{"title":"\u003ctranscy\u003eLes rééditions audiophiles qu'il faut avoir sélectionnées par Analogplanet\u003c\/transcy\u003e","description":"","products":[{"product_id":"time-out-the-dave-brubeck-quartet","title":"\u003ctranscy\u003eThe Dave Brubeck Quartet - Time Out (2LP, 45 tours)\u003c\/transcy\u003e","description":"\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eDave Brubeck - piano \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/dave-brubeck\" title=\"Vinyl featuring Dave Brubeck\" style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/dave-brubeck\"\u003e[click here to see more vinyl featuring Dave Brubeck]\u003c\/a\u003e\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePaul Desmond - alto saxophone \u003cspan style=\"color: #ff8000;\"\u003e\u003ca title=\"vinyl featuring Paul Desmond\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/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\u003eJoe Morell (drums), Gene Wright (bass)\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e2LPs, 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\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 : Columbia\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded June 25, July 1, and August 18, 1959 in Columbia's 30th Street Studio in New York City\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Teo Macero\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1959\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2021\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\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\u003eBlue Rondo A La Turk\u003c\/li\u003e\n\u003cli\u003eStrange Meadow Lark\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eTake Five\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide C :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eThree To Get Ready\u003c\/li\u003e\n\u003cli\u003eKathy's Waltz\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide D :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eEverybody's Jumpin'\u003c\/li\u003e\n\u003cli\u003ePick Up Sticks\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 style=\"font-variant-ligatures: normal; font-variant-caps: normal; orphans: 2; text-align: start; widows: 2; -webkit-text-stroke-width: 0px; word-spacing: 0px; margin: 0cm 0cm 12pt;\" data-mce-fragment=\"1\"\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cb\u003eMichael Fremer's 100 Recommended All-Analog LP Reissues Worth Owning - Rated 14\/100!\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"color: #ff2a00;\" color=\"#B12704\"\u003e\u003cb\u003eTAS Super LP List! Special Merit: Informal\u003c\/b\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; word-spacing: 0px; margin: 0cm 0cm 12pt;\" data-mce-fragment=\"1\"\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eThe album was inducted in the Grammy Hall of Fame in 2009\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 23\u003c\/strong\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; word-spacing: 0px; margin: 0cm 0cm 12pt;\" data-mce-fragment=\"1\"\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e\u003ci\u003eTime Out\u003c\/i\u003e was the first jazz album to sell more than a million copies.\u003c\/strong\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; word-spacing: 0px; margin: 0cm 0cm 12pt;\" data-mce-fragment=\"1\"\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eThe album was certified platinum in 1997 and double platinum in 2011\u003c\/strong\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; word-spacing: 0px; margin: 0cm 0cm 12pt;\" data-mce-fragment=\"1\"\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; word-spacing: 0px; margin: 0cm 0cm 12pt;\" data-mce-fragment=\"1\"\u003e\u003cstrong\u003eReviews :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e« Dave Brubeck's defining masterpiece, Time Out is one of the most rhythmically innovative albums in jazz history, the first to consciously explore time signatures outside of the standard 4\/4 beat or 3\/4 waltz time. It was a risky move -- Brubeck's record company wasn't keen on releasing such an arty project, and many critics initially roasted him for tampering with jazz's rhythmic foundation. But for once, public taste was more advanced than that of the critics. Buoyed by a hit single in altoist Paul Desmond's ubiquitous \"Take Five,\" Time Out became an unexpectedly huge success, and still ranks as one of the most popular jazz albums ever. That's a testament to Brubeck and Desmond's abilities as composers, because Time Out is full of challenges both subtle and overt -- it's just that they're not jarring. Brubeck's classic \"Blue Rondo à la Turk\" blends jazz with classical form and Turkish folk rhythms, while \"Take Five,\" despite its overexposure, really is a masterpiece; listen to how well Desmond's solo phrasing fits the 5\/4 meter, and how much Joe Morello's drum solo bends time without getting lost. The other selections are richly melodic as well, and even when the meters are even, the group sets up shifting polyrhythmic counterpoints that nod to African and Eastern musics. Some have come to disdain Time Out as its become increasingly synonymous with upscale coffeehouse ambience, but as someone once said of Shakespeare, it's really very good in spite of the people who like it. It doesn't just sound sophisticated -- it really is sophisticated music, which lends itself to cerebral appreciation, yet never stops swinging. Countless other musicians built on its pioneering experiments, yet it's amazingly accessible for all its advanced thinking, a rare feat in any art form. This belongs in even the most rudimentary jazz collection. » AllMusic Review by Steve Huey\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\"The results speak for themselves: the platters from QRP are in my experience the most consistently flat and quiet being pressed today ... at least for the foreseeable here and now, Analogue Productions' newly mastered 45 RPM (Brubeck) is the edition to own. You'll hear it right from the familiar piano intro to \"Blue Rondo a la Turk,\" where Brubeck's playing seems richer, more lyrical, more rhythmically alive. It seems to me that as our gear gets ever more quiet, these QRP LPs continue to wring more musical nuance from the finest recordings.\" Wayne Garcia, \u003c\/span\u003e\u003cem\u003eThe Absolute Sound\u003c\/em\u003e\u003cspan\u003e, January 2013.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e“I've now heard a number of LPs from Quality Record Pressings (QRP), Chad Kassem's year-and-a-half-old record-pressing plant. Before \u003c\/span\u003e\u003cem\u003eTime Out\u003c\/em\u003e\u003cspan\u003e, I would have said that some positive trends were apparent from the earlier LPs I've heard. However, this current pressing is so much better than those that came before it, which were certainly very good, that it's obvious things have improved considerably over the past year. \u003c\/span\u003eIt's a positive sign when the noise floor is defined by the hiss of the master tape, not the quality of the pressing or vinyl, and that's the case here.\u003cspan\u003e Having heard many, many Pallas and RTI pressings, the main competition for QRP, I would say that \u003c\/span\u003eQRP pressings combine the strengths of both its competitors: the very low surface noise and bottom-of-the-groove quiet of Pallas LPs and the sharp delineation of musical detail of RTI.\" \u003cspan\u003eMarc Mickelson, \u003c\/span\u003e\u003cem\u003eThe Audio Beat\u003c\/em\u003e\u003cspan\u003e, August 2012\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\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; word-spacing: 0px; margin: 0cm 0cm 12pt;\" data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eThe Dave Brubeck Quartet’s “Take Five” is arguably the most familiar and beloved jazz composition of all time. Written primarily by alto saxophonist Paul Desmond and recorded by the “classic” Quartet lineup (Brubeck, Desmond, drummer Joe Morello, and bassist Eugene Wright), it was the first jazz single to sell over a million copies, and remains the most recognized track on their iconic “Time Out” LP, which reached Double Platinum status in 2011. During live performances, audience members would request it with mid-concert shouts, and halls would erupt with recognition as Joe and Dave would swing into the distinctive 5\/4 drum-and-piano intro.\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; word-spacing: 0px; margin: 0cm 0cm 12pt;\" data-mce-fragment=\"1\"\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; word-spacing: 0px; margin: 0cm 0cm 12pt;\" data-mce-fragment=\"1\"\u003e\u003cstrong\u003eRatings :\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; word-spacing: 0px; margin: 0cm 0cm 12pt;\" data-mce-fragment=\"1\"\u003eAllMusic : 5 \/5  ,  \u003cspan data-mce-fragment=\"1\"\u003eWayne Garcia : \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003eMusic = 5\/5; Sound = 5\/5 ,  \u003cem data-mce-fragment=\"1\"\u003eThe Audio Beat : \u003c\/em\u003eSound = 4.5\/5; Music = 5\/5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40374011560087,"sku":"AAPJ8192-45","price":95.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/the-dave-brubeck-quartet-time-out-2lp-45rpm-audiosoundmusic-1.jpg?v=1719851398"},{"product_id":"pet-sounds-the-beach-boys","title":"\u003ctranscy\u003eThe Beach Boys - Pet Sounds (1LP, Mono, 33 tours, 200g)\u003c\/transcy\u003e","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":"\u003ctranscy\u003eDuke Ellington - Masterpieces (2LP, 45 tours, Mono)\u003c\/transcy\u003e","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":"harry-nilsson-nilsson-sings-newman","title":"\u003ctranscy\u003eHarry Nilsson - Nilsson Sings Newman\u003c\/transcy\u003e","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHarry Nilsson - vocal, keyboards, percussions \u003cspan style=\"color: #ff8000;\"\u003e\u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/harry-nilsson\" title=\"vinyl featuring harry nilsson\" style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Harry Nilsson]\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRandy Newman - piano\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by Randy Newman\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve, lyrics\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Speakers Corner\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : RCA\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eRecorded in August - October 1969 at RCA's Music Center of the World, Hollywood, by Grover Helsley\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded by Grover Helsley\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMixed by Barncard, Leary, Ieraci, Zentz, Nilsson\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eProduced by Harry Nilsson\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMastered by: Willem Makkee\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1970\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2013\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eTracks :\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003cp\u003e                1. Vine St.\u003c\/p\u003e\n\u003cp\u003e                2. Love Story\u003c\/p\u003e\n\u003cp\u003e                3. Yellow Man\u003c\/p\u003e\n\u003cp\u003e                4. Caroline\u003c\/p\u003e\n\u003cp\u003e                5. Cowboy\u003c\/p\u003e\n\u003cp\u003eSide B\u003c\/p\u003e\n\u003cp\u003e                1. The Beehive State\u003c\/p\u003e\n\u003cp\u003e                2. I'll Be Home\u003c\/p\u003e\n\u003cp\u003e                3. Living Without You\u003c\/p\u003e\n\u003cp\u003e                4. Dayton, Ohio 1903\u003c\/p\u003e\n\u003cp\u003e                5. So Long Dad\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAwards\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003c\/span\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eGruvy Award (Michael Fremer)\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eStereo Review's album of the year\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\"Sonically it's as good as it can get and you'll never tire of listening to it. I've got forty three years and counting and still loving it.\" Michael Fremer, Analog Planet\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e« Named Stereo Review's album of the year (and, really, can you ask for a better endorsement than that?) upon its release and generally regarded as the album that introduced Randy Newman the songwriter to a wide audience, Nilsson Sings Newman has gained a reputation of being an minor masterwork. This, in a way, is misguiding, since this isn't an obvious record, where the songs are delivered simply and directly. It's deliberately an album of subtle pleasures, crafted, as the liner notes state, line by line in the studio. As such, the preponderance of quiet piano-and-voice tracks (featuring Newman himself on piano, Nilsson on vocals) means the record can slip away upon the first few listens, especially for anyone expecting an undeniable masterpiece. Yet, a masterpiece is what this is, albeit a subtle, graceful masterpiece where the pleasure is in the grace notes, small gestures, and in-jokes. Not to say that this is devoid of emotion; it's just that the emotion is subdued, whether it's on a straightforward love song (\"Caroline\") or a tongue-in-cheek tale like \"Love Story.\" For an album that introduced a songwriter as idiosyncratic as Newman, it's only appropriate that Nilsson's interpretations are every bit as original as the songs. His clear intonation and sweet, high voice are more palatable than Randy's slurred, bluesy growl, but the wild thing is, these versions demand that the listeners surrender to Nilsson's own terms. He's created gentle, intricate arrangements of tuneful yet clever songs, and as such, the album may be as much an acquired taste as Newman. Once you've acquired that taste, this is as sweet as honey. » AllMusic Review by Stephen Thomas Erlewine\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eWhen two talented, cussed men such as Harry Nilsson and Randy Newman get together to record an album, you can be sure of an exceptional record filled with great vocals and poetry. Nilsson, who is described as a man who performs his songs with one cynical, laughing eye and one nostalgic, tearful eye in Rowohlt’s Rock-Lexikon, finds inspiration in the then relatively unknown Newman, a docile but caustic social critic who often attacked American society in his songs.\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIn the layers and harmonies achieved partly by overdubbing, and which alternate between cowshed, barbershop and the Beatles, Nilsson manages to make his bitter words somewhat easier to digest. He relates the bizarre chronicle of a couple who have a dull relationship and who morbidly look forward to passing away in an old people’s home (\"Love Story\"), or he swears his undying love to a certain Caroline in springtime, or he is transported back in time in his mind’s eye to an idyllic little town in the countryside (\"Dayton, Ohio 1903\"). A weighty musical background would lend nothing to these highly sophisticated songs. Piano chords, a little bit of electric harpsichord, and a tinkle on the organ keys here and there suffice to dally in an old-fashioned manner – with a sarcastic smile or even a nasty grin – in the desolation of reality, without getting the blues.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings : \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eAllmusic : 4.5 \/ 5  , \u003cspan\u003eDiscogs \u003c\/span\u003e:\u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e4,62\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5 , \u003c\/span\u003e\u003cspan\u003eRate Your Music \u003c\/span\u003e:\u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e3,79\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5 , \u003cspan\u003eMichael Fremer : Music : 10 \/10 , Sound : 9 \/ 10.\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40410849345687,"sku":"LSP-4289","price":55.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/harry-nilsson-nilsson-sings-newman-audiosoundmusic-1.jpg?v=1719851655"},{"product_id":"prokofiev-alexander-nevsky-fritz-reiner","title":"Prokofiev - Alexander Nevsky - Fritz Reiner","description":"\u003cp\u003e\u003cstrong\u003e\u003cb\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003eSergei Prokofiev - Alexander Nevsky\u003c\/b\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRosalind Elias (Mezzo-Soprano)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMargaret Hillis, chorus director\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eChicago Symphony Orchestra\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFritz Reiner, conductor\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP,  gatefold \u003cspan data-mce-fragment=\"1\" mce-data-marked=\"1\"\u003ejacket\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\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\u003e\u003cstrong\u003eRecord Press : \u003cspan data-mce-fragment=\"1\"\u003eQuality Record Pressings\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Analogue Productions\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : RCA\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by Ryan Smith at Sterling Sound\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eProduced by Richard Mohr\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003eOriginally released in 1960\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003eReissued in 2015\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cp\u003e\u003cstrong\u003eTracks :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv\u003e\u003cspan face=\"Times New Roman\"\u003eSide A :\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\n\u003col data-mce-fragment=\"1\"\u003e\n\u003cli data-mce-fragment=\"1\"\u003eRussia Under The Mongolian Yoke\u003c\/li\u003e\n\u003cli data-mce-fragment=\"1\"\u003eSong About Alexander Nevsky\u003c\/li\u003e\n\u003cli data-mce-fragment=\"1\"\u003eThe Crusaders In Pskov\u003c\/li\u003e\n\u003cli data-mce-fragment=\"1\"\u003eArise, Ye Russian People\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Times New Roman\"\u003eSide B :\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 60px;\"\u003e\n\u003cspan data-mce-fragment=\"1\"\u003e1. \u003c\/span\u003eThe Battle On The Ice\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 60px;\"\u003e2. The Field Of The Dead\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 60px;\"\u003e3. Alexander's Entry Into Pskov\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eAwards\u003c\/strong\u003e :\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan style=\"color: #ff2a00;\"\u003eWinner of a Gruvy Award, chosen by AnalogPlanet's editor, Michael Fremer, for vinyl records that are musically and sonically outstanding and are also well mastered and pressed\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cbr\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp\u003eAlexander Nevsky is the score composed by Sergei Prokofiev for Sergei Eisenstein's 1938 film Alexander Nevsky. In 1939, Prokofiev arranged the music of the film score as the cantata, Alexander Nevsky, Op. 78, for mezzo-soprano, chorus, and orchestra.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e : \u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\u003cspan size=\"3\"\u003e\u003cspan size=\"3\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eDiscogs : 4.55 \/ 5  \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003ch1\u003e\u003c\/h1\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40734606033047,"sku":"AAPC 2395","price":65.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/prokofiev-alexander-nevsky-fritz-reiner-audiosoundmusic-1.jpg?v=1719852214"},{"product_id":"rush-power-windows","title":"Janis Ian - Breaking Silence (200g)","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAcoustic Guitar, Piano – Janis Ian \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/janis-ian\" title=\"vinyl featuring Janis Ian\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/janis-ian\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Janis Ian]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBass, Bass [Slide] – Chad Watson\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDrums, Percussion – Jim Brock\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eElectric Guitar – Dan Huff\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHarmonica [Solo] – Jim Hoke\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by Janis Ian\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP,  gatefold jacket\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 200g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : \u003cspan data-mce-fragment=\"1\"\u003eQuality Record Pressings\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Analogue Productions\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Capitol\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded \u003cspan data-mce-fragment=\"1\"\u003eat Nightingale Studio\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced, engineered and mixed by Jeff Balding at \u003cspan data-mce-fragment=\"1\"\u003eBill Schnee Studio\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e Mastered by Doug Sax\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Janis Ian, Jeff Balding\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003eOriginally released in 1992\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003eReissued in 2017\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cp\u003e\u003cstrong\u003eTracks :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv\u003e\u003cspan face=\"Times New Roman\"\u003eSide A :\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e1. All Roads To the River\u003cbr data-mce-fragment=\"1\"\u003e2. Ride Me Like A Wave\u003cbr data-mce-fragment=\"1\"\u003e3. Tattoo\u003cbr data-mce-fragment=\"1\"\u003e4. What About Love\u003cbr data-mce-fragment=\"1\"\u003e5. His Hands\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\n\u003cspan data-mce-fragment=\"1\"\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Times New Roman\"\u003eSide B :\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e1. Walking On Sacred Ground\u003cbr data-mce-fragment=\"1\"\u003e2. This Train Still Runs\u003cbr data-mce-fragment=\"1\"\u003e3. Through the Years\u003cbr data-mce-fragment=\"1\"\u003e4. This House\u003cbr data-mce-fragment=\"1\"\u003e5. Some People's Lives\u003cbr data-mce-fragment=\"1\"\u003e6. Breaking Silence\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eAwards\u003c\/strong\u003e :\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\n\u003cspan data-mce-fragment=\"1\"\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eMichael Fremer's 100 Recommended All-Analog LP Reissues Worth Owning - Rated 82\/100\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e\u003cspan color=\"#B12704\"\u003e\u003cb\u003eTAS Super LP List! Special Merit: Informal\u003c\/b\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/span\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eReviews\u003c\/strong\u003e :\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp\u003e« Breaking Silence finds Ian ditching her past waifishness for a confident, mature, contemporary acoustic approach relying mostly on spare guitar and piano textures. Opening with \"All Roads to the River\" (also recorded by John Mellencamp), Breaking Silence includes among its highlights the Holocaust-survivor tale \"Tattoo\" and the dramatic half-a cappella, half-syncopated-rocker title track. » AllMusic Review by Roch Parisien\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e : \u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\u003cspan size=\"3\"\u003e\u003cspan size=\"3\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eAllMusic : 4.5 \/ 5 , Discogs : 4.43 \/ 5 \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003ch1\u003e\u003cbr\u003e\u003c\/h1\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40734823645335,"sku":"AAPP 027","price":65.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/janis-ian-breaking-silence-200g-audiosoundmusic-1.jpg?v=1719852222"},{"product_id":"fritz-reiner-the-reiner-sound","title":"Fritz Reiner - The Reiner Sound - Ravel, Rachmaninov","description":"\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eChicago Symphony Orchestra\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFritz Reiner, conductor\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP,  gatefold \u003cspan data-mce-fragment=\"1\"\u003esleeves\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : \u003cspan data-mce-fragment=\"1\"\u003eQuality Record Pressings\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Analogue Productions\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : RCA\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eRecorded November 3, 1956 (Rapsodie Espagnole), March 2, 1957 (Pavane) and April 13, 1957 (Rachmaninov) in Orchestra Hall, Chicago, IL.\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by Ryan Smith at Sterling Sound\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eProduced by Richard Mohr\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003eOriginally released in 1958\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003eReissued in 2013\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cp\u003e\u003cstrong\u003eTracks :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv\u003e\u003cspan face=\"Times New Roman\"\u003eSide A : Maurice Ravel\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\n\u003col data-mce-fragment=\"1\"\u003e\n\u003cli data-mce-fragment=\"1\"\u003e\u003cspan\u003e Rapsodie Espagnole\u003c\/span\u003e\u003c\/li\u003e\n\u003cli data-mce-fragment=\"1\"\u003e\u003cspan\u003e Pavan For A Dead Princess\u003c\/span\u003e\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Times New Roman\"\u003eSide B : Sergei Rachmaninov\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 60px;\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e1. Isle of the Dead\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eAwards\u003c\/strong\u003e :\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan style=\"color: #ff2a00;\"\u003eWinner of a Gruvy Award, chosen by AnalogPlanet's editor, Michael Fremer, for vinyl records that are musically and sonically outstanding and are also well mastered and pressed\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eTAS Super LP List! Special Merit: Collections\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eReviews\u003c\/strong\u003e :\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp\u003e\"Between the Classic Records and Analogue Productions reissues I have, the Classic Records version has EQ that emphasizes the bass frequencies for colossal bass trombones you feel as much as hear, while the Analogue Productions version sounds more neutral and emphasizes the woodwinds and the idiosyncratic textures that come from reeds made by the players themselves, so that no two are truly alike. Overall I prefer the Analogue Productions version as it fully preserves the dramatic stereo imaging of the era when records tried to capture the space the orchestra performed in as well as the orchestra itself.\" Rating 95% —\u003cspan\u003e \u003c\/span\u003e\u003cem\u003evintagevinylgarden.com\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\"Grade: A+. As good as this record has ever sounded. Liquidly beautiful string and wind tone, very deep and powerful bass (although the orchestra occasionally overloads the mics or mic preamps, as it does on the original RCA pressings), sensational dynamics on both the Ravel\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eRapsodie\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eand the Rachmaninoff\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eIsle of the Dead\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003e(with some of the lifelike ease you usually only hear on reel-to-reel tape), and astonishing preservation of inner detail (some of which I haven't heard before this clearly on vinyl or digital).\" — Jonathan Valin,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eThe Absolute Sound.com\u003c\/em\u003e, June 11, 2013.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eRatings\u003c\/strong\u003e : \u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\u003cspan size=\"3\"\u003e\u003cspan size=\"3\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eAllMusic : 3 \/ 5 , Discogs : 4.45 \/ 5  \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003ch1\u003e\u003c\/h1\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40735463768215,"sku":"AAPC 2183","price":65.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/fritz-reiner-the-reiner-sound-ravel-rachmaninov-audiosoundmusic-1.jpg?v=1719852223"},{"product_id":"the-beach-boys-surfer-girl","title":"The Beach Boys - Surfer Girl (Mono, 200g)","description":"\u003cp\u003e\u003cstrong\u003e\u003ca title=\"vinyl featuring The Beach Boys\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/beach-boys\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/beach-boys\"\u003e\u003cspan style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring the Beach Boys]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePerformed by The Beach Boys : Brian Wilson (vocals, bass guitar, keyboards), Mike Love (vocals, percussion, saxophone, Electro-Theremin), Al Jardine (vocals, rhythm guitar, bass guitar), Bruce Johnston (vocals, keyboards, bass guitar), Dennis Wilson (vocals, drums, keyboards).\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP,  \u003cspan data-mce-fragment=\"1\"\u003eStoughton tip-on jackets\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 200g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMono\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : \u003cspan data-mce-fragment=\"1\"\u003eQuality Record Pressings\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Analogue Productions\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Capitol\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded May–July 1963 at United Western Recorders, Hollywood\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by Kevin Gray at Cohearent Audio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003eOriginally released in 1963\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003eReissued in 2014\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cp\u003e\u003cstrong\u003eTracks :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv\u003e\u003cspan face=\"Times New Roman\"\u003eSide A :\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e1. Surfer Girl\u003cbr data-mce-fragment=\"1\"\u003e2. Catch A Wave\u003cbr data-mce-fragment=\"1\"\u003e3. The Surfer Moon\u003cbr data-mce-fragment=\"1\"\u003e4. South Bay Surfer\u003cbr data-mce-fragment=\"1\"\u003e5. The Rocking Surfer\u003cbr data-mce-fragment=\"1\"\u003e6. Little Deuce Coupe\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Times New Roman\"\u003eSide B :\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e1. In My Room\u003cbr data-mce-fragment=\"1\"\u003e2. Hawaii\u003cbr data-mce-fragment=\"1\"\u003e3. Surfer's Rule\u003cbr data-mce-fragment=\"1\"\u003e4. Our Car Club\u003cbr data-mce-fragment=\"1\"\u003e5. Your Summer Dream\u003cbr data-mce-fragment=\"1\"\u003e6. Boogie Woogie\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003eAwards\u003c\/strong\u003e :\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cspan style=\"color: #ff2a00;\"\u003e\u003cb\u003eMichael Fremer's 100 Recommended All-Analog LP Reissues Worth Owning - Rated 56\/100!\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cbr\u003e\u003cspan style=\"color: #ff2a00;\" color=\"#B12704\"\u003e\u003cb\u003eTAS Super LP List! Special Merit: Informal\u003c\/b\u003e\u003c\/span\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cspan style=\"color: #ff2a00;\" color=\"#B12704\"\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eIn 2017, Surfer Girl was ranked the 193rd greatest album of the 1960s by Pitchfork.\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cbr\u003eReviews\u003c\/strong\u003e :\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp\u003e\u003cspan\u003e\"Another step forward in terms of both overall sound and production finesse, with drums well-focused center stage and solid, three-dimensional vocals effectively spread across the soundstage and hovering transparently on cushions of air, makes a strong case for supremacy of the stereo mix. I've digitized at 96\/24 \"In My Room\" from a stereo test pressing Analogue Productions sent me late last year and when I play it for people at store events and at shows, it never fails to leave people almost paralyzed with pleasure-particularly among those for whom the A.M. radio is their only reference.\" \u003c\/span\u003e\u003cspan class=\"blurb\"\u003eMichael Fremer,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eAnalogPlanet.com\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e« Capitol pushed the Beach Boys for too much material in too short a time for the group to maintain as much quality control as would have been desirable. Consequently, most of their pre-1965 albums contain a high degree of filler, and thus stack up poorly next to those of such contemporaries as the Beatles, who were able to maintain high standards on almost all of their tracks. Surfer Girl does have some great tunes, including the title song, the hot rod ditty \"Little Deuce Coupe,\" and \"Catch a Wave\" (which could have been a substantial hit single on its own merits). Most significant of all is the gorgeous ballad \"In My Room,\" which anticipated future Beach Boys releases both in its sophisticated production (strings, organ, dense harmonies) and its personal, solipsistic lyrics. The rest is surprisingly mediocre filler, especially as at this point they were restricting their lyrical themes to beach culture almost exclusively; \"Your Summer Dream,\" with its unusual harmonies, is about the most interesting of the obscure tracks. If you're not a dedicated Beach Boys fan, though, you should pass, as you can find the first-rate tracks on best-of anthologies. » AllMusic Review by Richie Unterberger\u003c\/p\u003e\n\u003cp\u003e\"The sound is rich in detail, yet one of its key strengths is how \"mellow and romantic\" it sounds. While listening to these records, I was never fatigued. ... the AP Beach Boys significantly betters the original U.S. Capitol pressings that I've heard, with considerably more separation, detail, fullness and presence.\" — Jeff Wilson,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eThe Absolute Sound\u003c\/em\u003e, October 2015\u003c\/p\u003e\n\u003cp\u003e\"What I can say is that Kevin Gray has been able to extract every last bit of information from whatever tape is in the box, and present it in a way that is pleasing and natural to the ear. ... in my opinion, the Analogue Productions pressings are now THE definitive issue of each Beach Boys album, and will be my reference copies until if and when something better comes along — which may be never.\" — Lee Dempsey,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eEndless Summer Quarterly\u003c\/em\u003e, Summer 2015 Edition\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003eRatings\u003c\/strong\u003e : \u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\u003cspan size=\"3\"\u003e\u003cspan size=\"3\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eAllMusic : 3 \/ 5 , Discogs : 4.09 \/ 5 \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003ch1\u003e\u003c\/h1\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40735584878743,"sku":"AAPP 060M","price":99.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/the-beach-boys-surfer-girl-mono-200g-audiosoundmusic-1.jpg?v=1719852223"},{"product_id":"fritz-reiner-rimsky-korsakoff-scheherazade","title":"\u003ctranscy\u003eRimsky-Korsakov - Scheherazade - Fritz Reiner - Chicago Symphony Orchestra (1LP, 33 tours, 200g)\u003c\/transcy\u003e","description":"\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003eNikolaï Rimski-Korsakov - \u003c\/strong\u003e\u003cstrong\u003eScheherazade Op. 35\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSidney Harth, violin solo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eChicago Symphony Orchestra\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFritz Reiner, conductor\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP,  standard \u003cspan data-mce-fragment=\"1\"\u003esleeves\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 200g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : \u003cspan data-mce-fragment=\"1\"\u003eQuality Record Pressings\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Analogue Productions\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : RCA\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eRecorded in Orchestra Hall, Chicago, on February 8, 1960\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by Ryan Smith at Sterling Sound\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eProduced by Richard Mohr\u003c\/span\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003eOriginally released in 1960\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003eReissued in 2013\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cp\u003e\u003cstrong\u003eTracks :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv\u003e\u003cspan face=\"Times New Roman\"\u003eSide A : \u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 60px;\"\u003e1. The Sea And Sinbads Ship\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 60px;\"\u003e2. The Story Of The Kalender Prince\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\n\u003cspan data-mce-fragment=\"1\"\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Times New Roman\"\u003eSide B : \u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 60px;\"\u003e\n\u003cp\u003e1. \u003cspan data-mce-fragment=\"1\"\u003eThe Young Prince And The Young Princess\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e2. Festival In Bagdad; The Sea; The Ship Goes To Pieces On A Rock Surmounted By A Bronze Warrior\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eAwards\u003c\/strong\u003e :\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e\u003cb\u003eTAS Super LP List! Special Merit: Classical\u003cbr\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e\u003cb\u003e\u003cspan\u003eWinner of a Gruvy Award, chosen by AnalogPlanet's editor, Michael Fremer, for vinyl records that are \u003c\/span\u003e\u003cspan\u003emusically and sonically outstanding and are also well mastered and pressed.\u003c\/span\u003e\u003c\/b\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eNamed a 2015 Record To Die For by Stereophile magazine\u003c\/strong\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp\u003e\"This ravishing beauty, originally released in 1960 or fifty three years ago, has been a long-time audiophile classic. It's also considering to be among the finest if not the finest performance on record or any other format... Both the music and the sound are transportive, making this easy to recommend even if you think you don't like 'classical' music. If you're looking for a way 'in' here it is!\" - Michael Fremer, analogplanet.com\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\"These are the best vinyl releases of RCA LPs I've yet heard.\" — Jonathan Valin, executive editor, \u003c\/span\u003e\u003cem\u003eThe Absolute Sound\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\"Reiner's reading of Scheherazade is the pinnacle of grace, precision, delicacy, and drama, and it's no wonder it commands the highest prices in the market for used shaded dogs. The late Harry Pearson once told me that he could learn anything he needed to know about an audio component by playing the final movement of this recording... When I spun them [Analogue Productions RCA Living Stereo 200g LP reissues], I was floored. After comparing them to early shaded-dog pressings of the same recordings, I felt the only area in which the originals were still superior was the subtle, additional layer of air and sparkle in the highs (master-tape age, perhaps?). But the reissues' quality and extension of bass and high-level dynamic contrasts were superior. And the surfaces of the new pressings are so quiet they let each subtle midrange detail emerge from a \"black\" background. At times, the background is so silent I have to do a double take to verify that the needle is still in the groove and the platter is still turning.\" - Robert J. Reina, 2015 Stereophile Magazine Record to Die For!\u003c\/p\u003e\n\u003cp\u003e\"...The second movement is just ravishing in the beauty of the Chicago's playing and Reiner's romantic approach; there is some staccato triple-tonguing done by trumpeter Adolph Herseth in the fourth movement that should leave you, if not him, breathless. But let it just be said that, after you hear this, no other Scheherazade will ever replace it in your affections.\" - Harry Pearson, The Absolute Sound, June\/July 2007\u003c\/p\u003e\n\u003cp\u003e \u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003eRatings\u003c\/strong\u003e : \u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\u003cspan size=\"3\"\u003e\u003cspan size=\"3\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eDiscogs : 4.65 \/ 5  , Michael Fremer : 10\/11 Music, 10\/11 Sound\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003ch1\u003e\u003cbr\u003e\u003c\/h1\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40747603624087,"sku":"AAPC2446","price":65.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/rimsky-korsakov-scheherazade-fritz-reiner-chicago-symphony-orchestra-1lp-33rpm-200g-audiosoundmusic-1.jpg?v=1719852332"},{"product_id":"gil-evans-gil-evans-and-ten","title":"Gil Evans - Gil Evans and Ten","description":"\u003cp\u003e\u003cstrong\u003eGil Evans, piano \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/gil-evans\" title=\"Vinyl featuring Gill Evans\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/gil-evans\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Gil Evans]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSteve Lacy, saxophone\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLee Konitz, saxophone \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/lee-konitz\" title=\"vinyl featuring Lee Konitz\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/lee-konitz\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Lee Konitz]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJimmy Cleveland, trombone\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : \u003cspan data-mce-fragment=\"1\"\u003eQuality Record Pressings\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Analogue Productions\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Prestige\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded at Van Gelder Studio, Englewood Cliffs, New Jersey by Rudy Van Gelder on \u003cspan data-mce-fragment=\"1\"\u003eSept. 6, (A1) Sept. 27 and Oct. 10, 1957.\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by \u003cb data-mce-fragment=\"1\"\u003eKevin Gray\u003c\/b\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003eOriginally released in 1957\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003eReissued in 2022\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cp\u003e\u003cstrong\u003eTracks :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv\u003e\u003cspan face=\"Times New Roman\"\u003eSide A :\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\n\u003col\u003e\n\u003cli\u003eRemember\u003c\/li\u003e\n\u003cli\u003eElla Speed\u003c\/li\u003e\n\u003cli\u003eBig Stuff\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Times New Roman\"\u003eSide B :\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 60px;\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cbr\u003e1. Nobody's Heart\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 60px;\"\u003e2. Just One Of Those Things\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 60px;\"\u003e3. If You Could See Me Now\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 60px;\"\u003e4. Jambangle\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eAwards\u003c\/strong\u003e :\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cspan style=\"color: #ff2a00;\"\u003e\u003cb\u003eMichael Fremer's 100 Recommended All-Analog LP Reissues Worth Owning - Rated 22\/100!\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eStereophile Records To Die For - 2010\u003c\/strong\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp\u003e\"Part of Analogue Productions' series of 25 of the rarest and best sounding Prestige titles recorded by Rudy Van Gelder, this important reissue dates to 1957 and presents for the first time on vinyl in stereo Gil Evans' debut as both the leader of his own recording session as well as the pianist. ... Remastered by Kevin Gray and impeccably pressed at QRP, the sound is excellent. Tonally rich and warm, but not overly fat or golden, with an airy and expansive soundstage in which the main instruments occupy the front section, layering back to the supporting players, with the drums and bass (mostly) at rear. The horns, especially, are creamy-lush, drums have plenty of snap, and there's a terrific sense of balance and completeness to the whole.\" Wayne Garcia,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eThe Absolute Sound\u003c\/em\u003e, May-June 2017\u003c\/p\u003e\n\u003cp\u003e\"I was so pleased with the job Analogue Productions did with their reissue of\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eOut of the Cool\u003c\/em\u003e, Evans's 1960 Impulse! album, that I immediately ordered their vinyl edition of\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eGil Evans \u0026amp; Ten\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003ewhen it became available. This is the recording's first release on vinyl in stereo ... The new LP more sharply presents Steve Lacy's soprano sax in Cole Porter's \"Just One of Those Things,\" and the instrument plays better against Evans's percussive piano lines. I could hear the band easing in behind Evans in the early moments of the track, and it sounded more dynamic as the arrangement built. Evans's high notes about two-thirds of the way through sound fuller, rounder toned, and more emphatic on the Analogue Productions LP. ... this new pressing reveals more depth and warmth in the sound, and lets me feel as if I'm closer to the band, and able to hear more of what's going on in the music.\" Joseph Taylor,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eSoundStageUltra.com\u003c\/em\u003e.\u003c\/p\u003e\n\u003cp\u003e« Although arranger Gil Evans had been active in the major leagues of jazz ever since the mid-'40s and had participated in Miles Davis' famous Birth of the Cool recordings, Gil Evans \u0026amp; Ten was his first opportunity to record as a leader. The set features a typically unusual 11-piece unit consisting of two trumpets, trombonist Jimmy Cleveland, Bart Varsalona on bass trombone, French horn player Willie Ruff, Steve Lacy on soprano, altoist Lee Konitz, Dave Kurtzer on bassoon, bassist Paul Chambers, and either Nick Stabulas or Jo Jones on drums, plus the leader's sparse piano. As good an introduction to his work as any, this program includes diverse works ranging from Leadbelly to Leonard Bernstein, plus Evans' own \"Jambangle.\" The arranger's inventive use of the voices of his rather unique sidemen make this a memorable set. » AllMusic Review by Scott Yanow\u003c\/p\u003e\n\u003cp\u003eIn 1957, Miles Davis, high on the success of his recent collaborations with his old friend Gil Evans, persuaded Prestige Records to give Evans his own record date. Evans packed the resulting album with the brilliance that music insiders had recognized since his days as an arranger for Claude Thornhill in the 1940s and his work on Davis’\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eBirth of the Cool\u003cspan\u003e \u003c\/span\u003e\u003c\/em\u003erecordings. Writing for only 11 instruments, Evans used his wizardry with dynamics, motion and harmonic voicings to create orchestral effects suggesting a substantially larger orchestra. His settings stimulated his musicians to inspired improvisation. Among the soloists are trombonist Jimmy Cleveland, saxophonists Steve Lacy and Lee Konitz, and Evans himself, making his first recorded appearance as a pianist.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e : \u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\u003cspan size=\"3\"\u003e\u003cspan size=\"3\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eAllMusic : 5 \/ 5 , Discogs : 4.58 \/ 5 , The Absolute Sound : Music = 4\/5; Sonics = 4\/5\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan size=\"3\"\u003e\u003cspan size=\"3\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eSoundStageUltra : Musical Performance = 4 1\/2 Stars; Sound Quality = 4 1\/2 Stars; Overall Enjoyment = 4 1\/2 Stars\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003ch1\u003e\u003cbr\u003e\u003c\/h1\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40747955355799,"sku":"APRJ 7120","price":50.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/gil-evans-gil-evans-and-ten-200g-audiosoundmusic-1.jpg?v=1719852339"},{"product_id":"various-artists-the-sound-of-jazz-200g-stereo","title":"\u003ctranscy\u003eThe Sound Of Jazz - Count Basie, Ben Webster, Billie Holiday... (1LP, 33 tours, 200g)\u003c\/transcy\u003e","description":"\u003cdiv\u003e\n\u003cbr\u003e\u003cbr\u003e\n\u003cp\u003e\u003cstrong\u003eBass – Milt Hinton (A1-2)  \u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\"\u003e\u003ca style=\"color: #ff8000;\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/milt-hinton\" title=\"Vinyl featuring Milt Hinton\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/milt-hinton\"\u003e[Click here to see more vinyl featuring Milt Hinton]\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eClarinet – Pee Wee Russell (A1-2, A4)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDrums – Jo Jones (A1-4, B1, B4)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePiano – Nat Pierce (A1-2)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eColeman Hawkins - Tenor Saxophone (A1-3), Saxophone (B1, B4) \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/coleman-hawkins\" title=\"Vinyl featuring Coleman Hawkins\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/coleman-hawkins\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Coleman Hawkins]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTrombone – Vic Dickenson (A1-3, B1, B4), Dickie Wells (B1, B4), Frank Rehak (B1, B4)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTrumpet – Henry \"Red\" Allen (A1-2), Rex Stewart (A1-2), Doc Cheatham (B1, B4), Emmett Berry (B1, B4), Joe Newman (B1, B4), Roy Eldridge (B1, B4)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBillie Holiday – Vocals (A3) \u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\"\u003e\u003ca style=\"color: #ff8000;\" title=\"vinyl featuring Billie Holiday\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/billie-holiday\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/billie-holiday\"\u003e[click here to see more vinyl featuring Billie Holiday]\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBass – Jim Atlas (A3, B2), Eddie Jones (B1, B4)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGuitar – Danny Barker (A3-4), Freddy Green (B1, B4)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePiano – Mal Waldron (A3, B3) \u003ca title=\"vinyl featuring Mal Waldron\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/mal-waldron\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/mal-waldron\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Mal Waldron]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTenor Saxophone – Ben Webster (A3) \u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e\u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/ben-webster\" title=\"Vinyl featuring Ben Webster\" style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/ben-webster\" target=\"_blank\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Ben Webster]\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJimmy Giuffre - Clarinet (A4, B2), Baritone Saxophone (B2), Tenor Saxophone (B2) \u003cspan style=\"color: #ff8000;\"\u003e\u003ca title=\"vinyl featuring Jimmy Giuffre\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/jimmy-giuffre\" style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/jimmy-giuffre\"\u003e[click here to see more vinyl featuring Jimmy Giuffre]\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePiano – Count Basie (B1, B4) \u003cspan data-mce-fragment=\"1\"\u003e\u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/count-basie\" title=\"Vinyl featuring Count Basie\" style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/count-basie\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Count Basie]\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSaxophone – Earl Warren (B1, B4), Harry Carney (B1, B4), Lester Young (A3, B1, B4)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eVocals – Jimmy Rushing (B1)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGuitar – Jim Hall (B2)\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\"\u003e\u003ca style=\"color: #ff8000;\" title=\"vinyl featuring Jim Hall\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/jim-hall\" 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\u003eWritten-By – F. J. Morton (A1), L. Armstrong (A1), E. Hines (A2), W. H. Woode (A2), B. Holiday (A3), A. Gibson (B1), Basie (B1, B4), Rushing (B1), Jimmy Giuffre (B2), Mal Waldron (B3), L. Young (B4)\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003e1 LP, gatefold sleeve\u003cbr\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 200g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : \u003cspan data-mce-fragment=\"1\"\u003eQuality Record Pressings\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Analogue Productions\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Columbia\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded \u003cspan data-mce-fragment=\"1\"\u003eat Columbia's 30th Street studios, December 5, 1957, as a rehearsal of the CBS Television show\u003c\/span\u003e\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\u003eProduced by Irving Townsend\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003ePresented by \"The Seven Lively Arts\" over CBS Television Sunday, December 4, 1957. LP o\u003c\/span\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003eriginally released in 1958\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003eReissued in 2017\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cp\u003e\u003cstrong\u003eTracks :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv\u003e\u003cspan face=\"Times New Roman\"\u003eSide A :\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\n\u003col\u003e\n\u003cli\u003eWild Man Blues - Henry \"Red\" Allen All-Stars\u003c\/li\u003e\n\u003cli\u003eRosetta - Henry \"Red\" Allen All-Stars\u003c\/li\u003e\n\u003cli\u003eFine and Mellow - Billie Holiday, Mal Waldron All-Stars\u003c\/li\u003e\n\u003cli\u003eBlues - Jimmy Giuffre, Pee Wee Russell, Jo Jones, Danny Barker\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Times New Roman\"\u003eSide B :\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 60px;\"\u003e1.I Left My Baby - Jimmy Rushing, Count Basie All-Stars\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 60px;\"\u003e2. The Train and The River - Jimmy Giuffre Trio\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 60px;\"\u003e3. Nervous - Mal Waldron \u003cstrong data-mce-fragment=\"1\"\u003e\u003ca title=\"vinyl featuring Mal Waldron\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/mal-waldron\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/mal-waldron\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Mal Waldron]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 60px;\"\u003e4. Dickie's Dream - Count Basie All-Stars\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003eAwards:\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eMichael Fremer's 100 Recommended All-Analog LP Reissues Worth Owning - Rated 4\/100\u003c\/strong\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eReviews\u003c\/strong\u003e :\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp\u003e\"The only reason Classic Records failed to reissue this one back in the 1990s and 2000s is because the reel containing one side had gone missing. For this reissue Sony\/BMG located the original 3 track recording from which this stereo record was sourced so it's one generation ahead of the mixed two track master. This tape probably hadn't been played in almost sixty years and so sounds remarkably fresh. ... Analogue Productions reissued this in a tip-on gatefold sleeve with great black and white photos taken at the recording session of Count Basie, Billie Holiday and Ben Webster. A moment in musical time perfectly captured that's easy to recommend for the music, the sound and the packaging. The reissue sound is somewhat drier than the original, which makes it all the more intimate and less dated. A great lacquer cut by Ryan K. Smith.\" Michael Fremer, AnalogPlanet.com.\u003c\/p\u003e\n\u003cp\u003eThis 200-gram Analogue Productions LP reissue is a magnificent-sounding recording of a historic TV event. For a rare and glorious one-hour nationwide broadcast, CBS brought together 32 towering heavyweight jazz musicians of the swing era for the jam session to end all jam sessions.\u003c\/p\u003e\n\u003cp\u003e\"The Sound of Jazz\" brought together 32 leading musicians — a Who's Who of the swing era — including Count Basie, Lester Young, Ben Webster, Billie Holiday, Jo Jones and Coleman Hawkins; the Chicago style players of the same era, like Henry \"Red\" Allen, Vic Dickenson, and Pee Wee Russell; and younger 'modernist' musicians such as Gerry Mulligan, Thelonious Monk, and Jimmy Giuffre. These players played separately with their compatriots (see the song list below), but also joined to combine various styles in one group, such as Red Allen's group and the group backing Billie Holiday on \"Fine and Mellow\".\u003c\/p\u003e\n\u003cp\u003eColumbia Records released this LP in 1958 that is actually a rehearsal that preceded the telecast (recorded on December 4 at Columbia's 30th Street studios), and is not its soundtrack. The LP was released in 1958 as Columbia CL 1098, with liner notes by Eric Larrabee, and the cover photo is by Tom Yee. The recording doesn't include all of the performers on the TV show (Mulligan refused to participate because no additional payment was involved) and includes several who were not on the show. Bassist Walter Page rehearsed, and is featured on the LP, but collapsed on the way to the studio for the telecast.\u003c\/p\u003e\n\u003cp\u003eFor this Analogue Productions reissue we started with the original tape and the best mastering available — Ryan K. Smith at Sterling Sound did a steller job, and naturally, plating at Quality Record Pressings was handled by master plating technician Gary Salstrom. Our 200-gram QRP platters serve up an utterly noiseless background that lets the superior sonics shine through.\u003c\/p\u003e\n\u003cp\u003eThe show's performance of \"Fine and Mellow\" reunited Billie Holiday with her estranged long-time friend Lester Young for the final time. Jazz critic Nat Hentoff, who was involved in the show, recalled that during rehearsals, they kept to opposite sides of the room. Young was very weak, and Hentoff told him to skip the big band section of the show and that he could sit while performing in the group with Holiday.\u003c\/p\u003e\n\u003cp\u003eDuring the performance of \"Fine and Mellow\", Webster played the first solo. \"Then\", Hentoff remembered: \"Lester got up, and he played the purest blues I have ever heard, and [he and Holiday] were looking at each other, their eyes were sort of interlocked, and she was sort of nodding and half-smiling. It was as if they were both remembering what had been — whatever that was. And in the control room we were all crying. When the show was over, they went their separate ways.\"\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003eRatings\u003c\/strong\u003e : \u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\u003cspan size=\"3\"\u003e\u003cspan size=\"3\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eDiscogs : 4.54 \/ 5 \u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003ch1\u003e\u003c\/h1\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40753550524567,"sku":"AAPJ 111","price":65.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/the-sound-of-jazz-count-basie-ben-webster-billie-holiday-1lp-33rpm-200g-audiosoundmusic-1.jpg?v=1719852379"},{"product_id":"muddy-waters-folk-singer","title":"\u003ctranscy\u003eMuddy Waters - Folk Singer (1LP, 33 tours)\u003c\/transcy\u003e","description":"\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eGuitar, Vocals – Muddy Waters \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/muddy-waters\" title=\"vinyl featuring Muddy Waters\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/muddy-waters\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Muddy Waters]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBass – Willie Dixon\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDrums – Clifton James\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGuitar – Buddy Guy \u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\"\u003e\u003ca title=\"vinyl featuring Buddy Guy\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/buddy-guy\" style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/buddy-guy\"\u003e[click here to see more vinyl featuring Buddy Guy]\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, Gatefold jacket with extra photos and Liner Notes By Michael Fremer\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 1\/3 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 :  Chess\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded at Ter Mar Studios in \u003cspan data-mce-fragment=\"1\"\u003eSeptember, 1963\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineered by Ron Malo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Ralph Bass, Willie Dixon\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by Bernie Grundman\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCover by Don Bronstein\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 2021\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide 1\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eMy Home Is In The Delta\u003c\/li\u003e\n\u003cli\u003eLong Distance\u003c\/li\u003e\n\u003cli\u003eMy Captain\u003c\/li\u003e\n\u003cli\u003eGood Morning School Girl\u003c\/li\u003e\n\u003cli\u003eYou Gonna Need My Help\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e           \u003c\/p\u003e\n\u003cp\u003eSide 2\u003c\/p\u003e\n\u003col start=\"6\"\u003e\n\u003cli\u003eCold Weather Blues\u003c\/li\u003e\n\u003cli\u003eBig Leg Woman\u003c\/li\u003e\n\u003cli\u003eCountry Boy\u003c\/li\u003e\n\u003cli\u003eFeel Like Going Home\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAwards:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eMichael Fremer's 100 Recommended All-Analog LP Reissues Worth Owning - Rated 89\/100\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eTAS Award\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003c\/strong\u003e\"Muddy's \"unplugged\" album was cut in September of 1963 and still sounds fresh and vital today. It was Muddy simply returning to his original style on a plain acoustic guitar in a well-tuned room with Willie Dixon on string bass, Clifton James on drums, and Buddy Guy on second acoustic guitar. The nine tracks are divvied up between full rhythm section treatments with Buddy and Muddy as a duo and the final track, \"Feel Like Going Home,\" which Waters approaches solo. What makes this version of the album a worthwhile buy is the inclusion of five bonus tracks from his next two sessions: An April 1964 session brings us Willie Dixon's \"The Same Thing\" and Muddy's \"You Can't Lose What You Never Had,\" while the October 1964 session features J.T. Brown on sax and clarinet on \"Short Dress Woman\" and \"My John the Conqueror Root,\" as well as \"Put Me in Your Lay Away,\" another strong side. Folk Singer offers both sides of Muddy from the early '60s.\" AllMusic Review by Cub Koda\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\"The Quality Record Pressing is drop-dead quiet-as silent as the best Japanese pressings from the late 1970s-and the amount of inner detail released is simply astonishing...the sound is sweet, liquid and free of harshness and edge. The dynamics are mind-boggling. When Muddy takes it up ten notches to emphasize a point it's positively explosive in a way the 33 1\/3 version only suggests.\" Michael Fremer\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eAllMusic 4.5\/5  ,   Discogs 4.66\/5  ,  \u003cspan data-mce-fragment=\"1\"\u003eMichael Fremer : \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003eMusic = 9\/10, Sound = 10\/10\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40986501251223,"sku":"AAPB 1483","price":65.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/muddy-waters-folk-singer-1lp-33rpm-audiosoundmusic-1.jpg?v=1719853719"},{"product_id":"harry-belafonte-belafonte-at-carnegie-hall-analogue-productions","title":"\u003ctranscy\u003eHarry Belafonte - Belafonte At Carnegie Hall (2LP, 180g, 33 tours, Analogue Productions)\u003c\/transcy\u003e","description":"\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cbr\u003e\u003cbr\u003eHarry Belafonte (voc) \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/harry-belafonte\" title=\"Vinyl featuring Harry Belafonte\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/harry-belafonte\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Harry Belafonte]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eMillard Thomas, Raphael Boguslav (g); Norman Keenan (b); Danny Barrajanos (perc) \u0026amp; orchestra conducted by Robert Corman\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by Fred Brooks (A1), Lead Belly (A2, A3), Paul Campbell (A2, A4), C.C. Carter (B1), Bill Attaway (B2), Harry Belafonte (B2, D3), Lord Burgess (B3), Lord Melody (C1), William Attaway (C2), Irving Burgie (C2), Norman Span (C3), Frederick Edward Weatherly (C5), Tomas Mendez (D1),  Harry Thomas (D3). C4 and D2 are traditional songs.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\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\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLive\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press :  Quality Record Pressings\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel :  Analogue Productions\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : RCA\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eRecording: April 1959 live at Carnegie Hall, New York, by Bob Simpson\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eProduction: Bob Bollard\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by Ryan Smith at Sterling Sound\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1959\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2014\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eTracks :\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eSide A :\u003c\/p\u003e\n\u003cp style=\"padding-left: 30px;\" data-mce-fragment=\"1\"\u003eAct 1: The Moods of the American Negro\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e              1.  Introduction – Darlin’ Cora\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e              2.  Sylvie\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e              3.  Cotton Fields\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e               4.  John Henry\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e               5.  Take My Mother Home\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eSide B :\u003c\/p\u003e\n\u003cp style=\"padding-left: 30px;\" data-mce-fragment=\"1\"\u003eAct 1: The Moods of the American Negro\u003c\/p\u003e\n\u003cp style=\"padding-left: 60px;\" data-mce-fragment=\"1\"\u003e1. The Marching Saints\u003c\/p\u003e\n\u003cp style=\"padding-left: 30px;\" data-mce-fragment=\"1\"\u003eAct 2: In The Caribbean\u003c\/p\u003e\n\u003cdiv data-mce-fragment=\"1\"\u003e               2. Day O\u003c\/div\u003e\n\u003cdiv data-mce-fragment=\"1\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv data-mce-fragment=\"1\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv data-mce-fragment=\"1\"\u003e               3. Jamaica Farewell\u003c\/div\u003e\n\u003cdiv data-mce-fragment=\"1\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv data-mce-fragment=\"1\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 60px;\" data-mce-fragment=\"1\"\u003e4. Man Piaba\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 60px;\" data-mce-fragment=\"1\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 60px;\" data-mce-fragment=\"1\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cp data-mce-fragment=\"1\"\u003e               5. All My Trials\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eSide C :\u003cbr\u003e\u003c\/p\u003e\n\u003cp style=\"padding-left: 30px;\" data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eAct 2: In The Caribbean\u003c\/span\u003e               \u003c\/p\u003e\n\u003cp style=\"padding-left: 60px;\" data-mce-fragment=\"1\"\u003e1 Mama Look A Boo Boo\u003c\/p\u003e\n\u003cp style=\"padding-left: 60px;\" data-mce-fragment=\"1\"\u003e2 Come Back Liza\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e               3 Man Smart (woman smarter)\u003c\/p\u003e\n\u003cp style=\"padding-left: 30px;\" data-mce-fragment=\"1\"\u003eAct 3: Round The World\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e                4 Hava Nageela\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e                5 Danny Boy\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e                6  Merci Bon Dieu (From The \"Haitian Suite\")\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eSide D :\u003c\/p\u003e\n\u003cp style=\"padding-left: 30px;\" data-mce-fragment=\"1\"\u003e\u003cspan\u003eAct 3: Round The World\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"padding-left: 60px;\" data-mce-fragment=\"1\"\u003e1 Cu Cu Ru Cu Cu Paloma\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e                2 Shenandoah\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e                3 Matilda\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAwards :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eMichael Fremer's 100 Recommended All-Analog LP Reissues Worth Owning - Rated 45\/100!\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cheader\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eTAS Super LP List! Best Of The Bunch: Popular\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/header\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\"Belafonte brought 'world' music to the masses, starting with 'Calypso.' ... By the time these two benefit concerts were performed on April 19th and 20th 1959, Belafonte had amassed a catalog of hits familiar to a wide swath of Americans. ... One can argue that originals are the best but not here. No way! Unlike the original pressings mastered from 2-track mix down from the 3-track original tape, Classic Records' reissue on both 33 1\/3 and single-sided 45 RPM records and this new mastering are sourced directly from the 3-track tape. ... However, while I didn't think there was more to get from the tape than what Bernie Grundman got for Classic Records, I think Ryan K. Smith and the Sterling team have done just that, showcased by the utter black QRP backgrounds. ... it is among the greatest, if not the greatest live concert recordings ever made and Belafonte's and the orchestra's performances make it well-worth revisiting.\" \u003c\/span\u003e\u003cspan class=\"blurb\"\u003eMichael Fremer, \u003cem\u003eAnalogPlanet.com\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e« The granddaddy of all live albums, this double-LP set captured the excitement of a Harry Belafonte concert at the height of his popularity. Sampled from two consecutive performances of identical material, Belafonte at Carnegie Hall was an anomaly at a time when only comedy albums were recorded outside of the studio environment. It wasn't the first live album ever made, but it was certainly the first to be a major financial and artistic success. It stayed on the best-selling album charts for over three years and remained in print until RCA discontinued pressing LPs. From the opening trumpet fanfare and brief orchestral overture to the epic 12-minute version of \"Matilda\" (which set a standard for audience participation), the album never lets up. It is exciting, poignant, thrilling, intimate, and at times, spontaneously hilarious. Belafonte's mastery in front of an audience was never better displayed than here, a mastery that resulted in him becoming one of the most popular concert draws in history. Producer Bob Bollard and orchestra leader Bob Corman deftly integrated the 47-piece orchestra into the performance but knew when to lie back to let Belafonte sing, accompanied by a small combo of two guitars, bass, and percussion. The concert is divided in three sections: \"Moods of the American Negro,\" \"In the Caribbean,\" and \"Around the World.\" All the hits are here: \"Day O,\" \"Jamaica Farewell,\" \"Mama Look a Boo Boo,\" and others, plus calypso, folk songs, chain gang songs, spirituals, and songs from other lands, representing a veritable best-of package of his first decade with RCA Victor. For sheer scope and genius of performance, this is the quintessential Belafonte package. » AllMusic Review by Cary Ginell\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan\u003eAllmusic : 5 \/5 , \u003c\/span\u003e\u003cspan\u003eDiscogs \u003c\/span\u003e: \u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e4,40\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5  , \u003c\/span\u003e\u003cspan\u003eRate Your Music \u003c\/span\u003e: \u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e3,81\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan class=\"blurb\"\u003eMichael Fremer : Music = 10\/11; Sound = 11\/11\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cbr\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40988104982679,"sku":"AAPF 6006","price":95.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/harry-belafonte-belafonte-at-carnegie-hall-2lp-180g-33rpm-analogue-productions-audiosoundmusic-1.jpg?v=1719853766"},{"product_id":"tony-bennett-at-carnegie-hall","title":"Tony Bennett At Carnegie Hall (2LP)","description":"\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003eTony Bennett - vocals \u003cspan style=\"color: #ff8000;\"\u003e\u003ca data-mce-fragment=\"1\" href=\"https:\/\/www.audiosoundmusic.com\/fr\/collections\/tony-bennett\" title=\"vinyl featuring Tony Bennett\" style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Tony Bennett]\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRalph Sharon orchestra:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\u003cstrong\u003eRalph Sharon - piano\u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eKenny Burrell - guitar \u003ca data-mce-fragment=\"1\" href=\"https:\/\/www.audiosoundmusic.com\/fr\/collections\/kenny-burrell\" title=\"vinyl featuring Kennny Burrell\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Kenny Burrell]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eMel Davis, Bernie Glow, Al DeRisi, Nick Travis - trumpet\u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eJack Lesburg - double bass\u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eSy Berger, Frank Rehak - trombone\u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003ePaul Faulise - bass trombone\u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eSol Schlinger - bass clarinet, baritone saxophone\u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eAl Cohn - tenor saxophone\u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eJoe Soldo, Dick Meldonian - flute, alto saxophone\u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eRomeo Penque - flute, tenor saxophone\u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eAlfred Brown - viola\u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eAnthony Sophos - cello\u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eBobby Rosengarden - percussion, bongos, conga, timbales, timpani\u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eCandido Camero - bongos, conga\u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eEddie Costa - vibes\u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eBilly Exner - drums\u003c\/strong\u003e\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e2 LPs, Gatefold jacket\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12”\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLive\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press :  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 :  Columbia \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded at Carnegie Hall on June 9th 1962\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Ernie Altschuler\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by Ryan Smith at Sterling Sound\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1962\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2015\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eLullaby Of Broadway\u003c\/li\u003e\n\u003cli\u003eJust In Time\u003c\/li\u003e\n\u003cli\u003eAll The Things You Are\u003c\/li\u003e\n\u003cli\u003eStranger In Paradise\u003c\/li\u003e\n\u003cli\u003eLove Is Here To Stay\u003c\/li\u003e\n\u003cli\u003eClimb Ev'ry Mountain\u003c\/li\u003e\n\u003cli\u003eOl' Man River\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eIt Amazes Me\u003c\/li\u003e\n\u003cli\u003eFirefly\u003c\/li\u003e\n\u003cli\u003eIn San Francisco\u003c\/li\u003e\n\u003cli\u003eHow About You\u003c\/li\u003e\n\u003cli\u003eApril In Paris\u003c\/li\u003e\n\u003cli\u003eSolitude\u003c\/li\u003e\n\u003cli\u003eI'm Just A Lucky So And So\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide C: \u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eAlways\u003c\/li\u003e\n\u003cli\u003eAnything Goes\u003c\/li\u003e\n\u003cli\u003eBlue Velvet\u003c\/li\u003e\n\u003cli\u003eRags To Riches\u003c\/li\u003e\n\u003cli\u003eBecause Of You\u003c\/li\u003e\n\u003cli\u003eWhat Good Does It Do\u003c\/li\u003e\n\u003cli\u003eLost In The Stars\u003c\/li\u003e\n\u003cli\u003eOne For My Baby\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide D:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eLazy Afternoon\u003c\/li\u003e\n\u003cli\u003eSing You Sinners\u003c\/li\u003e\n\u003cli\u003eLove Look Away\u003c\/li\u003e\n\u003cli\u003eSometimes I'm Happy\u003c\/li\u003e\n\u003cli\u003eMy Heart Tells Me\u003c\/li\u003e\n\u003cli\u003eDe Glory Road\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAwards :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e\u003cb\u003eMichael Fremer's 100 Recommended All-Analog LP Reissues Worth Owning - Rated 43\/100!\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan color=\"#B12704\"\u003e\u003cb\u003eTAS Super LP List! Special Merit: Informal\u003c\/b\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\"The original of this double LP set was a sonic spectacular that now sounds veiled and somewhat distant compared to this stupidly, insanely spectacular sounding reissue cut for the first time from the edited original 3-track tape...This reissue is incredible in every way, starting with the cover art. The laminated cover's front and back photos are of far higher resolution and quality than the ones on the original. The same is true of the inside cover photos that include the full wide orchestra shot cropped on the original. But most importantly, the mastering by Ryan K. Smith from the original 3-track master tapes is nothing short of astonishing. It offers proof to anyone who will listen, both that AAA vinyl kills any digital format and that the art of recording, especially live recording, reached its pinnacle during the '50's and '60's...You'll be transported, entertained, wowed and amazed by both Bennett's and the orchestra's performances and the sonic documentation. It goes without saying that this is highly recommended, but I said it anyway.\" Michael Fremer, analogplanet.com\u003c\/p\u003e\n\u003cp\u003e\"Recorded on June 9, 1962, one week before the release of the I Left My Heart in San Francisco album that would catapult Tony Bennett's career into the stratosphere, this concert album effectively sums up his accomplishments so far. Some of the hits -- \"Stranger in Paradise,\" \"Rags to Riches,\" \"Because of You\" -- are still on the set list (although drastically rearranged), but clearly he has found his true repertoire in reinventions of older material like \"All the Things You Are\" (the version here is exquisite) and good choices of new songs -- he champions the team of Cy Coleman and Carolyn Leigh, and introduces \"San Francisco,\" which some in the audience already know. (Released as a single in advance of the San Francisco album, it was in the charts already.) And on the album's original four LP sides, Bennett managed to find time for such experiments as an up-tempo \"Ol' Man River\" featuring percussionist Candido, a throwback to his innovative Beat of My Heart album. More than his greatest-hits collections of the '50s and early '60s, it gives a broad sense of Bennett's work, and it does so in the format with which he's most comfortable -- live in concert.\" AllMusic Review by William Ruhlmann\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eAllMusic 4.5\/5  ,  Discogs 4.45 \/ 5  ,  Michael Fremer : 10 \/ 11 Music, 11 \/ 11 Sound\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40995248341143,"sku":"AAPP823","price":95.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/files\/Tony_Bennett_At_Carnegie_Hall_1.webp?v=1766776544"},{"product_id":"copy-of-son-house-father-of-the-delta-blues-the-complete-1965-sessions","title":"\u003ctc\u003e\u003ctranscy\u003eSon House - Father of Folk Blues\u003c\/transcy\u003e\u003c\/tc\u003e","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSon House (vocal, steel-bodied National guitar)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAl Wilson (guitar, harmonica)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by Son House\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, Gatefold jacket\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003cstrong\u003eRecord color : black \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003cstrong\u003eSpeed : 33RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003cstrong\u003eSize : 12”\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003cstrong\u003eStudio \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003cstrong\u003eRecord Press :  Quality Record Pressings\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003cstrong\u003eLabel :  Analogue Productions\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003cstrong\u003eOriginal Label :  Columbia\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003cspan lang=\"EN-US\" data-mce-fragment=\"1\"\u003eRecorded: \u003c\/span\u003e\u003c\/span\u003e\u003cspan lang=\"EN-US\" data-mce-fragment=\"1\"\u003eon the 12\u003csup data-mce-fragment=\"1\"\u003eth\u003c\/sup\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003eto 14\u003csup data-mce-fragment=\"1\"\u003eth\u003c\/sup\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003eApril 1965, at Columbia’s New York City studios\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003cstrong\u003eProduced by John Hammond\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1965\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2020\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e Side A:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eDeath Letter Blues\u003c\/li\u003e\n\u003cli\u003ePearline\u003c\/li\u003e\n\u003cli\u003eLouise McGhee\u003c\/li\u003e\n\u003cli\u003eJohn The Revelator\u003c\/li\u003e\n\u003cli\u003eEmpire State Express\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eSide B:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003ePreachin' Blues\u003c\/li\u003e\n\u003cli\u003eGrinning In Your Face\u003c\/li\u003e\n\u003cli\u003eSundown\u003c\/li\u003e\n\u003cli\u003eLeavee Camp Moan\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 data-mce-fragment=\"1\"\u003eMichael Fremer's 100 Recommended All-Analog LP Reissues Worth Owning - Rated 88\/100!\u003c\/b\u003e\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan color=\"#B12704\" style=\"color: #ff2a00;\" data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003eTAS Super LP List! Special Merit: Informal\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eHi-Fi News' \"Album Choice\" for November 2016\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\"This was the first such presentation of a Delta blues musician done by Columbia, which seemed like a pretty hip label at the time, since they had both Bob Dylan and Paul Revere and the Raiders. The man's picture on the front is mesmerizing, in a word; the white shirt, black string tie, and silver steel guitar just adding to the excitement. Perhaps this album picture was the first glimpse many young listeners had of such a style of guitar. It was decades before Dire Straits appropriated the image. Revisionist critical thinking has it that the later recordings by Son House can't match the music created during his '30s sessions for Paramount. Here, of course, we have the music as sports syndrome, an area where the elderly are always going to fail in someone's eyes. So much of music enjoyment, however, is a subjective reaction that so often involves many other factors, among them time and place. The sound of the metal slide quietly hovering over the strings can bring to mind only one thing in the mind of a westerner: an angry rattlesnake. And the way many listeners' jaws dropped upon hearing music such as this for the first time may not be quite as intense as a hiker's facial expression upon encountering such a creature, but it is close enough. There is a second blues legend appearing here as well. Guitarist and harmonica player Al Wilson was a founding member of Canned Heat, and a musician so good at what he did that he became a sterling example of the possibility that young white blues fans could actually learn to play this music really well, with intensity. The original pressing contains nine tracks, each of them gems. The length some of the tracks are allowed to go to is really wonderful. One of them is more than nine minutes long. Producers of country blues material in the 21st century would probably frown on such a thing because they are guilty of helping water the genre down over the years. The inevitable repackaging of material from these recording sessions in the '90s contained alternate takes, a decision that picks open arguments about whether the old man's playing at that time really warranted hearing every take, or, in fact, whether such documentation is really even that important in a genre such as blues. However one feels about such controversial subjects, it definitely seems like producer John Hammond picked the right tracks the first time out.\" AllMusic Review by Eugene Chadbourne\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\"Muddy Waters' \u003c\/span\u003e\u003cem\u003eFolk Singer\u003c\/em\u003e\u003cspan\u003e wasn't the only blues LP recorded with the due care rarely shown to albums in the genre, prior to the revival. Son House's rediscovery in the early 1960s reads like a Hollywood script, but all of the elements are there to make you realize that this John Hammond-produced LP, 50 years on, was one of the most important. Just House and his bottleneck acoustic guitar: his sheer presence must has been terrifying to those unfamiliar with the intensity of rural, unamplified blues. Every track is astounding, but skip straight to the voice-only 'John The Revelator' for an instant taste of House's abilities to captivate. And he lived long enough, too, to savor his renaissance.\" Ken Kessler, \u003c\/span\u003e\u003cem\u003eHiFi News\u003c\/em\u003e\u003cspan\u003e, November 2016\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eAllMusic 5\/5  ,  Discogs 4.59\/5  ,  HiFi News : \u003cspan data-mce-fragment=\"1\"\u003eSound Quality = 92%\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40995689627799,"sku":"AAPB 092","price":65.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/son-house-father-of-folk-blues-1lp-180g-33rpm-audiosoundmusic-1.jpg?v=1719853808"},{"product_id":"son-house-father-of-folk-blues-2lp-45rpm","title":"\u003ctranscy\u003eSon House - Father of Folk Blues (2LP, 200g, 45 tours)\u003c\/transcy\u003e","description":"\u003cp\u003e\u003cstrong\u003eSon House (vocal, steel-bodied National guitar)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAl Wilson (guitar, harmonica)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by Son House\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e2 LPs, Gatefold jacket\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003cstrong\u003eHeavy Press : 200g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003cstrong\u003eRecord color : black \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003cstrong\u003eSpeed : 45RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003cstrong\u003eSize : 12”\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003cstrong\u003eStudio \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003cstrong\u003eRecord Press :  Quality Record Pressings\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003cstrong\u003eLabel :  Analogue Productions\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003cstrong\u003eOriginal Label :  Columbia\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003cspan lang=\"EN-US\" data-mce-fragment=\"1\"\u003eRecorded: \u003c\/span\u003e\u003c\/span\u003e\u003cspan lang=\"EN-US\" data-mce-fragment=\"1\"\u003eon the 12\u003csup data-mce-fragment=\"1\"\u003eth\u003c\/sup\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003eto 14\u003csup data-mce-fragment=\"1\"\u003eth\u003c\/sup\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003eApril 1965, at Columbia’s New York City studios\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003cstrong\u003eProduced by John Hammond\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1965\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2020\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e Side A:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eDeath Letter Blues\u003c\/li\u003e\n\u003cli\u003ePearline\u003c\/li\u003e\n\u003cli\u003eLouise McGhee\u003c\/li\u003e\n\u003cli\u003eJohn The Revelator\u003c\/li\u003e\n\u003cli\u003eEmpire State Express\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eSide B:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003ePreachin' Blues\u003c\/li\u003e\n\u003cli\u003eGrinning In Your Face\u003c\/li\u003e\n\u003cli\u003eSundown\u003c\/li\u003e\n\u003cli\u003eLeavee Camp Moan\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 data-mce-fragment=\"1\"\u003eMichael Fremer's 100 Recommended All-Analog LP Reissues Worth Owning - Rated 88\/100!\u003c\/b\u003e\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan color=\"#B12704\" style=\"color: #ff2a00;\" data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003eTAS Super LP List! Special Merit: Informal\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eHi-Fi News' \"Album Choice\" for November 2016\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\"This was the first such presentation of a Delta blues musician done by Columbia, which seemed like a pretty hip label at the time, since they had both Bob Dylan and Paul Revere and the Raiders. The man's picture on the front is mesmerizing, in a word; the white shirt, black string tie, and silver steel guitar just adding to the excitement. Perhaps this album picture was the first glimpse many young listeners had of such a style of guitar. It was decades before Dire Straits appropriated the image. Revisionist critical thinking has it that the later recordings by Son House can't match the music created during his '30s sessions for Paramount. Here, of course, we have the music as sports syndrome, an area where the elderly are always going to fail in someone's eyes. So much of music enjoyment, however, is a subjective reaction that so often involves many other factors, among them time and place. The sound of the metal slide quietly hovering over the strings can bring to mind only one thing in the mind of a westerner: an angry rattlesnake. And the way many listeners' jaws dropped upon hearing music such as this for the first time may not be quite as intense as a hiker's facial expression upon encountering such a creature, but it is close enough. There is a second blues legend appearing here as well. Guitarist and harmonica player Al Wilson was a founding member of Canned Heat, and a musician so good at what he did that he became a sterling example of the possibility that young white blues fans could actually learn to play this music really well, with intensity. The original pressing contains nine tracks, each of them gems. The length some of the tracks are allowed to go to is really wonderful. One of them is more than nine minutes long. Producers of country blues material in the 21st century would probably frown on such a thing because they are guilty of helping water the genre down over the years. The inevitable repackaging of material from these recording sessions in the '90s contained alternate takes, a decision that picks open arguments about whether the old man's playing at that time really warranted hearing every take, or, in fact, whether such documentation is really even that important in a genre such as blues. However one feels about such controversial subjects, it definitely seems like producer John Hammond picked the right tracks the first time out.\" AllMusic Review by Eugene Chadbourne\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\"Muddy Waters' \u003c\/span\u003e\u003cem\u003eFolk Singer\u003c\/em\u003e\u003cspan\u003e wasn't the only blues LP recorded with the due care rarely shown to albums in the genre, prior to the revival. Son House's rediscovery in the early 1960s reads like a Hollywood script, but all of the elements are there to make you realize that this John Hammond-produced LP, 50 years on, was one of the most important. Just House and his bottleneck acoustic guitar: his sheer presence must has been terrifying to those unfamiliar with the intensity of rural, unamplified blues. Every track is astounding, but skip straight to the voice-only 'John The Revelator' for an instant taste of House's abilities to captivate. And he lived long enough, too, to savor his renaissance.\" Ken Kessler, \u003c\/span\u003e\u003cem\u003eHiFi News\u003c\/em\u003e\u003cspan\u003e, November 2016\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eAllMusic 5\/5  ,  Discogs 4.59\/5  ,  HiFi News : \u003cspan data-mce-fragment=\"1\"\u003eSound Quality = 92%\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40995791732887,"sku":"AAPB 092-45","price":95.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/son-house-father-of-folk-blues-2lp-200g-45rpm-audiosoundmusic-1.jpg?v=1719853808"},{"product_id":"the-oscar-peterson-trio-we-get-requests-2lp-45rpm-180g","title":"\u003ctc\u003e\u003ctranscy\u003eThe Oscar Peterson Trio - We Get Requests (2LP, 45 tours)\u003c\/transcy\u003e\u003c\/tc\u003e","description":"\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eORDER LIMITED TO ONE ITEM PER CUSTOMER\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"margin: 0cm 0cm 12.0pt 0cm;\"\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\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/oscar-peterson\"\u003e[click here to see more vinyl featuring Oscar Peterson]\u003c\/a\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eRay Brown, bass\u003cbr\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eEd Thigpen, drums\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp style=\"margin: 0cm 0cm 12.0pt 0cm;\"\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e2 LP, gatefold old-style tip-on jackets\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eLimited edition\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 45RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize 12''\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eS\u003c\/strong\u003e\u003cstrong\u003etereo\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 Records\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded \u003cspan data-mce-fragment=\"1\"\u003eOctober 19, November 20, 1964 at RCA Studios New York City\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineered by Val Valentin\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Jim Davis\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by George Marino at Sterling Sound \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1964\u003c\/strong\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2011\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A: \u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eQuiet Nights of Quiet Stars (Corcovado)\u003c\/li\u003e\n\u003cli\u003eThe Days of Wine and Roses\u003c\/li\u003e\n\u003cli\u003eMy One and Only Love\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003ePeople\u003c\/li\u003e\n\u003cli\u003eHave You Met Miss Jones?\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide C:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eYou Look Good To Me\u003c\/li\u003e\n\u003cli\u003eThe Girl From Ipanema\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide D:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eD \u0026amp; E\u003c\/li\u003e\n\u003cli\u003eTime and Again\u003c\/li\u003e\n\u003cli\u003eGoodbye J.D.\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAwards:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e\u003cb\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\u003e\u003cb\u003eMichael Fremer's 100 Recommended All-Analog LP Reissues Worth Owning - Rated 13\/100\u003c\/b\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e\u003cb\u003e\u003cspan\u003eWinner of a 2012\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cem\u003ePositive Feedback Online\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003eWriters' Choice Award\u003c\/span\u003e\u003c\/b\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\"...these are all truly classic Verve titles that you simply don't want to miss...most importantly, the sound of these reissues is nothing short of astounding. Particularly the early Billie and Ella mono records are incredible treasures of sonic beauty. I'd definitely ask Santa for the whole set, or, if you want to cherry pick, the most classic titles. Whatever you decide, you owe yourself at least a half dozen!\" Danny Kaey, \u003cem\u003ePositive Feedback Online\u003c\/em\u003e, November\/December 2011\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003c\/strong\u003e\"Pianist Oscar Peterson has long been such a consistent performer that none of his records are throwaways, but this particular set is weaker than most. Since several of the songs are the type that in the mid-'60s would get requested (such as \"People,\" \"The Girl from Ipanema,\" and \"The Days of Wine and Roses\"), the program would not seem to have much potential, but Peterson mostly uplifts the material (although not much could be done with \"People\") and adds a few songs (such as his own \"Goodbye, J.D.\" and John Lewis' \"D \u0026amp; E\"). Overall, this is a reasonably enjoyable Oscar Peterson session, featuring bassist Ray Brown and drummer Ed Thigpen.\" AllMusic Review by Scott Yanow\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings: \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eAllMusic 2\/5 , Discogs 4.49\/5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":41014689759383,"sku":"AVRJ 8606-45","price":95.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/the-oscar-peterson-trio-we-get-requests-2lp-45rpm-analogue-productions-audiosoundmusic-1.jpg?v=1719853890"},{"product_id":"bob-dylan-blonde-on-blonde","title":"\u003ctranscy\u003eBob Dylan - Blonde on Blonde (3LP, Coffret, Ultra Analog, Half-speed Mastering, 45 tours)\u003c\/transcy\u003e","description":"\u003ch2\u003e\u003cbr\u003e\u003c\/h2\u003e\n\u003cp\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eORDER LIMITED TO ONE ITEM PER CUSTOMER\u003c\/strong\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBob Dylan – vocals, guitar, harmonica, piano \u003ca title=\"vinyl featuring Bob Dylan\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/bob-dylan\" style=\"color: #ff8000;\" data-mce-fragment=\"1\"\u003e[click here to see more vinyl featuring Bob Dylan]\u003c\/a\u003e\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBill Aikins – keyboards\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWayne Butler – trombone\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eKenneth Buttrey – drums\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRick Danko or Bill Lee – bass guitar (New York)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBobby Gregg – drums (New York)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePaul Griffin – piano (New York)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJerry Kennedy – guitar\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAl Kooper – organ, guitar\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCharlie McCoy – bass guitar, guitar, harmonica, trumpet\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWayne Moss – guitar, vocals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHargus \"Pig\" Robbins – piano, keyboards\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRobbie Robertson – guitar, vocals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHenry Strzelecki – bass guitar\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJoe South – bass guitar, guitar\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e3 LPs, box set\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eLimited edition\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHalf-speed Mastering\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eGAIN 2 Ultra Analog™ LP \u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 45RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12”\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : RTI\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : MOFI\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Columbia\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded \u003cspan data-mce-fragment=\"1\"\u003eJanuary – June 1966 \u003c\/span\u003eat Columbia Recording Studios, Nashville\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineered by \u003c\/strong\u003e\u003cstrong\u003eAl Kooper, '\u003c\/strong\u003e\u003cstrong\u003ePig'\u003c\/strong\u003e\u003cstrong\u003e Robbins, Joe South, Kenny Buttrey, and The Band'\u003c\/strong\u003e\u003cstrong\u003es Rick Danko and Robbie Robertson\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Bob Johnston\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by Krieg Wunderlich\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1966\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2013\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eRainy Day Women #12 \u0026amp; 35\u003c\/li\u003e\n\u003cli\u003ePledging My Time\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eVisions of Johanna\u003c\/li\u003e\n\u003cli\u003eOne of Must Know (Sooner or Later)\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide C:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eI Want You\u003c\/li\u003e\n\u003cli\u003eStuck Inside of Mobile with the Memphis Blues Again\u003c\/li\u003e\n\u003cli\u003eLeopard-Skin Pill-Box Hat\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide D:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eJust Like a Woman\u003c\/li\u003e\n\u003cli\u003eMost Likely You Go Your Way and I’ll Go Mine\u003c\/li\u003e\n\u003cli\u003eTemporary Like Achilles\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide E:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eAbsolutely Sweet Marie\u003c\/li\u003e\n\u003cli\u003e4th Time Around\u003c\/li\u003e\n\u003cli\u003eObviously 5 Believers\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide F:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eSad Eyed Lady of the Lowlands\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAwards\u003c\/strong\u003e\u003cspan\u003e:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eRolling Stone 500 Greatest Albums of All Time - Rated 38\/500\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eRolling Stone 500 Greatest Songs of All Time - \"Visions of Johanna\" - Rated 413\/500, \"Just Like A Woman\" - Rated 232\/500\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e\u003cspan\u003eWinner of a Gruvy Award, chosen by AnalogPlanet's editor, Michael Fremer, for vinyl records that are \u003c\/span\u003e\u003cspan\u003emusically and sonically outstanding and are also well mastered and pressed.\u003c\/span\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e\u003cspan\u003e\u003cb\u003eMichael Fremer's 100 Recommended All-Analog LP Reissues Worth Owning - Rated 67\/100!\u003c\/b\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e\u003cspan color=\"#B12704\"\u003e\u003cb\u003eTAS Super LP List! Special Merit: Informal\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan color=\"#B12704\"\u003e\u003cb\u003e2014 Stereophile Magazine Record to Die For!\u003c\/b\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e1000 Recordings you must hear before you die - Ranked 64\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e\"If Highway 61 Revisited played as a garage rock record, the double album Blonde on Blonde inverted that sound, blending blues, country, rock, and folk into a wild, careening, and dense sound. Replacing the fiery Michael Bloomfield with the intense, weaving guitar of Robbie Robertson, Bob Dylan led a group comprised of his touring band the Hawks and session musicians through his richest set of songs. Blonde on Blonde is an album of enormous depth, providing endless lyrical and musical revelations on each play. Leavening the edginess of Highway 61 with a sense of the absurd, Blonde on Blonde is comprised entirely of songs driven by inventive, surreal, and witty wordplay, not only on the rockers but also on winding, moving ballads like \"Visions of Johanna,\" \"Just Like a Woman,\" and \"Sad Eyed Lady of the Lowlands.\" Throughout the record, the music matches the inventiveness of the songs, filled with cutting guitar riffs, liquid organ riffs, crisp pianos, and even woozy brass bands (\"Rainy Day Women #12 \u0026amp; 35\"). It's the culmination of Dylan's electric rock \u0026amp; roll period -- he would never release a studio record that rocked this hard, or had such bizarre imagery, ever again.\" \u003cspan data-mce-fragment=\"1\"\u003eAllMusic Review by Stephen Thomas Erlewine\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eUltra Analog™\u003c\/strong\u003e\u003cspan data-mce-fragment=\"1\"\u003e : The GAIN 2 Ultra Analog™ Series stems from the use of the Gain 2 system, mastered at half speed from the original master tapes where possible, capturing and uncovering as before undiscovered sonic information.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003cstrong\u003eHalf-speed mastering. \u003c\/strong\u003eIn half-speed mastering, the whole process is slowed down to half of the original speed. A typical 33 1\/3 rpm record is cut at 16 2\/3 rpm. The source material is also slowed down (reducing the pitch in the process) meaning the final record will still sound normal when played back. Slowing the whole process down allows more time, which means the end result sounds better and is more efficient — allowing engineering to minimize the effects of inherent limitations within the vinyl format. The result is a more accurate and more open high-frequency response in the half speed vinyl when compared with a normal speed recording.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eAllMusic : 5 \/ 5 , Discogs : 4,57 \/ 5  ,  \u003cspan data-mce-fragment=\"1\"\u003eMichael Fremer : 10\/11 Music, 10\/11 Sound\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":41047117463703,"sku":"MFSL3-45009","price":139.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/bob-dylan-blonde-on-blonde-3lp-box-set-ultra-analog-half-speed-mastering-45rpm-audiosoundmusic-1.jpg?v=1719854078"},{"product_id":"miles-davis-kind-of-blue-2lp-ultra-analog-45-rpm","title":"\u003ctranscy\u003eMiles Davis - Kind of Blue (2LP, Coffret, Ultra Analog, Half-speed Mastering, 45 tours)\u003c\/transcy\u003e","description":"\u003ch2\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eORDER LIMITED TO ONE ITEM PER CUSTOMER\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h2\u003e\n\u003cp\u003e\u003cstrong\u003eMiles Davis, trumpet, band leader \u003ca title=\"vinyl featuring Miles Davis\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/miles-davis\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/miles-davis\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Miles Davis]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJulian \"Cannonball\" Adderley, alto sax (except on \"Blue in Green\")\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJohn Coltrane, tenor sax \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/john-coltrane\" title=\"vinyl featuring John Coltrane\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/john-coltrane\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring John Coltrane]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePaul Chambers, double bass \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/paul-chambers\" title=\"vinyl featuring Paul Chambers\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/paul-chambers\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Paul Chambers]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBill Evans, piano (except \"Freddie Freeloader\") \u003ca title=\"Vinyl featuring Bill Evans\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/bill-evans\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/bill-evans\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[\u003cspan style=\"color: #ff8000;\" color=\"#ff8000\" data-mce-fragment=\"1\"\u003eclick here to see more vinyl featuring \u003c\/span\u003e\u003cspan color=\"#ff8000\" data-mce-fragment=\"1\"\u003eBill Evans]\u003c\/span\u003e\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWynton Kelly, piano (\"Freddie Freeloader\")\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJimmy Cobb, drums \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/jimmy-cobb\" title=\"Vinyl featuring Jimmy Cobb\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/jimmy-cobb\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see other vinyl featuring Jimmy Cobb]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by Miles Davis\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e2 LPs, box set\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eNumbered limited edition\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHalf-speed Mastering\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGain 2™ Ultra Analog\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 45RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12”\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : RTI\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : MOFI\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Columbia\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded at \u003cspan data-mce-fragment=\"1\"\u003eColumbia 30th Street Studio, New York City on March 2, 1959 (A1 to B2) and April 22, 1959 (C1 \u0026amp; D1)\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineered by Fred Plaut\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Irving Townsend\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by Krieg Wunderlich\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1959\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2021\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003cp style=\"padding-left: 30px;\"\u003e1.So What\u003c\/p\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col start=\"2\"\u003e\n\u003cli\u003eFreddie Freeloader\u003c\/li\u003e\n\u003cli\u003eBlue in Green\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide C :\u003c\/p\u003e\n\u003col start=\"4\"\u003e\n\u003cli\u003eAll Blues\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide D :\u003c\/p\u003e\n\u003col start=\"5\"\u003e\n\u003cli\u003eFlamenco Sketches\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAwards\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eMichael Fremer's 100 Recommended All-Analog LP Reissues Worth Owning - Rated 17\/100!\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eTAS Super LP List! Special Merit: Informal\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e\u003cb\u003eThe Absolute Sound 40th Anniversary Best Sounding Music!\u003c\/b\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eRolling Stone 500 Greatest Albums of All Time - Rated 31\/500!\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e1000 Recordings you must hear before you die - Ranked 21\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eStereophile Records To Die For - 2007\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e\"Kind of Blue isn't merely an artistic highlight for Miles Davis, it's an album that towers above its peers, a record generally considered as the definitive jazz album. To be reductive, it's the Citizen Kane of jazz -- an accepted work of greatness that's innovative and entertaining. That may not mean it's the greatest jazz album ever made, but it certainly is a universally acknowledged standard of excellence. Why does Kind of Blue posses such a mystique? Perhaps it's that this music never flaunts its genius. It lures listeners in with the slow, luxurious bassline and gentle piano chords of \"So What.\" From that moment on, the record never really changes pace -- each tune has a similar relaxed feel, as the music flows easily. Yet Kind of Blue is more than easy listening. It's the pinnacle of modal jazz -- tonality and solos build from chords, not the overall key, giving the music a subtly shifting quality. All of this doesn't quite explain why seasoned jazz fans return to this record even after they've memorized every nuance. They return because this is an exceptional band - Miles, Coltrane, Bill Evans, Cannonball Adderly, Paul Chambers, Jimmy Cobb, and Wynton Kelly -- one of the greatest in history, playing at the peak of its power. As Evans said in the original liner notes for the record, the band did not play through any of these pieces prior to recording. Davis laid out the themes and chords before the tape rolled, and then the band improvised. The end results were wondrous, filled with performances that still crackle with vitality. Few albums of any genre manage to work on so many different levels, but Kind of Blue does. It can be played as background music, yet it amply rewards close listening. It is advanced music that is extraordinarily enjoyable. It may be a stretch to say that if you don't like Kind of Blue, you don't like jazz -- but it's hard to imagine it as anything other than a cornerstone of any jazz collection.\" \u003cspan data-mce-fragment=\"1\"\u003eAllMusic Review by Stephen Thomas Erlewine \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eUltra Analog™\u003c\/strong\u003e\u003cspan data-mce-fragment=\"1\"\u003e : The GAIN 2 Ultra Analog™ Series stems from the use of the Gain 2 system, mastered at half speed from the original master tapes where possible, capturing and uncovering as before undiscovered sonic information.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHalf-speed mastering. \u003c\/strong\u003e\u003cspan\u003eIn half-speed mastering, the whole process is slowed down to half of the original speed. A typical 33 1\/3 rpm record is cut at 16 2\/3 rpm. The source material is also slowed down (reducing the pitch in the process) meaning the final record will still sound normal when played back. Slowing the whole process down allows more time, which means the end result sounds better and is more efficient — allowing engineering to minimize the effects of inherent limitations within the vinyl format. The result is a more accurate and more open high-frequency response in the half speed vinyl when compared with a normal speed recording.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eAllMusic : 5 \/ 5 , Discogs : 4,75 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":41054470111383,"sku":"MFSL2-45-011","price":125.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/miles-davis-kind-of-blue-2lp-box-set-ultra-analog-half-speed-mastering-45-rpm-audiosoundmusic-1.jpg?v=1719854110"},{"product_id":"duke-ellington-and-his-orchestra-ellington-indigos","title":"Duke Ellington and his orchestra – Ellington Indigos (Mono)","description":"\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eDuke Ellington, piano \u003ca data-mce-fragment=\"1\" title=\"Vinyl featuring Duke Ellington\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/duke-ellington\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/duke-ellington\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"color: #ff8000;\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Duke Ellington]\u003c\/span\u003e\u003c\/a\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDuke Ellington's Orchestra:\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\u003cstrong\u003eRay Nance, \"Cat\" Anderson, \"Shorty\" Baker, Clark Terry, Willie Cook, trumpets\u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eSam Woodyard, drums\u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eJohn Sanders, Britt Woodman, Quentin Jackson, trombones\u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eJimmy Wood, bass\u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eJohnny Hodges, Harry Carney, Russell Procope, Jimmy Hamilton, Paul Gonsalves, sax\u003c\/strong\u003e\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12”\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMono\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : RTI\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Impex Records\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Columbia\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded March 13, September 9 to October 14, 1957\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by Kevin Gray\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1958\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2012\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eSolitude\u003c\/li\u003e\n\u003cli\u003eWhere Or When\u003c\/li\u003e\n\u003cli\u003eMood Indigo\u003c\/li\u003e\n\u003cli\u003eAutumn Leaves\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003ePrelude To a Kiss\u003c\/li\u003e\n\u003cli\u003eWillow Weep For Me\u003c\/li\u003e\n\u003cli\u003eTenderly\u003c\/li\u003e\n\u003cli\u003eDancing In the Dark\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAwards\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cheader\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eTAS Super LP List! Special Merit: Informal\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/header\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cb\u003eMichael Fremer's 100 Recommended All-Analog LP Reissues Worth Owning - Rated 3\/100!\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e\u003ca style=\"color: #ff2a00;\" href=\"https:\/\/www.analogplanet.com\/content\/gruvy-awards\"\u003eWinner of a Gruvy Award, chosen by AnalogPlanet's editor, Michael Fremer, for vinyl records that are musically and sonically outstanding and are also well mastered and pressed.\u003c\/a\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e\u003cspan class=\"421441414-17032005\"\u003e\u003cspan face=\"Arial\" color=\"#ff0000\" size=\"2\"\u003eStereophile Records to Die For - 2020\u003c\/span\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e\"The recording is superb in every way: texturally, harmonically and especially spatially. I guess it's difficult for some to imagine 1957 producing an utterly transparent, three-dimensional recording but trust me, everything you might be looking for sonically is here. Finding a quiet original is not easy, especially because of the purposely quiet and somewhat distant production. It's designed to make you step into it, not bring it to you. Kevin Gray's cut from a 1:1 copy at 30IPS from the original master is to my ears better than any of the originals I have here, particularly in terms of high frequency extension and transparency. Of course the RTI pressing is dead silent. What a treat!\"\u003cb\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e- Michael Fremer, www.analogplanet.com\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\"Hugely recommended, and one of the best Ellington reissues to date!\" Robert H. Levi, Positive Feedback\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003e\"'Solitude' begins with Ellington's quietly introspective solo, but when his band jumps in a huge grin will cross your face as this Kevin Gray-mastered platter from Impex bursts to life with a sound as enveloping as a warm bath... There isn't a filler in the bunch. I have no original for comparison, but Gray's work is as good as it gets, and whatever limitations are evident here - a large but mostly shallow stage and the piano are about it - hardly interfere with this musical treasure.\"\u003cb\u003e \u003c\/b\u003eWayne Garcia, The Absolute Sound\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003e\"\u003c\/span\u003eNext to Kind of Blue, Ellington’s Indigos may be the biggest jazz audiophile chestnut, an LP every record collector worth his or her salt has made a top priority of bagging. It’s a recording made by Columbia in 1958 at the height of its recording prowess, and the fabulous sound achieved in this recording is among the very best things Columbia ever recorded. Ellington was being “rediscovered” in the 1950s and while some may carp that he wasn’t up to his earlier standards, the sessions he recorded for Columbia are still among recorded music’s highest achievements.\u003c\/p\u003e\n\u003cp\u003eThe arrangements and song selection on this album are out of this world. Paul Gonsalves’ solo on “Where or When” is one of the most beautiful recordings he ever made. This reissue by Impex was mastered by Kevin Gray. The highs have not disappeared from the tapes–cymbals retain their shimmer and the upper registers of the piano have not suffered from tape degradation. Indeed, in the high frequencies the Impex has more information than my original pressing. Improvements can also be noted in the middle registers, where the instruments have a slightly fuller, more textured sound than on the already fine original. This is ear and soul candy wrapped in a tidy package.\" DENNIS DAVIS, HIFI+ MAGAZINE, JANUARY 2013\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003e\"An easy listening set of ballads (only three of the ten songs were associated with Ellington), this is a relaxing if unexciting program. On this reissue, two \"new\" performances (\"Night and Day\" and a trio version of \"All the Things You Are\") were added to the original LP, but one song (\"The Sky Fell Down\") was dropped and an alternate version of \"Autumn Leaves\" was substituted for the original; all 12 performances could have easily fit. Nice subtle music, but not essential.\" AllMusic Review by Scott Yanow\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eAllMusic : 2 \/ 5 , Discogs : 4,22 \/ 5 ,  \u003cspan data-mce-fragment=\"1\"\u003eMichael Fremer : Music 9\/11, Sound 9\/11\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":41104355131543,"sku":"IMP6010","price":65.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/duke-ellington-and-his-orchestra-ellington-indigos-mono-audiosoundmusic-1.jpg?v=1719854336"},{"product_id":"gene-clark-white-light","title":"Gene Clark - White Light","description":"\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eGene Clark – vocals, acoustic guitar, harmonica\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJesse Ed Davis – electric guitar, bottleneck guitar\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJohn Selk – acoustic guitar\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eChris Ethridge – bass\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGary Mallaber – drums\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMike Utley – organ\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBen Sidran – piano\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBobbye Hall – congas, percussion\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1LP, Old Style Tip-on Gatefold Jacket Art printed by Stoughton\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES (1\/2\" safety copy of the original stereo master tape)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g Ultra-quiet 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 : RTI\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Intervention Records\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : A\u0026amp;M records\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded Spring 1971 at A\u0026amp;M Studios and Village Recorders, Los Angeles\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineered by Joe Zagarino\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced and mixed by Jesse Ed Davis\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMastered from the original master tapes by Kevin Gray At CoHEARent Audio\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 2018\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eThe Virgin\u003c\/li\u003e\n\u003cli\u003eWith Tomorrow\u003c\/li\u003e\n\u003cli\u003eWhite Light\u003c\/li\u003e\n\u003cli\u003eBecause Of You\u003c\/li\u003e\n\u003cli\u003eOne In A Hundred\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eSpanish Guitar\u003c\/li\u003e\n\u003cli\u003eWhere My Love Lies Asleep\u003c\/li\u003e\n\u003cli\u003eTears Of Rage\u003c\/li\u003e\n\u003cli\u003e1975\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 49\/100!\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« Gene Clark's 1971 platter, with its stark black cover featuring his silhouette illuminated by the sun, was dubbed White Light -- though the words never appear on the cover -- and if ever a title fit a record, it's this one. Over its nine original tracks, it has established itself as one of the greatest singer\/songwriter albums ever made. After leaving the Byrds in 1966, recording with the Gosdin Brothers, and breaking up the Dillard \u0026amp; Clark group that was a pioneering country-rock outfit, Clark took time to hone his songwriting to its barest essentials. The focus on these tracks is intense, they are taut and reflect his growing obsession with country music. Produced by the late guitarist Jesse Ed Davis (who also worked with Taj Mahal, Leon Russell, Link Wray, and poet John Trudell, among others), Clark took his songs to his new label with confidence and they supported him. The band is comprised of Flying Burrito Brothers' bassist Chris Ethridge, the then-Steve Miller Band-pianist (and future jazz great) Ben Sidran, organist Michael Utley, and drummer Gary Mallaber. Clark's writing, as evidenced on \"The Virgin,\" the title cut, \"For a Spanish Guitar,\" \"One in a Hundred,\" and \"With Tomorrow,\" reveals a stark kind of simplicity in his lines. Using melodies mutated out of country, and revealing that he was the original poet and architect of the Byrds' sound on White Light, Clark created a wide open set of tracks that are at once full of space, a rugged gentility, and are harrowingly intimate in places. His reading of Bob Dylan's \"Tears of Rage,\" towards the end of the record rivals, if not eclipses, the Band's. Less wrecked and ravaged, Clark's song is more a bewildered tome of resignation to a present and future in the abyss. Now this is classic rock. » Review by Thom Jurek\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\"There's not a less than compelling tune on this album but the standouts are 'Because of You' and 'Spanish Guitar', both of which take full effect every play thanks to Clark's searing vocals and the intimacy of the recordings, which have never before sounded this pure and transparent, nor has Chris Ethridge's bass been reproduced with such weight and texture. Lacquers were cut from original analog tape safety copy. The laminated cover and 'Tip on' jacket add to the reissue's attractiveness. I'm compiling a list of 100 'must have' all-analog in print records and this one has been added to the list. Highly recommended, even if, no, especially if you have a treasured original A\u0026amp;M pressing. This reissue kills the original in every possible way!\" - Michael Fremer, Analog Planet\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings \u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp\u003eAllMusic : 4.5 \/ 5 , Discogs : 4,61 \/ 5 , Michael Fremer : Music 9\/10, Sound 9\/10\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":41899640062202,"sku":"IR-028","price":65.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/gene-clark-white-light-audiosoundmusic-1.jpg?v=1719854920"},{"product_id":"the-flying-burrito-bros-the-gilded-palace-of-sin","title":"The Flying Burrito Bros – The Gilded Palace Of Sin","description":"\u003cp\u003e\u003cstrong\u003eGuitar, Vocals – Chris Hillman\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRhythm Guitar, Keyboards, Vocals – Gram Parsons\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSteel Guitar – Sneeky Pete\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBass, Backing Vocals – Chris Ethridge\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDrums – Eddie Hoh (A2, B5), Jon Corneal (A1, A3, A4, A5, B2), Popeye Phillips (B3, B4, B6), Sam Goldstein (B1)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMandolin – Chris Hillman (A5)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePiano – Chris Ethridge (B3, B4)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1LP, a heavyweight tip-on jacket\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES (1\/2\" safety copy of the original stereo master tapes)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g Dead Quiet vinyl\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eVinyl color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : RTI\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Intervention Records\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : A\u0026amp;M Records\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineered by Henry Lewy\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Henry Lewy, Larry Marks, The Flying Burrito Bros\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMastered from the original master tapes by Kevin Gray at Cohearent Audio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1969\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2017\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eChristine's Tune\u003c\/li\u003e\n\u003cli\u003eSin City\u003c\/li\u003e\n\u003cli\u003eDo Right Woman\u003c\/li\u003e\n\u003cli\u003eDark End Of The Street\u003c\/li\u003e\n\u003cli\u003eMy Uncle\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eWheels\u003c\/li\u003e\n\u003cli\u003eJuanita\u003c\/li\u003e\n\u003cli\u003eHot Burrito #1\u003c\/li\u003e\n\u003cli\u003eHot Burrito #2\u003c\/li\u003e\n\u003cli\u003eDo You Know How It Feels\u003c\/li\u003e\n\u003cli\u003eHippie Boy\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAwards :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eMichael Fremer's 100 Recommended All-Analog LP Reissues Worth Owning - Rated 51\/100!\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eNo. 192 Rolling Stone's 500 Greatest Albums of All Time\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eRolling Stone's 100 Best Debut Albums of All Time!\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eStereophile magazine's Editor's Pick Recording Of The Month, May 2017!\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e\"It originally didn't make sense but now thanks to this reissue cut from a 1\/2\" safety copy of the original master tape, it does. Kevin Gray left the essence intact-the bright top and wooly bottom — but either he's pulled it in a few notches on both ends, or the original pushed it out a few to make the intent clear on 60's and 70's era 'hippie phonographs.' Whichever it was and I'm sure Intervention's Shane Buettner will chime in, in the comments section, this record has never sounded this well balanced yet still happily sonically 'out to lunch'. You also get a great laminated Stoughton Press \"Tip-on\" jacket and RTI pressing for your money. A reader asked if I'd assembled a '100 essential albums' list. I haven't but when I do, this will be on it.\" Michael Fremer, AnalogPlanet.com.\u003c\/p\u003e\n\u003cp\u003e\"To survive and prosper, any reissue label must eventually make a splash with a surprise release that's not only relevant, but hasn't yet had a proper remastering. For Intervention (Records), this is that album. The new marvelous-sounding analog lacquer was cut by Kevin Gray at Cohearent Audio, and the discs were pressed at RTI. The source was a flat safety copy, on 30 ips 1\/2-inch tape, of the original stereo master. ... The Gilded Palace of Sin is probably the fullest expression of Parson's vision of a hybrid music. The inclusion of two soul numbers, 'Do Right Woman' and 'Dark End of the Street' written by Memphis music icons Dan Penn and Chips Moman and hits for, respectively, Aretha Franklin and James Carr, was a move surely spearheaded by Parsons and his desire to find Cosmic American Music.\" Robert Baird, Stereophile, May 2017\u003c\/p\u003e\n\u003cp\u003e« By 1969, Gram Parsons had already built the foundation of the country-rock movement through his work with the International Submarine Band and the Byrds, but his first album with the Flying Burrito Brothers, The Gilded Palace of Sin, was where he revealed the full extent of his talents, and it ranks among the finest and most influential albums the genre would ever produce. As a songwriter, Parsons delivered some of his finest work on this set; \"Hot Burrito No. 1\" and \"Hot Burrito No. 2\" both blend the hurt of classic country weepers with a contemporary sense of anger, jealousy, and confusion, and \"Sin City\" can either be seen as a parody or a sincere meditation on a city gone mad, and it hits home in both contexts. Parsons was rarely as strong as a vocalist as he was here, and his covers of \"Dark End of the Street\" and \"Do Right Woman\" prove just how much he had been learning from R\u0026amp;B as well as C\u0026amp;W. And Parsons was fortunate enough to be working with a band who truly added to his vision, rather than simply backing him up; the distorted swoops of Sneaky Pete Kleinow's fuzztone steel guitar provides a perfect bridge between country and psychedelic rock, and Chris Hillman's strong and supportive harmony vocals blend flawlessly with Parsons' (and he also proved to be a valuable songwriting partner, collaborating on a number of great tunes with Gram). While The Gilded Palace of Sin barely registered on the pop culture radar in 1969, literally dozens of bands (the Eagles most notable among them) would find inspiration in this music and enjoy far greater success. But no one ever brought rock and country together quite like the Flying Burrito Brothers, and this album remains their greatest accomplishment. » AllMusic Review by Mark Deming\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings \u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp\u003eAllMusic : 5 \/ 5 , Discogs : 4.73 \/ 5 , Michael Fremer : Music = 9\/11; Sound = 9\/11 , Stereophile : Performance = 5\/5, Sonics 4.5\/5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":41899851907322,"sku":"IR-012","price":65.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/the-flying-burrito-bros-the-gilded-palace-of-sin-audiosoundmusic-1.jpg?v=1719854929"},{"product_id":"judee-sill","title":"\u003ctranscy\u003eJudee Sill - Judee Sill (2LP, 45 tours)\u003c\/transcy\u003e","description":"\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eJudee Sill – guitar, piano \u0026amp; vocals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDavid Crosby - guitar \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/david-crosby\" title=\"vinyl featuring Davis Crosby\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/david-crosby\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring David Crosby]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGraham Nash - organ on \"Jesus Was a Cross Maker\" \u003cspan style=\"color: #ff8000;\"\u003e\u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/graham-nash\" title=\"vinyl featuring Graham Nash\" style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/graham-nash\"\u003e[click here to see more vinyl featuring Graham Nash]\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eClydie King, Rita Coolidge, Venetta Fields – background vocals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten and arranged by Judee Sill\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOrchestrated by Don Bagley, Bob Harris\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e2 LPs, Old-Style \"Tip-On\" Jacket Printed By Stoughton\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 Dead Quiet Vinyl\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 45 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : RTI\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Intervention Records\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Asylum Records\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded 1969-71\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Henry Lewy, John Beck, Jim Pons\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMastered by Kevin Gray At CoHEARent Audio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1971\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2017            \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eCrayon Angels\u003c\/li\u003e\n\u003cli\u003eThe Phantom Cowboy\u003c\/li\u003e\n\u003cli\u003eThe Archetypal Man\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eThe Lamb Ran Away With The Crown\u003c\/li\u003e\n\u003cli\u003eLady-O\u003c\/li\u003e\n\u003cli\u003eJesus Was A Cross Maker\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide C:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eRidge Rider\u003c\/li\u003e\n\u003cli\u003eMy Man On Love\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide D:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eLopin' Along Thru The Cosmos\u003c\/li\u003e\n\u003cli\u003eEnchanted Sky Machines\u003c\/li\u003e\n\u003cli\u003eAbracadabra\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAwards :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eMichael Fremer's 100 Recommended All-Analog LP Reissues Worth Owning - Rated 48\/100!\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews \u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp\u003e\"You'll also hear in Sills' melodic constructions echoes of other young musicians of that time especially Jackson Browne, but Sill establishes here her own voice. You will hear through her imagery, religious and otherwise, a longing for normalcy and redemption, as well as betrayal and other of the often sad and empty experiences Sill endured in her life ... The more you learn of Sills' short, tragic life, the more you will appreciate the beauty and delicate imagery that fill these two albums. ... So you have a long forgotten gem (though an album still revered a friend tells me by many of today's top young L.A. area talents), engineered by the great Henry Lewy, superbly reissued on double 45 RPM vinyl cut from the original analog tapes by Kevin Gray and Tip-On gatefold jacket packaged too. ... Originals regularly go for more than the cost of this Intervention reissue and they do not sound as good.\" Michael Fremer, AnalogPlanet.com\u003c\/p\u003e\n\u003cp\u003e« Judee Sill's debut album (as well as the debut of the Asylum label) heralded a major new talent in the airy, contemporary folk world of the early '70s. The album employed the production skills of Sill's ex-husband Bob Harris, as well as ex-Turtle, ex-Leaves Jim Pons, and Graham Nash (on the album's sole single, \"Jesus Was s Crossmaker\"). Judee Sill featured all original compositions, many of which relied on Sill's own brand of cosmological Christian imagery to make their point. By turns spare and lavishly orchestrated, there is still a cohesive feel to all of the album; her lyrics are exceptionally poetic (to the point of being almost flowery) and her voice is smooth enough to bear heavy overdubbing with itself, giving every song a shimmery feel. The essence of the music is folk, the execution pop: the songs feel like a comfort blanket, a statement of hope from a troubled soul. » AllMusic Review by Alex Stimmel\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eAllMusic : 4 \/ 5 , Discogs : 4.73 \/ 5 , Michael Fremer : Music = 9\/11; Sound = 10\/11\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":41931754995962,"sku":"IR-016","price":95.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/judee-sill-judee-sill-2lp-45rpm-audiosoundmusic-1.jpg?v=1719855349"},{"product_id":"joe-jackson-night-and-day","title":"\u003ctc\u003eJoe Jackson - Night and Day (Intervention Records)\u003c\/tc\u003e","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJoe Jackson – piano, Fender Rhodes piano, Yamaha electric piano, Hammond organ, Gem organ, Prophet-5 and Minimoog synthesizers, Korg Rhythm 55B Drum Machine, alto saxophone, vibes and lead vocals \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/joe-jackson\" title=\"vinyl featuring joe jackson\"\u003e\u003cspan style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Joe Jackson]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGraham Maby – bass, vocals, percussion\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLarry Tolfree – drums, timbales, percussion\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSue Hadjopoulos – percussion\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRicardo Torres – bongos, cowbell, claves\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEd Rynesdal – violin\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAl Weisman – background vocals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGrace Millan – background vocals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten, arranged and orchestrated by Joe Jackson\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, Old Style Single-Pocket Gatefold Printed By Stoughton\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 : 150g Dead Quiet 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 : Gotta Groove Records\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Intervention Records\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : A\u0026amp;M\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded January–February 1982 at Blue Rock Studio, New York City\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineered by Michael Ewasko\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced and mixed by Joe Jackson and David Kershenbaum\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMastered by Kevin Gray At Cohearent Audio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1982\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2016\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \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\u003eAnother World\u003c\/li\u003e\n\u003cli\u003eChinatown\u003c\/li\u003e\n\u003cli\u003eT.V. Age\u003c\/li\u003e\n\u003cli\u003eTarget\u003c\/li\u003e\n\u003cli\u003eSteppin' Out\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eDay Side\u003c\/li\u003e\n\u003cli\u003eBreaking Us In Two\u003c\/li\u003e\n\u003cli\u003eCancer\u003c\/li\u003e\n\u003cli\u003eReal Men\u003c\/li\u003e\n\u003cli\u003eA Slow Song\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAwards :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eMichael Fremer's 100 Recommended All-Analog LP Reissues Worth Owning - Ranked 47\/100!\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« Again, this Intervention reissue smokes the original in all of the ways that matter on a drum'n'bass'n'guitar driven record: sharper, cleaner transients, greater dynamic slam, and bass that digs all the way down. The perspective is again nearly if not fully mono, which increases the importance of the instrumental separation and clarity.\u003c\/p\u003e\n\u003cp\u003e(...) The Intervention reissue again beats the original A\u0026amp;M in every way as above. I think Mobile Fidelity once issued this years ago and I had it but got rid of it I can't remember why, but probably because the old Mo-Fi regime laid on the excess bass and muddied the middle.\u003c\/p\u003e\n\u003cp\u003eFans of these records will want all three but more casual fans looking for one should get Night and Day both for the music and far more sophisticated 'recorded in New York City' sound.\u003c\/p\u003e\n\u003cp\u003eAs we've come to expect from Intervention, the Tip-on packaging is first rate as is Kevin Gray's mastering from analog tape, pressed on 180 gram vinyl at RTI. » Michael Fremer, July 2016\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e« 1982 will forever be known as the year that the punks got class -- or at least when Joe Jackson and Elvis Costello, rivals for the title of Britain's reigning Angry Young Man -- decided that they were not just rockers, but really songwriters in the Tin Pan Alley tradition. (Graham Parker, fellow angry Brit, sat this battle out, choosing to work with Aerosmith producer Jack Douglas instead.) Both had been genre-hopping prior to 1982, but Jackson's Night and Day and Costello's Imperial Bedroom announced to the world that both were \"serious songwriters,\" standing far apart from the clamoring punkers and silly new wavers. In retrospect, the ambitions of these two 27-year-olds (both born in August 1954, just two weeks apart) seem a little grandiose, and if Imperial Bedroom didn't live up to its masterpiece marketing campaign (stalling at number 30 on the charts without generating a hit), it has garnered a stronger reputation than Night and Day, which was a much more popular album, climbing all the way to number four on the U.S. charts, thanks to the Top Ten single \"Steppin' Out.\" Night and Day had greater success because it's sleek and bright, entirely more accessible than the dense, occasionally unwieldy darkness of Imperial Bedroom. Plus, Jackson plays up the comparisons to classic pop songwriting by lifting his album title from Cole Porter, dividing the record into a \"night\" and \"day\" side, and then topping it off with a neat line drawing of him at his piano in a New York apartment on the cover. All of these classy trappings are apparent on the surface, which is the problem with the record: it's all stylized, with the feel eclipsing the writing, which is kind of ironic considering that Jackson so clearly strives to be a sophisticated cosmopolitan songwriter here. He gets the cosmopolitan, big-city feel down pat; although the record never delivers on the \"night\" and \"day\" split, with the latter side feeling every bit as nocturnal as the former, his blend of percolating Latin rhythms, jazzy horns and pianos, stylish synths, and splashy pop melodies uncannily feel like a bustling, glitzy evening in the big city. On that front, Night and Day is a success, since it creates a mood and sustains it very well. Where it lets down is the substance of the songs. At a mere nine tracks, it's a brief album even by 1982 standards, and it seems even shorter because about half the numbers are more about sound than song. \"A Slow Song\" gets by on its form, not what it says, while \"Target\" and \"Cancer\" are swinging Latin-flavored jams that disappear into the air. \"Chinatown\" is a novelty pastiche that's slightly off-key, but nowhere near as irritating as \"T.V. Age,\" where Jackson mimics David Byrne's hyper-manic vocal mannerisms. These all fit the concept of the LP and they're engaging on record, but they're slight, especially given Jackson's overarching ambition -- and their flimsiness is brought into sharp relief by the remaining four songs, which are among Jackson's very best. There is, of course, the breakthrough hit \"Steppin' Out,\" which pulsates anticipatory excitement, but the aching \"Breaking Us in Two\" is just as good, as is the haunting \"Real Men\" and the album opener, \"Another World,\" a vibrant, multi-colored song that perfectly sets up the sonic and lyrical themes of the album. If all of Night and Day played at this level, it would be the self-styled masterpiece Joe Jackson intended it to be. Instead, it is a very good record that delivers some nice, stylish pleasures; but its shortcomings reveal precisely how difficult it is to follow in the tradition of Porter and Gershwin. » AllMusic Review by Stephen Thomas Erlewine\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eAllMusic : 4.5 \/ 5 , Discogs : 4.66 \/ 5 , Michael Fremer : Music 8 \/ 11, Sound 8 \/ 11\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":41931862704378,"sku":"IR-003","price":65.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/joe-jackson-night-and-day-intervention-records-audiosoundmusic-1.jpg?v=1719855364"},{"product_id":"john-lewis-sacha-distel-afternoon-in-paris-mono","title":"John Lewis \u0026 Sacha Distel - Afternoon In Paris (Mono)","description":"\u003ch2\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eORDER LIMITED TO ONE ITEM PER CUSTOMER\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h2\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003ePiano - John Lewis\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGuitar - Sacha Distel\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTenor Saxophone - Barney Wilen \u003cspan data-mce-fragment=\"1\" style=\"color: #ff8000;\" data-mce-style=\"color: #ff8000;\"\u003e\u003ca data-mce-fragment=\"1\" style=\"color: #ff8000;\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/barney-wilen\" title=\"vinyl featuring Barney Wilen\" target=\"_blank\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/barney-wilen\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Barney Wilen]\u003c\/a\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBass - Pierre Michelot (A1-3), Percy Heath (B1-3)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDrums - Connie Kay (A1-3), Kenny Clarke (B1-3)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, Facsimile reissue with flipback sleeve with a double insert using an original photo by JC Bernath from 1956\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eLimited to 1,000 copies\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 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 : Optimal in Germany using the Metal Mothers from Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : SAM Records\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Versailles\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded in Paris on December 4 \u0026amp; 7, 1956\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by Ray Staff at Air Mastering Studio in London\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 2021\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eI Cover The Waterfront (Johnny Green) (6’45)\u003c\/li\u003e\n\u003cli\u003eDear Old Stockholm (Trad) (6’01)\u003c\/li\u003e\n\u003cli\u003eAfternoon in Paris (John Lewis) (9’21)\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eAll The Things You Are (Jerome kern – Oscar Hammerstein) (5’12)\u003c\/li\u003e\n\u003cli\u003eBags’ Groove (Milt Jackson) (6’08)\u003c\/li\u003e\n\u003cli\u003eWillow Weep For Me (Ann Ronnell) (9’33)\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAwards :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eMichael Fremer's 100 Recommended All-Analog LP Reissues Worth Owning - Rated 29\/100!\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eThe Absolute Sound Top Ten Vinyl Reissue of 2016!\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews \u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp\u003e\"The pace is relaxed, thoughtful, ultra-refined and deliberate as it must be with Lewis leading. It also swings unfailingly. Fans will hear familiar, comfortable Lewis motifs and a sublime blending of piano and Distel's cleanly articulated hollow bodied guitar lines.\" Michael Fremer, Analogplanet\u003c\/p\u003e\n\u003cp\u003e« It was in Paris that John Lewis co-led this 1956 date with Sacha Distel, a French guitarist who never became well-known in the U.S. but commanded a lot of respect in French jazz circles. The same can be said about the other French players employed on Afternoon in Paris -- neither tenor saxophonist Barney Wilen nor bassist Pierre Michelot were huge names in the U.S., although both were well-known in European jazz circles. With Lewis on piano, Distel on guitar, Wilen on tenor, Michelot or Percy Heath on bass, and Kenny Clarke or Connie Kay on drums, the part-American, part-French group of improvisers provides an above-average bop album that ranges from \"Willow Weep for Me,\" \"All The Things You Are,\" and \"I Cover the Waterfront\" to Milt Jackson's \"Bags' Groove\" and Lewis' title song. The big-toned Wilen was only 19 when Afternoon in Paris was recorded, but as his lyrical yet hard-swinging solos demonstrate, he matured quickly as a saxman. It should be noted that all of the Americans on this album had been members of the Modern Jazz Quartet; the only MJQ member who isn't on board is vibist Jackson. » AllMusic Review by Alex Henderson\u003c\/p\u003e\n\u003cp\u003eIt was in Paris that John Lewis co-led this 1956 date with Sacha Distel, a French guitarist who never became well known in the U.S. but commanded a lot of respect in French jazz circles. The same can be said about the other French players employed on ‘Afternoon in Paris’ — neither tenor saxophonist Barney Wilen nor bassist Pierre Michelot were huge names in the U.S., although both were well known in European jazz circles. With Lewis on piano, Distel on guitar, Wilen on tenor, Michelot or Percy Heath on bass, and Kenny Clarke or Connie Kay on drums, the part-American, part-French group of improvisers provides an above-average bop album that ranges from “Willow Weep for Me,” “All The Things You Are,” and “I Cover the Waterfront” to Milt Jackson’s “Bags’ Groove” and Lewis’ title song. The big-toned Wilen was only 19 when ‘Afternoon in Paris’ was recorded, but as his lyrical yet hard-swinging solos demonstrate, he matured quickly as a sax man. A mythic LP and one of the best recorded in France!!!\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eAllMusic : 4 \/ 5 , Discogs : 4.71 \/ 5 , Michael Fremer : 9\/11 Music, 8\/11 Sound , The Absolute Sound : 4\/5 Music, 4.5\/5 Sonics\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":41935234269434,"sku":"SR12\/1-UK","price":35.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/john-lewis-and-sacha-distel-afternoon-in-paris-mono-audiosoundmusic-1.jpg?v=1719855391"},{"product_id":"peter-paul-mary-2lp-45rpm","title":"\u003ctranscy\u003ePeter, Paul \u0026 Mary (2LP, 45 tours)\u003c\/transcy\u003e","description":"\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003ch2\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eORDER LIMITED TO ONE ITEM PER CUSTOMER\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h2\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003ePeter Yarrow – vocals, guitar\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eNoel \"Paul\" Stookey – vocals, guitar\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMary Travers – vocals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e2LP, Double gatefold jacket\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eNumbered limited edition\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 45RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Record Technology Incorporated\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Original Recordings Group (ORG)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal label : Warner\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded and engineered by Bill Schwartau\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by Bernie Grundman at Bernie Grundman Mastering\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Albert Grossman\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginaly released in 1962\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2014\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eEarly In the Morning\u003c\/li\u003e\n\u003cli\u003e500 Miles\u003c\/li\u003e\n\u003cli\u003eSorrow\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eThis Train\u003c\/li\u003e\n\u003cli\u003eBamboo\u003c\/li\u003e\n\u003cli\u003eIt's Raining\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide C:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eIf I Had My Way\u003c\/li\u003e\n\u003cli\u003eCruel War\u003c\/li\u003e\n\u003cli\u003eLemon Tree\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide D:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eIf I Had A Hammer\u003c\/li\u003e\n\u003cli\u003eAutumn To May\u003c\/li\u003e\n\u003cli\u003eWhere Have All the Flowers Gone\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAwards :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eTAS Super LP List! Special Merit: Informal\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eMichael Fremer's 100 Recommended All-Analog LP Reissues Worth Owning - Rated 83\/100!\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eAt the 1963 Grammy Awards \"If I Had a Hammer\" won the Best Folk Recording Award and the Best Performance by a Vocal Group Grammies.\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\"Bernie Grundman cut from the original master tape and the transparency and clarity are a dead giveaway to that. If this album doesn't produce occasional chills, your system needs some work or you do! A long awaited reissue (for aging folkies at least) done perfectly!\" Michael Fremer, Analog Planet\u003c\/p\u003e\n\u003cp\u003e« The debut album by Peter, Paul \u0026amp; Mary is still one of the best albums to come out of the 1960s folk music revival. It's a beautifully harmonized collection of the best songs that the group knew, stirring in its sensibilities and its haunting melodies as it crosses between folk, children's songs, and even gospel (\"If I Had My Way\"). Light-hearted fare (\"Lemon Tree,\" which became their first hit single) co-existed with more earnest material, particularly \"If I Had a Hammer.\" Ironically, the trio's version of the latter song, which Pete Seeger and Lee Hayes had written in the early days of the Weavers' history, helped push popular folk music in a more political direction at the time, but it was another song in their repertory, Seeger's \"Where Have All the Flowers Gone,\" that also indirectly helped jump start that movement. The group had performed it in Boston at a concert attended by the Kingston Trio, who immediately returned to New York and cut their own version, which charted as a single early in 1962. Other highlights include \"It's Raining\" and \"500 Miles.\" Peter, Paul \u0026amp; Mary, which hit the top spot on the album charts as part of a 185-week run, is the purest of the trio's albums, laced with innocent good spirits and an optimism that remains infectious. » AllMusic Review by Bruce Eder\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings \u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp\u003eAllMusic 4 \/ 5 , Discogs : 3.77 \/ 5 , Michael Fremer : Music 9\/10, Sound 9\/10\u003c\/p\u003e\n\u003c\/div\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":41954179350778,"sku":"ORG 069","price":95.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/peter-paul-and-mary-peter-paul-and-mary-2lp-45rpm-audiosoundmusic-1.jpg?v=1719855568"},{"product_id":"the-monty-alexander-trio-live-at-the-montreaux-festival","title":"The Monty Alexander Trio - Live! At The Montreux Festival","description":"\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eMonty Alexander - piano\u003ca title=\"vinyl featuring Monty Alexander\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/monty-alexander\"\u003e\u003cspan style=\"color: #ff8000;\"\u003e [click here to see more vinyl featuring Monty Alexander]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJohn Clayton - bass\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJeff Hamilton - drums\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLive\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Optimal Media Gmbh\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel :  MPS Records\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : MPS Records\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded at Montreux Jazz Festival on 10\u003csup data-mce-fragment=\"1\"\u003eth\u003c\/sup\u003e June 1976\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineered \u0026amp; mixed by John Timperley\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Willi Fruth\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by Christoph Stickel\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1977\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2016\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAwards:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eMichael Fremer's 100 Recommended All-Analog LP Reissues Worth Owning - Ranked 28\/100!\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\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\u003eNite Mist Blues\u003c\/li\u003e\n\u003cli\u003eFeelings\u003c\/li\u003e\n\u003cli\u003eSatin Doll\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eWork Song\u003c\/li\u003e\n\u003cli\u003eDrown In My Tears\u003c\/li\u003e\n\u003cli\u003eBattle Hymn Of The Republic\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp\u003e“Pianist Monty Alexander did some of his finest recordings for the MPS label. This live trio set with bassist John Clayton and drummer Jeff Hamilton (reissued on CD) features Alexander playing his usual repertoire of the period with blues, standards (\"Satin Doll,\" \"Work Song\" and \"Battle Hymn of the Republic\") and a version of \"Feelings\" that uplifts the song a bit (although not enough). His soulful approach to the generally familiar melodies makes them sound fresh and swinging.” AllMusic Review by Scott Yanow\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eAllMusic : 3 \/ 5 , Discogs : 4,44 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":42132404961530,"sku":"AMPS 210986","price":39.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/the-monty-alexander-trio-live-at-the-montreux-festival-audiosoundmusic-1.jpg?v=1719856426"},{"product_id":"the-yuko-mabuchi-trio-volume-1","title":"\u003ctranscy\u003eThe Yuko Mabuchi Trio Volume 1 (45 tours)\u003c\/transcy\u003e","description":"\u003cp\u003e\u003cstrong\u003eThe Yuko Mabuchi Trio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eYuko Mabuchi, piano\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDel Atkins, bass\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBobby Breton, drums\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 45 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLive\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Yarlung\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Yarlung\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded in The Brain and Creativity Institute's Cammilleri Hall on March 31, 2017.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineered \u0026amp; mixed by Steve Hoffman \u0026amp; Bob Attiyeh\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMastered by Bernie Grundman\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Craig \u0026amp; Diane Martin\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReleased in 2018\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eWhat Is This Thing Called Love - Cole Porter\u003c\/li\u003e\n\u003cli\u003eValse Noire - Mark Louis Lehman\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B:\u003c\/p\u003e\n\u003col start=\"3\"\u003e\n\u003cli\u003eOn Green Dolphin Street - Bronislaw Kaper\u003c\/li\u003e\n\u003cli\u003eSeriously - Sara Bareilles\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAwards:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eMichael Fremer's 100 Recommended All-Analog LP Reissues Worth Owning - Rated 33\/100!\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp\u003e“The sound quality of this set by a jazz piano trio, recorded live to tape with an AKG C24 stereo tube microphone, reveals all. The sounds of Mabuchi's piano, Del Atkins's double bass, and Bobby Breton's drums is stellar in every way, but especially the piano, an instrument whose sound is very hard to capture convincingly. The overall transparency and sense of three-dimensional space is intense and sensational. And Mabuchi is tremendously talented - this is one audiophile recording in which the talent is commensurate with the sound quality.” Michael Fremer, Stereophile\u003c\/p\u003e\n\u003cp\u003e\"If Mabuchi’s playing can be described as tasteful, economical, and lyrical, it should also be noted that her rapid single-note runs are impeccably executed. The performances benefit from an exceptionally realistic recording that stands out for its in-the-room ambience and tonal clarity.\" Jeff Wilson, The Absolute Sound\u003c\/p\u003e\n\u003cp\u003e\"The youthful Yuko’s jazz performances on the piano are remarkably mature, as are her accompanists on the double bass and drums. …the presence of the recording is uncannily real.\"Neville Roberts, The UK’s Hi-Fi Choice\u003c\/p\u003e\n\u003cp\u003e\"Mabuchi’s right hand is the star of each of her solo flights. Clean, precise, and crisp like forebears Teddy Wilson, Marian McPartland, and Tommy Flanagan, but deeply harmonically and rhythmically inspired like the mentioned Evans\" - Kathryn Ballard Shut, JazzTimes\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eDiscogs : 4,63 \/ 5\u003c\/p\u003e\n\u003col\u003e\u003c\/ol\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":42169979896058,"sku":"YARLP80161-45P","price":24.5,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/the-yuko-mabuchi-trio-volume-1-45rpm-audiosoundmusic-1.jpg?v=1719856812"},{"product_id":"the-yuko-mabuchi-trio-volume-2","title":"\u003ctranscy\u003eThe Yuko Mabuchi Trio Volume 2 (45 tours)\u003c\/transcy\u003e","description":"\u003cp\u003e\u003cstrong\u003eThe Yuko Mabuchi Trio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eYuko Mabuchi, piano\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDel Atkins, bass\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBobby Breton, drums\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 45 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLive\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : RTI\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Yarlung\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Yarlung\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded in The Brain and Creativity Institute's Cammilleri Hall on March 31, 2017.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineered \u0026amp; mixed by Steve Hoffman \u0026amp; Bob Attiyeh\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by Bernie Grundman\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Craig \u0026amp; Diane Martin\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReleased in 2018\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eJazz Medley: All the Things You Are \/ Take The \"A\" Train \/ Satin Doll\u003c\/li\u003e\n\u003cli\u003eJapanese Medley: Hazy Moon \/ Cherry Blossom \/ Look At The Sky\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B:\u003c\/p\u003e\n\u003col start=\"3\"\u003e\n\u003cli\u003eYuko Mabuchi: Sona's Song\u003c\/li\u003e\n\u003cli\u003eSonny Rollins: St. Thomas\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAwards:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eMichael Fremer's 100 Recommended All-Analog LP Reissues Worth Owning - Rated 33\/100!\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e“The sound quality of this set by a jazz piano trio, recorded live to tape with an AKG C24 stereo tube microphone, reveals all. The sounds of Mabuchi's piano, Del Atkins's double bass, and Bobby Breton's drums is stellar in every way, but especially the piano, an instrument whose sound is very hard to capture convincingly. The overall transparency and sense of three-dimensional space is intense and sensational. And Mabuchi is tremendously talented - this is one audiophile recording in which the talent is commensurate with the sound quality.” Michael Fremer, Stereophile\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eDiscogs : 4,48 \/ 5\u003c\/p\u003e\n\u003col\u003e\u003c\/ol\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":42169996181754,"sku":"YARLP71621-45","price":24.5,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/the-yuko-mabuchi-trio-volume-2-45rpm-audiosoundmusic-1.jpg?v=1719856812"},{"product_id":"grateful-dead-american-beauty","title":"\u003ctranscy\u003eGrateful Dead - American Beauty (2LP, 45 tours, Ultra Analog, Half-speed Mastering)\u003c\/transcy\u003e","description":"\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eORDER LIMITED TO ONE ITEM PER CUSTOMER\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/grateful-dead\" title=\"vinyl featuring Grateful Dead\"\u003e\u003cspan style=\"color: #ff8000;\"\u003e\u003cstrong\u003e[click here to see more vinyl featuring Grateful Dead]\u003c\/strong\u003e\u003c\/span\u003e\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBass, Guitar, Piano, Vocals – Phil Lesh\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDrums – Bill Kreutzmann\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGuitar, Pedal Steel Guitar [Pedal Steel], Piano, Vocals – Jerry Garcia\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGuitar, Vocals – Bob Weir\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHarmonica, Vocals – Pig Pen (Ron McKernan)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePercussion – Mickey Hart\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by Robert Hunter\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e2 LPs, gatefold jacket\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eLimited numbered edition\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHalf-speed Mastering\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eGAIN 2 Ultra Analog™ LP \u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 45 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : RTI\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : MOFI\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Warner Bros\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded August–September 1970 at Wally Heider Studios, San Francisco\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by The Grateful Dead\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by Krieg Wunderlich\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1970\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2014\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eBox of Rain\u003c\/li\u003e\n\u003cli\u003eFriend of the Devil\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eSugar Magnolia\u003c\/li\u003e\n\u003cli\u003eOperator\u003c\/li\u003e\n\u003cli\u003eCandyman\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide C:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eRipple\u003c\/li\u003e\n\u003cli\u003eBrokedown Palace\u003c\/li\u003e\n\u003cli\u003eTill the Morning Comes\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide D:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eAttics of My Life\u003c\/li\u003e\n\u003cli\u003eTruckin’\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAwards:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eTAS Super LP List! Special Merit: Informal\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eMichael Fremer's 100 Recommended All-Analog LP Reissues Worth Owning - Rated 53\/100!\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eRolling Stone 500 Greatest Albums of All Time - Rated 261\/500!\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eRolling Stone 2015 Readers' Poll: The 10 Best Jam Bands: The Grateful Dead Rated 1st!\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e1000 Recordings You Must Hear Before You Die - Ranked 190\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp\u003e“With 1970's Workingman's Dead, the Grateful Dead went through an overnight metamorphosis, turning abruptly from tripped-out free-form rock toward sublime acoustic folk and Americana. Taking notes on vocal harmonies from friends Crosby, Stills, Nash \u0026amp; Young, the Dead used the softer statements of their fourth studio album as a subtle but moving reflection on the turmoil, heaviness, and hope America's youth was facing as the idealistic '60s ended. American Beauty was recorded just a few months after its predecessor, both expanding and improving on the bluegrass, folk, and psychedelic country explorations of Workingman's Dead with some of the band's most brilliant compositions. The songs here have a noticeably more relaxed and joyous feel. Having dived headfirst into this new sound with the previous album, the bandmembers found the summit of their collaborative powers here, with lyricist Robert Hunter penning some of his most poetic work, Jerry Garcia focusing more on gliding pedal steel than his regular electric lead guitar work, and standout lead vocal performances coming from Bob Weir (on the anthem to hippie love \"Sugar Magnolia\"), Ron \"Pigpen\" McKernan (on the husky blues of \"Operator\"), and Phil Lesh (on the near-perfect opening tune, \"Box of Rain\"). This album also marked the beginning of what would become a long musical friendship between Garcia and Dave Grisman, whose mandolin playing adds depth and flavor to tracks like the outlaw country-folk of \"Friend of the Devil\" and the gorgeously devotional \"Ripple.\" American Beauty eventually spawned the band's highest charting single -- \"Truckin',\" the greasy blues-rock tribute to nomadic counterculture -- but it also contained some of their most spiritual and open-hearted sentiments ever, their newfound love of intricate vocal arrangements finding pristine expression on the lamenting \"Brokedown Palace\" and the heavenly nostalgia and gratitude of \"Attics of My Life.\" While the Dead eventually amassed a following so devoted that following the band from city to city became the center of many people’s lives, the majority of the band's magic came in the boundless heights it reached in its live sets but rarely managed to capture in the studio setting. American Beauty is a categorical exception to this, offering a look at the Dead transcending even their own exploratory heights and making some of their most powerful music by examining their most gentle and restrained impulses. It’s easily the masterwork of their studio output, and a strong contender for the best music the band ever made, even including the countless hours of live shows captured on tape in the decades that followed.” AllMusic Review by Fred Thomas\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eUltra Analog™\u003c\/strong\u003e : The GAIN 2 Ultra Analog™ Series stems from the use of the Gain 2 system, mastered at half speed from the original master tapes where possible, capturing and uncovering as before undiscovered sonic information.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eHalf-speed mastering. \u003c\/strong\u003e\u003cspan data-mce-fragment=\"1\"\u003eIn half-speed mastering, the whole process is slowed down to half of the original speed. A typical 33 1\/3 rpm record is cut at 16 2\/3 rpm. The source material is also slowed down (reducing the pitch in the process) meaning the final record will still sound normal when played back. Slowing the whole process down allows more time, which means the end result sounds better and is more efficient — allowing engineering to minimize the effects of inherent limitations within the vinyl format. The result is a more accurate and more open high-frequency response in the half speed vinyl when compared with a normal speed recording.\u003c\/span\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eAllMusic : 5 \/ 5 , Discogs : 4,53 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":42184793686266,"sku":"MFSL2-429","price":105.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/grateful-dead-american-beauty-2lp-45rpm-ultra-analog-half-speed-mastering-audiosoundmusic-1.jpg?v=1719856880"},{"product_id":"john-coltrane-coltranes-sound","title":"\u003ctranscy\u003eJohn Coltrane - Coltrane's Sound (2LP, 45 tours)\u003c\/transcy\u003e","description":"\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eORDER LIMITED TO ONE ITEM PER CUSTOMER\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJohn Coltrane, saxophone \u003ca data-mce-fragment=\"1\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/john-coltrane\" title=\"vinyl featuring John Coltrane\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/john-coltrane\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"color: #ff8000;\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring John Coltrane]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMcCoy Tyner, piano \u003ca data-mce-fragment=\"1\" title=\"vinyl featuring McCoy Tyner\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/mccoy-tyner\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/mccoy-tyner\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"color: #ff8000;\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring McCoy Tyner]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eElvin Jones, drums\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003ca data-mce-fragment=\"1\" title=\"vinyl featuring Elvin Jones\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/elvin-jones\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/elvin-jones\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"color: #ff8000;\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Elvin Jones]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSteve Davis, bass\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\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eLimited to 2,000 copies\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 45 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : ORG Music\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Atlantic\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded at Atlantic Studios, New York City, on 21, 24 and 26 October 1960\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineered by Tom Dowd\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Nesuhi Ertegun\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by Bernie Grundman\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1964\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2015\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eThe Night Has A Thousand Eyes\u003c\/li\u003e\n\u003cli\u003eCentral Park West\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eLiberia\u003c\/li\u003e\n\u003cli\u003eBody And Soul\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide C : Equinox         \u003c\/p\u003e\n\u003cp\u003eSide D : Satellite\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAwards\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eMichael Fremer's 100 Recommended All-Analog LP Reissues Worth Owning - Rated 9\/100!\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp\u003e“This is one of the most highly underrated entries in Coltrane's voluminous catalog. Although the same overwhelming attention bestowed upon My Favorite Things was not given to Coltrane's Sound upon its initial release, both were actually recorded during the same three-day period in the fall of 1960. So prolific were those recording dates, they informed no less than five different Coltrane albums on Atlantic. The title could not have been more accurate, as each of the six pieces bear the unmistakable and indelible stamp of Coltrane's early-'60s style. \"The Night Has a Thousand Eyes\" and \"Body and Soul\" (the only tracks not penned by Coltrane) are given unique and distinctive voices. Animating the arrangements on these sessions were Coltrane (soprano\/tenor sax), Steve Davis (bass), Elvin Jones (drums), and McCoy Tyner (piano). It's perhaps Tyner's recollection of the quartet as \"four pistons in an engine\" that most aptly explains the singular drive heard during Coltrane's extended runs on \"Liberia.\" Tyner flawlessly complements Coltrane with full resonating chords that cling to his volley of sound. The rhythmic gymnastics of percussionist Jones is also showcased as his double-jointed bop swing and military band precision are distinctly displayed on the blues \"Equinox.\" The opening six bars give Jones a chance to make a contrasting statement -- which he takes full advantage of. Regardless of the lack of attention, these recordings remain among Trane's finest.” AllMusic Review by Lindsay Planer\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eAllMusic : 4 \/ 5 , Discogs : 4,55 \/ 5\u003c\/p\u003e\n\u003c\/div\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":42216540307706,"sku":"AORM 47084","price":79.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/john-coltrane-coltrane-s-sound-2lp-45rpm-audiosoundmusic-1.jpg?v=1719857097"},{"product_id":"miles-davis-kind-of-blue-1lp-box-set-uhqr-33-rpm","title":"\u003ctranscy\u003eMiles Davis - Kind of Blue (1LP, Coffret, UHQR, 33 tours, 200g, vinyle translucide)\u003c\/transcy\u003e","description":"\u003ch2\u003e\u003c\/h2\u003e\n\u003cp\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eORDER LIMITED TO ONE ITEM PER CUSTOMER\u003c\/strong\u003e\u003c\/span\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMiles Davis, trumpet, band leader \u003ca title=\"vinyl featuring Miles Davis\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/miles-davis\"\u003e\u003cspan style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Miles Davis]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJulian \"Cannonball\" Adderley, alto sax (except on \"Blue in Green\") \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/cannonball-adderley\" title=\"Vinyl featuring Cannonball Adderley\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/cannonball-adderley\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Cannonball Adderley]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJohn Coltrane, tenor sax \u003ca title=\"vinyl featuring John Coltrane\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/john-coltrane\"\u003e\u003cspan style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring John Coltrane]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePaul Chambers, double bass \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/paul-chambers\" title=\"vinyl featuring Paul Chambers\"\u003e\u003cspan style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Paul Chambers]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBill Evans, piano (except \"Freddie Freeloader\") \u003cspan style=\"color: #ff8000;\"\u003e\u003ca style=\"color: #ff8000;\" title=\"Vinyl featuring Bill Evans\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/bill-evans\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/bill-evans\"\u003e[\u003cspan color=\"#ff8000\" data-mce-fragment=\"1\"\u003eclick here to see more vinyl featuring \u003c\/span\u003e\u003cspan color=\"#ff8000\" data-mce-fragment=\"1\"\u003eBill Evans]\u003c\/span\u003e\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWynton Kelly, piano (\"Freddie Freeloader\")\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJimmy Cobb, drums \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/jimmy-cobb\" title=\"Vinyl featuring Jimmy Cobb\"\u003e\u003cspan style=\"color: #ff8000;\"\u003e[click here to see other vinyl featuring Jimmy Cobb]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by Miles Davis\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, box set\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eLimited to 25,000 numbered copies\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eUHQR\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 : Clear vinyl\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12”\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Quality Record Pressings\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Analogue Productions\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Columbia\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded at \u003cspan data-mce-fragment=\"1\"\u003eColumbia 30th Street Studio, New York City on March 2, 1959 (A1-3) and April 22, 1959 (B1-2)\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineered by Fred Plaut\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Irving Townsend\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by Bernie Grundman\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1959\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2021\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eSo What\u003c\/li\u003e\n\u003cli\u003eFreddie Freeloader\u003c\/li\u003e\n\u003cli\u003eBlue in Green\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eAll Blues\u003c\/li\u003e\n\u003cli\u003eFlamenco Sketches\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAwards\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eMichael Fremer's 100 Recommended All-Analog LP Reissues Worth Owning - Rated 17\/100!\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eTAS Super LP List! Special Merit: Informal\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e\u003cb\u003eThe Absolute Sound 40th Anniversary Best Sounding Music!\u003c\/b\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eRolling Stone 500 Greatest Albums of All Time - Rated 31\/500!\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e\"It's the best selling jazz album ever, one of the most influential too, arguably the one that produced a shift from riffing on chord based tunes to modal excursions that gave musicians newfound improvisational freedom. Cynics and the selfish will react to yet another Kind of Blue reissue by claiming that \"everyone\" already owns a copy but of course that's not true. And no one owns a 200 gram UHQR Clarity vinyl copy pressed one at a time on a manual Finebuilt press. (...) The UHQR offers the blackest, quietest backgrounds and unparalleled transparency, but more critically, the modified Finebuilt hand press produces unprecedented transient precision and instrumental focus and resolves low level details that will deliver surprises to even the most blasé KOB veteran, one of whom visited and exclaimed 'I've never heard that before.' This pressing allows you to see further into the mix and transports you back in time and into the 30th Street studios. I don't care what version you now have you've never heard Kind of Blue quite like this.\" Michael Fremer, AnalogPlanet.com, May 17, 2021\u003c\/p\u003e\n\u003cp\u003e\"The result (drum rolls) is the best-sounding Kind of Blue ever, superior in every way to all previous pressings, including the original. The pressing is superquiet, allowing the slightest of details to pop out from the black backdrop. Cobb's drumkit is spooky real. I've heard this album, in one version or another, hundreds of times, and there are fine touches in Cobb's snare swooshes and cymbal taps — accents on accents, rhythms within rhythms — that I've never heard before. Chamber's bass lines are stunningly clear: the notes he's playing, the pluck of the strings, the glow of the wood. There are also new layers of detail in Miles' mouthpiece manipulations, Evans's pedal work, and the sheer beauty of Coltrane's and Adderley's saxophones. ... the chase is eternal. This reissue holds the brass ring, for now.\" Fred Kaplan, Stereophile, August 2021\u003c\/p\u003e\n\u003cp\u003e\"Kind of Blue isn't merely an artistic highlight for Miles Davis, it's an album that towers above its peers, a record generally considered as the definitive jazz album. To be reductive, it's the Citizen Kane of jazz -- an accepted work of greatness that's innovative and entertaining. That may not mean it's the greatest jazz album ever made, but it certainly is a universally acknowledged standard of excellence. Why does Kind of Blue posses such a mystique? Perhaps it's that this music never flaunts its genius. It lures listeners in with the slow, luxurious bassline and gentle piano chords of \"So What.\" From that moment on, the record never really changes pace -- each tune has a similar relaxed feel, as the music flows easily. Yet Kind of Blue is more than easy listening. It's the pinnacle of modal jazz -- tonality and solos build from chords, not the overall key, giving the music a subtly shifting quality. All of this doesn't quite explain why seasoned jazz fans return to this record even after they've memorized every nuance. They return because this is an exceptional band - Miles, Coltrane, Bill Evans, Cannonball Adderly, Paul Chambers, Jimmy Cobb, and Wynton Kelly -- one of the greatest in history, playing at the peak of its power. As Evans said in the original liner notes for the record, the band did not play through any of these pieces prior to recording. Davis laid out the themes and chords before the tape rolled, and then the band improvised. The end results were wondrous, filled with performances that still crackle with vitality. Few albums of any genre manage to work on so many different levels, but Kind of Blue does. It can be played as background music, yet it amply rewards close listening. It is advanced music that is extraordinarily enjoyable. It may be a stretch to say that if you don't like Kind of Blue, you don't like jazz -- but it's hard to imagine it as anything other than a cornerstone of any jazz collection.\" \u003cspan data-mce-fragment=\"1\"\u003eAllMusic Review by Stephen Thomas Erlewine \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eUHQR :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eUHQR pressing is inspired from JVC Japan, which 30 years ago was the pinnacle of high-quality vinyl. Each UHQR vinyl is pressed, using hand-selected vinyl, on a manual Finebilt press with attention paid to every single detail of every single record. The 200-gram records feature the same flat profile that helped to make the original UHQR so desirable. From the lead-in groove to the run-out groove, there is no pitch to the profile, allowing your stylus to play truly perpendicular to the grooves from edge to center. Every UHQR is hand-inspected upon pressing completion, and only the truly flawless are allowed to go to market.\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eAllMusic : 5 \/ 5 , Discogs : 4,75 \/ 5 , Michael Fremer : Music = 11\/11; Sound = 11\/11\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":42253822492922,"sku":"AUHQR0004","price":179.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/miles-davis-kind-of-blue-1lp-box-set-uhqr-33-rpm-200g-clear-vinyl-audiosoundmusic-1.jpg?v=1719857267"},{"product_id":"buddy-holly-buddy-holly","title":"Buddy Holly - Buddy Holly (Mono)","description":"\u003cdiv\u003e\n\u003cp\u003e\u003cstrong\u003eBuddy Holly - vocals, guitar\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJoe B. Mauldin - bass\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJerry Allison - drums\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eNiki Sullivan - rhythm guitar (A6)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eNorman Petty - organ (A5), piano (B5)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eVi Petty - piano (A3, A5-6, B2), celesta (B1)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eC. W. Kendall Jr. - piano (A3, B4, B6)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAl Caiola - guitar (B5)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDonald Arnone - guitar (B5)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBacking vocals (B5) : William Marihe, Robert Bollinger, Robert Harter, Merrill Ostrus, Abby Hoffer\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, gatefold jacket\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12”\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMono\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : 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 :  Coral\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded April 8, 1957 – January 26, 1958 in Clovis, New Mexico and New York City\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by \u003c\/strong\u003e\u003cstrong\u003eNorman Petty, Bob Thiele\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by Kevin Gray at Cohearent Audio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1958\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2017\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eI'm Gonna Love You Too\u003c\/li\u003e\n\u003cli\u003ePeggy Sue\u003c\/li\u003e\n\u003cli\u003eLook At Me\u003c\/li\u003e\n\u003cli\u003eListen To Me\u003c\/li\u003e\n\u003cli\u003eValley of Tears\u003c\/li\u003e\n\u003cli\u003eReady Teddy\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eEveryday\u003c\/li\u003e\n\u003cli\u003eMailman, Bring Me No More Blues\u003c\/li\u003e\n\u003cli\u003eWords of Love\u003c\/li\u003e\n\u003cli\u003e(You're So Square) Baby I Don't Care\u003c\/li\u003e\n\u003cli\u003eRave On\u003c\/li\u003e\n\u003cli\u003eLittle Baby\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003col\u003e\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAwards:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cheader\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eTAS Super LP List! Special Merit: Informal\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/header\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eMichael Fremer's 100 Recommended All-Analog LP Reissues Worth Owning - Rated 61\/100!\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eHiFi News Album Choice of the month - December 2017\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“Buddy Holly's last album before \"the day the music died\" released in 1958 belongs in every rock-based record collection. It's not even a close call. And this reissue sourced from the original analog tapes still in superb condition and cut by Kevin Gray is by far the best sounding edition ever.\u003c\/p\u003e\n\u003cp\u003eI was involved with the \"Heavy Vinyl\" version MCA issued in the 2000s also cut by Kevin and that one was good but not this eerily transparent and pure-sounding. In fact the original metal parts from 1958 still exist and I got to hear a new pressing made from those parts and this is better in every way.\u003c\/p\u003e\n\u003cp\u003eLubbock, Texas born Buddy Holly was 21 when he recorded this collection that includes \"I'm Gonna Love You Too\", \"Peggy Sue\", \"Everyday\", \"Words of Love\" and a few other originals and covers including Leiber and Stoller's \"You're So Square\" and Fats Domino's \"Valley of Tears\".\u003c\/p\u003e\n\u003cp\u003eWhile Norman Petty's production sounds basic, the more you listen the more you appreciate the small but defining touches baked into some of the classic mono tunes, like the way the toms in \"Peggy Sue\" seem to undulate towards and away from you, making them sound like a steam locomotive. Or the thigh slapping rhythm section on \"Everyday\" behind which is the purest sounding celeste. Though these are sixty year old recordings they sound fresh and transparent as few productions today manage.\u003c\/p\u003e\n\u003cp\u003eOf course the real wonder is Holly who makes the Stratocaster chime so purely and whose unique hiccuping vocal accents sounded otherworldly then and now. Where did he come from? I know. The small town of Lubbock but that hardly explains it. Sure there's country (Holly was signed to MCA in Nashville), NOLA and some Elvis but.....\u003c\/p\u003e\n\u003cp\u003eThe gatefold \"Tip-on\" packaging features an \"outtake\" cover photo inside and an iconic black and white shot of Buddy and The Crickets under which is a Graham Nash (The Hollies) quote. I think Chad Kassem got it from Graham when he was in town to play a gig and got a tour of the QRP pressing plant.\u003c\/p\u003e\n\u003cp\u003eA must for everyone who collect American rock'n'roll...or any kind of music for that matter.” Michael Fremer, Analog Planet, Jun 5, 2018\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\"Buddy Holly released only three LPs before dying in an airplane crash in 1959 at the age of 22. These two reissues by Analogue Productions are Holly’s only contemporaneous recordings (the third was an archival release of material recorded in 1956). Notwithstanding his short career, Holly's influence on The Beatles, The Rolling Stones and Eric Clapton, among many others, kept his flame alive. He was in the first class inducted into the Rock'n'Roll Hall of Fame, he was at the forefront of the singer\/songwriter movement, and he established the composition of rock ensembles for the coming explosion, helping to invent rock'n'roll. His geeky big-glasses look made space for the Roy Orbisons and Elvis Costellos of the music world.\u003c\/p\u003e\n\u003cp\u003eBrunswick and Coral, the labels on which these LPs were originally released, were subsidiaries of Decca Records. Decca reissued Holly’s greatest hits (essentially everything he recorded during his peak years) on the Coral imprint as The Buddy Holly Story, Volume I [CRL 57279] and Volume II [CRL 57326]. Given the timing, those much more common reissues, on the original plum-colored label, are as close to first pressings as most collectors get. Holly’s hits were also mastered anew by Steve Hoffman in 1985 and released as a two-fer LP set [MCA 2-4184]. The Coral reissues and Hoffman remaster are easy to come by on eBay for modest prices, so the choice to purchase these Analogue Productions reissues boils down two considerations: whether you want the music configured as it was first released and whether these LPs sufficiently improve on the sound of earlier releases.\u003c\/p\u003e\n\u003cp\u003eThese are both mono recordings, and neither possesses audiophile sound. Of the two, many cuts on the Buddy Holly LP have a more extended frequency range and sound best overall. It was recorded at producer Norman Petty’s studio in Clovis, New Mexico, and a Decca studio in New York City. The \"Chirping\" Crickets was mostly recorded on the road in Oklahoma at a makeshift studio, or at the Clovis studio. For late-1950s sound, they may not reach the peaks of the best Rudy Van Gelder recordings of the period, but they are still quite good. Both deliver solid, dynamic, stripped-down, in-your-face mono sound that seems appropriate to the material.\u003c\/p\u003e\n\u003cp\u003eBoth the Coral and MCA reissues reorganize the songs, and the packaging ranges from safe and solid (Coral) to lightweight and cheesy (MCA). Analogue Productions presents the original running order and artwork, and the covers, from Stoughton Printing, are first-rate. If all of that doesn’t have you reaching for your wallet, then the improvement in sound should. Kevin Gray’s remastering breathes new life into the music, enhancing tonality, dynamics and retrieval of inner detail. The sound of these reissues easily outstrips that of any prior releases.\u003c\/p\u003e\n\u003cp\u003eThese are two of the greatest LPs of the rock era and have always been high on my wish list for audiophile reissue. Replete with rock classics -- \"Not Fade Away,\" \"Maybe Baby,\" \"That’ll Be The Day,\" \"I’m Lookin’ For Someone To Love,\" \"Peggy Sue,\" Everyday\" and \"Words Of Love\" -- both offer a non-stop roller-coaster ride of important music that now sounds better than ever.” Dennis Davis, The Audio Beat, April 28, 2017\u003c\/p\u003e\n\u003cp\u003e \u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\"Issued in 1958, with Coral and Brunswick getting as much out of Buddy Holly as possible by releasing a solo LP alongside a Crickets LP, it's an eponymous 12-track masterpiece with enough classics to have established the Texan rock pioneer as a genius. In fact, it's the same crew that compromised The Crickets, so \"Words of Love,\" \"Peggy Sue,\" \"I'm Gonna Love You Too,\" \"Rave On!\" and the rest, are as much group efforts as the songs on its companion, The Chirpin' Crickets. Recorded in glorious mono, this superlative edition holds its own against my 50-year-old U.S. pressing, with only the oft-reprinted cover photo showing its age. The biggest surprise is that 60-year-old tapes can still yield such peerless sound quality.\" Ken Kessler, HiFi News, December 2017\u003c\/p\u003e\n\u003cp\u003e \u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e“When Buddy Holly \u0026amp; the Crickets broke through nationally in 1957, they were marketed by Decca Records as two different acts whose records were released on two different Decca subsidiaries -- Brunswick for Crickets records, Coral for Holly records. But there was no real musical distinction between the two, except perhaps that the \"Crickets\" sides had more prominent backup vocals. Nevertheless, coming three months after The \"Chirping\" Crickets, this was the debut album credited to Buddy Holly. It featured Holly's Top Ten single \"Peggy Sue\" plus several songs that have turned out to be standards: \"I'm Gonna Love You Too,\" \"Listen to Me,\" \"Everyday,\" \"Words of Love,\" and \"Rave On.\" The rest of the 12 tracks weren't as distinctive, though Holly's takes on such rock \u0026amp; roll hits as \"Ready Teddy\" and \"You're So Square (Baby I Don't Care)\" provide an interesting contrast with the more familiar versions by Elvis Presley. This was the final new album featuring Holly to be released during his lifetime. Every subsequent album was an archival or posthumous collection.” AllMusic Review by William Ruhlmann\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eAllMusic :   4.5 \/ 5 ,  Discogs :  4.74  \/ 5 , \u003cspan data-mce-fragment=\"1\"\u003eMichael Fremer : \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003eMusic = 10\/11; Sound = 10\/11 , HiFi News :  Sound Quality = 90% ,  The Audio Beat : Sound = 4\/5; Music = 5\/5\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003ch1\u003e\u003c\/h1\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":42261722366202,"sku":"AAPP 107","price":65.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/buddy-holly-buddy-holly-mono-audiosoundmusic-1.jpg?v=1719857388"},{"product_id":"the-beach-boys-surfer-girl-stereo-200g","title":"The Beach Boys - Surfer Girl (Stereo, 200g)","description":"\u003cp\u003e\u003cstrong\u003e\u003ca title=\"vinyl featuring The Beach Boys\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/beach-boys\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/beach-boys\"\u003e\u003cspan style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring the Beach Boys]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePerformed by The Beach Boys : Brian Wilson (vocals, bass guitar, keyboards), Mike Love (vocals, percussion, saxophone, Electro-Theremin), Al Jardine (vocals, rhythm guitar, bass guitar), Bruce Johnston (vocals, keyboards, bass guitar), Dennis Wilson (vocals, drums, keyboards).\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP,  \u003cspan data-mce-fragment=\"1\"\u003eStoughton tip-on jackets\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 200g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : \u003cspan data-mce-fragment=\"1\"\u003eQuality Record Pressings\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Analogue Productions\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Capitol\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded May–July 1963 at United Western Recorders, Hollywood\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by Kevin Gray at Cohearent Audio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003eOriginally released in 1963\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003eReissued in 2015\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cp\u003e\u003cstrong\u003eTracks :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv\u003e\u003cspan face=\"Times New Roman\"\u003eSide A :\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e1. Surfer Girl\u003cbr data-mce-fragment=\"1\"\u003e2. Catch A Wave\u003cbr data-mce-fragment=\"1\"\u003e3. The Surfer Moon\u003cbr data-mce-fragment=\"1\"\u003e4. South Bay Surfer\u003cbr data-mce-fragment=\"1\"\u003e5. The Rocking Surfer\u003cbr data-mce-fragment=\"1\"\u003e6. Little Deuce Coupe\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Times New Roman\"\u003eSide B :\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e1. In My Room\u003cbr data-mce-fragment=\"1\"\u003e2. Hawaii\u003cbr data-mce-fragment=\"1\"\u003e3. Surfer's Rule\u003cbr data-mce-fragment=\"1\"\u003e4. Our Car Club\u003cbr data-mce-fragment=\"1\"\u003e5. Your Summer Dream\u003cbr data-mce-fragment=\"1\"\u003e6. Boogie Woogie\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003eAwards\u003c\/strong\u003e :\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cspan style=\"color: #ff2a00;\"\u003e\u003cb\u003eMichael Fremer's 100 Recommended All-Analog LP Reissues Worth Owning - Rated 56\/100!\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cbr\u003e\u003cspan style=\"color: #ff2a00;\" color=\"#B12704\"\u003e\u003cb\u003eTAS Super LP List! Special Merit: Informal\u003c\/b\u003e\u003c\/span\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cspan style=\"color: #ff2a00;\" color=\"#B12704\"\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eIn 2017, Surfer Girl was ranked the 193rd greatest album of the 1960s by Pitchfork.\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cbr\u003eReviews\u003c\/strong\u003e :\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp\u003e\u003cspan\u003e\"Another step forward in terms of both overall sound and production finesse, with drums well-focused center stage and solid, three-dimensional vocals effectively spread across the soundstage and hovering transparently on cushions of air, makes a strong case for supremacy of the stereo mix. I've digitized at 96\/24 \"In My Room\" from a stereo test pressing Analogue Productions sent me late last year and when I play it for people at store events and at shows, it never fails to leave people almost paralyzed with pleasure-particularly among those for whom the A.M. radio is their only reference.\" \u003c\/span\u003e\u003cspan class=\"blurb\"\u003eMichael Fremer,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eAnalogPlanet.com\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e« Capitol pushed the Beach Boys for too much material in too short a time for the group to maintain as much quality control as would have been desirable. Consequently, most of their pre-1965 albums contain a high degree of filler, and thus stack up poorly next to those of such contemporaries as the Beatles, who were able to maintain high standards on almost all of their tracks. Surfer Girl does have some great tunes, including the title song, the hot rod ditty \"Little Deuce Coupe,\" and \"Catch a Wave\" (which could have been a substantial hit single on its own merits). Most significant of all is the gorgeous ballad \"In My Room,\" which anticipated future Beach Boys releases both in its sophisticated production (strings, organ, dense harmonies) and its personal, solipsistic lyrics. The rest is surprisingly mediocre filler, especially as at this point they were restricting their lyrical themes to beach culture almost exclusively; \"Your Summer Dream,\" with its unusual harmonies, is about the most interesting of the obscure tracks. If you're not a dedicated Beach Boys fan, though, you should pass, as you can find the first-rate tracks on best-of anthologies. » AllMusic Review by Richie Unterberger\u003c\/p\u003e\n\u003cp\u003e\"The sound is rich in detail, yet one of its key strengths is how \"mellow and romantic\" it sounds. While listening to these records, I was never fatigued. ... the AP Beach Boys significantly betters the original U.S. Capitol pressings that I've heard, with considerably more separation, detail, fullness and presence.\" — Jeff Wilson,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eThe Absolute Sound\u003c\/em\u003e, October 2015\u003c\/p\u003e\n\u003cp\u003e\"What I can say is that Kevin Gray has been able to extract every last bit of information from whatever tape is in the box, and present it in a way that is pleasing and natural to the ear. ... in my opinion, the Analogue Productions pressings are now THE definitive issue of each Beach Boys album, and will be my reference copies until if and when something better comes along — which may be never.\" — Lee Dempsey,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eEndless Summer Quarterly\u003c\/em\u003e, Summer 2015 Edition\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003eRatings\u003c\/strong\u003e : \u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\u003cspan size=\"3\"\u003e\u003cspan size=\"3\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eAllMusic : 3 \/ 5 , Discogs : 4.09 \/ 5 \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003ch1\u003e\u003c\/h1\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":42268129034490,"sku":"AAPP 060","price":65.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/the-beach-boys-surfer-girl-stereo-200g-audiosoundmusic-1.jpg?v=1719857411"},{"product_id":"the-beach-boys-surfer-girl-2lp-stereo-45rpm-200g","title":"\u003ctranscy\u003eThe Beach Boys - Surfer Girl (2LP, Stereo, 45 tours, 200g)\u003c\/transcy\u003e","description":"\u003cp\u003e\u003cstrong\u003e\u003ca title=\"vinyl featuring The Beach Boys\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/beach-boys\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/beach-boys\"\u003e\u003cspan style=\"color: #ff8000;\"\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e[click here to see more vinyl featuring the Beach Boys]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePerformed by The Beach Boys : Brian Wilson (vocals, bass guitar, keyboards), Mike Love (vocals, percussion, saxophone, Electro-Theremin), Al Jardine (vocals, rhythm guitar, bass guitar), Bruce Johnston (vocals, keyboards, bass guitar), Dennis Wilson (vocals, drums, keyboards).\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e2 LPs,  \u003cspan data-mce-fragment=\"1\"\u003eStoughton tip-on jackets\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 200g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 45 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : \u003cspan data-mce-fragment=\"1\"\u003eQuality Record Pressings\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Analogue Productions\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Capitol\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded May–July 1963 at United Western Recorders, Hollywood\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by Kevin Gray at Cohearent Audio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003eOriginally released in 1963\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003eReissued in 2017\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cp\u003e\u003cstrong\u003eTracks :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv\u003e\u003cspan face=\"Times New Roman\"\u003eSide A :\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003col\u003e\n\u003cli\u003eSurfer Girl\u003c\/li\u003e\n\u003cli\u003e\u003cspan data-mce-fragment=\"1\"\u003eCatch A Wave\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan data-mce-fragment=\"1\"\u003eThe Surfer Moon\u003c\/span\u003e\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan data-mce-fragment=\"1\"\u003eSide B :\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003col\u003e\n\u003cli\u003e\u003cspan data-mce-fragment=\"1\"\u003eSouth Bay Surfer\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan data-mce-fragment=\"1\"\u003eThe Rocking Surfer\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan data-mce-fragment=\"1\"\u003eLittle Deuce Coupe\u003c\/span\u003e\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cspan face=\"Times New Roman\"\u003e\u003cspan face=\"Times New Roman\"\u003eSide C :\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\n\u003col\u003e\n\u003cli\u003e\u003cspan face=\"Times New Roman\"\u003eIn My Room\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan data-mce-fragment=\"1\"\u003eHawaii\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan data-mce-fragment=\"1\"\u003eSurfer's Rule\u003c\/span\u003e\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cspan data-mce-fragment=\"1\"\u003eSide D :\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/span\u003e\n\u003col\u003e\n\u003cli\u003e\u003cspan data-mce-fragment=\"1\"\u003eOur Car Club\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan data-mce-fragment=\"1\"\u003eYour Summer Dream\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan data-mce-fragment=\"1\"\u003eBoogie Woogie\u003c\/span\u003e\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003eAwards\u003c\/strong\u003e :\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cspan style=\"color: #ff2a00;\"\u003e\u003cb\u003eMichael Fremer's 100 Recommended All-Analog LP Reissues Worth Owning - Rated 56\/100!\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cbr\u003e\u003cspan style=\"color: #ff2a00;\" color=\"#B12704\"\u003e\u003cb\u003eTAS Super LP List! Special Merit: Informal\u003c\/b\u003e\u003c\/span\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cspan style=\"color: #ff2a00;\" color=\"#B12704\"\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eIn 2017, Surfer Girl was ranked the 193rd greatest album of the 1960s by Pitchfork.\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cbr\u003eReviews\u003c\/strong\u003e :\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp\u003e\u003cspan\u003e\"Another step forward in terms of both overall sound and production finesse, with drums well-focused center stage and solid, three-dimensional vocals effectively spread across the soundstage and hovering transparently on cushions of air, makes a strong case for supremacy of the stereo mix. I've digitized at 96\/24 \"In My Room\" from a stereo test pressing Analogue Productions sent me late last year and when I play it for people at store events and at shows, it never fails to leave people almost paralyzed with pleasure-particularly among those for whom the A.M. radio is their only reference.\" \u003c\/span\u003e\u003cspan class=\"blurb\"\u003eMichael Fremer,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eAnalogPlanet.com\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e« Capitol pushed the Beach Boys for too much material in too short a time for the group to maintain as much quality control as would have been desirable. Consequently, most of their pre-1965 albums contain a high degree of filler, and thus stack up poorly next to those of such contemporaries as the Beatles, who were able to maintain high standards on almost all of their tracks. Surfer Girl does have some great tunes, including the title song, the hot rod ditty \"Little Deuce Coupe,\" and \"Catch a Wave\" (which could have been a substantial hit single on its own merits). Most significant of all is the gorgeous ballad \"In My Room,\" which anticipated future Beach Boys releases both in its sophisticated production (strings, organ, dense harmonies) and its personal, solipsistic lyrics. The rest is surprisingly mediocre filler, especially as at this point they were restricting their lyrical themes to beach culture almost exclusively; \"Your Summer Dream,\" with its unusual harmonies, is about the most interesting of the obscure tracks. If you're not a dedicated Beach Boys fan, though, you should pass, as you can find the first-rate tracks on best-of anthologies. » AllMusic Review by Richie Unterberger\u003c\/p\u003e\n\u003cp\u003e\"The sound is rich in detail, yet one of its key strengths is how \"mellow and romantic\" it sounds. While listening to these records, I was never fatigued. ... the AP Beach Boys significantly betters the original U.S. Capitol pressings that I've heard, with considerably more separation, detail, fullness and presence.\" — Jeff Wilson,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eThe Absolute Sound\u003c\/em\u003e, October 2015\u003c\/p\u003e\n\u003cp\u003e\"What I can say is that Kevin Gray has been able to extract every last bit of information from whatever tape is in the box, and present it in a way that is pleasing and natural to the ear. ... in my opinion, the Analogue Productions pressings are now THE definitive issue of each Beach Boys album, and will be my reference copies until if and when something better comes along — which may be never.\" — Lee Dempsey,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eEndless Summer Quarterly\u003c\/em\u003e, Summer 2015 Edition\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003eRatings\u003c\/strong\u003e : \u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\u003cspan size=\"3\"\u003e\u003cspan size=\"3\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eAllMusic : 3 \/ 5 , Discogs : 4.09 \/ 5 \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003ch1\u003e\u003c\/h1\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":42268135194874,"sku":"AAPP 060-45","price":125.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/the-beach-boys-surfer-girl-2lp-stereo-45rpm-200g-audiosoundmusic-1.jpg?v=1719857411"},{"product_id":"dean-martin-dream-with-dean-2lp-45rpm","title":"\u003ctranscy\u003eDean Martin - Dream With Dean (2LP, 45 tours)\u003c\/transcy\u003e","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDean Martin – vocals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eKen Lane - piano\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBarney Kessel - guitar\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRed Mitchell - double bass\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eIrving Cottler - drums\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e2 LP, Deluxe \"tip-on\" gatefold jacket from Stoughton Printing\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 45 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Quality Record Pressings\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Analogue Productions\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Reprise Records\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineered \u0026amp; mixed by Eddie Brackett\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Jimmy Bowen\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by Ryan Smith at Sterling Sound\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1964\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2014\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eI’m Confessin’ (That I Love You)\u003c\/li\u003e\n\u003cli\u003eFools Rush In\u003c\/li\u003e\n\u003cli\u003eI’ll Buy That Dream\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eIf You Were The Only Girl\u003c\/li\u003e\n\u003cli\u003eBlue Moon\u003c\/li\u003e\n\u003cli\u003eEverybody Love Somebody\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide C:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eI Don’t Know Why (I Just Do)\u003c\/li\u003e\n\u003cli\u003e“Gimmie” A Little Kiss\u003c\/li\u003e\n\u003cli\u003eHands Across The Table\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide D:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eSmile\u003c\/li\u003e\n\u003cli\u003eMy Melancholy Baby\u003c\/li\u003e\n\u003cli\u003eBaby Won’t You Please Come Home\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAwards:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eMichael Fremer's 100 Recommended All-Analog LP Reissues Worth Owning - Ranked 42\/100!\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eTAS Super LP List! Best Of The Bunch: Popular\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\"Dean's voice here caresses the microphone like few other male singers' ever have, and the quartet stays politely in the background. This collection of popular tunes is perfect for the 45 RPM treatment. ... Martin had a gorgeous voice and it's beautifully recorded and reproduced here.\" Dennis D. Davis, Hi-Fi +, Issue 126\u003c\/p\u003e\n\u003cp\u003e“A profile of a rugged Dean Martin by the fireplace with a cigarette adorns the jacket of this very interesting concept album. As Stan Cornyn's liner notes explain, \"his longtime accompanist\" on piano, Ken Lane, with \"three of Hollywood's most thoughtful rhythm men\" -- those being drummer Irv Cottler, bassist Red Mitchell, and guitarist Barney Kessel -- do create a mood, Dean Martin performing as if he were a lounge singer at 1:15 a.m. as the Saturday night crowd is dwindling. His signature tune, \"Everybody Loves Somebody,\" is here in a laid-back style, produced by Jimmy Bowen, who would go on to produce Reba McEntire, Kenny Rogers \u0026amp; the First Edition, and so many others, also the same man who was behind the 1964 number one smash. This album with the original Martin recording was released after the hit single version and on the same day as the Everybody Loves Somebody LP, but how many times does the audience get a different studio reading of a seminal hit record? Not only that, but the version that preceded the hit. The backing is so sparse it is almost a cappella, with Kessel's guitar noodlings and Ken Lane's piano. The bass is mostly invisible, coming in only when needed. It's a slow and sultry version that caps off side one. There is a rendition of Rodgers \u0026amp; Hart's \"Blue Moon\" that strips away the doo wop of the Marcels' number one 1961 remake, and a run-through of the Bloom\/Mercer hit for Glen Miller, \"Fools Rush In,\" which Rick Nelson had launched into the Top 15 in 1963. Martin is just crooning away, and if the album has one drawback, it is that the 12 songs are incessant in their providing the same atmosphere. The backing quartet does not deviate from their job, nor does producer Jimmy Bowen add any technique, other than putting Martin's voice way out in the mix. But Dream With Dean was no doubt excellent research and development as Bowen landed 11 Top 40 hits with the singer from 1964's \"Everybody Loves Somebody,\" which evolved out of this original idea to 1967's \"Little Old Wine Drinker, Me.\" It sounds as if they tracked the album in one afternoon, and it is not only a very pleasant listening experience, it shows what a tremendous vocalist Dean Martin truly was.” AllMusic Review by Joe Viglione\u003c\/p\u003e\n\u003cp\u003e“Perhaps it's because \"Dino\" cultivated a less than serious image as a friendly drunk or perhaps it's because of his long running role as Jerry Lewis's \"straight man\" in the most successful duo in comedy history, or maybe it was his long running \"Dean Martin Celebrity Roast\" television show.\u003c\/p\u003e\n\u003cp\u003eWhatever it was, Dean Martin (born Dino Paul Crocetti, June 7, 1917) was not taken as seriously as a singer by segments of the public as he should have been. Elvis Presley certainly took him very seriously. If you listen to Elvis you can hear Dean. It was not the other way around.\u003c\/p\u003e\n\u003cp\u003eThe guys like Dean, Perry Como and of course the originator of the style, Bing Crosby, all of whom made it look easy to appear relaxed and self-assured on stage, were all working very hard, you can be sure. Martin was a boxer with the scars and broken nose to prove it. He eventually moved to a less violent form of show business, becoming a moderately successful crooner in the Bing Crosby mold.\u003c\/p\u003e\n\u003cp\u003eIn the late '40s he ran into Jerry Lewis at a New York night club where the two were performing. Their team debut was a disaster. So for the night's second set they threw away their act and ad-libbed their way through a vaudeville-like review filled with slapstick and shtick with Lewis pestering and interrupting Martin while he attempted to sing \"straight\". That drove the audience wild and they were on their way.\u003c\/p\u003e\n\u003cp\u003eAnyone old enough to remember their 1950's television specials knows that, as with Milton Berle, life stopped and everyone tuned in to watch. They were a phenomenon, making movies, records, and nightclub and radio appearances. After a decade of it, Martin had had enough of the goofy comedy movies and the act acrimoniously broke up.\u003c\/p\u003e\n\u003cp\u003eThe two didn't speak for decades, finally re-uniting in 1976 when Frank Sinatra brought Dean on stage during that year's Muscular Dystrophy telethon. It was a memorable show biz moment, that for those who grew up with the duo, felt as if a festering wound had finally healed.\u003c\/p\u003e\n\u003cp\u003eHe was cast with Marlon Brando and Montgomery Clift in the memorable 1958 war drama \"The Young Lions\", which concerned itself less with combat and more with the war's effect on individuals on both sides of the conflict. The movie was shown at my summer camp that year in Cinemascope and as an eleven year old, it had a powerful impression on me, especially seeing Dean Martin in such an intensely dramatic role (the summer camp I attended was owned by the people who owned the Brandt theater chain that, back then, included just about every Times Square theater. They also owned The Sagamore Hotel on Lake George and after a movie was screened at the hotel, it was sent up route 9N to the camp. We got a first rate film every week [lucky us!]).\u003c\/p\u003e\n\u003cp\u003eFor those used to seeing Dean hamming it up with Jerry, seeing him play it straight as an entertainer who befriends a Jewish inductee played by Montgomery Clift, was a shock (especially if you were a kid at the time). Martin's dramatic film career alone was impressive, but when he later teamed up with what would become \"The Rat Pack\" his popularity soared.\u003c\/p\u003e\n\u003cp\u003eWhen his pal Frank Sinatra started the Reprise label, Dean moved from Capitol where he'd had great success. Martin released a series of themed albums covering country (which was a favorite for him), latin (a la Peggy Lee) and even one French-themed album.\u003c\/p\u003e\n\u003cp\u003eIn 1964 the song that would become his signature tune, \"Everybody Loves Somebody\" pushed from the #1 spot The Beatles' \"A Hard Day's Night.\" A less \"pop-ified version of that song is included in this intimately recorded and performed collection originally released in 1964.\u003c\/p\u003e\n\u003cp\u003eHere Dean is accompanied by a quartet of west coast performing and studio veterans: Barney Kessel (guitar), Red Mitchell (bass), his long time accompanist Ken Lane (piano) and Irv Cottler (drums). Martin sounds as if he's within inches of the microphone with the backing players mixed to keep the vocals way upfront. On the opener that's not a \"tic\", it's Martin's lips smacking.\u003c\/p\u003e\n\u003cp\u003eThat's a gutsy move for any vocalist but Martin adds to the daring by laying almost completely off the reverb send. He's in your room. The recording is simply astonishing. It's a show-stopper at every audio show I've played it transferred to 96\/24 digital.\u003c\/p\u003e\n\u003cp\u003eMartin covers a series of well-worn standards including \"I'm Confessin' (That I Love You), \"Fools Rush In\", Charlie Chaplin's \"Smile\", \"I Don't Know Why (I Just Do)\" and a few familiar others—a dozen in all and all aimed at the heart. The liner notes by the late Stan Cornyn are right on the money: \"...the twelve most aphrodisiac songs yet devised by man.\"\u003c\/p\u003e\n\u003cp\u003eIf you turn up the volume too high you'll ruin the intent and the sonics so play it at moderate levels to keep Dean's voice from going all gritty and it's not your system's fault if you can't track a monster sibilant on \"Blue Moon\". Otherwise, it's smooth sailing on an album that may be uncharted musical territory for many of you (and me!) but one on which you'll enjoy the smooth sailing and calm waters. Really. Take a chance. You'll be glad you did!\u003c\/p\u003e\n\u003cp\u003eThe Analogue Productions first class gatefold packaging includes laminated \"Tip-On\" jacket and two wonderful studio shots, beautifully reproduced in black and white showing a relaxed and happy Dean Martin in what looks like Gold Star Studios.\u003c\/p\u003e\n\u003cp\u003eIn 1987 his son Dean Paul Martin, who years earlier was in the teen band Dino, Desi and Billy, and went on to become a jet pilot in the California Air National Guard, died when his F-4 Phantom jet fighter crashed in a snowstorm.\u003c\/p\u003e\n\u003cp\u003eIt killed the remarkably handsome kid, but it also probably helped killed Dean Martin, who was never the same after the tragedy. A life-long heavy smoker, he died of lung cancer in 1995 after what was a remarkable career on stage, radio, television, movies and of course on record. If you're going to have one Dean Martin record, this one would be it.” Michael Fremer, Analog Planet, Jul 30, 2015\u003c\/p\u003e\n\u003cp\u003e“Starting from outside in: The packaging of Dream with Dean is absolutely flawless. It's a double LP to accommodate the 45 RPM format. The cover art is on very heavy-duty stock, and reflects a very high-resolution reproduction of the original cover. The finish is an exceptional gloss; clearly no expense was spared to get the packaging right.\u003c\/p\u003e\n\u003cp\u003eThe LPs were truly hefty, tipping the LP balance beam at a highly commendable 207 grams for LP A, and 210 grams for LP B. Both were exceptionally flat, and without scuffs or skid marks due to sloppy handling. (\"Sloppy handling\" is not what you get from Analogue Productions\/QRP.) These LPs, like the Ellington LP, are a pleasure for an experienced LP lover: Solid as a rock, clean, flat, and unmarked. LPs like this really set the standard…I've never seen better than this, amigos.\u003c\/p\u003e\n\u003cp\u003eThe dozen songs on this album are a cross-section of love songs recorded in 1964. Dean was supported by a fine jazz ensemble: Ken Lane on piano, Barney Kessel on guitar, Red Mitchell on bass, and Irv Cottler on drums. Jimmy Bowen handled the production work. It was originally a Reprise project, since Dean Martin had joined that label that his friend Frank Sinatra was on at that point. The idea of this project, from Dean's standpoint, was to put together a collection of crooner's love songs, done in an ultra-mellow, middle-of-the-morning sort of way, with no push, and no stress. The whole idea of the album being mellow, the studio was even lighted for the sort of early morning nightclub atmosphere that Martin wanted. He thought that he could do well with such an album, and even predicted that he could knock the Beatles off of the #1 spot that they held pretty regularly throughout 1964.\u003c\/p\u003e\n\u003cp\u003eYeah, and Babe Ruth called his homer, too, right?\u003c\/p\u003e\n\u003cp\u003eHe did, though. His song, \"Everybody Loves Somebody\" would eventually (in a fully orchestrated version, though, and not the version on this album) hit number one in the late summer of 1964. Quite the accomplishment for an earlier-generation crooner swimming upstream against the irresistible river of Lennon\/McCartney.\u003c\/p\u003e\n\u003cp\u003eYou have to remember that Dean Martin was a bona fide singer, in the same general category as Frank Sinatra and Bing Crosby. I would put his sound much closer to Crosby than Sinatra, of course: His voice was mellow, round, and rich, reminiscent of Crosby, and less of the direct and penetrating sound of Sinatra, especially Sinatra in his younger prime. The problem that Dean Martin had was that too many people conflated his comedy career (remember Jerry Lewis?) and variety show mildly-drunk-singer-mugging shtick with his quite serious performance as a world-class singer and crooner. To hear Dean Martin in his serious work was to hear a man who was in his element while singing…perfectly comfortable within his skin, and his songs. He was one of the greats of his generation, for sure.\u003c\/p\u003e\n\u003cp\u003eSo…did all of this work in this reissue?\u003c\/p\u003e\n\u003cp\u003eOnce the LP was on the platter and cued, the results were immediately apparent. It's like Dean Martin was right there…right there…in my listening room! No just kinda' sorta' maybe. I mean, right there. Just slightly left of center, with his ensemble loosely around him. By 15 seconds into the first cut, \"I'm Confessin' (That I Love You),\" Jonathan, Din, and I were starting to make wowzer sounds…all variations of \"Holy shit!\" and \"Unf***ingbelievable!\" and so on. (Insert your own favorite expletives here if you don't like ours.) Once again, just like with the Ellington Masterpieces we were listening to a tape transferred to LP that sounded like it had been recorded that morning. Literally.\u003c\/p\u003e\n\u003cp\u003eEvery one of the songs had the same sort of amazing mellow sense of Dean's command, his very presence in the room. Martin wasn't showing off a wide range of music or ability: He was right in the groove of a smoky nightclub, with people who stayed late, smoking and drinking, because the best stuff always happened after midnight, you know? This was rare stuff, an experience so rich and captivating that Jonathan, Din, and I listened to the entire two-LP set straight through. It was really seductive…completely irresistible. Stretch out your hand…you'll feel like you can touch Dean. This is about as direct, clear, and transparent as I've heard a recording sound…and it was done in 1964. If you want to know what experienced audiophiles and music lovers mean when they use the word \"palpable,\" just listen to this album. There it is, chilluns.\u003c\/p\u003e\n\u003cp\u003eOh, and by the way: I didn't hear a single tic or pop on any of four sides. None. And that was before running it through my KLAudio Ultrasonic Record Cleaner. These grooves were perfection.\u003c\/p\u003e\n\u003cp\u003eSong after song rang straight and true. Some highlights for me: \"Blue Moon\" (a huge favorite of mine), \"Everybody Loves Somebody\" (of course! But this time, mellow and intimate), \"I'm Confessin'\"…but frankly, there isn't a weak song in the bunch. Every one of these songs was personally selected by Dean Martin as a home run…with the sole exception of \"Everybody Loves Somebody,\" which he considered to be a weak sister, ironically, given its enormous success later that year.\u003c\/p\u003e\n\u003cp\u003eNo doubt about it: This is another absolute killer from Analogue Productions and Quality Record Pressings. I'm going to have to buy Chad Kassem a drink the next time I see him: For Masterpieces by Ellington and Dream with Dean I (and all of us) are deeply in his debt.\u003c\/p\u003e\n\u003cp\u003eAnd so, listen up: Anyone displaying turntables who goes to AXPONA, Munich, or THE Show Newport Beach in 2015 without the Analogue Productions Dream with Dean…and, for that matter, without the Masterpieces by Ellington…needs to consider getting out of the biz. These are both absolute world-class, can't-be-beat, no-shit reference albums.” David W. Robinson, Positive Feedback, Issue 78, march\/april 2015\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eAllMusic : 3 \/ 5 , Discogs : 4,3 \/ 5 , Michael Fremer : 9\/11 Music, 9\/11 Sonics , Hi-Fi + : Recording = 10\/10; Music = 6\/10\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":42291169689850,"sku":"AAPP076-45","price":95.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/dean-martin-dream-with-dean-2lp-45rpm-audiosoundmusic-1.jpg?v=1719857626"},{"product_id":"peggy-lee-is-that-all-there-is","title":"Peggy Lee - Is That All There Is","description":"\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eORDER LIMITED TO ONE ITEM PER CUSTOMER\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePeggy Lee - vocals \u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003e\u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/peggy-lee\" title=\"vinyl and SACD featuring Peggy Lee\"\u003e\u003cspan style=\"color: rgb(255, 128, 0);\"\u003e[click here to see more products featuring Peggy Lee]\u003c\/span\u003e\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eArranger, conductor - Randy Newman (A1), Mundell Lowe (A2-3, B4), Bobby Bryant (A4), Benny Carter (A5), Mike Melvoin (B1-2, B5), George Tipton (B3), \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cul\u003e\u003c\/ul\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eLimited edition\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : unspecified\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Pure Pleasure\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Capitol\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded Jun 8, 1967 – Oct 15, 1969 at Capitol Studios, Hollywood, California\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by David Cavanaugh (A5), Lieber \u0026amp; Stoller (A1, A3), Phil Wright (A2, A4, B1-5)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1969\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2012\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eIs That All There Is? (Jerry Leiber and Mike Stoller)\u003c\/li\u003e\n\u003cli\u003eLove Story (Randy Newman)\u003c\/li\u003e\n\u003cli\u003eMe and My Shadow (Al Jolson, Billy Rose, Dave Dreyer)\u003c\/li\u003e\n\u003cli\u003eMy Old Flame (Sam Coslow, Arthur Johnston)\u003c\/li\u003e\n\u003cli\u003eI'm a Woman (Leiber, Stoller)\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eBrother Love's Travelling Salvation Show (Neil Diamond)\u003c\/li\u003e\n\u003cli\u003eSomething (George Harrison)\u003c\/li\u003e\n\u003cli\u003eWhistle for Happiness (Leiber, Stoller)\u003c\/li\u003e\n\u003cli\u003eJohnny \/ Linda (Newman)\u003c\/li\u003e\n\u003cli\u003eDon't Smoke in Bed (Willard Robison)\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAwards:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eMichael Fremer's 100 Recommended All-Analog LP Reissues Worth Owning - Rated 46\/100\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eIn 1995, Nancy Wilson was given the Grammy Lifetime Achievement Award.\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e“When Peggy Lee became well-known in the 1940s, swing and jazz-influenced pop dominated the musical landscape. In the 1960s, however, it was a whole new world in popular music. The British Invasion and Motown -- not big bands -- were mainstream, and to the Baby Boomer youths of the 1960s, Lee was part of \"our parents' music.\" But the singer had a major hit with 1969's Is That All There Is?, one of the best-selling albums of her career. While this isn't a rock album per se -- Lee's foundation was still jazz-influenced pop -- it acknowledges pop-rock tastes of the 1960s without being unfaithful to her history. Everything on this LP is a gem, and that includes a moody remake of Lee's 1940s hit \"Don't Smoke in Bed\" as well as classic arrangements of George Harrison's \"Something,\" Neil Diamond's \"Brother Love's Traveling Salvation Show,\" Leiber \u0026amp; Stoller's \"I'm a Woman,\" and Randy Newman's \"Love Story.\" The LP's centerpiece, however, is Newman's hit arrangement of Leiber \u0026amp; Stoller's title song, which was covered by P.J. Harvey in the 1990s. Influenced by German cabaret, this half-spoken, half-sung treasure is as hauntingly soulful as it is maudlin. The song's outlook is far from optimistic; essentially, it's saying that we might as well grab our moments of pleasure and enjoyment where we can find them because ultimately, life is nothing more than a meaningless series of disappointments. But there's nothing disappointing about Is That All There Is?, an LP that is most certainly among Lee's finest accomplishments.” AllMusic Review by Alex Henderson\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 : 4.04 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":42373477368058,"sku":"ST-386","price":35.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/peggy-lee-is-that-all-there-is-audiosoundmusic-1.jpg?v=1719858070"},{"product_id":"cassandra-wilson-belly-of-the-sun","title":"Cassandra Wilson - Belly Of The Sun (2LP)","description":"\u003ch2\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eORDER LIMITED TO ONE ITEM PER CUSTOMER\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h2\u003e\n\u003cp\u003e\u003cstrong\u003eCassandra Wilson – vocals (all tracks), surdo, guitar (B3, C1) \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/cassandra-wilson\" title=\"vinyl featuring Cassandra Wilson\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/cassandra-wilson\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Cassandra Wilson]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMarvin Sewell – guitars (A1-2, B3-D2)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eKevin Breit – mandolin, guitars, vocals, bouzouki, omnichord (A1-2, C1−D1)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMark Peterson – basses (A1-2, B3-D3)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJeffrey Haynes – percussion, plastic tub, steel pans (A1-2, B2-C2, D1-4)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCyro Baptista – percussion, vocals (A1-2, B2-D3)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eXavyon Jamison – drums (A1-2, B3, D2-3)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\"Boogaloo\" Ames – piano (A3)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eChildren of M.S.44 (NYC) – vocals (B1)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRhonda Richmond – vocals, piano (B2, C1, D3)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRichard Johnston – guitar, vocals (B2)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJewell Bass, Vasti Jackson, Patrice Moncell, Henry Rhodes – vocals (B3)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eIndia.Arie – vocals (C1)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJesse Robinson – electric guitar (D2)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOlu Dara – trumpet (D3)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e2 LPs, gatefold jacket\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eLimited edition\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Pure Pleasure\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Capitol Records\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded in Clarksdale Train Depot and a boxcar. Additional recording at Allaire Studios South, New York City\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineered and mixed by Danny Kopelson\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Cassandra Wilson\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRe-mastering by Ron McMaster at Capitol Studios\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 November 2012\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eThe Weight\u003c\/li\u003e\n\u003cli\u003eJustice\u003c\/li\u003e\n\u003cli\u003eDarkness On the Delta\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eWaters of March\u003c\/li\u003e\n\u003cli\u003eYou Gotta Move\u003c\/li\u003e\n\u003cli\u003eOnly A Dream In Rio\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e Side C:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eJust Another Parade\u003c\/li\u003e\n\u003cli\u003eWichita Lineman\u003c\/li\u003e\n\u003cli\u003eShelter From the Storm\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide D:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eDrunk As Cooter Brown\u003c\/li\u003e\n\u003cli\u003eShow Me A Love\u003c\/li\u003e\n\u003cli\u003eRoad So Clear\u003c\/li\u003e\n\u003cli\u003eHot Tamales\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAwards:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eMichael Fremer's 100 Recommended All-Analog LP Reissues Worth Owning - Rated 38\/100!\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\"[A]n album that seamlessly and comfortably moves between jazz, pop, rock and blues, stitched together by Wilson's sultry voice, magnificent phrasing and the sure backing of her core group... The instrumentation and arrangements are imaginative and varied throughout and intimately and warmly recorded. Three-dimensionality and purity reign supreme here, with Technicolor instrumental timbres, tactile textures and full bodied dynamics. Wilson's voice is richly presented and artifact-free. The perspective is intimate and close-up. Ron McMaster's lacquer cut is superbly transparent and appropriately intimate and the Pallas pressing as usual does not disappoint.\" - Michael Fremer, Analog Planet\u003c\/p\u003e\n\u003cp\u003e“The back story of this album is important to understanding the music.  The year is 2002 and the intent was to make a blues-based record and that led the search for a proper locale.  Wilson ended up at an old train station in the Mississippi Delta in Clarksdale.  Due to a wedding the band moved from the train station to a boxcar to do some recordings as well.  Three more songs were recorded in studio—one with India Arie.  Some of the songs are originals while the covers are from well-known artists like James Taylor, Bob Dylan, Robert Johnson, The Band and Antonio Carlos Jobim.  It originally went to No. 2 on the Billboard Jazz charts in 2002.\u003c\/p\u003e\n\u003cp\u003eAs always, listening to discs from Pure Pleasure is…a pure pleasure!  The sound is remarkably noise-free although this sound is a bit dry without a great deal of extreme top end.  I would suppose that this had to do with the original mix and recording, but I don’t have it to compare. Cassandra’s rich voice is as distinctive as always.  Some of the tracks are more impressive (musically) than others though none are losers.  I doubted if Wilson could transform “Waters of March” into a non-Bossa Nova genre and make it her own, but I have to say, it was successful.  Other tracks offer a combination of blues, soul and rock in their unique interpretations.  “Darkness on the Delta” is a loosely swingin’ piano number that caught my attention immediately.  “Drunk as Cooter Brown” is another standout upbeat tune with a gentle Caribbean vibe.  Much of Wilson’s jazz style is not unlike Patricia Barber with less of the sung poetry that Barber often employs.  There is a good mixture of different styles that help keep the listener interested and involved.  Audiophiles will probably rush out and get this record, but the good news is the music is good too!” John Sunier, Audiophile Audition, April 2013\u003c\/p\u003e\n\u003cp\u003e\"Guests add variety. Boogaloo Ames supplies an unencumbered, barrelhouse accompaniment for two traditional songs. The duo simplicity of singer with piano makes them shine with a special element - a lesson in history. Their charming interpretation inspires. Elsewhere, Wilson adds variety in form. \"Show Me A Love\" and \"Road So Clear\" caress a modern, electric blues message. \"Hot Tamales\" and \"You Gotta Move\", recorded in a railroad boxcar, come from way back, drawing upon spiritual and field holler roots. India.Arei's vocal duet with Wilson pierces the heart with its soul-stirring message. While Jobim's \"Waters of March\" does not fit the tried-and-true formula, it allows Wilson the opportunity to lighten her session with a message that speaks, nevertheless, the same language as the blues: a promise of good times ahead. A highly recommended album, Belly Of the Sun returns to the land where it all began and takes us along for a soul stirring ride.\" - Jim Santella, All About Jazz, April 2002\u003c\/p\u003e\n\u003cp\u003e“Cassandra Wilson continues to move down a highly eclectic path on Belly of the Sun, the somewhat belated follow-up to Traveling Miles. While displaying a jazz singer's mastery of melodic nuance and improvisatory phrasing, Wilson draws on a variety of non-jazz idioms -- roots music, rock, Delta blues, country, soul -- to create a kind of earthy, intelligent pop with obvious crossover appeal. Her core band includes guitarists Marvin Sewell and Kevin Breit, who blend marvelously, Sewell mostly on mellow acoustic and Breit adding atmospheric touches on electric, 12-string, and slide guitars, as well as mandolin, banjo, and even bouzouki. Bassist Mark Peterson and percussionists Jeffrey Haynes and Cyro Baptista provide a superbly sensitive rhythmic foundation. But because Wilson returned to her home state of Mississippi to record most of this album, she made sure to book some time with local musicians. Thus guitarist Jesse Robinson guests on (and co-writes) the funky \"Show Me a Love,\" and the octogenarian pianist \"Boogaloo\" Ames plays an unpolished yet utterly heartfelt duet with Wilson on the classic \"Darkness on the Delta.\" Other guests include drummer Xavyon Jamison, trumpeter Olu Dara, pianist and vocalist Rhonda Richmond (who penned the slowly swaying \"Road So Clear\"), guitarist Richard Johnston, backup vocalists Patrice Monell, Jewell Bass, Henry Rhodes, and Vasti Jackson, and the children of New York's Middle School 44. Wilson delves into vintage blues with Mississippi Fred McDowell's \"You Gotta Move\" and a brief yet dynamic rendition of Robert Johnson's \"Hot Tamales.\" But the best tracks are the rock\/pop covers: the Band's \"The Weight,\" Bob Dylan's \"Shelter From the Storm,\" James Taylor's \"Only a Dream in Rio,\" Jobim's \"Waters of March,\" and Jimmy Webb's \"Wichita Lineman\" (a 1968 hit for Glen Campbell). Wilson and band are in peak interpretive form on these ethereal reinventions. While her own lyrics may not rise to the level of a Robbie Robertson or a Bob Dylan, her versatility and focus come through clearly on the originals \"Justice,\" \"Just a Parade\" (a collaboration with neo-soul rookie India.Arie), and the Caribbean-tinged \"Cooter Brown.\" AllMusic Review by David R. Adler\u003c\/p\u003e\n\u003cp\u003e\"With a voice as rich and caramel-y as Sarah Vaughan's, and a delivery as intimately conversational as Joni Mitchell's, Cassandra Wilson is the perfect jazz singer for people who don't particularly like jazz singing... Still, Belly of the Sun feels uncomfortably empty at points\".[8] David R. Adler of AllMusic stated: \"Cassandra Wilson continues to move down a highly eclectic path on Belly of the Sun, the somewhat belated follow-up to Traveling Miles. While displaying a jazz singer's mastery of melodic nuance and improvisatory phrasing, Wilson draws on a variety of non-jazz idioms -- roots music, rock, Delta blues, country, soul -- to create a kind of earthy, intelligent pop with obvious crossover appeal\". The Rolling Stone Review by J. D. Coniside\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eAllMusic : 3.5 \/ 5 ; Discogs : 4.47 \/ 5 ; Michael Fremer : Music 9\/11, Sound 9\/11!\u003c\/p\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003ch1\u003e\u003c\/h1\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":42405555011834,"sku":"PPAN BST35072","price":52.5,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/cassandra-wilson-belly-of-the-sun-2lp-audiosoundmusic-1.jpg?v=1719858228"},{"product_id":"duke-ellington-masterpieces-mono","title":"\u003ctranscy\u003eDuke Ellington - Masterpieces (1LP, 33 tours, Mono, Analogue Productions)\u003c\/transcy\u003e","description":"\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eDuke Ellington, piano \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/duke-ellington\" title=\"Vinyl featuring Duke Ellington\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/duke-ellington\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Duke Ellington]\u003c\/span\u003e\u003c\/a\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBilly Strayhorn (piano). Russell Procope, Paul Gonzalves, Johnnie Hodges, Jimmy Hamilton (saxophone). Nelson Williams, Andrew Ford, Harold Baker, Ray Nance, William Anderson (trumpet). Quentin Jackson, Lawrence Brown, Tyree Glenn (trombone). Mercer Ellington (horn). Sonny Greer (drums). Wendell Marshall (bass). Yvonne Lanauze (vocals).\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by Duke Ellington (A1, A2, B1, B2), Albany Bigard (A1), Irving Mills (A1, A2, B2), Eddie Delange (B2)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, gatefold sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMono\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Quality Record Pressings\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Analogue Production\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Columbia\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded in New York on December 18, 1950\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by Ryan K. Smith at Sterling Sound\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1951\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2021\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eMood Indigo\u003c\/li\u003e\n\u003cli\u003eSophisticated Lady\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eThe Tattooed Bride\u003c\/li\u003e\n\u003cli\u003eSolitude\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAwards:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eTAS Super LP List! Special Merit: Informal\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eStereophile Records To Die For 2015\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp\u003e\"True classic both musically and sonically and a historical work of art you can now own.\" Michael Fremer, AnalogPlanet.com.\u003c\/p\u003e\n\u003cp\u003e\"Among the first recordings arranged and produced to take advantage of the LP's longer playing time, this album was released in 1950 on Columbia Records' classical imprint, Masterworks, with a whimsical cover by Stan Fraydas (author of Hoppy, the Curious Kangaroo) that's reproduced for this edition. (Columbia soon replaced it with an image more \"modern\" and more mundane.)... Freed from the 78rpm single's three-minute constraint, Ellington could score and record concert-length arrangements similar to those enjoyed by his concert audiences. Three of the four selections, including 'Mood Indigo' and 'Sophisticated Lady,' are familiar Ellington classics stretched and elasticized to luxurious effect. The harmonically saturated, transparent mono sound is astonishing for any era of recording. It's sure to leave you swooning, and wondering how and why recorded sound has since gone so far south.\" Michael Fremer, Stereophile, February 2015.\u003c\/p\u003e\n\u003cp\u003e“Amazingly, it took Columbia Records until the very end of 1950, two years into the LP era and the transition from disc to magnetic tape recording, to get Duke Ellington and His Orchestra into the studio to cut a long-playing record. For the first time in his recording career, Ellington was able to forego the three-minutes-and-change restrictions in running time of the 78 rpm disc -- he and the band rose to the occasion with extended (11-minute-plus) \"uncut concert arrangements\" of \"Mood Indigo,\" \"Sophisticated Lady,\" and \"Solitude,\" augmented with one splendid newer work, \"The Tattooed Bride.\" And it's taken 15 years into the CD boom before Masterpieces By Ellington has been given the treatment that it deserves. Sony Music of Japan reissued this classic recording in 1998, remastered using the company's 20-bit-based Super Bit Mapping digital system, and results are astonishing -- the band sounds like it's in the same room with the listener, and that goes double for the piano and the soloists (including singer Yvonne Lanauze) on \"Mood Indigo.\" Even in this august company, \"The Tattooed Bride\" is a swinging virtuoso piece that, as everyone present must have known, couldn't possibly have been captured in this manner in any era before this session -- this was also one of the last sessions to feature the classic Ellington lineup with Johnny Hodges, Lawrence Brown, and Sonny Greer, before their exodus altered the band's sound, and so it's a doubly precious piece (as is the whole album), among the last written specifically for this lineup.” AllMusic Review by Bruce Eder\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eAllMusic : 4.5 \/ 5 ; Discogs : 4.83\u003c\/p\u003e\n\u003cp\u003eMichael Fremer : Music = 11 \/ 11; Sound = 11 \/ 11\u003c\/p\u003e\n\u003cp\u003eDennis D. Davis, Hi-Fi + : Recording = 10 \/ 10 ; Music = 10 \/ 10\u003c\/p\u003e\n\u003cp\u003eJeff Wilson, The Absolute Sound : Music = 5 \/ 5; Sonics = 4.5 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":42530378055930,"sku":"APLP4418B","price":65.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/duke-ellington-masterpieces-1lp-33rpm-mono-analogue-productions-audiosoundmusic-1.jpg?v=1719858447"},{"product_id":"miles-davis-kind-of-blue-first-edition-2lp-box-set-ultra-analog-half-speed-mastering-45-rpm","title":"\u003ctranscy\u003eMiles Davis - Kind of Blue (Edition originale, 2LP, Coffret, Ultra Analog, Half-speed Mastering, 45 tours)\u003c\/transcy\u003e","description":"\u003ch2\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003eORDER LIMITED TO ONE ITEM PER CUSTOMER\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h2\u003e\n\u003cp\u003e\u003cstrong\u003eMiles Davis, trumpet, band leader \u003ca title=\"vinyl featuring Miles Davis\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/miles-davis\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/miles-davis\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Miles Davis]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJulian \"Cannonball\" Adderley, alto sax (except on \"Blue in Green\")\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJohn Coltrane, tenor sax \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/john-coltrane\" title=\"vinyl featuring John Coltrane\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/john-coltrane\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring John Coltrane]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePaul Chambers, double bass \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/paul-chambers\" title=\"vinyl featuring Paul Chambers\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/paul-chambers\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Paul Chambers]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBill Evans, piano (except \"Freddie Freeloader\") \u003ca title=\"Vinyl featuring Bill Evans\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/bill-evans\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/bill-evans\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[\u003cspan style=\"color: #ff8000;\" color=\"#ff8000\" data-mce-fragment=\"1\"\u003eclick here to see more vinyl featuring \u003c\/span\u003e\u003cspan color=\"#ff8000\" data-mce-fragment=\"1\"\u003eBill Evans]\u003c\/span\u003e\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWynton Kelly, piano (\"Freddie Freeloader\")\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJimmy Cobb, drums \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/jimmy-cobb\" title=\"Vinyl featuring Jimmy Cobb\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/jimmy-cobb\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see other vinyl featuring Jimmy Cobb]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by Miles Davis\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e2 LPs, box set\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eNumbered limited edition - LOW NUMBER COPIES\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHalf-speed Mastering\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGain 2™ Ultra Analog\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 45RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12”\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : RTI\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : MOFI\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Columbia\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded at \u003cspan data-mce-fragment=\"1\"\u003eColumbia 30th Street Studio, New York City on March 2, 1959 (A1 to B2) and April 22, 1959 (C1 \u0026amp; D1)\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineered by Fred Plaut\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Irving Townsend\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by Krieg Wunderlich\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1959\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2015\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003cp style=\"padding-left: 30px;\"\u003e1.So What\u003c\/p\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col start=\"2\"\u003e\n\u003cli\u003eFreddie Freeloader\u003c\/li\u003e\n\u003cli\u003eBlue in Green\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide C :\u003c\/p\u003e\n\u003col start=\"4\"\u003e\n\u003cli\u003eAll Blues\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide D :\u003c\/p\u003e\n\u003col start=\"5\"\u003e\n\u003cli\u003eFlamenco Sketches\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAwards\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eMichael Fremer's 100 Recommended All-Analog LP Reissues Worth Owning - Rated 17\/100!\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eTAS Super LP List! Special Merit: Informal\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e\u003cb\u003eThe Absolute Sound 40th Anniversary Best Sounding Music!\u003c\/b\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eRolling Stone 500 Greatest Albums of All Time - Rated 31\/500!\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e1000 Recordings you must hear before you die - Ranked 21\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eStereophile Records To Die For - 2007\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e\"Kind of Blue isn't merely an artistic highlight for Miles Davis, it's an album that towers above its peers, a record generally considered as the definitive jazz album. To be reductive, it's the Citizen Kane of jazz -- an accepted work of greatness that's innovative and entertaining. That may not mean it's the greatest jazz album ever made, but it certainly is a universally acknowledged standard of excellence. Why does Kind of Blue posses such a mystique? Perhaps it's that this music never flaunts its genius. It lures listeners in with the slow, luxurious bassline and gentle piano chords of \"So What.\" From that moment on, the record never really changes pace -- each tune has a similar relaxed feel, as the music flows easily. Yet Kind of Blue is more than easy listening. It's the pinnacle of modal jazz -- tonality and solos build from chords, not the overall key, giving the music a subtly shifting quality. All of this doesn't quite explain why seasoned jazz fans return to this record even after they've memorized every nuance. They return because this is an exceptional band - Miles, Coltrane, Bill Evans, Cannonball Adderly, Paul Chambers, Jimmy Cobb, and Wynton Kelly -- one of the greatest in history, playing at the peak of its power. As Evans said in the original liner notes for the record, the band did not play through any of these pieces prior to recording. Davis laid out the themes and chords before the tape rolled, and then the band improvised. The end results were wondrous, filled with performances that still crackle with vitality. Few albums of any genre manage to work on so many different levels, but Kind of Blue does. It can be played as background music, yet it amply rewards close listening. It is advanced music that is extraordinarily enjoyable. It may be a stretch to say that if you don't like Kind of Blue, you don't like jazz -- but it's hard to imagine it as anything other than a cornerstone of any jazz collection.\" \u003cspan data-mce-fragment=\"1\"\u003eAllMusic Review by Stephen Thomas Erlewine \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eUltra Analog™\u003c\/strong\u003e\u003cspan data-mce-fragment=\"1\"\u003e : The GAIN 2 Ultra Analog™ Series stems from the use of the Gain 2 system, mastered at half speed from the original master tapes where possible, capturing and uncovering as before undiscovered sonic information.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHalf-speed mastering. \u003c\/strong\u003e\u003cspan\u003eIn half-speed mastering, the whole process is slowed down to half of the original speed. A typical 33 1\/3 rpm record is cut at 16 2\/3 rpm. The source material is also slowed down (reducing the pitch in the process) meaning the final record will still sound normal when played back. Slowing the whole process down allows more time, which means the end result sounds better and is more efficient — allowing engineering to minimize the effects of inherent limitations within the vinyl format. The result is a more accurate and more open high-frequency response in the half speed vinyl when compared with a normal speed recording.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eAllMusic : 5 \/ 5 , Discogs : 4,75 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":42608870228218,"sku":"MFSL2-45-011 First Edition","price":145.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/miles-davis-kind-of-blue-first-edition-2lp-box-set-ultra-analog-half-speed-mastering-45-rpm-audiosoundmusic-1.jpg?v=1719858584"},{"product_id":"bartok-concerto-for-orchestra-fritz-reiner-200g","title":"\u003ctc\u003eBartok - Concerto for Orchestra - Fritz Reiner (200g)\u003c\/tc\u003e","description":"\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eORDER LIMITED TO ONE ITEM PER CUSTOMER\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBéla Bartók - \u003c\/strong\u003e\u003cstrong\u003eConcerto For Orchestra \u003c\/strong\u003e\u003cstrong\u003eSz. 116, BB 123\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOrchestra – The Chicago Symphony Orchestra\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eConductor – Fritz Reiner\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP,  gatefold jacket\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eLimited edition\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12”\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press :  Quality Record Pressings\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel :  Analogue Productions \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label :  RCA\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by Ryan Smith at Sterling Sound\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePlated by Gary Salstrom\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in March 1956\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2014\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eFirst Mouvement - Allegro vivace\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan data-mce-fragment=\"1\"\u003eSecond Mouvement - \u003c\/span\u003eAllegretto scherzando\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003e\n\u003cspan data-mce-fragment=\"1\"\u003eThird Mouvement - \u003c\/span\u003eAndante, non troppo\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan data-mce-fragment=\"1\"\u003eFourth Mouvement - \u003c\/span\u003eAllegretto\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan data-mce-fragment=\"1\"\u003eFifth Mouvement - \u003c\/span\u003ePesante\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003col start=\"5\"\u003e\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAwards:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eTAS Super LP List! Special Merit: Classical\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eWinner of a Gruvy Award, chosen by AnalogPlanet's editor, Michael Fremer, for vinyl records that are musically and sonically outstanding\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\"Analogue Productions' reissue of the RCA Living Stereo titles continues apace with one of the great masterpieces of the twentieth century - Béla Bartók's Concerto For Orchestra with the Chicago Symphony Orchestra, conducted by Fritz Reiner. ... (it) is is an audiophile's dream recording. It has string tone to die for, a soundstage that fills your living room, and exhibits startling dynamics. ... if you pass on this issue, you will miss out on what is the best-sounding pressing of this LP. In combination with great remastering, pressing on whisper quiet vinyl, and packaging in a first-class record sleeve, this is a bargain.\" Dennis D. Davis, Hi-Fi +, Issue 121\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRating:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eDiscogs 4.76 \/ 5 ;  Hi-Fi + : Recording = 10\/10, Music = 10\/10\u003c\/p\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003ch1\u003e\u003cbr\u003e\u003c\/h1\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":43284614119674,"sku":"AAPC1934","price":65.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/bartok-concerto-for-orchestra-fritz-reiner-audiosoundmusic-1.jpg?v=1719860267"},{"product_id":"cassandra-wilson-blue-light-til-dawn-2lp","title":"\u003ctc\u003eCassandra Wilson – Blue Light 'Til Dawn (2LP)\u003c\/tc\u003e","description":"\u003ch2\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eORDER LIMITED TO ONE ITEM PER CUSTOMER\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h2\u003e\n\u003cp\u003e\u003cstrong\u003eCassandra Wilson – vocals \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/cassandra-wilson\" title=\"vinyl featuring Cassandra Wilson\"\u003e\u003cspan style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Cassandra Wilson]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSteel String Guitar – Brandon Ross (A1, B2, C4)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGuitar [Octave] – Brandon Ross (A2, B1)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eClassical Guitar  – Brandon Ross (B1)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePedal Steel Guitar – Gib Wharton (C2-3, D1)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eResonator Guitar [National Resophonic] – Chris Whitley (D2)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eViolin – Charlie Burnham (A1, C4, D1)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMandocello – Charlie Burnham (C4)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAccordion – Tony Cedras (A2)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBass – Kenny Davis (A2-3, D1), Lonnie Plaxico (C4)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDrums – Lance Carter (A2), Bill McClellan (D1)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSnare – Kevin Johnson (A3), Lance Carter (C4)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePercussion – Kevin Johnson (B1), Lance Carter (B1), Vinx (B1), Bill McClellan (B3), Cyro Baptista (B3, C2-3, D1), Jeff Haynes (B3, C2-3, D1), Kevin Johnson (B3, C4), Lance Carter (B3), Vinx (B3)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCornet – Olu Dara (B2)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eClarinet – Don Byron (B3)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eArranged by Cassandra Wilson (C1, C3, D2), Brandon Ross (A1-2, B1-2), Kenny Davis (A3), Cyro Baptista (B3, C2-3), Gib Wharton (C3), Jeff Haynes (C3), Charlie Burnham (D1), Chris Whitley (D1)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by Cassandra Wilson (C1, C3, D1), Don Raye (A1), Gene Depaul (A1), Robert Johnson (A2, B2), Charles Brown (A3), Oscar Moore (A3), L. Creed (B1), T. Bell (B1), Joni Mitchell (B3), Cyro Baptista (C2), Brandon Ross (C4), Ann Peebles (D2), Bernard Miller (D2), Don Bryant (D2)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMusic by Van Morrison (C4)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLyrics by Jimi Hendrix (C4)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e2 LPs, gatefold jacket\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eLimited edition\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Pure Pleasure\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Blue Note\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded at Sear Sound Studios, New York\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineered by Danny Kopelson (A2 to C3, D1), Jamie Staub (A1, C4), Jimmy Douglass (D2)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMixed by Danny Kopelson (A1 to D1), Jimmy Douglass (D2)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Craig Street\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by Ron McMaster at Capitol Studios\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in November 1993\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in October 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\u003cp\u003e1 You Don’t Know What Love Is\u003c\/p\u003e\n\u003col start=\"2\"\u003e\n\u003cli\u003eCome On In My Kitchen\u003c\/li\u003e\n\u003cli\u003eTell Me You ‘ll Wait For Me\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eChildren Of The Night\u003c\/li\u003e\n\u003cli\u003eHellhound On My Trail\u003c\/li\u003e\n\u003cli\u003eBlack Crow\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide C:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eSankofa\u003c\/li\u003e\n\u003cli\u003eEstrellas\u003c\/li\u003e\n\u003cli\u003eRedbone\u003c\/li\u003e\n\u003cli\u003eTupelo Honey\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide D:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eBlue Light ‘Til Dawn\u003c\/li\u003e\n\u003cli\u003eI Can’t Stand The Rain\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003col\u003e\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAwards:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eMichael Fremer's 100 Recommended All-Analog LP Reissues Worth Owning - Rated 39\/100!\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp\u003e\"The sonics are superb, from the three-dimensional imaging and soundstaging to the ultra-transparency and rich atmospherics, this double LP set has it all. But more importantly, the production, the playing, the arranging and especially the sultry Wilson's vocalizing are transfixing.\" Michael Fremer, Analog Planet\u003c\/p\u003e\n\u003cp\u003e\"The British audiophile label Pure Pleasure has given Wilson's album the royal audiophile LP treatment with re-mastering by Blue Note's Ron McMaster, done at Capitol Studios. The CD release has been languorously stretched out over two LPs with none of the sides exceeding fifteen minutes. Right off with the Side A initial track, 'You Don't Know What Love Is,' you immediately hear the improvement in acoustics. Cassandra's smoky, sultry phrasing matched to the steel string guitar’s tone, and Charlie Burnham’s violin set a mood that grabs your attention and tells you something special is happening here. Wilson's delivery is impeccable and heartfelt. The soundstage is wide and crystal clear.\" Jeff Krow, Audiophile Audition\u003c\/p\u003e\n\u003cp\u003e\"This Pure Pleasure two-record set was not the first vinyl issue of this album, but it was certainly worth the wait. While I have no quibbles about the sound of the CD, these LPs improve on it meaningful ways. Wilson's voice is stunningly real, her presence anchoring each tune within the delicate soundscape that the recording captures so ably. Midrange density and treble filigree combine with a strong bass underpinning, guitars and percussion launch dynamically into digital territory, yet it is the small shifts in volume differentiating the touch of the musicians on their instruments that give the sonic picture its completeness. If you are used to the CD, these LPs will give you both a different and better window on the music, and they cost far less than a first-edition LP. As is usual for Pure Pleasure, the Pallas pressing is top notch, both in terms of its lack of surface noise and bottom-of-the-groove whoosh.\" Marc Mickelson, The Audiobeat\u003c\/p\u003e\n\u003cp\u003e“Cassandra Wilson has steadfastly refused to be pigeonholed or confined to any stylistic formula. Her highly anticipated Blue Note debut may stir renewed controversy, as she is once again all over the place. She begins the set with her intriguing version of \"You Don't Know What Love Is.\" Then she moves from two Robert Johnson covers (\"Come on in My Kitchen\" and \"Hellhound on My Trail\") through rock compositions from Van Morrison and Joni Mitchell, her own title track, blues cut \"Redbone,\" and a piercing version of \"I Can't Stand the Rain\" that can hold up to comparisons with Ann Peebles' classic. She doesn't have Johnson's menacing quality (who does?), but does invoke an equally compelling air. Wilson has great timing, pacing, and delivery, and certainly has blues sensibility in her sound.” AllMusic Review by Ron Wynn\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eAllMusic : 5 \/ 5 ; Discogs : 4.62 \/ 5 ; Michael Fremer : Music 9\/11, Sound 9\/11\u003c\/p\u003e\n\u003cp\u003eAudio Beat : 4.5\/5 Music, 4.5\/5 Sound ; Audiophile Audition : 4.5 \/ 5\u003c\/p\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003ch1\u003e\u003c\/h1\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":43646009016570,"sku":"PPAN BST81357","price":52.5,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/files\/cassandra-wilson-blue-light-til-dawn-2lp-audiosoundmusic-1.jpg?v=1719860605"},{"product_id":"booker-little-out-front-candid","title":"Booker Little - Out Front (Candid)","description":"\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eBooker Little - trumpet \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/booker-little\" title=\"vinyl featuring Booker Little\"\u003e\u003cspan style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Booker Little]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEric Dolphy - alto, bass clarinet, flute \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/eric-dolphy\" title=\"vinyl featuring 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\u003e\u003cstrong\u003eMax Roach - drums, tympani, vibes \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/max-roach\" title=\"Vinyl featuring Max Roach\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/max-roach\" target=\"_blank\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Max Roach]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRon Carter - bass (A1, B1, B2, B3) \u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e\u003ca title=\"Vinyl featuring Ron Carter\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/ron-carter\" style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/ron-carter\"\u003e[click here to see more vinyl featuring Ron Carter]\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eArt Davis - bass (A2, A3, B4)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJulian Priester - trombone\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDon Friedman - piano\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by Booker Little\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 : Candid\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Candid\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp style=\"font-weight: 400;\"\u003e\u003cstrong\u003eRecorded at Nola Penthouse Studios, New York City, 17 \u0026amp; April 4, 1961\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp style=\"font-weight: 400;\"\u003e\u003cstrong\u003eRecording engineer : Bob d’Orleans\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp style=\"font-weight: 400;\"\u003e\u003cstrong\u003eProduced by Nat Hentoff\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp style=\"font-weight: 400;\"\u003e\u003cstrong\u003eRemastered and lacquer cut by\u003c\/strong\u003e \u003cstrong\u003eBernie Grundman\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp style=\"font-weight: 400;\"\u003e\u003cstrong\u003eOriginally released in October 1961\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp style=\"font-weight: 400;\"\u003e\u003cstrong\u003eReissued in August 2023\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTrack :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv\u003eSide A :\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e1. We Speak\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e2. Strength And Sanity*\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e3. Quiet, Please\u003cbr\u003e\n\u003c\/div\u003e\n\u003cp\u003e\u003cbr\u003eSide B :\u003c\/p\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e1. Moods In Free Time*\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e2. Man Of Words*\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e3. Hazy Hues*\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e4. A New Day\u003c\/div\u003e\n\u003cp\u003e \u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAwards:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eFeatured in Michael Fremer's Heavy Rotation in the November 2007 Issue of Stereophile\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e« Booker Little was the first trumpet soloist to emerge in jazz after the death of Clifford Brown to have his own sound. His tragically brief life (he died at age 23 later in 1961) cut short what would have certainly been a major career. Little, on this sextet date with multi-reedist Eric Dolphy, trombonist Julian Priester, and drummer Max Roach, shows that his playing was really beyond bebop. His seven now-obscure originals (several of which deserve to be revived) are challenging for the soloists and there are many strong moments during these consistently challenging and satisfying performances. » AllMusic Review by Scott Yanow\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eThe brilliant young post-bop trumpeter Booker Little is heard here accompanied by an all-star band, including the saxophonist Eric Dolphy, the bassist Ron Carter and the drummer Max Roach, on a set that combines elements of bop and cool jazz, as well as Little's own imaginative flourishes, which display an authority and potential far beyond his mere 23 years.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eRating\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eAllMusic : 5 \/ 5 ; Discogs : 4.64 \/ 5 \u003cbr\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":47234007499087,"sku":"ACAN 30271","price":45.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/files\/booker-little-out-front-candid-audiosoundmusic-1.jpg?v=1719862285"},{"product_id":"rimsky-korsakov-scheherazade-fritz-reiner-chicago-symphony-orchestra-sacd","title":"Rimsky-Korsakov - Scheherazade - Fritz Reiner - Chicago Symphony Orchestra (SACD)","description":"\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003eNikolaï Rimski-Korsakov - \u003c\/strong\u003e\u003cstrong\u003eScheherazade Op. 35\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSidney Harth, violin solo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eChicago Symphony Orchestra\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFritz Reiner, conductor\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003eHybrid 3-Channel SACD\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Analogue Productions (RCA Living Stereo)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : RCA\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eRecorded in Orchestra Hall, Chicago, on February 8, 1960\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by Ryan Smith at Sterling Sound\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eProduced by Richard Mohr\u003c\/span\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003eOriginally released in 1960\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003eReissued in 2013\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cp\u003e\u003cstrong\u003eTracks :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv style=\"padding-left: 60px;\"\u003e1. The Sea And Sinbads Ship\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 60px;\"\u003e2. The Story Of The Kalender Prince\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 60px;\"\u003e\n\u003cp\u003e3. \u003cspan data-mce-fragment=\"1\"\u003eThe Young Prince And The Young Princess\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e4. Festival In Bagdad; The Sea; The Ship Goes To Pieces On A Rock Surmounted By A Bronze Warrior \u003c\/span\u003e(Shipwreck); Conclusion\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-US;\" lang=\"EN-US\"\u003e\"Anyone who says Reiner is a rigid and chilly conductor or the Chicago Symphony Orchestra just blasts away should listen to the suppleness of this finely nuanced performance. ... On the Analogue Productions SACD, the brasses have similar sizzle (as the RCA SACD) but are properly focused toward the rear of the orchestra. The solo violin is not edgy and the instrument is quite normal in size; you can almost visualize Sidney Harth playing it. The detail of the light percussion (triangle, snare drum, cymbals, tambourine) in the fourth movement is exquisite. The bass drum has plenty of punch, but it is tight and never muddies Rimsky-Korsakoff's transparent soundscape.\" — Arthur Lintgen, The Absolute Sound, January 2015\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-US;\" lang=\"EN-US\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\"My initial impressions are pretty clear: the new Analogue Productions RCA Living Stereo SACDs are definitely an improvement over the older BMG\/RCA SACDs. In fact, there's no doubt about it in my listening sessions. ... there is a better sense of space, more detail and deeper, richer lower frequencies. ... The dynamics on the APO SACD are better, of a certainty, to my ears. ... This is a remarkable accomplishment.\" — David W. Robinson, Editor-in-Chief, Positive Feedback Online.\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\"…The second movement is just ravishing in the beauty of the Chicago's playing and Reiner's romantic approach; there is some staccato triple-tonguing done by trumpeter Adolph Herseth in the fourth movement that should leave you, if not him, breathless. But let is just be said that, after you hear this, no other Scheherazade will ever replace it in your affections.\" HP's The Golden Dozen LPs – Harry Pearson, The Absolute Sound, June\/July 2007\u003c\/p\u003e\n\u003cp\u003e \u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003eRatings\u003c\/strong\u003e : \u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\u003cspan size=\"3\"\u003e\u003cspan size=\"3\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eDiscogs : 5 \/ 5 \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003ch1\u003e\u003cbr\u003e\u003c\/h1\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":48909825769807,"sku":"CAPC 2446 SA","price":49.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/files\/rimsky-korsakov-scheherazade-fritz-reiner-chicago-symphony-orchestra-sacd-audiosoundmusic-1.png?v=1719864232"},{"product_id":"muddy-waters-folk-singer-hybrid-sacd","title":"Muddy Waters - Folk Singer (Hybrid SACD)","description":"\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eGuitar, Vocals – Muddy Waters \u003ca data-mce-fragment=\"1\" title=\"vinyl featuring Muddy Waters\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/muddy-waters\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/muddy-waters\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"color: #ff8000;\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Muddy Waters]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBass – Willie Dixon\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDrums – Clifton James\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGuitar – Buddy Guy \u003cspan data-mce-fragment=\"1\" style=\"color: #ff8000;\"\u003e\u003ca data-mce-fragment=\"1\" style=\"color: #ff8000;\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/buddy-guy\" title=\"vinyl featuring Buddy Guy\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/buddy-guy\"\u003e[click here to see more vinyl featuring Buddy Guy]\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHybrid SACD\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel :  Analogue Productions\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label :  Chess\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded at Ter Mar Recording Studios - September, 1963\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineered by Ron Malo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Ralph Bass, Willie Dixon\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMastered by Kevin Gray at Cohearent Audio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCover by Don Bronstein\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 2011\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2022\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp style=\"padding-left: 40px;\"\u003e1. My Home Is In The Delta\u003cbr\u003e2. Long Distance\u003cbr\u003e3. My Captain\u003cbr\u003e4. Good Morning School Girl\u003cbr\u003e5. You Gonna Need My Help\u003cbr\u003e6. Cold Weather Blues\u003cbr\u003e7. Big Leg Woman\u003cbr\u003e8. Country Boy\u003cbr\u003e9. Feel Like Going Home\u003cbr\u003e10. The Same Thing\u003cbr\u003e11. You Can't Lose What You Ain't Ever Had\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAwards:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eMichael Fremer's 100 Recommended All-Analog LP Reissues Worth Owning - Rated 89\/100\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003c\/strong\u003e\"Muddy's \"unplugged\" album was cut in September of 1963 and still sounds fresh and vital today. It was Muddy simply returning to his original style on a plain acoustic guitar in a well-tuned room with Willie Dixon on string bass, Clifton James on drums, and Buddy Guy on second acoustic guitar. The nine tracks are divvied up between full rhythm section treatments with Buddy and Muddy as a duo and the final track, \"Feel Like Going Home,\" which Waters approaches solo. What makes this version of the album a worthwhile buy is the inclusion of five bonus tracks from his next two sessions: An April 1964 session brings us Willie Dixon's \"The Same Thing\" and Muddy's \"You Can't Lose What You Never Had,\" while the October 1964 session features J.T. Brown on sax and clarinet on \"Short Dress Woman\" and \"My John the Conqueror Root,\" as well as \"Put Me in Your Lay Away,\" another strong side. Folk Singer offers both sides of Muddy from the early '60s.\" AllMusic Review by Cub Koda\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 4.8 \/5  , Rolling Stone 500 Greatest Albums of All Time - Rated 282\/500\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eNotes:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eTracks 10 and 11 are bonus tracks, taken from the next two consecutive studio sessions for Chess, in April and October 1964. There are a handful of landmark albums in any genre. In the blues, one of them is Muddy Waters' Folk Singer. Originally released in 1964, Folk Singer was the only acoustic album Waters ever recorded, thus becoming the first and perhaps best blues concept album ever. Muddy of course started out playing acoustic blues in the Delta, and he's clearly very comfortable in this return to his roots, which was designed to appeal to the mid-1960s surge of interest in folk music.\u003cbr\u003eThis hybrid SACD contains a stereo CD layer that can be played on most conventional CD players!\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":48988841312591,"sku":"CAPB 1483 SA","price":49.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/files\/muddy-waters-folk-singer-hybrid-sacd-audiosoundmusic-1.png?v=1719864338"},{"product_id":"duke-ellington-and-his-orchestra-ellington-indigos-45-rpm-mono","title":"Duke Ellington and his orchestra – Ellington Indigos (2LP, 45 RPM, Mono)","description":"\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan style=\"mso-ansi-language: EN-US;\" lang=\"EN-US\"\u003eIncludes 4 All-Analog Mono Bonus Tracks on Vinyl for the First Time\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eDuke Ellington, piano \u003ca data-mce-fragment=\"1\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/duke-ellington\" title=\"Vinyl featuring Duke Ellington\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/duke-ellington\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"color: #ff8000;\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Duke Ellington]\u003c\/span\u003e\u003c\/a\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDuke Ellington's Orchestra:\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\u003cstrong\u003eRay Nance, \"Cat\" Anderson, \"Shorty\" Baker, Clark Terry, Willie Cook, trumpets\u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eSam Woodyard, drums\u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eJohn Sanders, Britt Woodman, Quentin Jackson, trombones\u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eJimmy Wood, bass\u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eJohnny Hodges, Harry Carney, Russell Procope, Jimmy Hamilton, Paul Gonsalves, sax\u003c\/strong\u003e\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cp\u003e\u003cstrong\u003e2 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003e\u003cstrong\u003eLimited to 3,000 numbered copies\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 45RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12”\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMono\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : RTI\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Impex Records\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Columbia\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded March 13, September 9 to October 14, 1957\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Charles L. Granata \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by \u003cmeta charset=\"utf-8\"\u003e \u003cspan style=\"mso-ansi-language: EN-US;\" lang=\"EN-US\"\u003eChris Bellman \u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1958\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2024\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eSolitude\u003c\/li\u003e\n\u003cli\u003eWhere Or When\u003c\/li\u003e\n\u003cli\u003eMood Indigo\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eAutumn Leaves\u003c\/li\u003e\n\u003cli\u003ePrelude To a Kiss\u003c\/li\u003e\n\u003cli\u003eWillow Weep For Me\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003eSide C :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eTenderly\u003c\/li\u003e\n\u003cli\u003eDancing In the Dark\u003c\/li\u003e\n\u003cli\u003eNight and Day\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003eSide D :\u003c\/p\u003e\n\u003col\u003e\n\u003cli class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-US\" style=\"mso-ansi-language: EN-US;\"\u003eAll the Things You Are\u003c\/span\u003e\u003c\/li\u003e\n\u003cli class=\"MsoNormal\"\u003e\n\u003cspan lang=\"EN-US\" style=\"mso-ansi-language: EN-US;\"\u003e\u003c\/span\u003e\u003cspan lang=\"EN-US\" style=\"mso-ansi-language: EN-US;\"\u003eThe Sky Fell Down\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"MsoNormal\"\u003e\n\u003cspan lang=\"EN-US\" style=\"mso-ansi-language: EN-US;\"\u003e\u003c\/span\u003e\u003cspan lang=\"EN-US\" style=\"mso-ansi-language: EN-US;\"\u003eLove (My Heart, My Mind, My Everything)\u003c\/span\u003e\n\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAwards\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cheader\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eTAS Super LP List! Special Merit: Informal\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/header\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cb\u003eMichael Fremer's 100 Recommended All-Analog LP Reissues Worth Owning - Rated 3\/100!\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e\u003ca href=\"https:\/\/www.analogplanet.com\/content\/gruvy-awards\" style=\"color: #ff2a00;\"\u003eWinner of a Gruvy Award, chosen by AnalogPlanet's editor, Michael Fremer, for vinyl records that are musically and sonically outstanding and are also well mastered and pressed.\u003c\/a\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e\u003cspan class=\"421441414-17032005\"\u003e\u003cspan size=\"2\" color=\"#ff0000\" face=\"Arial\"\u003eStereophile Records to Die For - 2020\u003c\/span\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e\"The recording is superb in every way: texturally, harmonically and especially spatially. I guess it's difficult for some to imagine 1957 producing an utterly transparent, three-dimensional recording but trust me, everything you might be looking for sonically is here. Finding a quiet original is not easy, especially because of the purposely quiet and somewhat distant production. It's designed to make you step into it, not bring it to you. Kevin Gray's cut from a 1:1 copy at 30IPS from the original master is to my ears better than any of the originals I have here, particularly in terms of high frequency extension and transparency. Of course the RTI pressing is dead silent. What a treat!\"\u003cb\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e- Michael Fremer, www.analogplanet.com\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\"Hugely recommended, and one of the best Ellington reissues to date!\" Robert H. Levi, Positive Feedback\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003e\"'Solitude' begins with Ellington's quietly introspective solo, but when his band jumps in a huge grin will cross your face as this Kevin Gray-mastered platter from Impex bursts to life with a sound as enveloping as a warm bath... There isn't a filler in the bunch. I have no original for comparison, but Gray's work is as good as it gets, and whatever limitations are evident here - a large but mostly shallow stage and the piano are about it - hardly interfere with this musical treasure.\"\u003cb\u003e \u003c\/b\u003eWayne Garcia, The Absolute Sound\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003e\"\u003c\/span\u003eNext to Kind of Blue, Ellington’s Indigos may be the biggest jazz audiophile chestnut, an LP every record collector worth his or her salt has made a top priority of bagging. It’s a recording made by Columbia in 1958 at the height of its recording prowess, and the fabulous sound achieved in this recording is among the very best things Columbia ever recorded. Ellington was being “rediscovered” in the 1950s and while some may carp that he wasn’t up to his earlier standards, the sessions he recorded for Columbia are still among recorded music’s highest achievements.\u003c\/p\u003e\n\u003cp\u003eThe arrangements and song selection on this album are out of this world. Paul Gonsalves’ solo on “Where or When” is one of the most beautiful recordings he ever made. This reissue by Impex was mastered by Kevin Gray. The highs have not disappeared from the tapes–cymbals retain their shimmer and the upper registers of the piano have not suffered from tape degradation. Indeed, in the high frequencies the Impex has more information than my original pressing. Improvements can also be noted in the middle registers, where the instruments have a slightly fuller, more textured sound than on the already fine original. This is ear and soul candy wrapped in a tidy package.\" DENNIS DAVIS, HIFI+ MAGAZINE, JANUARY 2013\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003e\"An easy listening set of ballads (only three of the ten songs were associated with Ellington), this is a relaxing if unexciting program. On this reissue, two \"new\" performances (\"Night and Day\" and a trio version of \"All the Things You Are\") were added to the original LP, but one song (\"The Sky Fell Down\") was dropped and an alternate version of \"Autumn Leaves\" was substituted for the original; all 12 performances could have easily fit. Nice subtle music, but not essential.\" AllMusic Review by Scott Yanow\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eAllMusic : 2 \/ 5 , Discogs : 4,22 \/ 5 ,  \u003cspan data-mce-fragment=\"1\"\u003eMichael Fremer : Music 9\/11, Sound 9\/11\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":49053747544399,"sku":"IMXLP6058-45","price":95.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/files\/duke-ellington-and-his-orchestra-ellington-indigos-2lp-45-rpm-mono-purple-vinyl-audiosoundmusic-1.png?v=1719864529"},{"product_id":"duke-ellington-and-his-orchestra-ellington-indigos-45-rpm-color-purple-65th-anniversary-mono-numbered-limited-edition","title":"Duke Ellington and his orchestra – Ellington Indigos (2LP, 45 RPM, Mono, Purple vinyl)","description":"\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan lang=\"EN-US\" style=\"mso-ansi-language: EN-US;\"\u003eIncludes 4 All-Analog Mono Bonus Tracks on Vinyl for the First Time\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eDuke Ellington, piano \u003ca title=\"Vinyl featuring Duke Ellington\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/duke-ellington\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/duke-ellington\" data-mce-fragment=\"1\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-style=\"color: #ff8000;\" data-mce-fragment=\"1\"\u003e[click here to see more vinyl featuring Duke Ellington]\u003c\/span\u003e\u003c\/a\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDuke Ellington's Orchestra:\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\u003cstrong\u003eRay Nance, \"Cat\" Anderson, \"Shorty\" Baker, Clark Terry, Willie Cook, trumpets\u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eSam Woodyard, drums\u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eJohn Sanders, Britt Woodman, Quentin Jackson, trombones\u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eJimmy Wood, bass\u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eJohnny Hodges, Harry Carney, Russell Procope, Jimmy Hamilton, Paul Gonsalves, sax\u003c\/strong\u003e\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cp\u003e\u003cstrong\u003e2 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003e\u003cstrong\u003eLimited to 1,000 numbered copies\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : Purple\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 45RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12”\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMono\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : RTI\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Impex Records\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Columbia\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded March 13, September 9 to October 14, 1957\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Charles L. Granata \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by \u003cmeta charset=\"utf-8\"\u003e \u003cspan lang=\"EN-US\" style=\"mso-ansi-language: EN-US;\"\u003eChris Bellman \u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1958\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2024\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eSolitude\u003c\/li\u003e\n\u003cli\u003eWhere Or When\u003c\/li\u003e\n\u003cli\u003eMood Indigo\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eAutumn Leaves\u003c\/li\u003e\n\u003cli\u003ePrelude To a Kiss\u003c\/li\u003e\n\u003cli\u003eWillow Weep For Me\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003eSide C :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eTenderly\u003c\/li\u003e\n\u003cli\u003eDancing In the Dark\u003c\/li\u003e\n\u003cli\u003eNight and Day\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003eSide D :\u003c\/p\u003e\n\u003col\u003e\n\u003cli class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-US;\" lang=\"EN-US\"\u003eAll the Things You Are\u003c\/span\u003e\u003c\/li\u003e\n\u003cli class=\"MsoNormal\"\u003e\n\u003cspan style=\"mso-ansi-language: EN-US;\" lang=\"EN-US\"\u003e\u003c\/span\u003e\u003cspan style=\"mso-ansi-language: EN-US;\" lang=\"EN-US\"\u003eThe Sky Fell Down\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"MsoNormal\"\u003e\n\u003cspan style=\"mso-ansi-language: EN-US;\" lang=\"EN-US\"\u003e\u003c\/span\u003e\u003cspan style=\"mso-ansi-language: EN-US;\" lang=\"EN-US\"\u003eLove (My Heart, My Mind, My Everything)\u003c\/span\u003e\n\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAwards\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cheader\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eTAS Super LP List! Special Merit: Informal\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/header\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cb\u003eMichael Fremer's 100 Recommended All-Analog LP Reissues Worth Owning - Rated 3\/100!\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e\u003ca style=\"color: #ff2a00;\" href=\"https:\/\/www.analogplanet.com\/content\/gruvy-awards\"\u003eWinner of a Gruvy Award, chosen by AnalogPlanet's editor, Michael Fremer, for vinyl records that are musically and sonically outstanding and are also well mastered and pressed.\u003c\/a\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e\u003cspan class=\"421441414-17032005\"\u003e\u003cspan face=\"Arial\" color=\"#ff0000\" size=\"2\"\u003eStereophile Records to Die For - 2020\u003c\/span\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e\"The recording is superb in every way: texturally, harmonically and especially spatially. I guess it's difficult for some to imagine 1957 producing an utterly transparent, three-dimensional recording but trust me, everything you might be looking for sonically is here. Finding a quiet original is not easy, especially because of the purposely quiet and somewhat distant production. It's designed to make you step into it, not bring it to you. Kevin Gray's cut from a 1:1 copy at 30IPS from the original master is to my ears better than any of the originals I have here, particularly in terms of high frequency extension and transparency. Of course the RTI pressing is dead silent. What a treat!\"\u003cb\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e- Michael Fremer, www.analogplanet.com\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\"Hugely recommended, and one of the best Ellington reissues to date!\" Robert H. Levi, Positive Feedback\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003e\"'Solitude' begins with Ellington's quietly introspective solo, but when his band jumps in a huge grin will cross your face as this Kevin Gray-mastered platter from Impex bursts to life with a sound as enveloping as a warm bath... There isn't a filler in the bunch. I have no original for comparison, but Gray's work is as good as it gets, and whatever limitations are evident here - a large but mostly shallow stage and the piano are about it - hardly interfere with this musical treasure.\"\u003cb\u003e \u003c\/b\u003eWayne Garcia, The Absolute Sound\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003e\"\u003c\/span\u003eNext to Kind of Blue, Ellington’s Indigos may be the biggest jazz audiophile chestnut, an LP every record collector worth his or her salt has made a top priority of bagging. It’s a recording made by Columbia in 1958 at the height of its recording prowess, and the fabulous sound achieved in this recording is among the very best things Columbia ever recorded. Ellington was being “rediscovered” in the 1950s and while some may carp that he wasn’t up to his earlier standards, the sessions he recorded for Columbia are still among recorded music’s highest achievements.\u003c\/p\u003e\n\u003cp\u003eThe arrangements and song selection on this album are out of this world. Paul Gonsalves’ solo on “Where or When” is one of the most beautiful recordings he ever made. This reissue by Impex was mastered by Kevin Gray. The highs have not disappeared from the tapes–cymbals retain their shimmer and the upper registers of the piano have not suffered from tape degradation. Indeed, in the high frequencies the Impex has more information than my original pressing. Improvements can also be noted in the middle registers, where the instruments have a slightly fuller, more textured sound than on the already fine original. This is ear and soul candy wrapped in a tidy package.\" DENNIS DAVIS, HIFI+ MAGAZINE, JANUARY 2013\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003e\"An easy listening set of ballads (only three of the ten songs were associated with Ellington), this is a relaxing if unexciting program. On this reissue, two \"new\" performances (\"Night and Day\" and a trio version of \"All the Things You Are\") were added to the original LP, but one song (\"The Sky Fell Down\") was dropped and an alternate version of \"Autumn Leaves\" was substituted for the original; all 12 performances could have easily fit. Nice subtle music, but not essential.\" AllMusic Review by Scott Yanow\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eAllMusic : 2 \/ 5 , Discogs : 4,22 \/ 5 ,  \u003cspan data-mce-fragment=\"1\"\u003eMichael Fremer : Music 9\/11, Sound 9\/11\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":49053822386511,"sku":"IMXLP6060-45","price":199.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/files\/duke-ellington-and-his-orchestra-ellington-indigos-2lp-45-rpm-mono-purple-vinyl-audiosoundmusic-1.png?v=1719864529"},{"product_id":"fritz-reiner-the-reiner-sound-ravel-rachmaninov-hybrid-sacd","title":"Fritz Reiner - The Reiner Sound - Ravel, Rachmaninov (Hybrid SACD)","description":"\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eChicago Symphony Orchestra\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFritz Reiner, conductor\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 Hybrid SACD\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Analogue Productions\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : RCA\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eRecorded November 3, 1956 (Rapsodie Espagnole), March 2, 1957 (Pavane) and April 13, 1957 (Rachmaninov) in Orchestra Hall, Chicago, IL.\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by Ryan Smith at Sterling Sound\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eProduced by Richard Mohr\u003c\/span\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003eOriginally released in 1958\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cp\u003e\u003cstrong\u003eTracks :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv style=\"padding-left: 60px;\"\u003e\n\u003cp class=\"MsoNormal\"\u003eRapsodie Espagnole\u003cspan style=\"mso-tab-count: 1;\"\u003e   \u003c\/span\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli class=\"MsoNormal\"\u003ePrélude À La Nuit\u003c\/li\u003e\n\u003cli class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-US\" style=\"mso-ansi-language: EN-US;\"\u003eMalagueña\u003c\/span\u003e\u003c\/li\u003e\n\u003cli class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-US\" style=\"mso-ansi-language: EN-US;\"\u003eHabanera\u003c\/span\u003e\u003c\/li\u003e\n\u003cli class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-US\" style=\"mso-ansi-language: EN-US;\"\u003eFeria\u003c\/span\u003e\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e\u003cspan lang=\"EN-US\" style=\"mso-ansi-language: EN-US;\"\u003e5. Pavan For A Dead Princess\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan lang=\"EN-US\" style=\"mso-ansi-language: EN-US;\"\u003e6. Isle Of The Dead, Op. 29\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eReviews\u003c\/strong\u003e :\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp\u003e\"Between the Classic Records and Analogue Productions reissues I have, the Classic Records version has EQ that emphasizes the bass frequencies for colossal bass trombones you feel as much as hear, while the Analogue Productions version sounds more neutral and emphasizes the woodwinds and the idiosyncratic textures that come from reeds made by the players themselves, so that no two are truly alike. Overall I prefer the Analogue Productions version as it fully preserves the dramatic stereo imaging of the era when records tried to capture the space the orchestra performed in as well as the orchestra itself.\" Rating 95% —\u003cspan\u003e \u003c\/span\u003e\u003cem\u003evintagevinylgarden.com\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\"Grade: A+. As good as this record has ever sounded. Liquidly beautiful string and wind tone, very deep and powerful bass (although the orchestra occasionally overloads the mics or mic preamps, as it does on the original RCA pressings), sensational dynamics on both the Ravel\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eRapsodie\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eand the Rachmaninoff\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eIsle of the Dead\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003e(with some of the lifelike ease you usually only hear on reel-to-reel tape), and astonishing preservation of inner detail (some of which I haven't heard before this clearly on vinyl or digital).\" — Jonathan Valin,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eThe Absolute Sound.com\u003c\/em\u003e, June 11, 2013.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eRatings\u003c\/strong\u003e : \u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\u003cspan size=\"3\"\u003e\u003cspan size=\"3\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eAllMusic : 3 \/ 5 , Discogs : 4.45 \/ 5  \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003ch1\u003e\u003cbr\u003e\u003c\/h1\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":49610705699151,"sku":"CAPC 2183 SA","price":49.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/files\/Captured_ecran2024-09-05a22.59.40.png?v=1725570068"},{"product_id":"dusty-springfield-dusty-in-memphis-2lp-45rpm-180g-atlantic75-series","title":"Dusty Springfield - Dusty In Memphis (2LP, 45RPM)","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDusty Springfield – vocals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe Sweet Inspirations – backing vocals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReggie Young – guitar, sitar\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTommy Cogbill – bass guitar, guitar on \"Don't Forget About Me\"\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBobby Emmons – organ, electric piano, congas on \"The Windmills of Your Mind\"\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBobby Wood – acoustic piano\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGene Chrisman – drums\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMike Leech – congas on \"Don't Forget About Me\" and \"In the Land of Make Believe\"\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEd Kollis – harmonica\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eArif Mardin – arranger, strings arranger, horns arranger\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTom Dowd – arranger, horns arranger\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGene Orloff – conductor, arranger\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e2 LP, \u003cspan style=\"mso-ansi-language: EN-US;\" lang=\"EN-US\"\u003egatefold double pocket jacket by Stoughton Printing\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003e\u003cstrong\u003e\u003cspan style=\"mso-ansi-language: EN-US;\" lang=\"EN-US\"\u003eLimited Edition\u003c\/span\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 45 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Quality Record Pressings\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Analogue Productions - \u003c\/strong\u003e\u003cstrong\u003eAtlantic 75 Series\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Atlantic \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded\u003c\/strong\u003e \u003cstrong\u003eSeptember 1968 at American Sound Studios in Memphis, Tennessee with vocal overdubbing at Atlantic Studios in New York\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineered by Tom Dowd\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Jerry Wexler, Arif Mardin, Tom Dowd\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1969\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2024\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eJust A Little Lovin'\u003c\/li\u003e\n\u003cli\u003eSo Much Love\u003c\/li\u003e\n\u003cli\u003eSon Of A Preacher Man\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eI Don't Want To Hear It Anymore\u003c\/li\u003e\n\u003cli\u003eDon't Forget About Me\u003c\/li\u003e\n\u003cli\u003eBreakfast In Bed\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide C:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eJust One Smile\u003c\/li\u003e\n\u003cli\u003eThe Windmills Of Your Mind\u003c\/li\u003e\n\u003cli\u003eIn The Land Of Make Believe\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide D:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eNo Easy Way Down\u003c\/li\u003e\n\u003cli\u003eI Can't Make It Alone\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAwards:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eMichael Fremer's 100 Recommended All-Analog LP Reissues Worth Owning - Ranked 85\/100!\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eRolling Stone 500 Greatest Albums of All Time - Ranked 83\/500\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eRolling Stone 500 Greatest Songs of All Time - \"Son of a Preacher Man\" - Ranked 242\/500\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eInducted into the Grammy Hall of Fame in 2001\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eNumber 171 in the third edition of Colin Larkin's All Time Top 1000 Albums (2000)\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eTAS Super LP List! Special Merit: Informal\u003c\/strong\u003e\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e Stereophile February 2012 Recording of the Month\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp\u003e“Sometimes memories distort or inflate the quality of recordings deemed legendary, but in the case of Dusty in Memphis, the years have only strengthened its reputation. The idea of taking England's reigning female soul queen to the home of the music she had mastered was an inspired one. The Jerry Wexler\/Tom Dowd\/Arif Mardin production and engineering team picked mostly perfect songs, and those that weren't so great were salvaged by Springfield's marvelous delivery and technique. This set has definitive numbers in \"So Much Love,\" \"Son of a Preacher Man,\" \"Breakfast in Bed,\" \"Just One Smile,\" \"I Don't Want to Hear About It Anymore,\" and \"Just a Little Lovin'\" and three bonus tracks: an unreleased version of \"What Do You Do When Love Dies,\" \"Willie \u0026amp; Laura Mae Jones\" and \"That Old Sweet Roll (Hi-De-Ho).\" It's truly a disc deserving of its classic status.” AllMusic Review by Richie Unterberger\u003c\/p\u003e\n\u003cp\u003e“Someone new to this record might not get the joke of its “aw shucks” cover.  Fail to take it seriously at your own risk. Dusty in Memphis was, and remains, one of the great albums of the classic-rock era. Dusty Springfield was keeping up with the fast-moving times of 1968—she had a string of hits in the U.K. and U.S. unrivaled by any other female singer—but songs like “You Don’t Own Me” sounded old-fashioned by the late 60s.  She signed with Atlantic Records, one of the hippest labels of the day, and headed for Memphis and the American Sound Studios to record her first all-R\u0026amp;B album.\u003c\/p\u003e\n\u003cp\u003eThere, Springfield micro-managed Atlantic’s Jerry Wexler in the studio regarding the choice of material and takes. During the recording sessions, she found time to recommend Atlantic sign a new band called Led Zeppelin. Her advice to Atlantic made the label wealthy, but her new LP proved a bit of a commercial fizzle and did not have the hoped-for impact on her career. However, it became a critical success and, years after its 1969 release, was rediscovered and elevated to iconic status, finding its way onto most every meaningful list of the era’s great rock LPs.\u003c\/p\u003e\n\u003cp\u003eEvery cut is impactful—from “Son of a Preacher Man” to “Just a Little Lovin’”—and the album filled with compositions from songwriting royalty, including Randy Newman and Gerry Goffin and Carole King. Dusty in Memphis has been sampled, copied, and given tribute countless times. Even its sound remains unique—the big, fat, lush sonics designed to worm their way into your self-conscious.\u003c\/p\u003e\n\u003cp\u003eWhile Dusty in Memphis stands as Springfield’s masterpiece, her audiophile calling card became the song “The Look of Love” from the 1967 Casino Royale film score. Dusty in Memphis never struck anyone as audiophile fare—well recorded but not demonstration quality. The original LP shows music distributed left, right, and center, with little fill between the three areas and not much depth. But it’s a whole lot better than most of the era’s rock recordings and possesses enough dynamic range to shame 95% of 21st century releases.” Dennis Davis, Vinyl Reviews,\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eAllMusic : 5 \/ 5 ; Discogs : 4,76 \/ 5 ; Hi-Fi News : Sound Quality = 99% ; Michael Fremer : Music = 9\/11, Sound = 9\/11 ; Stereophile : Performance = 5\/5, Sound = 5\/5 ; Hi-Fi + : Recording = 10\/10; Music = 10\/10\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":49758816633167,"sku":"AAPA 017-45","price":95.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/files\/Captured_ecran2024-09-27a19.29.58.png?v=1727458266"},{"product_id":"the-dave-brubeck-quartet-time-out-2lp-45rpm-unsealed","title":"\u003ctranscy\u003eThe Dave Brubeck Quartet - Time Out (2LP, 45 tours)\u003c\/transcy\u003e","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan style=\"color: #ff2a00;\"\u003eRARITY - Uns\u003c\/span\u003e\u003cspan style=\"color: #ff2a00;\"\u003eealed (mint conditions)\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDave Brubeck - piano \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/dave-brubeck\" title=\"Vinyl featuring Dave Brubeck\" style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Dave Brubeck]\u003c\/a\u003e\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePaul Desmond - alto saxophone \u003cspan style=\"color: #ff8000;\"\u003e\u003ca title=\"vinyl featuring Paul Desmond\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/paul-desmond\" style=\"color: #ff8000;\"\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\u003eJoe Morell (drums), Gene Wright (bass)\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e2LPs, gatefold jacket\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 45 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : 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 : Columbia\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded June 25, July 1, and August 18, 1959 in Columbia's 30th Street Studio in New York City\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Teo Macero\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1959\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2021\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\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\u003eBlue Rondo A La Turk\u003c\/li\u003e\n\u003cli\u003eStrange Meadow Lark\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eTake Five\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide C :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eThree To Get Ready\u003c\/li\u003e\n\u003cli\u003eKathy's Waltz\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide D :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eEverybody's Jumpin'\u003c\/li\u003e\n\u003cli\u003ePick Up Sticks\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 style=\"font-variant-ligatures: normal; font-variant-caps: normal; orphans: 2; text-align: start; widows: 2; -webkit-text-stroke-width: 0px; word-spacing: 0px; margin: 0cm 0cm 12pt;\"\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cb\u003eMichael Fremer's 100 Recommended All-Analog LP Reissues Worth Owning - Rated 14\/100!\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"color: #ff2a00;\" color=\"#B12704\"\u003e\u003cb\u003eTAS Super LP List! Special Merit: Informal\u003c\/b\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; word-spacing: 0px; margin: 0cm 0cm 12pt;\"\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eThe album was inducted in the Grammy Hall of Fame in 2009\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 23\u003c\/strong\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; word-spacing: 0px; margin: 0cm 0cm 12pt;\"\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e\u003ci\u003eTime Out\u003c\/i\u003e was the first jazz album to sell more than a million copies.\u003c\/strong\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; word-spacing: 0px; margin: 0cm 0cm 12pt;\"\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eThe album was certified platinum in 1997 and double platinum in 2011\u003c\/strong\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; word-spacing: 0px; margin: 0cm 0cm 12pt;\"\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; word-spacing: 0px; margin: 0cm 0cm 12pt;\"\u003e\u003cstrong\u003eReviews :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e« Dave Brubeck's defining masterpiece, Time Out is one of the most rhythmically innovative albums in jazz history, the first to consciously explore time signatures outside of the standard 4\/4 beat or 3\/4 waltz time. It was a risky move -- Brubeck's record company wasn't keen on releasing such an arty project, and many critics initially roasted him for tampering with jazz's rhythmic foundation. But for once, public taste was more advanced than that of the critics. Buoyed by a hit single in altoist Paul Desmond's ubiquitous \"Take Five,\" Time Out became an unexpectedly huge success, and still ranks as one of the most popular jazz albums ever. That's a testament to Brubeck and Desmond's abilities as composers, because Time Out is full of challenges both subtle and overt -- it's just that they're not jarring. Brubeck's classic \"Blue Rondo à la Turk\" blends jazz with classical form and Turkish folk rhythms, while \"Take Five,\" despite its overexposure, really is a masterpiece; listen to how well Desmond's solo phrasing fits the 5\/4 meter, and how much Joe Morello's drum solo bends time without getting lost. The other selections are richly melodic as well, and even when the meters are even, the group sets up shifting polyrhythmic counterpoints that nod to African and Eastern musics. Some have come to disdain Time Out as its become increasingly synonymous with upscale coffeehouse ambience, but as someone once said of Shakespeare, it's really very good in spite of the people who like it. It doesn't just sound sophisticated -- it really is sophisticated music, which lends itself to cerebral appreciation, yet never stops swinging. Countless other musicians built on its pioneering experiments, yet it's amazingly accessible for all its advanced thinking, a rare feat in any art form. This belongs in even the most rudimentary jazz collection. » AllMusic Review by Steve Huey\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\"The results speak for themselves: the platters from QRP are in my experience the most consistently flat and quiet being pressed today ... at least for the foreseeable here and now, Analogue Productions' newly mastered 45 RPM (Brubeck) is the edition to own. You'll hear it right from the familiar piano intro to \"Blue Rondo a la Turk,\" where Brubeck's playing seems richer, more lyrical, more rhythmically alive. It seems to me that as our gear gets ever more quiet, these QRP LPs continue to wring more musical nuance from the finest recordings.\" Wayne Garcia, \u003c\/span\u003e\u003cem\u003eThe Absolute Sound\u003c\/em\u003e\u003cspan\u003e, January 2013.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e“I've now heard a number of LPs from Quality Record Pressings (QRP), Chad Kassem's year-and-a-half-old record-pressing plant. Before \u003c\/span\u003e\u003cem\u003eTime Out\u003c\/em\u003e\u003cspan\u003e, I would have said that some positive trends were apparent from the earlier LPs I've heard. However, this current pressing is so much better than those that came before it, which were certainly very good, that it's obvious things have improved considerably over the past year. \u003c\/span\u003eIt's a positive sign when the noise floor is defined by the hiss of the master tape, not the quality of the pressing or vinyl, and that's the case here.\u003cspan\u003e Having heard many, many Pallas and RTI pressings, the main competition for QRP, I would say that \u003c\/span\u003eQRP pressings combine the strengths of both its competitors: the very low surface noise and bottom-of-the-groove quiet of Pallas LPs and the sharp delineation of musical detail of RTI.\" \u003cspan\u003eMarc Mickelson, \u003c\/span\u003e\u003cem\u003eThe Audio Beat\u003c\/em\u003e\u003cspan\u003e, August 2012\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\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; word-spacing: 0px; margin: 0cm 0cm 12pt;\"\u003e\u003cspan\u003eThe Dave Brubeck Quartet’s “Take Five” is arguably the most familiar and beloved jazz composition of all time. Written primarily by alto saxophonist Paul Desmond and recorded by the “classic” Quartet lineup (Brubeck, Desmond, drummer Joe Morello, and bassist Eugene Wright), it was the first jazz single to sell over a million copies, and remains the most recognized track on their iconic “Time Out” LP, which reached Double Platinum status in 2011. During live performances, audience members would request it with mid-concert shouts, and halls would erupt with recognition as Joe and Dave would swing into the distinctive 5\/4 drum-and-piano intro.\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; word-spacing: 0px; margin: 0cm 0cm 12pt;\"\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; word-spacing: 0px; margin: 0cm 0cm 12pt;\"\u003e\u003cstrong\u003eRatings :\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; word-spacing: 0px; margin: 0cm 0cm 12pt;\"\u003eAllMusic : 5 \/5  ,  \u003cspan\u003eWayne Garcia : \u003c\/span\u003e\u003cspan\u003eMusic = 5\/5; Sound = 5\/5 ,  \u003cem\u003eThe Audio Beat : \u003c\/em\u003eSound = 4.5\/5; Music = 5\/5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":55479960273231,"sku":"AAPJ 8192-45 unsealed","price":75.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/the-dave-brubeck-quartet-time-out-2lp-45rpm-audiosoundmusic-1.jpg?v=1719851398"}],"url":"https:\/\/www.audiosoundmusic.com\/fr\/collections\/analogplanet-all-analog-lp-reissues-worth-owning.oembed?page=2","provider":"AudioSoundMusic","version":"1.0","type":"link"}