u003e\u003cspan style=\"color: #ff8000;\"\u003e[Click here to see more vinyl featuring Earth, Wind \u0026amp; Fire]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMaurice White (voc, perc, dr); Verdine White (voc, b, perc); Philip Bailey (voc, cga, perc); Larry Dunn (p, org, synth); Al McKay (g, perc); Ralph Johnson (dr, perc); Johnny Graham (g); Fred White (dr, perc)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by Maurice White (A1, A2, A3, A4, B1, B2, B3), Philip Bailey (A1, A3, B1, B2, B4), Larry Dunn (A1, A3, A4, B3, B4), Charles Stepney (A2, B1, B2), Verdine White (A2, A3), Al McKay (A3), Michael Mazzarella (B2), Louise Anglin (B4)\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 : RTI\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : IMPEX\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Columbia\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eRecorded in 1975 at Caribou Ranch in Nederland, Colorado (USA), by Curt Witti\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003cstrong\u003eEngineered by George Massenburg\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Maurice White\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by Kevin Gray and Robert Pincus\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1975\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2013\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. Shining Star\u003c\/p\u003e\n\u003cp\u003e                2. That’s the Way of the World\u003c\/p\u003e\n\u003cp\u003e                3. Happy Feelin’\u003c\/p\u003e\n\u003cp\u003e                4. All About Love\u003c\/p\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003cp\u003e                1. Yearnin’ Learnin’\u003c\/p\u003e\n\u003cp\u003e                2. Reasons\u003c\/p\u003e\n\u003cp\u003e                3. Africano\u003c\/p\u003e\n\u003cp\u003e                4. See the Ligh\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAwards\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cb\u003eRolling Stone 500 Greatest Albums of All Time - Rated 486\/500!\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cb\u003eRolling Stone 500 Greatest Songs of All Time - That's The Way Of The World - Rated 337\/500!\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cb\u003e\u003cstrong\u003e1000 Recordings You Must Hear Before You Die - Ranked 347\u003c\/strong\u003e\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cb\u003e\u003cstrong\u003e\u003cspan class=\"421441414-17032005\"\u003e\u003cspan size=\"2\" color=\"#ff0000\" face=\"Arial\"\u003eStereophile Records to Die For - 2014\u003c\/span\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eMore than three million albums sold in the USA alone\u003c\/strong\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\"Before he got into African thumb pianos and otherworldly philosophizing, EWF founder Maurice White was a session drummer at Chess Studios. EWF's sixth album is make-out music of the gods.\" - rollingstone.com\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\"Earth, Wind \u0026amp; Fire has delivered more than its share of excellent albums, but if a person could own only one EWF release, the logical choice would be \u003cem\u003eThat's the Way of the World\u003c\/em\u003e, which was the band's best album as well as its best-selling. \u003cem\u003eOpen Our Eyes\u003c\/em\u003e had been a major hit and sold over half a million units, but it was\u003cem\u003eWorld\u003c\/em\u003e that established EWF as major-league, multi-platinum superstars. Fueled by gems ranging from the sweaty funk of 'Shining Star' and 'Yearnin' Learnin' to the gorgeous ballad 'Reasons' and the unforgettable title song, EWF's sixth album sold at least five million units. And some of the tracks that weren't major hits, such as the exuberant 'Happy Feelin' and the gospel-influenced 'See the Light,' are equally powerful. There are no dull moments on \u003cem\u003eWorld\u003c\/em\u003e, one of the strongest albums of the 1970s and EWF's crowning achievement.\" — \u003cem\u003eAll Music Guide\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eAllmusic : 4.5 \/ 5  ,  \u003cspan\u003eDiscogs \u003c\/span\u003e:\u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e4,12\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\u003e3,70\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":41098939760791,"sku":"IMP6015","price":65.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/earth-wind-and-fire-that-s-the-way-of-the-world-impex-audiosoundmusic-1.jpg?v=1719854325"},{"product_id":"duke-ellington-and-his-orchestra-ellington-indigos","title":"Duke Ellington and his orchestra – Ellington Indigos (Mono)","description":"\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eDuke Ellington, piano \u003ca data-mce-fragment=\"1\" title=\"Vinyl featuring Duke Ellington\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/duke-ellington\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/duke-ellington\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"color: #ff8000;\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Duke Ellington]\u003c\/span\u003e\u003c\/a\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDuke Ellington's Orchestra:\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\u003cstrong\u003eRay Nance, \"Cat\" Anderson, \"Shorty\" Baker, Clark Terry, Willie Cook, trumpets\u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eSam Woodyard, drums\u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eJohn Sanders, Britt Woodman, Quentin Jackson, trombones\u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eJimmy Wood, bass\u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eJohnny Hodges, Harry Carney, Russell Procope, Jimmy Hamilton, Paul Gonsalves, sax\u003c\/strong\u003e\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, 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 : 33RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12”\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMono\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : RTI\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Impex Records\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Columbia\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded March 13, September 9 to October 14, 1957\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by Kevin Gray\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1958\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2012\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eSolitude\u003c\/li\u003e\n\u003cli\u003eWhere Or When\u003c\/li\u003e\n\u003cli\u003eMood Indigo\u003c\/li\u003e\n\u003cli\u003eAutumn Leaves\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\u003ePrelude To a Kiss\u003c\/li\u003e\n\u003cli\u003eWillow Weep For Me\u003c\/li\u003e\n\u003cli\u003eTenderly\u003c\/li\u003e\n\u003cli\u003eDancing In the Dark\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAwards\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cheader\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eTAS Super LP List! Special Merit: Informal\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/header\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cb\u003eMichael Fremer's 100 Recommended All-Analog LP Reissues Worth Owning - Rated 3\/100!\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e\u003ca style=\"color: #ff2a00;\" href=\"https:\/\/www.analogplanet.com\/content\/gruvy-awards\"\u003eWinner of a Gruvy Award, chosen by AnalogPlanet's editor, Michael Fremer, for vinyl records that are musically and sonically outstanding and are also well mastered and pressed.\u003c\/a\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e\u003cspan class=\"421441414-17032005\"\u003e\u003cspan face=\"Arial\" color=\"#ff0000\" size=\"2\"\u003eStereophile Records to Die For - 2020\u003c\/span\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e\"The recording is superb in every way: texturally, harmonically and especially spatially. I guess it's difficult for some to imagine 1957 producing an utterly transparent, three-dimensional recording but trust me, everything you might be looking for sonically is here. Finding a quiet original is not easy, especially because of the purposely quiet and somewhat distant production. It's designed to make you step into it, not bring it to you. Kevin Gray's cut from a 1:1 copy at 30IPS from the original master is to my ears better than any of the originals I have here, particularly in terms of high frequency extension and transparency. Of course the RTI pressing is dead silent. What a treat!\"\u003cb\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e- Michael Fremer, www.analogplanet.com\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\"Hugely recommended, and one of the best Ellington reissues to date!\" Robert H. Levi, Positive Feedback\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003e\"'Solitude' begins with Ellington's quietly introspective solo, but when his band jumps in a huge grin will cross your face as this Kevin Gray-mastered platter from Impex bursts to life with a sound as enveloping as a warm bath... There isn't a filler in the bunch. I have no original for comparison, but Gray's work is as good as it gets, and whatever limitations are evident here - a large but mostly shallow stage and the piano are about it - hardly interfere with this musical treasure.\"\u003cb\u003e \u003c\/b\u003eWayne Garcia, The Absolute Sound\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003e\"\u003c\/span\u003eNext to Kind of Blue, Ellington’s Indigos may be the biggest jazz audiophile chestnut, an LP every record collector worth his or her salt has made a top priority of bagging. It’s a recording made by Columbia in 1958 at the height of its recording prowess, and the fabulous sound achieved in this recording is among the very best things Columbia ever recorded. Ellington was being “rediscovered” in the 1950s and while some may carp that he wasn’t up to his earlier standards, the sessions he recorded for Columbia are still among recorded music’s highest achievements.\u003c\/p\u003e\n\u003cp\u003eThe arrangements and song selection on this album are out of this world. Paul Gonsalves’ solo on “Where or When” is one of the most beautiful recordings he ever made. This reissue by Impex was mastered by Kevin Gray. The highs have not disappeared from the tapes–cymbals retain their shimmer and the upper registers of the piano have not suffered from tape degradation. Indeed, in the high frequencies the Impex has more information than my original pressing. Improvements can also be noted in the middle registers, where the instruments have a slightly fuller, more textured sound than on the already fine original. This is ear and soul candy wrapped in a tidy package.\" DENNIS DAVIS, HIFI+ MAGAZINE, JANUARY 2013\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003e\"An easy listening set of ballads (only three of the ten songs were associated with Ellington), this is a relaxing if unexciting program. On this reissue, two \"new\" performances (\"Night and Day\" and a trio version of \"All the Things You Are\") were added to the original LP, but one song (\"The Sky Fell Down\") was dropped and an alternate version of \"Autumn Leaves\" was substituted for the original; all 12 performances could have easily fit. Nice subtle music, but not essential.\" AllMusic Review by Scott Yanow\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 : 4,22 \/ 5 ,  \u003cspan data-mce-fragment=\"1\"\u003eMichael Fremer : Music 9\/11, Sound 9\/11\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":41104355131543,"sku":"IMP6010","price":65.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/duke-ellington-and-his-orchestra-ellington-indigos-mono-audiosoundmusic-1.jpg?v=1719854336"},{"product_id":"copy-of-rimsky-korsakov-scheherazade-fritz-reiner-chicago-symphony-orchestra-2lp-45rpm-200g","title":"Rimsky-Korsakov - Scheherazade - Fritz Reiner - Chicago Symphony Orchestra (2LP, 45RPM)","description":"\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003eNikolaï Rimski-Korsakov - \u003c\/strong\u003e\u003cstrong\u003eScheherazade Op. 35\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSidney Harth, violin solo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eChicago Symphony Orchestra\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFritz Reiner, conductor\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e2LPs, 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 : 45 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : \u003cspan\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 : RCA\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eRecorded in Orchestra Hall, Chicago, on February 8, 1960\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eProduced by Richard Mohr\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by Ryan Smith at Sterling Sound\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003eOriginally released in 1960\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\n\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cp\u003e\u003cstrong\u003eTracks :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A : The Sea And Sinbads Ship\u003c\/p\u003e\n\u003cp\u003eSide B : The Story Of The Kalender Prince\u003c\/p\u003e\n\u003cp\u003eSide C : The Young Prince And The Young Princess\u003c\/p\u003e\n\u003cp\u003eSide D : Festival In Bagdad; The Sea; The Ship Goes To Pieces On A Rock Surmounted By A Bronze Warrior\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\u003cstrong\u003eAwards:\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e\u003cspan class=\"421441414-17032005\"\u003e\u003cspan size=\"2\" color=\"#ff0000\" face=\"Arial\"\u003eStereophile Records to Die For - 2015\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cbr\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp\u003e\u003cspan\u003e\"We compared this new 180-gram, 33 RPM LP from Analogue Productions with the original RCA Living Stereo issue and Classic Records' 33 RPM version, and were surprised at the outcome. Why? Because to these ears, the new Analogue Productions version was the more relaxed and natural sounding of the bunch. The sound is as it should be, inviting the listener \u003c\/span\u003e\u003cem\u003einto\u003c\/em\u003e\u003cspan\u003e the music and entirely constant with Reiner's readings. ... If ever there were a must-have LP in the recent wave of audiophile vinyl reincarnations, this is it. Treat yourself and thank (Analogue Productions' Chad) Kassem for doing it the justice it deserves.\" — Harry Pearson, \u003c\/span\u003e\u003cem\u003eHP Soundings\u003c\/em\u003e\u003cspan\u003e, May 2013.\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cbr\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e : \u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\u003cspan size=\"3\"\u003e\u003cspan size=\"3\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cspan\u003eDiscogs : 4.65 \/ 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":41135338389655,"sku":"AAPC 2446-45","price":95.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/rimsky-korsakov-scheherazade-fritz-reiner-chicago-symphony-orchestra-2lp-45rpm-180g-audiosoundmusic-1.jpg?v=1719854512"},{"product_id":"chick-corea-now-he-sings-now-he-sobs","title":"Chick Corea - Now He Sings, Now He Sobs","description":"\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eChick Corea, piano \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/chick-corea\" title=\"Vinyl featuring Chick Corea\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/chick-corea\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Chick Corea]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMiroslav Vitous, acoustic bass\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRoy Haynes, drums \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/roy-haynes\" title=\"vinyl featuring Roy Haynes\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/roy-haynes\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Roy Haynes]\u003c\/span\u003e\u003c\/a\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, Gatefold jacket\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12”\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press :  RTI\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel :  Blue Note Tone Poet\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label :  Blue Note\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded at A\u0026amp;R Studios, New York City on \u003cspan data-mce-fragment=\"1\"\u003eMarch 14, 19 and 27, 1968\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineered by Don Hahn\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Joe Harley\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by Kevin Gray at Cohearent Audio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1968\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\u003eSteps – What Was\u003c\/li\u003e\n\u003cli\u003eMatrix\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\u003eNow He Sings – Now He Sobs\u003c\/li\u003e\n\u003cli\u003eNow He Beats The Drum – Now He Stops\u003c\/li\u003e\n\u003cli\u003eThe Law Of Falling And Catching Up\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAwards:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e2021 Stereophile Magazine Record to Die For!\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“Recorded over a year after Chick Corea's debut Tones for Joan's Bones -- a record cut in late 1966 but not appearing until 1968 -- Now He Sings, Now He Sobs feels like his true first album, the place where he put all the pieces in motion for his long, adventurous career. Much of that has to do with the closed quarters of its recording. Supported by drummer Roy Haynes and bassist Miroslav Vitous, Corea has the freedom to run wild on his five original compositions, letting chords cluster alongside fleet melodic runs. Haynes and Vitous play with the same sense of liberation, which pushes Now He Sings, Now He Sobs into a sweet spot where hard bop and avant intersect. There's an intellectual rigor balanced by an instinctual hunger that makes for music that's lively and challenging while also containing a patina of comfort. Chalk the latter up to the elegance of Corea's piano trio: they move through the dense bop with the same grace that they settle into ballads, a sound that is warm and inviting, yet never disguises how the trio -- and Corea especially -- never stop probing and exploring the outer edges of this music. While it's possible to hear Now He Sings, Now He Sobs as an opening salvo to Corea's career, it also exists as its own special thing because it captures the pianist at the brink: it's kinetic, exciting, and filled with endless possibilities.” AllMusic Review by Stephen Thomas Erlewine\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\"The titles for the Tone Poet series, handpicked by Harley with input from Blue Note president Don Was, cover lesser-known releases from both the classic and modern Blue Note eras as well as labels like Pacific Jazz, World Pacific, and Solid State... Corea's classic Now He Sings, Now He Sobs, with Miroslav Vitous on bass and Roy Haynes on drums, was originally released on Solid State. It presents Corea with one foot in bebop and the other striding forward into 'The New Thing'. 'Now He Beats The Drum, Now He Stops' opens with a solo piano exploration before morphing into the briskly swinging trio section based on the chords to 'How Deep Is The Ocean'. Corea explores freely inside the piano on the avant-garde number, 'The Law Of Falling And Catching Up', while the kinetic 'Steps: What Was' hints at what would later become Corea's most beloved and oft-covered tune, 'Spain'. The leader's boppish 'Matrix', another buner characterized by his Bud Powell-esque right-hand flurries on the keys, would later become a jazz standard.\" - Bill Milkowski, The Absolute Sound, July\/August 2019\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e“Corea's second album is arguably his finest, a piano trio classic where the three players interact brilliantly. Corea is in superb form, blending bebop and free jazz in his own engaging style on a radiant set of distinctive compositions. The energy and creativity never flag.” Larry Birnbaum, Stereophile Magazine\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp\u003eAllMusic 4.5\/5 , Discogs 4.55 \/ 5\u003c\/p\u003e\n\u003c\/div\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":41170998100119,"sku":"ABLU 36301","price":55.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/chick-corea-now-he-sings-now-he-sobs-audiosoundmusic-1.jpg?v=1719854795"},{"product_id":"moussorgsky-ravel-pictures-at-an-exhibition-fritz-reiner-1lp-33rpm-200g","title":"Moussorgsky \u0026 Ravel - Pictures At An Exhibition - Fritz Reiner (1LP, 33RPM, 200g)","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eComposed by Modest Petrovich Mussorgsky\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOrchestrated by Maurice Ravel \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/maurice-ravel\" title=\"vinyl with Maurice Ravel's music\"\u003e\u003cspan style=\"color: rgb(255, 128, 0);\"\u003e[click here to see more vinyl with Maurice Ravel's music]\u003c\/span\u003e\u003c\/a\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eChicago Symphony Orchestra\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eConductor Fritz Reiner\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, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 200g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12”\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press :  Quality Record Pressings\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel :  Analogue Productions\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label :  RCA Victor Red Seal\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded in 1957 at Chicago's Orchestra Hall\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineered by Sergio Marcotulli\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by Ryan Smith at Sterling Sound\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1958\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 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\u003ePromenade\u003c\/li\u003e\n\u003cli\u003eGnomus\u003c\/li\u003e\n\u003cli\u003ePromenade\u003c\/li\u003e\n\u003cli\u003eIl Vecchio Castello\u003c\/li\u003e\n\u003cli\u003ePromenade\u003c\/li\u003e\n\u003cli\u003eTuileries\u003c\/li\u003e\n\u003cli\u003eBydlo\u003c\/li\u003e\n\u003cli\u003ePromenade\u003c\/li\u003e\n\u003cli\u003eBallet of the Chicks in Their Shells\u003c\/li\u003e\n\u003cli\u003eSamuel Goldenburg und Schmuyle\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eThe Market Place at Limoges\u003c\/li\u003e\n\u003cli\u003eCatacombae, Sepulchrum Romanum\u003c\/li\u003e\n\u003cli\u003eCon Mortuis in Lingua Mortua\u003c\/li\u003e\n\u003cli\u003eThe Hut on Fowl's Legs\u003c\/li\u003e\n\u003cli\u003eThe Great Gate of Kiev\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAwards:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e\u003cb\u003eTAS Super LP List! Special Merit: Classical\u003cbr\u003e\u003cbr\u003e2015 Stereophile Magazine Record to Die For!\u003c\/b\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e\u003cb\u003e\u003cspan\u003eWinner of a Gruvy Award, chosen by AnalogPlanet's editor, Michael Fremer, for vinyl records that are \u003c\/span\u003e\u003cspan\u003emusically and sonically outstanding and are also well mastered and pressed.\u003c\/span\u003e\u003c\/b\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e\"The interpretation is lively, refined, and subtle, but bombastic when it needs to be. At times, Reiner could make the CSO swing. I hear wider dynamic contrasts, sense of drama, deeper bass, and more clearly delineated room sound... When I spun them [Analogue Productions RCA Living Stereo 200g LP reissues], I was floored. After comparing them to early shaded-dog pressings of the same recordings, I felt the only area in which the originals were still superior was the subtle, additional layer of air and sparkle in the highs (master-tape age, perhaps?). But the reissues' quality and extension of bass and high-level dynamic contrasts were superior. And the surfaces of the new pressings are so quiet they let each subtle midrange detail emerge from a \"black\" background. At times, the background is so silent I have to do a double take to verify that the needle is still in the groove and the platter is still turning.\"\u003cspan\u003e - Robert J. Reina, 2015 Stereophile Magazine\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\"Once again, as good as I've heard this record sound. Gorgeous strings, superb bass, avalanche dynamics with that same tape-like ease, sensational inner detail. The authority of the CSO is really something on \u003cem\u003efortissimo\u003c\/em\u003e tuttis, of which there are many in \u003cem\u003ePictures\u003c\/em\u003e.\" Jonathan Valin, \u003cem\u003eThe Absolute Sound.com\u003c\/em\u003e, June 11, 2013.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAllMusic\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eDiscogs : 4.56 \/ 5 , \u003cem\u003eThe Absolute Sound : \u003c\/em\u003e\u003cspan\u003eGrade: A+\u003c\/span\u003e\u003cbr\u003e\u003c\/p\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":41657633243386,"sku":"AAPC 2201","price":65.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/moussorgsky-and-ravel-pictures-at-an-exhibition-fritz-reiner-1lp-33rpm-200g-audiosoundmusic-1.jpg?v=1719854835"},{"product_id":"copy-of-the-thelonious-monk-quartet-straight-no-chaser-2lp-ud1s","title":"Patricia Barber - Cafe Blue (2LP, Case, 45RPM, 1STEP)","description":"\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003ch2\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eORDER LIMITED TO ONE ITEM PER CUSTOMER\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h2\u003e\n\u003cp\u003e\u003cstrong\u003ePiano, Vocals – Patricia Barber \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/patricia-barber\" title=\"vinyl featuring Patricia Barber\"\u003e\u003cspan style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Patricia Barber]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBass – Michael Arnopol\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDrums, Percussion – Mark Walker\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGuitar – John McLean\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e2 LPs, heavy-duty 3-sleeve jacket and cloth-bound slip case, multi-page booklet\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\u003eIMPEX S1TEP (1 Step)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g VR900-Supreme vinyl\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 45 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : RTI\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Impex\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Premonition Records\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineered and remixed by Jim Anderson\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eExecutive Producer – Abey Fonn, Michael Friedman, Robert Bantz\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Patricia Barber\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemixed in April 2011 from original master tapes\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMastered for IMPEX 1STEP by Kevin Gray\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 December 2020\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eWhat A Shame\u003c\/li\u003e\n\u003cli\u003eMourning Grace\u003c\/li\u003e\n\u003cli\u003eThe Thrill Is Gone\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eRomanesque\u003c\/li\u003e\n\u003cli\u003eYellow Car III\u003c\/li\u003e\n\u003cli\u003eInch Worm\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide C :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eOde To Billie Joe\u003c\/li\u003e\n\u003cli\u003eToo Rich For My Blood\u003c\/li\u003e\n\u003cli\u003eA Taste Of Honey\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide D :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eNardis\u003c\/li\u003e\n\u003cli\u003eWood Is A Pleasant Thing To Think About\u003c\/li\u003e\n\u003cli\u003eMahna De Carnaval\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAwards :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eTAS Super LP List! Special Merit: Informal\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eTONE's 2020 Product Of The Year - Recording!\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e\u003cspan class=\"421441414-17032005\"\u003e\u003cspan face=\"Arial\" color=\"#ff0000\" size=\"2\"\u003eStereophile Records to Die For - 2016\u003c\/span\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e« Songs of sickness, loss, death-acceptance, being overwhelmed and suicide have never sounded so good or been so well packaged. So, yes, we do need yet another café blue and honestly, even if you already have a copy (especially the original pressing, or the Mo-Fi, which on some songs like 'Ode to Billy Joe' sound as if Barber's voice was out of phase and almost 'canceled out' - never mind it was sourced from the original inferior mix) and love the music and the sound, you too need another copy. This one. » Michael Fremer, Analog Planet\u003c\/p\u003e\n\u003cp\u003e« Bottom line, I was absolutely floored by the sound quality... this is the real deal. For audiophiles seeking out the very best when it comes to visceral involvement and musical satisfaction, the IMPEX 1-Step Café Blue is a true delight. For those adding to their One Step collection or for others looking for an opportunity to experience this pressing technology for the first time, I strongly recommend that you check this one out. » Robert S. Youman, Positive Feedback\u003c\/p\u003e\n\u003cp\u003e« As good as the original and the 2011 remix sounded, this knocks it out of the park with better dynamics, not to mention more detailed texture and stunning tonal quality. Add to that the deluxe tri-fold cover, beautifully crafted liner notes and cloth bound slip case, and 5,000 owners will own an audiophile and music lover's treasure. » Hi-Fi+\u003c\/p\u003e\n\u003cp\u003e« Pinning down the definitive vinyl edition can be daunting, but Impex Records has met the challenge. Sourcing Premonition Records' 2011 remix, Impex employed the costly 1Step process, which bypasses the father \/ mother stages. With Kevin Gray handling the 1Step mastering chores, Barber's interpretations spring from the grooves with discrete imaging, electric immediacy, and immersive ambience. A showcase for Barber's crack trio of players, Barber's distinctive voicings play unselfishly within the groove of the band. Tracks like 'What a Shame' and 'Too Rich For My Blood' shine with finely wrought transients, shudder with deep-water bass extension, expressive percussion, and full bloom piano harmonics. Cymbals flare outward into the widest expanses of the soundstage. The sheer lack of veiling or groove noise testifies to the use of Neotech's vinyl formulation, VR900 Supreme. Pressed at RTI, the 45rpm double LP is exquisitely slipcase-packaged and annotated. You've never heard Cafe Blue like this before. »  Neil Gader, The Absolute Sound, April 2021\u003c\/p\u003e\n\u003cp\u003e« The only way to get closer to Ms. Barber is to pull up a chair at one of her performances... If you’re a mega-fan, you want this one. From a sheer recording standpoint, this is the closest to the sound quality the reel to reel guys are gushing about. And collectors loving the tactile aspect will appreciate a jacket and box done to the same standard. » Jeff Dorgay, TONEAudio\u003c\/p\u003e\n\u003cp\u003e« Patricia Barber, who is both a fine keyboardist and an atmospheric singer, contributes roughly half of the material to her Premonition debut. Her dark voice and the generally esoteric program takes awhile to get used to (listeners will have to be patient), but after two or three listens, this thought-provoking and rather moody set becomes more accessible. The music ranges stylewise from sophisticated pop sensitivities to the avant-garde and even touches of minimalism, while not fitting securely into any category. Barber gives a new slant to \"The Thrill Is Gone,\" \"Ode to Billy Joe,\" and even \"A Taste of Honey,\" and her vocals are all quite haunting and contemporary. An added plus to this unusual music is adventurous guitarist John McLean. » AllMusic Review by Scott Yanow\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eIMPEX S1TEP\u003c\/strong\u003e : The Impex 1STEP process relies on short, tightly-controlled runs that require a new lacquer after each 500 pressings. This unforgiving format has the lacquer skipping the regular father-mother process, going right to a single convert and then pressing. Though this dramatically increases mastering and production costs, it also assures each run is more consistent from disc to disc, with less noise, clearer details and deeper bass. Reducing production complexity to just a single \"convert\" disc between the lacquer and the press greatly improves groove integrity, diminishes non-fill anomalies and increases signal integrity from the master tape to your system.\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 : 4,7 \/ 5 , Michael Fremer : 10\/11 Music, 10\/11 Sonics , TAS : 4.5\/5 Music, 5\/5 Sonics , Hi-Fi+ : Recording 10\/10, Music 9\/10\u003c\/p\u003e\n\u003c\/div\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":41929066709242,"sku":"IMP-6035-1","price":295.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/patricia-barber-cafe-blue-2lp-case-45rpm-1step-audiosoundmusic-1.jpg?v=1719855281"},{"product_id":"patricia-barber-cafe-blue-2lp-33rpm","title":"Patricia Barber - Cafe Blue (2LP, 33RPM)","description":"\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003ePiano, Vocals – Patricia Barber \u003ca title=\"vinyl featuring Patricia Barber\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/patricia-barber\"\u003e\u003cspan style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Patricia Barber]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBass – Michael Arnopol\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDrums, Percussion – Mark Walker\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGuitar – John McLean\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e2 LPs, gatefold jacket\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g \u003cspan\u003eHigh-Quality Audiophile Vinyl\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 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 : Quality Record Pressings\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Premonition Records\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Premonition Records\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineered by Jim Anderson\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cb\u003eRemastered by Bob Ludwig at Gateway Mastering\u003c\/b\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eExecutive Producer Michael Friedman\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Patricia Barber\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eRemixed in April 2011 from the original master tapes by Jim Anderson at Capitol Studios, Hollywood, CA.\u003c\/span\u003e\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 December 2014\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eWhat A Shame\u003c\/li\u003e\n\u003cli\u003eMourning Grace\u003c\/li\u003e\n\u003cli\u003eA Taste Of Honey\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B : \u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eOde To Billie Joe\u003c\/li\u003e\n\u003cli\u003eToo Rich For My Blood\u003c\/li\u003e\n\u003cli\u003eMahna De Carnaval\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003col\u003e\u003c\/ol\u003e\n\u003cp\u003eSide C :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eInch Worm\u003c\/li\u003e\n\u003cli\u003eWood Is A Pleasant Thing To Think About\u003c\/li\u003e\n\u003cli\u003eNardis\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide D :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eThe Thrill Is Gone\u003c\/li\u003e\n\u003cli\u003eRomanesque\u003c\/li\u003e\n\u003cli\u003eYellow Car III\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAwards :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eTAS Super LP List! Special Merit: Informal\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e\u003cspan class=\"421441414-17032005\"\u003e\u003cspan face=\"Arial\" color=\"#ff0000\" size=\"2\"\u003eStereophile Records to Die For - 2016\u003c\/span\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e\"It's set in a dark, atmospheric musical space that recording engineer Jim Anderson captured perfectly, bathing Barber's sultry voice in a mysterious shroud of reverb created not by artificial means as was common at the time, but by establishing an improvised chamber under some stairs at CRC (Chicago Recording Company) where the record was produced. In fact, it's an even more impressive musical feat all these years later, particularly the backing trio that dazzles with audacious improvisations and lock-step communication even as it clears space for Barber's vocals and meshes effortlessly with her expressive piano. It's jazz of course but John McLean's guitar work brings it into a rock space, while the A\u0026amp;R work that covers everything from 'Ode to Billy Joe' to 'The Thrill is Gone' and Miles' 'Nardis' defies genre-fication.\" Michael Fremer, Analog Planet\u003c\/p\u003e\n\u003cp\u003e\"Cafe Blue has seduced everyone for whom I have ever played it--jazz people, rock people, Medicare people, even computer people. Some call from record stores, sounding slightly desperate: 'That album you played for me the other night! What was her name again?' If you have a voice that's a dark pure whisper straight up from the soul, and if you've lived it yourself, you can sing to people of their innermost anxieties and they will not only love it, they will need it.\" - Thomas Conrad, Stereophile.\u003c\/p\u003e\n\u003cp\u003e« Patricia Barber, who is both a fine keyboardist and an atmospheric singer, contributes roughly half of the material to her Premonition debut. Her dark voice and the generally esoteric program takes awhile to get used to (listeners will have to be patient), but after two or three listens, this thought-provoking and rather moody set becomes more accessible. The music ranges stylewise from sophisticated pop sensitivities to the avant-garde and even touches of minimalism, while not fitting securely into any category. Barber gives a new slant to \"The Thrill Is Gone,\" \"Ode to Billy Joe,\" and even \"A Taste of Honey,\" and her vocals are all quite haunting and contemporary. An added plus to this unusual music is adventurous guitarist John McLean. » AllMusic Review by Scott Yanow\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 : 4,7 \/ 5 , Michael Fremer : \u003cspan\u003eMusic 9\/11, Sound 8\/11\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":41944554012922,"sku":"90760-1","price":149.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/patricia-barber-cafe-blue-2lp-33rpm-audiosoundmusic-1.jpg?v=1719855449"},{"product_id":"jeff-buckley-grace-low-2lp-45rpm","title":"Jeff Buckley - Grace (2LP, 45RPM)","description":"\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003ch2\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e\u003cbr\u003eORDER LIMITED TO ONE ITEM PER CUSTOMER\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h2\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cbr\u003eJeff Buckley - Voice, Guitar, Harmonium, Organ, Dulcimer\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMick Grondahl - Bass\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMatt Johnson - Drums, Percussion\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eKarl Berger – string arrangements\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMick Grøndahl – bass\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLoris Holland – organ (C2)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMatt Johnson – percussion, drums, vibraphone (D3)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGary Lucas – \"Magical Guitarness\" (A1-2)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMisha Masud – tabla (D3)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMichael Tighe – guitar (B3)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e2LP, gatefold jacket\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eNumbered edition limited to 2,500 copies\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 45RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Record Technology Incorporated\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Original Recordings Group (ORG)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal label : Columbia\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded late 1993 and 1994 at Bearsvill Sound Studio, Woodstock, New York\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineered by Andy Wallace (A1 to B2, C1 to D3), Clif Norrell (B3, D1, D3)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMastered by Howie Weinberg\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMixed by Andy Wallace\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Andy Wallace (A1 to B2, C1 to D3), Jeff Buckley (B3)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastering and lacquer cuting by Bernie Grundman\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginaly released in 1994\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2014\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eMojo Pin\u003c\/li\u003e\n\u003cli\u003eGrace\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eLast Goodbye\u003c\/li\u003e\n\u003cli\u003eLilac Wine\u003c\/li\u003e\n\u003cli\u003eSo Real\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide C:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eHallelujah\u003c\/li\u003e\n\u003cli\u003eLover, You Should've Come Over\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide D:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eCorpus Christi Carol\u003c\/li\u003e\n\u003cli\u003eEternal Life\u003c\/li\u003e\n\u003cli\u003eDream Brother\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAwards :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eRolling Stone 500 Greatest Albums of All Time - Rated 147\/500!\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eRolling Stone 500 Greatest Songs of All Time - \"Hallelujah\" - Rated 264\/500!\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eAudiophile Audition Best of the Year Discs for 2014\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e\u003cspan\u003e1000 Recordings You Must Hear Before You Die - Ranked 780\u003c\/span\u003e\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\u003cp\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\"During his famed early gigs at the New York club Siné, Buckley used to break hearts with his version of this Cohen prayer. Buckley called it a homage to 'the hallelujah of the orgasm' and had misgivings about his sensuous rendition: 'I hope Leonard doesn’t hear it.' On his posthumous live album Mystery White Boy, Buckley turns 'Hallelujah' into a medley with the Smiths' 'I Know It’s Over.'\" - Rolling Stone\u003c\/p\u003e\n\u003cp\u003e\"The shimmering tonality of the guitars is captured with fluidity and delicate texture. Buckley’s voice is showcased in its power and fragility. Even the falsetto passages sound pure. (...) Grace is memorable for its unpredictable verve and excellent production. It is the only complete studio album by Jeff Buckley, and has stood the test of time.\" Robbie Gerson, Audiophile Audition\u003c\/p\u003e\n\u003cp\u003e« Jeff Buckley was many things, but humble wasn't one of them. Grace is an audacious debut album, filled with sweeping choruses, bombastic arrangements, searching lyrics, and above all, the richly textured voice of Buckley himself, which resembled a cross between Robert Plant, Van Morrison, and his father Tim. And that's a fair starting point for his music: Grace sounds like a Led Zeppelin album written by an ambitious folkie with a fondness for lounge jazz. At his best -- the soaring title track, \"Last Goodbye,\" and the mournful \"Lover, You Should've Come Over\" -- Buckley's grasp met his reach with startling results; at its worst, Grace is merely promising. » AllMusic Review by Stephen Thomas Erlewine\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings \u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp\u003eAllMusic : 5 \/ 5 , Discogs : 4.77 \/ 5 , Audiophile Audition : 5 stars\u003c\/p\u003e\n\u003c\/div\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":41947832615162,"sku":"ORG 194","price":95.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/jeff-buckley-grace-2lp-45rpm-audiosoundmusic-1.jpg?v=1719855467"},{"product_id":"copy-of-ornette-coleman-the-shape-of-jazz-to-come-2lp-45rpm","title":"Ornette Coleman - The Shape Of Jazz To Come (2LP, 45RPM)","description":"\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003eOrnette Coleman - alto saxophone \u003cspan style=\"color: #ff8000;\"\u003e\u003ca title=\"Vinyl featuring Ornette Coleman\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/ornette-coleman\" style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/ornette-coleman\"\u003e[click here to see more vinyl featuring Ornette Coleman]\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eDon Cherry (cornet), Charlie Haden (bass), Billy Higgins (drums)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eWritten by Ornette Coleman\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e2 LP, gatefold jacket\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 45 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : ORG Music\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eOriginal Label :  Atlantic\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eRecording: May 1959 at Radio Recorders, Hollywood, CA, by Bones Howe\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eMastered by Bernie Grundman\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1959\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2013\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eLonely Woman\u003c\/li\u003e\n\u003cli\u003eEventually\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003ePeace\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide C :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eFocus on Sanity\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide D :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eCongeniality\u003c\/li\u003e\n\u003cli\u003eChronology\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eAwards:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eRolling Stone 500 Greatest Albums of All Time - Rated 248\/500\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eStereophile Records To Die For - 2012\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003cbr\u003eReviews :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e« Ornette Coleman's Atlantic debut, The Shape of Jazz to Come, was a watershed event in the genesis of avant-garde jazz, profoundly steering its future course and throwing down a gauntlet that some still haven't come to grips with. The record shattered traditional concepts of harmony in jazz, getting rid of not only the piano player but the whole idea of concretely outlined chord changes. The pieces here follow almost no predetermined harmonic structure, which allows Coleman and partner Don Cherry an unprecedented freedom to take the melodies of their solo lines wherever they felt like going in the moment, regardless of what the piece's tonal center had seemed to be. Plus, this was the first time Coleman recorded with a rhythm section -- bassist Charlie Haden and drummer Billy Higgins -- that was loose and open-eared enough to follow his already controversial conception. Coleman's ideals of freedom in jazz made him a feared radical in some quarters; there was much carping about his music flying off in all directions, with little direct relation to the original theme statements. If only those critics could have known how far out things would get in just a few short years; in hindsight, it's hard to see just what the fuss was about, since this is an accessible, frequently swinging record. It's true that Coleman's piercing, wailing alto squeals and vocalized effects weren't much beholden to conventional technique, and that his themes often followed unpredictable courses, and that the group's improvisations were very free-associative. But at this point, Coleman's desire for freedom was directly related to his sense of melody -- which was free-flowing, yes, but still very melodic. Of the individual pieces, the haunting \"Lonely Woman\" is a stone-cold classic, and \"Congeniality\" and \"Peace\" aren't far behind. Any understanding of jazz's avant-garde should begin here. » AllMusic Review by Steve Huey\u003cbr\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eIt was John Lewis, pianist of the Modern Jazz Quartet, who brought Ornette Coleman to the renowned Atlantic label, having heard him play in Los Angeles. »Ornette Coleman is doing the only really new thing in jazz …« he reportedly said. The present initial Atlantic album was released just in time to coincide with the New York debut of the Coleman Quartet in November 1959. Lewis was sure that Coleman would open up new paths for jazz, and his opinion is reflected in the title of the album – \"The Shape Of Jazz To Come\". After the rather worn-out hard bop routine of the past years, this music was like a breath of fresh air. The fast numbers (\"Eventuality\", \"Chronology\") remind one of wildly hyped-up bebop. Other numbers (\"Congeniality\", \"Focus On Sanity\") juggle with catchy, almost folk like short motifs. This album contains two of Coleman’s most beautiful compositions: \"Peace\" and \"Lonely Woman\", which was later given lyrics and often heard in its vocal version. The Mulligan-Baker Quartet provided the model for the pianoless quartet – and when the band swings along once in a while with a moderato tempo, it is truly reminiscent of cool jazz. Be that as it may, the two wind instrumentalists just love the frenetic 'cry' and the intentionally 'imprecise' interplay. Clearly defined stanzas or traditional harmonic forms were not for them. The jazz musicologist Peter N. Wilson wrote: \"A record, which is not unjustifiably so entitled\" about this LP which was given 5 stars by the magazine Rolling Stone.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003e\u003cbr\u003eRatings :\u003c\/strong\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan\u003eAllmusic : 5\/5, Discogs \u003c\/span\u003e: \u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e4,49\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5, \u003c\/span\u003e\u003cspan\u003eRate Your Music \u003c\/span\u003e: \u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e4,06\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":42083786195194,"sku":"ORGM-1081","price":79.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/ornette-coleman-the-shape-of-jazz-to-come-2lp-45rpm-audiosoundmusic-1.jpg?v=1719855874"},{"product_id":"bad-brains-rock-for-light","title":"Bad Brains - Rock For Light","description":"\u003cp\u003e\u003cstrong\u003eVocals – H.R.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBass, Backing Vocals, Percussion, Synthesizer – Darryl\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDrums, Backing Vocals, Percussion – Earl\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGuitar, Backing Vocals, Piano, Organ – Dr. Know\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Furnace Record Pressing\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : ORG Music\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : PVC Records\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded at Synchro Sound Studios\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineered \u0026amp; mixed by Ian Taylor\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Ric Ocasek\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by Dave Gardner\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1983\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2021\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eBig Takeover\u003c\/li\u003e\n\u003cli\u003eAttitude\u003c\/li\u003e\n\u003cli\u003eRight Brigade\u003c\/li\u003e\n\u003cli\u003eJoshua's Song\u003c\/li\u003e\n\u003cli\u003eI And I Survive\u003c\/li\u003e\n\u003cli\u003eBanned In D.C.\u003c\/li\u003e\n\u003cli\u003eSupertouch\u003c\/li\u003e\n\u003cli\u003eDestroy Babylon\u003c\/li\u003e\n\u003cli\u003eF.V.K.\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eThe Meek\u003c\/li\u003e\n\u003cli\u003eI\u003c\/li\u003e\n\u003cli\u003eCoptic Times\u003c\/li\u003e\n\u003cli\u003eSailin' On\u003c\/li\u003e\n\u003cli\u003eRock For Light\u003c\/li\u003e\n\u003cli\u003eRally Round Jah Throne\u003c\/li\u003e\n\u003cli\u003eAt The Movies\u003c\/li\u003e\n\u003cli\u003eRiot Squad\u003c\/li\u003e\n\u003cli\u003eHow Low Can A Punk Get\u003c\/li\u003e\n\u003cli\u003eWe Will Not\u003c\/li\u003e\n\u003cli\u003eJam\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\u003eStereophile Records To Die For - 2007\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“After the tinny sound quality of the band's debut, the second Bad Brains album came as a real blast of sonic fresh air. Producer Ric Ocasek is largely responsible, but the increased tightness and focus are also a function of maturation. This band was a weird bundle of contradictions from day one: black Rastafarian instrumental virtuosos playing hardcore punk, formerly the exclusive domain of white, aggressively atheist musical amateurs. That last contradiction would come to full musical flower on I Against I, but Rock for Light shows the band at the height of its punk energy. \"P.M.A.,\" \"Joshua's Song,\" and \"Coptic Times\" are typical examples of Bad Brains' unique blend of punk velocity and Rasta ideology. When they suddenly swing into mellow reggae (on \"I and I Survive,\" \"The Meek,\" \"Rally 'Round Jah Throne,\" and the dubwise instrumental \"Jam\"), the effect is like some kind of pleasant musical whiplash.” AllMusic Review by Rick Anderson\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 : 4,51 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":42212157260026,"sku":"AORM 2181","price":39.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/bad-brains-rock-for-light-audiosoundmusic-1.jpg?v=1719857079"},{"product_id":"jazz-at-the-pawnshop","title":"Jazz at the Pawnshop (2LP)","description":"\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eArne Domnerus, alto sax, clarinet\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBengt Hallberg, piano\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGeorg Riedel, bass\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEgil Johansen, drums\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLars Erstrand, vibraphone (A1-3, C1-3)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e2 LP, Gatefold jacket\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : Black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 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 : Grammoplast (Sweden)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Proprius\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Proprius\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded at Stampen jazzclub in Stockholm on December 14-15, 1976\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded by Gert Palmcrantz\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Jacob Boëthius\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 2016\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eLimehouse Blues\u003c\/li\u003e\n\u003cli\u003eI'm Confessin'\u003c\/li\u003e\n\u003cli\u003eHigh Life\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eStruttin' With Some Barbeque\u003c\/li\u003e\n\u003cli\u003eJeep's Blues\u003c\/li\u003e\n\u003cli\u003eStuffy\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide C :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eLady Be Good\u003c\/li\u003e\n\u003cli\u003eHere Is That Rainy Day\u003c\/li\u003e\n\u003cli\u003eBarbados\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide D :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eHow High The Moon\u003c\/li\u003e\n\u003cli\u003eTake Five\u003c\/li\u003e\n\u003cli\u003eEverything Happens To Me\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAwards:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eTAS Super LP List! Special Merit: Informal\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e\u003cb\u003e\u003cspan class=\"421441414-17032005\"\u003e\u003cspan size=\"2\" color=\"#ff0000\" face=\"Arial\"\u003eStereophile Records to Die For - 2012 : \"The Best Jazz Recording of the Century!\"\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e“Here’s the thing: If you who are reading this consider yourself an audiophile but you don’t own some version of Jazz at the Pawnshop, trust me, you’re not really an audiophile. It’s been around now in various formats for some four decades, so you’ve had plenty of chance to hear and obtain it. The recording has developed something of a cult following among those in the know, and for good reason. (…)\u003c\/p\u003e\n\u003cp\u003eSo, what’s the fuss all about? Jazz at the Pawnshop is some pretty good jazz in some pretty astounding sound. The album’s producer and engineer visited one of Sweden’s most-celebrated jazz venues, the Stampen (or The Pawnshop because of a pawnshop that used to be there), and found its acoustics ideal for recording. Then they set up their equipment to record live several of Sweden’s most-celebrated jazz musicians, a quintet that included Arne Dominerus, alto sax and clarinet; Bengt Hallberg, piano; Larss Erstrand, vibes; Georg Riedel, bass; and Egil Johansen, drums. After two evenings of recording, they came out with tapes of some of the best and most realistic-sounding jazz that anyone had ever heard. The subsequent LP and CD releases took off among audiophiles eager to demonstrate just how accurate their stereo equipment was when playing back music that live would have been largely unamplified.\u003c\/p\u003e\n\u003cp\u003e(…) The numbers run high to jazz standards, starting with Philip Braham’s “Limehouse Blues.” The quintet play well together, with Dominerus’s sax tending to dominate the ensemble but with plenty of room for the other members to shine and solo as well. Because it’s live, in the background we hear quite a lot of room noise, the clinking of glasses, shuffling of feet, occasional applause, audience comments, and conversation. One goes into Jazz at the Pawnshop for the music, certainly, but also for the vivid sound, which involves experiencing the ambience of the small club itself.\u003c\/p\u003e\n\u003cp\u003eAnd so it goes throughout the eighteen selections, like the traditional “High Life,” Louis Armstrong’s “Struttin’ with Some Barbeque,” Johnny Hodges’s “Jeep’s Blues,” George Gershwin’s “Lady Be Good,” Charlie Parker’s “Barbados,” Morgan Lewis’s “How High the Moon,” Matt Dennis’s “Everything Happens to Me,” Harold Arlen’s “Over the Rainbow,” Charlie Parker’s “Now’s the Time,” Duke Ellington’s “In a Mellow Mood,” Bill Strayhorn’s “Take the ‘A’ Train,” and Harry Warren’s “Jeepers Creepers,” among others. (…)\u003c\/p\u003e\n\u003cp\u003eProducer Jacob Boethius and recording engineer Gert Palmcrantz made the album on location at the Stampen (Pawnshop) Jazz Club in Stockholm, Sweden in December of 1976. The club’s excellent acoustics and the simplicity of the miking probably led to the results that have been pleasing audiophiles all these years: Neumann U47, KM56, and M49 microphones, two Dolby A361 noise-reductions units, two Nagra IV recorders, a Studer mixing board, and two old Ampex loudspeakers with built-in amplifiers. Remarkable, given that sonically this antique array puts most of today’s state-of-the-art digital equipment to shame.” John J. Puccio, Classical Candor\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eAllMusic : 4 \/ 5 , Discogs : 4,54 \/ 5\u003c\/p\u003e\n\u003c\/div\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":42230452027642,"sku":"PROP 7778-79","price":79.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/jazz-at-the-pawnshop-2lp-audiosoundmusic-1.jpg?v=1719857120"},{"product_id":"sonny-boy-williamson-ii-keep-it-to-ourselves-2lp-45rpm-200g","title":"Sonny Boy Williamson II - Keep It To Ourselves (2LP, 45RPM, 200g)","description":"\u003cdiv\u003e\n\u003cp\u003e\u003cstrong\u003eHarmonica, Vocals – Sonny Boy Williamson II\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePiano – Memphis Slim\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDrums – Billie Stepney (A5)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGuitar – Matt Guitar Murphy\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eVocals – Memphis Slim (B2)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by Sonny Boy Williamson II (A2 to D3)\u003cbr\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e2 LP,  \u003cspan data-mce-fragment=\"1\"\u003eDeluxe \"tip-on\" jacket by Stoughton Printing\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cbr\u003eHeavy Press : 200g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 45 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : \u003cspan data-mce-fragment=\"1\"\u003eQuality Record Pressings\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Analogue Productions\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Alligator Records\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded at \u003c\/strong\u003e\u003cstrong\u003eRosenberg Studio on November 1, 1963.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by \u003cb data-mce-fragment=\"1\"\u003eKevin Gray at Cohearent Audio\u003cbr\u003e\u003c\/b\u003e\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\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cbr\u003e\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\n\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003eReissued in 2012\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003cbr\u003eTracks :\u003c\/strong\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cspan face=\"Times New Roman\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\n\u003cp\u003eSide A:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eThe Sky Is Crying\u003c\/li\u003e\n\u003cli\u003eDon't Let Your Right Hand Know\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eComing Home To You Baby\u003c\/li\u003e\n\u003cli\u003eThe Story Of Sonny Boy Williamson\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide C:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eGettin' Together\u003c\/li\u003e\n\u003cli\u003eLittle Girl\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide D:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eI Can't Understand\u003c\/li\u003e\n\u003cli\u003eSlowly Walk Close To Me\u003c\/li\u003e\n\u003cli\u003eI Wonder Do I Have A Friend\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003eAwards\u003c\/strong\u003e:\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan style=\"color: #ff2a00;\"\u003eStereophile 1992 records to die for\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cbr\u003eReviews\u003c\/strong\u003e :\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp\u003e« An intimate 1963 collection of Sonny Boy Williamson in solo and duet (with guitarist Matt Murphy) formats; on three tracks, pianist Memphis Slim hops aboard. This delightful addendum to Williamson's electric output of the same era was cut in Denmark and first issued on Storyville. » AllMusic Review by Bill Dahl\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAn American blues harmonica player, singer and songwriter, from Mississippi. One of the greatest bluesmen ever. His harp, vocals, and songwriting have never been surpassed. All his records are classics, but this one is truly unique — it's the cream of two rare, acoustic albums cut in Denmark in 1963. Gentle, personal blues with brilliant harmonica, accompanied by only Matt Guitar Murphy and Memphis Slim on piano. \u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cbr\u003e\u003cstrong\u003e\u003cbr\u003eRatings\u003c\/strong\u003e : \u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\u003cspan size=\"3\"\u003e\u003cspan size=\"3\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eAllMusic : 4 \/ 5 , Discogs : 4.49 \/ 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":42255008170234,"sku":"APB 036-45","price":95.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/sonny-boy-williamson-ii-keep-it-to-ourselves-2lp-45rpm-200g-audiosoundmusic-1.jpg?v=1719857285"},{"product_id":"the-doors-the-soft-parade-2lp-45rpm","title":"The Doors - The Soft Parade (2LP, 45RPM)","description":"\u003cp\u003e\u003cstrong\u003e\u003ca title=\"Vinyl featuring The Doors\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/the-doors\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/the-doors\"\u003e\u003cspan style=\"color: #ff8000;\"\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e[click here to see more vinyl featuring The Doors]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eVocals - Jim Morrison, \u003c\/strong\u003e\u003cstrong\u003eRobby Krieger (C2)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eKeyboards - Ray Manzarek\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGuitar - Robby Krieger\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDrums - John Densmore\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBass – Doug Lubahn, Harvey Brooks\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCongas – Reinol Andino\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEnglish Horn – Champ Webb\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFiddle – Jimmy Buchanan\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMandolin – Jesse McReynolds\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSaxophone – Curtis Amy\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTrombone – George Bohanon\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eArranged by Paul Harris\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by The Doors\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e2 LPs, gatefold jacket\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 45 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eRecord Press : Quality \u003cspan data-mce-fragment=\"1\"\u003eRecord Pressings\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eLabel : Analogue Production\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eOriginal Label : Elektra\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded \u003cspan data-mce-fragment=\"1\"\u003e1968–1969\u003c\/span\u003e at \u003c\/strong\u003e\u003cstrong\u003eElektra Sound West, Hollywood, California\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineered by Bruce Botnick\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMastered by Doug Sax, Sangwook \"Sunny\" Nam\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Chad Kassem, Paul A. Rothchild, Bruce Botnick, Jeff Jampol\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eOriginally released in 1969\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003e\u003cspan\u003eReissued in 2012 \u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eTracks :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eTell All The People\u003c\/li\u003e\n\u003cli\u003eTouch Me\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eShaman’s Blues\u003c\/li\u003e\n\u003cli\u003eDo It\u003c\/li\u003e\n\u003cli\u003eEasy Ride\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide C\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eWild Child\u003c\/li\u003e\n\u003cli\u003eRunnin’ Blue\u003c\/li\u003e\n\u003cli\u003eWishful Sinful\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide D\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eThe Soft Parade\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003col\u003e\u003c\/ol\u003e\n\u003col\u003e\u003c\/ol\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAwards\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eA \u003c\/strong\u003e\u003cstrong\u003eStereophile\u003c\/strong\u003e\u003cstrong\u003e 'Record To Die For'\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cheader\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e\"...I thought it was impossible to improve on Bruce Botnick's neutral and detailed engineering on the original Elektra vinyl, but Chad Kassem's 45 RPM, 180-gram reissue, stamped on two discs by his own Quality Record Pressings, has more inner detail, deeper bass, more extended highs, wider dynamic range and more delicacy. Over the last 20 years, many record companies have claimed, largely erroneously, that their \"audiophile\" vinyl reissues of classic jazz, rock and classical music exceed the sound quality of the original LPs. Here, Chad Kassem has actually done it, and by a wide margin.\" Robert J. Reina, Stereophile, February 2014\u003c\/p\u003e\n\u003cp\u003e“The fourth Doors album was not particularly well-received when first issued in 1969, though it still managed to reach the Top Ten and \"Touch Me\" was a hit single. The inclusion of horns and strings was for many a deal breaker, but what really made more pull back was the sense of a less than fully integrated ensemble appearing to come apart at the seams.\u003c\/p\u003e\n\u003cp\u003eEven the recording was less fully integrated. The heavy atmospherics of the first two albums were gone here, replaced by a far closer microphone scheme with instruments panned strongly left\/right leaving only the drums and Morrison's more dryly recorded voice to the center.\u003c\/p\u003e\n\u003cp\u003eThe poetry seemed more formulaic in places and \"Do It\" with the repetitive \"Please, please, listen to me children\"? was pure filler. The band that had been leading was at best following and at worst coasting. \"Easy Ride\" sounded like a Lovin' Spoonful number, while the horn-drenched two openers by Robby Krieger (\"Tell All the People\" and the hit \"Touch Me\") sounded like Electric Flag cast offs more than Doors numbers, or worse like Chicago. Even worse, the lyrics often played into the messianic cult that had developed around Morrison, not entirely without his encouragement.\u003c\/p\u003e\n\u003cp\u003eThe move from straight rock rhythms to more jazzy ones seemed to upset the dark \"Doorsian\" nature of things and the higher overall energy came across as compensation for a lack of inspiration. Whereas on the older albums you could put them on and reliably sink into another musical dimension, much as certain movies can be watched repeatedly and do the same thing: movies like \"Animal House,\" \"Chinatown\" and \"Close Encounters of the Third Kind, The Soft Parade felt more like the mystery had been stripped back to reveal the studio.\u003c\/p\u003e\n\u003cp\u003eNo matter how many times you've seen those magic movies, when they're on you get sucked in again. You \"want to go there. \"The same with certain albums, including the first two Doors albums. Not so this one.\u003c\/p\u003e\n\u003cp\u003eIt seemed as if the band had run out of gas and was covering for it by adding strings, horns and \"irrational exuberance.\" Yet another album closing Morrison epic, \"The Soft Parade\" was one too many. When Morrison sang \"You cannot petition the Lord With Prayer,\" that was probably the point where many first time listeners lifted the stylus from the grooves, removed the record from the turntable and went back to Strange Days for a fix. If they stayed longer, they got a song that sounded lifted from Frank Zappa's We're Only In It For The Money (complete with fourth wall breaking asides: \"this is the best part of the trip\")!\u003c\/p\u003e\n\u003cp\u003eEven the inner gatefold artwork by Peter Schaumann was a derivative letdown. It was too similar to the back jacket of label-mate Love's Four Sail album also by Schaumann and come to think of it, The Soft Parade sounds as if The Doors or someone in the band had been listening to a lot of Arthur Lee's jazzy, syncopated rhythms and horn and string driven arrangements. A very good place from which to draw, just not for The Doors. Surprisingly, time has been kind to this mess of an album. Kreiger's \"Tell All the People\" and \"Touch Me\" seem majestic and the arrangements plausible, particularly now that they can so easily be deciphered and deconstructed. This double 45 is so far superior sounding to the red label original and Japanese late '70s reissue I have here, it's like hearing the album for the first time.\u003c\/p\u003e\n\u003cp\u003eThere's still plenty of filler and overall it's lyrically weak, but \"Wishful Sinful\", another Krieger contribution, soars. At this time Morrison was supposedly heavily into alcohol so Krieger stepped in but for my money the real hero and standout here is drummer John Densmore. He, more than anyone else in the band holds it together and Botnick's recording of the drums is masterful and never before heard to such great effect.\u003c\/p\u003e\n\u003cp\u003eSo not the greatest Doors album but easily the greatest version of it for those who are fans. I have never heard so much detail revealed and such blackness behind the notes, nor have the strings and horns been so well reproduced. The laminated gatefold packaging is a treasure you'll want to polish when your grimy fingerprints dull the luster.” Michael Fremer, Analog Planet, Aug 30, 2012\u003c\/p\u003e\n\u003cp\u003e“The weakest studio album recorded with Jim Morrison in the group, partially because their experiments with brass and strings on about half the tracks weren't entirely successful. More to the point, though, this was their weakest set of material, low lights including filler like \"Do It\" and \"Runnin' Blue,\" a strange bluegrass-soul blend that was a small hit. On the other hand, about half the record is quite good, especially the huge hit \"Touch Me\" (their most successful integration of orchestration), the vicious hard rock riffs of \"Wild Child,\" the overlooked \"Shaman's Blues,\" and the lengthy title track, a multi-part suite that was one of the band's best attempts to mix rock with poetry. \"Tell All the People\" and \"Wishful Sinful,\" both penned by Robbie Krieger, were uncharacteristically wistful tunes that became small hits but were not all that good, and not sung very convincingly by Morrison.” AllMusic Review by Richie Unterberger\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003c\/header\u003e\n\u003cp\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eAllMusic : 3.5 \/ 5 , Discogs : 4.61 \/ 5 , \u003cspan data-mce-fragment=\"1\"\u003e Michael Fremer : \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003eMusic = 8\/11; Sound = 10\/11 \u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":42266738950394,"sku":"AAPP 75005-45","price":95.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/the-doors-the-soft-parade-2lp-45rpm-audiosoundmusic-1.jpg?v=1719857387"},{"product_id":"the-beach-boys-today-stereo-200g","title":"The Beach Boys - Today! (Stereo, 200g)","description":"\u003cp\u003e\u003cstrong\u003e\u003ca title=\"vinyl featuring The Beach Boys\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/beach-boys\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/beach-boys\"\u003e\u003cspan style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring the Beach Boys]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePerformed by The Beach Boys : Brian Wilson (vocals, bass guitar, keyboards), Mike Love (vocals, percussion, saxophone, Electro-Theremin), Al Jardine (vocals, rhythm guitar, bass guitar), Bruce Johnston (vocals, keyboards, bass guitar), Dennis Wilson (vocals, drums, keyboards).\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEarl Leaf – spoken word (B6)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRuss Titelman – percussion (microphone boom hit with screwdriver) (B4)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRon Swallow – tambourine (A2, A5, B1-2), woodblock (B1)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMarilyn Wilson – harmony (A1) and backing vocals (A1), spoken word (B6)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP,  \u003cspan data-mce-fragment=\"1\"\u003eStoughton tip-on jackets\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 200g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\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\u003eJune 22, 1964 – January 19, 1965 at Western, Gold Star, and RCA Victor, Hollywood\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineered by Chuck Britz, Larry Levine\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Brian Wilson\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by Kevin Gray at Cohearent Audio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003eOriginally released in 1965\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 :\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003col\u003e\n\u003cli\u003eDo You Wanna Dance?\u003c\/li\u003e\n\u003cli\u003eGood To My Baby\u003c\/li\u003e\n\u003cli\u003eDon’t Hurt My Little Sister\u003c\/li\u003e\n\u003cli\u003eWhen I Grow Up\u003c\/li\u003e\n\u003cli\u003eHelp Me, Ronda\u003c\/li\u003e\n\u003cli\u003eDance, Dance, Dance\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003ePlease Let Me Wonder\u003c\/li\u003e\n\u003cli\u003eI’m So Young\u003c\/li\u003e\n\u003cli\u003eKiss Me, Baby\u003c\/li\u003e\n\u003cli\u003eShe Knows Me Too Well\u003c\/li\u003e\n\u003cli\u003eIn The Back Of My Mind\u003c\/li\u003e\n\u003cli\u003eBull Sessions With The “Big Daddy”\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003eAwards\u003c\/strong\u003e :\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cb\u003eRolling Stone 500 Greatest Albums of All Time - Rated 466\/500!\u003cbr\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e1000 Recordings you must hear before you die - Ranked 52\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e\u003cspan class=\"421441414-17032005\"\u003e\u003cspan size=\"2\" color=\"#ff0000\" face=\"Arial\"\u003eStereophile Records to Die For - 2017\u003c\/span\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cbr\u003eReviews\u003c\/strong\u003e :\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp\u003e“Brian Wilson's retirement from performing to concentrate on studio recording and production reaped immediate dividends with Today!, the first Beach Boys album that is strong almost from start to finish. \"Dance, Dance, Dance\" and \"Do You Wanna Dance\" were upbeat hits with Spector-influenced arrangements, but Wilson began to deal with more sophisticated themes on another smash 45, \"When I Grow Up,\" on which these eternal teenagers looked forward to the advancing years with fear and uncertainty. Surf\/hot rod\/beach themes were permanently retired in favor of late-adolescent, early-adult romance on this album, which included such decent outings in this vein as \"She Knows Me Too Well,\" \"Kiss Me Baby,\" and \"In the Back of My Mind.\" The true gem is \"Please Let Me Wonder,\" one of the group's most delicate mid-'60s works, with heartbreaking melodies and harmonies. Be aware that the version of \"Help Me, Rhonda\" found here is an inferior, earlier, and slower rendition; the familiar hit single take was included on their next album, Summer Days (And Summer Nights!!). [Today!\/Summer Days (And Summer Nights!!), a Capitol two-fer CD, combines this and Summer Days (And Summer Nights!!) onto one disc, adding alternate takes of \"Dance, Dance, Dance,\" \"I'm So Young,\" and \"Let Him Run Wild,\" as well as a previously unreleased studio version of \"Graduation Day.\" Most significantly, it also adds the non-LP single from late 1965, \"The Little Girl I Once Knew,\" which looked forward to Pet Sounds in its studio experimentation and lyrical themes.]” Review by Richie Unterberger\u003c\/p\u003e\n\u003cp\u003e\"The sound is rich in detail, yet one of its key strengths is how \"mellow and romantic\" it sounds. While listening to these records, I was never fatigued. ... the AP Beach Boys significantly betters the original U.S. Capitol pressings that I've heard, with considerably more separation, detail, fullness and presence.\" Jeff Wilson,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eThe Absolute Sound\u003c\/em\u003e, October 2015\u003c\/p\u003e\n\u003cp\u003e\"What I can say is that Kevin Gray has been able to extract every last bit of information from whatever tape is in the box, and present it in a way that is pleasing and natural to the ear. ... in my opinion, the Analogue Productions pressings are now THE definitive issue of each Beach Boys album, and will be my reference copies until if and when something better comes along — which may be never.\" — Lee Dempsey,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eEndless Summer Quarterly\u003c\/em\u003e, Summer 2015 Edition\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003eRatings\u003c\/strong\u003e : \u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\u003cspan size=\"3\"\u003e\u003cspan size=\"3\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eAllMusic : 5 \/ 5 , Discogs : 4.39 \/ 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":42268137390330,"sku":"APP 064","price":70.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/the-beach-boys-today-stereo-200g-audiosoundmusic-1.jpg?v=1719857411"},{"product_id":"simon-and-garfunkel-bridge-over-troubled-water-2lp-45-rpm-box-1step","title":"Simon and Garfunkel - Bridge Over Troubled Water (2LP, 45 RPM, Box, 1STEP)","description":"\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e\u003cbr\u003eORDER LIMITED TO ONE ITEM PER CUSTOMER\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSimon \u0026amp; Garfunkel \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/Simon-Garfunkel\" title=\"vinyl featuring Simon \u0026amp; Garfunkel\"\u003e\u003cspan style=\"color: rgb(255, 128, 0);\"\u003e[click here to see more vinyl featuring Simon \u0026amp; Garfunkel]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePaul Simon – lead vocals, acoustic guitar, percussion \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/paul-simon\" title=\"vinyl featuring Paul Simon\"\u003e\u003cspan style=\"color: rgb(255, 128, 0);\"\u003e[click here to see more products featuring Paul Simon]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eArt Garfunkel – lead vocals, percussion\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003e \u003ca title=\"audiophile vinyl featuring Art Garfunkel\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/art-garfunkel\"\u003e\u003cspan style=\"color: rgb(255, 128, 0);\"\u003e[click here to see more products featuring Art Garfunkel]\u003c\/span\u003e\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLos Incas – Peruvian instruments\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJoe Osborn – bass guitar\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLarry Knechtel – piano\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFred Carter Jr. – guitar\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePete Drake – Dobro, pedal steel guitar\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHal Blaine – drums\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJimmie Haskell and Ernie Freeman – strings\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJon Faddis, Randy Brecker, Lew Soloff and Alan Rubin – Brass\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRoy Halee – engineer and co-producer\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by Paul Simon (all except A2 \u0026amp; D3), Felice and Boudleaux Bryant (D3). A2 is an arrangement of an 18th Century Peruvian Folk Melody by Jorge Milchberg.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e2 LPs, box set\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eLimited to 7,500 numbered copies\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eUD1S (UltraDisc One-Step)\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 45 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio \u0026amp; Live (D3)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : RTI\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : MOFI\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Columbia\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eD3 recorded Live at Iowa State University, other tracks recorded at Columbia Studio B and E, New York City and CBS Columbia Square, Los Angeles in November 1968 and November 1969\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineered \u0026amp; mixed by Roy Halee\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Art Garfunkel, Paul Simon, Roy Halee\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by Krieg Wunderlich\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1970\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2018\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eBridge Over Troubled Water\u003c\/li\u003e\n\u003cli\u003eEl Condor Pasa (If I Could)\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eCecilia\u003c\/li\u003e\n\u003cli\u003eKeep The Customer Satisfied\u003c\/li\u003e\n\u003cli\u003eSo Long, Frank Lloyd Wright\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide C:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eThe Boxer\u003c\/li\u003e\n\u003cli\u003eBaby Driver\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide D:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eThe Only Boy Living In New York\u003c\/li\u003e\n\u003cli\u003eYou Don't Write Me\u003c\/li\u003e\n\u003cli\u003eBye Bye Love\u003c\/li\u003e\n\u003cli\u003eSong For The Asking\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAwards:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eRolling Stone 500 Greatest Albums of All Time - Ranked 172\/500\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e1000 Recordings You Must Hear Before You Die - Ranked 197\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eTAS Super LP List! Special Merit: Informal\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e\u003cspan class=\"421441414-17032005\"\u003e\u003cspan face=\"Arial\" color=\"#ff0000\" size=\"2\"\u003eStereophile Records to Die For - 2015\u003c\/span\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e1971 Grammy Awards:\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eAlbum of the Year\u003c\/strong\u003e\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eBest Engineered Recording\u003c\/strong\u003e\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eRecord of the Year\u003c\/strong\u003e\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eSong of the Year\u003c\/strong\u003e\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eContemporary Song of the Year\u003c\/strong\u003e\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eInstrumental Arrangement of the Year\u003c\/strong\u003e\u003c\/span\u003e\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp\u003e“Bridge Over Troubled Water was one of the biggest-selling albums of its decade, and it hasn't fallen too far down on the list in years since. Apart from the gospel-flavored title track, which took some evolution to get to what it finally became, however, much of Bridge Over Troubled Water also constitutes a stepping back from the music that Simon \u0026amp; Garfunkel had made on Bookends -- this was mostly because the creative partnership that had formed the body and the motivation for the duo's four prior albums literally consumed itself in the making of Bridge Over Troubled Water. The overall effect was perhaps the most delicately textured album to close out the 1960s from any major rock act. Bridge Over Troubled Water, at its most ambitious and bold, on its title track, was a quietly reassuring album; at other times, it was personal yet soothing; and at other times, it was just plain fun. The public in 1970 -- a very unsettled time politically, socially, and culturally -- embraced it; and whatever mood they captured, the songs matched the standard of craftsmanship that had been established on the duo's two prior albums. Between the record's overall quality and its four hits, the album held the number one position for two and a half months and spent years on the charts, racking up sales in excess of five million copies. The irony was that for all of the record's and the music's appeal, the duo's partnership ended in the course of creating and completing the album.” AllMusic Review by Bruce Eder\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eUltraDisc One-Step :\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003eInstead of utilizing the industry-standard three-step lacquer process, Mobile Fidelity Sound Lab's new UltraDisc One-Step (UD1S) uses only one step, bypassing two processes of generational loss. While three-step processing is designed for optimum yield and efficiency, UD1S is created for the ultimate in sound quality. Just as Mobile Fidelity pioneered the UHQR (Ultra High-Quality Record) with JVC in the 1980s, UD1S again represents another state-of-the-art advance in the record-manufacturing process. MFSL engineers begin with the original master tapes and meticulously cut a set of lacquers. These lacquers are used to create a very fragile, pristine UD1S stamper called a \"convert.\" Delicate \"converts\" are then formed into the actual record stampers, producing a final product that literally and figuratively brings you closer to the music. By skipping the additional steps of pulling another positive and an additional negative, as done in the three-step process used in standard pressings, UD1S produces a final LP with the lowest noise floor possible today. The removal of the additional two steps of generational loss in the plating process reveals tremendous amounts of extra musical detail and dynamics, which are otherwise lost due to the standard copying process. The exclusive nature of these very limited pressings guarantees that every UD1S pressing serves as an immaculate replica of the lacquer sourced directly from the original master tape. Every conceivable aspect of vinyl production is optimized to produce the most perfect record album available today.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eAllMusic : 5 \/ 5 , Discogs : 4,22 \/ 5 , TAS : 5\/5 Music, 4\/5 Sonics\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":42275234513146,"sku":"MFSL45UD1S-004","price":690.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/simon-and-garfunkel-bridge-over-troubled-water-2lp-45-rpm-box-1step-audiosoundmusic-1.jpg?v=1719857495"},{"product_id":"santana-abraxas-2lp-45-rpm-box-1step","title":"Santana - Abraxas (2LP, 45 RPM, Box, 1STEP)","description":"\u003ch2\u003e\n\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eORDER LIMITED TO ONE ITEM PER CUSTOMER\u003c\/strong\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003c\/h2\u003e\n\u003cp\u003e\u003cstrong\u003eCarlos Santana – lead guitar, backing vocals  \u003cspan 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-fragment=\"1\"\u003elick here to see more vinyl featuring Carlos Santana]\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGregg Rolie – keyboards, lead vocals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDavid Brown – bass\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMichael Shrieve – drums\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJosé \"Chepito\" Areas – percussion, conga, timbales\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMichael Carabello – percussion, conga, possible keyboards on \"Singing Winds, Crying Beasts\"\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRico Reyes – backing vocal on \"Oye Como Va\", backing vocal and percussion on \"El Nicoya\"\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAlberto Gianquinto – piano on \"Incident at Neshabur\"\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e2 LPs, box set\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eLimited to 2,500 numbered copies  N° 1818\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cspan\u003eUD1S (UltraDisc One-Step)\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 45 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : RTI\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : MOFI\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Columbia\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded April 17–May 2, 1970 at\u003c\/strong\u003e \u003cstrong\u003eWally Heider Studios, San Francisco, California and Pacific Recording Studios, San Mateo, California\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineered \u0026amp; mixed by David Brown, John Fiore\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Fred Catero, Santana\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by Krieg Wunderlich\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1970\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 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\u003eSinging Winds, Crying Beasts\u003c\/li\u003e\n\u003cli\u003eBlack Magic Woman\/Gypsy Queen\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eOye Como Va\u003c\/li\u003e\n\u003cli\u003eIncident at Neshabur\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide C :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eSe a Cabo\u003c\/li\u003e\n\u003cli\u003eMother's Daughter\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide D :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eSamba Pa Ti\u003c\/li\u003e\n\u003cli\u003eHope You're Feeling Better\u003c\/li\u003e\n\u003cli\u003eEl Nicoya\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 magazine's list of the 500 greatest albums of all time – Ranked 207\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e1000 Recordings You Must Hear Before You Die - Ranked 203\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eBillboard's 50 Essential Latin Albums of the 50 Past Years\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e\u003cspan class=\"421441414-17032005\"\u003e\u003cspan face=\"Arial\" color=\"#ff0000\" size=\"2\"\u003eStereophile Records to Die For - 2017\u003c\/span\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e“The San Francisco Bay Area rock scene of the late '60s was one that encouraged radical experimentation and discouraged the type of mindless conformity that's often plagued corporate rock. When one considers just how different Santana, Jefferson Airplane, Moby Grape, and the Grateful Dead sounded, it becomes obvious just how much it was encouraged. In the mid-'90s, an album as eclectic as Abraxas would be considered a marketing exec's worst nightmare. But at the dawn of the 1970s, this unorthodox mix of rock, jazz, salsa, and blues proved quite successful. Whether adding rock elements to salsa king Tito Puente's \"Oye Como Va,\" embracing instrumental jazz-rock on \"Incident at Neshabur\" and \"Samba Pa Ti,\" or tackling moody blues-rock on Fleetwood Mac's \"Black Magic Woman,\" the band keeps things unpredictable yet cohesive. Many of the Santana albums that came out in the '70s are worth acquiring, but for novices, Abraxas is an excellent place to start.” AllMusic Review by Alex Henderson\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eUltraDisc One-Step :\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003eInstead of utilizing the industry-standard three-step lacquer process, Mobile Fidelity Sound Lab's new UltraDisc One-Step (UD1S) uses only one step, bypassing two processes of generational loss. While three-step processing is designed for optimum yield and efficiency, UD1S is created for the ultimate in sound quality. Just as Mobile Fidelity pioneered the UHQR (Ultra High-Quality Record) with JVC in the 1980s, UD1S again represents another state-of-the-art advance in the record-manufacturing process. MFSL engineers begin with the original master tapes and meticulously cut a set of lacquers. These lacquers are used to create a very fragile, pristine UD1S stamper called a \"convert.\" Delicate \"converts\" are then formed into the actual record stampers, producing a final product that literally and figuratively brings you closer to the music. By skipping the additional steps of pulling another positive and an additional negative, as done in the three-step process used in standard pressings, UD1S produces a final LP with the lowest noise floor possible today. The removal of the additional two steps of generational loss in the plating process reveals tremendous amounts of extra musical detail and dynamics, which are otherwise lost due to the standard copying process. The exclusive nature of these very limited pressings guarantees that every UD1S pressing serves as an immaculate replica of the lacquer sourced directly from the original master tape. Every conceivable aspect of vinyl production is optimized to produce the most perfect record album available today.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eAllMusic : 5 \/ 5 , Discogs : 4,39 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":42276269818106,"sku":"MFSL45UD1S-001","price":2000.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/santana-abraxas-2lp-45-rpm-box-1step-audiosoundmusic-1.jpg?v=1719857524"},{"product_id":"junior-wells-hoodoo-man-blues-2lp-45rpm","title":"Junior Wells - Hoodoo Man Blues (2LP, 45RPM)","description":"\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eJunior Wells, harmonica, vocals \u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003e\u003ca title=\"vinyl featuring Junior Wells\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/junior-wells\"\u003e\u003cspan style=\"color: rgb(255, 128, 0);\"\u003e[click here to see more products featuring Junior Wells]\u003c\/span\u003e\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBuddy Guy, guitar \u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\"\u003e\u003ca title=\"vinyl featuring Buddy Guy\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/buddy-guy\" style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/buddy-guy\"\u003e[click here to see more products featuring Buddy Guy]\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJack Myers, bass\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBilly Warren, drums\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e2 LP, gatefold jacket with faithfully reproduced Delmark True Stereo artwork\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 45 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Quality Record Pressings\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Analogue Productions\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Delmark Records\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded September 22–23, 1965 at\u003c\/strong\u003e \u003cstrong\u003eSound Studios, Chicago\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineered \u0026amp; mixed by Stu Black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Bob Koester\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by Kevin Gray \u003cspan data-mce-fragment=\"1\"\u003eat AcousTech Mastering\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1965\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2016\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eSnatch It Back And Hold It\u003c\/li\u003e\n\u003cli\u003eShips On The Ocean\u003c\/li\u003e\n\u003cli\u003eGood Morning Schoolgirl\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eHound Dog\u003c\/li\u003e\n\u003cli\u003eIn The Wee Wee Hours\u003c\/li\u003e\n\u003cli\u003eHey Lawdy Mama\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide C:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eHoodoo Man Blues\u003c\/li\u003e\n\u003cli\u003eEarly In The Morning\u003c\/li\u003e\n\u003cli\u003eWe're Ready\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide D:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eYou Don't Love Me, Baby\u003c\/li\u003e\n\u003cli\u003eChitlin Con Carne\u003c\/li\u003e\n\u003cli\u003eYonder Wall\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAwards:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eTAS Super LP List! Special Merit: Informal\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e2018 Stereophile Magazine Record to Die For!\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\"This viscerally punchy electric blues is anchored by unimprovable harp playing from Junior Wells, a young Buddy Guy by his side. From the kick of up-tempo numbers like \"Snatch It Back and Hold It\" to the deep, sexy, slow moan of \"Early in the Morning,\" you just can't top this. Current audiophile bona fides are in excellent order, thanks to fine remastering by Kevin Gray and Analogue Productions for 45 RPM, LP, SACD\/CD, and DSD download.\" Sasha Matson, Stereophile's Records To Die For, February 2018\u003c\/p\u003e\n\u003cp\u003e“Hoodoo Man Blues is one of the truly classic blues albums of the 1960s, and one of the first to fully document, in the superior acoustics of a recording studio, the smoky ambience of a night at a West Side nightspot. Junior Wells just set up with his usual cohorts -- guitarist Buddy Guy, bassist Jack Myers, and drummer Billy Warren -- and proceeded to blow up a storm, bringing an immediacy to \"Snatch It Back and Hold It,\" \"You Don't Love Me, Baby,\" \"Chitlins con Carne,\" and the rest of the tracks that is absolutely mesmerizing. Widely regarded as one of Wells' finest achievements, it also became Delmark's best-selling release of all time. Producer Bob Koester vividly captures the type of grit that Wells brought to the stage. When Wells and his colleagues dig into \"Good Morning, Schoolgirl,\" \"Yonder Wall,\" or \"We're Ready,\" they sound raw, gutsy, and uninhibited. And while Guy leaves the singing to Wells, he really shines on guitar. Guy, it should be noted, was listed as \"Friendly Chap\" on Delmark's original LP version of Hoodoo Man Blues; Delmark thought Guy was under contract to Chess, so they gave him a pseudonym. But by the early '70s, Guy's real name was being listed on pressings. This is essential listening for lovers of electric Chicago blues.” AllMusic Review by Bill Dahl\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eAllMusic : 4,5 \/ 5 , Discogs : 4,69 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":42293487173882,"sku":"AAPB 034-45","price":95.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/junior-wells-hoodoo-man-blues-2lp-45rpm-audiosoundmusic-1.jpg?v=1719857636"},{"product_id":"mighty-sam-mcclain-give-it-up-to-love-2lp-45-rpm-180g","title":"Mighty Sam McClain - Give It Up To Love (2LP, 45 RPM)","description":"\u003cdiv\u003e\u003c\/div\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003eMighty Sam McClain - Vocals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eKevin Barry - Guitar\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLorne Entress - Drums\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBruce Katz - Organ, Organ (Hammond), Piano\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMichael Rivard - Bass\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBennie Wallace - Tenor Sax\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e2 LP, Tip-on, thick cardboard 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 : 45 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Quality Record Pressings\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Analogue Productions\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : AudioQuest Music\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineered by \u003c\/strong\u003e\u003cstrong\u003eMichael C. Ross\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Joe Harley\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by Kevin Gray\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1993\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2020\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eGive It Up To Love\u003c\/li\u003e\n\u003cli\u003eToo Proud\u003c\/li\u003e\n\u003cli\u003eWhat You Want Me To Do\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eHere I Go Falling In Love Again\u003c\/li\u003e\n\u003cli\u003eGot To Have Your Love\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide C:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eChild Of The Mighty Mighty\u003c\/li\u003e\n\u003cli\u003eI'm Tired Of These Blues\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide D:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eI Feel Good\u003c\/li\u003e\n\u003cli\u003eDon't Turn Back Now\u003c\/li\u003e\n\u003cli\u003eLonesome Road\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAwards:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eTAS Super LP List! Special Merit: Informal\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e2021 Stereophile Magazine Record to Die For!\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\"Give It Up to Love has been one of my all-time faves since its release in 1993. Producer Joe Harley correctly identified red-clay R\u0026amp;B vocalist Sam McClain as someone whose musical career was due for a new act. The album continues to be an audiophile go-to; this latest issue by Analogue Productions generously spaces out 11 tracks over two 45 RPM LPs. The sound was already standard-setting, whatever the format, thanks to engineer Michael C. Ross's superb 'get.' I can pretty much tell within moments how my system is sounding by hearing a few beats of Mighty Sam's vocals and listening to guitarist Kevin Barry sliding down over the frets at the top of 'What You Want Me to Do.'\" Sasha Matson, Stereophile, February 2021.\u003c\/p\u003e\n\u003cp\u003eMcClain sings soul with incredible power -- he knows when to pull the punches and when to cool it down. \"Give It Up to Love,\" the title track, acknowledges his gospel roots; he performs it as a vocal prayer to God asking for wisdom, love, and strength. Bruce Katz's contributions on B-3 Hammond organ expands McClain's sound, particularly on the \"Green Onions\"-influenced \"What You Want Me to Do.\" The sparsely effective arrangement on \"Here I Go Falling in Love Again\" brings McClain up front as he cries of being a soul stripped to the bare bones. Kevin Barry's funky bass blows while McClain declares himself as a child of God in \"Child of the Mighty Mighty.\"” AllMusic Review by Char Ham\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 : 4,66 \/ 5\u003c\/p\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":42316715917562,"sku":"AAPB 1015-45","price":95.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/mighty-sam-mcclain-give-it-up-to-love-2lp-45-rpm-audiosoundmusic-1.jpg?v=1719857778"},{"product_id":"villa-lobos-the-little-train-of-the-caipira-sir-eugene-goossens-2lp-45rpm-200g","title":"Villa-Lobos - The Little Train Of The Caipira - Sir Eugene Goossens (2LP, 45RPM, 200g)","description":"\u003cp\u003e\u003cstrong\u003eHeitor Villa-Lobos - The Little Train Of The Caipira (from Bachianas Brasiliensis No. 2)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAlberto Ginastera – Estancia \u0026amp; Panambi Suite\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe London Symphony Orchestra\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSir Eugene Goossens - conductor\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e2 LP, Stoughton Printing tip-on old style original jacket artwork and Everest Records-branded 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 : 45 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Quality Record Pressings\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Classic Records (now part of Analogue Productions)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Everest \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded at\u003c\/strong\u003e \u003cstrong\u003eWalthamstow Assembly Hall, London on August 25th 1958 (tracks A1, C1-4) and November 26th 1958 (tracks B2-5)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by John Carewe\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1960\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2019\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eThe Little Train Of The Caipira\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B: Estancia (Ballet Suite)\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eThe Land Workers      \u003c\/li\u003e\n\u003cli\u003eWheat Dance  \u003c\/li\u003e\n\u003cli\u003eThe Cattlemen\u003c\/li\u003e\n\u003cli\u003eFinal Dance \"Malambo\"\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide C: Panambi Suite (Ballet Suite)\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eMoonlight On The Parana      \u003c\/li\u003e\n\u003cli\u003eInvocation Of The Powerful Spirits     \u003c\/li\u003e\n\u003cli\u003eLament Of The Maidens         \u003c\/li\u003e\n\u003cli\u003eRondo Of The Maidens \/ Dance Of The Warriors\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\u003eStereophile Records To Die For - 2008\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp\u003e“As an introduction to the music of the Brazilian composer Villa-Lobos, you can't really do better than this little masterwork which is the toccata from his Bachiana Brasileira No. 2. It was inspired by a ride that Villa-Lobos took in 1931 on just such a train that was transporting berry-pickers and farm laborers between villages. Sir Eugene Goossens wrote: \"The little train puffs and chugs along and proceeds to its distant destination which it reaches safely in a process of gradual deceleration and much exhaust steam.\"\u003c\/p\u003e\n\u003cp\u003eThe ingenious use of native percussion instruments to create the steam sounds and the infectious use of traditional Brazilian melodies and rhythms create a sound world full of life and bright colors. You can almost see that little steam train just struggling along on it's journey.\u003c\/p\u003e\n\u003cp\u003eAudio buffs are probably aware of the great recordings Everest released in the 50's and 60's, and this one in particular is a case in point. Recorded in 1960 on 3-track 35mm magnetic film, it puts to shame some recordings done a month ago. The CD also includes great interpretations of Ginastera's suites from his ballets \"Estancia\" and \"Panambi\". Simply put, for natural and vivid sound, and a great taste of this composer, this disc is a keeper!” Jean-Yves Duperron, Classical Music Sentinel\u003c\/p\u003e\n\u003cp\u003e“Classic Records recently reissued a great recording of a minor but fascinating impressionist work by Villa-Lobos, The Little Train of the Caipira, from his Bachianas Brasileiras No.2, conducted by Sir Eugene Goossens (200gm LP, Everest\/Classic SDBR-3041). It's a sonic spectacular I originally discovered at a garage sale back when it wasn't hard to find LPs from RCA, Mercury Living Presence, Everest, London, even UK Decca. I would buy them just for the expected good sound. This reissue, mastered from the 35mm master tape, sounds far superior to the original LP (which was mastered from½\" transfers).\u003c\/p\u003e\n\u003cp\u003eThe London Symphony Orchestra produces a fanciful musical impression of a steam locomotive as it puffs and gasps its way up a mountain, pulling a train full of berry-pickers and other farm laborers from village to village. Along with flute, oboe, clarinet, assorted horns, strings, saxophone, celesta, piano, and other standard instruments, the work is also scored for reco-reco (a notched wooden cylinder), chucalho (a gourd rattle with seeds), ganza (a metal tube filled with gravel), and matraca (a ratchet). These native Brazilian percussion instruments represent the chugging, puffing, and blowing off of steam.\u003c\/p\u003e\n\u003cp\u003eThe recording includes every challenge to an audio system: enormous dynamic swings, great bass rumblings of kettledrum, sharply drawn transients of both natural and metallic origin, strings, brass, woodwinds—you name it. Interludes of both explosive and delicately drawn sounds are presented on an enormous soundstage, deep and ultrawide. If you need an excellent introduction to classical music that pulls out all the sonic stops, this is it.” Michael Fremer, Stereophile, June 2009\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eDiscogs : 4,33 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":42335711232250,"sku":"AEVC 3041-45","price":95.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/villa-lobos-the-little-train-of-the-caipira-sir-eugene-goossens-2lp-45rpm-200g-audiosoundmusic-1.jpg?v=1719857846"},{"product_id":"duke-ellington-masterpieces-mono","title":"Duke Ellington - Masterpieces (1LP, 33RPM, Mono, Analogue Productions)","description":"\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eDuke Ellington, piano \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/duke-ellington\" title=\"Vinyl featuring Duke Ellington\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/duke-ellington\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Duke Ellington]\u003c\/span\u003e\u003c\/a\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBilly Strayhorn (piano). Russell Procope, Paul Gonzalves, Johnnie Hodges, Jimmy Hamilton (saxophone). Nelson Williams, Andrew Ford, Harold Baker, Ray Nance, William Anderson (trumpet). Quentin Jackson, Lawrence Brown, Tyree Glenn (trombone). Mercer Ellington (horn). Sonny Greer (drums). Wendell Marshall (bass). Yvonne Lanauze (vocals).\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by Duke Ellington (A1, A2, B1, B2), Albany Bigard (A1), Irving Mills (A1, A2, B2), Eddie Delange (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\u003eMono\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Quality Record Pressings\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Analogue Production\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Columbia\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded in New York on December 18, 1950\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by Ryan K. Smith at Sterling Sound\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1951\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2021\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eMood Indigo\u003c\/li\u003e\n\u003cli\u003eSophisticated Lady\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eThe Tattooed Bride\u003c\/li\u003e\n\u003cli\u003eSolitude\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAwards:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eTAS Super LP List! Special Merit: Informal\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eStereophile Records To Die For 2015\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\"True classic both musically and sonically and a historical work of art you can now own.\" Michael Fremer, AnalogPlanet.com.\u003c\/p\u003e\n\u003cp\u003e\"Among the first recordings arranged and produced to take advantage of the LP's longer playing time, this album was released in 1950 on Columbia Records' classical imprint, Masterworks, with a whimsical cover by Stan Fraydas (author of Hoppy, the Curious Kangaroo) that's reproduced for this edition. (Columbia soon replaced it with an image more \"modern\" and more mundane.)... Freed from the 78rpm single's three-minute constraint, Ellington could score and record concert-length arrangements similar to those enjoyed by his concert audiences. Three of the four selections, including 'Mood Indigo' and 'Sophisticated Lady,' are familiar Ellington classics stretched and elasticized to luxurious effect. The harmonically saturated, transparent mono sound is astonishing for any era of recording. It's sure to leave you swooning, and wondering how and why recorded sound has since gone so far south.\" Michael Fremer, Stereophile, February 2015.\u003c\/p\u003e\n\u003cp\u003e“Amazingly, it took Columbia Records until the very end of 1950, two years into the LP era and the transition from disc to magnetic tape recording, to get Duke Ellington and His Orchestra into the studio to cut a long-playing record. For the first time in his recording career, Ellington was able to forego the three-minutes-and-change restrictions in running time of the 78 rpm disc -- he and the band rose to the occasion with extended (11-minute-plus) \"uncut concert arrangements\" of \"Mood Indigo,\" \"Sophisticated Lady,\" and \"Solitude,\" augmented with one splendid newer work, \"The Tattooed Bride.\" And it's taken 15 years into the CD boom before Masterpieces By Ellington has been given the treatment that it deserves. Sony Music of Japan reissued this classic recording in 1998, remastered using the company's 20-bit-based Super Bit Mapping digital system, and results are astonishing -- the band sounds like it's in the same room with the listener, and that goes double for the piano and the soloists (including singer Yvonne Lanauze) on \"Mood Indigo.\" Even in this august company, \"The Tattooed Bride\" is a swinging virtuoso piece that, as everyone present must have known, couldn't possibly have been captured in this manner in any era before this session -- this was also one of the last sessions to feature the classic Ellington lineup with Johnny Hodges, Lawrence Brown, and Sonny Greer, before their exodus altered the band's sound, and so it's a doubly precious piece (as is the whole album), among the last written specifically for this lineup.” AllMusic Review by Bruce Eder\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 : 4.83\u003c\/p\u003e\n\u003cp\u003eMichael Fremer : Music = 11 \/ 11; Sound = 11 \/ 11\u003c\/p\u003e\n\u003cp\u003eDennis D. Davis, Hi-Fi + : Recording = 10 \/ 10 ; Music = 10 \/ 10\u003c\/p\u003e\n\u003cp\u003eJeff Wilson, The Absolute Sound : Music = 5 \/ 5; Sonics = 4.5 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":42530378055930,"sku":"APLP4418B","price":65.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/duke-ellington-masterpieces-1lp-33rpm-mono-analogue-productions-audiosoundmusic-1.jpg?v=1719858447"},{"product_id":"miles-davis-kind-of-blue-first-edition-2lp-box-set-ultra-analog-half-speed-mastering-45-rpm","title":"Miles Davis - Kind of Blue (First Edition, 2LP, Box set, Ultra Analog, Half-speed Mastering, 45 RPM)","description":"\u003ch2\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003eORDER LIMITED TO ONE ITEM PER CUSTOMER\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h2\u003e\n\u003cp\u003e\u003cstrong\u003eMiles Davis, trumpet, band leader \u003ca title=\"vinyl featuring Miles Davis\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/miles-davis\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/miles-davis\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Miles Davis]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJulian \"Cannonball\" Adderley, alto sax (except on \"Blue in Green\")\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJohn Coltrane, tenor sax \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/john-coltrane\" title=\"vinyl featuring John Coltrane\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/john-coltrane\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring John Coltrane]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePaul Chambers, double bass \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/paul-chambers\" title=\"vinyl featuring Paul Chambers\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/paul-chambers\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Paul Chambers]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBill Evans, piano (except \"Freddie Freeloader\") \u003ca title=\"Vinyl featuring Bill Evans\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/bill-evans\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/bill-evans\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[\u003cspan style=\"color: #ff8000;\" color=\"#ff8000\" data-mce-fragment=\"1\"\u003eclick here to see more vinyl featuring \u003c\/span\u003e\u003cspan color=\"#ff8000\" data-mce-fragment=\"1\"\u003eBill Evans]\u003c\/span\u003e\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWynton Kelly, piano (\"Freddie Freeloader\")\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJimmy Cobb, drums \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/jimmy-cobb\" title=\"Vinyl featuring Jimmy Cobb\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/jimmy-cobb\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see other vinyl featuring Jimmy Cobb]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by Miles Davis\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e2 LPs, box set\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eNumbered limited edition - LOW NUMBER COPIES\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHalf-speed Mastering\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGain 2™ Ultra Analog\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 45RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12”\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : RTI\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : MOFI\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Columbia\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded at \u003cspan data-mce-fragment=\"1\"\u003eColumbia 30th Street Studio, New York City on March 2, 1959 (A1 to B2) and April 22, 1959 (C1 \u0026amp; D1)\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineered by Fred Plaut\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Irving Townsend\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by Krieg Wunderlich\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1959\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\u003cp style=\"padding-left: 30px;\"\u003e1.So What\u003c\/p\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col start=\"2\"\u003e\n\u003cli\u003eFreddie Freeloader\u003c\/li\u003e\n\u003cli\u003eBlue in Green\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide C :\u003c\/p\u003e\n\u003col start=\"4\"\u003e\n\u003cli\u003eAll Blues\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide D :\u003c\/p\u003e\n\u003col start=\"5\"\u003e\n\u003cli\u003eFlamenco Sketches\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\u003eMichael Fremer's 100 Recommended All-Analog LP Reissues Worth Owning - Rated 17\/100!\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eTAS Super LP List! Special Merit: Informal\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e\u003cb\u003eThe Absolute Sound 40th Anniversary Best Sounding Music!\u003c\/b\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eRolling Stone 500 Greatest Albums of All Time - Rated 31\/500!\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e1000 Recordings you must hear before you die - Ranked 21\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eStereophile Records To Die For - 2007\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\"Kind of Blue isn't merely an artistic highlight for Miles Davis, it's an album that towers above its peers, a record generally considered as the definitive jazz album. To be reductive, it's the Citizen Kane of jazz -- an accepted work of greatness that's innovative and entertaining. That may not mean it's the greatest jazz album ever made, but it certainly is a universally acknowledged standard of excellence. Why does Kind of Blue posses such a mystique? Perhaps it's that this music never flaunts its genius. It lures listeners in with the slow, luxurious bassline and gentle piano chords of \"So What.\" From that moment on, the record never really changes pace -- each tune has a similar relaxed feel, as the music flows easily. Yet Kind of Blue is more than easy listening. It's the pinnacle of modal jazz -- tonality and solos build from chords, not the overall key, giving the music a subtly shifting quality. All of this doesn't quite explain why seasoned jazz fans return to this record even after they've memorized every nuance. They return because this is an exceptional band - Miles, Coltrane, Bill Evans, Cannonball Adderly, Paul Chambers, Jimmy Cobb, and Wynton Kelly -- one of the greatest in history, playing at the peak of its power. As Evans said in the original liner notes for the record, the band did not play through any of these pieces prior to recording. Davis laid out the themes and chords before the tape rolled, and then the band improvised. The end results were wondrous, filled with performances that still crackle with vitality. Few albums of any genre manage to work on so many different levels, but Kind of Blue does. It can be played as background music, yet it amply rewards close listening. It is advanced music that is extraordinarily enjoyable. It may be a stretch to say that if you don't like Kind of Blue, you don't like jazz -- but it's hard to imagine it as anything other than a cornerstone of any jazz collection.\" \u003cspan data-mce-fragment=\"1\"\u003eAllMusic Review by Stephen Thomas Erlewine \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eUltra Analog™\u003c\/strong\u003e\u003cspan data-mce-fragment=\"1\"\u003e : The GAIN 2 Ultra Analog™ Series stems from the use of the Gain 2 system, mastered at half speed from the original master tapes where possible, capturing and uncovering as before undiscovered sonic information.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHalf-speed mastering. \u003c\/strong\u003e\u003cspan\u003eIn half-speed mastering, the whole process is slowed down to half of the original speed. A typical 33 1\/3 rpm record is cut at 16 2\/3 rpm. The source material is also slowed down (reducing the pitch in the process) meaning the final record will still sound normal when played back. Slowing the whole process down allows more time, which means the end result sounds better and is more efficient — allowing engineering to minimize the effects of inherent limitations within the vinyl format. The result is a more accurate and more open high-frequency response in the half speed vinyl when compared with a normal speed recording.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eAllMusic : 5 \/ 5 , Discogs : 4,75 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":42608870228218,"sku":"MFSL2-45-011 First Edition","price":145.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/miles-davis-kind-of-blue-first-edition-2lp-box-set-ultra-analog-half-speed-mastering-45-rpm-audiosoundmusic-1.jpg?v=1719858584"},{"product_id":"michel-legrand-and-his-orchestra-featuring-miles-davis-legrand-jazz-2lp-45rpm","title":"Michel Legrand and his Orchestra, featuring Miles Davis - Legrand Jazz (2LP, 45RPM, unsealed)","description":"\u003cdiv\u003e\n\u003ch2\u003e\n\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003cstrong\u003e\u003c\/strong\u003e\n\u003c\/h2\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan style=\"color: #ff2a00;\" data-mce-style=\"color: #ff2a00;\"\u003eRARITY - Uns\u003c\/span\u003e\u003cspan style=\"color: #ff2a00;\" data-mce-style=\"color: #ff2a00;\"\u003eealed \u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cbr\u003eTrumpet :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp style=\"padding-left: 30px;\"\u003e\u003cstrong\u003eMiles Davis (A1, B3, C1, D1) \u003ca title=\"vinyl featuring Miles Davis\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/miles-davis\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/miles-davis\" data-mce-fragment=\"1\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-style=\"color: #ff8000;\" data-mce-fragment=\"1\"\u003e[click here to see more vinyl featuring Miles Davis]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp style=\"padding-left: 30px;\"\u003e\u003cstrong\u003eArt Farmer (A3, B2, D3) \u003cspan style=\"color: #ff8000;\"\u003e\u003ca title=\"Vinyl featuring Art Farmer\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/art-farmer\" style=\"color: #ff8000;\" target=\"_blank\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/art-farmer\" data-mce-fragment=\"1\"\u003e[click here to see more vinyl featuring Art Farmer]\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp style=\"padding-left: 30px;\"\u003e\u003cstrong\u003e Donald Byrd (A3, B2, D3) \u003cspan style=\"color: #ff8000;\"\u003e\u003ca title=\"vinyl featuring Donald Byrd\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/donald-byrd\" style=\"color: #ff8000;\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/donald-byrd\" data-mce-fragment=\"1\"\u003e[click here to see more vinyl featuring Donald Byrd]\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp style=\"padding-left: 30px;\"\u003e\u003cstrong\u003eErnie Royal (A3, B2, D3)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp style=\"padding-left: 30px;\"\u003e\u003cstrong\u003eJoe Wilder (A3, B2, D3)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAlto Saxophone – Gene Quill (A3, B2, D3)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAlto Saxophone - Phil Woods (A1, A3, B2-3, C1, D1, D3) \u003ca title=\"vinyl featuring Phil Woods\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/phil-wood\"\u003e\u003cspan style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Phil Woods]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBaritone Saxophone – Teo Macero (A3, B2, D3)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBaritone Saxophone, Bass Clarinet – Jerome Richardson (A1, B3, C1, D1)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBass – George Duvivier (A2, B1, C2, D2) \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/george-duvivier\" title=\"Vinyl featuring George Duvivier\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/george-duvivier\" data-mce-fragment=\"1\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-style=\"color: #ff8000;\" data-mce-fragment=\"1\"\u003e[click here to see more vinyl featuring George Duvivier]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBass - Milt Hinton (A3, B2, D3) \u003ca title=\"Vinyl featuring Milt Hinton\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/milt-hinton\"\u003e\u003cspan style=\"color: #ff8000;\"\u003e[Click here to see more vinyl featuring Milt Hinton]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBass - Paul Chambers (3) (A1, B3, C1, D1) \u003ca title=\"vinyl featuring Paul Chambers\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/paul-chambers\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/paul-chambers\" data-mce-fragment=\"1\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-style=\"color: #ff8000;\" data-mce-fragment=\"1\"\u003e[click here to see more vinyl featuring Paul Chambers]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBass, Tuba – Major Holley (A2, B2, C2, D2)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDrums – Don Lamond (A2, B1, C2, D2), Kenny Dennis (A1, B3, C1, D1), Osie Johnson (A3, B2, D3)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFlute – Herbie Mann (A1, A2, B1, B3, C1, C2, D1, D2) \u003ca title=\"Vinyl featuring Herbie Mann\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/herbie-mann\"\u003e\u003cspan style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Herbie Mann]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFrench Horn – James Buffington (A3, B2, D3)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGuitar – Barry Galbraith (A1, B3, C1, D1)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHarp – Betty Glamann (A1, B3, C1, D1)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePiano – Bill Evans (A1, B3, C1, D1) \u003ca title=\"Vinyl featuring Bill Evans\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/bill-evans\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/bill-evans\" data-mce-fragment=\"1\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-style=\"color: #ff8000;\" data-mce-fragment=\"1\"\u003e[\u003cspan style=\"color: #ff8000;\" color=\"#ff8000\" data-mce-fragment=\"1\"\u003eclick here to see more vinyl featuring \u003c\/span\u003e\u003cspan color=\"#ff8000\" data-mce-fragment=\"1\"\u003eBill Evans]\u003c\/span\u003e\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePiano - Hank Jones (A2, B1, C2, D2) \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/hank-jones\" title=\"Vinyl featuring Hank Jones\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/hank-jones\" data-mce-fragment=\"1\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-style=\"color: #ff8000;\" data-mce-fragment=\"1\"\u003e[click here to see more vinyl featuring Hank Jones]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePiano -\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003eNat Pierce (A3, B2, D3)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTenor Saxophone – Ben Webster (A2, B1, C2, D2) \u003cspan style=\"color: #ff8000;\" data-mce-style=\"color: #ff8000;\" data-mce-fragment=\"1\"\u003e\u003ca style=\"color: #ff8000;\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/ben-webster\" title=\"Vinyl featuring Ben Webster\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/ben-webster\" target=\"_blank\" data-mce-style=\"color: #ff8000;\" data-mce-fragment=\"1\"\u003e[click here to see more vinyl featuring Ben Webster]\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTenor Saxophone - John Coltrane (A1, B3, C1, D1) \u003ca title=\"vinyl featuring John Coltrane\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/john-coltrane\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/john-coltrane\" data-mce-fragment=\"1\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-style=\"color: #ff8000;\" data-mce-fragment=\"1\"\u003e[click here to see more vinyl featuring John Coltrane]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTenor Saxophone - Seldon Powell (A3, B2, D3)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTrombone – Billy Byers (A2, B1, C2, D2), Eddie Bert (A2, B1, C2, D2), Frank Rehak (A2, A3, B1, B2, C2, D2), Jimmy Cleveland (A2-3, B1-2, C2, D2-3)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eVibraphone [Vibraharp] – Don Elliot (A3, B2, D3), Eddie Costa (A1, B3, C1, D1)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eConductor, Arranged by Michel Legrand \u003cspan style=\"color: #ff8000;\"\u003e\u003ca style=\"color: #ff8000;\" title=\"vinyl by Michel Legrand\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/michel-legrand\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/michel-legrand\" data-mce-fragment=\"1\"\u003e[click here to see more vinyl by Michel Legrand]\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by Fats Waller (A1), Django Reinhardt (A2), Dizzy Gillespie (A3), Count Basie (B1), Benny Goodman (B2), John Lewis (B3), Jelly Roll Morton (C1), Earl Hines (C2), Thelonious Monk (D1), Duke Ellington (D2), Bix Beiderbecke (D3)\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cp\u003e\u003cstrong\u003e2 LPs, gatefold jacket, l\u003cspan data-mce-fragment=\"1\"\u003earge format booklet with new art and appreciation by Tom Schnabel\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eLimited to 3,000 copies\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 45RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12”\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : RTI\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Impex Records\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Columbia\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded in New York City on \u003c\/strong\u003e\u003cstrong\u003e\u003cspan\u003eJune 25, 1958 (A1, B3, C1, D1), \u003c\/span\u003e\u003cspan\u003eJune 27, 1958 (A2, B1, C2, D2), \u003c\/span\u003e\u003cspan\u003eJune 30, 1958 (A3, B2, D3)\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineered \u003cspan data-mce-fragment=\"1\"\u003eby Mark Wilder at Battery Studios, New York\u003c\/span\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Abey Fonn, Robert Bantz\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by Bob Donnelly and Chris Bellman \u003cspan data-mce-fragment=\"1\"\u003eusing Bernie Grundman Mastering's all-tube cutting system, Hollywood, CA.\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1958\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 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\u003eThe Jitterbug Waltz (Fats Waller)\u003c\/li\u003e\n\u003cli\u003eNuages (Django Reinhardt)\u003c\/li\u003e\n\u003cli\u003eNight In Tunisia (Dizzy Gillespie)\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eBlue And Sentimental (Count Basie)\u003c\/li\u003e\n\u003cli\u003eStompin' At The Savoy (Benny Goodman)\u003c\/li\u003e\n\u003cli\u003eDjango (John Lewis)\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide C :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eWild Man Blues (Jelly Roll Morton)\u003c\/li\u003e\n\u003cli\u003eRosetta (Earl Hines)\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide D :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003e'Round Midnight (Thelonious Monk)\u003c\/li\u003e\n\u003cli\u003eDon't Get Around Much Anymore (Duke Ellington)\u003c\/li\u003e\n\u003cli\u003eIn A Mist (Bix Beiderbecke)\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAwards\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e2019 \u003cem\u003ePositive Feedback\u003c\/em\u003e Writers Choice Award!\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eVoted The LA \u0026amp; OC Audio Society 2019 Audiophile Recording of the Year Award for Reissue LP!\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eStereophile Records To Die For - 2012\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e\"This is the 45rpm version of IMPEX's 2017 33 1\/3 all-analog reissue of Michel Legrand's somewhat overlooked musical and sonic treasure featuring many of the greatest jazz artists of the era. Nothing other than Legrand's passing has changed since the original reissue review, so I'm just repeating it, other than to add that it sounds even 'Legrander' at 45rpm, though if you already own IMPEX's 33 1\/3 version, it's not really necessary to buy it again, unless you must! An enticement might be the now glossy laminated jacket and gatefold booklet with a very useful and informed essay by KCRW's Tom Schnabel. This IMPEX reissue is sourced from an 'analog mix-down transfer of the original 1958 work tape by Mark Wilder at Battery Studios' and cut by Chris Bellman and Bob Donnelly at Bernie Grundman Mastering on Grundman's all-tube mastering system. I have a clean, original 6-Eye pressing that this superbly pressed reissue betters in every way. This will make both your stereo and your heart sing. Some of the greatest jazz musicians of that or any era wailing and clearly having a Legrand time. Limited to 3000 [numbered] copies. Don't miss it!\"\u003cspan\u003e - Michael Fremer, Analog Planet\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\"Michel Legrand has spent most of his life as a composer in the studios and for films, but this release is a jazz classic. Legrand took 11 famous jazz compositions and arranged them for three different groups. Tenor great Ben Webster, flutist Herbie Mann, four trombonists, and a rhythm section perform pieces by Duke Ellington, Earl Hines, Django Reinhardt (\"Nuages\"), and the Count Basie-associated \"Blue and Sentimental.\" A big band with trumpeters Art Farmer and Donald Byrd and altoist Phil Woods plays \"Stompin' at the Savoy,\" \"A Night in Tunisia,\" and Bix Beiderbecke's \"In a Mist.\" The most famous session has Miles Davis, John Coltrane, Phil Woods, Herbie Mann, pianist Bill Evans, harp, vibes, baritone, and a rhythm section performing music by Thelonious Monk, John Lewis, Jelly Roll Morton (\"Wild Man Blues\"), and Fats Waller's \"Jitterbug Waltz.\" Throughout this superlative album, the arrangements are colorful and unusual, making one wish that Legrand had recorded more jazz albums through the years.\" \u003cspan data-mce-fragment=\"1\"\u003eAllMusic Review by Scott Yanow\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\"I'm very much falling in love with 45 RPM LPs. I'm also very much falling in love with IMPEX Records and their recent series of vinyl releases. Merge this format and this label together and you have a real winner: Legrand Jazz. This is a pressing that could possibly take its place as one of the crown jewels in your entire jazz LP collection. Legrand Jazz is the very essence of what audiophile records can be and should be!\u003c\/p\u003e\n\u003cp\u003e\"Yes, 45 RPM LPs might be a pain to flip through, but my goodness they are certainly worth it in my humble opinion. The latest and greatest from IMPEX, Mobile Fidelity and Analogue Productions continue to set new bench marks as in some cases they are difficult if not impossible to differentiate from their reel to reel counterparts (when available for comparison). With the latest surge of incredible sounding reel to reel tapes hitting the market, I did consider reel to reel as the gold standard right behind the master tapes. These new 45 RPM releases are now in the team picture too.\u003c\/p\u003e\n\u003cp\u003e\"IMPEX has a long respected legacy in the audiophile vinyl market and thanks to the business and production leadership of Abey Fonn and the distribution support of Kevin Berg over at Elusive Disc, they continue to step up their game. This includes the fairly recent 33 RPM releases of Another Time, Another Place by Jennifer Warnes, Lo Que Dice Mi Cantar by Trio Palabras and Friday Night In San Francisco by John McLaughlin, Al Di Meola, and Paco De Lucia.\u003c\/p\u003e\n\u003cp\u003e\"Now we have Legrand Jazz in 45 RPM. Released in 1958 on the Columbia label and recorded at the renowned Columbia Records 30th Street Studios, it was arranged and conducted by the French jazz enthusiast Michel Legrand. Musicians included Miles Davis, John Coltrane, Bill Evans, Paul Chambers, Hank Jones, Art Farmer, Donald Byrd, Phil Woods, Ben Webster, Herbie Mann, Milt Hinton, Frank Rehak, Jimmy Cleveland, and Joe Wilder amongst many more superstars.\u003c\/p\u003e\n\u003cp\u003e\"This IMPEX stereo reissue is sourced from the original 1958 work tape by Mark Wilder at Battery Studios and cut by Chris Bellman and Bob Donnelly at Bernie Grundman Mastering. This was an end to end all analog effort including an all tube mastering system. The icing on the cake is the latest and greatest 180 gram vinyl utilized by RTI. Talk about low noise and black backgrounds!\u003c\/p\u003e\n\u003cp\u003e\"Most of these tracks are fairly familiar jazz standards with a very laid back and soothing emphasis, but you will be hard pressed not to immediately fall in love with the arrangements and the subtle but addictive way that Legrand brings out all the skills and powerful voices of these iconic musicians.\u003c\/p\u003e\n\u003cp\u003e\"There are so many highlights that its difficult to point to any track in particular. However, one of my favorites is \"Blue and Sentimental.\" Ben Webster (tenor sax) stands stage left and Frank Rehak (trombone) stands stage right in a very expressive if not alluring duet of alternating solos. The instruments are so three dimensional and rich with proper timbre and weight that your eyes might just swell up as you imagine the rye whiskey and cigarette smoke whirling around you. Yep, it's a studio but the quality of this recording and your imagination will take you to another place.\u003c\/p\u003e\n\u003cp\u003e\"\"Django\" is still another slice of French Kharma. Miles Davis and Bill Evans float through this track with as much cool and refinement as you will ever hear from them in their quintessential albums together or on their own. That classic muted trumpet sounds better than ever with no edge or tilted emphasis--just layers of wonderful harmonic bloom and foggy ease. Piano is weighty and detailed with plenty of rhythmic expression and subtle bursts of life. Circling and swirling throughout is Betty Glamann on harp that provides another interesting mix and counter to that provided by Davis and Evans. Just exquisite stuff.\u003c\/p\u003e\n\u003cp\u003e\"Legrand Jazz is an absolute keeper and deserves to be in every music lover's collection. This goes for both the jazz aficionados out there and even those with other interests but who love to dabble with something very special. Production is limited so I'd jump on the purchase before its too late.\"\u003cspan\u003e \u003c\/span\u003e- Robert S. Youman, Positive Feedback, October 28, 2019\u003c\/p\u003e\n\u003cp\u003e“Impex released the reissue in a 33 RPM platter, and we gave it the highest ratings for recording and music back in Issue 153. This new 45 RPM two-disc set demonstrates that all top ratings are not created equal. Instrumental texture is the biggest beneficiary of the new mastering by Chris Bellman at Bernie Grundman Mastering - Ben Webster should always sound juicy, but here he is downright succulent. Add a more seamless soundstage and this is a perfect artefact of Columbia's wedding of the best recording engineers, decks, microphones and hall. In addition, the new fold-out cover embraces a handsome booklet.” Dennis Davis, Hi-Fi+\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eAllMusic : 4,5 \/ 5 , Discogs : 4,56 \/ 5 , \u003cspan data-mce-fragment=\"1\"\u003eMichael Fremer : Music 10\/11, Sound 11\/11\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":47904308789583,"sku":"IMP6028-45 unsealed","price":75.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/files\/michel-legrand-and-his-orchestra-featuring-miles-davis-legrand-jazz-2lp-45rpm-unsealed-audiosoundmusic-1.png?v=1719862651"},{"product_id":"santana-abraxas-multi-hybrid-sacd-limited-edition","title":"Santana – Abraxas (Hybrid SACD, Multichannel, Japanese Edition)","description":"\u003ch2\u003e\u003cbr\u003e\u003c\/h2\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSantana \u003cspan style=\"color: #ff8000;\"\u003e[c\u003c\/span\u003e\u003ca style=\"color: #ff8000;\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/carlos-santana\" title=\"Vinyl featuring Carlos Santana\"\u003elick here to see more vinyl featuring Carlos Santana]\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBass – Dave Brown\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCongas, Percussion – Mike Carrabello\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDrums – Mike Shrieve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePiano, Organ, Vocals – Gregg Rolie\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTimbales, Congas, Percussion – José Chepito Areas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003cmeta charset=\"utf-8\"\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 Hybrid SACD \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan style=\"color: #ff2a00;\"\u003eLimited edition\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMultichannel\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Sony Records\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Columbia\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded April 17–May 2, 1970 at\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eWally Heider Studios, San Francisco, California and Pacific Recording Studios, San Mateo, California\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineered \u0026amp; mixed by David Brown, John Fiore\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Fred Catero, Santana\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by Krieg Wunderlich\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1970\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2016\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003e\n\u003cstrong\u003e \u003c\/strong\u003eSinging Winds, Crying Beasts\u003c\/li\u003e\n\u003cli\u003eBlack Magic Woman \/ Gypsy Queen\u003c\/li\u003e\n\u003cli\u003eOye Coma Va\u003c\/li\u003e\n\u003cli\u003eIncident At Neshabur\u003c\/li\u003e\n\u003cli\u003eSe A Cabo\u003c\/li\u003e\n\u003cli\u003eMother's Daughter\u003c\/li\u003e\n\u003cli\u003eSamba Pa Ti\u003c\/li\u003e\n\u003cli\u003eHope You're Feeling Better\u003c\/li\u003e\n\u003cli\u003eEl Nicoya\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003col\u003e\u003c\/ol\u003e\n\u003col start=\"8\"\u003e\u003c\/ol\u003e\n\u003cp\u003e \u003cmeta charset=\"utf-8\"\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 magazine's list of the 500 greatest albums of all time – Ranked 207\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e1000 Recordings You Must Hear Before You Die - Ranked 203\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eBillboard's 50 Essential Latin Albums of the 50 Past Years\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e\u003cspan class=\"421441414-17032005\"\u003e\u003cspan size=\"2\" color=\"#ff0000\" face=\"Arial\"\u003eStereophile Records to Die For - 2017\u003c\/span\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003e“The San Francisco Bay Area rock scene of the late '60s was one that encouraged radical experimentation and discouraged the type of mindless conformity that's often plagued corporate rock. When one considers just how different Santana, Jefferson Airplane, Moby Grape, and the Grateful Dead sounded, it becomes obvious just how much it was encouraged. In the mid-'90s, an album as eclectic as Abraxas would be considered a marketing exec's worst nightmare. But at the dawn of the 1970s, this unorthodox mix of rock, jazz, salsa, and blues proved quite successful. Whether adding rock elements to salsa king Tito Puente's \"Oye Como Va,\" embracing instrumental jazz-rock on \"Incident at Neshabur\" and \"Samba Pa Ti,\" or tackling moody blues-rock on Fleetwood Mac's \"Black Magic Woman,\" the band keeps things unpredictable yet cohesive. Many of the Santana albums that came out in the '70s are worth acquiring, but for novices, Abraxas is an excellent place to start.” AllMusic Review by Alex Henderson\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAllMusic : 5 \/ 5 , \u003c\/span\u003eDiscogs : 4,82 \/ 5 \u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":47976877228367,"sku":"SICP-10135","price":65.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/files\/santana-abraxas-hybrid-sacd-multichannel-audiosoundmusic-1.png?v=1719862758"},{"product_id":"the-doors-the-soft-parade-2lp-45rpm-copy","title":"The Doors - The Soft Parade (Hybrid SACD)","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003ca title=\"Vinyl featuring The Doors\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/the-doors\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/the-doors\"\u003e\u003cspan style=\"color: #ff8000;\"\u003e\u003cbr\u003e[click here to see more vinyl featuring The Doors]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eVocals - Jim Morrison, \u003c\/strong\u003e\u003cstrong\u003eRobby Krieger \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eKeyboards - Ray Manzarek\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGuitar - Robby Krieger\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDrums - John Densmore\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBass – Doug Lubahn, Harvey Brooks\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCongas – Reinol Andino\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEnglish Horn – Champ Webb\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFiddle – Jimmy Buchanan\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMandolin – Jesse McReynolds\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSaxophone – Curtis Amy\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTrombone – George Bohanon\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eArranged by Paul Harris\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by The Doors\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003e1 Hybrid Multichannel SACD, jewel box\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eLabel : Analogue Productions\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eOriginal Label : Elektra\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded \u003cspan data-mce-fragment=\"1\"\u003e1968–1969\u003c\/span\u003e at \u003c\/strong\u003e\u003cstrong\u003eElektra Sound West, Hollywood, California\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineered by Bruce Botnick\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Paul A. Rothchild\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eExecutive-Producer - Chad Kassem\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMastered by Doug Sax, Sangwook \"Sunny\" Nam\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePhotography by Joel Brodsky\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eIllustration by Peter Schaumann\u003cbr\u003e\u003cbr\u003eDesign by William S. Harvey\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eOriginally released in 2013\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003e\u003cspan\u003eReissued in 2023\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eTracks :\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\u003c\/ol\u003e\n\u003cp style=\"padding-left: 40px;\"\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 0.875rem;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cspan style=\"font-size: 0.875rem;\"\u003e1. Tell All The People\u003c\/span\u003e\u003cspan style=\"font-size: 0.875rem;\"\u003e\u003cbr\u003e2. Touch Me\u003cbr\u003e3. Shaman's Blues\u003cbr\u003e4. Do It\u003cbr\u003e5. Easy Ride\u003cbr\u003e6. Wild Child\u003cbr\u003e7. Runnin' Blue\u003cbr\u003e8. Wishful Sinful\u003cbr\u003e9. The Soft Parade\u003c\/span\u003e\u003c\/p\u003e\n\u003col\u003e\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong style=\"font-size: 0.875rem;\"\u003eAwards\u003c\/strong\u003e\u003cspan style=\"font-size: 0.875rem;\"\u003e: \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eA \u003c\/strong\u003e\u003cstrong\u003eStereophile\u003c\/strong\u003e\u003cstrong\u003e 'Record To Die For'\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cheader\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e...“The fourth Doors album was not particularly well-received when first issued in 1969, though it still managed to reach the Top Ten and \"Touch Me\" was a hit single. The inclusion of horns and strings was for many a deal breaker, but what really made more pull back was the sense of a less than fully integrated ensemble appearing to come apart at the seams.\u003c\/p\u003e\n\u003cp\u003eEven the recording was less fully integrated. The heavy atmospherics of the first two albums were gone here, replaced by a far closer microphone scheme with instruments panned strongly left\/right leaving only the drums and Morrison's more dryly recorded voice to the center.\u003c\/p\u003e\n\u003cp\u003eThe poetry seemed more formulaic in places and \"Do It\" with the repetitive \"Please, please, listen to me children\"? was pure filler. The band that had been leading was at best following and at worst coasting. \"Easy Ride\" sounded like a Lovin' Spoonful number, while the horn-drenched two openers by Robby Krieger (\"Tell All the People\" and the hit \"Touch Me\") sounded like Electric Flag cast offs more than Doors numbers, or worse like Chicago. Even worse, the lyrics often played into the messianic cult that had developed around Morrison, not entirely without his encouragement.\u003c\/p\u003e\n\u003cp\u003eThe move from straight rock rhythms to more jazzy ones seemed to upset the dark \"Doorsian\" nature of things and the higher overall energy came across as compensation for a lack of inspiration. Whereas on the older albums you could put them on and reliably sink into another musical dimension, much as certain movies can be watched repeatedly and do the same thing: movies like \"Animal House,\" \"Chinatown\" and \"Close Encounters of the Third Kind, The Soft Parade felt more like the mystery had been stripped back to reveal the studio.\u003c\/p\u003e\n\u003cp\u003eNo matter how many times you've seen those magic movies, when they're on you get sucked in again. You \"want to go there. \"The same with certain albums, including the first two Doors albums. Not so this one.\u003c\/p\u003e\n\u003cp\u003eIt seemed as if the band had run out of gas and was covering for it by adding strings, horns and \"irrational exuberance.\" Yet another album closing Morrison epic, \"The Soft Parade\" was one too many. When Morrison sang \"You cannot petition the Lord With Prayer,\" that was probably the point where many first time listeners lifted the stylus from the grooves, removed the record from the turntable and went back to Strange Days for a fix. If they stayed longer, they got a song that sounded lifted from Frank Zappa's We're Only In It For The Money (complete with fourth wall breaking asides: \"this is the best part of the trip\")!\u003c\/p\u003e\n\u003cp\u003eEven the inner gatefold artwork by Peter Schaumann was a derivative letdown. It was too similar to the back jacket of label-mate Love's Four Sail album also by Schaumann and come to think of it, The Soft Parade sounds as if The Doors or someone in the band had been listening to a lot of Arthur Lee's jazzy, syncopated rhythms and horn and string driven arrangements. A very good place from which to draw, just not for The Doors. Surprisingly, time has been kind to this mess of an album. Kreiger's \"Tell All the People\" and \"Touch Me\" seem majestic and the arrangements plausible, particularly now that they can so easily be deciphered and deconstructed. This double 45 is so far superior sounding to the red label original and Japanese late '70s reissue I have here, it's like hearing the album for the first time.\u003c\/p\u003e\n\u003cp\u003eThere's still plenty of filler and overall it's lyrically weak, but \"Wishful Sinful\", another Krieger contribution, soars. At this time Morrison was supposedly heavily into alcohol so Krieger stepped in but for my money the real hero and standout here is drummer John Densmore. He, more than anyone else in the band holds it together and Botnick's recording of the drums is masterful and never before heard to such great effect.\u003c\/p\u003e\n\u003cp\u003eSo not the greatest Doors album but easily the greatest version of it for those who are fans. I have never heard so much detail revealed and such blackness behind the notes, nor have the strings and horns been so well reproduced. The laminated gatefold packaging is a treasure you'll want to polish when your grimy fingerprints dull the luster.” Michael Fremer, Analog Planet, Aug 30, 2012\u003c\/p\u003e\n\u003cp\u003e“The weakest studio album recorded with Jim Morrison in the group, partially because their experiments with brass and strings on about half the tracks weren't entirely successful. More to the point, though, this was their weakest set of material, low lights including filler like \"Do It\" and \"Runnin' Blue,\" a strange bluegrass-soul blend that was a small hit. On the other hand, about half the record is quite good, especially the huge hit \"Touch Me\" (their most successful integration of orchestration), the vicious hard rock riffs of \"Wild Child,\" the overlooked \"Shaman's Blues,\" and the lengthy title track, a multi-part suite that was one of the band's best attempts to mix rock with poetry. \"Tell All the People\" and \"Wishful Sinful,\" both penned by Robbie Krieger, were uncharacteristically wistful tunes that became small hits but were not all that good, and not sung very convincingly by Morrison.” AllMusic Review by Richie Unterberger\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003c\/header\u003e\n\u003cp\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eAllMusic : 3.5 \/ 5 , Discogs : 4.45 \/ 5 \u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":49029777228111,"sku":"CAPP 75005 SA","price":49.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/files\/the-doors-the-soft-parade-hybrid-sacd-audiosoundmusic-1.jpg?v=1719864504"}],"url":"https:\/\/www.audiosoundmusic.com\/collections\/stereophile-records-to-die-for.oembed?page=2","provider":"AudioSoundMusic","version":"1.0","type":"link"}