{"title":"ZeroStock","description":"","products":[{"product_id":"i-put-a-spell-on-you","title":"Nina Simone - I put a spell on you","description":"\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eNina Simone - vocals, piano \u003cspan style=\"color: #ff8000;\"\u003e\u003ca data-mce-fragment=\"1\" style=\"color: #ff8000;\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/nina-simone\" title=\"Vinyl featuring Nina Simone\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/nina-simone\"\u003e[click here to see more vinyl featuring Nina Simone]\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRudy Stevenson (Guitar),\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eArranged by \u0026amp; Conductor : Hal Mooney (A1, A3-5, B1-2, B4), Horace Ott (A2, A6, B5-6)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eWritten by Jalacy Hawkins (A1), Screamin' Jay Hawkins (A1), Charles Aznavour (A2, B5), Marcel Stellman (A2), Yves Stephane (A2), Jacques Brel (A3), Leon Carr (A4), Earl Shulman (A4), Irma Jurist (A5), Eve Merriam (A5), Andy Stroud (A6, B6), Leslie Bricusse (B1), Anthony Newley (B1), Rudy Stevenson (B2), udy Stevenson (B3), Leslie Bricusse (B4), Anthony Newley (B4), Marcel Stellman (B5)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003e1 LP, Stoughton Printing gatefold old-style tip-on jackets\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\"\u003e\u003c\/strong\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 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 : Acoustic Sounds Series\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003c\/strong\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003c\/strong\u003e\u003cstrong data-mce-fragment=\"1\"\u003eOriginal Label : Philips\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eRecorded January 1965\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eMastered by Ryan K. Smith at Sterling Sound, Nashville\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv class=\"sidebar_row\"\u003e\u003cstrong\u003eProduced by Hal Mooney (Reissue Supervision, Chad Kassem)\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv class=\"sidebar_row\"\u003e\n\u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"sidebar_row\"\u003e\n\u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"sidebar_row\"\u003e\u003cstrong\u003eOriginally issued in March 1965\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv class=\"sidebar_row\"\u003e\n\u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"sidebar_row\"\u003e\n\u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"sidebar_row\"\u003e\u003cstrong\u003e\u003cbr\u003eReissued in Nov 2020\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv class=\"sidebar_row\"\u003e\n\u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"sidebar_row\"\u003e\n\u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"sidebar_row\"\u003e\n\u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"sidebar_row\"\u003e\n\u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"sidebar_row\"\u003e\n\u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003eTracks\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eSide A :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eI Put A Spell On You\u003c\/li\u003e\n\u003cli\u003eTomorrow Is My Turn\u003c\/li\u003e\n\u003cli\u003eNe Me Quitte Pas\u003c\/li\u003e\n\u003cli\u003eMarriage Is For Old Folks\u003c\/li\u003e\n\u003cli\u003eJuly Tree\u003c\/li\u003e\n\u003cli\u003eGimme Some\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eFeeling Good\u003c\/li\u003e\n\u003cli\u003eOne September Day\u003c\/li\u003e\n\u003cli\u003eBlues On Purpose\u003c\/li\u003e\n\u003cli\u003eBeautiful Land\u003c\/li\u003e\n\u003cli\u003eYou've Got To Learn\u003c\/li\u003e\n\u003cli\u003eTake Care Of Business\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003ci\u003e\"I Put a Spell On You\u003c\/i\u003e\u003cspan\u003e is a thoughtful, often joyful sophisticated set of well-chosen, popular songs (pop of that era is unlike today’s pop) that Nina Simone delivers with unerring charm and warmth. It’s her most consistently excellent Philips era album and it and \u003c\/span\u003e\u003ci\u003ePastel Blues\u003c\/i\u003e\u003cspan\u003e, both released in 1965, are ideal showcases for both Simone’s enduring artistry and for what made her Philips era records special. The sound of both of these records is the best that’s been produced from these tapes and both records are well worth owning.\" Michael Fremer, \u003cem data-mce-fragment=\"1\"\u003eAnalogPlanet.com\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e« One of her most pop-oriented albums, but also one of her best and most consistent. Most of the songs feature dramatic, swinging large-band orchestration, with the accent on the brass and strings. Simone didn't write any of the material, turning to popular European songsmiths Charles Aznavour, Jacques Brel, and Anthony Newley, as well as her husband, Andy Stroud, and her guitarist, Rudy Stevenson, for bluesier fare. There are really fine tunes and interpretations, on which Simone gives an edge to the potentially fey pop songs, taking a sudden (but not uncharacteristic) break for a straight jazz instrumental with \"Blues on Purpose.\" The title track, a jazzy string ballad version of the Screamin' Jay Hawkins classic, gave the Beatles the inspiration for the phrasing on the bridge of \"Michelle.\" » AllMusic Review by Richie Unterberger\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem\u003eI Put a Spell on You\u003c\/em\u003e is the 1965 album by Nina Simone, and features some of her best known songs. \"I Put a Spell on You\" is a song originally by Screamin' Jay Hawkins. The original version gave the song an ironic theme, but Simone transformed it into a thrilling love song, complete with horns and strings. It had become one of her most well-known songs. She used the title for her autobiography \u003cem\u003eI Put A Spell On\u003c\/em\u003e \u003cem data-mce-fragment=\"1\"\u003eYou\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e (1992).\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cbr\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan\u003eAllMusic : 3 \/ 5 , Discogs :  4.45 \/ 5 , Rate your Music : 3.8 \/ 5\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan\u003eMichael Fremer : \u003c\/span\u003eMusic = 9\/11; Sound = 9\/11\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40347620835479,"sku":"APHI 33201","price":55.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/nina-simone-i-put-a-spell-on-you-audiosoundmusic-1.jpg?v=1719851369"},{"product_id":"pet-sounds-the-beach-boys","title":"The Beach Boys - Pet Sounds (1LP, Mono, 33RPM, 200g)","description":"\u003cp style=\"margin: 0cm 0cm 12.0pt 0cm;\" data-mce-fragment=\"1\" data-mce-style=\"margin: 0cm 0cm 12.0pt 0cm;\"\u003e\u003cstrong\u003e\u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/beach-boys\" title=\"vinyl featuring The Beach Boys\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/beach-boys\"\u003e\u003cspan style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring the Beach Boys]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp style=\"margin: 0cm 0cm 12.0pt 0cm;\" data-mce-fragment=\"1\" data-mce-style=\"margin: 0cm 0cm 12.0pt 0cm;\"\u003e\u003cstrong\u003ePerformed by The Beach Boys : Brian Wilson (vocals, bass guitar, keyboards), Mike Love (vocals, percussion, saxophone, Electro-Theremin), Al Jardine (vocals, rhythm guitar, bass guitar), Bruce Johnston (vocals, keyboards, bass guitar), Dennis Wilson (vocals, drums, keyboards).\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by Brian Wilson (all tracks), Tony Asher (A1, A2, A3, A4, B1, B3, B4, B6), Mike Love (A5), Michael Ruff (A3), Terry Sachen (B2)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, Stoughton tip-on jackets\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 200g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMono\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Quality Record Pressings\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Analogue Productions \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Capitol\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded July 12, 1965 - April 13, 1966 at Columbia Studios (Hollywood, CA), Gold Star Recording Studios (Hollywood, CA), Sunset Sound Studios (Los Angeles, CA), Western Studios (Los Angeles, CA)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eMastered by Kevin Gray \u003cb data-mce-fragment=\"1\"\u003eat Cohearent Audio\u003c\/b\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eOriginally issued on May 16th, 1966 in mono\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eReissued in Nov 2015\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eTracks :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eWouldn’t It Be Nice\u003c\/li\u003e\n\u003cli\u003eYou Still Believe In Me\u003c\/li\u003e\n\u003cli\u003eThat’s Not Me\u003c\/li\u003e\n\u003cli\u003eDon’t Talk (Put Your Head On My Shoulder)\u003c\/li\u003e\n\u003cli\u003eI’m Waiting For The Day\u003c\/li\u003e\n\u003cli\u003eLet’s Go Away For Awhile\u003c\/li\u003e\n\u003cli\u003eSloop John B\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eGod Only Knows\u003c\/li\u003e\n\u003cli\u003eI Know There’s An Answer\u003c\/li\u003e\n\u003cli\u003eHere Today\u003c\/li\u003e\n\u003cli\u003eI Just Wasn’t Made For These Times\u003c\/li\u003e\n\u003cli\u003ePet Sounds\u003c\/li\u003e\n\u003cli\u003eCaroline No\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAwards\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cb\u003eTAS Super LP List! Special Merit: Informal\u003c\/b\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cb\u003eMichael Fremer's 100 Recommended All-Analog LP Reissues Worth Owning - Ranked 55\/100!\u003c\/b\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cb\u003eRolling Stone 500 Greatest Albums of All Time - Rated 2\/500\u003cbr\u003e\u003c\/b\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cb\u003e\u003cbr\u003eRolling Stone 500 Greatest Songs of All Time - \"Sloop John B\" - Rated 278\/500\u003c\/b\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e1000 Recordings you must hear before you die - Ranked 61\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\"one of the most innovative recordings in rock\", 101 Albums that Changed Popular Music (2009)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\"It was \u003cem\u003ePet Sounds\u003c\/em\u003e that blew me out of the water…I love the album so much. I've just bought my kids each a copy of it for their education in life. I figure no one is educated musically 'til they've heard that album.\" – Paul McCartney\u003c\/p\u003e\n\u003cp\u003e\"All of us, Ginger (Baker), Jack (Bruce), and I consider \u003cem\u003ePet Sounds\u003c\/em\u003e to be one of the greatest pop LPs to ever be released. It encompasses everything that's ever knocked me out and rolled it all into one.\" – Eric Clapton\u003c\/p\u003e\n\u003cp\u003e\"Overall though, this new reissue is the best sounding of all. The bottom end has more weight and solidity and the instrumental separation and front to back layering is nothing short of astonishing compared to the pleasing mush offered up by other editions. ... Pet Sounds belongs in every serious rock record collection and if you're going to have but one version this one from Analogue Productions is the one to have.\"  Michael Fremer,\u003cspan\u003e \u003c\/span\u003eAnalogPlanet.com\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003c\/strong\u003e\"Produced, composed and arranged by Brian Wilson, \u003cem\u003ePet Sounds\u003c\/em\u003e stands as the Beach Boys' pinnacle. The album is brimming with beautiful ballads, exotic instrumentation, lush five-part harmonies, and aching sentimentality. Recorded largely with session players from L.A.'s fabled Wrecking Crew, \u003cem\u003ePet Sounds\u003c\/em\u003e was Wilson's chance to step away from songs about surfing and cars, instead crafting tender songs about adolescent love, both newfound and lost, as well as innocence and bewilderment. Analogue Productions' two-disc 45 RPM, 180-gram stereo album boasts exceptionally detailed separation and aptly showcases \u003cem\u003ePet Sounds\u003c\/em\u003e' shimmering sonics. Mark Linett produced this stereo mix with an assembled digital multi-track master that synched the original four-track instrumental master with the four- and eight-track vocal overdub master. It was then mixed to 15 ips 1\/4-inch analog tape with SR noise reduction. How good is it? Carol Kaye's picked Fender P-Bass is tight and punchy on the intro to \"God Only Knows,\" and the clarity reveals the swelling emotion of Carl Wilson's angelic lead vocal to announce that you've entered the Church of Rock 'n' Roll. Say amen.\" Greg Cahill, \u003cem\u003eThe Absolute Sound\u003c\/em\u003e, December 2017\u003c\/p\u003e\n\u003cp\u003e« The best Beach Boys album, and one of the best of the 1960s. The group here reached a whole new level in terms of both composition and production, layering tracks upon tracks of vocals and instruments to create a richly symphonic sound. Conventional keyboards and guitars were combined with exotic touches of orchestrated strings, bicycle bells, buzzing organs, harpsichords, flutes, Theremin, Hawaiian-sounding string instruments, Coca-Cola cans, barking dogs, and more. It wouldn't have been a classic without great songs, and this has some of the group's most stunning melodies, as well as lyrical themes which evoke both the intensity of newly born love affairs and the disappointment of failed romance (add in some general statements about loss of innocence and modern-day confusion as well). The spiritual quality of the material is enhanced by some of the most gorgeous upper-register male vocals (especially by Brian and Carl Wilson) ever heard on a rock record. \"Wouldn't It Be Nice,\" \"God Only Knows,\" \"Caroline No,\" and \"Sloop John B\" (the last of which wasn't originally intended to go on the album) are the well-known hits, but equally worthy are such cuts as \"You Still Believe in Me,\" \"Don't Talk,\" \"I Know There's an Answer,\" and \"I Just Wasn't Made for These Times.\" It's often said that this is more of a Brian Wilson album than a Beach Boys recording (session musicians played most of the parts), but it should be noted that the harmonies are pure Beach Boys (and some of their best). Massively influential upon its release (although it was a relatively low seller compared to their previous LPs), it immediately vaulted the band into the top level of rock innovators among the intelligentsia, especially in Britain, where it was a much bigger hit. » AllMusic Review by Richie Unterberger\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eAllMusic : 5 \/ 5 , Discogs : 5 \/ 5 ,  Rate your Music : 4.18 \/ 5\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eMichael Fremer : Music = 11\/11, Sound = 11\/11\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eGreg Cahill, The Absolute Sound : Music 5\/5, Sonics 4.5\/5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40374721216663,"sku":"AAPP 067M","price":120.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/the-beach-boys-pet-sounds-1lp-mono-33rpm-200g-audiosoundmusic-1.jpg?v=1719851398"},{"product_id":"masterpieces-duke-ellington","title":"Duke Ellington - Masterpieces (2LP, 45RPM, Mono)","description":"\u003cp\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 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, B1, C1, D1), Albany Bigard (A1), Irving Mills (A1, B1, D1), Eddie Delange (D1)\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 : 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 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\u003c\/ol\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\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 C :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eThe Tattooed Bride\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide D :\u003c\/p\u003e\n\u003col\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\u003cb\u003eMichael Fremer's 100 Recommended All-Analog LP Reissues Worth Owning - Rated 1\/100!\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cb\u003e\u003cspan\u003eMichael Fremer, Analog Planet's Best Reissues of the Decade, March 2020\u003c\/span\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 \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\u003cspan\u003e \u003c\/span\u003e:\u003c\/p\u003e\n\u003cp\u003eAllMusic : 4.5 \/ 5 ; Discogs : 4.83\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40375735255191,"sku":"APJ4418-45","price":95.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/duke-ellington-masterpieces-2lp-45rpm-mono-audiosoundmusic-1.jpg?v=1719851398"},{"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":"come-away-with-me-norah-jone","title":"Norah Jones - Come away with me (unsealed, Analogue Production)","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cbr\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 \u003cmeta charset=\"utf-8\"\u003e(mint conditions)\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003eNorah Jones - Piano, vocals \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/norah-jones\" title=\"vinyl featuring Norah Jones\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/norah-jones\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Norah Jones]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLee Alexander (Bass), Brian Blade (Drums, Percussion), Kevin Breit (Guitar, Acoustic, Electric, National Steel Guitar), Rob Burger (Accordion, Pump Organ), Bill Frisell (Electric guitar), Jesse Harris \u0026amp; the Ferdinandos Guitar (Acoustic Guitar), Adam Levy (Acoustic Guitar, Electric Guitar), Dan Rieser (Drums), Adam Rogers (Guitar), Jenny Scheinman (violin), Tony Scherr (Acoustic Guitar, Slide Guitar), Kenny Wollesen (Drums), Sam Yahel (Hammond Organ).\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by \u003c\/strong\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-size: 10.5pt; font-family: 'Segoe UI',sans-serif; color: #212b36;\" data-mce-fragment=\"1\" data-mce-style=\"font-size: 10.5pt; font-family: 'Segoe UI',sans-serif; color: #212b36;\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cstrong\u003eNorah Jones (A5, B5, B6), Jesse Harris (A1, A5, A6, B2, B4, B6), Lee Alexander (A2, A4, B1, B3), Hank Williams (A3), John D. Loudermilk (A7), J.C. Hopkins (B3), Hoagy Carmichael (B7), Ned Washington (B7)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1LP, Gatefold, tip-on jackets on heavy cardboard stock\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 : 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 : Blue Note\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecording : September 2000 – December 2001 at Sorcerer Sound Studio, New York City and Allaire Studios, Shokan, New York\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp style=\"font-variant-ligatures: normal; font-variant-caps: normal; orphans: 2; text-align: start; widows: 2; -webkit-text-stroke-width: 0px; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial; word-spacing: 0px; margin: 0cm 0cm 12.0pt 0cm;\" data-mce-fragment=\"1\" data-mce-style=\"font-variant-ligatures: normal; font-variant-caps: normal; orphans: 2; text-align: start; widows: 2; -webkit-text-stroke-width: 0px; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial; word-spacing: 0px; margin: 0cm 0cm 12.0pt 0cm;\"\u003e\u003cstrong\u003eMastered by Kevin Gray at Cohearent Audio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp style=\"font-variant-ligatures: normal; font-variant-caps: normal; orphans: 2; text-align: start; widows: 2; -webkit-text-stroke-width: 0px; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial; word-spacing: 0px; margin: 0cm 0cm 12.0pt 0cm;\" data-mce-fragment=\"1\" data-mce-style=\"font-variant-ligatures: normal; font-variant-caps: normal; orphans: 2; text-align: start; widows: 2; -webkit-text-stroke-width: 0px; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial; word-spacing: 0px; margin: 0cm 0cm 12.0pt 0cm;\"\u003e\u003cstrong\u003e\u003cspan\u003eEngineered by: Jay Newland, Tom Schick\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Arif Mardin, Jay Newland, Norah Jones, Craig Street\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 2002\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 style=\"margin: 0cm 0cm 12.0pt 0cm;\" data-mce-fragment=\"1\" data-mce-style=\"margin: 0cm 0cm 12.0pt 0cm;\"\u003e\u003cstrong\u003eTracks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp style=\"margin: 0cm 0cm 12.0pt 0cm;\" data-mce-fragment=\"1\" data-mce-style=\"margin: 0cm 0cm 12.0pt 0cm;\"\u003eSide A :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eDon't Know Why\u003c\/li\u003e\n\u003cli\u003eSeven Years\u003c\/li\u003e\n\u003cli\u003eCold Cold Heart\u003c\/li\u003e\n\u003cli\u003eFeelin' The Same Way\u003c\/li\u003e\n\u003cli\u003eCome Away With Me\u003c\/li\u003e\n\u003cli\u003eShoot The Moon\u003c\/li\u003e\n\u003cli\u003eTurn Me On\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eLonestar\u003c\/li\u003e\n\u003cli\u003eI've Got To See You Again\u003c\/li\u003e\n\u003cli\u003ePainter Song\u003c\/li\u003e\n\u003cli\u003eOne Flight Down\u003c\/li\u003e\n\u003cli\u003eNightingale\u003c\/li\u003e\n\u003cli\u003eThe Long Day Is Over\u003c\/li\u003e\n\u003cli\u003eThe Nearness Of You\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp style=\"margin: 0cm 0cm 12.0pt 0cm;\" data-mce-fragment=\"1\" data-mce-style=\"margin: 0cm 0cm 12.0pt 0cm;\"\u003e \u003c\/p\u003e\n\u003cp style=\"margin: 0cm 0cm 12.0pt 0cm;\" data-mce-fragment=\"1\" data-mce-style=\"margin: 0cm 0cm 12.0pt 0cm;\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003cstrong\u003eAwards\u003c\/strong\u003e:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"margin: 0cm 0cm 12.0pt 0cm;\" data-mce-fragment=\"1\" data-mce-style=\"margin: 0cm 0cm 12.0pt 0cm;\"\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cspan style=\"font-size: 10.5pt;\"\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 10.5pt; font-family: 'Segoe UI',sans-serif; color: #212b36;\" data-mce-fragment=\"1\" data-mce-style=\"font-size: 10.5pt; font-family: 'Segoe UI',sans-serif; color: #212b36;\"\u003e2003 Grammy Award Winner :\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 10.5pt; font-family: 'Segoe UI',sans-serif; color: #212b36;\" data-mce-fragment=\"1\" data-mce-style=\"font-size: 10.5pt; font-family: 'Segoe UI',sans-serif; color: #212b36;\"\u003e~ Record of the Year, \u003cem\u003eDon't Know Why\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cspan style=\"font-size: 10.5pt;\"\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 10.5pt; font-family: 'Segoe UI',sans-serif; color: #212b36;\" data-mce-fragment=\"1\" data-mce-style=\"font-size: 10.5pt; font-family: 'Segoe UI',sans-serif; color: #212b36;\"\u003e~ Album of the Year, \u003cem\u003eCome Away With Me\u003c\/em\u003e\u003cbr\u003e~ Song of the Year, \u003cem\u003eDon't Know Why\u003c\/em\u003e\u003cbr\u003e~ Best New Artist, \u003cem\u003eNorah Jones\u003c\/em\u003e\u003cbr\u003e~ Best Female Pop Vocal Performance, \u003cem\u003eDon't Know Why\u003c\/em\u003e\u003cbr\u003e~ Best Pop Vocal Album, \u003cem\u003eCome Away With Me\u003c\/em\u003e\u003cbr\u003e~ Best Engineered Album, Non-Classical, \u003cem\u003eS. Husky Höskulds \u0026amp; Jay Newland, engineers\u003c\/em\u003e\u003cbr\u003e~ Producer of the Year, Non-Classical, \u003cem\u003eArif Mardin, producer\u003c\/em\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"margin: 0cm 0cm 12.0pt 0cm;\" data-mce-fragment=\"1\" data-mce-style=\"margin: 0cm 0cm 12.0pt 0cm;\"\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e1000 Recordings You Must Hear Before You Die - Ranked 933\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"margin: 0cm 0cm 12.0pt 0cm;\" data-mce-fragment=\"1\" data-mce-style=\"margin: 0cm 0cm 12.0pt 0cm;\"\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e\"The entire project from the songs to the superb recorded sound and packaging just reeks of good taste. And it couldn't have come cheaply. The label or someone made a major financial investment in an unknown's debut album. The investment paid off, as the album sold more than 26 million copies and won numerous awards. It wasn't that much of a risk, really. Jones' amalgam of jazz, country, folk and a touch of rock produced something new and highly attractive to a wide demographic. ... The records coming out of QRP are definitely living up to the pressing plant's early promise. This kind of drop dead black quiet is precisely what's required for Jones' music and QRP delivers it. Kevin Gray's mastering is equally superb.\" — Michael Fremer, AnalogPlanet.com, January 24, 2013\u003c\/p\u003e\n\u003cp\u003e\" Norah Jones' debut on Blue Note is a mellow, acoustic pop affair with soul and country overtones, immaculately produced by the great Arif Mardin. (It's pretty much an open secret that the 22-year-old vocalist and pianist is the daughter of Ravi Shankar.) Jones is not quite a jazz singer, but she is joined by some highly regarded jazz talent: guitarists Adam Levy, Adam Rogers, Tony Scherr, Bill Frisell, and Kevin Breit; drummers Brian Blade, Dan Rieser, and Kenny Wollesen; organist Sam Yahel; accordionist Rob Burger; and violinist Jenny Scheinman. Her regular guitarist and bassist, Jesse Harris and Lee Alexander, respectively, play on every track and also serve as the chief songwriters. Both have a gift for melody, simple yet elegant progressions, and evocative lyrics. (Harris made an intriguing guest appearance on Seamus Blake's Stranger Things Have Happened.) Jones, for her part, wrote the title track and the pretty but slightly restless \"Nightingale.\" She also includes convincing readings of Hank Williams' \"Cold Cold Heart,\" J.D. Loudermilk's \"Turn Me On,\" and Hoagy Carmichael's \"The Nearness of You.\" There's a touch of Rickie Lee Jones in Jones' voice, a touch of Bonnie Raitt in the arrangements; her youth and her piano skills could lead one to call her an Alicia Keys for grown-ups. While the mood of this record stagnates after a few songs, it does give a strong indication of Jones' alluring talents. » AllMusic Review by David R. Adler\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  , Rate your music : 4.02 \/ 5 ,  Michael Fremer :  Music 9 \/ 11, Sound 9 \/ 11\u003c\/p\u003e\n\u003cp style=\"margin: 0cm 0cm 12.0pt 0cm;\" data-mce-fragment=\"1\" data-mce-style=\"margin: 0cm 0cm 12.0pt 0cm;\"\u003e \u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40375976263831,"sku":"AAPP 042 clear","price":90.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/norah-jones-come-away-with-me-unsealed-analogue-production-audiosoundmusic-1.jpg?v=1719851398"},{"product_id":"zappa-88-the-last-u-s-show-frank-zappa","title":"Franck Zappa - The Last U.S. Show (4LP, Box set)","description":"\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003eFrank Zappa (lead guitar, vocals, Synclavier), Mike Keneally (guitar, synthesizer, vocals), Ike Willis (rhythm guitar, synthesizer, vocals), Scott Thunes (electric bass, Minimoog), Bobby Martin (keyboards, vocals), Ed Mann (vibraphone, marimba, electronic percussion), Chad Wackerman (drums, electronic percussion, liner notes), Walt Fowler (trumpet, flugelhorn, synthesizer), Bruce Fowler (trombone, Paul Carman (alto saxophone, soprano saxophone, baritone saxophone), Albert Wing (tenor saxophone), Kurt McGettrick (baritone saxophone, bass saxophone, contrabass clarinet).\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"margin: 0cm 0cm 12.0pt 0cm;\" data-mce-style=\"margin: 0cm 0cm 12.0pt 0cm;\"\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-size: 10.5pt; font-family: 'Segoe UI', sans-serif;\" data-mce-style=\"font-size: 10.5pt; font-family: 'Segoe UI',sans-serif; color: #212b36;\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-size: 10.5pt; font-family: 'Segoe UI', sans-serif;\" data-mce-style=\"font-size: 10.5pt; font-family: 'Segoe UI',sans-serif; color: #212b36;\"\u003eWritten by Franck Zappa (A2, A3, A4, B1, B2, B3, C1, C2, C3, C4, C5, D2, D5), \u003c\/span\u003e\u003c\/strong\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-size: 10.5pt; font-family: 'Segoe UI', sans-serif;\" data-mce-style=\"font-size: 10.5pt; font-family: 'Segoe UI',sans-serif; color: #212b36;\"\u003eJohn Lennon (F2, G2), \u003c\/span\u003e\u003c\/strong\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-size: 10.5pt; font-family: 'Segoe UI', sans-serif;\" data-mce-style=\"font-size: 10.5pt; font-family: 'Segoe UI',sans-serif; color: #212b36;\"\u003ePaul McCartney (F2, G2), \u003c\/span\u003e\u003c\/strong\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-size: 10.5pt; font-family: 'Segoe UI', sans-serif;\" data-mce-style=\"font-size: 10.5pt; font-family: 'Segoe UI',sans-serif; color: #212b36;\"\u003eIgor Stravinsky (D3), \u003c\/span\u003e\u003c\/strong\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-size: 10.5pt; font-family: 'Segoe UI', sans-serif;\" data-mce-style=\"font-size: 10.5pt; font-family: 'Segoe UI',sans-serif; color: #212b36;\"\u003eBela Bartok (D4), Maurice Ravel (H2), \u003c\/span\u003e\u003c\/strong\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-size: 10.5pt; font-family: 'Segoe UI', sans-serif;\" data-mce-style=\"font-size: 10.5pt; font-family: 'Segoe UI',sans-serif; color: #212b36;\"\u003eDouglass Cross (B4), \u003c\/span\u003e\u003c\/strong\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-size: 10.5pt; font-family: 'Segoe UI', sans-serif;\" data-mce-style=\"font-size: 10.5pt; font-family: 'Segoe UI',sans-serif; color: #212b36;\"\u003eGeorge C. Cory Junior (B4), \u003c\/span\u003eRay Evans (D7), Jerry Livingston (D7), Jimmy Page (G1), Robert Plant (G1), Gregg Allman (H1), Katharine Lee \u003cspan data-mce-fragment=\"1\"\u003eBates (H3), Samuel A. Ward (H3).\u003c\/span\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"margin: 0cm 0cm 12.0pt 0cm;\" data-mce-style=\"margin: 0cm 0cm 12.0pt 0cm;\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"margin: 0cm 0cm 12.0pt 0cm;\" data-mce-style=\"margin: 0cm 0cm 12.0pt 0cm;\"\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-size: 10.5pt; font-family: 'Segoe UI', sans-serif;\" data-mce-style=\"font-size: 10.5pt; font-family: 'Segoe UI',sans-serif; color: #212b36;\"\u003e4 LPs, box set\u003c\/span\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"margin: 0cm 0cm 12.0pt 0cm;\" data-mce-style=\"margin: 0cm 0cm 12.0pt 0cm;\"\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-size: 10.5pt; font-family: 'Segoe UI', sans-serif;\" data-mce-style=\"font-size: 10.5pt; font-family: 'Segoe UI',sans-serif; color: #212b36;\"\u003eOriginal analog Master tape : YES\u003c\/span\u003e\u003c\/strong\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-size: 10.5pt; font-family: 'Segoe UI', sans-serif;\" data-mce-style=\"font-size: 10.5pt; font-family: 'Segoe UI',sans-serif; color: #212b36;\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003e\u003cstrong\u003eLive\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003e\u003cstrong\u003eRecord Press : Optimal Media\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"font-variant-ligatures: normal; font-variant-caps: normal; orphans: 2; text-align: start; widows: 2; -webkit-text-stroke-width: 0px; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial; word-spacing: 0px; margin: 0cm 0cm 12.0pt 0cm;\" data-mce-style=\"font-variant-ligatures: normal; font-variant-caps: normal; orphans: 2; text-align: start; widows: 2; -webkit-text-stroke-width: 0px; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial; word-spacing: 0px; margin: 0cm 0cm 12.0pt 0cm;\"\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-size: 10.5pt; font-family: 'Segoe UI', sans-serif;\" data-mce-style=\"font-size: 10.5pt; font-family: 'Segoe UI',sans-serif; color: #212b36;\"\u003eLabel : Zappa Records\u003c\/span\u003e\u003c\/strong\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-size: 10.5pt; font-family: 'Segoe UI', sans-serif;\" data-mce-style=\"font-size: 10.5pt; font-family: 'Segoe UI',sans-serif; color: #212b36;\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"font-variant-ligatures: normal; font-variant-caps: normal; orphans: 2; text-align: start; widows: 2; -webkit-text-stroke-width: 0px; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial; word-spacing: 0px; margin: 0cm 0cm 12.0pt 0cm;\" data-mce-style=\"font-variant-ligatures: normal; font-variant-caps: normal; orphans: 2; text-align: start; widows: 2; -webkit-text-stroke-width: 0px; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial; word-spacing: 0px; margin: 0cm 0cm 12.0pt 0cm;\"\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-size: 10.5pt; font-family: 'Segoe UI', sans-serif;\" data-mce-style=\"font-size: 10.5pt; font-family: 'Segoe UI',sans-serif; color: #212b36;\"\u003eOriginal Label : Zappa Records\u003c\/span\u003e\u003c\/strong\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-size: 10.5pt; font-family: 'Segoe UI', sans-serif;\" data-mce-style=\"font-size: 10.5pt; font-family: 'Segoe UI',sans-serif; color: #212b36;\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"font-variant-ligatures: normal; font-variant-caps: normal; orphans: 2; text-align: start; widows: 2; -webkit-text-stroke-width: 0px; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial; word-spacing: 0px; margin: 0cm 0cm 12.0pt 0cm;\" data-mce-style=\"font-variant-ligatures: normal; font-variant-caps: normal; orphans: 2; text-align: start; widows: 2; -webkit-text-stroke-width: 0px; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial; word-spacing: 0px; margin: 0cm 0cm 12.0pt 0cm;\"\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003e\u003cstrong\u003e\u003cspan data-mce-fragment=\"1\"\u003eAll tracks recorded on March 25, 1988 at Nassau Coliseum, Uniondale, New York, except track G1, recorded March 23, 1988 at Tonson Center, Towson, Maryland, \u0026amp; track H1, recorded March 16, 1988 at Civic Center, Providence Rhode Island.\u003c\/span\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003e\u003cstrong\u003eReleased in June 2021\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"margin: 0cm 0cm 12.0pt 0cm;\" data-mce-style=\"margin: 0cm 0cm 12.0pt 0cm;\"\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-size: 10.5pt; font-family: 'Segoe UI', sans-serif;\" data-mce-style=\"font-size: 10.5pt; font-family: 'Segoe UI',sans-serif; color: #212b36;\"\u003eTracks :\u003c\/span\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003eSide A\u003c\/span\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli style=\"color: rgb(230, 230, 230);\"\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003eWe Are Doing Voter Registration Here\u003c\/span\u003e\u003c\/li\u003e\n\u003cli style=\"color: rgb(230, 230, 230);\"\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003eThe Black Page (New Age Version)\u003c\/span\u003e\u003c\/li\u003e\n\u003cli style=\"color: rgb(230, 230, 230);\"\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003eI Ain’t Got No Heart\u003c\/span\u003e\u003c\/li\u003e\n\u003cli style=\"color: rgb(230, 230, 230);\"\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003eLove Of My Life\u003c\/span\u003e\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003eSide B\u003c\/span\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli style=\"color: rgb(230, 230, 230);\"\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003eInca Roads\u003c\/span\u003e\u003c\/li\u003e\n\u003cli style=\"color: rgb(230, 230, 230);\"\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003eSharleena\u003c\/span\u003e\u003c\/li\u003e\n\u003cli style=\"color: rgb(230, 230, 230);\"\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003eWho Needs The Peace Corps?\u003c\/span\u003e\u003c\/li\u003e\n\u003cli style=\"color: rgb(230, 230, 230);\"\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003eI Left My Heart In San Francisco (Cory\/Cross)\u003c\/span\u003e\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003eSide C\u003c\/span\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli style=\"color: rgb(230, 230, 230);\"\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003eDickie’s Such An Asshole\u003c\/span\u003e\u003c\/li\u003e\n\u003cli style=\"color: rgb(230, 230, 230);\"\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003eWhen The Lie’s So Big\u003c\/span\u003e\u003c\/li\u003e\n\u003cli style=\"color: rgb(230, 230, 230);\"\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003eJesus Thinks You’re A Jerk\u003c\/span\u003e\u003c\/li\u003e\n\u003cli style=\"color: rgb(230, 230, 230);\"\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003eSofa #1\u003c\/span\u003e\u003c\/li\u003e\n\u003cli style=\"color: rgb(230, 230, 230);\"\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003eOne Man, One Vote\u003c\/span\u003e\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003eSide D\u003c\/span\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli style=\"color: rgb(230, 230, 230);\"\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003eHappy Birthday, Chad!\u003c\/span\u003e\u003c\/li\u003e\n\u003cli style=\"color: rgb(230, 230, 230);\"\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003ePackard Goose Pt. I\u003c\/span\u003e\u003c\/li\u003e\n\u003cli style=\"color: rgb(230, 230, 230);\"\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003eRoyal March From “L’Histoire Du Soldat” (Stravinsky)\u003c\/span\u003e\u003c\/li\u003e\n\u003cli style=\"color: rgb(230, 230, 230);\"\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003eTheme From The Bartok Piano Concerto #3 (Bartok)\u003c\/span\u003e\u003c\/li\u003e\n\u003cli style=\"color: rgb(230, 230, 230);\"\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003ePackard Goose Pt. II\u003c\/span\u003e\u003c\/li\u003e\n\u003cli style=\"color: rgb(230, 230, 230);\"\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003eThe Torture Never Stops Pt. I\u003c\/span\u003e\u003c\/li\u003e\n\u003cli style=\"color: rgb(230, 230, 230);\"\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003eTheme From “Bonanza” (Evans \u0026amp; Livingston)\u003c\/span\u003e\u003c\/li\u003e\n\u003cli style=\"color: rgb(230, 230, 230);\"\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003eLonesome Cowboy Burt\u003c\/span\u003e\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003eSide E\u003c\/span\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli style=\"color: rgb(230, 230, 230);\"\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003eThe Torture Never Stops Pt. II\u003c\/span\u003e\u003c\/li\u003e\n\u003cli style=\"color: rgb(230, 230, 230);\"\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003eCity Of Tiny Lites\u003c\/span\u003e\u003c\/li\u003e\n\u003cli style=\"color: rgb(230, 230, 230);\"\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003ePound For A Brown PT. I\u003c\/span\u003e\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003eSide F\u003c\/span\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli style=\"color: rgb(230, 230, 230);\"\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003ePound For A Brown PT. II\u003c\/span\u003e\u003c\/li\u003e\n\u003cli style=\"color: rgb(230, 230, 230);\"\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003eThe Beatles Medley (Lennon\/McCartney)\u003c\/span\u003e\u003c\/li\u003e\n\u003cli style=\"color: rgb(230, 230, 230);\"\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003ePeaches En Regalia\u003c\/span\u003e\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003eSide G\u003c\/span\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli style=\"color: rgb(230, 230, 230);\"\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003eStairway To Heaven (Page\/Plant)\u003c\/span\u003e\u003c\/li\u003e\n\u003cli style=\"color: rgb(230, 230, 230);\"\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003eI Am The Walrus (Lennon\/McCartney)\u003c\/span\u003e\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003eSide H\u003c\/span\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli style=\"color: rgb(230, 230, 230);\"\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003eWhipping Post (Allman)\u003c\/span\u003e\u003c\/li\u003e\n\u003cli style=\"color: rgb(230, 230, 230);\"\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003eBolero (Ravel)\u003c\/span\u003e\u003c\/li\u003e\n\u003cli style=\"color: rgb(230, 230, 230);\"\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003eAmerica The Beautiful (\u003cspan data-mce-fragment=\"1\"\u003eBates\/Ward\u003c\/span\u003e)\u003c\/span\u003e\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eReviews\u003c\/strong\u003e :\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003eAs Travers writes in the liner notes, “Start with the fulcrum of the 1981-1984 touring bands (Robert, Scott \u0026amp; Chad), bring back Ike Willis, add the Synclavier digital workstation, a 5-piece horn section with multi-instrumentalist Mike Keneally and you have what FZ famously described as “The Best Band You Never Heard In Your Life.” While saying “never heard” might have been a bit of hyperbole, it wasn’t far off as the short-lived band (four months of rehearsal in 1987\/1988, followed by a tour from February through June 1988) only played a few dozen shows on the East Coast and Europe before disbanding. Nonetheless, the shows they did play together were electrifying and a masterclass in musicianship.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003eWith Zappa on lead guitar, vocals, and wielding his new obsession the Synclavier, he led the proceedings through a career-spanning set, backed by a stellar cast of veteran band members and newly added members: Mike Keneally (guitar, synth, vocals), Scott Thunes (electric bass, Minimoog), Ike Willis (rhythm guitar, synth, vocals), Chad Wackerman (drums, electronic percussion), Ed Mann (vibes, marimba, electronic percussion), Robert Martin (keyboards, vocals) and the cracking horn section of Walt Fowler (trumpet, flugel horn, synth), Bruce Fowler (trombone), Paul Carman (alto, soprano and baritone sax), Albert Wing (tenor sax) and Kurt McGettrick (baritone and bass sax, contrabass clarinet). The band prepped nearly 100 songs and the sets were wide ranging, spanning tunes from the first Mothers of Invention albums, but with characteristically updated and often times ever-evolving arrangements (“I Ain’t Got No Heart,” “Love Of My Life,” “Who Needs The Peace Corps?”), to new compositions created for the ‘88 tour (“Jesus Thinks You’re A Jerk” and “When The Lie’s So Big”) as well as classical compositions (Bartók, Ravel, Stravinsky) that Zappa liked to play to expose his audiences to music he appreciated. In addition to the inclusion of the 5-piece horn section and it being Keneally’s only tour, the concerts also included extensive use of sampling through the then current machine, the Synclavier, which Zappa took on the road for the first time, as well as percussionists Mann and Wackerman’s use of electronic sounds in their set ups.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003eZappa ’88: The Last U.S. Show includes all of this and many more highlights such as fan favorites, “Peaches En Regalia,” “The Black Page” “Inca Roads,” “Sharleena” “Sofa #1” and “Pound For A Brown.” It also includes a horn-laden cover of The Beatles’ “I Am The Walrus,” and the first official release of the highly sought after “The Beatles Medley,” which features the band performing the music of The Beatles’ “Norwegian Wood,” “Lucy In The Sky With Diamonds” and “Strawberry Fields Forever” with the lyrics completely changed to reflect the then-recent sex scandal of televangelist Jimmy Swaggart. The bawdy lyrics poke fun at the hypocritical minister and was part of Zappa’s agenda to demystify televangelists.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003eJust how Zappa felt it was important to rail against toxically prude self-appointed culture protectors and whatever hypocrisy or hypocrite rankled him that day, he was also a motivator of positive action, passionate about causes, especially voting rights, making it his mission to get his audiences to register to vote. With a presidential election looming, Zappa offered voter registration on the tour, aided by The League of Women Voters. Fans were encouraged to vote before the show or during a special 20-minute intermission in the middle of the two-hour plus concert, which would start with Zappa triggering the Synclavier to play a piece of music. In Uniondale it was “One Man, One Vote.” Notably, the version here is a different mix than the studio version released on Frank Zappa Meets The Mothers Of Prevention. Zappa 88: The Last U.S. Show kicks off with Zappa extolling the importance of voting and encouraging the unregistered to sign up at the show by registering someone live on stage. It was followed by a representative from Governor Mario Cuomo’s office reading a message congratulating “Mr. Zappa for the important work you are doing encouraging your audiences and others to register and vote.”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003e“Sadly after the European run was over,” as Travers pens in the liners, “Frank Zappa chose to disband the group and cancel the rest of the tour, reportedly forfeiting $400,000.00 in revenue and depriving additional audiences the opportunity to witness how special this group really was. With all of the time and money spent to prepare and promote the tour, not to mention the potential within the talented band and crew, now in 2021, it’s an even more historic loss considering FZ was to never tour again.”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eRatings\u003c\/strong\u003e :\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003eDiscogs : 4.85 \/ 5  ,  Rate your music : 4.0 \/ 5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40376226054295,"sku":"ZR20036-1","price":70.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/franck-zappa-the-last-u-s-show-4lp-box-set-audiosoundmusic-1.jpg?v=1719851418"},{"product_id":"ole-coltrane-john-coltrane","title":"John Coltrane - Ole Coltrane (2LP, 45RPM, Mono, ORG Music)","description":"\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSoprano Saxophone (A1, B1), \u003c\/strong\u003e\u003cstrong\u003eTenor Saxophone (C1, D1) - \u003cmeta charset=\"utf-8\"\u003eJohn Coltrane -  \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\/SACD featuring John Coltrane]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAlto Saxophone - George Lane (C1, D1)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBass - Art Davis (A1, B1, C1), \u003c\/strong\u003e\u003cstrong\u003eReggie Workman\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDrums - Elvin Jones\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003ca title=\"vinyl featuring Elvin Jones\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/elvin-jones\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/elvin-jones\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more Vinyl\/SACD featuring Elvin Jones]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFlute - George Lane (A1, B1)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePiano - McCoy Tyner  \u003ca title=\"vinyl featuring McCoy Tyner\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/mccoy-tyner\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/mccoy-tyner\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more Vinyl\/SACD featuring McCoy Tyner]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTrumpet - Freddie Hubbard \u003ca title=\"Vinyl featuring Freddie Hubbard\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/freddie-hubbard\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/freddie-hubbard\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more Vinyl\/SACD featuring Freddie Hubbard]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp style=\"margin: 0cm 0cm 12.0pt 0cm;\" data-mce-fragment=\"1\" data-mce-style=\"margin: 0cm 0cm 12.0pt 0cm;\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-size: 10.5pt; font-family: 'Segoe UI',sans-serif; color: #212b36;\" data-mce-fragment=\"1\" data-mce-style=\"font-size: 10.5pt; font-family: 'Segoe UI',sans-serif; color: #212b36;\"\u003eWritten by John Coltrane (A1, B1, C1) and McCoy Tiner (D1)\u003c\/span\u003e\u003c\/strong\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp style=\"margin: 0cm 0cm 12.0pt 0cm;\" data-mce-style=\"margin: 0cm 0cm 12.0pt 0cm;\" data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e2 LPs, gatefold jacket\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp style=\"margin: 0cm 0cm 12.0pt 0cm;\" data-mce-style=\"margin: 0cm 0cm 12.0pt 0cm;\" data-mce-fragment=\"1\"\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\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp style=\"font-variant-ligatures: normal; font-variant-caps: normal; orphans: 2; text-align: start; widows: 2; -webkit-text-stroke-width: 0px; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial; word-spacing: 0px; margin: 0cm 0cm 12.0pt 0cm;\" data-mce-style=\"font-variant-ligatures: normal; font-variant-caps: normal; orphans: 2; text-align: start; widows: 2; -webkit-text-stroke-width: 0px; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial; word-spacing: 0px; margin: 0cm 0cm 12.0pt 0cm;\" data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-size: 10.5pt; font-family: 'Segoe UI',sans-serif; color: #212b36;\" data-mce-style=\"font-size: 10.5pt; font-family: 'Segoe UI',sans-serif; color: #212b36;\" data-mce-fragment=\"1\"\u003eRecord Press : Pallas\u003c\/span\u003e\u003c\/strong\u003e\u003cspan style=\"font-size: 10.5pt; font-family: 'Segoe UI',sans-serif; color: #212b36;\" data-mce-style=\"font-size: 10.5pt; font-family: 'Segoe UI',sans-serif; color: #212b36;\" data-mce-fragment=\"1\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-variant-ligatures: normal; font-variant-caps: normal; orphans: 2; text-align: start; widows: 2; -webkit-text-stroke-width: 0px; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial; word-spacing: 0px; margin: 0cm 0cm 12.0pt 0cm;\" data-mce-style=\"font-variant-ligatures: normal; font-variant-caps: normal; orphans: 2; text-align: start; widows: 2; -webkit-text-stroke-width: 0px; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial; word-spacing: 0px; margin: 0cm 0cm 12.0pt 0cm;\" data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-size: 10.5pt; font-family: 'Segoe UI',sans-serif; color: #212b36;\" data-mce-style=\"font-size: 10.5pt; font-family: 'Segoe UI',sans-serif; color: #212b36;\" data-mce-fragment=\"1\"\u003eLabel : Org Music\u003c\/span\u003e\u003c\/strong\u003e\u003cspan style=\"font-size: 10.5pt; font-family: 'Segoe UI',sans-serif; color: #212b36;\" data-mce-style=\"font-size: 10.5pt; font-family: 'Segoe UI',sans-serif; color: #212b36;\" data-mce-fragment=\"1\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-variant-ligatures: normal; font-variant-caps: normal; orphans: 2; text-align: start; widows: 2; -webkit-text-stroke-width: 0px; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial; word-spacing: 0px; margin: 0cm 0cm 12.0pt 0cm;\" data-mce-style=\"font-variant-ligatures: normal; font-variant-caps: normal; orphans: 2; text-align: start; widows: 2; -webkit-text-stroke-width: 0px; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial; word-spacing: 0px; margin: 0cm 0cm 12.0pt 0cm;\" data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-size: 10.5pt; font-family: 'Segoe UI',sans-serif; color: #212b36;\" data-mce-style=\"font-size: 10.5pt; font-family: 'Segoe UI',sans-serif; color: #212b36;\" data-mce-fragment=\"1\"\u003eOriginal Label : Atlantic\u003c\/span\u003e\u003c\/strong\u003e\u003cspan style=\"font-size: 10.5pt; font-family: 'Segoe UI',sans-serif; color: #212b36;\" data-mce-style=\"font-size: 10.5pt; font-family: 'Segoe UI',sans-serif; color: #212b36;\" data-mce-fragment=\"1\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-variant-ligatures: normal; font-variant-caps: normal; orphans: 2; text-align: start; widows: 2; -webkit-text-stroke-width: 0px; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial; word-spacing: 0px; margin: 0cm 0cm 12.0pt 0cm;\" data-mce-style=\"font-variant-ligatures: normal; font-variant-caps: normal; orphans: 2; text-align: start; widows: 2; -webkit-text-stroke-width: 0px; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial; word-spacing: 0px; margin: 0cm 0cm 12.0pt 0cm;\" data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-size: 10.5pt; font-family: 'Segoe UI',sans-serif; color: #212b36;\" data-mce-style=\"font-size: 10.5pt; font-family: 'Segoe UI',sans-serif; color: #212b36;\" data-mce-fragment=\"1\"\u003eRecording : \u003c\/span\u003eMay 25, 1961 at A\u0026amp;R Studio, New York City by Phil Ramone\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp style=\"font-variant-ligatures: normal; font-variant-caps: normal; orphans: 2; text-align: start; widows: 2; -webkit-text-stroke-width: 0px; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial; word-spacing: 0px; margin: 0cm 0cm 12.0pt 0cm;\" data-mce-style=\"font-variant-ligatures: normal; font-variant-caps: normal; orphans: 2; text-align: start; widows: 2; -webkit-text-stroke-width: 0px; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial; word-spacing: 0px; margin: 0cm 0cm 12.0pt 0cm;\" data-mce-fragment=\"1\"\u003e\u003cstrong\u003eRemastered by Bernie Grundman and\u003c\/strong\u003e\u003cstrong\u003e Chris Bellman\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp style=\"font-variant-ligatures: normal; font-variant-caps: normal; orphans: 2; text-align: start; widows: 2; -webkit-text-stroke-width: 0px; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial; word-spacing: 0px; margin: 0cm 0cm 12.0pt 0cm;\" data-mce-style=\"font-variant-ligatures: normal; font-variant-caps: normal; orphans: 2; text-align: start; widows: 2; -webkit-text-stroke-width: 0px; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial; word-spacing: 0px; margin: 0cm 0cm 12.0pt 0cm;\" data-mce-fragment=\"1\"\u003e\u003cstrong\u003eProducer : Nesuhi Ertegun\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp style=\"font-variant-ligatures: normal; font-variant-caps: normal; orphans: 2; text-align: start; widows: 2; -webkit-text-stroke-width: 0px; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial; word-spacing: 0px; margin: 0cm 0cm 12.0pt 0cm;\" data-mce-style=\"font-variant-ligatures: normal; font-variant-caps: normal; orphans: 2; text-align: start; widows: 2; -webkit-text-stroke-width: 0px; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial; word-spacing: 0px; margin: 0cm 0cm 12.0pt 0cm;\" data-mce-fragment=\"1\"\u003e\u003cstrong\u003eOriginally released in 1961\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp style=\"font-variant-ligatures: normal; font-variant-caps: normal; orphans: 2; text-align: start; widows: 2; -webkit-text-stroke-width: 0px; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial; word-spacing: 0px; margin: 0cm 0cm 12.0pt 0cm;\" data-mce-style=\"font-variant-ligatures: normal; font-variant-caps: normal; orphans: 2; text-align: start; widows: 2; -webkit-text-stroke-width: 0px; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial; word-spacing: 0px; margin: 0cm 0cm 12.0pt 0cm;\" data-mce-fragment=\"1\"\u003e\u003cstrong\u003eReissued in 2013\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp style=\"font-variant-ligatures: normal; font-variant-caps: normal; orphans: 2; text-align: start; widows: 2; -webkit-text-stroke-width: 0px; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial; word-spacing: 0px; margin: 0cm 0cm 12.0pt 0cm;\" data-mce-style=\"font-variant-ligatures: normal; font-variant-caps: normal; orphans: 2; text-align: start; widows: 2; -webkit-text-stroke-width: 0px; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial; word-spacing: 0px; margin: 0cm 0cm 12.0pt 0cm;\" data-mce-fragment=\"1\"\u003e\u003cstrong\u003eTracks :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eSide A : Olé (Part 1)\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eSide B : Olé (Part 2)\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eSide C : Dahomey Dance\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eSide D : Aisha\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cp\u003e\u003cbr\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e« The complicated rhythm patterns and diverse sonic textures on Olé Coltrane are evidence that John Coltrane was once again charting his own course. His sheer ability as a maverick -- beyond his appreciable musical skills -- guides works such as this to new levels, ultimately advancing the entire art form. Historically, it's worth noting that recording had already commenced two days prior to this session on Africa\/Brass, Coltrane's debut for the burgeoning Impulse! label. The two sets complement each other, suggesting a shift in the larger scheme of Coltrane's musical motifs. The assembled musicians worked within a basic quartet setting, featuring Coltrane on soprano and tenor sax, McCoy Tyner on piano, and Elvin Jones on drums, with double-bass chores held down by Art Davis and Reggie Workman. Added to that are significant contributions and interactions with trumpeter Freddie Hubbard and Eric Dolphy on flute and alto sax (although Dolphy's contract with another record label prevented him from being properly credited on initial pressings of the album). The title track is striking in its resemblance to the Spanish influence heard on Miles Davis' Sketches of Spain. This is taken a bit further as Coltrane's combo stretches out with inspired improvisations from Dolphy, Hubbard, Tyner, and Coltrane, respectively. \"Olé\" likewise sports some amazing double-bass interaction. The combination of a bowed upright bass played in tandem with the same instrument that is being plucked has a sinister permeation that undoubtedly excited Coltrane, who was perpetually searching for sounds outside the norm. The haunting beauty of \"Aisha\" stands as one of the finest collaborative efforts between Tyner, the song's author, and Coltrane. The solos from Hubbard, Dolphy, and an uncredited Tyner gleam from within the context of a single facet in a multi-dimensional jewel. » AllMusic Review by Lindsay Planer\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eAllMusic : 4 \/ 5,  Discogs : 4.73 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40376541577367,"sku":"JCOLOCOLBL-LP00","price":79.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/john-coltrane-ole-coltrane-45rpm-mono-audiosoundmusic-1.jpg?v=1719851419"},{"product_id":"phineas-newborn-jr-here-is-phineas-the-piano-history-of-phineas-newborn-jr","title":"Phineas Newborn Jr. - Here Is Phineas: The Piano History Of Phineas Newborn Jr.","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePhineas Newborn Jr. - piano \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/phineas-newborn-junior\" title=\"vinyl featuring Phileas Newborn Jr.\"\u003e\u003cspan style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Phineas Newborn Jr.]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOscar Pettiford - bass \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/oscar-pettiford\" title=\"vinyl featuring Oscar Pettiford\"\u003e\u003cspan style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Oscar Pettiford]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eKenny Clarke - drums\u003cspan\u003e \u003c\/span\u003e\u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/kenny-clarke\" title=\"vinyl featuring Kenny Clarke\"\u003e\u003cspan style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Kenny Clarke]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCalvin Newborn - guitar\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by Charlie Parker (A1), Oscar Hammerstein II (A2), Jerome Kern (A3), Mack Gordon (A4), Harry Warren (A4), Bud Powell (A4), Clifford Brown (B1), Phineas Newborn, Jr. (B2, B3), Duke Ellington (B3), Don George (B3), Johnny Hodges (B3), Harry James (B3), John Lewis (B4)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Speakers Corner\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label :  Atlantic\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eRecorded in May 1956 at Rudy Van Gelder Studio in Hackensack, New Jersey, \u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eRecorded by Rudy Van Gelder\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eProduced by Nesuhi Ertegun\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1956\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2019\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eTracks : \u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eBarbados\u003c\/li\u003e\n\u003cli\u003eAll The Things You Are\u003c\/li\u003e\n\u003cli\u003eThe More I See You\u003c\/li\u003e\n\u003cli\u003eCelia\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eDahoud\u003c\/li\u003e\n\u003cli\u003eNewport Blues\u003c\/li\u003e\n\u003cli\u003eI'm Beginning To See The Light\u003c\/li\u003e\n\u003cli\u003eAfternoon in Paris\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eReviews :\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e« Other than two numbers cut for the Progressive label in Houston a couple years earlier (and thus far never reissued), this Atlantic session (put out as a Koch CD in 1999) was the recording debut for the remarkable Phineas Newborn. The 24-year-old pianist's playing on this trio\/quartet date with bassist Oscar Pettiford and drummer Kenny Clarke (and occasionally guitarist Calvin Newborn) is virtuosic to say the least, on Oscar Peterson's level if not Art Tatum's. Newborn rips through the repertoire (which is highlighted by \"Barbados,\" \"Celia,\" \"Daahoud,\" and \"Afternoon in Paris\"); try to tap your foot to \"Celia\" without breaking your ankle! In the liner notes, George Wein faults Newborn's tendency to double time the ballads, and some listeners may shake their heads at his constant outpouring of technically impossible runs (those speedy octaves are ridiculous) -- but if one has chops on this level, one should feel free to display them. This is a dazzling debut from an ill-fated but classic pianist, and this CD is a gem. » AllMusic Review by Scott Yanow\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAt long last! Three years after his début as a bandleader, Phineas Newborn found a courageous producer who was willing to allot him time in the studio to record an LP. The man from Tennessee brought with him his guitarist brother Calvin and a rhythm group made up of super stars Oscar Pettiford and Kenny 'Klook' Clark. What resulted was an outstanding, dazzling piano album full of fire.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eHow these musicians dash through \"Celia\" makes one forget Bud Powell, its composer and demigod on the piano. The tempo and the breaks would lead you to break your ankle if you tried to tap your foot to the music. \"Dahoud\" from the repertoire of the Clifford Brown Quintet is similarly fast-paced. Just listen to Kenny Clarke and you will be astounded by his precision and swing. In addition there are little gems such as \"The More I See You\" and the \"Newport Blues\" that is dedicated to the legendary Jazz Festival held on Rhode Island, where Phineas was often to be heard. All in all, this LP is a real treasure, which sees the light of day once again after sixty years.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e : \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAllMusic 5 \/ 5, Discogs \u003c\/span\u003e: \u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e4,38\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\u003e3,98\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40399305867415,"sku":"SD 1235","price":38.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/phineas-newborn-jr-here-is-phineas-the-piano-history-of-phineas-newborn-jr-audiosoundmusic-1.jpg?v=1719851438"},{"product_id":"charles-mingus-mingus-at-antibes","title":"Charles Mingus - Mingus At Antibes (2LP)","description":"\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cbr\u003e\u003cbr\u003eCharles Mingus (b,p) \u003ca style=\"color: #ff8000;\" title=\"All vinyl featuring Charles Mingus\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/charles-mingus\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/charles-mingus\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Charles Mingus]\u003c\/a\u003e\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eEric Dolphy (as, cl) \u003ca title=\"vinyl featuring Eric Dolphy\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/eric-dolphy\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/eric-dolphy\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Eric Dolphy]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eBooker Ervin (tenor saxophone) \u003ca style=\"color: #ff8000;\" title=\"vinyl featuring Booker Ervin\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/booker-erwin\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/booker-erwin\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Booker Ervin]\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eTed Curson (tp); Bud Powell (p); Dannie Richmond (dr)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eWritten by Charles Mingus, except C1 written by \u003c\/strong\u003e\u003cstrong\u003eGene DePaul, Patricia Johnston, Don Raye\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, gatefold 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\u003e\u003c\/strong\u003e\u003cstrong\u003eLive\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eLabel : Speakers Corner\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eOriginal Label :  Atlantic\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eRecording: July 1960 live at the Antibes Jazz Festival, Juan-les-Pins, France, by Dannie Richmond\u003cbr\u003e\u003c\/strong\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cstrong\u003eProduction: Neshui Ertegun\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1976\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2019\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eTracks : \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A:\u003c\/p\u003e\n\u003cp\u003e                1 Wednesday Night Prayer Meeting\u003c\/p\u003e\n\u003cp\u003e                2. Prayer For Passive Resistance\u003c\/p\u003e\n\u003cp\u003eSide B:\u003c\/p\u003e\n\u003cp\u003e                1. What Love?\u003c\/p\u003e\n\u003cp\u003eSide C:\u003c\/p\u003e\n\u003cp\u003e                1. I'll Remember April\u003c\/p\u003e\n\u003cp\u003eSide D:\u003c\/p\u003e\n\u003cp\u003e                1. Folk Forms I\u003c\/p\u003e\n\u003cp\u003e                1. Better Git Hit In Your Soul\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e« During 1960, bassist Charles Mingus led one of his finest bands, a pianoless quartet with Eric Dolphy (on alto, flute, and bass clarinet), trumpeter Ted Curson, and drummer Dannie Richmond. For this live concert, the band is augmented by the great tenor Booker Ervin for some stirring music. All of the music is memorable: \"Wednesday Night Prayer Meeting,\" \"Prayer for Passive Resistance,\" \"What Love,\" \"Folk Forms No. 1,\" and \"Better Get Hit in Yo' Soul.\" The immortal pianist Bud Powell sits in on a fine version of \"I'll Remember April\" and Dolphy and Ervin in particular generate a great deal of heat during some of their solos. » AllMusic Review by Scott Yanow\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eYou can be sure that jazz fans in the year 1960 were unfamiliar with Charles Mingus’s LPs \"Blues And Roots\" or \"Mingus Ah-Um\" when they poured into the Pinède Gould Arena at the Antibes Jazz Festival held in Juan-les-Pins, France on 13 July. At any rate, as can be seen in a short video clip, all the seats were occupied. In addition, a really good trumpeter was there, whose name would later resound throughout Europe: Ted Curson. What is more, the legendary Bud Powell, who lived in France, was invited as a special guest for one number that required a pianist.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThe Jazz Workshop – which was how Mingus called his working ensemble – presented repertoire that was familiar to all the musicians: \"Better Git It In Your Soul\", \"Wednesday Night Prayer Meeting\" and Dolphy’s wonderful solo on the bass clarinet in \"What Love?\". Besides this there was \"Cry For Freedom\" as \"Prayer For Passive Resistance\" was also named, and \"Folk Forms\", also known as \"Ummh\". As a mark of respect towards the guest musician, it was decided to perform the evergreen \"I’ll Remember April\", with Powell’s improvisation being applauded enthusiastically by the audience.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eCharles Mingus was to play in numerous concerts in the 60s and 70s; he recorded more than two-dozen official LPs, accused several concert organizers and tour managers of extortionate robbery, and trampled on illegal recording tapes. But the present live recording was made by the ORTF and released officially later by Atlantic Records. It is now re-released after many years and is a rare document in the annals of music history.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eAllMusic : 5 \/ 5, \u003cspan\u003eDiscogs \u003c\/span\u003e: \u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e4,35\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\u003e4,13\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40399579545751,"sku":"SD 2-3001","price":65.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/charles-mingus-mingus-at-antibes-2lp-audiosoundmusic-1.jpg?v=1719851457"},{"product_id":"paul-desmond-easy-living","title":"Paul Desmond - Easy Living","description":"\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003ePaul Desmond - alto 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-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/paul-desmond\"\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\u003e Jim Hall (guitar) \u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\"\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\u003cstrong\u003eGene Wright, Gene Cherico, Percy Heath (bass)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eConnie Kay (drums)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by Jack Segal (A1), Robert Wells (A1), Lew Brown (A2), Sammy Fain (A2), Johnny Burke (A3, A4), James Van Heusen (A3, A4), Ralph Rainger (B1), Leo Robin (B1), Alan Jay Lerner (B2), Frederick Loewe (B2), Lorenz Hart (B3), Richard Rodgers (B3), Paul Desmond (B4)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Speakers Corner\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label :  Columbia\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"production_info\"\u003e\u003cstrong\u003eRecording: June 1963, July and September 1964, June 1965 at RCA Studio, New York City by \u003c\/strong\u003e\u003cstrong\u003e\u003cspan\u003eRay Hall\u003c\/span\u003e\u003cbr\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eProduction: George Avakian\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 2018\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp class=\"production_info\"\u003e\u003cstrong\u003eTracks :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"production_info\"\u003eSide A :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eWhen Joanna Loved Me\u003c\/li\u003e\n\u003cli\u003eThat Old Feeling\u003c\/li\u003e\n\u003cli\u003ePolka Dots And Moonbeams\u003c\/li\u003e\n\u003cli\u003eHere's That Rainy Day\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eEasy Living\u003c\/li\u003e\n\u003cli\u003eI've Grown Accustomed To Her Face\u003c\/li\u003e\n\u003cli\u003eBewitched\u003c\/li\u003e\n\u003cli\u003eBlues For Fun\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e« As the Paul Desmond\/Jim Hall quartet's recording activities gradually came to a halt by 1965, RCA Victor assembled the remains of a number of their later sessions into one last album. These are anything but leftovers, however -- indeed, they constitute the best Desmond\/Hall album since Take Ten, more varied in texture and mood, and by and large more inspired in solo content, than Bossa Antigua and Glad to Be Unhappy. As a near-ideal example of this collaboration at its intuitive peak, \"Polka Dots and Moonbeams\" opens with Hall paraphrasing the tune, and Desmond comes in on the bridge with a perfectly timed rejoinder that sounds as if he's asking a question. \"Here's That Rainy Day\" is another apt match of a standard to Desmond's sophisticated personality; he is at his dry, jaunty best on the uptempo \"That Old Feeling\"; and both have a ball jamming on the blues in Desmond's wry, quick \"Blues for Fun.\" » AllMusic Review by Richard S. Ginell\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e« The gorgeous tone produced by alto saxophonist, Paul Desmond was famously compared to a dry martini. Desmond was a master of the altissimo register on the alto sax. His alto high notes have a sensuousness that can only be compared to Willie Smith or Johnny Hodges, but Desmond’s tone to me comes closer to elegance than to the soulfulness that the other two alto giants possessed. Paul’s playing was seemingly effortless, that surely belied his talents.\u003c\/p\u003e\n\u003cp\u003eDesmond was most famous for his extended tenure with Dave Brubeck, and also for composing “Take Five,” which may be the most well known jazz composition ever, especially for casual jazz fans.\u003c\/p\u003e\n\u003cp\u003eAfter the late 1960s, his membership in Brubeck’s group was only periodic up until his death in 1977. Later in his career, Paul made a series of albums with cool toned guitarist, Jim Hall, that are available as a hard to find box set on RCA. Hall was a perfect partner for Desmond, as each was understated and lightly swinging, as they explored jazz standards. Their communication was symbiotic, and counterpoint was often used.\u003c\/p\u003e\n\u003cp\u003eThe boutique vinyl label, Speakers Corner, from Europe, has recently released Easy Living, which was recorded using three different bass players over a three year period, and issued in 1966. The drummer on all the sessions was Connie Kay, who was most famous for his time with the Modern Jazz Quartet. The bassists were Gene Wright (from Brubeck’s group); Gene Cherico (who was with Stan Getz at that time); and Percy Heath, the most well known, and brother of Jimmy and Tootie.\u003c\/p\u003e\n\u003cp\u003eSong selection are well known standards, with the exception of “Blues for Fun,” the only uptempo, largely improvised tune recorded. This track has the only real bass solo on the album, this one features Gene Cherico.\u003c\/p\u003e\n\u003cp\u003e“When Joanna Loved Me” opens on Side 1 with Paul’s breathy, velvety tone fully on display. Jim Hall gets his solo time, as well, as the pattern for the album gently falls into place. The bass and drums throughout strictly comp. On “Joanna” Gene Wright provides the steady heart beat that is noticeable,  and contributes to the relaxed swing.\u003c\/p\u003e\n\u003cp\u003eThere is a great solo for Hall on “That Old Feeling.” The “floating on air” quality of Desmond’s playing is intoxicating. “Polka Dots and Moonbeams” is reflective in nature, and “Here’s That Rainy Day” closes the first side a bit more uptempo.\u003c\/p\u003e\n\u003cp\u003eThe title track pretty well confirms that Paul Desmond is the proper choice to describe its name. He makes it almost effortless, as such is easy living. Both “I’ve Grown Accustomed to Her Face” and “Bewitched” are classic tunes, and ear candy for late night listening. The closing “Blues for Fun” as mentioned earlier, lets the alto\/guitar duo stretch out a bit to improvise, and give some “heat” and has the welcome solo from Cherico.\u003c\/p\u003e\n\u003cp\u003eAll in all, a winning session from two consummate pros, and the acoustics are top notch as engineer, Ray Hall, as usual, was well up to the task. Vinyl lovers and fans of Desmond and Hall, will surely enjoy this warmly recorded re-release. » Jeff Krow, Audiophile Audition, Apr 9, 2019\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eWhy should you buy this LP? 1. Because of its super sound? Of course! 2. Because Paul Desmond and Jim Hall are playing? Naturally! 3. For \"Easy Living\"? Surely one of the best numbers in one of the most multifaceted versions! 4. Because you missed out on the first release in 1966? Well, don’t make the same mistake in 2018!\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eNot everyone wants to purchase all Victor recordings by Paul Desmond and Jim Hall with umpteen alternate takes in a voluminous CD Box, to listen to it all, and to find it just wonderful to show off on the record shelf. The eight numbers on \"Easy Living\" constitute the height of Desmond’s career anyway after he had at last managed to take his leave from Dave Brubeck’s group. And the change from purely chordal playing and single notes from Jim Hall is more airy and more inspiring than the meaty piano clusters of his former boss. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eAnd don’t forget either that half of the Modern Jazz Quartet, namely the bassist Percy Heath and the drummer Connie Kay, deliver an exquisite skeletal structure over which the musicians can improvise brilliantly.\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eLPs are, and remain, unbeatable, both as regards sound and feel. And happily they are also a safe investment – maybe not all, but \"Easy Living\" with Paul Desmond and Jim Hall most definitely!\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"production_info\"\u003e \u003c\/p\u003e\n\u003cp class=\"production_info\"\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp class=\"production_info\"\u003eAllMusic : 4.5 \/  5  ,   \u003cspan\u003eDiscogs \u003c\/span\u003e:\u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e4,43\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5  ,  \u003c\/span\u003e\u003cspan\u003eRate Your Music \u003c\/span\u003e:\u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\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":40400057335959,"sku":"LSP-3480","price":38.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/paul-desmond-easy-living-audiosoundmusic-1.jpg?v=1719851485"},{"product_id":"oregon-roots-in-the-sky","title":"Oregon - Roots In The Sky","description":"\u003cp\u003e\u003cstrong\u003ePaul McCandless (clarinet, English horn, oboe), Ralph Towner (flugelhorn, guitar, piano, percussion), Collin Walcott (guitar, percussion), Glen Moore (bass)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by Ralph Towner (A1, A2, A4, B3), Collin Walcott (A3, B1, B5), Paul McCandless (B2), Glen Moore (B4)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Speakers Corner\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label :  Elektra\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eRecording: December 1978 at Longview Farms, North Brookfield, MA., and April 1979 at Columbia Recording Studios, New York, by David Greene\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eProduction: Oregon\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1979\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2018\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eTracks :\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eJune Bug\u003c\/li\u003e\n\u003cli\u003eVessel\u003c\/li\u003e\n\u003cli\u003eSierra Leone\u003c\/li\u003e\n\u003cli\u003eOgden Road\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eHouse of Wax\u003c\/li\u003e\n\u003cli\u003eHungry Heart\u003c\/li\u003e\n\u003cli\u003eOrrington’s Escape\u003c\/li\u003e\n\u003cli\u003eRoots In The Sky\u003c\/li\u003e\n\u003cli\u003eLonging, So Long\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e« Speakers Corner Records has released a re-mastered 180-gram vinyl of the 1979  release, Roots In The Sky by Oregon. It has always been difficult to categorize the music of this band. With a core lineup of Paul McCandless (reeds), Ralph Towner (guitar, piano), Collin Walcott (percussion) and Glen Moore, the group met as members of the Paul Winter’s Consort. After recording several albums on the Vanguard label, they signed with Electra Records. This represented (along with their 1978 album, Out Of The Woods) an opportunity to access a higher level of studio production and distribution. Side 1 opens with the propulsive, “June Bug”. One of four Towner compositions, it kicks off with furious guitars chords, set against percussion (Colin Walcott). McCandless takes the lead on clarinet which is a pastoral counterpoint to the funky jam. “Vessel” initiates with loping exotic drumming that establishes a free-jazz driving pulse. Towner switches to piano with punctuated repeat chords. His piano solo\/lead is lyrical with jazzy inflection. The band members nimbly coalesce around the piano and bassist Glen Moore shines on his solo. On “Sierra Leone” a musical tapestry is intermingled with African motifs. Oregon manages to combine world influences in genre-combining arrangements. “Ogden Road” delves into the ruminative, melodic ambience with sensitivity and an acoustic coloration. The classical influences (especially piano and English horn) and syncopated tempo contribute to a swirling aural landscape. There is even a Latin undercurrent.\u003c\/p\u003e\n\u003cp\u003eSide 2 is a powerful, diverse musical statement. “House Of Wax” begins with a jazzy piano vamp. In contrast, a sitar is added to create an unlikely blend of jazz and mysticism. The texture is augmented by studio effects and the overall free-form approach is hypnotic. A more contemporary vibe inhabits “Hungry Heart’ with reed instrumentation, guitar bass and percussion.. There is a crisp acoustic guitar run and potent, rhythmic play from the band. A concise “Orrington’s Escape” is crisply executed with occasional atonal intonation. The final pair of songs are emblematic of the quartet’s dynamic musical vision. “Roots In The Sky” is hard charging and bass-driven. It is countered by sitar and flugelhorn for a wild mosaic of sound. The layering of horns is especially compelling. The wide sweeping musical influence of Oregon can be heard on “Longing, So Long”. The group jams with pulsating intensity augmented by a collage of instrumental accents.\u003c\/p\u003e\n\u003cp\u003eOregon suffered a great loss with the death of Collin Walcott in 1984. They persevered to record for another 30 years, but never achieved the creative or critical apex of their earlier career. Speakers Corner Records’ vibrant 180-gram upgrade is a testament to their under-appreciated legacy. » Robbie Gerson, Audiophile Audition, Jan 31, 2021\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIf there was ever a group that successfully amalgamated Asian and African music with jazz and classic, then it was surely Oregon. With a wide range of instruments and the musicians’ unusually receptive ears for everything here, there and everywhere, Oregon certainly enjoyed the optimal prerequisites. Ralph Towner, Paul McCandless, Glen Moore and in particular Colin Walcott laid the foundations for their music in the musical heaven of their time. Oboe, cor anglais, bass clarinet, six- and twelve-string guitars, piano, flugelhorn, percussion, bass, sitar, tabla – such a versatile range of instruments – lent the nine numbers their, until then, rarely heard sound colouring and mark the transition from the band’s more hippy-like, country sound when they recorded for the Vanguard label to their later classic sound when signed to ECM. In this respect, \"Roots In The Sky\" is an important contemporary document in the world of music between 1970 and 1980. A rare black disc on which there is much to discover!\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e : \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAllMusic : 4.5 \/ 5 ;  \u003c\/span\u003e\u003cspan\u003eDiscogs \u003c\/span\u003e: \u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e4.23\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5  ;  \u003c\/span\u003eAudiophile Audition : 4.5 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40403938738327,"sku":"6E-224","price":38.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/oregon-roots-in-the-sky-audiosoundmusic-1.jpg?v=1719851490"},{"product_id":"the-modern-jazz-quartet-fontessa","title":"The Modern Jazz Quartet - Fontessa","description":"\u003cp\u003e\u003cstrong\u003eJohn Lewis (piano)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMilt Jackson (vibraharp) \u003cspan style=\"color: #ff8000;\"\u003e\u003ca title=\"vinyl featuring Milt Jackson\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/milt-jackson\" style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/milt-jackson\"\u003e[click here to see more vinyl featuring Milt Jackson]\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePercy Heath (double bass)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eConnie Kay ( drums)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWriten by \u003c\/strong\u003e\u003cstrong\u003eJohn Lewis (A1, A3), Earl Brent (A2), Matt Dennis (A2), Harold Arlen (B1), E.Y. \"Yip\" Harburg (B1), Milt Jackson (B2), Ann Ronell (B4), Dizzy Gillespie (B4)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Speakers Corner\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label :  Atlantic\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eRecording: January and February 1956 by Rudy Van Gelder in mono\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eProduction: Nesuhi Ertegun\u003c\/span\u003e\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 2017\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eTracks\u003c\/span\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003cspan\u003e :\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eVersailles (Porte De Versailles)\u003c\/li\u003e\n\u003cli\u003eAngel Eyes\u003c\/li\u003e\n\u003cli\u003eFontessa\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eOver The Rainbow\u003c\/li\u003e\n\u003cli\u003eBluesology\u003c\/li\u003e\n\u003cli\u003eWillow Weep For Me\u003c\/li\u003e\n\u003cli\u003eWoodyn You\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e« This LP has a particularly strong all-around set by the Modern Jazz Quartet. While John Lewis' \"Versailles\" and an 11-minute \"Fontessa\" show the seriousness of the group (and the influence of Western classical music), other pieces (such as \"Bluesology,\" \"Woody 'N You\" and a pair of ballads) look toward the group's roots in bop and permit the band to swing hard. » AllMusic Review by Scott Yanow\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e« As members of Dizzy Gillespie’s big band, John Lewis and Milt Jackson were establishing a reputation as premier jazz instrumentalists. John Lewis was revered for his inclination toward classical music and its organic integration with jazz. Milt Jackson was a fierce instrumentalist, inspired by bebop. After forming the John Lewis Quartet in 1952, the beginning of a four-decade prominence on the jazz scene was launched. Eventually, the “final” lineup was established with the addition of Percy Heath and Connie Kay. Under the name Modern Jazz Quartet, the ensemble were adept at recording their own albums (on various labels) and collaborating with a variety of jazz icons (Ben Webster, Jimmy Giuffre, Oscar Peterson, Sonny Rollins), Their ability to master improvisation and polyphony was unprecedented. They were adept at restrained, but inspired instrumental jams. Their earliest successes, “Django” and “Bags Groove” have become jazz standards. The Modern Jazz Quartet enjoyed various resurgences throughout their illustrious career, but they were at a creative apex in the 50’s with their catalog on Verve and Atlantic.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eSpeakers Corner has released a re-mastering of Fontessa, (Atlantic\/1956). The original recording was engineered by Rudy Van Gelder and John Kraus. Their grasp of mono aural landscapes is superb and the vinyl re-mastering is faithful to the hi-frequency “roll-off” that defined that sound. Side One opens with a Lewis composition, “Versailles”. With a triangle for percussion, Lewis and Jackson play together and intermingle on the melody. The dual-pronged translation mirrors the distinctive, contrasting styles of Lewis (precise, serious) and Jackson (improvisational, bluesy). Heath’s understated double bass fits in perfectly. Perhaps the unique artistry of MJQ is best represented by the ruminative cover of “Angel Eyes”. With a single-note underlying vibraharp and triangle, Lewis executes his graceful, but complex piano notations. The melodic context has a sultry cinematic resonance. Lewis’ poignancy complements Jackson’s energetic be-bop phrasing.\u003c\/p\u003e\n\u003cp\u003eAlways celebrating interpretive range, the title track is visionary. Fortunately, Lewis (the composer) has provided context to this “suite” in the liner notes. Lewis and Jackson combine on a classical-infused prelude (with deft cymbals). The first “movement” is vampy with blues imagery. There are unusual chords and musical structures folded into a medium-swing cool jazz groove. The next part is more improvisational as both Jackson  and Lewis (with a surprising gospel flavor) sustain lyrical flashes against a loping bass rhythm. The final segment is more contemporary with edginess and spare dissonance. Kay executes a rare cymbal solo. Side B is loaded with different arrangements. Everyone is familiar with Harold Arlen’s “Over The Rainbow”. Jazz musicians have always been drawn to this piece for its haunting, emotional melody. Lewis delivers a silky intro before he is joined by Milt on the patented dual lead with counterpoint. The physical dexterity of the vibraphone performance is dynamic and explosive. There is a quasi-bounce temp change, before the two soloists combine on a simple, but gorgeous harmony.\u003c\/p\u003e\n\u003cp\u003e“Bluesology” (written by Milt Jackson) is an accomplished concoction of swinging jazz blues. Milt percolates on vibraharp, while John lats down soulful riffs. The overall sound is fuller, almost like a 4-piece big band. In a switch, Lewis shines with improvisational acuity on an extended solo with sprightly chords and soulful inflection. Jackson finishes the jam and the band executes another tempo change at the end. “Willow Weep For Me” is a change of pace with a moody late-night balladry. Again, Lewis can integrate with the rhythm section and layer counterpoint simultaneously. There is a slight rhythm up tick, before the return to bluesy rumination. The finale (“Woodyn You”) is homage to the group’s mentor, Dizzy Gillespie. As advertised it is a polyrhythmic bebop arrangement with syncopation, stops and big time swing flourishes. The amazing coherency of contrasting instrumentalists is intriguing and compelling. Jackson rollicking riffs and Lewis’ understated play merge seamlessly.\u003c\/p\u003e\n\u003cp\u003eThe overall sound mix of Speakers Corner’s vinyl re-mastering is excellent. The mono fidelity is crystalline. The listener can differentiate each individual instrument  at all times. The mic placement is brilliant, as evidenced by the precise rendering of minor details like a cymbal or triangle. The vibraphone tonality is crisp and sharp, but also glows with echo. There are band notes (from the Atlantic album) by renowned critic Ralph J. Gleason (San Francisco Chronicle, Down Beat).\u003c\/p\u003e\n\u003cp\u003eFontessa is a jazz classic, made greater by a technology update! » Robbie Gerson, Audiophile Audition, Apr 11, 2018\u003c\/p\u003e\n\u003cp\u003eThe famous critic and jazz expert Ralph J. Gleason quite rightly mentioned two highly distinctive men in his liner notes – John Donne and Pablo Picasso. Almost four hundred years and a great deal of seawater separate the two exceptional artists from England and Spain. Nevertheless the four black US-Americans who make up the Modern Jazz Quartet bridge the gap between time and continents effortlessly.\u003cbr\u003eAnd what’s more, blues is also to be heard – and bebop! And evergreens from the Broadway shows of the Thirties too!\u003c\/p\u003e\n\u003cp\u003eIn contrast to some of the other rather more dawdling and laid-back MJQ LPs, \"Fontessa\" offers diversified and intense music. Nothing is routine, perhaps because the drummer Connie Kay had replaced Kenny Clark just one year previously. But maybe too because Milt Jackson’s blues influence inspired John Lewis perceptibly to forget all about discipline. All seven numbers are true gems. But if you want a special hint, just listen to \"Bluesology\". Well, perhaps the present author is too much of a Milt Jackson fan. Be that as it may, the music magazine \"Rolling Stone\" gave this LP a five-star rating!\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\u003e3,76\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40404107493527,"sku":"1231","price":38.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/the-modern-jazz-quartet-fontessa-audiosoundmusic-1.jpg?v=1719851504"},{"product_id":"katie-mahan-plays-gershwin","title":"Katie Mahan - Plays Gershwin (D2D)","description":"\u003cp\u003e\u003cstrong\u003eKatie Mahan (piano)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eComposed by George Gershwin\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\u003eDirect-to-disc recording\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 BMS (Berliner Meister Schallplaten)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eRecording: December 2016 at Meistersaal, Emil Berliner Studios, Berlin, by Stephan Flock\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eProduction: Rainer Maillard \u0026amp; Stephan Flock\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eReleased in July 2017\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\u003cstrong\u003e\u003cspan\u003e:\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003cp style=\"padding-left: 30px;\" data-mce-fragment=\"1\"\u003e1. Rhapsody in Blue (George Gershwin)\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eSide B :\u003c\/p\u003e\n\u003cdiv style=\"padding-left: 30px;\" data-mce-fragment=\"1\"\u003e1. Embraceable You (George Gershwin)\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\" data-mce-fragment=\"1\"\u003e2. I Got Rhythm (George Gershwin)\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\" data-mce-fragment=\"1\"\u003e3. Our Love Is Here To Stay (George Gershwin)\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\" data-mce-fragment=\"1\"\u003e4. Prelude No. 1 (George Gershwin)\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\" data-mce-fragment=\"1\"\u003e5. Prelude No. 2 (George Gershwin)\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\" data-mce-fragment=\"1\"\u003e6. Prelude No. 3 (George Gershwin)\u003c\/div\u003e\n\u003col start=\"7\"\u003e\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eGeorge Gershwin is America's most beloved classical composer. His music personifies the ideals of a vastly diverse modern world, like a magic mirror which reflects every aspect of its surroundings. Gershwin is responsible for opening up the concert hall to the popular American composer, and for breaking down the conventional boundaries between popular music and art music.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eHe loved to play the piano, and would sit at the piano and improvise songs for hours. His piano playing was outstanding, characterized not only by its unbridled virtuosity and spontaneity, but also by its intricacy, charm, and sheer inventiveness.\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eIt is through the piano that his imagination came to life in composition, and although he was equally at home improvising on the piano at a party, composing popular songs for Broadway, or writing large works for the concert hall, it is as a 'serious' classical composer and pianist that Gershwin most desired to be remembered and respected. The selections on this album pay tribute to the 'classical' Gershwin.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eKatie Mahan who, at the age of four, was inspired to study the piano after attending a concert of Gershwin given by the Labèque sisters, does not try to imitate Gershwin's singular piano style, nor does she seek to play in a jazz style. Rather, she brings her own unique voice to his works, presenting arrangements that are unabashedly classical, and which reflect her own personality and musical background.\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eIn this live direct-to-disc recording, Mahan not only captures the spontaneity and originality inherent to the fiber of Gershwin's music, but also transports the music into the classical realm where the composer most desired to be.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eDirect-to-disc (D2D)\u003c\/strong\u003e recording refers to sound recording methods that record audio directly onto analog disc masters bypassing steps as master tapes, overdubs, and mix downs from multi-tracked masters. This approach avoids problems of analog recording tape such as tape hiss (high frequency noise).\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eDiscogs : 4 \/ 5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40404197638295,"sku":"1706 V","price":35.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/katie-mahan-plays-gershwin-d2d-audiosoundmusic-1.jpg?v=1719851503"},{"product_id":"sonny-stitt-stitt-plays-bird","title":"Sonny Stitt - Stitt Plays Bird","description":"\u003cp\u003e\u003cstrong\u003eSonny Stitt - alto sax\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJim Hall - guitar \u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\"\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\u003cstrong\u003eJohn Lewis (piano), Richard Davis (bass), Connie Kay (drums)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by Charlie Parker (A1, A2, A3, A4, A5, B1, B2, B4), Benny Harris (A1), Jay McShann (B3) \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Speakers Corner\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label :  Atlantic\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eRecording: January 1963 at Atlantic Studios, New York City, by Tom Dowd\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eProduction: Nesuhi Ertegun\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1964\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2017\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eTracks :\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eOrnithology\u003c\/li\u003e\n\u003cli\u003eScrapple From The Apple\u003c\/li\u003e\n\u003cli\u003eMy Little Suede Shoes\u003c\/li\u003e\n\u003cli\u003eParker's Mood\u003c\/li\u003e\n\u003cli\u003eAu Privave\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eKo-Ko\u003c\/li\u003e\n\u003cli\u003eConfirmation\u003c\/li\u003e\n\u003cli\u003eHootie Blues\u003c\/li\u003e\n\u003cli\u003eConstellation\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e : \u003c\/p\u003e\n\u003cp\u003e« Sonny Stitt forged his own approach to playing bebop out of the sound and style of Charlie Parker, so this tribute album was a very logical project. With fine support from guitarist Jim Hall, pianist John Lewis, bassist Richard Davis, and drummer Connie Kay, Stitt performs ten Parker compositions, plus Jay McShann's \"Hootie Blues\"; these renditions of \"Now's the Time\" and \"Yardbird Suite\" were previously unreleased. Stitt, who mastered bebop and could play hot licks in his sleep, is in top form on such numbers as \"Constellation,\" \"Confirmation,\" and \"Ko-Ko,\" making this an essential item for straight-ahead jazz fans (although the prolific altoist would record eight other albums in 1963 alone). » AllMusic Review by Scott Yanow\u003c\/p\u003e\n\u003cp\u003e« For those listeners who may have missed out on the LP Stitt Plays Bird ,when it was first released in 1963, now is your chance to rectify that oversight. Deliciously re-mastered by the German label Speakers Corner Records to bring out the full dynamics and sonic delight of the stereo recording, you are treated to Sonny Stitt and his be-bop cohorts run through eight Charlie Parker originals and one by Jay McShann ( in whose band Parker was first employed).\u003c\/p\u003e\n\u003cp\u003eAdditionally, the liner notes are by Ira Gitler ( who died on February 23, 2019, at 90)  and was one of the most respected jazz writers of the post war era as well as an early believer in be-bop music. Finally the album cover is a portrait of Stitt by noted American painter Marvin Israel, which is so flawlessly reproduced it could be suitable for framing.\u003c\/p\u003e\n\u003cp\u003eThe musicians surrounding Stitt, are anchored by two stalwarts of the Modern Jazz Quartet, pianist John Lewis and drummer Connie Kay plus  one of tastiest guitarists in jazz  Jim Hall, and the big toned bassist Richard Davis.\u003c\/p\u003e\n\u003cp\u003eMuch has been made about the influence that Charlie Parker had on the playing of Sonny Stitt. Although there was a closeness in style, and some of Stitt’s early solo work may have had some note for note Parker comparisons, Stitt was his own man, developing his own creativity and phrasing.  The opening track on Side One is “Ornithology” which is based on How High The Moon and a close listening may pick up some early Parker mannerisms. Guitarist Jim Hall has a glorious solo on this number.\u003c\/p\u003e\n\u003cp\u003e“Scrapple From The Apple” uses chord changes from Honeysuckle Rose with  Hall and Stitt covering the line on both the introduction and the out chorus to the number. In between Stitt is both agile and aglow throughout his solo space.\u003c\/p\u003e\n\u003cp\u003e“Parker’s Mood” is a slow blues on which Stitt is expressive and sure-footed. Pianist John Lewis, who had been involved with several prior recordings of the number including Parker’s original outing, offers ideal rapport that is both empathetic and lyrical.\u003c\/p\u003e\n\u003cp\u003eIf you listen closely as Side Two opens with “Ko-Ko” the changes of Ray Noble’s Cherokee are on full display. Stitt takes the number at full gallop and he does not gives up the reins throughout the piece.\u003c\/p\u003e\n\u003cp\u003eAnother all Stitt offering is “Confirmation” which has become a bebop standard. Filled with an array of complex and rapid chord changes, this composition is not for the faint of heart. Stitt never backed away from a challenge and he tackled the opportunity with his assertive style and cool-headed technical facility.\u003c\/p\u003e\n\u003cp\u003eWhen Parker was in Jay McShann’s band in the early 1940s, they recorded one of McShannn’s compositions “Hootie Blues”. Stitt’s interpretation is of the low-down blues variety and he sets the stage accordingly.  Pianist Lewis, guitarist Hall, and bassist Davis are moved to add to the suggestive slow-burn attractiveness of the number.\u003c\/p\u003e\n\u003cp\u003eBe-bop is spoken here. » Pierre Giroux, Audiophile Audition, May 31, 2019\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eIt is widely known that Sonny Stitt didn’t want to be taken for Charlie 'Bird' Parker and changed from playing the alto to the tenor saxophone. Although false rumours pop up every now and then, the truth is that at the beginning of the 1940s Stitt independently developed the same be-bop licks as Parker without ever having heard him.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eFor \"Stitt Plays Bird\" Sonny had to unearth his old instrument and insert a new mouthpiece because Atlantic Records and their entrepreneurial president Ahmet Ertegun hoped for big sales figures. Which actually proved true.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eOne half of the modern jazz quartet provided the melodic and rhythmic basis for improvisations on eight 'hits' by Charlie Parker and one composition by his first employer Jay McShann. Added to this are the subtle, sensitive scatterings from Jim Hall and the emphatic beat from Richard Davis, both of which lend delicacy and pulse to the numbers. It’s hard to recommend a special track, but \"Scrapple From The Apple\" is just awesome! All the numbers are based on standards – just which they are can be found in the informative liner notes by the be-bop expert Ira Gitler. Atlantic’s logo “Full Dynamic Frequency Spectrum” is no longer a swindle in this new pressing and at last one can enjoy all nine titles in all their sonic glory.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eAllmusic : 4.3 \/ 5 ,  \u003c\/span\u003e\u003cspan\u003eDiscogs \u003c\/span\u003e: \u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e4,48\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5 , \u003c\/span\u003e\u003cspan\u003eRate Your Music \u003c\/span\u003e: \u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e3,49\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40404214186135,"sku":"SD 1418","price":38.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/sonny-stitt-stitt-plays-bird-audiosoundmusic-1.jpg?v=1719851503"},{"product_id":"charles-lloyd-forest-flower","title":"Charles Lloyd - Forest Flower","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\"\u003eCharles Lloyd (ts, fl) \u003ca title=\"Vinyl featuring Charles Llyod\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/charles-lloyd\" style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/charles-lloyd\"\u003e[click here to see more vinyl featuring Charles Llyod]\u003c\/a\u003e\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eKeith Jarrett (p) \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/keith-jarrett\" title=\"vinyl featuring Keith Jarrett\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/keith-jarrett\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see vinyl featuring Keith Jarrett]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003e Cecil McBee (b) \u003ca title=\"vinyl featuring Cecil McBee\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/cecil-mcbee\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/cecil-mcbee\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Cecil McBee]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eJack DeJohnette (dr) \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/jack-dejohnette\" title=\"vinyl featuring Jack Dejohnette\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/jack-dejohnette\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Jack DeJohnette]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by Charles Lloyd (A1, A2), Keith Jarrett (B1); Cecil McBee (B2), Brooks Bowman (B3)\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, gatefold sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\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\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLive\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Speakers Corner\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label :  Atlantic\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eRecording: September 1966 live at Monterey Jazz Festival by Wally Heider\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003cbr\u003e\u003cspan\u003eProduction: George Avakian\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1967\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2016\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eTracks : \u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e1. Forest Flower - Sunrise\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e2. Forest Flower - Sunset\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e1. Sorcery\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e2. Song of Her\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e3. East of The Sun\u003c\/div\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\"Your ear won't know where to tune in : to Jarrett's dazzling jagged runs (that years later show up in Mike Garson's 'Alladin Sane' Bowie accompaniment), or DeJohnette's driving cymbal work or McBee's muscular playing on his 'Song of Her' or the rousing concluding piece, a speedy take on the standard 'East of the Sun,' which the group takes apart and then gleefully re-assembles much to the crowd's delight. Lloyd's fleet playing is an album standout. ... Kevin Gray's cut is far superior to my original Atlantic pressing, which despite all of the Dual 1009SK\/Shure V15 plays, remains quiet and fully extended on top. However, this reissue is far more dynamic and far better EQ'd, especially in the far more transparent midrange that also manages to well convey the outdoor space.\" Michael Fremer, \u003c\/span\u003e\u003cem\u003eAnalogPlanet.com\u003c\/em\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e« When Charles Lloyd brought his new band to Monterey in 1966, a band that included Keith Jarrett on piano, Jack DeJohnette on drums, and the inimitable -- though young -- Cecil McBee on bass, no one knew what to expect. But they all left floored and this LP is the document of that set. It is difficult to believe that, with players so young (and having been together under a year), Lloyd was able to muster a progressive jazz that was so far-reaching and so undeniably sophisticated, yet so rich and accessible. For starters, the opening two title tracks, which form a kind of suite (one is \"Forest Flower-Sunrise,\" the other \"Sunset\"), showcased the already fully developed imagination of Jarrett as a pianist. His interplay with DeJohnette -- which has continued into the 21st century in a trio with Gary Peacock -- is remarkable: whispering arpeggios surrounded by large chords that plank up the drumming as DeJohnette crosses hands and cuts the time in order to fluctuate the time. Lloyd's own solos are demonstrative of his massive melodic gift: his improvisation skirted the edges of what was happening with Coltrane (as everyone's did), but his own sense of the deep wellspring of song and the cross-pollination of various world musics that were happening at the time kept him busy and lyrical. Elsewhere, on Jarrett's own \"Sorcery,\" his linking front-line harmonics with Lloyd is stellar -- this isn't communication, it's telepathy! Jarrett's angular solo is buoyed up by Lloyd's gorgeous ostinato phrasing. By the time the band reaches its final number, a sky-scorching version of Brooks Bowman's \"East of the Sun,\" they have touched upon virtually the entire history of jazz and still pushed it forward with seamless aplomb. Forest Flower is a great live record. » AllMusic Review by Thom Jurek\u003c\/p\u003e\n\u003cp\u003eIt was a clever move by George Avakian, producer at Atlantic Records, to record live the Charles Lloyd Quartet during their appearance in Monterey, and to release the LP under the title \"Forest Flower\". Although the hippy flower-power movement tended towards a rather different musical genre at the end of the Sixties, they were blown away by this music. The four artists attracted masses of people and ensured that every seat was taken and all standing room filled at jazz festivals such as Newport, Molde (Norway), Antibes (France) and the Fillmore East and West. The super group also appeared in Monterey, 120 Km south of San Francisco, the centre of the hippy movement, on 18 September 1966.\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eOn the LP we have the almost 18-minute-long title piece and the standard work \"East Of The Sun\", which were recorded at the festival. The disc is complemented by a Keith Jarrett composition and one by Cecil McBee, both of which were recorded in the studio ten days before the festival.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eOf particular note is the rich interplay, the energy that is palpable throughout, the perfect harmony in each and every change of mood, and the intensity. Even 50 years later, it is quite clear that Charles Lloyd managed to break down the barriers between pop and jazz.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eCharles Lloyd is committed to this objective to this very day! All four musicians are still active, although they no longer appear together as a group. Such a special treat for the ears is offered by this newly mastered disc only.\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e : \u003c\/p\u003e\n\u003cp\u003eAllmusic : 5 \/ 5 , \u003cstrong\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003eDiscogs \u003c\/span\u003e: \u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e4,19\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\u003e3,94\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003eMichael Fremer : Music = 10 \/ 11; Sound = 9 \/ 11\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40404370882711,"sku":"SD-1473","price":38.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/charles-lloyd-forest-flower-audiosoundmusic-1.jpg?v=1719851509"},{"product_id":"al-di-meola-splendido-hotel","title":"Al Di Meola - Splendido Hotel (2LP)","description":"\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eAl Di Meola - guitar, vocal, drums, percussions \u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e\u003ca title=\"vinyl featuring Al Di Meola\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/al-di-meola\" style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/al-di-meola\"\u003e[click here to see more vinyl featuring Al Di Meola]\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eChick Corea - piano \u003cspan style=\"color: #ff8000;\"\u003e\u003ca title=\"Vinyl featuring Chick Corea\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/chick-corea\" style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/chick-corea\"\u003e[click here to see more vinyl featuring Chick Corea]\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eSteve Gadd - drums \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/steve-gadd\" title=\"vinyl featuring steve gadd\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/steve-gadd\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Steve Gadd]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eLes Paul (g)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eJan Hammer (synth); Anthony Jackson (b); Mingo Lewis (cga, bgo, perc); Philippe Saisse (keyb, marimba); Eddie Colon (perc)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by Al Di Meola (A1, A2, B2, B3, C1, C2, C3, D3), Philippe Saisse (B1, C3), Bert Kaempfert (D1), Tony Cohan (D2 Lyrics), Chick Corea (D2 Music)\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\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Speakers Corner\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label :  Columbia\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eRecording: 1979 at CBS Recording and Electric Lady Studios, New York, by Dave Palmer and Love Castle Studios, Los Angeles, by Bernie Kisch\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eProduction: Al Di Meola and Philip Roberge\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eOriginally released in 1980\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eReissued in Feb 2016\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eTracks :\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eAlien Chase on Arabian Desert\u003c\/li\u003e\n\u003cli\u003eSilent Story in Her Eyes\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eRoller Jubilee\u003c\/li\u003e\n\u003cli\u003eTwo to Tango\u003c\/li\u003e\n\u003cli\u003eAl Di’s Dream Theme\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide C :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eDinner Music of the Gods\u003c\/li\u003e\n\u003cli\u003eSplendido Sundance\u003c\/li\u003e\n\u003cli\u003eI Can Tell\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide D :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eSpanish Eyes\u003c\/li\u003e\n\u003cli\u003eIsfahan\u003c\/li\u003e\n\u003cli\u003eBianca’s Midnight Lullaby\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e« Talk about ambitious. This two-LP set finds guitarist Al di Meola performing with his quintet of the time (featuring keyboardist Philippe Saisse), with studio musicians, solo, in a reunion with pianist Chick Corea, singing a love song, and welcoming veteran Les Paul for a version of \"Spanish Eyes.\" Most of the music works quite well and it shows that di Meola (best-known for his speedy rock-oriented solos) is a surprisingly well-rounded and versatile musician. » AllMusic Review by Scott Yanow\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eJust how much creative gunpowder had Al Di Meola ignited in his early career? First of all there was the flamenco firework in the best-seller \"Elegant Gypsy\", and secondly his mega-successful live album resulting from a summit meeting in San Francisco with Paco de Lucia and John McLaughlin. After this great start it was no wonder that such prominent colleagues as Jan Hammer, Chick Corea, Steve Gadd, Anthony Jackson and Les Paul were eager to participate in the present album \"Splendido Hotel\". \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThis great line-up of musicians produce a rich, saturated sound and create numerous 'flavours' in this cocktail of sounds, which - as a double LP - can be likened to a fantastic long drink, as it were. Di Meola's idea of fusion starts off in the opening number as a slow, sluggish oriental-like melody, which develops to take on a rock rhythm. High-speed and lovingly detailed flamenco such as is found in \"Splendido Sundance\" alternates with subtle rhythms (\"Two To Tango\") and good-humoured lighter numbers with an electronic undertone such as \"Roller Jubilee\" and a funky version of Bert Kaempfert's \"Spanish Eyes\". With this great mix, the musicians create a wonderful atmosphere in which every Latin aficionado will feel at home.\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  , \u003cspan\u003eDiscogs \u003c\/span\u003e: \u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e3,91\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5  , \u003c\/span\u003e\u003cspan\u003eRate Your Music \u003c\/span\u003e: \u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e3,44\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40404419838103,"sku":"C2X36270","price":65.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/al-di-meola-splendido-hotel-2lp-audiosoundmusic-1.jpg?v=1719851509"},{"product_id":"thelonious-monk-its-monks-time","title":"Thelonious Monk - It's Monk's Time","description":"\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eThelonious Monk - piano \u003cspan data-mce-fragment=\"1\"\u003e\u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/thelonious-monk\" title=\"vinyl featuring Thelonious Monk\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/thelonious-monk\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Thelonious Monk]\u003c\/span\u003e\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eCharlie Rouse - tenor saxophone\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eButch Warren (b); Ben Riley (dr)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eWritten by Thelonious Monk (A3, B1, B3), Al Dubin (A1), Harry Warren (A1), Eubie Blake (A2), Andy Razaf (A2), George Gershwin (B2), Ira Gershwin (B2)\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Speakers Corner\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label :  Columbia\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eRecording: January - March 1964\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003cbr\u003e\u003cspan\u003eProduction: Teo Macero\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1964\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2012\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eTracks :\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eLulu's Back In Town\u003c\/li\u003e\n\u003cli\u003eMemories Of You\u003c\/li\u003e\n\u003cli\u003eStuffy Turkey\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eBrake's Sake\u003c\/li\u003e\n\u003cli\u003eNice Work If You Can Get It\u003c\/li\u003e\n\u003cli\u003eShuffle Boil\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e« Although often unrightfully maligned by self-proclaimed \"purists,\" Thelonious Monk did some brilliant work during his early- to mid-'60s stint for Columbia Records. It's Monk's Time (1964) contains some of the best -- if not arguably the best -- studio sides that the pianist cut during his final years as a recording musician. The album's title turned out to be somewhat prophetic, as Time magazine featured Monk as the cover subject for its February 28, 1964, edition. Interestingly, he was to have been profiled by the periodical the previous November; however, the assassination of then-President John F. Kennedy took obvious precedence. It had been almost a full year since his previous studio release, Criss-Cross (1963), and there had been a significant alteration in the rhythm section, which now incorporated the respective talents of both Butch Warren (bass) and Ben Riley (drums) as well as longtime cohort Charlie Rouse (tenor sax). From four sessions in early 1964, It's Monk's Time gathers four quartet and two solo sides, presenting the pinnacle of what these musicians offered stylistically as well as from the standpoint of presentation. There is sense of mischievous playfulness in Monk's nimble keyboard work, especially notable on the beautifully off-kilter unaccompanied opening to \"Lulu's Back in Town,\" and the same practically impish quality also drives the solo performance on \"Nice Work if You Can Get It.\" Both pop standards are prime examples of the bop pioneer's inimitable approach to arranging, and also provide an uncanny insight to his influences. Immediately evident are the styles of stride legends from the well-known Willie \"The Lion\" Smith and James P. Johnson to the slightly more obscure and decidedly frenetic playing of Cliff Jackson, as well as the ragtime approach of Walter L. Rose. The results are bound together in Monk's arithmetically advanced delivery and harmonic composition. The combo -- especially Rouse -- effectively supports and punctuates the tricky timing of \"Stuffy Turkey\" and the more aggressive bop of \"Brake's Sake.\" The latter title also unleashes some tasty interaction between Monk and Rouse, sonically exemplifying their practically single-minded synergy. The concluding cut, \"Shuffle Boil,\" is one of the lost gems of the artist's later work. It sports an effortless swing over a sophisticated and challenging melodic structure. Bassist Warren steps up to the plate, providing a supple and pulsating bed for both Monk and Rouse as they trade solos. » AllMusic Review by Lindsay Planer\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003c\/span\u003e\u003cspan\u003eWith its three compositions by Thelonious Monk, one might call this LP from 1964 “3 Standards and 3 Monks”. The 'High Priest' of bebop had reached a further pinnacle in his career and performed with his fantastic, skilful and well-rehearsed quartet at numerous festivals and concerts. As if in a dream, the musicians penetrate the apparently simple yet rhythmically complicated themes, interrupted again and again by Monk’s solo escapades on the piano. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eOn the stage, Monk often stood up and jigged around the piano like a lumbering dancing bear, with one of his distinctive hats on his head; he plonks down on the piano stool after the Charlie Rouse solo; his enormous feet tap back and forth to the beat; he constantly fiddles with the ring on his finger; and he creates the most wonderful improvisations ever heard with his 'false' fingering.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eCalling all jazz fans: Listen to Thelonious Monk, and you will have a ball – most especially if you put this super disc with the promising title \"It’s Monks Time\" on your turntable!\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eRatings\u003c\/strong\u003e : \u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAllMusic : 4 \/ 5 , \u003c\/span\u003e\u003cspan\u003eDiscogs \u003c\/span\u003e: \u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e4,20\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5 , \u003c\/span\u003e\u003cspan\u003eRate Your Music \u003c\/span\u003e: \u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e4,08\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40405027651735,"sku":"CS 8984","price":38.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/thelonious-monk-it-s-monk-s-time-audiosoundmusic-1.jpg?v=1719851545"},{"product_id":"henry-mancini-the-music-from-peter-gunn","title":"Henry Mancini - The music from Peter Gunn","description":"\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003eComposed and conducted by Henry Mancini\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTrumpets: Pete Candoli, Ray Linn, Frank Beach, Uan Rasey, Conrad Gozzo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTrombones: Dick Nash, Jimmy Priddy, Milt Bernhart, Karl DeKarske\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFrench horns: John Graas, Vincent DeRosa, Richard Perissi, John Cave\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReeds: Ted Nash, Plas Johnson, Ronny Lang, Paul Horn, Gene Cipriano\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePiano: John Williams\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGuitar: Bob Bain, Al Hendrickson\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eVibraphone: Victor Feldman, Larry Bunker\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBass: Rolly Bundock\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDrums: Shelly Manne, Alvin Stoller, Jack Sperling\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Speakers Corner\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label :  RCA\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eRecorded \u003c\/span\u003e\u003c\/strong\u003e\u003cstrong\u003eAugust 26, 31, and September 4, 29, 1958 at Radio Recorders, Hollywood\u003cbr\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003cbr\u003e\u003cspan\u003eProduced by Simon Rady\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eOriginally released in 1959\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eReissued in 2013\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eTracks :\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003ePeter Gunn\u003c\/li\u003e\n\u003cli\u003eSorta Blue\u003c\/li\u003e\n\u003cli\u003eThe Brothers Go to Mother's\u003c\/li\u003e\n\u003cli\u003eDreamsville\u003c\/li\u003e\n\u003cli\u003eSession at Pete's Pad\u003c\/li\u003e\n\u003cli\u003eSoft Sounds\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eFallout!\u003c\/li\u003e\n\u003cli\u003eThe Floater\u003c\/li\u003e\n\u003cli\u003eSlow and Easy\u003c\/li\u003e\n\u003cli\u003eA Profound Gass\u003c\/li\u003e\n\u003cli\u003eBrief and Breezy\u003c\/li\u003e\n\u003cli\u003eNot from Dixie\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e« Remember how strikingly contemporary it seemed when Miami Vice used Phil Collins and Glenn Frey on its soundtrack, or years later when the producers of Gilmore Girls and The O.C. showcased young indie bands on their shows? Well, it was just that revolutionary in 1958 when Blake Edwards, producer of the otherwise fairly standard detective show Peter Gunn, tapped the young composer Henry Mancini to write a soundtrack informed by the West Coast-style cool jazz of Dave Brubeck and Chet Baker. The soundtrack album for Peter Gunn may be best known for the cool twang guitar riff of the main theme (later lifted wholesale by the B-52's for \"Planet Claire,\" among others who recognized its forbidding cool), but this is his most jazz-influenced soundtrack work. There's some particularly impressive work by drummer Shelly Manne and vibes player Victor Feldman, whose cool, understated playing seems to deliberately recall that of Milt Jackson. » AllMusic Review\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThis is not only a great LP but a key piece of jazz and pop music history. Back in 1958, \"Peter Gunn\" was one of the unexpected hits of the new television season, capturing the imagination of millions of viewers by mixing private eye action with a jazz setting. Composer Henry Mancini was more than fluent in jazz, and his music nailed down the popularity of the series. With the main title theme, a driving, ominous, exciting piece of music to lead off the album, \"The Music from Peter Gunn\" became a huge hit, charting extraordinarily high for a television soundtrack and doing so well that RCA Victor came back the next year asking for a second helping (\"More Music From Peter Gunn\") from Mancini.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe music holds up: \"Session At Pete’s Pad\" is a superb workout for the trumpets of Pete Candoli, Uan Rasey, Conrad Gozzo, and Frank Beach, while Barney Kessel’s electric guitar gets the spotlight during \"Dreamsville\"; and \"Sorta Blue\" and \"Fallout\" are full-ensemble pieces that constitute quintessential 'cool' West Coast jazz of the period. In other words, it’s all virtuoso orchestral jazz, presented in its optimum form.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAllmusic : 5 \/ 5 ,  \u003c\/span\u003e\u003cspan\u003eDiscogs \u003c\/span\u003e:  \u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e4,24\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5 , \u003c\/span\u003e\u003cspan\u003eRate Your Music \u003c\/span\u003e:  \u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e3,92\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40405159968919,"sku":"LSP-1956","price":38.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/henry-mancini-the-music-from-peter-gunn-audiosoundmusic-1.jpg?v=1719851560"},{"product_id":"the-butterfield-blues-band-east-west","title":"The Butterfield Blues Band - East-West","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cstrong\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eThe Butterfield Blues Band \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/the-butterfield-blues-band\" title=\"CD and vinyl featuring The Butterfield Blues Band\"\u003e\u003cspan style=\"color: rgb(255, 128, 0);\"\u003e[click here to see more vinyl featuring The Butterfield Blues Band]\u003c\/span\u003e\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003ePaul Butterfield (hca, voc); Elvin Bishop, Mike Bloomfield (g); Mark Naftalin (org); Jerome Arnold (b); Billy Davenport (dr)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten  by Robert Johnson (A1), Allen Toussaint (A2), Nat Adderley, Jr. (A5), Oscar Brown (A5), Michael Nesmith (B1), Maxwell Street Jimmy Davis (B2), Muddy Waters (B2), Mike Bloomfield (B4), Nick Gravenites (B4). A3, A4 and B3 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\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Speakers Corner\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Elektra\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eRecording: July 1966 at Chess Studios, Chicago (IL), by Jac Holzman\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eProduction: Barry Friedman, Mark Abramson, Paul Rothchild\u003c\/span\u003e\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 2020\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eTracks :\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eWalkin' Blues\u003c\/li\u003e\n\u003cli\u003eGet Out Of My Life, Woman\u003c\/li\u003e\n\u003cli\u003eI Got A Mind To Give Up Living\u003c\/li\u003e\n\u003cli\u003eAll These Blues\u003c\/li\u003e\n\u003cli\u003eWork Song (order of solos: Mike Bloomfield, Paul Butterfield, Mark Naftalin, Elvin Bishop)\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eMary, Mary\u003c\/li\u003e\n\u003cli\u003eTwo Trains Running\u003c\/li\u003e\n\u003cli\u003eNever Say No (Vocal: Elvin Bishop)\u003c\/li\u003e\n\u003cli\u003eEast-West (order of solos: Elvin Bishop, Paul Butterfield, Mike Bloomfield)\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e« The raw immediacy and tight instrumental attack of the Paul Butterfield Blues Band's self-titled debut album were startling and impressive in 1965, but the following year, the group significantly upped the ante with its second LP, East-West. The debut showed that Butterfield and his bandmates could cut tough, authentic blues (not a given for an integrated band during the era in which fans were still debating if a white boy could play the blues) with the energy of rock \u0026amp; roll, but East-West was a far more ambitious set, with the band showing an effective command of jazz, Indian raga, and garagey proto-psychedelia as well as razor-sharp electric blues. Butterfield was the frontman, and his harp work was fierce and potent, but the core of the band was the dueling guitar work of Mike Bloomfield and Elvin Bishop, especially Bloomfield's ferocious, acrobatic solos, while Mark Naftalin's keyboards added welcome washes of melodic color, and the rhythm section of bassist Jerome Arnold and drummer Billy Davenport were capable of both the rock-solid support of veteran blues players and the more flexible and artful pulse of a jazz combo, rising and relaxing with the dynamics of a performance. The Butterfield Blues Band sounded muscular and exciting on classic blues workouts like \"Walkin' Blues,\" \"Two Trains Running,\" and \"I Got a Mind to Give Up Living,\" but the highlights came when the band pushed into new territory, such as the taut New Orleans proto-funk of \"Get Out of My Life, Woman,\" the buzzy and mildly trippy \"Mary, Mary,\" and especially two lengthy instrumental workouts, the free-flowing jazz of Nat Adderley's \"Work Song\" and the title track, a fiery mix of blues, psychedelia, Indian musical patterns, and several other stops in between, with Butterfield, Bloomfield, and Bishop blowing for all their worth. East-West would prove to be a pivotal album in the new blues-rock movement, and it was the Paul Butterfield Blues Band's greatest achievement; Bloomfield would be gone by the time they cut their next LP to form the Electric Flag, and as good as Bishop was, losing the thrust and parry between the two guitarists was a major blow. But East-West captures a great group in high flight as the bandmembers join together in something even more remarkable than their estimable skills as individuals would suggest, and its importance as a nexus point between rock, blues, jazz, and world music cannot be overestimated. » AllMusic Review by Mark Deming\u003c\/p\u003e\n\u003cp\u003e« Paul Butterfield was one of the most influential and possibly overlooked rock pioneers of the 1960’s. A musical stalwart, he began his career in the Chicago folk blues scene. He formed a band that first garnered attention backing Bob Dylan’s infamous electric set at the 1965 Newport Folk Festival. Eventually signed to Elektra Records, the Butterfield Blues Band featured two stalwart guitarists, Mike Bloomfield and Elvin Bishop. Their self-titled debut saw limited commercial success, but became a staple of the mid 1960’s rock scene. Their rollicking translations of electric Chicago-style blues was driven by the harmonica expertise of Butterfield and the dual guitar assault of Bloomfield and Bishop. The band became regulars at Fillmore West and Fillmore East. Additionally, they played the Monterey Pop Festival and Woodstock. They were credited with advancing the psychedelic rock\/blues genre. The Butterfield Blues Band reached a creative zenith in 1966 with the East–West album. This was the last project of the core members. They intermingled jazz and soul into their repertoire, and included two extended instrumental jams. Paul Butterfield was inducted into the Blues Hall Of Fame and the band became members of the Rock And Roll Hall Of Fame. Sadly he passed away in 1984.\u003c\/p\u003e\n\u003cp\u003eSpeakers Corner Records has released a 180-gram vinyl remastering of East–West. Joining the Butterfield\/Bloomfield\/Bishop triumvirate, is the rhythm section of Mark Naftalin (organ, piano) Jerome Arnold (bass) and Billy Davenport (drums). True to their roots, Side One kicks off with a Robert Johnson cover, “Walkin’ Blues”. It is classic Delta blues, cultivated with Chicago swagger. Butterfield’s earnest vocals and harp accents are framed by a steady roots pulse. Bloomfield’s scintillating guitar licks play against the band leader on harp. Switching to soul-based blues, Allen Touissant’s “Get Out Of My Life, Woman” (a r \u0026amp; b hit for Lee Dorsey) has a relaxed groove that features a catchy vamp on piano (Naftalin). Small touches like a tempo uptick at the end showcase the chemistry of the sextet. In what can be described as authentic, “down home” blues, “I Got A Mind To Give Up Living” distills the aching melancholy of the blues with imagery like, “shop for a tombstone” and after reading a lover’s letter, being “better off dead”. The band wraps itself around Bloomfield’s piercing guitar inflections. On “All These Blues”, the focus is on Butterfield. His rousing harmonica solo and emotional vocal delivery is timeless. East–West is transcendental due to its pair of extended instrumental jams. Nat Adderley’s jazz classic “Work Song”  manages to combine the freewheeling aesthetics of bop jazz with the tighter structures of blues rock. Bloomfield offers the first solo, fluid with meticulous timing. Butterfield follows with crisp rawness, spurred on by Arnold’s galloping bass. Naftalin’s  unconventional tonality on organ is a nice touch. Elvin Bishop displays a variety of stylish technique with a muscular resonance. All four soloists riff in a wild, climactic exchange.\u003c\/p\u003e\n\u003cp\u003eButterfield East-WestEast–West is anything but predictable. “Mary Mary” is a vintage Sixties guitar effect-laden pop translation of a pre Monkees Michael Nesmith composition. Nesmith would cover this song with his “TV” band and surprisingly, so did RUN-D.M.C. Reverting back to basics, Muddy Waters’ “Two Trains Running” is straight up blues. This seems intuitive as the album was recorded at Chess Studios in The Windy City. All of the hooks and crisp tempo pay tribute to Muddy. Bloomfield adds yet another explosive solo. Elvin Bishop gets to sing lead on “Never Say No”. His languid, deeper-voiced singing adds to the painstaking slow-burning flow, augmented by swirling organ. The title finale is mesmerizing. In a genre-merging arrangement, this Mike Bloomfield\/Nick Gravenites composition sets a high bar for acid rock. It is a precursor to Big Brother \u0026amp; The Holding Company, The Grateful Dead and Jefferson Airplane. According to lore, the LSD-fueled inspiration merged elements of free jazz to psychedelic rock. The complex motifs include Middle Eastern droning, hypnotic modality and various musical counterpoints. Drummer Billy Davenport is phenomenal, adapting a 4 beat groove pattern. He anchors this occasionally spacey instrumental with aplomb. Butterfield’s harmonica sounds like a floating saxophone, articulating exotic themes. Bloomfield and Bishop play off each other with harmony and flair. For anyone who wants to experience the auditory punch of this number, a good pair of stereo headphones is a must.\u003c\/p\u003e\n\u003cp\u003eThis vinyl 180-gram pressing of East–West by Speakers Corner is outstanding. The sonic details are precise and vibrant. The mix layer is balanced with ample stereo separation. It is a veritable historical document and a valuable addition to any rock collection. » Robbie Gerson, Audiophile Audition, Apr 2, 2021\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIn 1965, just one year after Paul Butterfield had formed his blues band – named after himself - and launched one of the very best groups among the white Chicago blues community, the band produced this dynamic and visionary album. The group presents a wide range of contrasting numbers, both eastern and western, which reflect the LP’s title – something totally new and innovative. In the first few titles, traditional standard numbers come over rather enigmatically while supporting original and rhythmic compactness, but this soon gives over to a tactically well-formed instrumentation and lengthy solo interludes. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe all-embracing motto 'blues' is taken up by the band in Nat Adderley’s \"Work Song\" at the very latest, with mind-expanding ways of playing and varying sounds. Catapulted by Mike Bloomfield’s artistry on the guitar into the world of rock, all the musicians celebrate these well-known jazz standards and each man contributes his personal skill into forging a perfectly balanced team effort.\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eThe title number \"East-West\" ultimately demolishes the world of the blues. In the tonal mixture of confidently prepared rock ingredients and borrowings from Indian music (raga rock), we have an amalgamation of rock, blues, jazz and oriental melodies which result in an emotional, unheard-of sound that is well worth the hearing.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAllMusic : 5 \/ 5 ; \u003c\/span\u003e\u003cspan\u003eDiscogs \u003c\/span\u003e: \u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e4.31\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5 ; \u003c\/span\u003eAudiophile Audition : 4.5 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40405645394071,"sku":"EKS-7315","price":38.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/the-butterfield-blues-band-east-west-audiosoundmusic-1.jpg?v=1719851571"},{"product_id":"buddy-guy-junior-wells-play-the-blues","title":"Buddy Guy \u0026 Junior Wells - Play The Blues","description":"\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003eBuddy Guy - Vocals, Rhythm Guitar \u003cspan style=\"color: #ff8000;\"\u003e[\u003c\/span\u003e\u003ca style=\"color: #ff8000;\" title=\"Vinyl featuring Buddy Guy\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/buddy-guy\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/buddy-guy\" data-mce-style=\"color: #ff8000;\"\u003eClick here to see more vinyl featuring Buddy Guy\u003c\/a\u003e\u003cspan style=\"color: #ff8000;\"\u003e]\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJunior Wells (A1 - B1, B3, B5) - Vocals, harmonica \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 vinyl featuring Junior Wells]\u003c\/span\u003e\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEric Clapton - Guitar (A1 - B1, B3, B5) \u003ca title=\"vinyl featuring Eric Clapton\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/eric-clapton\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/eric-clapton\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Eric Clapton]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDr. John (A1, A4, B1) - Piano \u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\"\u003e\u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/dr-john\" title=\"vinyl featuring Dr. John\" style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/dr-john\"\u003e[click here to see more vinyl featuring Dr. John]\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJ. Geils - Rhythm Guitar (B2, B5)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMagic Dick (B2, B5) - Harmonica\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBass : Carl Radle (A1), Daniel Klein (B2, B5), Leroy Stewart (A2 - B1, B3, B4)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBody Percussion [Foot Tapping] : Juke Joint Jimmy (B2, B5)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDrums : Jim Gordon (A1), Roosevelt Shaw (A2 - B1, B3, B4), Stephen Bladd (B2, B5)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOrgan : Michael Utley (A1 - B1, B3, B5)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePiano : Michael Utley (A2, A3, A5, B3, B5), Seth Justman (B2, B5)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTenor Saxophone : A.C. Reed (A1 - B1, B3, B5)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eWritten by \u003c\/strong\u003e\u003cstrong\u003eBuddy Guy (A1, B2), Sonny Boy Williamson (A2), Junior Wells (A3, A5), T-Bone Walker (A4), Mel London (B1), Willie Mabon (B3), Maxwell Davis (B4), Joe Liggins (B5)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Speakers Corner\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Atlantic\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eRecording: October 1970 at Criteria Studios, Miami (FL), by Ron Albert and April 1972 at Intermedia Studios, Boston (MA), by  Richard Oulleppe (B2, B5), Ron Albert (A1 - B1, B3, B5)\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eProduction : \u003c\/span\u003e\u003c\/strong\u003e\u003cstrong\u003eAhmet Ertegun (A1 - B1, B3, B5), Eric Clapton (A1 - B1, B3, B5), Michael Cuscuna (B2, B5), Tom Dowd (A1 - B1, B3, B5)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineered [Overdub] by Bobby Warner (A1, B2), Gene Paul (A1, B2)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRe-mixed by Harry Maslin\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by Kevin Gray\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eOriginally released in 1975\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eReissued Sept 2020\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eTracks :\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eA Man Of Many Words\u003c\/li\u003e\n\u003cli\u003eMy Baby Left Me (She Left Me A Mule To Ride)\u003c\/li\u003e\n\u003cli\u003eCome On In This House - Have Mercy Baby\u003c\/li\u003e\n\u003cli\u003eT - Bone Shuffle\u003c\/li\u003e\n\u003cli\u003eA Poor Man's Plea\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eMessin' With The Kid\u003c\/li\u003e\n\u003cli\u003eThis Old Fool\u003c\/li\u003e\n\u003cli\u003eI Don't Know\u003c\/li\u003e\n\u003cli\u003eBad Bad Whiskey\u003c\/li\u003e\n\u003cli\u003eHoneydripper\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e“Blues music shaped Rock ’N’ Roll from its inception. While relegated to specialty label status, its legendary performers never crossed over to significant mainstream success. They were destined to watch mainstream artists and emerging stars like Elvis Presley and Jerry Lee Lewis capitalize on the new derivative idiom. There were some exceptions, most notably Chuck Berry and Little Richard, but the vast majority of early rock artists were not the pioneering blues players like Muddy Waters, Howling Wolf, Willie Dixon or Sonny Boy Willamson. When the British Invasion took hold, blues music was further separated from its roots, as groups like The Rolling Stones, Fleetwood Mac and Cream rose to stardom. In some cases, these rock stars paid homage and lent support to these forgotten trailblazers.\u003c\/p\u003e\n\u003cp\u003eThere has been no greater influence on rock guitarists than Buddy Guy. His “disciples” include Jimi Hendrix, Eric Clapton, Jeff Beck, Jimmy Page, Stevie Ray Vaughan, Gary Clark Jr. and Keith Richards to name a few. Amazingly, Guy remains active in the studio. He gained initial acclaim as part of Muddy Waters’ house band in Chicago. But his most prolific collaboration is with the great harmonica player, Junior Wells. Wells’ style of play also was influential in the English rock scene. The partnership of Guy and Wells spanned nearly thirty years. Speakers Corner has released a 180-gram re-mastered vinyl of Buddy Guy \u0026amp; Junior Wells Play The Blues. Aided by a stellar cadre of session musicians (including Eric Clapton, A.C. Reed, Mike Utley and Dr. John), blues jamming is front and center. Side One opens with a Buddy Guy original, “A Main Of Many Words”. This is “big city blues”, gritty and swinging. Guy offers animated vocals (with some well-timed screaming) and an incendiary guitar solo. It seems appropriate that Junior Wells takes over on the Sonny Boy Williamson opus, “My Baby She Left Me (She Left Me A Mule To Ride)”. His muscular voice contrasts with his partner and he contributes a nimble, articulate harp run. Next up is a two-song medley of Wells material. The duo share “down ’n’ dirty” singing on “Come On In This House”.. Then there is an ear-catching up tempo break to “Have Mercy Baby”. The musicians downshift to sultry resonance seamlessly as Guy’s impeccable guitar riffs permeate the arrangement.\u003c\/p\u003e\n\u003cp\u003eEqually adept at covers, “T-Bone Shuffle” is as advertised, timeless blues swing. The condensed structure and impassioned guitar solo are veritable templates for blues transitioning to rock. It is familiar, but impressive in its urgency. Wells is terrific on “Poor Man’s Blues” with his ardent earthy pleas and offers another crisp harmonica solo. The production of Play The Blues is top-notch, but not overdone. The raw essence of the music prevails. Side Two continues the celebration. Junior Wells’ most recognizable song is “Messin’ With The Kid”. This version is pure blues, a veritable historical document. There are grooves and hooks galore. In testimony to the blues life, “This Old Fool” moves briskly with harp accents and a full-bodied electric guitar. With a creative touch, “I Don’t Know” invokes a slow-walk cadence, showcasing  a call and response with the band. What would blues music be without a cautionary tale. “Bad Bad Whiskey” fits the bill perfectly. Wells’ sorrowful intonation is enveloped in a loping tempo. A bottle neck guitar (Eric Clapton) is a nice touch. The finale is truly a big finish. In the only instrumental on the album, “Honeydripper” dazzles with authentic roadhouse swagger, right down to the tinkling piano riffs.\u003c\/p\u003e\n\u003cp\u003eSpeakers Corner records has done an outstanding job in re-mastering Buddy Guy \u0026amp; Junior Wells Play The Blues to 180-gram vinyl. The overall mix is balanced, with excellent stereo separation. This vinyl update is a must for collectors and blues aficionados.” Robbie Gerson, Audiophile Audition, February 2021\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe blues is perhaps one of the most private things from which a human being can suffer. However, to play the blues, and thus to express a man’s innermost feelings and state of mind, is probably the most important task of black music. With Buddy Guy and Junior Wells, we have two disciples from the world of the blues who express their highly personal blues with profound instrumental proficiency. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe enormously talented, self-taught guitarist Buddy Guy was ranked 23rd in Rolling Stones magazine’s list “100 Greatest Guitarists of All Time”, and several times he was awarded one of the coveted Grammy awards. Junior Wells entered Muddy Waters’ 'academy' at the tender age of 18 and played the blues harp with enormous passion and virtuosity.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIn this recording, the musicians condense their rock playing over a bone-dry bass line to create a mantra-like funky style (\"A Man Of Many Words\"), passing on with fleet-footed steps to a slender chirping sound on the mandolin with a 12-bar blues construction and creating an earthy groove (\"T-Bone Shuffle\"). Then the duo works perseveringly on an unrelenting chord (\"A Poor Man’s Plea\"), only to return to two numbers that pulsate forcefully with a snappy and jagged offbeat (\"This Old Fool\").\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eThe handpicked band, among them being co-producer Eric Clapton who is eternalized on the rhythm and bottleneck guitar, and the voodoo rocker Dr. John who occasionally contributes his magic on the keyboard, make this album a truly collectible sound experience.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e : \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAllmusic : 4.3 \/ 5 ; \u003c\/span\u003e\u003cspan\u003eDiscogs \u003c\/span\u003e: \u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e4.21\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5 ; \u003c\/span\u003eAudiophile Audition : 4.5 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40405706899607,"sku":"SD33-364","price":38.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/buddy-guy-and-junior-wells-play-the-blues-black-vinyl-audiosoundmusic-1.jpg?v=1719851571"},{"product_id":"dr-john-the-sun-moon-herbs","title":"Dr. John - The Sun, Moon \u0026 Herbs","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eDr. John (Malcom John Rebennack Jr.) - \u003c\/strong\u003e\u003cstrong data-mce-fragment=\"1\"\u003evocal, piano, organ, vib, percussions \u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\"\u003e\u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/dr-john\" title=\"vinyl featuring Dr. John\" style=\"color: #ff8000;\" data-mce-fragment=\"1\"\u003e[click here to see more vinyl featuring Dr. John]\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eEric Clapton - guitar \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/eric-clapton\" title=\"vinyl featuring Eric Clapton\" data-mce-fragment=\"1\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\"\u003e[click here to see more vinyl featuring Eric Clapton]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eTommy Ferrone (guitar); Bobby Keys (sax); Ed Hoerner, Jim Price (tp); Ken Terroade (fl); Walter Davis (p); Ronnie Barron (org); Jesse Boyce (b); John Boudreaux (dr); The Memphis Horns \u0026amp; backing vocals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by Dr. John\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 : Atco\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eRecording: July - October 1970 at Trident Studios, London, by Roy Baker and Dimension Recorders, Hollywood (CA), by Judd Philips\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eProduction: Dr. John \u0026amp; Charles Greene\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1971\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2020\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eTracks :\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eBlack John The Conqueror\u003c\/li\u003e\n\u003cli\u003eWhere Ya At Mule\u003c\/li\u003e\n\u003cli\u003eCraney Crow\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eFamiliar Reality-Opening\u003c\/li\u003e\n\u003cli\u003ePots On Fiyo (File Gumbo)\/Who I Got To Fall On (If The Pot Get Heavy)\u003c\/li\u003e\n\u003cli\u003eZu Zu Mamou\u003c\/li\u003e\n\u003cli\u003eFamiliar Reality-Reprise\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e« Originally intended as a triple album, The Sun, Moon \u0026amp; Herbs was chopped up, whittled down and re-assembled into this single-disc release, and while Dr. John never liked this version much, perhaps the single disc is testament to the \"less is more\" theory. The seven cuts are all quite lengthy and the spells Dr. John and his consorts weave are dark and swampy. \"Black John the Conqueror\" comes from old Cajun folklore which the good Dr. has modernized and given a beat. The swampy \"Craney Crow\" is the younger sibling of his earlier \"Walk On Guilded Splinters\" and has a similar effect on the listener. \"Pots on Fiyo (Fils Gumbo)\" combines Latin American rhythms with lots of Cajun chants and spells. The vocals are nearly incomprehensible and actually serve as another instrument in the mix. \"Zu Zu Mamou\" is so thick that you can almost cut the music with a knife. Here, the atmosphere takes on a whole other meaning altogether. The Sun, Moon \u0026amp; Herbs is best listened to on a hot, muggy night with the sound of thunder rumbling off in the distance like jungle drums. Dr. John was definitely onto something here, but just what is left up to the listener. » AllMusic Review by James Chrispell \u003c\/p\u003e\n\u003cp\u003e« t has always been difficult to accurately describe the music of Malcolm John Rebennack Jr. Known commercially as Dr. John (The Night Tripper), he forged a unique trailblazing career as a songwriter, performer, session player and cultural icon.More importantly, Rebennack channeled the multi-faceted New Orleans mystique with a daring mixture of blues, rock, jazz, boogie woogie and funk. He achieved mainstream crossover success with singles like “The Right Place” and “Such A Night”. Rebennack recorded for over three decades. His personal life (with legendary rebellious outlaw stories and innuendos) only fueled his larger-than-life persona, as did his live performances.  He remained faithful to his New Orleans roots.\u003c\/p\u003e\n\u003cp\u003eSpeakers Corner Records has released a re-mastered 180-gram vinyl of Dr. John’s seminal album, The Sun Moon \u0026amp; Herbs. This album was recorded in 1970, while Rebennack was stranded in England. Originally part of a triple-disc, Dr. John assembled his own New Orleans musical posse with an all-star “Delaney \u0026amp; Bonnie” band reunion (Eric Clapton, Bobby Whitlock, Carl Radle, Jim Gordon, Bobby Keys) to create a murky, atmospheric conjuring of Storyville culture. Side One opens with “Black John The Conqueror”. Intermingled with a funky slow-hook blues piano (Walter Davis Jr.), the tale of a local shaman is expressed as a mystical testimonial with gravely lead vocals. As with many of Dr. John’s arrangements, there is a hypnotic, long repeat chorus (voiced by Whitlock and Doris Troy) that comes off like a soulful litany and scintillating horn accents. The musician’s palpable homesick musings are front and center on “Where Ya At Mule”. This ultimate longing for NOLA is expressed with shuffling second line cadences and specific imagery (“… gumbo cooker, alligator hooker…”). A key change is ear-catching before the final “There’s no place like home” refrain that will not remind any listener of The Wizard Of Oz. The swampy vibe (which permeates the record) is invoked throughout “Craney Crow”. A complex assortment of Caribbean chanting and a processional funeral march frame the weird (even by Dr. John standards) track.\u003c\/p\u003e\n\u003cp\u003eSide Two is different and more cohesive. On the compelling “Familiar Reality-Opening”, a tight Memphis-soul groove is established. As Dr. John relates his “I’ve been here before” storytelling, he contributes rolling piano runs. There is an organic musical feel with a talking verse in translating the existential to anecdotal reflection. It is the most accessible ensemble cut on The Sun The Moon \u0026amp; Herbs. The sequencing of the songs on this side coalesces with the spirit of “Familar Reality”. “Pots On Fiyo (File Gumbo)\/Who I Got To Fall On (If The Pot Gets Heavy” is an exotic Crescent City allegory (in two parts) that expresses itself with local food references (okra, sausage, oysters). The contextual eclecticism is mysterious. There are considerable jazzy inflections in Davis Jr.’s piano. Conga (Calvin “Fuzzy” Samuels”), a nimble key shift and brief free-from music lead into obscure chanting of Louisiana imagery. A closing verse in French enhances this moody tapestry. With a tuba and mournful acoustic guitar lines, “Zu Zu Mamou” is a menacing reverie that grabs the listener, and never lets go. In particular a whispering dialogue (Dr. John and Doris Troy) feeds the overall ambiance. A refreshingly brief (1:53) finale (“Familiar Reality-Reprise”) provides an explosive soul-drenched end to this flamboyant excursion.\u003c\/p\u003e\n\u003cp\u003eSpeakers Corner has done an outstanding job in re-mastering The Sun Moon \u0026amp; Herbs to 180-gram vinyl. The overall mix is crisp, but maintains the density and atmospheric murkiness. Dr. John’s evocative, gritty vocals are captured with vibrancy. The hi-gloss gatefold album packaging is top-notch. All of John John Miller’s surreal art design is a visual treat. » Robbie Gerson, Audiophile Audition\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\"The Sun, Moon \u0026amp; Herbs\" was originally conceived as a triple album, but it was fragmented, stripped down and put together again to form the present single-disc LP. And although Dr. John never liked this version much, it is proof of the theory 'less is more'. None of the seven tracks are suitable for broadcasting on the radio and the spells that Dr. John and his companions weave are dark and swampy. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\"Black John The Conqueror\" has its origins in ancient Cajun folklore, which the good Dr. modernised and gave a beat. The swampy \"Craney Crow\" is the younger sibling of his earlier \"Walk On Guilded Splinters\" and has a similar effect on the listener. \"Pots On Fiyo (Filé Gumbo)\" combines Latin-American rhythms with a wealth of Cajun chants and spells. The vocals are almost unfathomable and serve rather more as an additional musical instrument in the mix. \"Zu Zu Zu Mamou\" is so tightly knitted that one can almost cut through the music with a knife; the mood here takes on a quite different meaning. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\"The Sun, Moon \u0026amp; Herbs\" is best heard on a hot sultry night where thunder rolls in the distance like jungle drums. Dr. John certainly had something specific in mind, but it is up to the listener to find out just what it was.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAllMusic : 3.5 \/ 5 , \u003c\/span\u003e\u003cspan\u003eDiscogs \u003c\/span\u003e: \u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e4,25\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\u003e3,65\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40405730721943,"sku":"SD 33-362","price":38.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/dr-john-the-sun-moon-and-herbs-audiosoundmusic-1.jpg?v=1743197233"},{"product_id":"the-doobie-brothers-minute-by-minute","title":"The Doobie Brothers - Minute By Minute","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe Doobie Brothers \u003cspan style=\"color: #ff8000;\"\u003e\u003ca style=\"color: #ff8000;\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/the-doobie-brothers\" title=\"vinyl featurig The Doobie Brothers\"\u003e[click here to see more vinyl featuring the Doobie Brothers]\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTom Johnston (voc); Patrick Simmons (g, voc); Michael McDonald (keyb, voc); Jeffrey Baxter (g); Norton Buffalo (hca); Tiran Porter (b, voc); John Hartman, Keith Knudsen (dr); Bobby LaKind (cga)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by \u003c\/strong\u003e\u003cstrong\u003eMichael McDonald (A1, A2, A3, A4, B1, B2, B5), Kenny Loggins (A2, B2), Lester Abrams (A3, B1), Patrick Simmons (A4, A5, B2, B3, B4, B5), Jeff Baxter (A5, B5), Michael Ebert (A5), Rev. Patrick Henderson (B1), Ted Templeman (B2), Carole Bayer Sager (B5)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve, insert\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Speakers Corner\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Warner\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eRecorded in 1978 at Warner Bros.-Studios, North Hollywood\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eRecorded by Donn Landee and Loyd Clifft\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eProduced by Ted Templeman\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1978\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2019\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eTracks : \u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eSweet Feelin'\u003c\/li\u003e\n\u003cli\u003eOpen Your Eyes\u003c\/li\u003e\n\u003cli\u003eDependin' on You\u003c\/li\u003e\n\u003cli\u003eHere to Love You\u003c\/li\u003e\n\u003cli\u003eMinute by Minute\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eYou Never Change\u003c\/li\u003e\n\u003cli\u003eWhat A Fool Believes\u003c\/li\u003e\n\u003cli\u003eSteamer Lane Breakdown\u003c\/li\u003e\n\u003cli\u003eHow do the Fools Survive?\u003c\/li\u003e\n\u003cli\u003eDon't Stop to Watch the Wheels\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews :\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e« With Tom Johnston gone from the lineup because of health problems, this is where the \"new\" Doobie Brothers really make their debut, with a richly soulful sound throughout and emphasis on horns and Michael McDonald's piano more than on Patrick Simmons' or Jeff Baxter's guitars. Not that they were absent entirely, or weren't sometimes right up front in the mix, as the rocking, slashing \"Don't Stop to Watch the Wheels\" and the bluegrass-influenced \"Steamer Lane Breakdown\" demonstrate. But given the keyboards, the funky rhythms, and McDonald's soaring tenor (showcased best on \"What a Fool Believes\"), it's almost difficult to believe that this is the hippie bar band that came out of California in 1970. There's less virtuosity here than on the group's first half-dozen albums, but overall a more commercial sound steeped in white funk. It's still all pretty compelling even if its appeal couldn't be more different from the group's earlier work (i.e., The Captain and Me, etc.). The public loved it, buying something like three million copies, and the recording establishment gave Minute by Minute four Grammy Awards, propelling the group to its biggest success ever. » AllMusic Review by Bruce Eder\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eHow the Doobie Brothers came to form a 'family' is not only a fateful event but also a good story. While getting high on a marihuana joint (or doobie) that was passed from one to the other in a practice room, one of the group apparently uttered the following momentous words: »We are all Doobie brothers«. Later, when in possession of all his faculties, the co-founder of the group, Tom Johnston, was thinking along the lines of a Motown sound, with a bass line resembling that of Seals and Crofts, and vocals in the style of Stevie Wonder. That \"Minute By Minute\", the first album to appear in the post-Johnston era, so perfectly reflects the mature style of the group is mostly thanks to the two experienced former Steely Dan musicians Jeff “Skunk” Baxter and singer Michael McDonald.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eSubtle, gently electrified groove epitomizes the main focus of this album. Its laid back, colourful and glittering sounds are rounded out with powerful rhythms and warm sounds (\"What A Fool Believes\"). Solo vocals are layered over rolling chords on the piano, a snappy bass and a multi-voiced background to create an appealing harmony (\"Here To Love You\"). Perfectly tempered and accomplished solos from the lead guitar and saxophone are welcome extras that never drown out the impressive leader of the group. So much brotherliness on a record certainly deserved to be recognized with three Platinum Records and a Grammy Award.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings : \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAllMusic : 4 \/ 5 , \u003c\/span\u003e\u003cspan\u003eDiscogs \u003c\/span\u003e:\u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e3,83\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5  , \u003c\/span\u003e\u003cspan\u003eRate Your Music \u003c\/span\u003e:\u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e3,31\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40405843345559,"sku":"BSK3193","price":55.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/the-doobie-brothers-minute-by-minute-audiosoundmusic-1.jpg?v=1719851584"},{"product_id":"vangelis-heaven-and-hell","title":"Vangelis - Heaven And Hell","description":"\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eVangelis - keyboards, percussions\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eJon Anderson and the English Chamber Choir - vocals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eWritten by \u003c\/strong\u003e\u003cstrong\u003eVangelis (A1, A2, B1), Jon Anderson (A1, B1)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, gatefold sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Speakers Corner\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : RCA\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eRecording: September 1975 at Nemo Studios, London, by Alan Lucas\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003cbr\u003e\u003cspan\u003eProduction: Vangelis\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1975\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2018\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eTracks :\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e1. Heaven And Hell (Part 1)\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e2. So Long Ago, So Clear\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003cp style=\"padding-left: 30px;\"\u003e1. Heaven And Hell (Part 2)\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e« Those used to Vangelis' later and lighter synthesized outings may not be quite ready for this dark, thundering album. While it did provide us with the theme music for the TV series Cosmos and bring Jon Anderson into partnership with Vangelis (following an abortive approach to Vangelis joining Yes) on \"So Long Ago, So Clear,\" it also served up massed Gothic choirs and a musical depiction of all the tortures of the damned, with an impressive amount of string-driven shrieking. Even so, it's a brilliant piece of work that should not be absent from any Vangelis collection. » AllMusic Review by Steven McDonald\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eTechnical innovations in musical instruments and the development of tonal language have been continual subjects for deliberation from the 19th century onwards at the latest. Additional brain power is necessary to conciliate the two elements with the endless possibilities of electronic sound. In the end, the two factions cannot resolve on a conclusive opinion and the question remains as to whether art always results from skill.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eEvángelos Odysséas Papathanassíou, or Vangelis for short, always worked with the newest synthesizer equipment and pushed his cascades of sound to the very edge, right up to the point of electronic overkill. In contrast to many other electronics experimentalists of his time, Vangelis likes to »create important melodies and to develop them further, without going under in the technical equipment« (Stereo Review). Distant human voices, siren-like lost calls lead into oriental dance.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eA song – far removed from its era – somewhere between Gregorian music and antiphony – a will-o‘-the-wisp, shimmering sound. Polyphonic playing on the Bösendorfer reminds one that every form of musical expression from over the sands of time is welcome. Each listener must discover for himself what sounds heavenly or hellish. But let it be said: musically speaking, the one cannot be imagined without the other.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e : \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAllMusic : 4.5 \/ 5 , \u003c\/span\u003e\u003cspan\u003eDiscogs \u003c\/span\u003e: \u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e3,96\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5  , \u003c\/span\u003e\u003cspan\u003eRate Your Music \u003c\/span\u003e:\u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e3,60\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40406571122839,"sku":"RS 1025","price":38.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/vangelis-heaven-and-hell-audiosoundmusic-1.jpg?v=1719851595"},{"product_id":"joscho-stephan-trio-paris-berlin","title":"Joscho Stephan Trio - Paris-Berlin","description":"\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cbr\u003e\u003cbr\u003eJoscho Stephan Trio : Joscho Stephan (lead-g); Volker Kamp (b); Sven Jungbeck (rhythm-g)\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 : Unspecified.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 140g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Unspecified\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Berliner Meister Schallplaten\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eRecording: June 2018 at Studio1 of Emil Berliner Studios, Berlin, by Stephan Flock\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eProduction: Rainer Maillard \u0026amp; Stephan Flock\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eTracks :\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A: Paris\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eTrain To Paris\u003c\/li\u003e\n\u003cli\u003eAre You In the Mood\u003c\/li\u003e\n\u003cli\u003eValse de la Mer\u003c\/li\u003e\n\u003cli\u003eSonge d'Automne\u003c\/li\u003e\n\u003cli\u003eVous et Moi\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B: Berlin\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eMein kleiner gruner Kaktus\u003c\/li\u003e\n\u003cli\u003eHallo, kleines Fraulein\u003c\/li\u003e\n\u003cli\u003eBei Dir war es immer so schon\u003c\/li\u003e\n\u003cli\u003eKein Schwein ruft mich an\u003c\/li\u003e\n\u003cli\u003eWes Berlin\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eFor roughly 20 years now, the guitarist Joscho Stephan has been performing as a gypsy swing musician on both a national and international level.\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eForming a trio with Volker Kamp on the double bass and Sven Jungbeck on the rhythm guitar, he feels himself drawn to the musical legacy of the “Hot Club de France”, the legendary ensemble which Django Reinhardt and Stéphane Grappelli brought to life in the Thirties in Paris.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eHaving made numerous CD productions, it was more or less a matter of course to make a recording under the very same conditions as Django Reinhardt and all renowned swing and jazz musicians had experienced up until the end of the 40s –, namely Direct-to-Disc!\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe A-side boasts the title “Paris”. Alongside his own compositions (\"Train To Paris\" and \"Valse de la Mer\") we find such Django classics as \"Are You In The Mood\", and the numbers \"Songe d’Automne\" and \"Vous et Moi\", which are also evergreens from the gypsy swing genre.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe B-side is an homage to the recording location and the recording studio (EBS) which is associated with it: Berlin. Not only are such hits to be heard as \"Mein kleiner grüner Kaktus\" (as an up-tempo swing number), \"Hallo, kleines Fräulein\" and \"Bei Dir war es immer so schön\" (by Theo Mackeben), but also \"Kein Schwein ruft mich an\" from the great Max Raabe. \"Wes Berlin\" by Joscho Stephan brings the LP to a close in a final bow to Wes Montgomery, ending our journey from Paris to Berlin.\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40406684729495,"sku":"","price":20.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/joscho-stephan-trio-paris-berlin-audiosoundmusic.jpg?v=1719851595"},{"product_id":"dr-john-gris-gris","title":"Dr. John - Gris-Gris","description":"\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eDr. John - vocal, keyboards, percussions \u003cspan data-mce-fragment=\"1\" style=\"color: #ff8000;\"\u003e\u003ca data-mce-fragment=\"1\" style=\"color: #ff8000;\" title=\"vinyl featuring Dr. John\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/dr-john\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/dr-john\"\u003e[click here to see more vinyl featuring Dr. John]\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eHarold Battiste (b, cl, perc, arr); Plas Johnson (sax); Lonnie Boulden (fl); Steve Mann (g, bjo); Richard Washington (perc); Bob West (b); John Boudreaux (dr); Mo \"Dido\" Pedido (cga)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by Dr. John Creaux (A1, A2, A3, A4, B2, B3), Harold Battiste (A2, B1), Jessie Hill (A3)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Speakers Corner\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Atco\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eRecording: 1967 at Gold Star Studios, Los Angeles\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eProduction: Harold Battiste\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1968\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2018\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eTracks :\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A : \u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eGris-Gris Gumbo Ya Ya\u003c\/li\u003e\n\u003cli\u003eDanse Kalinda Ba Doom\u003c\/li\u003e\n\u003cli\u003eMama Roux\u003c\/li\u003e\n\u003cli\u003eDanse Fambeaux\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eCroker Courtbullion\u003c\/li\u003e\n\u003cli\u003eJump Sturdy\u003c\/li\u003e\n\u003cli\u003eI Walk On Guilded Splinters\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAwards:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eRolling Stone 500 Greatest Albums of all Time - Ranked No. 143\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e1000 Recordings you must hear before you die - Ranked 122\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e : \u003c\/p\u003e\n\u003cp\u003e« Dr. John's Gris-Gris is among the most enduring recordings of the psychedelic era; it sounds as mysterious and spooky in the 21st century as it did in 1968. It is the album where Mac Rebennack established a stage identity that has served him well. A respected studio ace in his native New Orleans, Rebennack was scuffling in L.A. Gris-Gris was his concept, an album that wove various threads of New Orleans music together behind the character of \"Dr. John,\" a real voodoo root doctor from the 19th century. Harold Batiste, another ex-pat New Orleanian and respected arranger in Hollywood, scored him some free studio time left over from a Sonny \u0026amp; Cher session. They assembled a crack band of NOLA exiles and session players including saxophonist Plas Johnson, singers Jessie Hill and Shirley Goodman, and guitarist\/mandolinist Richard \"Didimus\" Washington. Almost everyone played percussion. Gris-Gris sounds like a post-midnight ceremony recorded in the bayou swamp instead of L.A.'s Gold Star Studio where Phil Spector cut hits. The atmosphere is thick, smoky, serpentine, foreboding. Rebennack inhabits his character fully, delivering Creole French and slang English effortlessly in the grain of his half-spoken, half-sung voice. He is high priest and trickster, capable of blessing, cursing, and conning. On the opening incantation \"Gris-Gris Gumbo Ya Ya,\" Dr. John introduces himself as the \"night tripper\" and boasts of his medicinal abilities accompanied by wafting reverbed mandolins, hand drums, a bubbling bassline, blues harmonica, skeletal electric guitar, and a swaying backing chorus that blurs the line between gospel and soul. On \"Danse Kalinda Boom,\" a calliope-sounding organ, Middle Eastern flute, Spanish-tinged guitars, bells, claves, congas, and drums fuel a wordless chorus in four-part chant harmony as a drum orgy evokes ceremonial rites. The sound of NOLA R\u0026amp;B comes to the fore in the killer soul groove of the breezy \"Mama Roux.\" \"Croker Courtboullion\" is an exercise in vanguard jazz. Spectral voices, electric guitars, animal cries, flute, and moody saxophone solos and percussion drift in and out of the spacy mix. The set's masterpiece is saved for last, the nearly nearly eight-minute trance vamp in \"I Walk on Gilded Splinters\" (covered by everyone from Humble Pie, Cher, and Johnny Jenkins to Paul Weller and Papa Mali). Dr. John is brazen about the power of his spells in a slippery, evil-sounding boast. Congas, tom-toms, snaky guitar, and harmonica underscore his juju, while a backing chorus affirms his power like mambo priestesses in unison. A ghostly baritone saxophone wafts through the turnarounds. Droning blues, steamy funk, and loopy R\u0026amp;B are inseparably entwined in its groove. Remarkably, though rightfully considered a psychedelic masterpiece, there is little rock music on Gris-Gris. Its real achievement -- besides being a classic collection of startlingly deep tunes -- is that it brought New Orleans' cultural iconographies and musical traits to the attention of an emergent rock audience. » AllMusic Review by Thom Jurek\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eHis grandmother is purported to have transported objects using her spiritual powers and it is said that she sometimes floated through the room. Her grandson Malcolm Rebenneck was fully aware of his unique features when he appeared under the name of Dr. John, a voodoo healer in the 19th century, and was the first person to transcend from pitch-black spheres to psychedelic music as its high priest, so to speak.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIn the seven magical musical numbers of \"Gris-gris\", the root doctor conjures up a potent mixture of creole melodies, primeval heathen sounds, a pinch of mardi-gras and New Orleans jazz and even undreamt-of sounds. \"Gumbo Ya Ya\", a dragging procession with archaic sing-song, shows that suggestive Afro sounds are what rule in this album. And to play with them, to soften them here and there, or to enhance them with dance-like expression and voices from afar (\"Danse Fambeaux\") is all part of the programme in this collection of artistic treasures. In between raspy sounds there are flattering, intimate tones such as the springy, gentle and forward-looking \"Croker Courtbullion\".\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe equation Witchcraft = Masterwork certainly applies to this unrivalled album, which is listed at No. 143 in the 500 Greatest Albums of all Time by the magazine Rolling Stone.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eRatings :\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAllMusic : 5 \/ 5 , \u003c\/span\u003e\u003cspan\u003eDiscogs \u003c\/span\u003e:\u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e4,47\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5  , \u003c\/span\u003e\u003cspan\u003eRate Your Music \u003c\/span\u003e:\u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e3,81\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40406724903063,"sku":"SD 33-234","price":38.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/dr-john-gris-gris-audiosoundmusic-1.jpg?v=1743197616"},{"product_id":"the-j-geils-band-self-title","title":"The J. Geils Band - Self titled","description":"\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cbr\u003e\u003cbr\u003ePeter Wolf (voc); Seth Justman (p, org); Magic Dick (hca); Danny Klein (b); Stephen Bladd (dr, voc)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by Peter Wolf (A1, A4, B3, B4), Seth Justman (A1, B3, B4), Jerome Geils (A2, A4), Juke Joint Jimmy (A3), John Lee Hooker (A5), Al Perkins (B1), Dave Clark (B1), Otis Rush (B1), Robert Rogers (B2), Smokey Robinson (B2), Walter Price (B5), Albert Collins (B6)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Speakers Corner\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Atlantic\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eRecording: August 1970 at A\u0026amp;R Studios, New York, by Jay Messina\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eProduction: Dave Crawford \u0026amp; Brad Shapiro\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1970\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2018\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eTracks :\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eWait\u003c\/li\u003e\n\u003cli\u003eIce Breaker (For The Big \"M\")\u003c\/li\u003e\n\u003cli\u003eCruisin' For A Love\u003c\/li\u003e\n\u003cli\u003eHard Drivin' Man\u003c\/li\u003e\n\u003cli\u003eServes You Right To Suffer\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eHomework\u003c\/li\u003e\n\u003cli\u003eFirst I Look At The Purse\u003c\/li\u003e\n\u003cli\u003eWhat's Your Hurry\u003c\/li\u003e\n\u003cli\u003eOn Borrowed Time\u003c\/li\u003e\n\u003cli\u003ePack Fair And Square\u003c\/li\u003e\n\u003cli\u003eSno-Cone\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e« The J. Geils Band's self-titled debut serves notice that rock \u0026amp; roll wasn't dead in 1970 despite the best efforts of the singer\/songwriter brigade. Though it sounds a bit reserved in the light of the albums that followed, compared to the majority of bands on the scene, it was a nonstop blast of energy, fun, and sweat. Featuring the hipster jive of singer Peter Wolf, the amazing afro and harp chops of Magic Dick, the fret-burning work of J. Geils, and the jack of many trades Seth Justman (keys, compositions, backing vocals), the Geils Band rips through some classic blues by the likes of Otis Rush (\"Homework\"), Walter Price (\"Pack Fair and Square\"), and John Lee Hooker (a slow-burning \"Serves You Right to Suffer\"), old Motown gems (\"First I Look at the Purse\"), and originals that stand up well next to the covers (\"Wait,\" \"What's Your Hurry,\" and future live favorite \"Hard Drivin' Man\"). A nice mix of nostalgia, intensity, and bar band excitement, the album serves as fair warning that the Geils Band was on the scene and was ready to bring back the good-time spirit of the juke joint, the abandon of the early rock \u0026amp; roll scene, and the high energy of the late-'60s concert halls. » AllMusic Review by Tim Sendra\u003c\/p\u003e\n\u003cp\u003e« Originally an acoustic blues band out of Worcester Mass in the late 60’s, The J Geils Band became “the” rock band of Boston. When the group assembled its classic lineup (J Geils\/guitar; Peter Wolf\/ vocals;Seth Justman\/piano, organ; Richard “Magic Dick” Salwitz\/harmonica; Danny Klein\/bass and Stephen Bladd\/drums), they were on their way to stardom. Their gritty version of rhythm \u0026amp; blues-inspired rock (that included soul and doo wop) connected with audiences and their rock and roll counterpoints. Their commercial breakthrough occurred on the 1973 album, Bloodshot which featured the single “Give It To Me”. In 1975, Nightmares…And Other Tales From The Vinyl Jungle produced another hit, “Must Of Got Lost”. The singles increases commercial exposure, and launched them as the opening act for The Rolling Stones, Peter Frampton and Rod Stewart. J Geils Band’s live performances became legendary, fueled by the antics of Peter Wolf’s “microphone vaulting” and a “lead harp” player (Magic Dick). In an unlikely turn of events, this “everyman’s band” became hugely successful in the 1980’s. Radio and MTV-friendly songs like “Freeze Frame”, “Love Stinks” and “Angel In The Centerfold” cemented their legacy. This popular acceptance led to fame, but as with most bands, they disbanded. While there were occasional reunions, the seminal days of the J Geil Bands were over.\u003c\/p\u003e\n\u003cp\u003eSpeakers Corner has released a 180-gram vinyl upgrade of the Atlantic debut of J Geils Band. In barely over 33 minutes, the tough-as-nails musical distillation of rhythm and blues is given new life. While the band doesn’t necessarily break new ground, their version of blues rock is effective. Side One opens with a Wolf\/Justman composition, “Wait”. It is straight-ahead blues. The vaunted lead harp (Magic Mike) and gritty vocals tell the tale. There is a call \u0026amp; response and foot stomp. The original material stands up to the covers on this album. An instrumental “Ice-Breaker” exudes a Memphis-style r \u0026amp; b vibe. Geils has a sizzling guitar solo, and is followed by Magic Dick and Seth Justman on organ. Concise (a mere 2:15), it epitomizes the roots of band. “Cruisin’ For A Love” feels like Chicago blues with a New York City lyrical context. A piercing harp and blues piano lead into Geil’s searing distorted guitar solo. On “Hard Drivin’ Man”, the group adopts an accelerated tempo in a country blues romp. Things get down and nasty on John Lee Hooker’s “Serves You Right To Suffer”. Wolf’s lower-register vocals and phrasing are an obvious shout out to John Lee. Again, Magic Dick contributes a slow-burning solo, and Geils’ run is incendiary. At 5:01 it is the longest cut on the album). It showcases a pedigree, developed from jamming in a lot of bars.\u003c\/p\u003e\n\u003cp\u003eSide Two continues the tribute to blues legends with a rollicking cover of Otis Rush’ “Homework”. injecting blues dialect into adolescence (“ Can’t do my homework anymore”) is amusing, and Wolf’s raw vocals sell it. Geil’s unleashes another ripping solo. Back to vintage soul, The Contours’ clever hit, “First I Look At The Purse” (co-written by Smokey Robinson) features great vocal harmonies, back beat and the classic harp\/guitar sound. Wolf has an affinity for soul music and it is palpable on his singing. “What’s Your Hurry” (another original) emulates 60’s soul with stylish electric guitar hooks and a cowbell. There is a discernible fuller sound. “On Borrowed Time” is almost like a vintage Stax recording with a slowed-down, pulsating arrangement. The band connects with 50’s Rock \u0026amp; Roll spirit on “Pack Fair And Square”. it is explosive with the attitude of original rockers like Bill Haley, or Jerry Lee Lewis. As usual, Magic Dick blows the house away on harp. The finale is a second instrumental, Albert Collins’ “Sno-Cone”. Geils, Magic and Justman (great organ fills) percolate and drummer Bladd gets a well-deserved solo.\u003c\/p\u003e\n\u003cp\u003eJ Geils Band was an auspicious debut. Their musical craftsmanship is prominent. The vinyl upgrade is excellent, with a centered mix that showcases the unfiltered power of a hard-driving Rock “N” Soul band. A unique combination of electric guitar, organ (and piano at times) and harmonica perfectly frame the emotional vocals. » Robbie Gerson, Audiophile Audition, Mar 12, 2019\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIn the wake of Woodstock and the flight of impassioned music groups to the perhaps most fertile, colourful but also somewhat intellectual decade of rock’n’roll, Jerome Geils had clearly found his musical niche. There are not many bands that could entertain unpretentiously, he stated and let loose with his sextet under his own name to create brash, extrovert rock. The amalgamation of authentic blues and showy rock’n’roll, fed with a fervid veneration of such blues greats as Muddy Waters, Junior Wells and Chuck Berry was so compelling that the group could easily have passed as a black band.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eBlack, earthy and with casually interposed phrases on the befitting harmonica, the Geils Band gives their premiere in the world of the blues with \"Waits\". In the very next number (\"Ice Breaker\") the keyboarder Seth Justman hots up the action with a meaty organ groove while 'Magic' Dick Salwitz gives his utmost on his blues harp with top notes and unbelievable bursts of fire coming from the realms of rhythm \u0026amp; blues. Not to forget the boss, who launches powerful riffs and chordal cascades on his guitar. Friends of honest, down-to-earth music from this era shouldn’t miss out on this debut album.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAllMusic : 4.5 \/ 5  ,  \u003c\/span\u003e\u003cspan\u003eDiscogs \u003c\/span\u003e:\u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e4,17\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5 , \u003c\/span\u003e\u003cspan\u003eRate Your Music \u003c\/span\u003e:\u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e3,63\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40406787358871,"sku":"SD 8275","price":45.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/the-j-geils-band-self-titled-audiosoundmusic-1.jpg?v=1719851606"},{"product_id":"delaney-bonnie-friends-to-bonnie-from-delaney","title":"Delaney \u0026 Bonnie \u0026 Friends - To Bonnie From Delaney","description":"\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cbr\u003e\u003cbr\u003eDelaney Bramlett (g, voc); Bonnie Bramlett (voc); Duane Allman (g); Little Richard (p); Jim Gordon (keyb); Tommy McClure (b); Sammy Creason (dr); Sam Clayton (cga); Alan Estes (cga, perc); Jerry Jumonville (as); King Curtis (ts) \u0026amp; The Memphis Horns\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by Delaney Bramlett (A1, A2, A4c, A6, B3, B4), Mac Davis (A2), Steve Bogard (A3), Michael Utley (A3), erbert Lance (A4b), oody Payne (A4a), Charles Singleton (A4b), John Wallace (A4b), Ed Townsend (A5), Margaret Lewis (B1), Myrna Smith (B1), Enotris Johnson (B2), Richard Penniman (B2), Bobby Whitlock (B3), George Soulé (B5), Terry Woodford (B5), Barbara Keith (B6)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, gatefold sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Speakers Corner\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Atco\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"production_info\"\u003e\u003cstrong\u003eRecording: 1970 at Decca Studios, New York, by Don Casale, and Atlantic South-Criteria Studios, Miami Fl., by Ron Albert \u0026amp; Chuck Kirkpatrick\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eProduction: Delaney Bramlett, Jerry Wexler and Tom Dowd\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1970\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e Reissued in 2018\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv\u003eSide A :\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e1. Hard Luck And Troubles\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e2. God Knows I Love You\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e3. Lay Down My Burden\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e4. Medley : \u003c\/div\u003e\n\u003cdiv style=\"padding-left: 60px;\"\u003ea. Come On In My Kitchen\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 60px;\"\u003eb. Mama, He Treats Your Daughter Mean\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 60px;\"\u003ec.  Going Down The Road Feeling Bad\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e5. The Love Of My Man\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e6. They Call It Rock \u0026amp; Roll Music\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e7. Soul Shake\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e8. Miss Ann\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e9. Alone Together\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e10. Living On The Open Road\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e11. Let Me Be Your Man\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e12. Free The People\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cp\u003eReviews :\u003c\/p\u003e\n\u003cp\u003e« Delaney and Bonnie hit their pop-soul prime on this, their first Atlantic Records album. Buoyed by their acclaim from their first Elektra album, as well as their association with Eric Clapton, the group switched record labels and recorded this, probably their most definitive album. Backed by an awesome cast of musicians which included Jim Gordon (drums), Kenny Gradney (bass -- later of Little Feat), and many others, this record shows why anyone connected with the band became a tambourine-shaking convert to soul-based rhythm \u0026amp; blues rock. Some great vocal performances by Bonnie Bramlett, especially the low-down \"The Love of My Man,\" show why she was put in the same league as Janis Joplin. One of the more definitive albums of the period. » AllMusic Review by Matthew Greenwald\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e« In the annals of rock history, there has never been a duo as influential and under-appreciated as Delaney and Bonnie Bramlett. Their powerhouse amalgam of gospel, pop, rock and roll, country and blues helped to launch the roots-based Southern sound. Bramlett who was an influential guitarist (apparently inspired George Harrison on slide guitar) came to prominence with the Shindogs (the “house” band for the popular 60’s TV show Shindig that included Leon Russell.) Bonnie Bramlett was a blues singing prodigy who sang with Albert King at 14, and was a backup singer (an Ikette) for Ike And Tina Turner. With Russell’s help, Delaney and Bonnie signed a contract with Stax Records, releasing their debut, Home. After moving to Electra, the band (known as Delaney \u0026amp; Bonnie \u0026amp; Friends due to the revolving door of studio musicians anxious to be part of this phenomenon) broke through with Accept No Substitute.\u003c\/p\u003e\n\u003cp\u003eIn 1969, Delaney \u0026amp; Bonnie opened for Blind Faith and cultivated a stalwart fan in Eric Clapton. Clapton acknowledged that the duo “stole the show” every performance. They hit a commercial and critical apex with On Tour With Eric Clapton. While the public were minimally aware of the Bramletts, the rock music held them in reverence. Players like Clapton, Dave Mason (Traffic), Bobby Whitlock (Derek and The Dominoes), George Harrison, Greg Allman and Rita Coolidge (among many) were part of the “Friends”. In 1970, Delaney and Bonnie Bramlett signed with Atco (Atlantic) Records and produced an album with Jerry Wexler and Tom Dowd.\u003c\/p\u003e\n\u003cp\u003eTo Bonnie From Delaney is a representative collection of material for this unique band. With a jaw-dropping lineup of backing musicians, the album was critically received, yet somehow didn’t produce the expected stardom. Side A opens with a Delaney Bramlett’s original “Hard Luck And Troubles”. The rock\/soul\/blues structures are punctuated with modulated horn accents, vibrant bass and Delaney’s soulful vocals. The session players are top-notch as they initiate a tempo shift that rocks like a Sunday morning church celebration. In a surprising country-pop tune (co-written by Bramlett and Mac Davis), a pedal steel guitar and impeccably blended harmony vocals create a unique aesthetic. It is understandable why Bonnie Bramlett is so highly regarded as a soul singer. On “Lay My Burden Down” she draws on classic gospel reverence and offers an inspired “testimony”. It is nothing short of a tour-de-force, energetic and glowing. In a Delta-inspired acoustic medley, Delaney combines guitar and voice on the Robert Johnson standard, “Come On In My Kitchen”. Bonnie is equally bluesy with a wailing intonation on “Mama He Treats Your Daughter Mean”. The third piece, “Going Down The Road Feeling Bad”  features an agile slide guitar solo. In what feels like a traditional Stax arrangement, “Love Of My Man” is another incandescent vocal performance by Bonnie Bramlett. She maintains the fierceness of singers like Aretha Franklin and Otis Redding. Her growling, screaming interpretation is on a par with Janis Joplin. In a feel-good jam, “They Call It Rock And Roll Music” is 50’s bliss with sax runs and doo-wop vocals.\u003c\/p\u003e\n\u003cp\u003eSide B is a compelling procession of gospel rock. “Soul Shake” represented one of two Delaney and Bonnie songs (the other being “Never Ending Song Of Love) that made it to the charts. It is quintessential D \u0026amp; B with dynamic vocals (dual and trading off), propulsive drumming, horns and organ. The inimitable Little Richard (on one of his own compositions, “Miss Ann”) engages in old school r \u0026amp; b with rollicking notation that Delaney matches with raw enthusiasm on his vocals. There may never have been a male and female singing duo that packs a wallop like the Bramletts. Their high-octane performance on “Alone Together” is awe-inspiring and the various instrumental flourishes by the all-star “friends” is buoyantly graceful. The intensity gets ramped up another notch on “Living On The Open Road”. Delaney Bramlett’s signature slide licks and reedy, soulful vocals (which influenced Eric Clapton) energize this sprightly rocker. In a rare change of pace, “Let Me Be Your Man” has a slow-burning intensity. The gospel-tinged piano and organ, Delaney’s falsetto and spine-tingling backup vocals sell this one. With artistic elegance, the finale “Free The People” has an elegiac horn arrangement of the opening notes to “Rock Of Ages”. The New Orleans vibe permeates as Bonnie is dynamically gut-wrenching on the first verse and Delaney is equally prominent on the second. A second-line chorus helps bring To Bonnie From Delaney to a rousing conclusion. \u003c\/p\u003e\n\u003cp\u003eSpeakers Corner has done an excellent job in re-mastering this landmark recording to audiophile vinyl. The intended density of the original mix is intact, and showcases the layered sounds. The horns are amped up, and the bottom end drumming is tough and hard-driving. The organ and piano are understated in the mix. The two most prominent instruments (Delaney and Bonnie’s voices) are front and center, and never overshadowed by the expanded instrumental flourishes. » Robbie Gerson, Audiophile Audition, Apr 5, 2018\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe married couple and musical duo Delaney \u0026amp; Bonnie ignited critics, fans and famous musical colleagues to veritable bursts of exultation. Mick Jagger of the Rolling Stones talked matter-of-factly of »convincing white gospel song«, while Eric Clapton regarded the duo as the »best pop band in the world«. Clapton’s enthusiasm went so far that he invited the pair to accompany him on a peaceful tour of Europe and was booed by German fans because he stood in the background as a mere accompanist and did not play any solos. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe master of the guitar may have had good reasons for staying out of the limelight, if one is to believe the Chicago Daily News, who declared that Delaney \u0026amp; Bonnie were better than Aretha Franklin and Ray Charles together.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIndeed the combined voices in the arrangements are so closely knit that there is not a millimetre of space between the singer and backing. In \"Hard Luck And Troubles\", a dry cantankerous groove, the vocals cling to a sinewy bass line, criss-crossed by short chords on the organ. Gospel is celebrated spiritually, yet not too much so, in a rocking, rhythmic and dense interplay between the soloist and chorus. And what is more: the great ballad, hovering above a vibrating carpet of sound on the organ (\"The Love Of My Man\") and crisp, firm winds (\"Alone Together\") are included in this exquisite collection of great and even great songs.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eRatings :\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAllMusic : 4 \/ 5 , \u003c\/span\u003e\u003cspan\u003eDiscogs \u003c\/span\u003e:\u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e3,70\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5 , \u003c\/span\u003e\u003cspan\u003eRate Your Music \u003c\/span\u003e: \u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e3,49\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40406842900631,"sku":"SD 33-341","price":38.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/delaney-and-bonnie-and-friends-to-bonnie-from-delaney-audiosoundmusic-1.jpg?v=1719851606"},{"product_id":"albert-king-born-under-a-bad-sign","title":"Albert King - Born Under A Bad Sign","description":"\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003eAlbert King - guitar, vocal \u003cspan style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Albert King]\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eAndrew Love, Wayne Jackson, Joe Arnold (The Memphis Horns); Booker T. Jones, Isaac Hayes (p); Steve Cropper (g); Donald \"Duck\" Dunn (b); Al Jackson, Jr. (dr)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by Booker T. Jones (A1), William Bell (A1), R.G. Ford (A2), Jerry Leiber (A3), Mike Stoller (A3), A.C. Williams (A4), Albert King (A5), Al Jackson Jr. (A6), Booker T. Jones (A6), C. Wells (A6), Donald Dunn (A6), Steve Cropper (A6), Ivory Joe Hunter (B1), Albert King (B2), David Porter (B2), Sandy Jones (B3), Deadric Malone (B4), Ray Noble (B5)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Speakers Corner\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Stax\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eRecording : March 1966 - June 1967 at Stax Studios, Memphis (TN)\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003cbr\u003e\u003cspan\u003eProduction : Jim Stewart\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eOriginally released in 1967\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eReissued in Jan 2018\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eTracks : \u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A\u003c\/p\u003e\n\u003cp\u003e                1. Born Under A Bad Sign\u003c\/p\u003e\n\u003cp\u003e                2. Crosscut Saw\u003c\/p\u003e\n\u003cp\u003e                3. Kansas City\u003c\/p\u003e\n\u003cp\u003e                4. Oh, Pretty Woman\u003c\/p\u003e\n\u003cp\u003e                5. Down Don’t Bother Me\u003c\/p\u003e\n\u003cp\u003e                6. The Hunter\u003c\/p\u003e\n\u003cp\u003eSide B\u003c\/p\u003e\n\u003cp\u003e                1. I Almost Lost My Mind\u003c\/p\u003e\n\u003cp\u003e                2. Personal Manager\u003c\/p\u003e\n\u003cp\u003e                3. Laundromat Blues\u003c\/p\u003e\n\u003cp\u003e                4. As The Years Go Passing By\u003c\/p\u003e\n\u003cp\u003e                5. The Very Thought Of You\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e« Albert King recorded a lot in the early '60s, including some classic sides, but they never quite hit the mark. They never gained a large audience, nor did they really capture the ferocity of his single-string leads. Then he signed with Stax in 1966 and recorded a number of sessions with the house band, Booker T. \u0026amp; the MG's, and everything just clicked. The MG's gave King supple Southern support, providing an excellent contrast to his tightly wound lead guitar, allowing to him to unleash a torrent of blistering guitar runs that were profoundly influential, not just in blues, but in rock \u0026amp; roll (witness Eric Clapton's unabashed copping of King throughout Cream's Disraeli Gears). Initially, these sessions were just released as singles, but they were soon compiled as King's Stax debut, Born Under a Bad Sign. Certainly, the concentration of singles gives the album a consistency -- these were songs devised to get attention -- but, years later, it's astounding how strong this catalog of songs is: \"Born Under a Bad Sign,\" \"Crosscut Saw,\" \"Oh Pretty Woman,\" \"The Hunter,\" \"Personal Manager,\" and \"Laundromat Blues\" form the very foundation of Albert King's musical identity and legacy. Few blues albums are this on a cut-by-cut level; the songs are exceptional and the performances are rich, from King's dynamic playing to the Southern funk of the MG's. It was immediately influential at the time and, over the years, it has only grown in stature as one of the very greatest electric blues albums of all time. » AllMusic Review by Stephen Thomas Erlewine  \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIt took more than four decades of patient hard work until a discriminating congregation could proclaim Albert King as one of the three kings of the electric blues, alongside B. B. King and Freddie King. Albert had a tough but highly motivated beginning, playing blues on a guitar he had made himself. Later he bought a really good instrument, then came a couple of promising songs, and a series of successful singles made under a contract with Stax Records in Memphis. Finally, late in life, King landed on the sunny side with \"Born Under A Bad Sign\". The album became one of the most influential recordings in the history of the blues. King’s music was appreciated by white people too, which smoothed his path out of small clubs and on to big live events.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eRight from the title song, he travels along familiar tracks in the blues world, occasionally making a detour to hectic, soulful realms (\"Crosscut Saw\") and letting himself be carried away by strident winds (\"Kansas City\"). Over and over again, the musicians surprise one with ever new sound colourings, as in the hum and buzz of \"Oh, Pretty Woman\", the brusque admonitory \"Down Don’t Bother Me\", or the swinging fiddling of \"The Hunter\".\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e : \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAllmusic : 5 \/5 , \u003c\/span\u003e\u003cspan\u003eDiscogs  \u003c\/span\u003e: \u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e4,64\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\u003e3,83\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40406917283991,"sku":"S 723","price":38.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/albert-king-born-under-a-bad-sign-audiosoundmusic-1.jpg?v=1719851606"},{"product_id":"tommy-bolin-private-eyes","title":"Tommy Bolin - Private Eyes","description":"\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eTommy Bolin - guitar, keyboards, vocal, piano \u003cspan style=\"color: #ff8000;\"\u003e\u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/tommy-bolin\" title=\"Vinyl featuring Tommy Bolin\" style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/tommy-bolin\"\u003e[click here to see other vinyl featuring Tommy Bolin]\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eMark Stein (keyb, voc); Norma Jean Bell (perc, voc, sax); Reggie McBride (b, voc); Bobby Berge (perc, dr); Bobbye Hall (perc); Carmine Appice (dr)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eWritten by \u003c\/strong\u003e\u003cstrong\u003eTommy Bolin (A1-3, B1-5), Jeff Cook (A2, B1-2, B4), John Tesar (B3)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, gatefold sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Speakers Corner\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Columbia\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eRecording: June 1976 at Cherokee Recording Studios, Los Angeles, CA and Trident Studios, London by Tom La Tondre and Steve Taylor\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eProduction: Dennis MacKay \u0026amp; Tommy Bolin\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eOriginally released in 1976\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eReissued in 2017 \u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eBustin' Out For Rosey\u003c\/li\u003e\n\u003cli\u003eSweet Burgundy\u003c\/li\u003e\n\u003cli\u003ePost Toastee\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eShake The Devil\u003c\/li\u003e\n\u003cli\u003eGypsy Soul\u003c\/li\u003e\n\u003cli\u003eSomeday Will Bring Our Love Home\u003c\/li\u003e\n\u003cli\u003eHello Again\u003c\/li\u003e\n\u003cli\u003eYou Told Me That You Loved Me\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e« After the breakup of Deep Purple in 1976, guitarist Tommy Bolin wasted little time beginning work on his second solo album, Private Eyes. While it was more of a conventional rock album than its predecessor, Teaser (which served primarily as a showcase for his guitar skills and contained several jazz\/rock instrumentals), it was not as potent. The performances aren't as inspired as those on Teaser or even those on Bolin's lone album with Deep Purple, Come Taste the Band, although there a few highlights could be found. The nine-minute rocker \"Post Toastee\" merges a long jam section with lyrics concerning the dangers of drug addiction, while \"Shake the Devil\" is similar stylistically. But Bolin wasn't simply a hard-rocker; he was extremely talented with other kinds of music: the quiet, acoustic-based compositions \"Hello, Again\" and \"Gypsy Soul,\" and the heartbroken ballad \"Sweet Burgundy.\" With his solo career starting to take shape (after the album's release, he opened for some of rock's biggest names: Peter Frampton, Jeff Beck, Rush, ZZ Top, etc.), Bolin's life was tragically cut short at the end of the year due to a drug overdose in Miami, FL. » AllMusic Review by Greg Prato\u003c\/p\u003e\n\u003cp\u003eIn the course of his sadly short life, Tommy Bolin was at least granted eight productive years during which he was able to contribute to what was probably the most innovative era of rock’n’roll. His outstanding skill on the guitar brought him legendary status during his lifetime when he replaced the - in many ways - unique Ritchie Blackmore as frontman with Deep Purple. Jon Lord, keyboarder with the group, once described Bolin as a »beautiful lost soul«, and as such he allows one a very private glimpse into his musical perspective in his second and final album.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThis is certainly dualistic: in numbers such as \"Post Toastee\" and \"Shake The Devil\" Bolin sings about drug problems in a dry rocker style that is enhanced by his superb guitar playing. But this hard rocker shows just how stylistically assured he is in more gentle realms, as in the highly melodic ballad \"Sweet Burgundy\", which makes for enjoyable listening. Bolin’s subtle fingering creates a natural and electrifying \"Gypsy Soul\" and his \"Hello, Again\" is narrated softly to the sound of old-fashioned strings and winds. The relaxed tone of the recording is quite typical of the notions of sound at that time and reminds one yet again that the great voices of rock are now heard in heaven.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAllmusic : 4.5 \/ 5  , \u003c\/span\u003e\u003cspan\u003eDiscogs \u003c\/span\u003e:\u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e4,04\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5  , \u003c\/span\u003e\u003cspan\u003eRate Your Music \u003c\/span\u003e:\u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e3,61\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40406959751319,"sku":"PC 34329","price":38.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/tommy-bolin-private-eyes-audiosoundmusic-1.jpg?v=1719851606"},{"product_id":"the-isley-brothers-the-heat-is-on","title":"The Isley Brothers - The Heat Is On","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe Isley Brothers \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/the-isley-brothers\" title=\"vinyl featuring the isley brothers\"\u003e\u003cspan style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring The Isley Brothers]\u003c\/span\u003e\u003c\/a\u003e:\u003c\/strong\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eErnie Isley (g, dr, perc, voc); Chris Jasper (keyb); O'Kelly Isley, Ronald Isley, Rudolph Isley (voc); Marvin Isley (b)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by Ernie Isley, Marvin Isley, O'Kelly Isley, Ronald Isley, Rudolph Isley,  Chris Jasper, Eric Sadler (A1)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, gatefold sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Speakers Corner\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Epic\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eRecording: 1975 at Kendun Recorders, Burbank (CA), by Kent Duncan\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003cbr\u003e\u003cspan\u003eProduction: The Isley Brothers\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eOriginally released in 1975\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eReissued in 2017\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\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. Fight The Power (Part 1 \u0026amp; 2)\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e2. The Heat Is On (Part 1 \u0026amp; 2)\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e3. Hope You Feel Better Love (Part 1 \u0026amp; 2)\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e4. For The Love Of You (Part 1 \u0026amp; 2)\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e5. Sensuality (Part 1 \u0026amp; 2)\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e6. Make Me Say It Again Girl (Part 1 \u0026amp; 2)\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e« 1975's The Heat Is On was the third album that the Isley Brothers recorded with their 3 + 3 lineup, and by that time, the lineup had really perfected its attractive soul\/rock sound. The Isleys were providing great R\u0026amp;B long before keyboardist Chris Jasper, bassist Marvin Isley, and the distinctive guitarist Ernie Isley came on board in 1973; nonetheless, the newcomers added a lot to the group and helped it provide some of its best recordings. Marvin's basslines are as funky as it gets, and the Jimi Hendrix-influenced Ernie is a killer guitarist; he would have been perfect for Deep Purple, Blue Öyster Cult, or Judas Priest if the Isley Brothers hadn't kept him busy in the 1970s. One of the 3 + 3 gems that no Isleys fans should be without is The Heat Is On, which is best known for the sweaty funk classic \"Fight the Power\" and the sexy quiet storm slow jam \"For the Love of You.\" Lead vocalist Ronald Isley is as convincing on the funk scorchers as he is on caressing ballads like \"Make Me Say It Again Girl\" and \"Sensuality.\" Meanwhile, \"Hope You Feel Better Love\" is brilliant because it contrasts those two sides of the 3 + 3 lineup -- the verses are sweetly melodic, but the chorus is forceful and explosive. Superb from start to finish, The Heat Is On is among the Isleys' most essential albums. » AllMusic Review by Alex Henderson\u003c\/p\u003e\n\u003cp\u003e« The Isley Brothers have been one of the most enduring rhythm and blues groups in musical history. Raised in Cincinnati, the brothers (Kelly, Rudolph, Ronny and Vernon) began their career as a gospel singing group with doo wop inclinations. They came to prominence in 1959 with the self-penned hit “Shout”. While this was a modest success at the time, the song has become a cultural touchstone. On different labels, The Isley Brothers still primarily a vocal group, had other top 20 hits including “Twist And Shout” and “This Old Heart Of Mine (Is Weak For You)”. But in 1969, when they added Ernie Isley on electric guitar and drums, the group achieved significant crossover success with their biggest hit “It’s Your Thing”. The single reached # 2 on the Hot 100 and #1 on the R \u0026amp; B chart. Significantly, the album was issued on their own label T-Neck Records. As the band expanded, it now included Ernie, Marvin, O’Kelly, Ronald, Rudolph and brother-in-law Chris Jaspar. The Isley brothers were a complete entity, handling songwriting, production and arrangement. Subsequent albums Givin’ It Back (1971), Brother, Brother, Brother (1972), 3+3 (1973) and Live It Up (1974) further established The Isley Brothers as major soul stars. Their next release, The Heat Is On represented an expanded soul and funk collection that brought socio-political themes and refined instrumentation into the repertoire. It went double platinum and reached #1 on the U.S. Billboard Pop Charts. This represented a commercial and creative peak for the group.\u003c\/p\u003e\n\u003cp\u003eSpeakers Corner Records has re-mastered The Heat Is On to 180-gram vinyl. This technology upgrade underscores the more sophisticated evolvement of the band. All of the songs were written by the band. Like many r \u0026amp; b artists in the 1970’s (Gil Scott Heron, Marvin Gaye, Stevie Wonder and James Brown), politics took a more prominent role in music. Side One opens with a classic song, “Fight The Power (Part1 \u0026amp; 2)”. It is a political statement (“…We gonna fight the powers that be…”) with a funky backbone. Ernie Isley’s smoking drums and Chris Jasper’s  clavinet produce a relentless hypnotic groove. The growling, multi-dimensional vocals of Ronny Isley are gritty and compelling. A steady repeat chord sequence keeps the momentum going. Interestingly, this song was sampled by Public Enemy and used in the Spike Lee movie Do The Right Thing, giving it a second wind. “The Heat Is On (Part 1 \u0026amp; 2)” continues the soul\/funk vine, but with a nastier feel.There are heavy, effect-laden guitars with full-out acid rock solos. ARP synthesizers (programmed by 70’s legends Malcolm Cecil and Robert Margouleff) deliver a texture to complement the raw acoustics. In a smoother arrangement, “Hope You Feel Better Love (Part 1 \u0026amp; 2)” is soulful, but with pop sensibilities. There is a spirited rock jam with searing, distorted guitar tones. A steady pulsating rhythm is hypnotic.\u003c\/p\u003e\n\u003cp\u003eSide Two has a trio of mellow, slow dance mood shifters. “For The Love Of You (Part 1 \u0026amp; 2)” has a lilting Memphis-style wistfulness that is Al-Green worthy. Ronny’s transformative vocals (with falsetto) are emotional. Jasper’s electric piano and flute-synthesizer approximate a contemporary jazz translation, but with “in-the-pocket- soulful elegance. The atmospheric tapestry continues on “Sensuality (part 1 \u0026amp; 2)”. This is soul balladry at its best. Jasper’s glowing synth lines frame Isley’s quietly urgent passion. The finale, “Make Me Say It Again Girl (Part 1 \u0026amp; 2)” executes a never-ending refrain that goes on and on. The listener will not want this love-fest to end.\u003c\/p\u003e\n\u003cp\u003e Speakers Corner Records has done its customary superlative job in re-mastering The Heat Is On to 180-gram vinyl. The layered instrumentation is thick, but not overly dense. Ron Isley’s distinctive higher-register tonality is dulcet and elastic. The occasional hard-edged guitar tones fit into the mix evenly. Hi-gloss gatefold packaging, protective sleeves and a pressing without hisses and pops makes this vinyl mandatory for any soul collection. » Robbie Gerson, Audiophile Audition, Oct 31, 2019\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003c\/span\u003e\u003cspan\u003eA glance at the discs, which rocked through the charts under the simple name of “Isley Brothers” will give you an idea of how a »long-lasting and self-generative family enterprise« (The Times) became a true soul factory. After a brisk start with popular rock’n’roll music, similar to that which a large number of black vocal groups turned out in the Fifties, followed a long march from one record company to another – all of whom were hard pushed to equate the dynamic musicality of these brothers with the 'own sound' of their productions. After hopping from one record label to the next, and not even getting a long-lasting break with the potent Motown label Tamla, golden days arrived when they set up their own label – T-Neck.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAmidst the turmoil created by strong competition from superb studio albums, the Isleys landed a smash hit in 1975 with \"The Heat Is On\", an album which achieved double platinum status with its collection of perfectly written numbers. Powerful, funky volleys (\"Fight The Power\"), gyrating riffs as a launch pad for harmonious vocals and a creative solo (\"The Heat Is On\") go their own way, which is also apparent in the bell-like, airy ballads that swing along tastefully – quite without the sugar-sweet strings so popular at that time.\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\u003e4,23\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5  , \u003c\/span\u003e\u003cspan\u003eRate Your Music \u003c\/span\u003e: \u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e3,74\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40406982754455,"sku":"PZ 33536","price":45.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/the-isley-brothers-the-heat-is-on-audiosoundmusic-1.jpg?v=1719851616"},{"product_id":"harry-nilsson-aerial-ballet","title":"Harry Nilsson - Aerial Ballet","description":"\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003eHarry Nilsson - vocal \u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e\u003ca style=\"color: #ff8000;\" title=\"vinyl featuring harry nilsson\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/harry-nilsson\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/harry-nilsson\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Harry Nilsson]\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eMilt Holland - percussions\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003ePlas Johnson (ww); Dennis Budimir, Al Casey (g); Michael Melvoin (hpd, org, p); Larry Knechtel (b,p); Jim Gordon (dr)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eWriten by Harry Nilsson (A1, A2, A3, A4, A5, B2, B3, B4, B5, B6, B7), Fred Neil (B1), Ian Freebairn-Smith (B6)\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Speakers Corner\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : RCA\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eRecording: 1967 and 1968 in RCA Victor's Music Center Of The World, Hollywood\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eProduction: Rick Jarrad\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eOriginally released in 1968\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eReissued in 2017\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eTracks :\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A\u003c\/p\u003e\n\u003cp\u003e                1. Good Old Desk\u003c\/p\u003e\n\u003cp\u003e                2. Don't Leave Me\u003c\/p\u003e\n\u003cp\u003e                3. Mr. Richland's Favorite Song\u003c\/p\u003e\n\u003cp\u003e                4. Little Cowboy\u003c\/p\u003e\n\u003cp\u003e                5. Together\u003c\/p\u003e\n\u003cp\u003eSide B\u003c\/p\u003e\n\u003cp\u003e                1. Everybody's Talkin'\u003c\/p\u003e\n\u003cp\u003e                2. I Said Goodbye To Me\u003c\/p\u003e\n\u003cp\u003e                3. Little Cowboy\u003c\/p\u003e\n\u003cp\u003e                4. Mr. Tinker\u003c\/p\u003e\n\u003cp\u003e                5. One\u003c\/p\u003e\n\u003cp\u003e                6. The Wailing Of The Willow\u003c\/p\u003e\n\u003cp\u003e                7. Bath\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e« As \"Good Old Desk\" opens Aerial Ballet with a cheerful saunter, it's clear that Harry Nilsson decided to pick up where he left off with his debut, offering another round of effervescent, devilishly clever pop, equal parts lite psychedelia, pretty ballads, and music hall cabaret. It's not a carbon copy, however. In one sense, he entrenches himself a little bit, emphasizing his lighter edges and humor, writing songs so cheerfully lightweight -- a love song about his mom and dad, an ode to his favorite desk, an address or two to a \"Little Cowboy\" -- that it may be a little too cloying for some tastes, even for fans of Pandemonium Shadow Show. Those are balanced by a couple major steps forward, namely \"Everybody's Talkin'\" and \"One.\" The former finds Nilsson adopting a rolling folk-pop backing for a Fred Neil song, making it into an instant, Grammy-winning classic. The latter was the greatest song he had written to date, a haunting tale of loneliness reminiscent of McCartney, yet with its own voice. These are the songs anchoring an album that may be a little lightweight, but it's engagingly, deliberately lightweight. If it's a bit dated, it wears its old charms well. » AllMusic Review by Stephen Thomas Erlewine\u003c\/p\u003e\n\u003cp\u003e« Prior to the advent of the early 1970’s singer\/songwriter culture in Southern California, there was Harry Nilsson. The Brooklyn native moved to Los Angeles and balanced his job in a bank with a desire to sing and perform original compositions. After some early songwriting successes with Little Richard, Phil Spector, Glen Campbell, The Yardbirds and The Monkees, Nilsson was signed to RCA Victor as a solo artist. With a three-and-a half octave range as a tenor, he developed a musical style that synthesized baroque psychedelic pop with Caribbean tempos, utilizing vocal overdubs. In 1967, Pandemonium Shadow Show was released to critical acclaim, but disappointing sales. However musical peers like The Beatles were enthusiastic fans and this provided momentum to his career. In 1968, Aerial Ballet fared considerably better, yielding two “hits”. The first, Fred Neiil’s “Everybody’s Takin’” was a minor hit. A year later it would make its way into the iconic movie “Midnight Cowboy” and earn Nilsson a Grammy. The second, “One” has become a standard.\u003c\/p\u003e\n\u003cp\u003eThe 70’s was the zenith of Harry Nilsson’s musical legacy. Albums like Nilsson Sings Newman, A Touch Of Schmilson (“Without You”, Coconut”), and A Little Touch Of Schmilson In The Night. were relatively successful. He embraced the American Songbook and his unique weird pop constructs made his songs accessible. Additionally, there were music scores for the cult movie Skidoo, Robert Altman’s Popeye, and the children’s animated TV film, The Point. Television aficionados will remember his theme from The Courtship Of Eddie’s Father (“Best Friend”). In his later career, Nilsson was still recording, but was more renowned for his hard partying in Los Angeles and the infamous Troubadour incident with John Lennon. Sadly, he passed away in 1994 at 52.\u003c\/p\u003e\n\u003cp\u003eSpeakers Corner has released a re-mastered 180-gram vinyl of Aerial Ballet. This was Nilsson’s third album, and represented a cohesive set of original compositions. The title was a reference to the singer’s circus grandparents and their high wire act. The quirky appeal of Harry is evident from the opening track, “My Old Desk”. With a “peppy” piano and tracked vocals, Nilsson elevates the mundane (“…My old desk does an arabesque…”) with eclectic imagery. There is a nuanced horn counterpoint and violins for texture. “Don’t Leave Me” is a winsome love song with a 60’s uptempo jazzy\/Latin chorus. Nilsson’s vocal flexibility shines on a well-placed falsetto. The non-verbal phrasing is uncanny. On “Mr. Richland’s Favorite Song” he uses a subtle vibrato as he tells a self-parody in 20’s\/30’s stylings. A trombone and “mouth trumpet” add just the right touch of weirdness.In a mere 1:22, “Little Cowboy” becomes an unforgettable lullaby, framed by a lovely vocal tenor. One could imagine Roy Rogers or Gene Autry humming this (excluding the unconventional overdubbed singing). At the other end of the spectrum, “Together” is arranged with pop and classical influences. The string accompaniment and trumpet approximate the George Martin Beatles era (like “Penny Lane”).\u003c\/p\u003e\n\u003cp\u003eSide Two begins with a pop masterpiece, Fred Neil’s “Everybody’s Talkin’”. The aching melancholy of this ode to loneliness is rendered perfectly by Nilsson’s lyrical voice. His Country \u0026amp; Western sensibility is countered by a sophisticated violin section. What cannot be understated is the vocal gymnastics with tricky falsetto and a “wa-wah” voiced run that is spine-tingling. It easily stands the test of time. “I Said Goodbye To Me” is a template for future pop music. The waltz-time tune has hushed lower-register vocals and another slight vibrato. There is a 52 second reprise of “Little Cowboy with whistling. On “Mr. Tinker”, the anecdotal everyman is explored with sensitivity. You can understand Nilsson’s rapport with Randy Newman. The loping descant melody line and tenuous halting singing is unique.\u003c\/p\u003e\n\u003cp\u003eMany people are familiar with “One”. The opening phrase “One is the loneliest number that you’ll ever do…” remains timeless. This version is superior to all others. starting with electric piano and voice, a cello is precisely added to the arrangement. Then woodwinds, harpsichord and flute expand the aural landscape. What feels like a pared down song is full and rich. The purity of the emotional singing is resonant and the return to electric piano and voice at the conclusion is beautiful. “The Wailing Of The Willow is a definite change of pace. The bossa nova rhythm and surprising chord changes lend a cinematic ambiance. Harry cuts loose on the finale (“Bath”) with big band, New Orleans-style doo-wah humor and impertinence.\u003c\/p\u003e\n\u003cp\u003eSpeakers Corner has done their customary stellar job at re-mastering Aerial Ballet to 180-gram vinyl. Nilsson’s signature tenor voice is captured with finesse and crispness. All of the instrumentation, including horns, woodwinds and strings are blended in without upstaging the vocals. Incredibly, the album barely covers 25 minutes (one track got pulled!). This album is pop history! » Robbie Gerson, Audiophile Audition, Jun 27, 2018\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eT\u003c\/span\u003e\u003cspan\u003eo define in a nutshell the music of Harry Nilsson in accordance with his personality can easily become a fiasco. The American singer-songwriter might well share his reputation as a multi-talented eccentric with a number of other musicians. However, his highly unusual style and his »satirical catchy pop songs [composed] with the sparkling eye of a cynic and the tearful eye of a nostalgic« (rororo Rock Lexicon) cannot be pigeonholed. Nilsson packaged derisive lines, spiced with a pinch of self-irony, in suspiciously pleasing yet carefully selected tunes.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e His cultivated and astonishingly supple voice basked to the full in bittersweet phrases, aided by elaborate, melting, slushy arrangements with strings and winds. Several of the wonderfully fresh numbers from \"Aerial Ballet\" reached top places in the charts. \"Everybody’s Talkin’\" became world-famous through its use in the film \"Midnight Cowboy\" and brought Nilsson his first Grammy award. The song \"One\" soared to the top ten of the charts. The other light and airy songs now invite you to create your very own hit list. Every single number makes great listening!\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cbr\u003eRatings\u003c\/strong\u003e :\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAllMusic : 4.5 \/ 5 , \u003c\/span\u003e\u003cspan\u003eDiscogs \u003c\/span\u003e: \u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e4,49\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5  , \u003c\/span\u003e\u003cspan\u003eRate Your Music \u003c\/span\u003e: \u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e3,79\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40407063429271,"sku":"LSP-3956","price":45.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/harry-nilsson-aerial-ballet-audiosoundmusic-1.jpg?v=1719851616"},{"product_id":"elvis-presley-elvis-golden-records","title":"Elvis Presley - Elvis' Golden Records (Mono)","description":"\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eCOMPILATION\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eElvis Presley - guitar, vocals \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/elvis-presley\" title=\"vinyl featuring Elvis Presley\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/elvis-presley\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Elvis Presley]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eThe Jordanaires (vocals) and various bands\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eWritten by Jerome Leiber (A1, A2, A5, A6, B5), Mike Stoller (A1, A2, A5, A6, B5), Elvis Presley (A3, A4, B1, B4), Otis Blackwell (A3, B1), Mae Boren Axton (A4), Tommy Durden (A4), Bernard Weinman (A7), Lee Rosenberg (A7), Fred Fisher (B2), George Brown (B2), William Raskin (B2), Bernie Lowe (B3), Karl Mann (B3), Vera Matson (B4), Aaron Schroeder (B6), Cliff Owens (B6), George Mysels (B7), Lou Kosloff (B7)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMono\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Speakers Corner\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : RCA\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eRecording: January 1956 - September 1957 in Hollywood, New York and Nashville in mono\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eProduction: Steve Sholes\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eOriginally released in 1958\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eReissued in 2016\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eTracks :\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003cp\u003e                1. Hound Dog\u003c\/p\u003e\n\u003cp\u003e                2. Loving You\u003c\/p\u003e\n\u003cp\u003e                3 . All Shook Up\u003c\/p\u003e\n\u003cp\u003e                4. Heartbreak Hotel\u003c\/p\u003e\n\u003cp\u003e                5. Jailhouse Rock\u003c\/p\u003e\n\u003cp\u003e                6. Love Me\u003c\/p\u003e\n\u003cp\u003e                7. Too Much           \u003c\/p\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003cp\u003e                1. Don't Be Cruel\u003c\/p\u003e\n\u003cp\u003e                2. That's When Your Heartaches Begin\u003c\/p\u003e\n\u003cp\u003e                3. (Let Me Be Your) Teddy Bear\u003c\/p\u003e\n\u003cp\u003e                4. Love Me Tender\u003c\/p\u003e\n\u003cp\u003e                5. Treat Me Nice\u003c\/p\u003e\n\u003cp\u003e                6. Anyway You Want Me (That's How I Will Be)\u003c\/p\u003e\n\u003cp\u003e                7. I Want You, I Need You, I Love You\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e« This was rock \u0026amp; roll's first greatest-hits album, and it set the standard for all others to follow. As originally conceived, it was a 14-song collection of most of the King's biggest hits up to that time, released on the eve of his start of military service -- a dearth of material being in the offing, it seemed only logical to assemble these hits. Each of the 14 songs had earned a Gold record award for a million sales, a record unequaled at that time by anyone else in rock \u0026amp; roll. The album wasn't intended as a history lesson, so \"Hound Dog\" and \"Loving You\" precede \"Heartbreak Hotel\" -- the 1997 remastering also tampers with the concept a bit, adding six bonus tracks. Elvis' singing never sounded richer or more expressive, and one can fully appreciate in vivid detail the delicate nuances of his phrasing on songs like \"Too Much.\" On the downside, the remastering has made the sound so clean on some of the harder songs that some of the raw, \"dirty\" ambience that characterized this stuff on the radio and the original 45s is lacking. Still, Scotty Moore's groundbreaking lead guitar part on \"Hound Dog\" and the Jordanaires' backup singing never came through more sharply or cleanly, and the all-important rhythm section is almost upfront in the mix. Those who own the first Elvis box from RCA, covering the '50s masters may hesitate to pick up this or the other parts of this latest remastered series, but the sound has been upgraded one more level, and Elvis' Golden Records does give a bite-sized glimpse of where Elvis had come from and where he was going (for better or worse) musically on the eve of heading into the Army. » AllMusic Review by Bruce Eder\u003c\/p\u003e\n\u003cp\u003e\"Have we got the lot?\" The King of Rock’n’Roll certainly didn't need to ask whether his entourage had collected together all their favourite hits. They had gathered them all together - a collection of \"Golden Records\", rather like a selection box of favourite chocolates, greedily swallowed down and enjoyed to the full. And how they loved them all - whether 'complete works' collectors or fans. To this very day, this collection from 1958 is quite set apart from the normal 'best of' collections. It shines out like a precious jewel among mere pebbles.\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThis was the first of four Gold volumes, and it set the standard for those to come. Before any of the immemorable songs came to be included, they had to have sold at least a million copies and won an undeniable and unforgettable reputation as a heart-string plucker. To name a title is more than superfluous. It's quite enough just to listen and enjoy. Whoever wants the ultimate basic Elvis collection can’t go wrong here.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAllmusic : 3.5 \/ 5 ,  \u003c\/span\u003e\u003cspan\u003eDiscogs \u003c\/span\u003e: \u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e4,23\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5  , \u003c\/span\u003e\u003cspan\u003eRate Your Music \u003c\/span\u003e: \u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e4,24\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40410135593111,"sku":"LPM-1707","price":38.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/elvis-presley-elvis-golden-records-speaker-corners-black-vinyl-mono-audiosoundmusic-1.jpg?v=1719851627"},{"product_id":"blue-oyster-cult-tyranny-and-mutation","title":"Blue Oyster Cult - Tyranny And Mutation","description":"\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003eJ. Bouchard (Bass, Vocals, Keyboards), A. Bouchard (Drums, Vocals), D. (Buck Dharma) Roeser (Guitar, Vocals), A. Lanier (Keyboards, Rhythm Guitar), E. Bloom (Vocals, Guitar, Synthesizer)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by \u003c\/strong\u003e\u003cstrong\u003eAlbert Bouchard (A2, A4, B1, B2, B4), Eric Bloom (A1, A2, B1, B3), Richard Meltzer (A1, B3), Sandy Pearlman (A1, A2, A4, B4), Donald Roeser (A1, A4, B3), Albert Bouchard (A2, A4, B1, B2, B4), Joe Bouchard (A2, A3, A4, B2), Jeff Bouchard (A3), Patti Smith (B1)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve, insert\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Speakers Corner\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Columbia\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eRecording: 1972 at Columbia Studios, New York City, by Tim Geelan\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003cbr\u003e\u003cspan\u003eProduction: Murray Krugman \u0026amp; Sandy Pearlman\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eReissued August 2016\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eTracks :\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eThe Red \u0026amp; The Black\u003c\/li\u003e\n\u003cli\u003eO.D.'d On Life Itself\u003c\/li\u003e\n\u003cli\u003eHot Rails To Hell\u003c\/li\u003e\n\u003cli\u003e7 Screaming Diz-Busters\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eBaby Ice Dog\u003c\/li\u003e\n\u003cli\u003eWings Wetted Down\u003c\/li\u003e\n\u003cli\u003eTeen Archer\u003c\/li\u003e\n\u003cli\u003eMistress Of The Salmon Salt (Quicklime Girl)\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e« On Tyranny and Mutation, Blue Öyster Cult achieved the seemingly impossible: they brightened their sound and deepened their mystique. The band picked up their tempos considerably on this sophomore effort, and producers Sandy Pearlman and Murray Krugman added a lightning bolt of high-end sonics to their frequency range. Add to this the starling lyrical contributions of Pearlman, rock critic Richard Meltzer, and poet-cum-rocker Patti Smith (who was keyboardist Allen Lanier's girlfriend at the time), the split imagery of Side One's thematic, \"The Red\" and Side Two's \"The Black,\" and the flip-to-wig-city, dark conspiracy of Gawlik's cover art, and an entire concept was not only born and executed, it was received. The Black side of Tyranny and Mutation is its reliance on speed, punched-up big guitars, and throbbing riffs such as in \"The Red and the Black,\" \"O.D'd on Life Itself,\" \"Hot Rails to Hell,\" and \"7 Screaming Diz-Busters,\" all of which showcased the biker boogie taken to a dizzyingly extreme boundary; one where everything flies by in a dark blur, and the articulations of that worldview are informed as much by atmosphere as idea. This is screaming, methamphetamine-fueled rock \u0026amp; roll that was all about attitude, mystery, and a sense of nihilistic humor that was deep in the cuff. Here was the crossroads: the middle of rock's Bermuda triangle where BÖC marked the black cross of the intersection between New York's other reigning kings of mystery theater and absurd excess: the Velvet Underground and Kiss -- two years before their first album -- and the \" 'it's all F#$\u0026amp;%* so who gives a rat's ass\" attitude that embodied the City's punk chic half-a-decade later. On the Red Side, beginning with the syncopated striations of \"Baby Ice Dog,\" in which Allen Lanier's piano was as important as Buck Dharma's guitar throb, elements of ambiguity and bluesy swagger enter into the mix. Eric Bloom was the perfect frontman: he twirled the words around in his mouth before spitting them out with requisite piss-and-vinegar, and a sense of decadent dandy that underscored the music's elegance, as well as its power. He was at ease whether the topic was necromancy, S\u0026amp;M, apocalyptic warfare, or cultural dissolution. By the LP's end, on \"Mistress of the Salmon Salt,\" Bloom was being covered over by a kind of aggressively architected psychedelia that kept the '60s at bay while embracing the more aggressive, tenser nature of the times. While BÖC's Secret Treaties is widely recognized as the Cult's classic album, one would do well to consider Tyranny and Mutation in the same light. » AllMusic Review by Thom Jurek\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eLet's look back nostalgically to the days when influential DJs presented their precious wares on the radio, which were lapped up by listeners and music pirates alike. That progressive, perhaps psycho, rockers such as the Blue Öyster Cult led a somewhat niche existence makes one all the more eager to listen to the truly awesome discs recorded by this group in their early days. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAn important start was made with the re-release of BÖC's \"Secret Treaties\" (Columbia KC 32858), which is now followed by \"Tyranny And Mutation\" - another great disc. Although the band offers a mix of slightly subdued, milder pieces, the opening number \"The Red \u0026amp; The Black\" makes it fully clear that we are in for a dizzy roller-coaster ride here. Subsequently the Black side with its straightforward guitar riffs is mixed together with a complex melody and results in an amazingly colourful sound (\"O.D.'d On Life Itself\"), it is refreshingly naive, full of feisty complicated rock (\"Baby Ice Dog\"), and soars to celestial heights in \"Wings Wetted Down\" with its polyphonic male voices.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAfter the death of 'Lemmy' Kilmister in 2015, we can now enjoy only one group with a heavy-metal Umlaut in its name. But who wants to wait around until some radio DJ puts this great chunk of meaty rock’n’roll on the turntable?\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAllmusic : 4.5 \/ 5  , \u003c\/span\u003e\u003cspan\u003eDiscogs \u003c\/span\u003e: \u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e4,15\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5  , \u003c\/span\u003e\u003cspan\u003eRate Your Music \u003c\/span\u003e: \u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e3,77\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40410311524503,"sku":"KC 32017","price":38.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/blue-oyster-cult-tyranny-and-mutation-audiosoundmusic-1.jpg?v=1719851627"},{"product_id":"shakti-with-john-mclaughlin-natural-elements","title":"Shakti with John McLaughlin - Natural Elements","description":"\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eJohn McLaughlin - guitar vocals \u003cspan data-mce-fragment=\"1\"\u003e\u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/john-mclaughlin\" title=\"vinyl featuring john mclaughlin\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/john-mclaughlin\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring John McLaughlin]\u003c\/span\u003e\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eL. Shankar (v, va, voc); Zakir Hussain (perc, voc); T.H. Vinayakram (perc, harp, voc)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by Mc Laughlin (A1, A2, A4, B1, B2, B3, B4) and L. Shankar (A2, A3, A4, B2, B3)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Speakers Corner\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Columbia\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eRecording: July 1977 at Aquarius Studios, Geneva (Switzerland), by Jean Ristori\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eProduction: John McLaughlin\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eOriginally released in 1977\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eReissued in 2014\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eTracks : \u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003cp\u003e                1. Mind Ecology\u003c\/p\u003e\n\u003cp\u003e                2. Face To Face\u003c\/p\u003e\n\u003cp\u003e                3. Come On Baby Dance\u003c\/p\u003e\n\u003cp\u003e                4. The Daffodil And The Eagle\u003c\/p\u003e\n\u003cp\u003eSide 2\u003c\/p\u003e\n\u003cp\u003e                1. Happiness Is Being Together\u003c\/p\u003e\n\u003cp\u003e                2. Bridge Of Sighs\u003c\/p\u003e\n\u003cp\u003e                3. Get Down And Sruti\u003c\/p\u003e\n\u003cp\u003e                4. Peace Of Mind\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e« The third and final Shakti recording from the '70s. The songs here are shorter than those on Shakti and Handful of Beauty, but no less impressive. The novelty of combining Eastern and Western musical styles had worn off and McLaughlin sounds comfortable. This allows for memorable compositions and interchanges, rather than the blistering virtuosity that characterized the first two releases. From the intense (\"Daffodil and the Eagle\") to the joyful (\"Happiness Is Being Together\"), Natural Elements stands as a milestone in McLaughlin's illustrious career. » AllMusic Review by Robert Taylor\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIn the western world, the word shakti is taken to mean creative intelligence, beauty and strength. Guitar marvel John McLaughlin, who collaborated with the unique Mahavishnu Orchestra to tell the world of his conversion to Hinduism, created music past comparison with Shakti. Despite the frenzy of mass oriental pilgrimages, it was still unusual that McLaughlin’s ensemble was made up totally of musicians from India.\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eAs the title of the third and last album – \"Natural Elements\" – suggests, all the participants work with body and soul and make no use of electronic equipment that was so popular in the Seventies. The very real natural energy, which emanates from the flow of melodies and rhythms from both western and eastern musical sources, fires all the musicians. And it is completely intentional that a cheerful fiddle tune, which might well be heard in the Emerald Isle, is joined by plopping volleys of sound on the tabla, inviting one to dance, or that dampened mariachi jubilation appears to be enveloped in the meditative atmosphere of a temple.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe short, light and cheerful pieces on this LP provide easy listening and offer an ideal insight into the world of Shakti. These natural sounds, far from time and space, are still enjoyed today – as is proved by the presence of a large audience at the concert \"Remember Shakti\", in which John McLaughlin and Zakir Hussain celebrated their 40-year spiritual ties.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAllmusic : 4 \/ 5 , \u003c\/span\u003e\u003cspan\u003eDiscogs \u003c\/span\u003e:  \u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e4,20\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5 , \u003c\/span\u003e\u003cspan\u003eRate Your Music \u003c\/span\u003e: \u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e3,82\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40410687275159,"sku":"JC 34980","price":38.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/shakti-with-john-mclaughlin-natural-elements-audiosoundmusic-1.jpg?v=1719851639"},{"product_id":"carlos-santana-buddy-miles-live","title":"Carlos Santana \u0026 Buddy Miles - Live! (Speaker Corners)","description":"\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cbr\u003e\u003cbr\u003eCarlos Santana (g) \u003cspan data-mce-fragment=\"1\" style=\"color: #ff8000;\" data-mce-style=\"color: #ff8000;\"\u003e[c\u003c\/span\u003e\u003ca data-mce-fragment=\"1\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/carlos-santana\" title=\"Vinyl featuring Carlos Santana\" style=\"color: #ff8000;\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/carlos-santana\" data-mce-style=\"color: #ff8000;\"\u003elick here to see more vinyl featuring Carlos Santana]\u003c\/a\u003e\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eBuddy Miles (dr, voc); Robert Hogins (org); Luis Gasca (tp); Hadley Caliman (sax, fl); Neal Schon (g); Ron Johnson (b); Coke Escovedo (perc); Gregg Errico (dr); Victor Pantoja, Michael Carabello (cga)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWriten by Buddy Miles (A2, A4, A5, B1), John McLaughlin (A1), Carlos Santana (B1), S. Henry (A3), G. Errico (B1), R. Johnson (B1)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, gatefold sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLive\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Speakers Corner\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Columbia\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eRecording: January 1972 live in the Diamond Head Crater, Hawaii, USA,\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eProduction: Carlos Santana \u0026amp; Buddy Miles\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eOriginally released in 1972\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eReissued in 2013\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eTracks : \u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eMarbles\u003c\/li\u003e\n\u003cli\u003eLava\u003c\/li\u003e\n\u003cli\u003eEvil Ways\u003c\/li\u003e\n\u003cli\u003eFaith Interlude\u003c\/li\u003e\n\u003cli\u003eThem Changes\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eFree Form Funkafide Filth\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e« From December 1971 to April 1972, Carlos Santana and several other members of Santana toured with drummer\/vocalist Buddy Miles, a former member of the Electric Flag and Jimi Hendrix's Band of Gypsys. The resulting live album contained both Santana hits (\"Evil Ways\") and Buddy Miles hits (\"Changes\"), plus a 25-minute, side-long jam titled \"Free Form Funkafide Filth.\" It was not, perhaps, the live album Santana fans had been waiting for, but at this point in its career, the band could do no wrong. The album went into the Top Ten and sold a million copies. » AllMusic Review by William Ruhlmann\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e : \u003c\/p\u003e\n\u003cp\u003eAllmusic : 4 \/ 5 ,  \u003cspan\u003eDiscogs \u003c\/span\u003e: \u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e3,93\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5 , \u003c\/span\u003e\u003cspan\u003eRate Your Music \u003c\/span\u003e: \u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e3,62\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40410884112535,"sku":"KC 31308","price":38.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/carlos-santana-and-buddy-miles-live-speaker-corners-audiosoundmusic-1.jpg?v=1719851655"},{"product_id":"baden-powell-solitude-on-guitar","title":"Baden Powell - Solitude On Guitar","description":"\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eBaden Powell (guitar \u0026amp; vocal) \u003ca data-mce-fragment=\"1\" title=\"vinyl featuring Baden Powell\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/baden-powell\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/baden-powell\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"color: #ff8000;\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Baden Powell]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eEberhard Weber - bass (A4, B4)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eJoaquim Paes Henriques - drums (A4, A5, B1, B4)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by B. Powell (A1, A2, A4, A5, B1, B3, B6), P. Soledade (A1), V. de Moraes (A1, A3), J. Mandel (B1), E. Weber (B4), A. C. Jobim (A3, B5), D. Duran (B5). A6 is a traditionnal song arranged by B. Powell\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Speakers Corner\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Columbia\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eRecording: December 1971 by Torsten Wintermeir at Studio Walldorf, Germany\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003cbr\u003e\u003cspan\u003eProduction: Joachim Ernst Berendt\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eOriginally released in 1973\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eReissued in April 2011\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e1. Introduçao Ao Poema Dos Olhos da Amada\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e2. Se Todos Fossem Iguais a\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e3. Você\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e4. Marcia, Eu Te Amo\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e5. Na Gafieira Do Vidigal\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e6. Kommt Ein Vogel Geflogen\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cbr\u003eSide B :\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e1. Fim da Linha\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e2. The Shadow Of Your Smile\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e3. Brasiliana\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e4. Bassamba\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e5. Por Causa de\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e6. Você\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e7. Solitário\u003c\/div\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe acoustic guitar shares the same destiny as so many music companies: almost all of them dabble with the six strings at some point, many attempt to play entertaining harmonic roulette with it, but only a few really make the grade. Baden Powell belongs to the small circle of guitarists whose early virtuosity is perfectly combined with a keen sense of harmony. Powell demonstrates this special talent in his slow numbers in particular, in which broken chords are developed like a bud opening out to a blossom. He guides the listener cautiously through his melodies in that he makes a tiny pause before a harmonic change. Full timbre and lightness are not a question of what is written down on the manuscript but result from a powerful performance, as is shown by the totally un-Brazilian, gentle major-minor key version of the children’s song \"Kommt Ein Vogel Geflogen\".\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eNaturally, the wonderfully crafted, animated and bouncy bossas flow along easily. As befits the album’s title, the guitar is in the limelight here, driven on, held back, and then propelled forward by the rhythm group. The ballad \"Se Todos Fossem Iguais A Voce\" is strongly recommended to whet your appetite for the bossa \"Na Gafieira Do Vidigal\".\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e : \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAllmusic : 4.5 \/ 5  , \u003c\/span\u003e\u003cspan\u003eDiscogs \u003c\/span\u003e:\u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e4,17\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5 , \u003c\/span\u003e\u003cspan\u003eRate Your Music \u003c\/span\u003e:\u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e3,88\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40412522905751,"sku":"C 32441","price":38.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/baden-powell-solitude-on-guitar-audiosoundmusic-1.jpg?v=1719851677"},{"product_id":"elvis-presley-elvis-christmas-album","title":"Elvis Presley - Elvis' Christmas Album (Mono)","description":"\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003eElvis Presley - guitar, vocals \u003ca data-mce-fragment=\"1\" title=\"vinyl featuring Elvis Presley\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/elvis-presley\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/elvis-presley\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"color: #ff8000;\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Elvis Presley]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eThe Jordanaires - vocals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by Jerry Leiber (A1), Mike Stoller (A1), Irving Berlin (A2), Gene Autry (A3), Oakley Haldeman (A3), Kim Gannon (A4), Walter Kent (A4), Buck Ram (A4), Bill Hayes (A5), Jay Johnson (A6), Claude Demetrius (A6), Aaron Schroeder (A6), Phillip Brooks (B1), Lewis Redner (B1), Franz Gruber (B2), Joseph Mohr (B2), Rev. Thomas A. Dorsey (B3, B5), Ervin Drake (B4), Irvin Graham (B4), Jimmy Shirl (B4), Al Stillman (B4), Stuart Hamblen (B6)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, gatefold sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMono\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Speakers Corner\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : RCA\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1957\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2007\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eTracks :\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A : \u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eSanta Claus Is Back In Town\u003c\/li\u003e\n\u003cli\u003eWhite Christmas\u003c\/li\u003e\n\u003cli\u003eHere Comes Santa Claus (Right Down Santa Claus Lane)\u003c\/li\u003e\n\u003cli\u003eI'll Be Home For Christmas\u003c\/li\u003e\n\u003cli\u003eBlue Christmas\u003c\/li\u003e\n\u003cli\u003eSanta Bring My Baby Back (To Me)\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eO Little Town Of Bethlehem\u003c\/li\u003e\n\u003cli\u003eSilent Night\u003c\/li\u003e\n\u003cli\u003e(There'll Be) Peace in the Valley (For Me)\u003c\/li\u003e\n\u003cli\u003eI Believe\u003c\/li\u003e\n\u003cli\u003eTake My Hand, Precious Lord\u003c\/li\u003e\n\u003cli\u003eIt Is No Secret (What God Can Do)\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e« Elvis' 1957 original Christmas album is one of his most inspired early outings and the first time he tackled anything resembling a thematic concept. Split evenly between rockers and bluesy numbers like \"Santa Claus Is Back in Town,\" \"Blue Christmas,\" and \"Santa Bring My Baby Back to Me,\" perennials like \"White Christmas,\" \"I'll Be Home for Christmas,\" and \"Silent Night,\" and straight-ahead gospel favorites like \"I Believe,\" \"Peace in the Valley\" and \"Take My Hand, Precious Lord,\" the disc revealed a different side of the rocker for the first time on a public instead conditioned to expect something outrageous. One of the King's shining moments, this is quite simply still one of the best holiday albums available. » AllMusic Review by Cub Koda\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003c\/span\u003e\u003cspan\u003eWild rock’n’roll and Christian spirituality at Christmastide are impossible to bring together musically, one might think. But Elvis, who in the Fifties was climbing as steadily up the ladder of success as Father Christmas coursed the sky in his sleigh, certainly pulled off this feat in his \"Christmas Album\" with its mixture of popular Christmas songs and seasonal evergreens. The 'King' delivers a rocking version of \"Santa Claus Is Back In Town\" just as successfully as \"Peace In The Valley\", an inspirational gospel song praising nature. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eOf course it goes without saying that \"White Christmas\" – the most-recorded Christmas hit, which in the Bing Crosby version alone achieved sales of 35 million – is included on the album. And Elvis’s sentimental interpretation of \"Silent Night\" may well have made its contribution to the immortality of the former truck driver from Tennessee. Back on this earth the original LP exchanges hands for around US$ 500 when the gift tag is still attached. And because it’s Christmas, the coveted sticker can be found on the re-release.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAllmusic : 4.5 \/ 5  ,  \u003c\/span\u003e\u003cspan\u003eDiscogs \u003c\/span\u003e: \u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e3,90\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5 , \u003c\/span\u003e\u003cspan\u003eRate Your Music \u003c\/span\u003e:\u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e3,45\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40412734193815,"sku":"LOC-1035","price":38.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/elvis-presley-elvis-christmas-album-mono-audiosoundmusic-1.jpg?v=1719851688"},{"product_id":"louis-fremaux-massenet-le-cid-ballet-music-scenes-pittoresques","title":"Massenet - Le Cid-Ballet Music, Scenes Pittoresques - Louis Frémaux","description":"\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eJules Massenet: \"Le Cid\" Ballet Music and \"Scènes pittoresques\"\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eThe City Of Birmingham Symphony Orchestra conducted by Louis Frémaux\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Speakers Corner\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : EMI Columbia\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eRecording: 1971 by Stuart Eltham\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eProduction: Brian Culverhouse\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eOriginally released in 1971\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eReissued in 2020\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eTracks :\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A : LE CID- ballet music\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eCastillane\u003c\/li\u003e\n\u003cli\u003eAndalouse\u003c\/li\u003e\n\u003cli\u003eAragonaise\u003c\/li\u003e\n\u003cli\u003eAubade\u003c\/li\u003e\n\u003cli\u003eCatalane\u003c\/li\u003e\n\u003cli\u003eMadrilene\u003c\/li\u003e\n\u003cli\u003eNavarraise\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B : Scenes Pittoresques\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eMarche\u003c\/li\u003e\n\u003cli\u003eAir de ballet\u003c\/li\u003e\n\u003cli\u003eAngelus\u003c\/li\u003e\n\u003cli\u003eFete Boheme\u003c\/li\u003e\n\u003cli\u003e\u003cspan\u003eThe Last Sleep Of The Virgin From \"La Vierge\"\u003c\/span\u003e\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eOne often looks in vain for the name Jules Massenet in the more popular concert guides. But once you have listened to these enchanting miniatures, you will doubtless agree that the French composer should not be absent from any musical guide. The ballet suite to the four-act opera \"Le Cid\" from 1885, which lauds the Spanish heroes in the war against the Moors, consists of a series of traditional dances from various regions of the Iberian Peninsula. Scintillating melodies sparkle with lively motion right from the very first in the series of dances, \"Castillane\". \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eThis is followed by a series of highly contrasted little movements whose characteristics cover a wide range of expression – from crashing and robust in the \"Aragonaise\", via bright, warbling and whistling in the \"Aubade\", and on to the symphonic and lyrical \"Catalane\". The suite is brought to an end with the fresh and joyous \"Navarraise\" in a short and vibrant Finale.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eMassenet’s perfected art of orchestration is well demonstrated in the \"Scènes pittoresques\", which begins with a march-like, processional dance, followed by an \"Air de Ballet\", a gently swirling movement filled with strains of interweaving woodwinds. After the bell-like, pastoral \"Angélus\" we hear the rich sound of bold fanfares in a lively final dance entitled \"Fête bohème\", which is certainly worthy of its name.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e : \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eDiscogs \u003c\/span\u003e: \u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e4,06\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\u003e3,28\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40413424582807,"sku":"TWO-350","price":38.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/massenet-le-cid-ballet-music-scenes-pittoresques-louis-fremaux-audiosoundmusic-1.jpg?v=1719851702"},{"product_id":"ludwig-van-beethoven-symphonies-nos-4-5-the-columbia-symphony-orchestra-conducted-by-bruno-walter","title":"Beethoven - Symphonies N. 4 \u0026 5 - Bruno Walter","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eLudwig van Beethoven: Symphony No. 4 B-flat Major op. 60, Symphony No. 5 C-Minor op. 67\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eThe Columbia Symphony Orchestra conducted by Bruno Walter\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Speakers Corner\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Columbia\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eRecording: January and February 1958 at American Legion Hall, Hollywood, USA\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eProduction: John McClure\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eReissued in April 2018\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 : Symphony No. 4 in B-flat Major, OP. 60\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eAdagio; Allegro Vivace\u003c\/li\u003e\n\u003cli\u003eAdagio\u003c\/li\u003e\n\u003cli\u003eAllegro Vivace. Trio. Un Poco Meno Allegro\u003c\/li\u003e\n\u003cli\u003eFinale: Allegro Ma Non Troppo\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e Side B : Symphony No. 5 in C Minor, Op. 67\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eAllegro Con Brio\u003c\/li\u003e\n\u003cli\u003eAndante Con Moto\u003c\/li\u003e\n\u003cli\u003eScherzo (Allegro Vivace)\u003c\/li\u003e\n\u003cli\u003eFinale: Allegro\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eSchoenberg, Zemlinsky, Korngold – Bruno Walter knew them all: musicians who sought refuge from the henchmen of the Nazi Party in the New World and found artistic fulfilment there. And they all knew him and his meteoric rise to success at all the great houses in Europe. Formed by working with Gustav Mahler in Hamburg, under whose wing he rose from répétiteur to Chorus Director and then to Kapellmeister, Walter took on further posts as Chief Conductor in Vienna, Munich and Leipzig where the talented artist matured to become a true maestro.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eJust when the aged Walter was wanting to retire into private life, Columbia motivated him to record several symphonic works – including Beethoven’s Symphonies – at a time when stereo recording, with its previously undreamt technical possibilities, was just dawning. Even without any knowledge of the still existent recordings of the rehearsals of the Fourth and Fifth Symphonies, the final recording reflects the lifelong experience and meticulousness of the great conductor. In a taut and relaxed manner, and certainly not mellowed with age, Walter brings the scores to glow. The players weave a web that holds the formal symphonic components together with sophistication and richly contrasted, whereby the conductor’s love for tonal detail manifests itself in easily identifiable instruments.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eDiscogs \u003c\/span\u003e: \u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e4,17\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5  ,  \u003c\/span\u003e\u003cspan\u003eRate Your Music \u003c\/span\u003e: \u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e4,50\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40417481261207,"sku":"MS 6055","price":38.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/beethoven-symphonies-n-4-and-5-bruno-walter-audiosoundmusic-1.jpg?v=1719851709"},{"product_id":"johannes-brahms-10-intermezzi-glenn-gould","title":"Johannes Brahms - 10 Intermezzi - Glenn Gould","description":"\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003eJohannes Brahms: Intermezzi op. 76 no. 6 in A major, no. 7 in A minor; op. 116 No. 4 in E major; op. 117 no. 1 in B-flat major, no. 2 in B-flat minor, no. 3 in C-sharp minor; op. 118 no. 1 in A minor, no. 2 in A major, no. 6 in E-flat minor; op. 119 no. 1 in B minor\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003e Glenn Gould (piano)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Speakers Corner\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Columbia\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eRecording: September and November 1960 at Columbia’s 30th Street Studio, New York\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003cbr\u003e\u003cspan\u003eProduction: J. Scianni\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eOriginally released in 1961\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eReissued in 2017\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eTracks :\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e1. Intermezzo In E-Flat Major, Op. 117, No. 1\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e2. Intermezzo In B-Flat Minor, Op. 117, No. 2\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e3. Intermezzo In C-Sharp Minor, Op. 117, No. 3\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e4. Intermezzo In E-Flat Minor, Op. 118, No. 6\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e1. Intermezzo In E Major, Op. 116, No. 4\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e2. Intermezzo In A Minor, Op. 76, No. 7\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e3. Intermezzo In A Major, Op. 76, No. 6\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e4. Intermezzo In B Minor, Op. 119, No. 1\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e5. Intermezzo In A Minor, Op. 118, No. 1\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e6. Intermezzo In A Major, Op. 118, No. 2\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\u003c\/div\u003e\n\u003cp\u003e\u003cspan\u003eReviews :\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIf you mainly connect the name Brahms with opulent symphonies, passionate concertos and weighty piano music, you will be in for a big surprise when you listen to the Intermezzi op. 117. The music critic Eduard Hanslick talks of a more restrained, detached style and clearly means the calm, simple and immensely expressive flowing melodies, which characterize the late piano music of this Romantic composer. Just how sensitively the performer must tackle these precious miniatures is described by Clara Schumann with the words \"… the intellectual technique in them demands a fine comprehension and one must be very familiar with Brahms to play them as Brahms had imagined them\".\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eWhen it comes to Brahms, Glenn Gould – famous for his analytically strict and emphatic interpretation of Bach’s keyboard works – proves himself to be a true poet and thinker at the keyboard. Driven by the melancholy force, his thoughts find their way, sometimes hesitantly, then moving on with a deep breath, as it were, to the next deceleration.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIn op. 118 no. 1 the Canadian pianist begins with a passion that wrests expansive cascades of sound from the keyboard, then finds his way back to introvert mellifluous tones (op. 118 no. 2) and increases the drama in the will-o’-the-wispish and futile attempts to come to a redemptory final cadence (op. 118 no. 6). It would be hard to find a more closely-knit and intense rendering than on the present recording.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eRatings :\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eDiscogs \u003c\/span\u003e: \u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e4,00\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5  ,  \u003c\/span\u003e\u003cspan\u003eRate Your Music \u003c\/span\u003e:  \u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e3,85\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40417714077847,"sku":"MS 6237","price":34.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/johannes-brahms-10-intermezzi-glenn-gould-audiosoundmusic-1.jpg?v=1719851709"},{"product_id":"antonin-dvorak-string-quintet-boston-symphony-chamber","title":"Antonín Dvorák - String Quintet - Boston Symphony Chamber","description":"\u003cp\u003e\u003cstrong\u003eAntonín Dvorák - String Quintet in G major Op. 77 \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBoston Symphony Chamber Players : Joseph Silv\u003c\/strong\u003e\u003cstrong\u003eerstein, Max Hobart (v); Burton Fine (va), Jules Eskin (vc), Henry Portnoi (b)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Speakers Corner\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : \u003cspan class=\"label\"\u003eDeutsche Grammophon\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan class=\"label\"\u003e\u003cspan\u003eRecorded June 1971 at Boston Symphony Hall by Günter Hermanns\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eProduced by Thomas Mowrey\u003c\/span\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eOriginally released in 1971\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eReissued in 2015\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan class=\"label\"\u003e\u003cspan\u003eTracks :\u003c\/span\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eAllegro con fuoco\u003c\/li\u003e\n\u003cli\u003eIntermezzo. Andante religioso. Molto Adagio\u003c\/li\u003e\n\u003cli\u003eScherzo. Allegro vivace – Trio. L’istesso tempo, quasi Allegretto\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B\u003c\/p\u003e\n\u003col start=\"4\"\u003e\n\u003cli\u003ePoco Andante\u003c\/li\u003e\n\u003cli\u003eFinale, Allegro assai\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eA perusal of string quintets throughout history leaves one with the impression that their creators wish to bestow a powerful impact upon the small group of musicians. And it is no different with Dvořák’s Quintet in G major: a double bass, instead of the usual second cello, paints with broad strokes in the lengthy score whose first movement almost takes on symphonic dimensions. Here, the insistent, broad theme is presented in snappy cascades of sound. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe cantilena, supported by a scurrying second subject, is followed by a frenzied Scherzo, which is steeped in Czech folk music under Dvořák’s distinctive style. The third movement (Poco andante) is highly meditative and is constructed with layers of one and the same basic motif, which soon is intensified with pulsating quavers and finally evolves in rising melodic elements.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe Finale is filled with fresh melodies and spiced with subtle motivic development, which is pleasant on the ear in all its complexity. It is not surprising, therefore, that Dvořák won an important prize for his Quintet.\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40418057289879,"sku":"2530 214","price":45.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/antonin-dvorak-string-quintet-boston-symphony-chamber-audiosoundmusic.jpg?v=1719851716"},{"product_id":"schubert-complete-trios-for-piano-violin-and-cello-beaux-arts-trio","title":"Schubert - Complete Trios for Piano, Violin and Cello - Beaux Arts Trio (2LP)","description":"\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eFranz Schubert - Piano Trios in B flat major, op. 99, D 898; in E flat major, op. posth. 148, D 897; in E flat major, op. 100, D 929; in B flat major, D 28\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eBeaux Arts Trio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\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 : 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 : Philips\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eRecording: February 1966\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eOriginally released in 1966\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eReissued in Jan 2011\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. Piano Trio In B Flat, Op. 99, D. 898 -          \u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\n\u003cspan data-mce-fragment=\"1\"\u003e2. Piano Trio In B Flat, Op. 99, D. 898 - \u003c\/span\u003e1st Movt: Allegro Moderato      \u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\n\u003cspan data-mce-fragment=\"1\"\u003e3. Piano Trio In B Flat, Op. 99, D. 898 - \u003c\/span\u003e2nd Movt: Andante Un Poco Mosso       \u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\n\u003cspan data-mce-fragment=\"1\"\u003e4. Piano Trio In B Flat, Op. 99, D. 898 - \u003c\/span\u003e3rd Movt: Scherzo (Allegro)\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cp\u003eSide B :     \u003c\/p\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\n\u003cspan data-mce-fragment=\"1\"\u003e1. Piano Trio In B Flat, Op. 99, D. 898 - \u003c\/span\u003e4th Movt: Rondo (Allegro Vivace)           \u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e2. Piano Trio In E Flat, Op. Posth. 148, D. 897 (“Notturno”) - Adagio\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cp\u003eSide C :      \u003c\/p\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\n\u003cspan data-mce-fragment=\"1\"\u003e1. Piano Trio In E Flat, Op. 100, D. 929 - \u003c\/span\u003e1st movt: Allegro            \u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\n\u003cspan data-mce-fragment=\"1\"\u003e2. Piano Trio In E Flat, Op. 100, D. 929 -\u003c\/span\u003e 2nd movt: Andante con moto   \u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\n\u003cspan data-mce-fragment=\"1\"\u003e3. Piano Trio In E Flat, Op. 100, D. 929 - \u003c\/span\u003e3rd Movt: Scherzo (Allegro Moderato)\u003cbr\u003e  \u003c\/div\u003e\n\u003cp\u003eSide D :\u003c\/p\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\n\u003cspan data-mce-fragment=\"1\"\u003e1. Piano Trio In E Flat, Op. 100, D. 929 - \u003c\/span\u003e4th Movt : Allegro Moderato      \u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e2. Piano no Trio In B Flat, D. 28 (“Sonata”) - Allegro\u003c\/div\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eAnyone who takes an interest in Schubert’s late works will sooner or later come across cliché-like interpretations of his music that have been associated with a foreboding of his early death. Robert Schumann on the other hand was more objective when he looked at the score of Schubert’s two great Piano Trios: he characterised that in E flat major as effectual, masculine and dramatic, and the sister work in B flat major as languishing, feminine and lyrical. Both masterpieces have in common highly varied movements, which must be approached with great insight, a deeply felt sustained lyricism, and a courageous approach as regards the bold themes.\u003c\/p\u003e\n\u003cp\u003eThat this recording with the Beaux Arts Trio has taken on a benchmark status might well lie in the fact that the three musicians amalgamate romantic fire with analytical aplomb which results in Schubert pure. With their non-stop ebb and flow of melodies, wonderfully indulgent sound colouring and a fiery tour de force through the miraculously winding harmonic paths, the Beaux Arts Trio prove themselves to be among the very best of all Schubert interpreters.\u003c\/p\u003e\n\u003cp\u003eHaving taken their final bow at a concert in Leipzig in September 2009 after 54 years, the time is certainly ripe for an audiophile re-release of this superb recording.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e : \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eDiscogs \u003c\/span\u003e: \u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e4,50\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40418318647447,"sku":"835393\/4 AY","price":65.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/schubert-complete-trios-for-piano-violin-and-cello-beaux-arts-trio-2lp-audiosoundmusic-1.jpg?v=1719851726"},{"product_id":"mendelssohn-chopin-sonata-for-cello-and-piano-janos-starker-and-gyorgy-sebok","title":"Mendelssohn \u0026 Chopin - Sonata for Cello and Piano - Janos Starker and Gyorgy Sebok","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eJakob Ludwig Felix \u003c\/span\u003eMendelssohn\u003cspan\u003e Bartholdy - \u003c\/span\u003eSonata for Cello and Piano No. 2, op. 58\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFrédéric Chopin - Sonata for Cello and Piano, op. 65 \u003ca title=\"vinyl with music composed by Frederic Chopin\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/frederic-chopin\"\u003e\u003cspan style=\"color: rgb(255, 128, 0);\"\u003e[click here to see more vinyl with music composed by Frederic Chopin]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJanos Starker (vc) \u0026amp; György Sebök (p)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Speakers Corner\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Mercury\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eecording: July 1962 at Watford Town Hall, Watford, United Kingdom, by C. Robert Fine and Robert Eberenz\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eProduction: Wilma Cozart-Fine and Harold Lawrence\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eOriginally released in 1963\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eReissued in 2008\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A : Felix Mendelssohn Bartholdy: Sonata for Cello and Piano No. 2 in D major, Op. 58\u003c\/p\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e1. Allegro Assai Vivace        7:34\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e2. Allegro Scherzando         4:50\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e3. Adagio                             4:52\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e4. Molto Allegro E Vivace\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cp\u003eSide B : Frédéric Chopin: Sonata for Cello and Piano in G minor, Op. 65\u003c\/p\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e1. Allegro Moderato               9:44\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e2 .Scherzo: Allegro Can Brio   4:17\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e3. Largo                                   3:15\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e4 .Finale: Allegro                     5:57\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cp\u003e\u003cspan\u003eReviews :\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eA powerful broad theme, driven by nervous, throbbing chains of semiquavers (16th notes) in the piano and a vigorously bowed cello which sings out its melody with a bitter-sweet tone – if every chamber-music work began so invitingly as Mendelssohn’s D major Cello Sonata, then the number of fans of works for small ensemble would rapidly increase. The dedicatee Count Wielhorsky, an excellent amateur cellist, must surely have revelled in this closely-knit work with its waft of salon air. Although it is somewhat astonishing that Mendelssohn’s Cello Sonata is left unmentioned in some music handbooks, this is soon forgotten when one listens to Janos Starker and György Sebök playing the work so resolutely and with such refreshing vitality.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eChopin’s Cello Sonata too undeservedly remains in the shadows thrown by his great piano concertos. Here again, the two musicians prove that they are a perfectly balanced team who complement one another admirably. Their lightning-swift interchanges between intimate, introvert expression and nervous passion, spiralling upwards to the cello’s most dramatic top register, are characteristic for the playing of this world-class virtuoso duo who here present a remarkable recording of two rarely performed masterpieces.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eRatings :\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eDiscogs \u003c\/span\u003e: \u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e4,60\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40418944516247,"sku":"SR90320","price":34.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/mendelssohn-and-chopin-sonata-for-cello-and-piano-janos-starker-and-gyorgy-sebok-audiosoundmusic-1.jpg?v=1719851725"},{"product_id":"gregorio-paniagua-la-folia-de-la-spagna","title":"Gregorio Paniagua - La Folia de la Spagna","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eRarity - Sealed\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eThe Atrium Musicae de Madrid conducted by Dr. Don Grégorio Paniagua Rodriguez\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 Virgin Vinyl\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 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 : Harmonia Mundi\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eRecording: June 1980 by Jean-François Pontefract\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eProduction: Eva Coutaz\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eOriginally released in 1980\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eReissued in 2008\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eTracks :\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eFons vitae\/Dementia praecox angelorum Supra solmamirevt\u003c\/li\u003e\n\u003cli\u003eExtravagans\/Laurea minima\/In vitro\u003c\/li\u003e\n\u003cli\u003eOratio pro-folia\/Fama volat Citrus - Hesperides\u003c\/li\u003e\n\u003cli\u003ePrincipalis. Fermescens\/Inica exacta Adverso flumine\u003c\/li\u003e\n\u003cli\u003eParsimonia aristocraciae\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eSubtilis\/De profundis - Extra muros\u003c\/li\u003e\n\u003cli\u003eVulgaris - Sine populi notione Vagula et blandula\u003c\/li\u003e\n\u003cli\u003eNordica et desolata\/Aurea mediocritas\u003c\/li\u003e\n\u003cli\u003eNobilissima\/Degradans et corruptae\u003c\/li\u003e\n\u003cli\u003eDe pastoribus\/Mathematica dies irae \/Crepuscularis\/Sine nomine\/Tristis est anima mea\/Equites fortis armaturae\/Audaces fortuna juvat\/Sine praeputium\/Ecclesiastica\u003c\/li\u003e\n\u003cli\u003eTheatralis et hipocritae\/Ruralis Alter indica perfecta\u003c\/li\u003e\n\u003cli\u003eDe Tolerentia aetherea\/Fuga ficta et carrus triumphalis\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eReviews \u003c\/strong\u003e:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\"Quickly becoming a cult LP when issued in 1980, this brilliantly inventive set of twelve variations on the 16\u003csup\u003eth\u003c\/sup\u003e-century Portuguese theme 'La Folia'…There are forays into jazz, hoedown, Indian sitar music, and even a quote from Mancini's Pink Panther! The cherry on the icing is to have it back on pristine vinyl again.\" Recording = 5\/5; Performance = 5\/5 – Chris Breunig, \u003cem\u003eHi-Fi News\u003c\/em\u003e, December 2007\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eFirst mentioned around 1500 in Portugal, no forms or melodies have come down to us for the Folia. Described by historians as a noisy dance which was performed by masked and disguised figures who leapt about as though they had lost their reason, a tranquil, sarabande-like form asserted itself in Europe in the early 17th century.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eGrégorio Paniagua, director of the Atrium Musicae de Madrid, demonstrates once again his virtuosity in his treatment of historical material. His arrangements are not confined to medieval and baroque instruments but also employ a whole arsenal of percussion, such as various small drums, triangle, tambourine, castanets and xylophone. As the title of the LP suggests, the ensemble adds spice to the airy variety of timbres with a small touch of madness here and there. Unbelievably, a jazz solo is heard which recalls the \"Pink Panther Theme\", and the Orient is conjured up by two Indian tunes (ragas) in which the sitar chirps passionately to the powerful plop-plop-plop of tabla rhythms.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eWith its high resolution sound which places a high demand on hi-fi equipment in order to get the best reproduction, this record is both cult and legend.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eRatings \u003c\/strong\u003e:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eDiscogs \u003c\/span\u003e: \u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e4,52\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40418984132759,"sku":"HM 1050","price":99.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/gregorio-paniagua-la-folia-de-la-spagna-audiosoundmusic-1.jpg?v=1719851726"},{"product_id":"shostakovich-symphony-no-5-stanislaw-skrowaczewski","title":"Shostakovich - Symphony No 5 - Stanislaw Skrowaczewski","description":"\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eDmitri Shostakovich: Symphony No. 5, Opus 47\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eThe Minneapolis Symphony Orchestra conducted by Stanislaw Skrowacziewski\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Speakers Corner\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Mercury\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eRecording: March 1961 at Northrop Memorial Auditorium, Minneapolis, USA,\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eby C.R. Fine and Robert Eberenz\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eProduction: Wilma Cozart Fine\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eOriginally released in 1962\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eReissued in Aug 2006\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eTracks :\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eModerato\u003c\/li\u003e\n\u003cli\u003eAllegretto\u003c\/li\u003e\n\u003cli\u003eLargo\u003c\/li\u003e\n\u003cli\u003eAllegro Non Troppo\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e\u003cspan\u003eReviews :\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eOne of the most fascinating aspects of Dmitri Shostakovich’s music was and still remains his aesthetic ambiguity, the likes of which is almost impossible to find in modern music. The Fifth Symphony in particular is regarded as an excellent example of how, during Stalin’s regime, Shostakovich outwardly remained true to the regulations concerning art while still managing not to forfeit his own artistic freedom and identity. Conceived in a classical vein, the work is filled with powerful motion and Russian song, even going almost as far as late-Romantic transfiguration. But this idyll is deceptive. Again and again the apparent harmony is disrupted by biting sarcasm: the spirited main theme of the first movement soon stiffens into a march-like farce, while in the untroubled second movement a shrill motif in the winds tears apart the cheerful mood.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eSkrowacziewski amalgamates the contrasting tender sweetness of the violins and the violence of the attacking wind instruments in his precise and sparing interpretation, which is free of sugary expression and forced dynamics. His well-balanced conducting, combined with the wonderfully transparent recorded sound creates an ideal basis for identifying all the details which Shostakovich composed 'between the lines of the staff'.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eRatings :\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eDiscogs \u003c\/span\u003e: \u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e4,75\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40421160583319,"sku":"SR90060","price":38.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/shostakovich-symphony-no-5-stanislaw-skrowaczewski-audiosoundmusic-1.jpg?v=1719851726"},{"product_id":"rachmaninov-piano-concerto-no-3-byron-janis-antal-dorati","title":"Rachmaninov - Piano Concerto No. 3 - Byron Janis - Antal Dorati","description":"\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eSergei Rachmaninov\u003c\/span\u003e - Piano Concerto No. 3 in D minor, op. 30\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eByron Janis (Piano) \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eThe London Symphony Orchestra conducted by Antal Dorati\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Speakers Corner\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Mercury\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eRecording: June 1961 in Watford Town Hall, London, by C.R. Fine and Robert Eberenz\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eProduction: Wilma Cozart\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eTracks :\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eFirst Movement: Allegro Non Tanto\u003c\/li\u003e\n\u003cli\u003eSecond Movement: Intermezzo \/ Adagio\u003c\/li\u003e\n\u003cli\u003eThird Movement: Finale \/ Alla Breve\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e\u003cspan\u003e\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eRachmaninov’s Third Piano Concerto, fondly referred to as 'Rach 3' or even 'Rachi 3' in dealer circles, has enjoyed a constantly growing popularity over the last few years. One reason may well be that the market has been flooded with recordings of the work, many of which attempt to outshine their rivals with massive sound effects instead of winning over the listener with musical transparency. Well, as everyone knows only too well, a first-class recording not only demands a world-class soloist but also a top notch orchestra and conductor. That’s no surprise to anyone!\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThis early stereo LP with the pianist Byron Janis and conductor Antal Dorati was and still is an enormous success, as is proved by the fact that it is regarded as a work of reference even in this age of the silver disc. Janis performs with a controlled passion, like a fine mechanic who watches with the greatest of care over the structural elements which have been entrusted to him. His playing is precise and lucid down to the smallest detail, even in the minutest trill. Dorati has his ensemble enter gently with punctilious timing and allows the fullness and energy of this late-romantic score to unfold before us. How wonderful that this particular 'Rach 3' is available once again to eager audiophile listeners!\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cbr\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eDiscogs \u003c\/span\u003e:\u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e4,71\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5  ,  \u003c\/span\u003e\u003cspan\u003eRate Your Music \u003c\/span\u003e:\u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e3,50\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40421447696535,"sku":"SR90283","price":49.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/rachmaninov-piano-concerto-no-3-byron-janis-antal-dorati-audiosoundmusic-1.jpg?v=1719851738"},{"product_id":"tchaikovsky-symphony-no-6-pathetique-ferenc-fricsay","title":"Tchaikovsky - Symphony No. 6 'Pathetique' - Ferenc Fricsay","description":"\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003ePiotr Ilitch Tchaikovsky - Symphony No. 6 (“Pathétique“)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eRadio-Symphony-Orchestra Berlin conducted by Ferenc Fricsay\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Speakers Corner\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Deutsche Grammophon\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eRecording: 17-19 and 22 September 1959 at Jesus-Christus Kirche, Berlin, by Günter Hermanns and Werner Wolf\u003cbr\u003e\u003cbr\u003eProduction: Otto Gerdes\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eReissued in 2020\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\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. Satz: Adagio - Allegro non troppo\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e2. Satz: Allegro con grazia\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e1. Satz: Allegro molto vivace\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e2. Satz: Finale. Adagio lamentoso\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cp\u003e\u003cspan\u003eReviews :\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eMade during the pioneering days of stereo technology when everyone was vying for a piece of the cake, it is hard to believe that this absolutely top-notch recording of Tchaikovsky’s “Pathétique“ has never been brought to the ears of music lovers until today. And it is even more unbelievable since it was made by a first-class orchestra, the Berlin Radio Symphony Orchestra, and conducted by one of the greatest conductors of the 20th century, Ferenc Fricsay.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eNot even the man behind the microphone, Werner Wolf, can recall making this recording – although a yellowed recording protocol discloses carefully noted details about the recording venue and date. No wonder that the tapes never got made into records. It is not with a little pride and much joyful anticipation that the announcement can be made: the record is spinning on the turntable at last!\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eAnd at long last a gap in Fricsay’s repertoire can be closed. Specially recommended: listen to the wonderful clarity of the upper strings which is preserved even in the softest passages.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eRatings :\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAllMusic 4.5 \/ 5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40421626544279,"sku":"SLPM 138 135","price":38.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/tchaikovsky-symphony-no-6-pathetique-ferenc-fricsay-audiosoundmusic.jpg?v=1719851738"},{"product_id":"tchaikovsky-mendelssohn-concerto-for-violin-and-orchestra-nathan-milstein-claudio-abbado","title":"Tchaikovsky \u0026 Mendelssohn - Concerto for Violin and Orchestra - Nathan Milstein \u0026 Claudio Abbado","description":"\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cbr\u003e\u003cbr\u003ePiotr Ilitch Tchaikovsky\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e- Concerto for Violin and Orchestra\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eFelix Mendelssohn - Concerto for Violin and Orchestra op. 64\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eNathan Milstein (violin) and the Vienna Philharmonic Orchestra conducted by Claudio Abbado\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Speakers Corner\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Deutsche Grammophon\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eRecording: September 1972 and March 1973 at Musikvereinssaal, Vienna by Günter Hermanns\u003cbr\u003e\u003cbr\u003eProduction: Rainer Brock\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eOriginally released in 1973\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eTracks :\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A : Concerto for Violin and Orchestra in D major, Op. 35\u003c\/p\u003e\n\u003cp\u003e                1. Allegro Moderato\u003c\/p\u003e\n\u003cp\u003e                2. Canzonetta Andante\u003c\/p\u003e\n\u003cp\u003e                3. Finale Allegro Vivacissimo\u003c\/p\u003e\n\u003cp\u003eSide B :Concerto for Violin and Orchestra in E Minor, Op. 64\u003c\/p\u003e\n\u003cp\u003e                1. Allegro molto Apassionato\u003c\/p\u003e\n\u003cp\u003e                2. Andante\u003c\/p\u003e\n\u003cp\u003e                3. Allegretto non troppo - allegro molto vivace\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eReviews :\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAlthough he has lived in the USA since 1929 and even took on American citizenship in 1942, Nathan Milstein is often referred to as perhaps the last “Russian” among all Russian violinists due to his art of playing – which is governed wholly by intellect. This does not mean that Milstein plays in an academic or cool manner; his art is thoughtful and controlled – in the very best sense of the meaning. And this should certainly not be equated with “deliberateness”. On the contrary. Milstein’s tremendous virtuosity, particularly in the fiendishly difficult final movements of Tchaikovsky’s and Mendelssohn’s concertos, takes both works to new heights. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAlthough never a forceful presence since he employs relatively little vibrato and thus achieves a slender tone, Milstein’s playing is filled with amazing assertion and luminance, and is quite fascinating for its extraordinary purity. And this is precisely what enhances his interpretation of these two great classical concertos, lending them a legendary grace, a feeling of rightness – that there is no other way. The Vienna Philharmonic with their great tradition provide support of the first order, and Claudio Abbado proves once again that he is a more than circumspect master of the baton.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eRatings :\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eDiscogs \u003c\/span\u003e:\u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e5,00\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5  ,  \u003c\/span\u003e\u003cspan\u003eRate Your Music \u003c\/span\u003e: \u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e4,00\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40421671338135,"sku":"2530 359","price":34.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/tchaikovsky-and-mendelssohn-concerto-for-violin-and-orchestra-nathan-milstein-and-claudio-abbado-audiosoundmusic-1.jpg?v=1719851749"},{"product_id":"tchaikovsky-swan-lake-ernest-ansermet","title":"Tchaikovsky - Swan Lake - Ernest Ansermet (2LP)","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003ePiotr Ilitch Tchaikovsky - Swan Lake\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eOrchestre de la Suisse Romande conducted by Ernest Ansermet\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e2 LPs, gatefold sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Speakers Corner\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Decca\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eRecording: October\/November 1958 at Victoria Hall, Geneva by Roy Wallace\u003cbr\u003e\u003cbr\u003e Production: James Walker\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eOriginally released in 1959\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eReissued in 1998\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eTracks :\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A:\u003c\/p\u003e\n\u003cp\u003e          1. Introduction And Scene (Allegro Giusto)              \u003c\/p\u003e\n\u003cp\u003e          2. Valse    \u003c\/p\u003e\n\u003cp\u003e          3. Pas De Trois, Intrada (Allegro), Allegro Semplice, Moderato, Allegro And Coda (Allegro Vivace)\u003c\/p\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003cp\u003e          1. Sujet And Danse Des Coupes     \u003c\/p\u003e\n\u003cp\u003e          2. Scene (Moderato)          \u003c\/p\u003e\n\u003cp\u003e          3. Scene (Allegro Moderato), Scene (Allegro)          \u003c\/p\u003e\n\u003cp\u003e          4. Danse Des Cygnes, Tempo Di Valse        \u003c\/p\u003e\n\u003cp\u003e          5. Andante Non Troppo    \u003c\/p\u003e\n\u003cp\u003eSide C :\u003c\/p\u003e\n\u003cp\u003e          1. Allegro Moderato           \u003c\/p\u003e\n\u003cp\u003e          2. Temo Di Valse  \u003c\/p\u003e\n\u003cp\u003e          3. Moderato Assai\u003c\/p\u003e\n\u003cp\u003e          4. Coda (Allegro Vivace)    \u003c\/p\u003e\n\u003cp\u003e          5. Allegro Giusto,Scene Et Valse    \u003c\/p\u003e\n\u003cp\u003e          6. Scene (Allegro) \u003c\/p\u003e\n\u003cp\u003e          7. Danse Neapolitaine       \u003c\/p\u003e\n\u003cp\u003eSide D :\u003c\/p\u003e\n\u003cp\u003e          1. Mazurka             \u003c\/p\u003e\n\u003cp\u003e          2. Danse Hongroise            \u003c\/p\u003e\n\u003cp\u003e          3. Pas De Deux, Intrada (Tempo Di Valse), Andante, Tempo Di Valse, Coda (Allegro Molto Vivace)   \u003c\/p\u003e\n\u003cp\u003e          4. Scene (Allegro Agitato), Scene Finale (Andante-Allegro Agitato)\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003c\/span\u003e\u003cspan\u003eReviews :\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eHere is a true delight for all ballet fans and music-lovers. This recording of what is probably Tchaikovsky’s most popular ballet, Swan Lake, by Ernest Ansermet and his orchestra in a masterly performance is now available as a new pressing in vinyl. The Russian composer’s first ballet is offered here on a double LP and although not a complete recording, this compilation (with a minimum of cuts) certainly comprises the most beautiful and expressive scenes, losing nothing in the process.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e“Ballet specialist“ Ansermet and his wonderfully balanced Orchestre de la Suisse Romande offer here a recording which you’ll want to hear again and again for it captures both the tragic moments of the fairy tale and the festive dance scenes. The precise winds in, for example No. 4, provide a marked contrast to the lively and exciting tutti (No. 5), while the gentle woodwinds blend charmingly with the dreamlike cantilena of the strings (No. 11). The various characteristics of the festive national dances (Polkas, Mazurkas, Hungarian Dance etc.) are performed with temperament, verve and rhythm, but it is the waltzes with their sweet dreaminess which invite the listener most of all to put on their dancing shoes and join in the dance.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eRatings :\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eDiscogs \u003c\/span\u003e: \u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e4,80\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\u003e5,00\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40421694144663,"sku":"SXL 2107\/8","price":65.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/tchaikovsky-swan-lake-ernest-ansermet-2lp-audiosoundmusic-1.jpg?v=1719851748"},{"product_id":"gustav-holst-the-planets-zubin-mehta","title":"Gustav Holst - “The Planets” - Zubin Mehta","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGustav Holst - The Planets, Op. 32\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLos Angeles Master Chorale directed by Roger Wagner (B3)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLos Angeles Philharmonic Orchestra conducted by Zubin Mehta\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Speakers Corner\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Decca\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eRecorded on April 1971 at Royce Hall, Los Angeles by James Lock and Colin Moorfoot\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eEnginereed by Colin Moorfoot \u0026amp; James Lock\u003cbr\u003e\u003cbr\u003eProduced by John Mordler\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eOriginally released in 1971\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eReissued in 1998\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eTracks :\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eMars, The Bringer Of War - Allegro\u003c\/li\u003e\n\u003cli\u003eVenus, The Bringer Of Peace - Adagio\u003c\/li\u003e\n\u003cli\u003eMercury, The Winged Messenger - Vivace\u003c\/li\u003e\n\u003cli\u003eJupiter, The Bringer Of Jollity - Allegro Giocoso\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eSaturn, The Bringer Of Old Age - Adagio\u003c\/li\u003e\n\u003cli\u003eUranus, The Magician - Allegro\u003c\/li\u003e\n\u003cli\u003eNeptune, The Mystic - Andante\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\u003eRated a 'Best Audiophile Label Recording' in the November 2009 issue of The Absolute Sound!\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eEarth was not created in a day. And the same applies to Gustav Holst’s interplanetary symphony which took him about three years to write. The composer employs a massive orchestra and rich orchestral colouring to portray each planet in his musical psychogram.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eMars, the Bringer of War, rages with mechanical brutality, while Venus brings peace and an acceptance of life. Mercury, the Winged Messenger, darts here and there with quicksilver speed, while powerful and sovereign Jupiter brings jollity and reassurance. Saturn plods by with heavy tread, while Uranus with its contrasting changes in tempo remains enigmatic and extrovert. And because Pluto, the most distant planet had not yet been discovered, it is Neptune, the great unknown, which is lost in time and space in an endless ostinato of female voices.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eZubin Mehta and the Los Angeles Philharmonic present this astronomical journey with precision and exhilaration, leaving neither time nor space for astrological speculation. As always, the excellent DECCA recording quality guarantees an unimpeded view of this musical galaxy.\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eDiscogs \u003c\/span\u003e: \u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e4,50\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5  ,  \u003c\/span\u003e\u003cspan\u003eRate Your Music \u003c\/span\u003e: \u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e4,11\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40421739856023,"sku":"SXL6529","price":75.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/gustav-holst-the-planets-zubin-mehta-audiosoundmusic-1.jpg?v=1719851748"}],"url":"https:\/\/www.audiosoundmusic.com\/collections\/zerostock.oembed?page=17","provider":"AudioSoundMusic","version":"1.0","type":"link"}