{"title":"\u003ctranscy\u003eFolk\u003c\/transcy\u003e","description":"","products":[{"product_id":"shakti-with-john-mclaughlin-natural-elements","title":"\u003ctranscy\u003eShakti with John McLaughlin - Natural Elements\u003c\/transcy\u003e","description":"\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eJohn McLaughlin - guitar vocals \u003cspan data-mce-fragment=\"1\"\u003e\u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/john-mclaughlin\" title=\"vinyl featuring john mclaughlin\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/john-mclaughlin\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring John McLaughlin]\u003c\/span\u003e\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eL. Shankar (v, va, voc); Zakir Hussain (perc, voc); T.H. Vinayakram (perc, harp, voc)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by Mc Laughlin (A1, A2, A4, B1, B2, B3, B4) and L. Shankar (A2, A3, A4, B2, B3)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Speakers Corner\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Columbia\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eRecording: July 1977 at Aquarius Studios, Geneva (Switzerland), by Jean Ristori\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eProduction: John McLaughlin\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eOriginally released in 1977\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eReissued in 2014\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eTracks : \u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003cp\u003e                1. Mind Ecology\u003c\/p\u003e\n\u003cp\u003e                2. Face To Face\u003c\/p\u003e\n\u003cp\u003e                3. Come On Baby Dance\u003c\/p\u003e\n\u003cp\u003e                4. The Daffodil And The Eagle\u003c\/p\u003e\n\u003cp\u003eSide 2\u003c\/p\u003e\n\u003cp\u003e                1. Happiness Is Being Together\u003c\/p\u003e\n\u003cp\u003e                2. Bridge Of Sighs\u003c\/p\u003e\n\u003cp\u003e                3. Get Down And Sruti\u003c\/p\u003e\n\u003cp\u003e                4. Peace Of Mind\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e« The third and final Shakti recording from the '70s. The songs here are shorter than those on Shakti and Handful of Beauty, but no less impressive. The novelty of combining Eastern and Western musical styles had worn off and McLaughlin sounds comfortable. This allows for memorable compositions and interchanges, rather than the blistering virtuosity that characterized the first two releases. From the intense (\"Daffodil and the Eagle\") to the joyful (\"Happiness Is Being Together\"), Natural Elements stands as a milestone in McLaughlin's illustrious career. » AllMusic Review by Robert Taylor\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIn the western world, the word shakti is taken to mean creative intelligence, beauty and strength. Guitar marvel John McLaughlin, who collaborated with the unique Mahavishnu Orchestra to tell the world of his conversion to Hinduism, created music past comparison with Shakti. Despite the frenzy of mass oriental pilgrimages, it was still unusual that McLaughlin’s ensemble was made up totally of musicians from India.\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eAs the title of the third and last album – \"Natural Elements\" – suggests, all the participants work with body and soul and make no use of electronic equipment that was so popular in the Seventies. The very real natural energy, which emanates from the flow of melodies and rhythms from both western and eastern musical sources, fires all the musicians. And it is completely intentional that a cheerful fiddle tune, which might well be heard in the Emerald Isle, is joined by plopping volleys of sound on the tabla, inviting one to dance, or that dampened mariachi jubilation appears to be enveloped in the meditative atmosphere of a temple.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe short, light and cheerful pieces on this LP provide easy listening and offer an ideal insight into the world of Shakti. These natural sounds, far from time and space, are still enjoyed today – as is proved by the presence of a large audience at the concert \"Remember Shakti\", in which John McLaughlin and Zakir Hussain celebrated their 40-year spiritual ties.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAllmusic : 4 \/ 5 , \u003c\/span\u003e\u003cspan\u003eDiscogs \u003c\/span\u003e:  \u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e4,20\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5 , \u003c\/span\u003e\u003cspan\u003eRate Your Music \u003c\/span\u003e: \u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e3,82\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40410687275159,"sku":"JC 34980","price":38.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/shakti-with-john-mclaughlin-natural-elements-audiosoundmusic-1.jpg?v=1719851639"},{"product_id":"bob-dylan-blood-on-the-tracks","title":"\u003ctranscy\u003eBob Dylan - Blood on the Tracks (2LP, 45 tours, Coffret, 1STEP, SuperVinyl)\u003c\/transcy\u003e","description":"\u003cp\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eORDER LIMITED TO ONE ITEM PER CUSTOMER\u003c\/strong\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBob Dylan - vocals, guitar, harmonica (A1 to B3, C2, D2), Hammond organ (B2), mandolin (D1) \u003ca data-mce-fragment=\"1\" style=\"color: #ff8000;\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/bob-dylan\" title=\"vinyl featuring Bob Dylan\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/bob-dylan\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Bob Dylan]\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTony Brown (bass), Paul Griffin (organ), Buddy Cage (steel guitar)\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePerformer : Eric Weissberg And Deliverance\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eWritten by Bob Dylan\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e2 LPs, box set\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eLimited to 9,000 numbered copies\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cspan\u003eUD1S (UltraDisc One-Step)\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eHeavy Press : 180g - \u003cspan data-mce-fragment=\"1\"\u003eSuperVinyl\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 45 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eRecord Press : RTI\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eLabel : \u003cspan data-mce-fragment=\"1\"\u003eMobile Fidelity Sound\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eOriginal Label :  Columbia\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eRecording: September 16–19 and December 27–30, 1974, at A\u0026amp;R Recording in New York City and Sound 80 studio in Minneapolis by Lou Schlossberg and Phil Giambalvo\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003c\/strong\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003c\/strong\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eOriginal producer : Bob Dylan\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineer : Phil Ramone\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMastered by : Krieg Wunderlich and Shawn R. Britton\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProducer : Murray Krugman, Sandy Pearlman\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eOriginally released January 1975\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eReissued Nov 2019\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eTracks :\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eSide A :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eTangled Up in Blue\u003c\/li\u003e\n\u003cli\u003eSimple Twist of Fate\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eYou're a Big Girl Now\u003c\/li\u003e\n\u003cli\u003eIdiot Wind\u003c\/li\u003e\n\u003cli\u003eYou're Gonna Make Me Lonesome When You Go\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide C :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eMeet Me in the Morning\u003c\/li\u003e\n\u003cli\u003eLily, Rosemary and the Jack of Hearts\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide D :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eIf You See Her, Say Hello\u003c\/li\u003e\n\u003cli\u003eShelter from the Storm\u003c\/li\u003e\n\u003cli\u003eBuckets of Rain\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAwards\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e\u003cem data-mce-fragment=\"1\"\u003eRolling Stone \u003c\/em\u003e500 Greatest Albums of All Time - Ranked 9 \/ 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 2015.\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eNumber 7 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\u003e1000 Recordings You Must Hear Before You Die - Ranked 342\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« Following on the heels of an album where he repudiated his past with his greatest backing band, Blood on the Tracks finds Bob Dylan, in a way, retreating to the past, recording a largely quiet, acoustic-based album. But this is hardly nostalgia -- this is the sound of an artist returning to his strengths, what feels most familiar, as he accepts a traumatic situation, namely the breakdown of his marriage. This is an album alternately bitter, sorrowful, regretful, and peaceful, easily the closest he ever came to wearing his emotions on his sleeve. That's not to say that it's an explicitly confessional record, since many songs are riddles or allegories, yet the warmth of the music makes it feel that way. The original version of the album was even quieter -- first takes of \"Idiot Wind\" and \"Tangled Up in Blue,\" available on The Bootleg Series, Vols. 1-3, are hushed and quiet (excised verses are quoted in the liner notes, but not heard on the record) -- but Blood on the Tracks remains an intimate, revealing affair since these harsher takes let his anger surface the way his sadness does elsewhere. As such, it's an affecting, unbearably poignant record, not because it's a glimpse into his soul, but because the songs are remarkably clear-eyed and sentimental, lovely and melancholy at once. And, in a way, it's best that he was backed with studio musicians here, since the professional, understated backing lets the songs and emotion stand at the forefront. Dylan made albums more influential than this, but he never made one better. » AllMusic Review by Stephen Thomas Erlewine\u003c\/p\u003e\n\u003cp\u003eBob Dylan was at several crossroads in the mid-1970s. Artistically, he was largely written off as being past his prime. Emotionally, he was suffering through a painful divorce from his then-wife Sara Lowndes. Creatively, he appeared at a stalemate, his previous decade's unprecedented run of transformational brilliance finished. Then came\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eBlood on the Tracks\u003c\/em\u003e. Dylan reached the height of his seminal 1970s work with this confessional 1975 classic featuring \"Tangled Up In Blue,\" \"Simple Twist of Fate,\" \"Idiot Wind,\" \"Lily, Rosemary and the Jack of Hearts,\" and six more classic tunes.\u003c\/p\u003e\n\u003cp\u003e\"Inevitably, when critics praise a new Dylan album, they label it the 'best since\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eBlood on the Tracks\u003c\/em\u003e,' and with good reason. Inspired by a crumbled marriage, and recorded after a tour with the Band had apparently re-ignited his creativity,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eBlood\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eis among Dylan's masterpieces. The album's epic songs are well known, but its real high points are the shorter numbers — 'You're a Big Girl Now,' the flawless blues 'Meet Me in the Morning,' and the sweetly devastating 'Buckets of Rain.' These are songs of \"images and distorted facts,\" each expressed through tangled points of view, and all of them blue.\" —\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eDavid Cantwell\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eUltraDisc One-Step :\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003eInstead of utilizing the industry-standard three-step lacquer process, Mobile Fidelity Sound Lab's new UltraDisc One-Step (UD1S) uses only one step, bypassing two processes of generational loss. While three-step processing is designed for optimum yield and efficiency, UD1S is created for the ultimate in sound quality. Just as Mobile Fidelity pioneered the UHQR (Ultra High-Quality Record) with JVC in the 1980s, UD1S again represents another state-of-the-art advance in the record-manufacturing process. MFSL engineers begin with the original master tapes and meticulously cut a set of lacquers. These lacquers are used to create a very fragile, pristine UD1S stamper called a \"convert.\" Delicate \"converts\" are then formed into the actual record stampers, producing a final product that literally and figuratively brings you closer to the music. By skipping the additional steps of pulling another positive and an additional negative, as done in the three-step process used in standard pressings, UD1S produces a final LP with the lowest noise floor possible today. The removal of the additional two steps of generational loss in the plating process reveals tremendous amounts of extra musical detail and dynamics, which are otherwise lost due to the standard copying process. The exclusive nature of these very limited pressings guarantees that every UD1S pressing serves as an immaculate replica of the lacquer sourced directly from the original master tape. Every conceivable aspect of vinyl production is optimized to produce the most perfect record album available today.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMoFi SuperVinyl:\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003eThe World's Quietest Surfaces and Cleanest Grooves: Developed by NEOTECH and RTI, MoFi SuperVinyl is the most exacting-to-specification vinyl compound ever created. Analog lovers have never seen (or heard) anything like it. Extraordinarily expensive and extremely painstaking to produce, the special proprietary compound addresses two specific areas of improvement: noise floor reduction and enhanced groove definition. The vinyl composition features a new carbonless dye (hold the disc up to the light and see) and produces the world's quietest surfaces. This high-definition formula also allows for the creation of cleaner grooves that are indistinguishable from the original lacquer. MoFi SuperVinyl provides the closest approximation of what the label's engineers hear in the mastering lab.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eAllmusic : 5 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40488780333207,"sku":"MFSL45UD1S-006","price":375.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/bob-dylan-blood-on-the-tracks-2lp-45-rpm-box-1step-supervinyl-audiosoundmusic-1.jpg?v=1719851796"},{"product_id":"mary-black-by-the-time-it-gets-dark","title":"\u003ctranscy\u003eMary Black - By The Time It Gets Dark\u003c\/transcy\u003e","description":"\u003ch2\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eORDER LIMITED TO ONE ITEM PER CUSTOMER\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h2\u003e\n\u003cp\u003e\u003cstrong\u003eMary Black, vocals\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eNoel Bridgeman, conga, claves\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003ePat Crowley, synthesizer, piano, Accordion, backing vocals\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eGarvan Gallagher, bass, double bass\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eCarl Geraghty, soprano saxophone\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eHonor Hefferncur, backing vocals\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eCaroline LaVelle, cello\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eMandy Murphy, backing vocals\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eUna Ni Chuioius, cello\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eJohn Sheehan, violin\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eDeclan Sinnott, synthesizer, guitar, vocals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eLimited edition\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : 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 : Dara\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan lang=\"EN\"\u003e\u003cstrong\u003e\u003cspan\u003eProduced by Declan Sinnott\u003c\/span\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by \u003cspan data-mce-fragment=\"1\"\u003eRay Staff at Air Mastering, Lyndhurst Hall, London\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv class=\"product-details-module product-details__general-info\"\u003e\n\u003cdiv class=\"product-details-module__content\"\u003e\n\u003cdiv class=\"product-details__product-description\" id=\"productDescription\" itemprop=\"description\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1987\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2017\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\n\u003cspan data-mce-fragment=\"1\"\u003e1. By The Time It Gets Dark\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e2. Schooldays Over\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e3. Once In A Very Blue Moon\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e4. Farewell Farewell\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e5. Sparks Might Fly\u003c\/span\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\n\u003cspan\u003e1 Katie\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e2. Leaving The Land\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e3. There Is A Time\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e4. Jamie\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e5. Leaboy's Lassie\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e6. Trying To Get The Balance Right\u003c\/span\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e \u003cbr\u003e\n\u003c\/div\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eReviews\u003c\/strong\u003e:\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e« You'll find Mary Black albums in the \"Irish\" section of most record stores, but that's more because of her musical pedigree than because of anything she's recorded since 1990. The former vocalist for Irish folk group De Dannan, she has since gone on to great success in her native land as a solo artist specializing in gentle pop music with folk inflections. Lighter than June Tabor but heavier than Enya, Black has staked out a territory of her own somewhere between the slick excesses of Clannad and the nuevo-retro American singer\/songwriter resurgence. Her voice is simply one of the loveliest in the world -- imagine Linda Thompson at her achingly bell-toned, crystalline best, and that's Mary Black at her average. Her best can leave you in tears. By the Time It Gets Dark is typical, which is to say that it's predominantly wonderful and also includes one or two glaring errors of musical judgment. With the help of guitarist and producer Declan Sinnott, she delivers a number of gorgeous ballads recorded with a bare minimum of accompaniment; this approach has always proved most effective for her, and when brought to bear on such sterling material as Richard Thompson's \"Farewell, Farewell\" or the traditional Scottish gem \"Leaboy's Lassie,\" the effect is quietly devastating. \"Once in a Very Blue Moon\" and \"Sparks Might Fly\" are downright maudlin (she has an unfortunate weakness for Broadway-style schlock sometimes), and it's anyone's call as to the necessity of another version of \"Moon River.\" But so much of this material is transcendentally lovely that the whole disc can confidently be recommended. » AllMusic Review by Rick Anderson\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eAllMusic : 4 \/ 5 , Discogs : 4.07 \/ 5 ,\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40716764905623,"sku":"PPAN DARA027","price":35.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/mary-black-by-the-time-it-gets-dark-audiosoundmusic-1.jpg?v=1719852118"},{"product_id":"peter-paul-mary-album-1700","title":"Peter, Paul \u0026 Mary - Album 1700 (200g)","description":"\u003cp\u003e\u003cstrong\u003ePeter Yarrow – vocals; solo vocal on \"If I Had Wings\"; guitar; 12-string guitar on \"Leaving on a Jet Plane\" and \"Weep for Jamie\"\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eNoel \"Paul\" Stookey – vocals; solo vocal on \"Whatshername\"; guitar; 12-string guitar on \"Rolling Home\", \"The House Song\" and \"The Song Is Love\"\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMary Travers  – vocals; solo vocal on \"No Other Name\"\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1LP, gatefold jacket\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 : 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 : Prestige\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded 1966-1967 in A\u0026amp;R Studios, New York City\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by \u003cb data-mce-fragment=\"1\"\u003eKevin Gray at Cohearent Audio\u003c\/b\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003eOriginally released in 1967\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\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\u003e\n\u003cp\u003eRolling Home\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003eLeaving On A Jet Plane\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003eWeep For Jamie\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003eNo Other Name\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003eThe House Song\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003eThe Great Mandella (The Wheel Of Life)\u003c\/p\u003e\n\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\n\u003cspan face=\"Times New Roman\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\n\u003cp\u003e1. I Dig Rock And Roll Music\u003c\/p\u003e\n\u003cp\u003e2. If I Had Wings\u003c\/p\u003e\n\u003cp\u003e3. I'm In Love With A Big Blue Frog\u003c\/p\u003e\n\u003cp\u003e4. Whatshername\u003c\/p\u003e\n\u003cp\u003e5. Bob Dylan's Dream\u003c\/p\u003e\n\u003cp\u003e6. The Song Is Love\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp\u003e« For a 1967 album that managed to yield a number one hit single and an additional Top Ten smash, Album 1700 was pretty out of sync with contemporary trends. This is not exactly a rock record, but the trio was unquestionably making more use of backup musicians and arrangements that owed a bit to pop\/rock. (Paul Butterfield, Paul Winter, Canadian rock band the Paupers, and top New York folk-rock session musicians Paul Griffin, Russ Savakus, and Harvey Brooks all play on the record.) They never did sound too comfortable with that form, but at least they didn't sound as uncomfortable as they had in the past. The material was an uneven mixture of passably pleasant original tunes covering light comedy and social\/philosophical commentary, including an honest to God folk-rock cover of Eric Andersen's \"Rolling Home,\" albeit with the pure folk harmonies of their early days unchanged; a Bob Dylan cover (\"Bob Dylan's Dream\") that could have easily fit onto a PPM album early in their career; and, perhaps to make sure there was one song for the toddler when it was played in the family living room, the positively embarrassing \"I'm in Love With a Big Blue Frog.\" \"I Dig Rock and Roll Music,\" though it made the Top Ten, was not a wholehearted embrace of the new rock sounds, coming off as a rather savage and strange parody of the Mamas \u0026amp; the Papas. The album's ace in the hole was the melodic and slightly maudlin \"Leaving on a Jet Plane,\" an early John Denver composition that would became a number one smash in late 1969, two years after the LP's release. » AllMusic Review by Richie Unterberger\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eRatings\u003c\/strong\u003e : \u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\u003cspan size=\"3\"\u003e\u003cspan size=\"3\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eAllMusic : 2.5 \/ 5 , Discogs : 3.62 \/ 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":40747985928343,"sku":"AAPF 1700","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-album-1700-200g-audiosoundmusic-1.jpg?v=1719852340"},{"product_id":"peter-paul-mary-in-concert-2-lps","title":"Peter, Paul \u0026 Mary - In Concert (2LP, 200g)","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\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\u003eDick Kniss – bass\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e2 LPs, Stoughton Printing tip-on \"old-style\" gatefold jacket\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 : 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\u003eLive\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 : Warner Bros\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan data-mce-fragment=\"1\"\u003eAlbum compiled from concerts recorded in \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003eSan Francisco, \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003eSacramento, L\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003eong Beach, \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003eDayton Beach, \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003eTerre Haute by Peter Yarrow\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by \u003cb data-mce-fragment=\"1\"\u003eKevin Gray at Cohearent Audio\u003c\/b\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Albert B. Grossman and John Court\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003eOriginally released in 1964\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\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\u003cp\u003eSide A :\u003c\/p\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e1. The Times They Are A-Changin'\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e2. A'Soalin'\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e3. 500 Miles\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e4. Blue\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e5 .Three Ravens\u003c\/div\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e1. One Kind Favor\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e2. Blowin' In The Wind\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e3. Car-Car\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e4. Puff (The Magic Dragon)\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e5. Jesus Met The Woman\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cp\u003eSide C :\u003c\/p\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e1. Le Deserteur\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e2. Oh Rock My Soul\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e3. Paultalk\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cp\u003eSide D :\u003c\/p\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e1. Single Girl\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e2. There Is A Ship\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e3. It's Raining\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e4. If I Had My Way\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e5. If I Had A Hammer\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cbr\u003e\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« This double album opens with a then-new Bob Dylan song, \"The Times They Are A' Changin',\" and closes with the best-known song ever written by Pete Seeger and Lee Hayes, \"If I Had a Hammer.\" That seems to sum up Peter, Paul \u0026amp; Mary, but In Concert offers a lot more than that. The surprises include vignettes in blues and gospel, and, most notably, the group's humorous digressions. Peter, Paul \u0026amp; Mary spared few opportunities for a good laugh on-stage, beginning with the introduction to \"A' Soalin',\" which shows off a lightheartedness that was an essential part of who they were, even as it leads into an exquisitely sung round-like piece that should have found its way into the repertory of Steeleye Span. \"Blue\" gives the trio a chance to play around with rock \u0026amp; roll, from doo wop to British Invasion, through the song \"Old Blue\" (satirizing folk music purists at the same time), and Paul Stookey adds his own sound effects to Woody Guthrie's \"Car-Car.\" The solo spots are also worthwhile, particularly Peter Yarrow's introspective version of \"Le Deserteur,\" followed by his dazzling, rousing singalong on \"Oh, Rock My Soul,\" and Mary Travers' rendition of \"Single Girl,\" a low-key proto-feminist song. The group's rendition of \"It's Raining\" achieves an exquisite mix of gossamer-textured harmonizing and thematic innocence, and their rendition of the Reverend Gary Davis' \"If I Had My Way\" is a bracing re-interpretation for three interwoven voices. Finally, the version of \"If I Had a Hammer\" that closes this album is superior to their hit single of the same song. » AllMusic Review by Bruce Eder\u003cbr\u003e\u003cbr\u003eThe surprises include vignettes in blues and gospel, and, most notably, the group's humorous digressions. Peter, Paul \u0026amp; Mary spared few opportunities for a good laugh on stage, beginning with the introduction to \"A' Soalin',\" which shows off a lightheartedness that was an essential part of who they were, even as it leads into an exquisitely sung round-like piece that should have found its way into the repertory of Steeleye Span. \"Blue\" gives the trio a chance to play around with rock \u0026amp; roll, from doo wop to British Invasion, through the song \"Old Blue\" (satirizing folk music purists at the same time), and Paul Stookey adds his own sound effect embellishments to Woody Guthrie's \"Car-Car.\"\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eThe solo spots are also worthwhile, particularly Peter Yarrow's introspective version of \"Le Deserteur,\" followed by his dazzling, rousing sing-along on \"Oh, Rock My Soul\"; and Mary Travers' rendition of \"Single Girl,\" a low-key proto-feminist song. The group's rendition of \"It's Raining\" achieves an exquisite mix of gossamer textured harmonizing and thematic innocence, and their rendition of the Reverend Gary Davis' \"If I Had My Way\" is a bracing re-interpretation for three interwoven voices. Finally, the version of \"If I Had a Hammer\" that closes this album is superior to their hit single of the same song. Mastered by Kevin Gray, 200-gram pressing by Quality Record Pressings, gatefold jacket.\u003cbr\u003e\u003c\/p\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 : 4 \/ 5 , Discogs : 3.88 \/ 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":40750048346263,"sku":"AAPF 1555","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-in-concert-2lp-200g-audiosoundmusic-1.jpg?v=1719852365"},{"product_id":"harry-chapin-heads-tails-featuring-taxi","title":"\u003ctranscy\u003eHarry Chapin - Heads \u0026 Tales\u003c\/transcy\u003e","description":"\u003cp\u003e\u003cstrong\u003eHarry Chapin - guitar, vocals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSteve Chapin - keyboards\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRuss Kunkel - drums, percussion\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRonald Palmer - guitar, vocals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTim Scott - cello\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJohn Wallace - bass, vocals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, \u003c\/strong\u003e\u003cstrong\u003eGatefold Cover\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12”\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : unspecified\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Friday Music\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Elektra\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded at Elektra Sound Recorders by \u003c\/strong\u003e\u003cstrong\u003eBruce Morgan\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Jac Holzman\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by Joe Reagoso at Capitol Records\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1972\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2016\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eCould You Put Your Light On, Please\u003c\/li\u003e\n\u003cli\u003eGreyhound\u003c\/li\u003e\n\u003cli\u003eEverybody's Lonely\u003c\/li\u003e\n\u003cli\u003eSometime, Somewhere Wife\u003c\/li\u003e\n\u003cli\u003eEmpty\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\u003eTaxi\u003c\/li\u003e\n\u003cli\u003eAny Old Kind of Day\u003c\/li\u003e\n\u003cli\u003eDogtown\u003c\/li\u003e\n\u003cli\u003eSame Sad Singer\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e\"Harry Chapin's debut album is a smoothly put-together, if slightly musically unbalanced piece of singer\/songwriter rock, unbalanced because good as everything here is, the hit, \"Taxi,\" and the other songs on the original LP's second side somewhat overwhelm the rest of Heads \u0026amp; Tales. \"Taxi\" is so elaborately produced and arranged that it's like a feature film that clocks in at six minutes and 44 seconds; \"Any Old Kind of Day\" is a beautiful and unsettling confessional about an artist's unease and depression, like an East Coast equivalent to Brian Wilson's brand of personal songwriting, with a touch of James Taylor's influence and unique phrasings and sensibilities by Chapin; the epic \"Dogtown\" (which nearly overstays its welcome at seven and a half minutes) is a startling piece of song painting with a topical edge, which anticipated some aspects of Chapin's subsequent public commitment to progressive political causes; and \"Same Sad Singer\" is a haunting, romantic confessional that explores some of the same emotional territory in first-person terms that \"Taxi\" dealt with through characters. Side one's songs don't quite match up, though \"Empty\" has nice hooks and a good beat. The record holds up well in part because of its strange combination of lean production and rich sounds -- producer Jac Holzman preserved all of the elements from Chapin's stage act that he liked, and apart from some keyboard embellishment from Steve Chapin and percussion by Russ Kunkel, it's all the basic quartet: Ron Palmer on electric guitar, Tim Scott on cello, John Wallace on bass, and Harry Chapin on acoustic guitar. They sound like a lot more players, and Palmer and Wallace add more than two backup singers should be capable of bringing to the table. Chapin's singing isn't actually that good, his range and expressiveness at times very narrow, but his energy and commitment to the songs pour off the album and make this album a compelling listen 30 years later.\" \u003cspan data-mce-fragment=\"1\"\u003eAllMusic Review by Bruce Eder\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eAllMusic : 4,5 \/ 5 , Discogs : 3,87 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40840236302487,"sku":"FRM 075023","price":55.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/harry-chapin-heads-and-tales-audiosoundmusic-1.jpg?v=1719852884"},{"product_id":"ry-cooder-chicken-skin-music-1","title":"\u003ctranscy\u003eRy Cooder - Chicken Skin Music (Ultra Analog, Half-speed Mastering)\u003c\/transcy\u003e","description":"\u003cp\u003e\u003cstrong\u003eRy Cooder – bajo sexto, mandola, bottleneck guitar, French accordion, electric guitar, slack-key guitar, tiple, Hawaiian guitar, vocals \u003cspan style=\"color: #ff8000;\"\u003e\u003ca title=\"vinyl featuring Ry Cooder\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/ry-cooder\" style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/ry-cooder\"\u003e[click here to see more vinyl featuring Ry Cooder]\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGeorge Bohanon – baritone horn and horn arrangement on \"I Got Mine\"\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOscar Brashear – cornet on \"I Got Mine\"\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRed Callender – upright bass\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eChris Ethridge – bass guitar\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJimmy Adams - vocals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTerry Evans – vocals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCliff Givens – vocals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLaurence Fishburne - vocals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHugo Gonzales – bajo sexto on \"Good Night Irene\"\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMilt Holland – percussion, drums\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAtta Isaacs – slack-key and acoustic guitar on \"Chloe\"\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFred Jackson Jr. – tenor saxophone on \"I Got Mine\"\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFlaco Jiménez – accordion on \"He'll Have to Go\", \"Stand By Me\" and \"Goodnight Irene\"\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHerman E. Johnson – vocals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJim Keltner – drums\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBobby King – vocals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHenry Ojeda – bass on \"Good Night Irene\"\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGabby Pahinui – steel guitar on \"Chloe\"\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBenny Powell – trombone on \"I Got Mine\"\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePat Rizzo – alto saxophone on \"He'll Have to Go\"\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRuss Titelman – bajo sexto on \"Stand By Me\"\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFrank Villarreal - alto saxophone on \"Good Night Irene\"\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eIsaac Garcia - drums on \"Good Night Irene\"\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\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eLimited numbered edition\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHalf-speed Mastering\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGain 2™ Ultra Analog\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12”\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : RTI\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : MOFI\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Reprise Records\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded at Warner Bros. Recording Studios, North Hollywood; \"Yellow Roses\" and \"Chloe\" recorded in Hawaii\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineered by Lee Herschberg\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Ry Cooder\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by Shawn R. Britton\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1976\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 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 Bourgeois Blues\u003c\/li\u003e\n\u003cli\u003eI Got Mine\u003c\/li\u003e\n\u003cli\u003eAlways Lift Him Up\u003c\/li\u003e\n\u003cli\u003eHe'll Have To Go\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eSmack Dab In The Middle\u003c\/li\u003e\n\u003cli\u003eStand By Me\u003c\/li\u003e\n\u003cli\u003eYellow Roses\u003c\/li\u003e\n\u003cli\u003eChloe\u003c\/li\u003e\n\u003cli\u003eGoodnight Irene\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAwards\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eTAS Super LP List! Special Merit: Informal\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e\"Ry Cooder has always believed in the \"mutuality in music,\" and this may be no more evident in his career than with his fifth album, Chicken Skin Music (a Hawaiian colloquialism, synonymous with goosebumps). Even more than usual, Cooder refuses to recognize borders -- geographical or musical -- presenting \"Stand By Me\" as a gospel song with a norteño arrangement, or giving the Jim Reeves country-pop classic, \"He'll Have to Go,\" a bolero rhythm, featuring the interplay of Flaco Jimenez's accordion and Pat Rizzo's alto sax. Elsewhere, he teams with a pair of Hawaiian greats -- steel guitarist and singer Gabby Pahinui and slack key guitar master Atta Isaacs -- on the Hank Snow hit \"Yellow Roses\" and the beautiful instrumental \"Chloe.\" If Cooder's approach to the music is stylistically diverse, his choice of material certainly follows suit. Bookended by a couple of Leadbelly compositions, Chicken Skin Music sports a collection of songs ranging from the aforementioned tracks to the charming old minstrel\/medicine show number \"I Got Mine\" and the syncopated R\u0026amp;B of \"Smack Dab in the Middle.\" Also included is Appalachian songwriter Blind Alfred Reed's \"Always Lift Him Up,\" complete with a Hawaiian gospel tune, \"Kanaka Wai Wai,\" woven into the instrumental section. As he explains in the album's liner notes, Cooder understands the connection between these seemingly disparate styles. This is not merely eclecticism for its own sake. Chicken Skin Music is probably Ry Cooder's most eccentric record since his first, but it's also one of his most entertaining.\" \u003cspan data-mce-fragment=\"1\"\u003eAllMusic Review by Brett Hartenbach\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eUltra Analog™\u003c\/strong\u003e : The GAIN 2 Ultra Analog™ Series stems from the use of the Gain 2 system, mastered at half speed from the original master tapes where possible, capturing and uncovering as before undiscovered sonic information.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003cstrong\u003eHalf-speed mastering. \u003c\/strong\u003eIn half-speed mastering, the whole process is slowed down to half of the original speed. A typical 33 1\/3 rpm record is cut at 16 2\/3 rpm. The source material is also slowed down (reducing the pitch in the process) meaning the final record will still sound normal when played back. Slowing the whole process down allows more time, which means the end result sounds better and is more efficient — allowing engineering to minimize the effects of inherent limitations within the vinyl format. The result is a more accurate and more open high-frequency response in the half speed vinyl when compared with a normal speed recording.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eAllMusic : 4 \/ 5 , Discogs : 4,13 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40885900279959,"sku":"MFSL1-465","price":65.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/ry-cooder-chicken-skin-music-ultra-analog-half-speed-mastering-audiosoundmusic-1.jpg?v=1719853294"},{"product_id":"mia-doi-todd-gea-green-vinyl","title":"\u003ctranscy\u003eMia Doi Todd - Gea (Vinyle vert)\u003c\/transcy\u003e","description":"\u003cdiv\u003e\u003cstrong\u003e\u003c\/strong\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\u003eMusic by Mia Doi Todd\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBassoon – Sarah Schoenbeck\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCello – Ginger Murphy\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eClarinet – Jennifer Stevenson\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eElectric Bass, Acoustic Bass – Joshua Abrams\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eElectric Bass, Guitar – Joshua Schwartz\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFlute – Jennifer Scott (A2)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFrench Horn – Danielle Ondarza\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOboe, Flute, English Horn – Myka Miller\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePercussion, Other [Hand Drums] – Andres Renteria\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTrombone – David Goya\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTrumpet – Jason Gamer\u003cbr\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003cbr\u003eStrings And Woodwinds arranged by Miguel Atwood-Ferguson\u003cbr\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e\u003cbr\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 : Green\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 : unspecified\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 : City Zen Records \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded at \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineered by Bryan Carlstrom\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Carlos Niño, Mia Doi Todd, Miguel Atwood-Ferguson\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 2008 \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2020\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eRiver Of Life \/ The Yes Song\u003c\/li\u003e\n\u003cli\u003eNight Of A Thousand Kisses\u003c\/li\u003e\n\u003cli\u003eBig Bad Wolf \u0026amp; Black Widow Spider\u003c\/li\u003e\n\u003cli\u003eSleepless Nights\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eEsperar Es Caro\u003c\/li\u003e\n\u003cli\u003eKokoro\u003c\/li\u003e\n\u003cli\u003eCan I Borrow You?\u003c\/li\u003e\n\u003cli\u003eIn The End\u003c\/li\u003e\n\u003cli\u003eOld World New World\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\"After a peculiarly over-produced major label effort, 2002's The Golden State, and a far superior three-year stint on the electronic-oriented indie Plug Research, singer\/songwriter Mia Doi Todd returns to her own City Zen imprint, last used for 2001's spartan Zeroone, for her sixth album. Over a decade into a sometimes uneven but compelling career, Todd is suddenly part of one of the Hot New Trends of the late '00s, the female singer\/songwriter. Where for most of her career, Todd's brand of delicate indie folk has been a commercial outlier, in a musical scene where acts like Feist, Emily Haines, Kate Nash, Regina Spektor and Keren Ann are dominating iPod play lists and increasingly finding mainstream pop success, GEA sounds very much like an album of its time and place. Crucially, Todd has abandoned the solo acoustic style that's her trademark, but unlike the overstuffed, keyboard-drenched and glossy The Golden State, she and producer Carlos Niño wisely chose a simple small-combo setting for GEA: harmonium, minimal percussion, and occasional subtle arrangements for woodwinds, strings, and\/or horns by Miguel Atwood-Ferguson, a young veteran of the Los Angeles jazz and new music scenes. The mature, jazzy settings mesh perfectly with Todd's conservatory-trained voice, which has rarely sounded lovelier. With its combination of cool jazz, modern classical, and singer\/songwriter influences, as well as Todd's fondness for unconventional tunings, GEA could potentially seem too abstract or cerebral for a mass audience. Opening an album with a ten-minute two-part epic like \"River of Life\/The Yes Song\" is proof that Todd is not necessarily looking to score the next episode of Grey's Anatomy. But Todd's lyrics on songs like the heartbroken \"In the End\" are so plain-spoken and so lacking in the pretentious poetry one might expect from the high-minded surroundings that there's an immediacy and a sense of personal connection that relates back to confessional singer\/songwriter classics like Joni Mitchell's string of early-'70s albums. That's heady company for a contemporary singer\/songwriter, but with her finest work in a long and fruitful career, Mia Doi Todd deserves it.\" AllMusic Review by Stewart Mason\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eAllMusic 4\/5   ,   Discogs 4.44\/5\u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40921602392215,"sku":"MDTDGEA0GN-LP00 Green","price":39.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/mia-doi-todd-gea-green-vinyl-audiosoundmusic-1.jpg?v=1719853444"},{"product_id":"sunny-war-simple-syrup-blue-and-red-vinyl","title":"\u003ctranscy\u003eSunny War - Simple Syrup (Vinyle bleu et rouge)\u003c\/transcy\u003e","description":"\u003ch2\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eORDER LIMITED TO ONE ITEM PER CUSTOMER\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h2\u003e\n\u003cp\u003e\u003cstrong\u003eSunny War - guitar, vocals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by Sunny War\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eLimited to 350 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 : Blue and Red split \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 : unspecified\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 :  ORG Music\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded at Hen House Studios, Venice, CA\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Harlan Steinberger.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by Bernie Grundman Mastering Studios.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReleased 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\u003cdiv style=\"padding-left: 60px;\"\u003e1. Lucid Lucy\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 60px;\"\u003e2. Mama’s Milk\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 60px;\"\u003e3. Like Nina\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 60px;\"\u003e4. Kiss A Loser\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 60px;\"\u003e5. A Love So True\u003c\/div\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eSide B : \u003c\/p\u003e\n\u003cdiv style=\"padding-left: 60px;\"\u003e1. Losing Hand\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 60px;\"\u003e2. Love Is A Pest\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 60px;\"\u003e3. Its Name Is Fear\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 60px;\"\u003e4. Deployed And Destroyed\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 60px;\"\u003e5. Eyes\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 60px;\"\u003e6. Big Baby\u003c\/div\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eAs Sunny War's newest masterpiece, Simple Syrup has a vibrant, loose feel, more focused on the interplay with the musicians than ever before. Sunny’s new songs touch on everything from romance to politics, jumping easily between larger concepts like the expectations for famous Black women in American art (“Like Nina”) and smaller ideas like “Kiss A Loser”, her ode to her own drunken self in relationships. Surrounded by relentless pressures from societal change, Sunny worked more closely with her community and embarked on a nearly year-long recording spree that brought two EPs (one of which, Can I Sit With You?, made a number of Best of 2020 lists) and now Simple Syrup. The pandemic has been a crucible for Sunny, burning away the parts of the old world that didn’t truly matter and leaving her with a new purpose.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eDiscogs 4.4\/5 \u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40923019149463,"sku":"SUNNSIMSBR-LP00 Blue and Red","price":39.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/sunny-war-simple-syrup-blue-and-red-vinyl-audiosoundmusic-1.jpg?v=1719853453"},{"product_id":"copy-of-sunny-war-simple-syrup-blue-and-red-vinyl","title":"\u003ctranscy\u003eSunny War - Simple Syrup\u003c\/transcy\u003e","description":"\u003cp\u003e\u003cstrong\u003eSunny War - guitar, vocals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by Sunny War\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : Black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 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 : unspecified\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 :  ORG Music\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded at Hen House Studios, Venice, CA\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Harlan Steinberger.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by Bernie Grundman Mastering Studios.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReleased 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\u003cdiv style=\"padding-left: 60px;\"\u003e1. Lucid Lucy\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 60px;\"\u003e2. Mama’s Milk\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 60px;\"\u003e3. Like Nina\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 60px;\"\u003e4. Kiss A Loser\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 60px;\"\u003e5. A Love So True\u003c\/div\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eSide B : \u003c\/p\u003e\n\u003cdiv style=\"padding-left: 60px;\"\u003e1. Losing Hand\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 60px;\"\u003e2. Love Is A Pest\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 60px;\"\u003e3. Its Name Is Fear\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 60px;\"\u003e4. Deployed And Destroyed\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 60px;\"\u003e5. Eyes\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 60px;\"\u003e6. Big Baby\u003c\/div\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eAs Sunny War's newest masterpiece, Simple Syrup has a vibrant, loose feel, more focused on the interplay with the musicians than ever before. Sunny’s new songs touch on everything from romance to politics, jumping easily between larger concepts like the expectations for famous Black women in American art (“Like Nina”) and smaller ideas like “Kiss A Loser”, her ode to her own drunken self in relationships. Surrounded by relentless pressures from societal change, Sunny worked more closely with her community and embarked on a nearly year-long recording spree that brought two EPs (one of which, Can I Sit With You?, made a number of Best of 2020 lists) and now Simple Syrup. The pandemic has been a crucible for Sunny, burning away the parts of the old world that didn’t truly matter and leaving her with a new purpose.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eDiscogs 4.4\/5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40923086979223,"sku":"SUNNSIMSBL-LP00 Black","price":39.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/sunny-war-simple-syrup-black-vinyl-audiosoundmusic-1.jpg?v=1719853453"},{"product_id":"copy-of-cyndi-lauper-shes-so-unusual-ultra-analog","title":"\u003ctranscy\u003eWillie Nelson – Stardust (MOFI Silver Label, 140g)\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\u003cstrong\u003eWillie Nelson, vocals, guitar \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/willie-nelson\" title=\"vinyl featuring Willie Nelson\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/willie-nelson\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Willie Nelson]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBobbie Nelson, piano\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePaul English, drums\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRex Ludwig, drums\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJody Payne, guitar\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBee Spears, bass\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eChris Ethridge, bass\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMickey Raphael, harmonica\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBooker T. Jones, organ, piano\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eLimited numbered edition\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Analog Mastertape : Silver Label (Copy of original Mastertape)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 140g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12”\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : RTI\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : MOFI\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Columbia\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded \u003cspan data-mce-fragment=\"1\"\u003eDecember 3–12, 1977 \u003c\/span\u003eat Enactron Truck Studio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineered \u0026amp; mixed by Bradley Hartman, Donivan Cowart\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Booker T. Jones\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1978\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 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\u003eStardust\u003c\/li\u003e\n\u003cli\u003eGeorgia on My Mind\u003c\/li\u003e\n\u003cli\u003eBlue Skies\u003c\/li\u003e\n\u003cli\u003eAll of Me\u003c\/li\u003e\n\u003cli\u003eUnchained Melody\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\u003eSeptember Song\u003c\/li\u003e\n\u003cli\u003eOn the Sunny Side of the Street\u003c\/li\u003e\n\u003cli\u003eMoonlight in Vermont\u003c\/li\u003e\n\u003cli\u003eDon't Get Around Much Anymore\u003c\/li\u003e\n\u003cli\u003eSomeone to Watch over Me\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAwards:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eTAS Super LP List! Special Merit: Informal\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e\"At the height of outlaw country, Willie Nelson pulled off perhaps the riskiest move of the entire bunch. He set aside originals, country, and folk and recorded Stardust, a collection of pop standards produced by Booker T. Jones. Well, it's not entirely accurate to say that he put away country and folk, since these are highly idiosyncratic interpretations of \"Georgia on My Mind,\" \"All of Me,\" \"Moonlight in Vermont,\" and \"Don't Get Around Much Anymore,\" blending pop, country, jazz, and folk in equal measures. It's not that Willie makes these songs his own, it's that he reimagines these songs in a way that nobody else could, and with his trusty touring band, he makes these versions indelible. It may be strange to think that this album, containing no originals from one of America's greatest songwriters, is what made him a star, and it continues to be one of his most beloved records, but it's appropriate, actually. Stardust showcases Nelson's skills as a musician and his entire aesthetic -- where there is nothing separating classic American musical forms, it can all be played together -- perhaps better than any other album, which is why it was a sensation upon its release and grows stronger with each passing year.\" \u003cspan data-mce-fragment=\"1\"\u003eAllMusic Review by Stephen Thomas Erlewine\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eAllMusic : 5 \/ 5 , Discogs : 4,24 \/ 5\u003c\/p\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003ch1\u003e\u003c\/h1\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40934763593879,"sku":"MOFI1-026","price":49.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/willie-nelson-stardust-mofi-silver-label-140g-audiosoundmusic-1.jpg?v=1719853529"},{"product_id":"sunny-war-shell-of-a-girl-pink-vinyl","title":"\u003ctranscy\u003eSunny War - Shell Of A Girl (Vinyle rose)\u003c\/transcy\u003e","description":"\u003ch2\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eORDER LIMITED TO ONE ITEM PER CUSTOMER\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h2\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by Sunny War, Edith Crash (A3)\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cbr\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 : Pink\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 : GZ Media\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 :  Henhouse Studios\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded at \u003c\/strong\u003e\u003cstrong\u003eHen House Studios on Venice Beach \u003c\/strong\u003e\u003cstrong\u003eby Harlan Steinberger\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Harlan Steinberger\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by Bernie Grundman Mastering Studio.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReleased in 2019\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eShell   \u003c\/li\u003e\n\u003cli\u003eWhere the Lost Get Found   \u003c\/li\u003e\n\u003cli\u003eThe Place       \u003c\/li\u003e\n\u003cli\u003eDrugs Are Bad\u003c\/li\u003e\n\u003cli\u003eLove Became Pain    \u003c\/li\u003e\n\u003cli\u003eOff the Cuff\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\u003eSoul Tramp   \u003c\/li\u003e\n\u003cli\u003eRock N Roll Heaven\u003c\/li\u003e\n\u003cli\u003eGot No Ride  \u003c\/li\u003e\n\u003cli\u003eThe Likes Of You       \u003c\/li\u003e\n\u003cli\u003eXO      \u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eReleased on the heels of her critically acclaimed 2018 album, With the Sun, Sunny War’s new album finds her a little bit older, a little bit more mature, but looking back on the rocky roads of her past with a surprising amount of nostalgia. Shell of a Girl was written in a burst of creativity in Los Angeles, and marks a new transition period, with Sunny moving from the Venice Beach boardwalk, where she first made her name, to the streets of downtown Los Angeles. Recording again at Hen House Studios on Venice Beach with producer Harlan Steinberger and her musical collaborators Micah Nelson (Particle Kid), Aroyn Davis, Milo Gonzalez, Tato Melgar, Lesterfari Simbarashe, and Edith Crash rounding out the cast, Sunny moves freely between musical genres, anchored by her virtuosic, self-taught fingerstyle guitar work. Playing on a temperamental Guild acoustic guitar, that she’s named Big Baby for its tendency to squall and feedback, Sunny’s guitar work is as dazzling as ever, notes cascading out of the guitar in Art Tatumish flourishes. 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Shell of a Girl was written in a burst of creativity in Los Angeles, and marks a new transition period, with Sunny moving from the Venice Beach boardwalk, where she first made her name, to the streets of downtown Los Angeles. Recording again at Hen House Studios on Venice Beach with producer Harlan Steinberger and her musical collaborators Micah Nelson (Particle Kid), Aroyn Davis, Milo Gonzalez, Tato Melgar, Lesterfari Simbarashe, and Edith Crash rounding out the cast, Sunny moves freely between musical genres, anchored by her virtuosic, self-taught fingerstyle guitar work. Playing on a temperamental Guild acoustic guitar, that she’s named Big Baby for its tendency to squall and feedback, Sunny’s guitar work is as dazzling as ever, notes cascading out of the guitar in Art Tatumish flourishes. Mastered by Bernie Grundman Mastering Studio.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eDiscogs 3.88\/5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40961621098647,"sku":"SUNNSOAGBL-LP00","price":39.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/sunny-war-shell-of-a-girl-black-vinyl-audiosoundmusic-1.jpg?v=1719853567"},{"product_id":"sunny-war-with-the-sun-red-vinyl","title":"\u003ctranscy\u003eSunny War - With The Sun (Vinyle rouge)\u003c\/transcy\u003e","description":"\u003ch2\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eORDER LIMITED TO ONE ITEM PER CUSTOMER\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h2\u003e\n\u003cp\u003e\u003cstrong\u003eSunny War - Vocals, acoustic guitar, bass\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMicah Nelson - Drums, surdo, piano\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHarlan Steinberger - Drums, percussion\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJules Pusch - Viola, violin\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMilo Gonzales - Lead guitar\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by Sunny War\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eLimited to 200 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 : red \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 :  Pirate Press \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 :  HenHouse Studios\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded at HenHouse Studios\u003c\/strong\u003e\u003cstrong\u003e by Harlan Steinberger\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Harlan Steinberger\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by Bernie Grundman\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReleased in 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\u003cdiv style=\"padding-left: 60px;\"\u003e1. If It Wasn't Broken\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 60px;\"\u003e2 Gotta Live It\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 60px;\"\u003e3 I'm Human\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 60px;\"\u003e4 With The Sun\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 60px;\"\u003e5 He Is My Cell\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 60px;\"\u003e6 The Change You Make\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 60px;\"\u003e7 Til I'm Dead\u003c\/div\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eSide B:\u003c\/p\u003e\n\u003cdiv style=\"padding-left: 60px;\"\u003e1 Immortal\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 60px;\"\u003e2 Static\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 60px;\"\u003e3 To Love You\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 60px;\"\u003e4 Violent\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 60px;\"\u003e5 Finn\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 60px;\"\u003e6 Come Back\u003c\/div\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\"Sunny War's earliest independent records were firmly rooted in the blues, but on With the Sun, the California singer\/songwriter casts a wider net. Her eclecticism isn't showy, perhaps not even evident, because she moves at a casual, deliberate pace, letting each of the 13 songs unfurl at a slow tempo, but the album never seems lazy. Instead, its gentle nature hides clever lyrical and musical turns of phrase, or how Sunny War can enliven blues tradition with hints of jazz and fingerpicking, not to mention lyrical concerns that unmistakably belong to 2017. As such, With the Sun feels alive and bracing even if its undeniably hushed: it's the work of an artist who is confident enough to whisper.\" 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 3.5\/5  ,  Discogs 4.06\/5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40961637220503,"sku":"SUNNWITHRD-LP00 Red","price":39.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/sunny-war-with-the-sun-red-vinyl-audiosoundmusic-1.jpg?v=1719853576"},{"product_id":"copy-of-sunny-war-with-the-sun-red-vinyl","title":"\u003ctranscy\u003eSunny War - With The Sun\u003c\/transcy\u003e","description":"\u003cp\u003e\u003cstrong\u003eSunny War - Vocals, acoustic guitar, bass\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMicah Nelson - Drums, surdo, piano\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHarlan Steinberger - Drums, percussion\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJules Pusch - Viola, violin\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMilo Gonzales - Lead guitar\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by Sunny War\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : Black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 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 :  Pirate Press \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 :  HenHouse Studios\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded at HenHouse Studios\u003c\/strong\u003e\u003cstrong\u003e by Harlan Steinberger\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Harlan Steinberger\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by Bernie Grundman\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReleased in 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\u003cdiv style=\"padding-left: 60px;\"\u003e1. If It Wasn't Broken\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 60px;\"\u003e2 Gotta Live It\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 60px;\"\u003e3 I'm Human\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 60px;\"\u003e4 With The Sun\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 60px;\"\u003e5 He Is My Cell\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 60px;\"\u003e6 The Change You Make\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 60px;\"\u003e7 Til I'm Dead\u003c\/div\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eSide B:\u003c\/p\u003e\n\u003cdiv style=\"padding-left: 60px;\"\u003e1 Immortal\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 60px;\"\u003e2 Static\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 60px;\"\u003e3 To Love You\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 60px;\"\u003e4 Violent\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 60px;\"\u003e5 Finn\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 60px;\"\u003e6 Come Back\u003c\/div\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\"Sunny War's earliest independent records were firmly rooted in the blues, but on With the Sun, the California singer\/songwriter casts a wider net. Her eclecticism isn't showy, perhaps not even evident, because she moves at a casual, deliberate pace, letting each of the 13 songs unfurl at a slow tempo, but the album never seems lazy. Instead, its gentle nature hides clever lyrical and musical turns of phrase, or how Sunny War can enliven blues tradition with hints of jazz and fingerpicking, not to mention lyrical concerns that unmistakably belong to 2017. As such, With the Sun feels alive and bracing even if its undeniably hushed: it's the work of an artist who is confident enough to whisper.\" 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 3.5\/5  ,  Discogs 4.06\/5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40961846313111,"sku":"SUNNWITHBL-LP00","price":39.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/sunny-war-with-the-sun-black-vinyl-audiosoundmusic-1.jpg?v=1719853576"},{"product_id":"charlie-feathers-best-of-sun-records-sessions","title":"Charlie Feathers - Best Of Sun Records Sessions (Mono)","description":"\u003cp\u003e\u003cstrong\u003eCOMPILATION\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 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 :  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 :  Sun Records\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded at Sun Studios\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Sam Philips\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReleased 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\u003eSo Ashamed\u003c\/li\u003e\n\u003cli\u003eRunnin’ Around\u003c\/li\u003e\n\u003cli\u003eBottle To The Baby\u003c\/li\u003e\n\u003cli\u003eHonky Tonk Kind\u003c\/li\u003e\n\u003cli\u003eWedding Gown Of White\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e\u003cstrong\u003e   \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide B:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003ePeepin’ Eyes\u003c\/li\u003e\n\u003cli\u003eWe’re Getting Closer to Being Apart\u003c\/li\u003e\n\u003cli\u003eFrankie \u0026amp; Johnny\u003c\/li\u003e\n\u003cli\u003eI’ve Been Deceived\u003c\/li\u003e\n\u003cli\u003eDefrost Your Heart\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThis newly compiled collection of recordings from rockabilly pioneer Charlie Feathers showcases the influential Memphis performer’s work at Sun Records (and related labels). Feathers started his musical career as a session musician at Sun Studios under Sam Phillips. His theatrical, hiccupping vocal style inspired a later generation of rock vocalists, including Lux Interior of The Cramps and Tav Falco, who contributed extensive liner notes and photos for the insert of this release.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eDiscogs 4.0\/5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40962811986071,"sku":"CHFEBESTBL-LP00","price":39.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/charlie-feathers-best-of-sun-records-sessions-mono-audiosoundmusic-1.jpg?v=1719853576"},{"product_id":"sun-records-does-hank-williams-johnny-cash-jerry-lee-lewis","title":"Sun Records Does Hank Williams (Johnny Cash, Jerry Lee Lewis, ...)","description":"\u003cp\u003e\u003cstrong\u003eCOMPILATION\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12”\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press :  Pallas \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel :  ORG Music\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label :  Sun\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 2017 \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\u003eTake These Chains From My Heart - Carl Mann\u003c\/li\u003e\n\u003cli\u003eMy Bucket's Got A Hole In It - Sonny Burgess\u003c\/li\u003e\n\u003cli\u003eI Could Never Be Ashamed Of You - Johnny Cash \u003cstrong data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/johnny-cash\" title=\"vinyl featuring Johnny Cash\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/johnny-cash\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Johnny Cash]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\n\u003c\/li\u003e\n\u003cli\u003eI Saw The Light - Eddie Bond\u003c\/li\u003e\n\u003cli\u003eThere'll Be No Teardrops Tonight - Carl McVoy\u003c\/li\u003e\n\u003cli\u003eYou Win Again - Jerry Lee Lewis \u003cstrong data-mce-fragment=\"1\"\u003e\u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/jerry-lee-lewis\" title=\"vinyl featuring Jerry Lee Lewis\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/jerry-lee-lewis\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Jerry Lee Lewis]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\n\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eHey, Good Lookin' - Roland Janes\u003c\/li\u003e\n\u003cli\u003eI Can't Help It - Johnny Cash \u003cstrong data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/johnny-cash\" title=\"vinyl featuring Johnny Cash\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/johnny-cash\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Johnny Cash]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\n\u003c\/li\u003e\n\u003cli\u003eYour Cheatin' Heart - Cliff Gleaves\u003c\/li\u003e\n\u003cli\u003eDear John - Warren Smith\u003c\/li\u003e\n\u003cli\u003eSettin' The Woods On Fire - Jerry Lee Lewis \u003cstrong data-mce-fragment=\"1\"\u003e\u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/jerry-lee-lewis\" title=\"vinyl featuring Jerry Lee Lewis\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/jerry-lee-lewis\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Jerry Lee Lewis]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\n\u003c\/li\u003e\n\u003cli\u003eCold, Cold Heart - Barbara Pittman\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSun Records Does Hank Williams is a collection of Hank Williams hits performed by artists from the legendary Sun Record Company catalog. The compilation features superstars Johnny Cash and Jerry Lee Lewis, alongside a handful of lesser-known Sun Records artists.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eDiscogs 4.5\/5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40968950055063,"sku":"ORGMSUNRBL-LP00","price":39.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/sun-records-does-hank-williams-johnny-cash-jerry-lee-lewis-audiosoundmusic-1.jpg?v=1719853585"},{"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":"muddy-waters-folk-singer-45rpm","title":"\u003ctranscy\u003eMuddy Waters - Folk Singer (2LP, 45 tours)\u003c\/transcy\u003e","description":"\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eGuitar, Vocals – Muddy Waters \u003ca title=\"vinyl featuring Muddy Waters\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/muddy-waters\"\u003e\u003cspan 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;\"\u003e\u003ca style=\"color: #ff8000;\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/buddy-guy\" title=\"vinyl featuring 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\u003e2 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 : 200g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 45 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12”\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press :  Quality Record Pressings\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel :  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\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 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\u003eMy Home Is In The Delta\u003c\/li\u003e\n\u003cli\u003eLong Distance\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003eSide B:\u003c\/p\u003e\n\u003col\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\u003eSide C:\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\u003c\/ol\u003e\n\u003cp\u003eSide D:\u003c\/p\u003e\n\u003col start=\"6\"\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\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\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\"How about a 45 RPM set from Analogue Productions' recently launched Quality Record Pressings Facility, mastered by Bernie Grundman, in a beautiful gatefold jacket with extra sessions shots? It's been ages since I've heard LP surfaces this quiet - as in dead quiet. The expense and effort that Chad Kassem and company put into this venture are immediately obvious. ... Making music together bring this recording to life as never before. It's by far the best sounding and most engaging version yet... analog lovers will be in hog heaven.\" - Wayne Garcia, The Absolute Sound, May\/June, Issue 223\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  ,  Hi-Fi News : Sound Quality 90%\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40986594541719,"sku":"AAPB 1483-45","price":95.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/muddy-waters-folk-singer-2lp-45rpm-audiosoundmusic-1.jpg?v=1719853719"},{"product_id":"the-wonderful-sounds-of-female-vocals","title":"\u003ctranscy\u003eThe Wonderful Sounds of Female Vocals - Nina Simone, Diana Krall, Patricia Barber (2LP)\u003c\/transcy\u003e","description":"\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eCOMPILATION\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e2 LPs, Gatefold, Deluxe, Stoughton Tip-On Jacket with l\u003c\/strong\u003e\u003cstrong\u003einer 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\u003e\u003c\/strong\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 :  Analogue Productions\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 2015\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2021\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eCry Me A River - Julie London \u003cstrong data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003ca data-mce-fragment=\"1\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/julie-london\" title=\"vinyl featuring Julie London\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/julie-london\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"color: #ff8000;\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Julie London]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\n\u003c\/li\u003e\n\u003cli\u003eBlack Coffee - Ella Fitzgerald \u003cstrong data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"color: #ff8000;\" data-mce-style=\"color: #ff8000;\"\u003e\u003ca data-mce-fragment=\"1\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/ella-fitzgerald\" title=\"vinyl featuring Ella Fitzgerald\" style=\"color: #ff8000;\" data-mce-style=\"color: #ff8000;\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/ella-fitzgerald\"\u003e[click here to see more vinyl featuring Ella Fitzgerald]\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\n\u003c\/li\u003e\n\u003cli\u003ePoetry Man - Phoebe Snow\u003c\/li\u003e\n\u003cli\u003eSon Of A Preacher Man - Dusty Springfield\u003c\/li\u003e\n\u003cli\u003eJust A Little Lovin' - Shelby Lynne \u003cstrong data-mce-fragment=\"1\"\u003e\u003ca data-mce-fragment=\"1\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/shelby-lynne\" title=\"vinyl featuring Shelby Lynne\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/shelby-lynne\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"color: #ff8000;\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Shelby Lynne]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\n\u003c\/li\u003e\n\u003cli\u003eShow Biz Kids - Rickie Lee Jones \u003cstrong data-mce-fragment=\"1\"\u003e\u003ca data-mce-fragment=\"1\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/rickie-lee-jones\" title=\"vinyl featuring Rickie Lee Jones\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/rickie-lee-jones\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"color: #ff8000;\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Rickie Lee Jones]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\n\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eCrazy – Patsy Cline\u003c\/li\u003e\n\u003cli\u003eTennessee Waltz – Holly Cole \u003cspan style=\"color: #ff8000;\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003ca data-mce-fragment=\"1\" style=\"color: #ff8000;\" title=\"vinyl featurin Holly Cole\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/holly-cole\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/holly-cole\"\u003e[click here to see more vinyl featuring Holly Cole]\u003c\/a\u003e\u003c\/strong\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003eBreaking Silence – Janis Ian \u003cspan style=\"color: #ff8000;\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003ca data-mce-fragment=\"1\" title=\"vinyl featuring Janis Ian\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/janis-ian\" style=\"color: #ff8000;\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/janis-ian\"\u003e[click here to see more vinyl featuring Janis Ian]\u003c\/a\u003e\u003c\/strong\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003eHey There – Myra Taylor\u003c\/li\u003e\n\u003cli\u003eWhat a Shame – Patricia Barber \u003cstrong data-mce-fragment=\"1\"\u003e\u003ca data-mce-fragment=\"1\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/patricia-barber\" title=\"vinyl featuring Patricia Barber\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/patricia-barber\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"color: #ff8000;\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Patricia Barber]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\n\u003c\/li\u003e\n\u003cli\u003ePlain Gold Ring - Nina Simone \u003cspan style=\"color: #ff8000;\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003ca data-mce-fragment=\"1\" title=\"Vinyl featuring Nina Simone\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/nina-simone\" style=\"color: #ff8000;\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/nina-simone\"\u003e[click here to see more vinyl featuring Nina Simone]\u003c\/a\u003e\u003c\/strong\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide C :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eThe Moon Is Made Of Gold - Rickie Lee Jones \u003cstrong data-mce-fragment=\"1\"\u003e\u003ca data-mce-fragment=\"1\" title=\"vinyl featuring Rickie Lee Jones\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/rickie-lee-jones\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/rickie-lee-jones\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"color: #ff8000;\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Rickie Lee Jones]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\n\u003c\/li\u003e\n\u003cli\u003eBlue Moon - Julie London\u003cstrong data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003ca data-mce-fragment=\"1\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/julie-london\" title=\"vinyl featuring Julie London\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/julie-london\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"color: #ff8000;\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Julie London]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\n\u003c\/li\u003e\n\u003cli\u003eBlame It on the Moon - Nancy Bryan\u003c\/li\u003e\n\u003cli\u003eDiamonds and Rust - Joan Baez \u003cstrong data-mce-fragment=\"1\"\u003e\u003ca data-mce-fragment=\"1\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/joan-baez\" title=\"Vinyl featuring Joan Baez\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/joan-baez\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"color: #ff8000;\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Joan Baez]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\n\u003c\/li\u003e\n\u003cli\u003eSomebody Who Loves You - Joan Armatrading\u003c\/li\u003e\n\u003cli\u003eSend In the Clowns - Judy Collins\u003cspan style=\"color: #ff8000;\"\u003e \u003cstrong data-mce-fragment=\"1\"\u003e\u003ca data-mce-fragment=\"1\" style=\"color: #ff8000;\" title=\"vinyl featuring Judy Collins\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/judy-collins\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/judy-collins\"\u003e[click here to see more vinyl featuring Judy Collins]\u003c\/a\u003e\u003c\/strong\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide D :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eBallad Of The Runaway Horse - Jennifer Warnes \u003cstrong data-mce-fragment=\"1\"\u003e\u003ca data-mce-fragment=\"1\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/jennifer-warnes\" title=\"vinyl featuring Jennifer Warnes\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/jennifer-warnes\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003cspan style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Jennifer Warnes]\u003c\/span\u003e\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\n\u003c\/li\u003e\n\u003cli\u003eA Case of You - Diana Krall\u003cspan style=\"color: #ff8000;\"\u003e \u003cstrong data-mce-fragment=\"1\"\u003e\u003ca data-mce-fragment=\"1\" style=\"color: #ff2a00;\" title=\"Vinyl featuring Diana Krall\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/diana-krall\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/diana-krall\" data-mce-style=\"color: #ff2a00;\"\u003e[click here to see more vinyl featuring Diana Krall]\u003c\/a\u003e\u003c\/strong\u003e \u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003eThe Look of Love - Dusty Springfield\u003c\/li\u003e\n\u003cli\u003eBrothers In Arms - Joan Baez \u003cstrong data-mce-fragment=\"1\"\u003e\u003ca data-mce-fragment=\"1\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/joan-baez\" title=\"Vinyl featuring Joan Baez\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/joan-baez\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"color: #ff8000;\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Joan Baez]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\n\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\u003eHi-Fi News \"Album Choice\" for October 2019!\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eTAS Super LP List! Special Merit: Informal\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003c\/strong\u003e\"Humungous conflict of interest alert! I wrote this compilation’s liner notes and created the 22 song track order. Chad Kassem selected the female artists and the individual tracks sourced from albums he’d previously licensed and released on vinyl, SACD and high resolution download (maybe even R2R tape).\u003c\/p\u003e\n\u003cp\u003eThe concept was simple enough: a collection of well-recorded female vocalists revered by audio enthusiasts as well as by music lovers in general.\u003c\/p\u003e\n\u003cp\u003eSince Kassem’s licensing choices hit sonic and musical bullseyes, all were guaranteed to sound good. But since they weren’t selected mindful of any particular concept, ordering them into a coherent “story” was the difficult if not impossible task I faced.\u003c\/p\u003e\n\u003cp\u003eThe sources all were high-resolution files, some DSD, some PCM, depending upon what Kassem was originally given in the digital domain, or in most cases what Gus Skinas produced in DSD using the original analog tapes. Anyone thinking why wasn’t this cut from tape is either insane or ignorant.\u003c\/p\u003e\n\u003cp\u003eCutting from tape would have necessitated getting the originals, which would be both costly and time consuming (if at all still possible), and making a copy from the master of each song and then splicing them all together.\u003c\/p\u003e\n\u003cp\u003eSpeaking of “splicing them together” here’s what I did to order the tracks: the set begins with Julie London’s “Cry Me a River”, arguably the first female vocalist at the beginning of the “hi-fi” era to appear as if in the listener’s room and backed simply by bass and guitar. Why not segue into another intimately recorded, track, Ella Fitzgerald ‘s “Black Coffee”, on which she’s backed by solo piano.\u003c\/p\u003e\n\u003cp\u003eAfter copping out in the notes by writing “there’s no way to thematically link….” the 22 tunes, the compilation moves to Phoebe Snow’s “Poetry Man”, the excuse being she’s backed by jazz musicians. Works for me!\u003c\/p\u003e\n\u003cp\u003eNext up is Dusty Springfield’s “Son of a Preacher Man” just because, but it’s an easy call to move from there to Shelby Lynne’s “Just a Little Lovin’”. The side ends with Rickie Lee Jones’s cover of Steely Dan’s “Show Biz Kids”, with backing by some jazz greats. Pretty good side if you axe me!\u003c\/p\u003e\n\u003cp\u003eSide two opens with Patsy Cline’s enduring cover of Willie Nelson’s “Crazy” recorded at Bradley’s Barn followed for obvious reasons by Holly Cole’s cover of “Tennessee Waltz” and then by Nashville resident Janis Ian’s “Breaking Silence.”\u003c\/p\u003e\n\u003cp\u003eI’m not going to continue the “play by play”. However, there are three “moon” songs on side three: RLJ’s “The Moon is Made of Gold”, Julie London’s “Blue Moon” and Nancy Bryan’s “Blame it on the Moon”.\u003c\/p\u003e\n\u003cp\u003eOther artist faves include Joan Baez, Judy Collins, Jennifer Warnes, Patricia Barber, Nina Simone and Diana Krall.\u003c\/p\u003e\n\u003cp\u003eIf you’re unfamiliar with Myra Taylor, after you hear her take on “Hey There”, you might want to buy the album My Night to Dream.\u003c\/p\u003e\n\u003cp\u003eThis double LP set works well as entertainment and as a great sampler of the LPs mostly released by Analogue Productions and mostly AAA (where there’s tape to begin with). You can’t go wrong.\u003c\/p\u003e\n\u003cp\u003eAs for my liner notes: I used “great” a great many times when I shouldn’t have (sorry!) but worse: no one in the editing caught where I accidentally uses “rolls” instead of “roles”. I hate when that happens though it’s not as bad as the time in The Tracking Angle where I wrote about “Billy” Holiday (the \"roll\" era will be fixed on the second pressing now being being produced—at the recently Hong Kong Audio Show 1600 copies were sold just about evenly split between LPs and SACDs).\u003c\/p\u003e\n\u003cp\u003eThis is a great sampler! (there I go again). Easy to recommend for the music and the consistently fine sound. And yes, the album title sounds like either Reader's Digest lives or something hatched by Time-Life in the 1970s!\" By Michael Fremer @ AnalogPlanet.com\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eDiscogs 4.72\/5  ,  Hifi News : \u003cspan data-mce-fragment=\"1\"\u003eSound Quality = 90%\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eMichael Fremer : Music = 10\/11; Sound = 10\/11\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eDennis David : Music = 4.5\/5; Sound = 5\/5; Pressing = 5\/5; Jacket = 3\/5 \u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40986641596567,"sku":"AAPP 122","price":95.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/the-wonderful-sounds-of-female-vocals-nina-simone-diana-krall-patricia-barber-2lp-audiosoundmusic-1.jpg?v=1719853719"},{"product_id":"j-j-cale-troubadour","title":"J.J. Cale - Troubadour","description":"\u003cdiv\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eRARITY - SEALED\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003eJ.J. Cale - vocals, guitar, piano\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003eCharles Dungey – bass guitar (A1, A3)\u003c\/strong\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\n\u003c\/div\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cbr\u003eTommy Cogbill – bass guitar (A2, A5, B2, B4-6)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJoe Osborn – bass guitar (A3)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBill Raffensperger – bass guitar (B1)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eKarl Himmel – drums (A1, A2, A4, B3)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eKenny Buttrey – drums (A3, A6, B2, B4)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBuddy Harman – drums (A5, B6)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJimmy Karstein – drums (B1)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eKenny Malone – drums (B5)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGordon Payne – guitar (B2)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eChuck Browning – guitar (B2)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReggie Young – rhythm guitar (A1, A6, B3)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHarold Bradley – rhythm guitar (A2)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBill Boatman – rhythm guitar (B1)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDoug Bartenfeld – guitar\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLloyd Green – steel guitar (A1, B3)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBuddy Emmons – steel guitar (A5)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFarrell Morris – percussion (A2, B3, B5)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAudie Ashworth – percussion (A3)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJ.I. Allison – percussion (B1)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDon Tweedy – ARP\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBobby Woods – piano (B2)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBill Purcell – piano (B6)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGeorge Tidwell – trumpet (B4)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDennis Goode – trombone (B4)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBilly Puett – saxophone (B4)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by J.J. Cale (A1-6, B2-6), Sonny Curtis (B1)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, gatefold jacket\u003c\/strong\u003e\u003cstrong\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 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 :  Shelter Records\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded in 1976\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Audie Ashworth\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 1976\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2021\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eHey Baby\u003c\/li\u003e\n\u003cli\u003eTravelin’ Light\u003c\/li\u003e\n\u003cli\u003eYou Got Something\u003c\/li\u003e\n\u003cli\u003eRide Me High\u003c\/li\u003e\n\u003cli\u003eHold On\u003c\/li\u003e\n\u003cli\u003eCocaine\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e           \u003c\/p\u003e\n\u003cp\u003eSide B\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eI’m A Gypsy Man\u003c\/li\u003e\n\u003cli\u003eThe Woman That Got Away\u003c\/li\u003e\n\u003cli\u003eSuper blue\u003c\/li\u003e\n\u003cli\u003eLet Me Do It To You\u003c\/li\u003e\n\u003cli\u003eCherry\u003c\/li\u003e\n\u003cli\u003eYou Got Me on So Bad\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\"Producer Audie Ashworth introduced some different instruments, notably vibes and what sound like horns (although none are credited), for a slightly altered sound on Troubadour. But J.J. Cale's albums are so steeped in his introspective style that they become interchangeable. If you like one of them, chances are you'll want to have them all. This one is notable for introducing \"Cocaine,\" which Eric Clapton covered on his Slowhand album a year later.\" 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 4.23\/5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40987270447255,"sku":"AAPP 050","price":95.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/j-j-cale-troubadour-audiosoundmusic-1.jpg?v=1719853731"},{"product_id":"tennessee-ernie-ford-country-hits-feelin-blue","title":"Tennessee Ernie Ford - Country Hits...Feelin' Blue","description":"\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003eVocals – Tennessee Ernie Ford\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBass – John Mosher\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGuitar – Billy Strange\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, \u003cspan data-mce-fragment=\"1\"\u003ePrinting old-style tip-on jacket\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 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 :  Capitol Records\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Lee Gillette\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 1964\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in (unknown)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A:\u003c\/p\u003e\n\u003cp\u003e    Try Me One More Time\u003c\/p\u003e\n\u003cp\u003e    No Letter Today\u003c\/p\u003e\n\u003cp\u003e    Born To Lose\u003c\/p\u003e\n\u003cp\u003e    Don't Rob Another Man's Castle\u003c\/p\u003e\n\u003cp\u003e    There'll Be No Teardrops Tonight\u003c\/p\u003e\n\u003cp\u003e    I Don't Hurt Anymore\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eSide B:\u003c\/p\u003e\n\u003cp\u003e    Worried Mind\u003c\/p\u003e\n\u003cp\u003e    No One Will Ever Know\u003c\/p\u003e\n\u003cp\u003e    Funny How Time Slips Away\u003c\/p\u003e\n\u003cp\u003e    Sweet Dreams\u003c\/p\u003e\n\u003cp\u003e    Tears On My Pillow\u003c\/p\u003e\n\u003cp\u003e    May You Never Walk Alone\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\u003eCountry Hits...Feelin' Blue, released by Tennessee Ernie Ford in 1964, is a throwback -- or as the liner notes to this country classic (perhaps Ford's best) say, \"You don't hear much singing like this nowadays -- just a voice with easy guitar and bass accompaniment.\" But oh, what a voice. Ford's resonant-voiced baritone might be best known for his 1955 cover of Merle Travis' grim coal-mining song \"Sixteen Tons,\" with sales topping 4 million copies. The hit cemented Ford's place as one of America's top entertainers -- a singer and TV host who enjoyed success during the 1950s, '60s and '70s in multiple musical genres -- country, pop, and gospel.\u003c\/p\u003e\n\u003cp\u003eHe first guested on the Grand Ole Opry in 1950, and in 1953 he became the first country singer to appear at London's prestigious Palladium. Soon NBC hired him to emcee the television game show Kollege of Musical Knowledge, and also to host his own weekday program. His subsequent prime-time network variety programs made \"Bless your little pea-pickin' hearts\" a household catch phrase and provided wide exposure for his musical renditions of great country and gospel favorites.\u003c\/p\u003e\n\u003cp\u003eThe songs chosen by Ford for Country Hits...Feelin' Blue are all favorites, some of the best tunes from the inspired pens of such country composers as Hank Williams, Fred Rose, Jenny Lou Carson, Willie Nelson, and Don Gibson. The album (one of Ford's favorite LPs) was recorded with backup provided by just two musicians; guitarist Billy Strange and bassist John Mosher.\u003c\/p\u003e\n\u003cp\u003eSome of these songs go back to the start of Ford's career when he and Strange were working together as cast members of Los Angeles's Hometown Jamboree country music radio show. Mosher was a member of Ford's TV show band since its inception. Strange created the musical arrangements for Country Hits...Feelin' Blue -- a quiet, simple get-together with the songs they had been playing and singing down through the years. That's why it's more than just another album. You can hear the affection and understanding coming through.\u003c\/p\u003e\n\u003cp\u003eFor this Analogue Productions reissue they turned to the experts who once again bring their stellar craftsmanship to the creation of a phenomenal-sounding release. Lacquers were cut by Kevin Gray at Cohearent Audio who mastered the LP from the original tape. Plating and 180-gram pressing was by Quality Record Pressings, noted for their superior sonics and silent backgrounds. And nothing less than a Stoughton Printing old-style tip-on jacket would suit such a great LP.\u003c\/p\u003e\n\u003cp\u003eAlbums have been made with lots more people and lots more sound. But quantity never did mean quality. This is just a simple, great album. Great voice, great guitar and bass, and great songs -- the best of each.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eDiscogs 4.\/5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40987476754583,"sku":"AAPP 126","price":65.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/tennessee-ernie-ford-country-hits-feelin-blue-audiosoundmusic-1.jpg?v=1719853731"},{"product_id":"tony-joe-white-black-and-white","title":"Tony Joe White - Black And White","description":"\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003eGuitar, Harmonica – Tony Joe White\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBass – Norbert Putnam\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDrums – Jerry Carrigan, Jimmy Isbell (B1)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGuitar – Chip Young (B6)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePiano, Organ – David Briggs\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by Tony Joe White (A1-6)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eArranged by Bergen White (A1-6, B1, B4-6), Cam Mullins (A3)\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\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 :  Monument \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded at RCA Victor Studios, Nashville\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineered by Al Pachucki\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Billy Swan\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 1969\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2021\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eWillie And Laura Mae Jones\u003c\/li\u003e\n\u003cli\u003eSoul Francisco\u003c\/li\u003e\n\u003cli\u003eAspen Colorado\u003c\/li\u003e\n\u003cli\u003eWhompt Out On You\u003c\/li\u003e\n\u003cli\u003eDon't Steal My Love\u003c\/li\u003e\n\u003cli\u003ePolk Salad Annie\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\u003eWho's Making Love\u003c\/li\u003e\n\u003cli\u003eScratch My Back\u003c\/li\u003e\n\u003cli\u003eLittle Green Apples\u003c\/li\u003e\n\u003cli\u003eWichita Lineman\u003c\/li\u003e\n\u003cli\u003eLook Of Love\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\"When \"Polk Salad Annie\" blared from transistor radio speakers in the summer of 1969, the first thought was of Creedence Clearwater Revival, for Tony Joe White's swamp rock bore more than a passing resemblance to the sound John Fogerty whipped up on Bayou Country and Green River. But White was the real thing -- he really was from the bayou country of Louisiana, while Fogerty's bayou country was conjured up in Berkeley, CA. Plus, White had a mellow baritone voice that sounded like it had been dredged up from the bottom of the Delta. Besides \"Annie,\" side one of this album includes several other White originals. The best of these are \"Willie and Laura Mae Jones,\" a song about race relations with an arrangement similar to \"Ballad of Billie Joe,\" and \"Soul Francisco,\" a short piece of funky fluff that had been a big hit in Europe in 1968. \"Aspen, Colorado\" presages the later \"Rainy Night in Georgia,\" a White composition popularized by Brook Benton. The second side consists of covers of contemporary hits, with the funky \"Who's Making Love\" and \"Scratch My Back\" faring better than the slow stuff. Dusty Springfield had a minor hit with \"Willie and Laura Mae Jones,\" and White's songs were recorded by other performers through the years, but \"Polk Salad Annie\" and the gators that got her granny provided his only march in the American hit parade.\" AllMusic Review by Jim Newsom\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eAllMusic 3.5\/5  ,  Discogs 4.3\/5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40988337995927,"sku":"AAPP 129","price":65.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/tony-joe-white-black-and-white-audiosoundmusic-1.jpg?v=1719853778"},{"product_id":"nancy-bryan-lay-me-down-2lp-45rpm-200g","title":"\u003ctranscy\u003eNancy Bryan - Lay Me Down (2LP, 45 tours)\u003c\/transcy\u003e","description":"\u003ch2\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eORDER LIMITED TO ONE ITEM PER CUSTOMER\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h2\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003e2 LPs, standard sleeve\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eLimited Edition\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 45RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12”\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : APO Records\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : APO Records\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by John Koenig\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 1995\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2008\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eBlood Song \u003c\/li\u003e\n\u003cli\u003eLay Me Down\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eLong Way Home       \u003c\/li\u003e\n\u003cli\u003eI'll Be Waiting \u003c\/li\u003e\n\u003cli\u003eCome Back To Me \u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide C:    \u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eSweet Havana \u003c\/li\u003e\n\u003cli\u003eGuilty \u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide D:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eMy Love Is A Message          \u003c\/li\u003e\n\u003cli\u003eFalling Stars   \u003c\/li\u003e\n\u003cli\u003eIn And Out Of Time\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003col\u003e\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e\"Nancy Bryan has a crystalline soprano and a mournful songwriting sensibility, highlighted by one of the most dynamic and timbrally pure recordings I've heard in a long time...the disc sounds naturally ambient, crisp and articulate.\" Wes Phillips, Stereophile\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":41034443489431,"sku":"AAPO 2002-45","price":65.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/nancy-bryan-lay-me-down-2lp-45rpm-audiosoundmusic-1.jpg?v=1719854014"},{"product_id":"nancy-bryan-lay-me-down-1lp-33rpm","title":"\u003ctranscy\u003eNancy Bryan - 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Vocals, Guitar, Bass, Mandolin \u003cspan style=\"color: #ff8000;\"\u003e\u003ca data-mce-fragment=\"1\" style=\"color: #ff8000;\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/ry-cooder\" title=\"vinyl featuring Ry Cooder\"\u003e[click here to see more vinyl featuring Ry Cooder]\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eVan Dyke Parks - Piano\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBobby Bruce – Violin\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eChris Ethridge Roy Estrada, Max Bennett – Bass\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJohn Barbata, Richie Hayward – Drums\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMilt Holland – Drums, percussions\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGloria Jones - backing vocals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas GmbH in Germany\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Speakers Corner\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Reprise Records\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded in 1970 at various studios by Bob Kovacs, Doug Botnick, Rudy Hill and Jim Lowe\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Lenny Waronker and Van Dyke Parks\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1970\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2021\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eAlimony\u003c\/li\u003e\n\u003cli\u003eFrance Chance\u003c\/li\u003e\n\u003cli\u003eOne Meat Ball\u003c\/li\u003e\n\u003cli\u003eDo Re Mi\u003c\/li\u003e\n\u003cli\u003eMy Old Kentucky Home\u003c\/li\u003e\n\u003cli\u003eHow Can A Poor Man Stand Such Times And Live?\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eAvailable Space\u003c\/li\u003e\n\u003cli\u003ePig Meat\u003c\/li\u003e\n\u003cli\u003ePolice Dog Blues\u003c\/li\u003e\n\u003cli\u003eGoin' To Brownsville\u003c\/li\u003e\n\u003cli\u003eDark Is The Night\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e“When the name Ry Cooder comes up, it may seem familiar to casual listeners. But in music circles, this roots-based guitarist is revered by fellow artists. As a sideman, he has recorded with The Rolling Stones, Randy Newman, Linda Ronstadt, Van Morrison and Little Feat. His slide guitar imprint on rock history is significant. Additionally, Cooder has scored many films, including Paris, Texas, The Long Riders, Streets Of Fire, Johnny Handsome, Performance, Primary Colors and Trespass. He dubbed many of the guitar parts in the movie, Crossroads. Over the last five decades, Ry Cooder has released several recordings, showcasing his unique eclecticism and virtuosity.\u003c\/p\u003e\n\u003cp\u003eSpeakers Corner Records has released a 180-gram re-mastered vinyl of Ry Cooder’s self-titled 1970 debut. With the assistance of several contemporaries, RY Cooder represents an auspicious debut as a solo artist. He is presenting a modern connection and appreciation to blues. Side 1 opens with the humorous tune, “Alimony” (co-written by Robert Higgenbothem of “Hi-Heel Sneakers” fame). With electric slide and a lower-voice register, Cooder pleads his case before the judge. Touches of gospel backup singing (Gloria Jones) and barrelhouse piano (Van Dyke Parks) liven this up. “France Chance” (originally written and recorded under the title “Love Me Baby Blues” by Joe Calliciott ) is also sprightly with a syncopated tempo. Digging into another Americana genre tin pan alley, “One Meat Ball” has a pop-jazz resonance with an exotic melody line, again enunciating regrets for lack of money (“…get no bread with one meatball…”) with coyness. On “Do-Re_Mi”, Cooder shifts into social commentary from Woody Guthrie. It was an alarm bell to “dust bowl” migrants heading to California to escape poverty. A warning to not come here…”if you ain’t got the do-re-mi” is chilling 30 years later. The arrangement is modern with violins and feels like late 60’s early 70’s groups like The Band. Drawing on a then present-day musical source, “Old Kentucky Home” (from Randy Newman’s 12 Songs LP) is slowed down to back porch rhythm, but Cooder’s vocals effectively tell a heartfelt, funny story He is a natural conduit for Newman’s deadpan-infused irony. One of the highlights of this album is a cover of a 1929 protest song (“How Can A Poor Man Stand Such Times And Live”) written by Blind Alfred Reed. Cooder maintains the authenticity of the song, but with a folk-rock sensibility. His guitar licks are concise and visceral.\u003c\/p\u003e\n\u003cp\u003eSide 2 has a laid-back vibe. Cooder’s lone composition, “Available Space” is a stirring instrumental. A great slide guitar brings some funkiness to this country-blues format. If you’re going to select material from great American composers, then Hudie Ledbetter (a.k.a. Leadbelly) seems like an obvious choice. “Pigmeat” is performed with old-school laconic articulation. Hudbetter’s wry observations on “country versus city” always seem topical.  The brass accents emulate Louisiana musical styling. There are also a number from lesser-known blues artist Arthur “Blind” Blake. “Police Dog Blues” is acoustic Delta-inspired social reflection with classic lyrical imagery of “gamblin’”, “travelin’ man” and “police dogs”. But “Sleepy” John Estes is renowned and has influenced rockers like John Lennon, Bob Dylan and Robert Plant. “Goin’ To Brownsville” has become a standard. Cooder executes some of his finest work here with mandolin and electric slide in multi-tracking production. The finale is an instrumental, “Dark Is The Night” by the legendary Blind Willie Johnson. This blues man has been credited with popularizing slide guitar. Cooder’s pared-down arrangement (on slide) is atmospheric and translates the innate forlorn character of blues.\u003c\/p\u003e\n\u003cp\u003eSpeakers Corner Records has done an excellent job in re-mastering Ry Cooder to 180-gram vinyl. The overall mix is balanced with good stereo separation. Both acoustic and slide guitars sound natural with little distortion.” Robbie Gerson, Audiophile Audition, September 2021\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e« Already a seasoned music business veteran at the age of 22, Ry Cooder stepped out from behind the shadows of the likes of Jackie DeShannon, Taj Mahal, the Rolling Stones, and Captain Beefheart, signing his own deal with Warner Brothers records in 1969. Released the following year, Cooder's eponymous debut creates an intriguing fusion of blues, folk, rock \u0026amp; roll, and pop, filtered through his own intricate, syncopated guitar; Van Dyke Parks and Lenny Waronker's idiosyncratic production; and Parks and Kirby Johnson's string arrangements. And while he's still finding his feet as a singer, Cooder puts this unique blend across with a combination of terrific songs, virtuosic playing, and quirky, yet imaginative, arrangements. For material, Cooder, the son of folklorist parents, unearths ten gems -- spanning six decades dating back to the 1920s -- by legends such as Woody Guthrie, Blind Blake, Sleepy John Estes, and Leadbelly, as well as a current Randy Newman composition. Still, as great as his outside choices are, it's the exuberant charm of his own instrumental \"Available Space\" that nearly steals the show. Its joyful interplay between Cooder's slide, Van Dyke Parks' music hall piano, and the street-corner drumming creates a piece that is both loose and sophisticated. If \"Available Space\" is the record's most playful moment, its closer, \"Dark Is the Night,\" is the converse, with Cooder's stark, acoustic slide extracting every ounce of torment from Blind Willie Johnson's mournful masterpiece. Some of the eccentric arrangements may prove to be a bit much for both purists and pop audiences alike, but still, Cooder's need to stretch, tempered with a reverence for the past, helps to create a completely original work that should reward adventurous listeners. » AllMusic Review by Brett Hartenbach.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eAllMusic : 4 \/ 5 ,  Discogs : 4.12 \/ 5 \u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":41039342895255,"sku":"RS 6402","price":30.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/ry-cooder-audiosoundmusic-1.jpg?v=1743195902"},{"product_id":"bob-dylan-the-times-they-are-a-changin-2lp-mono-ultra-analog-45-rpm","title":"\u003ctranscy\u003eBob Dylan - The Times They are a-Changin (2LP, Mono, Ultra Analog, Half-speed Mastering, 45 tours)\u003c\/transcy\u003e","description":"\u003ch2\u003e\n\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eORDER LIMITED TO ONE ITEM PER CUSTOMER\u003c\/strong\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003c\/h2\u003e\n\u003cp\u003e\u003cstrong\u003eBob Dylan – vocals, acoustic guitar, harmonica  \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/bob-dylan\" title=\"vinyl featuring Bob Dylan\" style=\"color: #ff8000;\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/bob-dylan\" data-mce-style=\"color: #ff8000;\" data-mce-fragment=\"1\"\u003e[click here to see more vinyl featuring Bob Dylan]\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by Bob Dylan\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e2 LPs, gatefold sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eNumbered edition limited to 3,000 copies\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHalf-speed Mastering\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGain 2™ Ultra Analog\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 45RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12”\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMono\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : RTI\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : MOFI\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Columbia\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded \u003cspan data-mce-fragment=\"1\"\u003eAugust 6 – October 31, 1963 in \u003c\/span\u003eColumbia Studio A, 799 Seventh Avenue, New York City\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Tom Wilson\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 1964\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2016\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eThe Times They Are A-Changin'\u003c\/li\u003e\n\u003cli\u003eBallad Of Hollis Brown\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col start=\"3\"\u003e\n\u003cli\u003eWith God On Our Side\u003c\/li\u003e\n\u003cli\u003eOne Too Many Mornings\u003c\/li\u003e\n\u003cli\u003eNorth Country Blues\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eSide C :\u003c\/p\u003e\n\u003col start=\"6\"\u003e\n\u003cli\u003eOnly A Pawn In Their Game\u003c\/li\u003e\n\u003cli\u003eBoots Of Spanish Leather\u003c\/li\u003e\n\u003cli\u003eWhen The Ship Comes In\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eSide D :\u003c\/p\u003e\n\u003col start=\"9\"\u003e\n\u003cli\u003eThe Lonesome Death Of Hattie Carroll\u003c\/li\u003e\n\u003cli\u003eRestless Farewell\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e\"If The Times They Are a-Changin' isn't a marked step forward from The Freewheelin' Bob Dylan, even if it is his first collection of all originals, it's nevertheless a fine collection all the same. It isn't as rich as Freewheelin', and Dylan has tempered his sense of humor considerably, choosing to concentrate on social protests in the style of \"Blowin' in the Wind.\" With the title track, he wrote an anthem that nearly equaled that song, and \"With God on Our Side\" and \"Only a Pawn in Their Game\" are nearly as good, while \"Ballad of Hollis Brown\" and \"The Lonesome Death of Hattie Carroll\" are remarkably skilled re-castings of contemporary tales of injustice. His absurdity is missed, but he makes up for it with the wonderful \"One Too Many Mornings\" and \"Boots of Spanish Leather,\" two lovely classics. If there are a couple of songs that don't achieve the level of the aforementioned songs, that speaks more to the quality of those songs than the weakness of the remainder of the record. And that's also true of the album itself -- yes, it pales next to its predecessor, but it's terrific by any other standard.\" AllMusic Review by Stephen Thomas Erlewine\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eUltra Analog™\u003c\/strong\u003e\u003cspan data-mce-fragment=\"1\"\u003e : The GAIN 2 Ultra Analog™ Series stems from the use of the Gain 2 system, mastered at half speed from the original master tapes where possible, capturing and uncovering as before undiscovered sonic information.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003cstrong\u003eHalf-speed mastering. \u003c\/strong\u003eIn half-speed mastering, the whole process is slowed down to half of the original speed. A typical 33 1\/3 rpm record is cut at 16 2\/3 rpm. The source material is also slowed down (reducing the pitch in the process) meaning the final record will still sound normal when played back. Slowing the whole process down allows more time, which means the end result sounds better and is more efficient — allowing engineering to minimize the effects of inherent limitations within the vinyl format. The result is a more accurate and more open high-frequency response in the half speed vinyl when compared with a normal speed recording.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eAllMusic : 4,5 \/ 5 , Discogs : 4,38 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":41053091266711,"sku":"MFSL2-460M","price":95.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/bob-dylan-the-times-they-are-a-changin-2lp-mono-ultra-analog-half-speed-mastering-45-rpm-audiosoundmusic-1.jpg?v=1719854100"},{"product_id":"bob-dylan-bob-dylan-2lp-mono-ultra-analog-45-rpm","title":"\u003ctranscy\u003eBob Dylan - Bob Dylan (2LP, Mono, Ultra Analog, Half-speed Mastering, 45 tours)\u003c\/transcy\u003e","description":"\u003cp\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eORDER LIMITED TO ONE ITEM PER CUSTOMER\u003c\/strong\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBob Dylan – vocals, acoustic guitar, harmonica \u003ca title=\"vinyl featuring Bob Dylan\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/bob-dylan\" style=\"color: #ff8000;\" data-mce-fragment=\"1\"\u003e[click here to see more vinyl featuring Bob Dylan]\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by Bob Dylan\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e2 LPs, gatefold sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eNumbered edition limited to 3,000 copies\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHalf-speed Mastering\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGain 2™ Ultra Analog\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 45RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12”\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMono\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : RTI\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : MOFI\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Columbia\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded \u003cspan data-mce-fragment=\"1\"\u003eNovember 20 and 22, 1961\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e in \u003c\/span\u003eColumbia Studio A, 799 Seventh Avenue, New York City\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by John Hammond\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by Krieg Wunderlich\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1962\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2018\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eYou're No Good\u003c\/li\u003e\n\u003cli\u003eTalkin' New York\u003c\/li\u003e\n\u003cli\u003eIn My Time Of Dyin'\u003c\/li\u003e\n\u003cli\u003eMan Of Constant Sorrow\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col start=\"5\"\u003e\n\u003cli\u003eFixin' To Die\u003c\/li\u003e\n\u003cli\u003ePretty Peggy-O\u003c\/li\u003e\n\u003cli\u003eHighway 51\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide C :\u003c\/p\u003e\n\u003col start=\"8\"\u003e\n\u003cli\u003eGospel Plow\u003c\/li\u003e\n\u003cli\u003eBaby, Let Me Follow You Down\u003c\/li\u003e\n\u003cli\u003eHouse Of The Risin' Sun \u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide D :\u003c\/p\u003e\n\u003col start=\"11\"\u003e\n\u003cli\u003eFreight Train Blues\u003c\/li\u003e\n\u003cli\u003eSong To Woody\u003c\/li\u003e\n\u003cli\u003eSee That My Grave Is Kept Clean\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e  \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e\"Bob Dylan's first album is a lot like the debut albums by the Beatles and the Rolling Stones -- a sterling effort, outclassing most, if not all, of what came before it in the genre, but similarly eclipsed by the artist's own subsequent efforts. The difference was that not very many people heard Bob Dylan on its original release (originals on the early-'60s Columbia label are choice collectibles) because it was recorded with a much smaller audience and musical arena in mind. At the time of Bob Dylan's release, the folk revival was rolling, and interpretation was considered more important than original composition by most of that audience. A significant portion of the record is possessed by the style and spirit of Woody Guthrie, whose influence as a singer and guitarist hovers over \"Man of Constant Sorrow\" and \"Pretty Peggy-O,\" as well as the two originals here, the savagely witty \"Talkin' New York\" and the poignant \"Song to Woody\"; and it's also hard to believe that he wasn't aware of Jimmie Rodgers and Roy Acuff when he cut \"Freight Train Blues.\" But on other songs, one can also hear the influences of Bukka White, Blind Lemon Jefferson, Blind Willie Johnson, and Furry Lewis, in the playing and singing, and this is where Dylan departed significantly from most of his contemporaries. Other white folksingers of the era, including his older contemporaries Eric Von Schmidt and Dave Van Ronk, had incorporated blues in their work, but Dylan's presentation was more in your face, resembling in some respects (albeit in a more self-conscious way) the work of John Hammond, Jr., the son of the man who signed Dylan to Columbia Records and produced this album, who was just starting out in his own career at the time this record was made. There's a punk-like aggressiveness to the singing and playing here. His raspy-voiced delivery and guitar style were modeled largely on Guthrie's classic '40s and early-'50s recordings, but the assertiveness of the bluesmen he admires also comes out, making this one of the most powerful records to come out of the folk revival of which it was a part. Within a year of its release, Dylan, initially in tandem with young folk\/protest singers like Peter, Paul \u0026amp; Mary and Phil Ochs, would alter the boundaries of that revival beyond recognition, but this album marked the pinnacle of that earlier phase, before it was overshadowed by this artist's more ambitious subsequent work. In that regard, the two original songs here serve as the bridge between Dylan's stylistic roots, as delineated on this album, and the more powerful and daringly original work that followed. One myth surrounding this album should also be dispelled here -- his version of \"House of the Rising Sun\" here is worthwhile, but the version that was the inspiration for the Animals' recording was the one by Josh White.\" AllMusic Review by Bruce Eder  \u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eUltra Analog™\u003c\/strong\u003e\u003cspan data-mce-fragment=\"1\"\u003e : The GAIN 2 Ultra Analog™ Series stems from the use of the Gain 2 system, mastered at half speed from the original master tapes where possible, capturing and uncovering as before undiscovered sonic information.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003cstrong\u003eHalf-speed mastering. \u003c\/strong\u003eIn half-speed mastering, the whole process is slowed down to half of the original speed. A typical 33 1\/3 rpm record is cut at 16 2\/3 rpm. The source material is also slowed down (reducing the pitch in the process) meaning the final record will still sound normal when played back. Slowing the whole process down allows more time, which means the end result sounds better and is more efficient — allowing engineering to minimize the effects of inherent limitations within the vinyl format. The result is a more accurate and more open high-frequency response in the half speed vinyl when compared with a normal speed recording.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eAllMusic : 4 \/ 5 , Discogs : 4,13 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":41053158146199,"sku":"MFSL2-458","price":71.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/bob-dylan-bob-dylan-2lp-mono-ultra-analog-half-speed-mastering-45-rpm-audiosoundmusic-1.jpg?v=1719854100"},{"product_id":"alison-krauss-union-station-so-long-so-wrong-2lp-ultra-analog-45-rpm","title":"\u003ctranscy\u003eAlison Krauss \u0026 Union Station - So Long So Wrong (2LP, 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\u003eAlison Krauss – vocal, fiddle\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDan Tyminski – guitar, bass, vocals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRon Block – guitar, banjo, vocals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBarry Bales – bass, vocals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAdam Steffey – mandolin, mandola, vocals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e2 LPs, gatefold sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eLimited numbered edition\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHalf-speed Mastering\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGain 2™ Ultra Analog\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12”\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : RTI\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : MOFI\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Rounder Records\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineered by Gary Paczosa\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by AKUS\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by Paul Stubblebine\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1997\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2004\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 Long, So Wrong\u003c\/li\u003e\n\u003cli\u003eNo Place to Hide\u003c\/li\u003e\n\u003cli\u003eDeeper Than Crying\u003c\/li\u003e\n\u003cli\u003eI Can Let Go Now\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col start=\"5\"\u003e\n\u003cli\u003eThe Road Is a Lover\u003c\/li\u003e\n\u003cli\u003eLittle Liza Jane\u003c\/li\u003e\n\u003cli\u003eIt Doesn't Matter\u003c\/li\u003e\n\u003cli\u003eFind My Way Back to My Heart\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eSide C :\u003c\/p\u003e\n\u003col start=\"9\"\u003e\n\u003cli\u003eI'll Remember You Love in My Prayers\u003c\/li\u003e\n\u003cli\u003eLooking in the Eyes of Love\u003c\/li\u003e\n\u003cli\u003ePain of a Troubled Life\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eSide D :\u003c\/p\u003e\n\u003col start=\"12\"\u003e\n\u003cli\u003eHappiness\u003c\/li\u003e\n\u003cli\u003eBlue Trail of Sorrow\u003c\/li\u003e\n\u003cli\u003eThere Is a Reason\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\u003eSo Long So Wrong won three Grammys: Best Country Performance by a Duo or Group with Vocal for \"Looking in the Eyes of Love\", Best Country Instrumental Performance for \"Little Liza Jane\", and Best Bluegrass Album.\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e\u003cb\u003eTAS Audiophile Demo Disc!\u003c\/b\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e\"Led by ethereal songbird\/fiddler Krauss, the natural acoustics and intricate harmonies of the bluegrass, roots, and mountain songbook don't get much better treatment than on this disc.\"\u003cspan\u003e - Neil Gader, TAS Guide to Audiophile Demo Disc pick, Spring 2011, Buyer's Guide, pg. 28\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\"After mainstream success happened for Alison Krauss \u0026amp; Union Station, one would have rightly expected a commercial sweetening of their sound, resulting in diminishing (or even abandoning) the simple but very unique thing that brought them into the public eye -- and eventual public acclaim -- in the first place. But the group's first new recording in the wake of the surprise success of Now That I've Found You: A Collection finds Alison Krauss \u0026amp; Union Station happily keeping their eclectic focus firmly on the prize stretched before them with no silly attempts to court the hat-hunk-of-the-month or the boot-scoot-boogie crowd. Despite the media's singling out of Krauss as country's new bluegrass solo diva, Union Station (with Krauss as simply a featured member of it) remains very much a group, and that's the real refreshing news here. It is that collective spirit that remains the reoccurring theme and the resounding musical point being made here, and it is the solid anchor that roots this album into place from beginning to end. Krauss' expert evocative way with a ballad is on full display here, with \"Deeper Than Crying\" and \"It Doesn't Matter\" featuring her on violas, adding a new voice to Union Station's sound. But the lead vocals are passed around among Krauss, mandolinist Adam Steffey, guitarist Dan Tyminski, and banjoist Ron Block, while Krauss' fiddle work in a backup capacity is an integral part of the sound as well. All in all, this is a totally un-gimmicky album that flies in the face of what usually happens when mainstream success comes calling. And, as a result of that commitment to quality and musical focus, one that makes you want to play it again when it's all over.\" \u003cspan data-mce-fragment=\"1\"\u003eAllMusic Review by Cub Koda\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003col start=\"4\"\u003e\u003c\/ol\u003e\n\u003col start=\"5\"\u003e\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eUltra Analog™\u003c\/strong\u003e\u003cspan data-mce-fragment=\"1\"\u003e : The GAIN 2 Ultra Analog™ Series stems from the use of the Gain 2 system, mastered at half speed from the original master tapes where possible, capturing and uncovering as before undiscovered sonic information.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003cstrong\u003eHalf-speed mastering. \u003c\/strong\u003eIn half-speed mastering, the whole process is slowed down to half of the original speed. A typical 33 1\/3 rpm record is cut at 16 2\/3 rpm. The source material is also slowed down (reducing the pitch in the process) meaning the final record will still sound normal when played back. Slowing the whole process down allows more time, which means the end result sounds better and is more efficient — allowing engineering to minimize the effects of inherent limitations within the vinyl format. The result is a more accurate and more open high-frequency response in the half speed vinyl when compared with a normal speed recording.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eAllMusic : 4 \/ 5 , Discogs : 4,34 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":41060415733911,"sku":"MFSL2-276","price":245.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/alison-krauss-and-union-station-so-long-so-wrong-2lp-ultra-analog-half-speed-mastering-audiosoundmusic-1.jpg?v=1719854160"},{"product_id":"bob-dylan-another-side-of-bob-dylan-2lp-ultra-analog-45-rpm","title":"\u003ctranscy\u003eBob Dylan - Another Side of Bob Dylan (2LP, Mono, Ultra Analog, Half-speed Mastering, 45 tours)\u003c\/transcy\u003e","description":"\u003ch2\u003e\n\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eORDER LIMITED TO ONE ITEM PER CUSTOMER\u003c\/strong\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003c\/h2\u003e\n\u003cp\u003e\u003cstrong\u003eBob Dylan – vocals, acoustic guitar, harmonica, piano \u003ca title=\"vinyl featuring Bob Dylan\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/bob-dylan\" style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/bob-dylan\"\u003e[click here to see more vinyl featuring Bob Dylan]\u003c\/a\u003e\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e2 LPs, gatefold sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eLimited numbered edition\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHalf-speed Mastering\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGain 2™ Ultra Analog\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 45RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12”\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMono\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : RTI\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : MOFI\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Columbia\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded June 9, 1964 at Columbia Studio A, 799 Seventh Avenue, New York City\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Tom Wilson \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 1964\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\u003eAll I Really Want To Do\u003c\/li\u003e\n\u003cli\u003eBlack Crow Blues\u003c\/li\u003e\n\u003cli\u003eSpanish Harlem Incident\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col start=\"4\"\u003e\n\u003cli\u003eChimes Of Freedom\u003c\/li\u003e\n\u003cli\u003eI Shall Be Free No. 10\u003c\/li\u003e\n\u003cli\u003eTo Ramona\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eSide C :\u003c\/p\u003e\n\u003col start=\"7\"\u003e\n\u003cli\u003eMotorpsycho Nitemare\u003c\/li\u003e\n\u003cli\u003eMy Back Pages\u003c\/li\u003e\n\u003cli\u003eI Don’t Believe You\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eSide D :\u003c\/p\u003e\n\u003col start=\"10\"\u003e\n\u003cli\u003eBallad In Plain D\u003c\/li\u003e\n\u003cli\u003eIt Ain’t Me Babe\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e\"The other side of Bob Dylan referred to in the title is presumably his romantic, absurdist, and whimsical one -- anything that wasn't featured on the staunchly folky, protest-heavy Times They Are a-Changin', really. Because of this, Another Side of Bob Dylan is a more varied record and it's more successful, too, since it captures Dylan expanding his music, turning in imaginative, poetic performances on love songs and protest tunes alike. This has an equal number of classics to its predecessor, actually, with \"All I Really Want to Do,\" \"Chimes of Freedom,\" \"My Back Pages,\" \"I Don't' Believe You,\" and \"It Ain't Me Babe\" standing among his standards, but the key to the record's success is the album tracks, which are graceful, poetic, and layered. Both the lyrics and music have gotten deeper and Dylan's trying more things -- this, in its construction and attitude, is hardly strictly folk, as it encompasses far more than that. The result is one of his very best records, a lovely intimate affair.\" \u003cspan data-mce-fragment=\"1\"\u003eAllMusic Review by Stephen Thomas Erlewine\u003c\/span\u003e\u003c\/p\u003e\n\u003col start=\"4\"\u003e\u003c\/ol\u003e\n\u003col start=\"5\"\u003e\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eUltra Analog™\u003c\/strong\u003e\u003cspan data-mce-fragment=\"1\"\u003e : The GAIN 2 Ultra Analog™ Series stems from the use of the Gain 2 system, mastered at half speed from the original master tapes where possible, capturing and uncovering as before undiscovered sonic information.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003cstrong\u003eHalf-speed mastering. \u003c\/strong\u003eIn half-speed mastering, the whole process is slowed down to half of the original speed. A typical 33 1\/3 rpm record is cut at 16 2\/3 rpm. The source material is also slowed down (reducing the pitch in the process) meaning the final record will still sound normal when played back. Slowing the whole process down allows more time, which means the end result sounds better and is more efficient — allowing engineering to minimize the effects of inherent limitations within the vinyl format. The result is a more accurate and more open high-frequency response in the half speed vinyl when compared with a normal speed recording.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eAllMusic : 4,5 \/ 5 , Discogs : 4,11 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":41066681270423,"sku":"MFSL2-461","price":95.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/bob-dylan-another-side-of-bob-dylan-2lp-mono-ultra-analog-half-speed-mastering-45-rpm-audiosoundmusic-1.jpg?v=1719854160"},{"product_id":"richard-thompson-rumor-and-sigh-2lp-ultra-analog-45-rpm","title":"\u003ctranscy\u003eRichard Thompson - Rumor and Sigh (2LP, Ultra Analog, 45 tours)\u003c\/transcy\u003e","description":"\u003ch2\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eORDER LIMITED TO ONE ITEM PER CUSTOMER\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h2\u003e\n\u003cp\u003e\u003cstrong\u003eRichard Thompson – guitar, vocals, mandolin, hurdy-gurdy\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMitchell Froom – piano, Hammond organ, portative organ, Chamberlin, celeste, clavioline, echo harp\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJerry Scheff – bass guitar\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMickey Curry – drums (A1-2, B2, C1-2, D1)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJim Keltner – drums\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAlex Acuña – percussion\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eChristine Collister and Clive Gregson – backing vocals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJohn Kirkpatrick – accordion, concertina, backing vocals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePhil Pickett – shawm, crumhorn, curtal\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSimon Nicol – guitar\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAly Bain – fiddle\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e2 LPs, gatefold sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eLimited 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\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 : Capitol Records\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded at Sunset Sound, Los Angeles and Konk Studios, London in 1991\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineered by Tchad Blake\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Mitchell Froom\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by Krieg Wunderlich, Rob LoVerde\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1991\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\u003eRead About Love\u003c\/li\u003e\n\u003cli\u003eI Feel So Good\u003c\/li\u003e\n\u003cli\u003eI Misunderstood\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\u003eGrey Walls\u003c\/li\u003e\n\u003cli\u003eYou Dream Too Much\u003c\/li\u003e\n\u003cli\u003eWhy Must I Plead\u003c\/li\u003e\n\u003cli\u003e1952 Vincent Black Lightning\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e Side C:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eBacklash Love Affair\u003c\/li\u003e\n\u003cli\u003eMystery Wind\u003c\/li\u003e\n\u003cli\u003eDon't Sit On My Jimmy Shands\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e Side D:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eKeep Your Distance\u003c\/li\u003e\n\u003cli\u003eMother Knows Best\u003c\/li\u003e\n\u003cli\u003eGod Loves A Drunk\u003c\/li\u003e\n\u003cli\u003ePsycho Street\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e\"While Richard Thompson's devotees will tell you the man is a triple-threat genius -- passionate vocalist, compelling songwriter, and sterling guitarist -- even his most loyal supporters will concede that the dour nature of his songs and the no-frills production of many of his albums make the bulk of his catalog tough sledding for the uninitiated. Given this, 1991's Rumor and Sigh is arguably the best album for those wanting to sample Thompson's work for the first time. It captures Thompson at the top of his form on all fronts, but also gives his songs just enough polish to make them approachable for the unconverted, and though it's several shades darker than the average adult-contemporary album, it honors Thompson's obsession with romantic despair and the less pleasant quirks of fate without sounding depressing in the process. Producer Mitchell Froom tricked up Thompson's sound a bit, but his approach added to the material rather than interfering with it; the topsy-turvy keyboards and sharp, snapping drum sound on \"Gray Walls\" and \"You Dream Too Much\" actually add to their narrative drama, and Froom coaxed some of Thompson's most soulful vocals on \"Why Must I Plead\" and \"I Misunderstood.\" Thompson actually gets funny on \"Don't Sit On My Jimmy Shands\" and the darkly hilarious \"Psycho Street,\" and Thompson fans who like his work straight with no chaser will be knocked flat by \"1952 Vincent Black Lightning,\" perhaps the best traditional-style number in his songbook, and the harrowing \"God Loves A Drunk,\" an unnerving tale of several kinds of addiction. While Rumor and Sigh is quite slick by Thompson's standards, its clean lines and bright mix serve both the songs and the bandleader quite well, and make Thompson's tunes sound like the radio hits they've always deserved to be.\" \u003cspan data-mce-fragment=\"1\"\u003eAllMusic Review by Mark Deming\u003c\/span\u003e\u003c\/p\u003e\n\u003col start=\"4\"\u003e\u003c\/ol\u003e\n\u003col start=\"5\"\u003e\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eUltra Analog™\u003c\/strong\u003e\u003cspan data-mce-fragment=\"1\"\u003e : The GAIN 2 Ultra Analog™ Series stems from the use of the Gain 2 system, mastered at half speed from the original master tapes where possible, capturing and uncovering as before undiscovered sonic information.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003cstrong\u003eHalf-speed mastering. \u003c\/strong\u003eIn half-speed mastering, the whole process is slowed down to half of the original speed. A typical 33 1\/3 rpm record is cut at 16 2\/3 rpm. The source material is also slowed down (reducing the pitch in the process) meaning the final record will still sound normal when played back. Slowing the whole process down allows more time, which means the end result sounds better and is more efficient — allowing engineering to minimize the effects of inherent limitations within the vinyl format. The result is a more accurate and more open high-frequency response in the half speed vinyl when compared with a normal speed recording.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eAllMusic : 4 \/ 5 , Discogs : 4,51 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":41066822992023,"sku":"MFSL2-476","price":99.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/richard-thompson-rumor-and-sigh-2lp-ultra-analog-half-speed-mastering-45-rpm-audiosoundmusic-1.jpg?v=1719854172"},{"product_id":"simon-and-garfunkel-parsley-sage-rosemary-and-thyme-1lp-ultra-analog-45-rpm","title":"\u003ctranscy\u003eSimon and Garfunkel - Parsley, Sage, Rosemary and Thyme (1LP, Ultra Analog, 33 tours)\u003c\/transcy\u003e","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eORDER LIMITED TO ONE ITEM PER CUSTOMER\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSimon \u0026amp; Garfunkel \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/Simon-Garfunkel\" title=\"vinyl featuring Simon \u0026amp; Garfunkel\"\u003e\u003cspan style=\"color: rgb(255, 128, 0);\"\u003e[click here to see more vinyl featuring Simon \u0026amp; Garfunkel]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePaul Simon – vocals, guitar, harmonica on \"A Simple Desultory Philippic (or How I Was Robert McNamara'd into Submission)” \u003ca title=\"vinyl featuring Paul Simon\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/paul-simon\"\u003e\u003cspan style=\"color: rgb(255, 128, 0);\"\u003e[click here to see more products featuring Paul Simon]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eArt Garfunkel – vocals, piano on \"7 O'Clock News\/Silent Night\"\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003e \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/art-garfunkel\" title=\"audiophile vinyl featuring Art Garfunkel\"\u003e\u003cspan style=\"color: rgb(255, 128, 0);\"\u003e[click here to see more products featuring Art Garfunkel]\u003c\/span\u003e\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHal Blaine – drums\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJoe South – guitar\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCarol Kaye – bass guitar on \"Scarborough Fair\/Canticle\" and \"Homeward Bound\"\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJohn Meszar – harpsichord on \"Scarborough Fair\/Canticle\"\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEugene Wright – double bass on \"The 59th Street Bridge Song\"\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJoe Morello – drums on \"The 59th Street Bridge Song\"\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCharlie O'Donnell – spoken vocals on \"7 O'Clock News\/Silent Night\"\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eLimited numbered edition\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHalf-speed Mastering\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGain 2™ Ultra Analog\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12”\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : RTI\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : MOFI\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Columbia\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded December 1965 - August 1966\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 2019\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eScarborough Fair\/Canticle\u003c\/li\u003e\n\u003cli\u003ePatterns\u003c\/li\u003e\n\u003cli\u003eCloudy\u003c\/li\u003e\n\u003cli\u003eHomeward Bound\u003c\/li\u003e\n\u003cli\u003eThe Big Bright Green Pleasure Machine\u003c\/li\u003e\n\u003cli\u003eThe 59th Street Bridge Song (Feelin' Groovy)\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\u003eThe Dangling Conversation\u003c\/li\u003e\n\u003cli\u003eFlowers Never Bend In The Rainfall\u003c\/li\u003e\n\u003cli\u003eA Simple Desultory Philppic (Or How I Was Robert McNamara'd Into Submission)\u003c\/li\u003e\n\u003cli\u003eFor Emily, Whenever I May Find Her\u003c\/li\u003e\n\u003cli\u003eA Poem On The Underground Wall\u003c\/li\u003e\n\u003cli\u003e7 O'Clock News\/Silent Night\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\u003eNo. 202 on \u003cem\u003eRolling Stone\u003c\/em\u003e's 500 Greatest Albums of All Time list\u003c\/strong\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e\"This limited-edition vinyl reissue was cut from a flat (un-equalized) master created from a pristine first-generation copy made in Japan in 1968. Most tracks evoke a wide soundstage and an airiness that lets the music float through the listening room and provides a remarkable headphone experience.\" - Greg Cahill, The Absolute Sound, July\/August 2019\u003c\/p\u003e\n\u003cp\u003e\"Simon \u0026amp; Garfunkel's first masterpiece, Parsley, Sage, Rosemary and Thyme was also the first album on which the duo, in tandem with engineer Roy Halee, exerted total control from beginning to end, right down to the mixing, and it is an achievement akin to the Beatles' Revolver or the Beach Boys' Pet Sounds album, and just as personal and pointed as either of those records at their respective bests. After the frantic rush to put together an LP in just three weeks that characterized the Sounds of Silence album early in 1966, Parsley, Sage, Rosemary and Thyme came together over a longer gestation period of about three months, an uncommonly extended period of recording in those days, but it gave the duo a chance to develop and shape the songs the way they wanted them. The album opens with one of the last vestiges of Paul Simon's stay in England, \"Scarborough Fair\/Canticle\" -- the latter was the duo's adaptation of a centuries-old English folk song in an arrangement that Simon had learned from Martin Carthy. The two transformed the song into a daunting achievement in the studio, however, incorporating myriad vocal overdubs and utilizing a harpsichord, among other instruments, to embellish it, and also wove into its structure Simon's \"The Side of a Hill,\" a gentle antiwar song that he had previously recorded on The Paul Simon Songbook in England. The sonic results were startling on their face, a record that was every bit as challenging in its way as \"Good Vibrations,\" but the subliminal effect was even more profound, mixing a hauntingly beautiful antique melody, and a song about love in a peaceful, domestic setting, with a message about war and death; Simon \u0026amp; Garfunkel were never as political as, say, Peter, Paul \u0026amp; Mary or Joan Baez, but on this record they did bring the Vietnam war home.\u003c\/p\u003e\n\u003cp\u003eThe rest of the album was less imposing but just as beguiling -- audiences could revel in the play of Simon's mind (and Simon \u0026amp; Garfunkel's arranging skills) and his sense of wonder (and frustration) on \"Patterns,\" and appreciate the sneering rock \u0026amp; roll-based social commentary \"The Big Bright Green Pleasure Machine.\" Two of the most beautiful songs ever written about the simple joys of living, the languid \"Cloudy\" and bouncy \"The 59th Street Bridge Song (Feelin' Groovy),\" were no less seductive, and the album also included \"Homeward Bound,\" their Top Five hit follow-up to \"The Sound of Silence,\" which had actually been recorded at the sessions for that LP. No Simon \u0026amp; Garfunkel song elicits more difference of opinion than \"The Dangling Conversation,\" making its LP debut here -- one camp regards it as hopelessly pretentious and precious in its literary name-dropping and rich string orchestra accompaniment, while another holds it as a finely articulate account of a couple grown distant and disconnected through their intellectual pretensions; emotionally, it is definitely the precursor to the more highly regarded \"Overs\" off the next album, and it resonated well on college campuses at the time, evoking images of graduate school couples drifting apart, but for all the beauty of the singing and the arrangement, it also seemed far removed from the experience of teenagers or any listeners not living a life surrounded by literature (\"couplets out of rhyme\" indeed!), and understandably only made the Top 30 on AM radio. \"For Emily, Whenever I May Find Her\" was a romantic idyll that presented Art Garfunkel at his most vulnerable sounding, anticipating such solo releases of his as \"All I Know,\" while \"Flowers Never Bend With the Rainfall\" was Simon at his most reflectively philosophical, dealing with age and its changes much as \"Patterns\" dealt with the struggle to change, with a dissonant note (literally) at the end that anticipated the style of the duo's next album.\" \u003c\/p\u003e\n\u003cp\u003e\"A Simple Desultory Philippic,\" which also started life in England more than a year earlier, was the team's Dylanesque fuzz tone-laden jape at folk-rock, and a statement of who they weren't, and remains, alongside Peter, Paul \u0026amp; Mary's \"I Dig Rock \u0026amp; Roll Music,\" one of the best satires of its kind. And the last of Simon's English-period songs, \"A Poem on the Underground Wall,\" seemed to sum up the tightrope walk that the duo did at almost every turn on this record at this point in their career -- built around a beautiful melody and gorgeous hooks, it was, nonetheless, a study in personal privation and desperation, the \"sound of silence\" heard from the inside out, a voice crying out. Brilliantly arranged in a sound that was as much rock as film music, but with the requisite acoustic guitars, and displaying a dazzling command and range of language, it could have ended the album. Instead, the duo offered \"7 O'Clock News\/Silent Night,\" a conceptual work that was a grim and ironic (and prophetic) comment on the state of the United States in 1966. In retrospect, it dated the album somewhat, but that final track, among the darkest album-closers of the 1960s, also proved that Simon \u0026amp; Garfunkel weren't afraid to get downbeat as well as serious for a purpose. Overall, Parsley, Sage, Rosemary and Thyme was the duo's album about youthful exuberance and alienation, and it proved perennially popular among older, more thoughtful high-school students and legions of college audiences across generations. [The August 2001 reissue offers not only the best sound ever heard on this album in any incarnation, but also a few bonuses -- a slightly extended mastering of \"Cloudy\" that gives the listener a high-harmony surprise in its fade; and, as actual bonus tracks, Simon's solo demos of \"Patterns\" and \"A Poem on the Underground Wall.\" Raw and personal, they're startling in their intimacy and their directness, and offer a more intimate view of Paul Simon, the artist, than ever seen.\" \u003cspan\u003eAllMusic Review by Bruce Eder\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eUltra Analog™\u003c\/strong\u003e\u003cspan\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\u003e\u003cstrong\u003eHalf-speed mastering. \u003c\/strong\u003eIn half-speed mastering, the whole process is slowed down to half of the original speed. A typical 33 1\/3 rpm record is cut at 16 2\/3 rpm. The source material is also slowed down (reducing the pitch in the process) meaning the final record will still sound normal when played back. Slowing the whole process down allows more time, which means the end result sounds better and is more efficient — allowing engineering to minimize the effects of inherent limitations within the vinyl format. The result is a more accurate and more open high-frequency response in the half speed vinyl when compared with a normal speed recording.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eAllMusic : 3,5 \/ 5 , Discogs : 4,3 \/ 5  ,   The Absolute Sound : 4.5 \/ 5 Music, 4 \/ 5 Sonics\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":41069167018135,"sku":"MFSL1-484","price":65.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/simon-and-garfunkel-parsley-sage-rosemary-and-thyme-1lp-ultra-analog-half-speed-mastering-33-rpm-audiosoundmusic-1.jpg?v=1719854189"},{"product_id":"jennifer-warnes-another-time-another-place","title":"Jennifer Warnes – Another Time Another Place","description":"\u003cdiv\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eVocals, Backing Vocals – Jennifer Warnes \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/jennifer-warnes\" title=\"vinyl featuring Jennifer Warnes\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/jennifer-warnes\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Jennifer Warnes]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eVocals – Mike Cross (B5)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBacking Vocals – Mitch Watkins (B2), Roscoe Beck (B2)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAccordion – Joel Guzman (A5, B2)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAcoustic Guitar – Dean Parks (A4), Mitch Watkins (A1, A3, B2)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAlto Flute – John Mills (A5)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBass – Abraham Laboriel (A4, B3), Roscoe Beck (A1 to A3, A5 to B2, B4, B5)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCello – Sara Nelson (A1, A3)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eChoir – Blondie Chaplin (B4), Jennifer Warnes (B4), Mike Cross (B4), Roderick Sanford (B4), Ruthie Foster (B4)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDrums – John Ferraro (B3), Vinnie Colaiuta (A1, A2, A5 to B2, B4, B5)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eElectric Guitar – Daran DeShazo (A1, B2, B4, B5)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFrench Horn – Tom Hale (A1)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGuitar – Gabriel Santiago (A5, B4, B5)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eKeyboards – Red Young (B2), Roscoe Beck (A1, B2, B4, B5), Stephano Intelisano (B5), Stephen Barber (B5)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMandolin – Dean Parks (A4)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOrgan – Jim Cox (A1, A2, A4, B1 to B5)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePedal Steel Guitar – Greg Leisz (A4)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePercussion – Lenny Castro (A1 to A3, A5 to B2, B4, B5)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePiano – Jim Cox (A3, A5, B4, B5)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eResonator Guitar – Dean Parks (B3), Greg Leisz (B3), Roscoe Beck (B1)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eResonator Guitar, Electric Guitar – Sonny Landreth (B1)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSlide Guitar – Jeff Plankenhorn (B2, B5)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eVibraphone – Eric Darken (A5)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eViola – Ames Asbell (A3)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eViolin – Javier Chaparro (A1, A5, B2), Leigh Mahoney (A3, A5), Tracy Seeger (A3)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eArranged by Jim Cox (A4, B3), John Mills (A5), Roscoe Beck (A1), Stephen Barber (A3, A5\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by Derek Trucks (B3), Eddie Vedder (A1), Hugh Williams (A2), Jennifer Warnes (B2), John Legrand (A3), Marcus Hummon (A3, B4), Mark Knopfler (B5), Micheal Smotherman (B2), Mickey Newbury (A4), Ray Bonneville (B1), Sam Coslow (A2), Arthur Schwartz, Howard Dietz (A5), Warren Haynes (B3)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, gatefold cover, \u003cspan data-mce-fragment=\"1\"\u003e16-page booklet of lyrics \u0026amp; photographs\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 : 33RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12”\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : RTI\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Impex Records\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : BMG\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineered by Noah Scot Snyder\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Jennifer Warnes, Roscoe Beck\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 2018\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2019\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eJust Breathe\u003c\/li\u003e\n\u003cli\u003eTomorrow Night\u003c\/li\u003e\n\u003cli\u003eOnce I Was Loved\u003c\/li\u003e\n\u003cli\u003eSo Sad\u003c\/li\u003e\n\u003cli\u003eI See Your Face Before Me\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e           \u003c\/p\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eI Am The Big Easy\u003c\/li\u003e\n\u003cli\u003eThe Boys And Me\u003c\/li\u003e\n\u003cli\u003eBack Where I Started\u003c\/li\u003e\n\u003cli\u003eFreedom\u003c\/li\u003e\n\u003cli\u003eWhy Worry\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e\"Singer\/songwriter Jennifer Warnes celebrates her 50th anniversary as a recording artist with Another Time, Another Place, her first recording since 2001's The Well. Since the 1990s, Warnes has worked only when she's wanted to -- a decade passed between The Well and its predecessor, The Hunter. In this century, she has lent her voice to recordings by Sonny Landreth, Chris Hillman, Leonard Cohen, and his son Adam Cohen. Warnes and longtime collaborator Roscoe Beck (Cohen's bassist and music director and her own producer on Famous Blue Raincoat and The Hunter), began working in Austin and Los Angeles in 2015. But a string of profound losses -- a niece, two sisters, a longtime manager, ex-boyfriend, her dog and Cohen -- sidetracked the sessions several times.\" \u003cspan data-mce-fragment=\"1\"\u003eAllMusic Review by Thom Jurek\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003e\"Despite Warnes' Southern California roots, the country twang in her voice, so delicate and vulnerable, lends added depth to the music. Along with The Well, this LP has found a permanent spot in that part of my shelves that contains my Joni Mitchell, Joan Baez and Emmylou Harris records -- music I turn to when I need a break from the testosterone levels of most pop music and want to look inward. The session was digitally recorded in 2018 for release on CD by bass player and longtime collaborator Roscoe Beck, aided by mix engineer Noah Snyder, and mastered by Bernie Grundman. The Impex vinyl reissue was also mastered by Grundman and pressed at RTI. While not quite the equal in sound to The Well, it has nothing digital-sounding about it. The instruments (string, electric, resonator and lap guitars, violin, percussion, piano and organ in various combinations) all occupy well-defined spaces, and the voices (Warnes' as well as those of occasional backup singers) are three-dimensional and warm.\" Dennis Davis, The Audio Beat, July 2019\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\"Warnes' first album in 17 years reminds us how much this singular talent has been missed... Underscoring Warnes' wide-ranging talent are the cherished classics \"Tomorrow Night\" and \"I See Your Face Before Me', where the lush string orchestration recalls Nelson Riddle... the spare arrangements are as cozy as a porch swing... Sonics on the 180-gram LP sport smooth airy highs and a full presence range. Though Warnes is in her early 70s, her voice has aged gracefully, her highest notes a bit more earthbound, yet filled with interpretive elasticity and luminance, and of course, glorious phrasing. Welcome back, JW.\"\u003cspan\u003e - Neil Gader, \u003c\/span\u003e\u003ci\u003eThe Absolute Sound\u003c\/i\u003e\u003cspan\u003e, October 2019\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\"The much-loved WArnes marks 50 years in the business with only her ninth album. For an Oscar\/Grammy winner, she's happy to sing backing for others, but when she puts her name on the sleeve, the material has to match that artistic highpoint of her career: that LP's worth of Leonard cohen songs. Here she again shows her skills as a peerless interpreter, with songs by Pearl Jam's Eddie Vedder, Mickey Newbury, Mark Knopfler, et al. Warnes moves faultlessly from genre to genre, and the Bernie Grundman-mastered sound - with rich pedal steel, Hammon organ, slide guitar, a choral group and much more - makes it wholly deserving of the Impex imprint.\"\u003cstrong\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/strong\u003e- Ken Kessler, hifinews.co.uk, Yearbook 2019\u003c\/p\u003e\n\u003cp\u003eAnother Time, Another Place can compete with any of her previous releases. Jennifer's voice is still strong and incredibly soulful if not effortless and harmonically pure. Tthe overall sound is exemplary with a rhythmic vitality and coherence that will quickly grab your attention. Arrangements are more simple and nuanced than the past, but I still found that the entire album was rendered with an additional freshness and energy. My favorite tracks include several covers from the likes of Eddie Vedder ('Just Breathe'), Derek Trucks ('Back Where I Started'), and John Legend ('Once I Was Loved'). The album ends with the Mark Knofler classic 'Why Worry' from the Dire Straits album Brothers In Arms. I never thought the original could be bettered, but the magical dance between Jennifer's lush sensual voice and Gabriel Santiago's colorful acoustic guitar provides a lifelike immediacy that will warm your heart. Another killer recording and performance from Jennifer Warnes.\"\u003cspan\u003e - Robert S. Youman, Positive Feedback, July 2019\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eAllMusic : 4 \/ 5 , Discogs : 4,23 \/ 5  ,  \u003cspan data-mce-fragment=\"1\"\u003eThe Audio Beat : Music 4\/5, Sound 4.5\/5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":41090719121559,"sku":"IMP6032","price":65.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/jennifer-warnes-another-time-another-place-audiosoundmusic-1.jpg?v=1719854283"},{"product_id":"willie-nelson-red-headed-stranger","title":"Willie Nelson - Red Headed Stranger","description":"\u003cdiv\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003eWillie Nelson – vocals, guitar \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/willie-nelson\" title=\"vinyl featuring Willie Nelson\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/willie-nelson\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Willie Nelson]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePaul English – drums\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJody Payne – guitars, mandolin\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBee Spears – bass\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBobbie Nelson – piano\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMickey Raphael – harmonica\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBucky Meadows – guitar\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBilly English – drums\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\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\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : RTI\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Impex Records\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Columbia\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded \u003cspan data-mce-fragment=\"1\"\u003eJanuary 1975 \u003c\/span\u003eat Autumn Sound Studios, Garland, Texas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineered by Phil York\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Willie Nelson\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by George Marino\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1975\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2011\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eTime of the Preacher Man\u003c\/li\u003e\n\u003cli\u003eMedley Blue Rock Mountain\/Red Headed Stranger\u003c\/li\u003e\n\u003cli\u003eBlue Eyes Crying In the Rain\u003c\/li\u003e\n\u003cli\u003eRed Headed Stranger\u003c\/li\u003e\n\u003cli\u003eTime of the Preacher Theme\u003c\/li\u003e\n\u003cli\u003eJust As I Am\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\u003eDenver\u003c\/li\u003e\n\u003cli\u003eO’er The Waves\u003c\/li\u003e\n\u003cli\u003eDown Yonder\u003c\/li\u003e\n\u003cli\u003eCan I Sleep In Your Arms\u003c\/li\u003e\n\u003cli\u003eRemember Me\u003c\/li\u003e\n\u003cli\u003eHands On the Wheel\u003c\/li\u003e\n\u003cli\u003eBandera\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAwards:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eRolling Stone 500 Greatest Albums of All Time - Rated 183\/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 - \"Blue Eyes Crying In The Rain\" - Rated 309\/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 346\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\"Willie Nelson's Red Headed Stranger perhaps is the strangest blockbuster country produced, a concept album about a preacher on the run after murdering his departed wife and her new lover, told entirely with brief song-poems and utterly minimal backing. It's defiantly anticommercial and it demands intense concentration -- all reasons why nobody thought it would be a hit, a story related in Chet Flippo's liner notes to the 2000 reissue. It was a phenomenal blockbuster, though, selling millions of copies, establishing Nelson as a superstar recording artist in its own right. For all its success, it still remains a prickly, difficult album, though, making the interspersed concept of Phases and Stages sound shiny in comparison. It's difficult because it's old-fashioned, sounding like a tale told around a cowboy campfire. Now, this all reads well on paper, and there's much to admire in Nelson's intimate gamble, but it's really elusive, as the themes get a little muddled and the tunes themselves are a bit bare. It's undoubtedly distinctive -- and it sounds more distinctive with each passing year -- but it's strictly an intellectual triumph and, after a pair of albums that were musically and intellectually sound, it's a bit of a letdown, no matter how successful it was.\" \u003cspan data-mce-fragment=\"1\"\u003eAllMusic Review by Stephen Thomas Erlewine\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e“In 1975, with complete artistic control written into his new Columbia Records contract, Willie Neslon enters Autumn Sound, a small Garland, Texas studio, to record a sparely arranged concept album based on the semi-obscure song “Red Headed Stranger”, written by Carl Stutz, a Richmond, VA based radio announcer and Edith Lindeman Calisch, the amusement critic for the Richmond Times-Dispatch newspaper. The pair was best known for writing “Little Things Mean A Lot,” which was a hit single for the pop star Kitty Kallen back in 1954 and featured on the wildly popular TV show “Your Hit Parade.” Stutz went on to become a high school math teacher.\u003c\/p\u003e\n\u003cp\u003eThe song is about a stranger who rides into a town one day on his “raging black stallion,” still yearning for his late beloved who “lays asleep on the hillside.” He’s “bitter in his sorrow,” and it’s best not to mess with him. His advise is to “wait ’till tomorrow, and maybe he’ll ride on again.” He’s got a bay in tow belonging to his dead love that catches the attention of a “yellow haired Lady,” who befriends him in the bar. He buys her a few drinks and gives her some money. She follows him out and tries to grab the bay. “He shot her so quick they had no time to warn her.”\u003c\/p\u003e\n\u003cp\u003eNelson constructed a prequel to the song and using country standards written by Eddie Arnold (“I Couldn’t Belive It was True”), Fred Rose (“Blue Eyes Crying in the Rain”), Hank Cochran and others, along with originals, built the story around a fugitive on the run for having killed his wife and her lover. It ends with Bill Callery’s “Hands on the Wheel,” which suggests that in his old age, the stranger has been redeemed. “Now my hand’s on the wheel of something that’s real and I feel like I’m goin’ home.”\u003c\/p\u003e\n\u003cp\u003eNothing like this had ever been tried in the country genre, and despite Caolumbia’s trepidation, the album went to number one on the Country charts and eventually went gold and double platinum.\u003c\/p\u003e\n\u003cp\u003eIf the album was a sculpture, it would be one of those horsey things you’d expect to see on the desks of George W. Bush and Ronald Reagan. It’s pure Americana.\u003c\/p\u003e\n\u003cp\u003eThe spare arrangements for guitars, mandolin, piano, harmonica, bass and drums leave plenty of room for Willie’s voice, which appropriately dominates.\u003c\/p\u003e\n\u003cp\u003eThere are musical interludes that move the story along and in a pre-VCR era, this was an album you could put on and create a wide-screen Cinemascope, Technicolor movie in your head as the songs took you through the carefully plotted narrative.\u003c\/p\u003e\n\u003cp\u003eThe sonics are superb, with a spaciously laid out, cleanly and naturally rendered instrumental bed, in front of which Nelson’s voice floats. If you love Willie’s voice, and who doesn’t, this is an opportunity to get as close to it as you’ll find on record. It’s even better recorded than on Stardust and while that album of standards is great, this one captures more of the pure essence that is Willie Nelson.\u003c\/p\u003e\n\u003cp\u003eThe IMPEX reissue mastered by George Marino at Sterling Sound is deluxe in every way: the record is 180g pressed at RTI, the artwork is carefully scanned and reproduced, including the original’s lyric insert, and the paper over cardboard jacket is what you expect for a premium priced reissue. There’s an earlier Columbia\/Legacy vinyl edition still out there for half the price: it sounds half as good.\u003c\/p\u003e\n\u003cp\u003eGreat late night listening and easy to recommend for both music and sound.” MICHAEL FREMER, MUSICANGLE.COM\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 : 4,44 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":41105855578263,"sku":"IMP6003","price":179.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/willie-nelson-red-headed-stranger-audiosoundmusic-1.jpg?v=1719854361"},{"product_id":"joan-armatrading","title":"Joan Armatrading","description":"\u003cp\u003e\u003cstrong\u003eCOMPILATION\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\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\u003eProduced and engineered by Glyn Johns\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 1976\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2020\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eTracks:\u003c\/p\u003e\n\u003cp\u003eSide A:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eDown To Zero\u003c\/li\u003e\n\u003cli\u003eHelp Yourself\u003c\/li\u003e\n\u003cli\u003eWater With The Wine\u003c\/li\u003e\n\u003cli\u003eLove And Affection\u003c\/li\u003e\n\u003cli\u003eSave Me\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eSide B:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eJoin The Boys\u003c\/li\u003e\n\u003cli\u003ePeople\u003c\/li\u003e\n\u003cli\u003eSomebody Who Loves You\u003c\/li\u003e\n\u003cli\u003eLike Fire\u003c\/li\u003e\n\u003cli\u003eTall In The Saddle\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAwards :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eTAS Super LP List! Special Merit: Informal\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e« Joan Armatrading's eponymous third album is a charmer, almost single-handedly elevating her into the ranks of rock's leading female artists. Up to this point, Armatrading had shown that she had a lovely voice and an ear for interesting arrangements, but her work had been steeped in the folk idiom of the early '70s. Her third album changed all that, with producer Glyn Johns bringing in members of Gallagher \u0026amp; Lyle, Fairport Convention, and the Faces to punch up her folksy sound with elements of rock, country, and disco. The result is her most muscular music to date, with Armatrading adopting a swagger that showed her tales of unluckiness in love didn't have to have dire consequences (\"Tall in the Saddle,\" \"Water With the Wine\"). Of course, it helped that the record featured her best material delivered in a wonderfully expressive voice that can capture the shades between song and speech like a sweeter version of Ian Anderson. \"Down to Zero\" (which features pedal steel guitarist B.J. Cole) and \"Love and Affection\" are the album's most memorable tracks, the latter breaking into the U.K.'s Top Ten (the album itself made the U.K. Top 20). But what endears this record to fans is the quality of each song; it wouldn't be fair to call anything here filler. The artsy and eclectic \"Like Fire,\" the beautiful ballad \"Save Me,\" and the ingratiating melodies of \"Somebody Who Loves You\" are just as likely to strike a chord with listeners as the better-known cuts. While Glyn Johns deserves credit for bringing Joan Armatrading's songs into a more flattering setting -- it's not coincidental that the record feels like a polished version of The Who by Numbers -- his real stroke of genius was letting the artist flower to her full potential. For many, this album remains the high point in her catalog. » AllMusic Review by Dave Connolly\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e« There's more bass on the new LP, more depth to the vocals, and less sibilance - but the new version is also darker-sounding, a little more closed-in. If you don't know Joan, she's worth discovering, and if you're an old fan with original copies - well, what vinyl fan ever said on their death bed, 'I wish I'd bought fewer records'? » Jim Austin, Stereophile, November 2020\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 : 4,84 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":41899513643258,"sku":"IR-029","price":65.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/joan-armatrading-audiosoundmusic-1.jpg?v=1719854921"},{"product_id":"the-flying-burrito-brothers-burrito-deluxe","title":"The Flying Burrito Brothers - Burrito Deluxe","description":"\u003cp\u003e\u003cstrong\u003eGram Parsons - vocals, piano\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eChris Hillman - vocals, bass, mandolin\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBernie Leadon -- guitar, dobro\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e'Sneeky' Pete Kleinow - pedal steel\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMichael Clarke - drums\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpecial Credits:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLeon Russell - piano (A5, B5)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eByron Berline - fiddle\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLeopoldo C. Carbajal - accordion\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFrank Blanco - percussion\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTommy Johnson - tuba\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBuddy Childers - cornet, flugelhorn\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\u003eEngineered by Henry Lewy\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Henry Lewy, Jim Dickson\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 1970\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2018\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eLazy Days\u003c\/li\u003e\n\u003cli\u003eImage Of Me\u003c\/li\u003e\n\u003cli\u003eHigh Fashion Queen\u003c\/li\u003e\n\u003cli\u003eIf You Gotta Go\u003c\/li\u003e\n\u003cli\u003eMan In The Fog\u003c\/li\u003e\n\u003cli\u003eFarther Along\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eOlder Guys\u003c\/li\u003e\n\u003cli\u003eCody, Cody\u003c\/li\u003e\n\u003cli\u003eGod's Own Singer\u003c\/li\u003e\n\u003cli\u003eDown In The Churchyard\u003c\/li\u003e\n\u003cli\u003eWild Horses\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e« Gram Parsons had a habit of taking over whatever band he happened to be working with, and on the first three albums on which he appeared -- the International Submarine Band's Safe at Home, the Byrds' Sweetheart of the Rodeo, and the Flying Burrito Brothers' The Gilded Palace of Sin -- he became the focal point, regardless of the talent of his compatriots. Burrito Deluxe, the Burritos' second album, is unique in Parsons' repertoire in that it's the only album where he seems to have deliberately stepped back to make more room for others; whether this was due to Gram's disinterest in a band he was soon to leave, or if he was simply in an unusually democratic frame of mind is a matter of debate. But while it is hardly a bad album, it's not nearly as striking as The Gilded Palace of Sin. Parsons didn't deliver many noteworthy originals for this set, with \"Cody, Cody\" and \"Older Guys\" faring best but paling next to the highlights from the previous album (though he was able to wrangle the song \"Wild Horses\" away from his buddy Keith Richards and record it a year before the Rolling Stones' version would surface). And while the band sounds tight and they play with genuine enthusiasm, there's a certain lack of focus in these performances; the band's frontman sounds as if his thoughts are often elsewhere, and the other players can't quite compensate for him, though on tunes like \"God's Own Singer\" and a cover of Bob Dylan's \"If You Gotta Go,\" they gamely give it the old college try. Burrito Deluxe is certainly a better than average country-rock album, but coming from the band who made the genre's most strongly defining music, it's something of a disappointment. » AllMusic Review by Mark Deming\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\"The last Flying Burrito Brothers album to feature singer\/songwriter Gram Parsons in the lineup might also be the group's finest collective statement. Without question a debatable point considering the greatness of their debut The Gilded Palace of Sin. But for my ears—with the help of this sumptuous reissue from the always reliable Intervention Records—there's something clearly broken at the base of this album, a growing darkness within even the sunniest songs that the band had to excise by kicking Parsons out following its release and some awful live performances. That's evident in their woozy version of the Rolling Stones' 'Wild Horses' and in the low slung, drooping style that Parsons brings to his original compositions. The rest of the Burrito Bros. keep their ill-fated bandmate from staggering off into the twilight with some career-best performances by pedal steel legend Pete Kleinow and guitarist Bernie Leadon.\" - Paste Magazine\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings \u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp\u003eAllMusic : 4.5 \/ 5 , Discogs : 4,61 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":41899593924858,"sku":"IR-022","price":65.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/the-flying-burrito-brothers-burrito-deluxe-audiosoundmusic-1.jpg?v=1719854921"},{"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. 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guitar, vocals, music arrangement\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eChris Ethridge - bass\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBill Plummer - bass\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJim Gordon - drums\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEmil Richards - percussion\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBobbye Hall - percussion\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDoug Dillard - banjo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBuddy Emmons - pedal steel guitar\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLynn Blessing - vibraphone\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLouie Shelton - guitar\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpooner Oldham - keyboards\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGene Cipriano - saxophone\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRichard Perissi - French horn\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eVincent DeRosa - French horn\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJesse Ehrlich - cello\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRay Kelley - cello\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAssa Drori - violin\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRonald Folsom - violin\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHarris Goldman - violin\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWilliam Kurasch - violin\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLeonard Malarsky - violin\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRalph Schaeffer - violin\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTibor Zelig - violin\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDavid Schwartz - viola\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCarolyn Willis - vocals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOma Drake - vocals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGloria Jones - vocals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eComposed, arranged and orchestrated by Judee Sill\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1LP, Old style \"Tip On\" gatefold jacket printed by Stoughton on heavy stock, 4-page booklet glued into 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 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 : 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 : 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, Judee Sill\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 1973\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2017\u003c\/strong\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\u003eThere's A Rugged Road\u003c\/li\u003e\n\u003cli\u003eThe Kiss\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eThe Pearl\u003c\/li\u003e\n\u003cli\u003eDown Where The Valleys Are Low\u003c\/li\u003e\n\u003cli\u003eThe Vigilante\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide C:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eSoldier Of The Heart\u003c\/li\u003e\n\u003cli\u003eThe Phoenix\u003c\/li\u003e\n\u003cli\u003eWhen The Bridegroom Comes\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide D:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eThe Donor\u003c\/li\u003e\n\u003cli\u003e\"Jig\"\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« The second album Judee Sill made proved to be her last. This brief though enjoyable outing took its toll on Sill -- a notoriously slow songwriter -- during its making, turning her back to her recently kicked heroin addiction and away from the desire to create more music. Instead of using an outside arranger for the strings (as she did on her previous album), Sill did all of the work herself. Her lack of formal training and the immense amount of orchestral overdubs certainly would have made such an outing a hardship for anyone. The album doesn't suffer much from its sometimes syrupy exterior, though -- the songs are almost as strong as any of those from her debut. To wit, Heart Food suffers only in comparison to its predecessor; otherwise, it's a stellar example of the kind of singer\/songwriter fare the music industry was mining in the early '70s. The supporting cast of top L.A. studio musicians solidifies Sill's unique brand of country-flavored pop, which moves from introspective meanderings to loping rock, often within a single song. [This edition of the album contains bonus tracks.] » AllMusic Review by Alex Stimmel\u003c\/p\u003e\n\u003cp\u003e\"With strings, a wide range of instruments, and vocal overdubs, Heart Food has several layers, so it runs the risk of becomming congested, but the Intervention LP, mastered by Kevin Gray at Cohearant Audio and pressed at RTI, sounds remarkably open and spacious, the warm sonics a perfect match for such heartfelt music.\" - Jeff Wilson, The Absolute Sound\u003c\/p\u003e\n\u003cp\u003e\"This sequel to her eponymous debut would be the last released in her lifetime. If you fell in love with her music because of it, Heart Food will increase your sadness at her demise. Released in 1973, it enhanced her reputation with material left over from the first album, but re-recorded for this set, while stand-out tracks from this eloquent, elegiac singer-songwriter include \"The Kiss\" and \"There's A Rugged Road\", both oft-covered. Behind her were stellar musicians including Chris Etheridge on bass, drummer Jim Gordon, bluegrass deity Doug Dillard on banjo, and Buddy Emmons on pedal stell guitar. Yes, this is another masterpiece.\" Hi-Fi News\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings \u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp\u003eAllMusic : 3.5 \/ 5 , Discogs : 4.73 \/ 5 , The Absolute Sound : 4\/5 Music, 4.5\/5 Sonics , Hi-Fi News : Sound Quality 90%\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":41899893424378,"sku":"IR-017","price":95.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/judee-sill-heart-food-2lp-45-rpm-audiosoundmusic-1.jpg?v=1719854929"},{"product_id":"jennifer-warnes-the-well-3lp-45rpm","title":"\u003ctranscy\u003eJennifer Warnes - The Well (3LP, Coffret, 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\u003e\u003cbr\u003eJennifer Warnes - vocals, background vocals \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/jennifer-warnes\" title=\"vinyl featuring Jennifer Warnes\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/jennifer-warnes\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Jennifer Warnes]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMartin Davich – piano, synthesizer, harmonium, keyboards, background vocals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDoyle Bramhall II – guitar, vocals, drums\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDean Parks – guitar, mandolin\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eVinnie Colaiuta – drums\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGeorge Doering – guitar, mandolin\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAbraham Laboriel – bass\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRick Cunha – guitar\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eArmando Compean – bass\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDave Stone – bass\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGreg Leisz – pedal steel guitar\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLeland Sklar – bass\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSimeon Pillich – bass\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAlex Acuña – drums\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSteve Porcaro – synthesizer\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDenny Freeman – piano\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMatt Cartsonis – mandolin\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eVan Dyke Parks – accordion\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLenny Castro – percussion\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJohn Spooner – field drums\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEric Rigler – bagpipe, Uilleann pipes, whistles\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMax Carl – background vocals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBlondie Chaplin – vocals, background vocals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eKenny Edwards – background vocals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eArlo Guthrie – vocals, background vocals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e3 LPs, Box set including a 12-page, large format booklet with notes, complete lyrics and new insights from Jennifer Warnes\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eLimited edition of 6,000 numbered copies\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eIncludes three exclusive bonus tracks, \"La Luna Brilla,\" \"Fool For The Look (In Your Eyes)\" and \"Born In Time\"\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 : RTI\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Impex\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Music Force\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Jennifer Warnes, Martin Davich\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 2001\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2009\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\u003eA Fool For You\u003c\/li\u003e\n\u003cli\u003eLosing Hand\u003c\/li\u003e\n\u003cli\u003eOne For My Baby\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eIn the Evenin' Mama\u003c\/li\u003e\n\u003cli\u003eHallelujah I Love Her So\u003c\/li\u003e\n\u003cli\u003eThe Way That I Feel\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide C :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eCotton Fields\u003c\/li\u003e\n\u003cli\u003eGod Bless the Child\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide D :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eMary Ann\u003c\/li\u003e\n\u003cli\u003eSinner's Prayer\u003c\/li\u003e\n\u003cli\u003eFare Thee Well\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews \u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp\u003e« Jennifer Warnes became a household name in the '70s with her hit \"Right Time of the Night\" and scored equally big with the Righteous Brothers' Bill Medley on \"The Time of My Life\" from the film Dirty Dancing. She also wowed critics and fans alike with Famous Blue Raincoat, her album of Leonard Cohen songs. In all, she's sold over 35 million records worldwide, but she's hardly a household name. Warnes has returned to the recording scene for the first time since 1992 with The Well, a collection ten songs co-produced with Martin Davich. And what a collection it is. As a singer and a songwriter, Warnes knows her strengths well. She understates lyrics and musical phrases as a way of getting them to open up on their own through her gorgeously wrought singing. She's no acrobat; she doesn't reach for the note that breaks the pitch-meter. Instead, she allows her voice to come up from the heart of the lyric she's singing. She wears the song and allows the song to adorn her as well, whether plaintively, as on the title track, one of her co-writes with Texas legend Doyle Bramhall, or her lilting, haunting, spiritual tome \"Prairie Melancholy.\" When doing takes on the songs of others, such as Tom Waits' nugget \"Invitation to the Blues,\" she imbues them with the soft, bluesy swing inherent in the original, but adds depth and dimension with her dry, reportorial storytelling (with fine guitar work from Doyle Bramhall). The songs on The Well seem spare and open, layered lightly, and full of room for Warnes' warm voice to reveal the wealth of emotions in the tunes themselves. But what's interesting is without it being noticeable to the listener, there are small but lush string sections, a few horns here and there, and a full-on four-piece rock band. Her reading of Billy Joel's \"So It Goes\" is virtually a reinvention of the song. She offers this song from a heart that has been cracked enough times, to paraphrase her friend Cohen, that it has been flooded with light. But it's the songs with Bramhall that are the masterpieces here; they reveal the subtle, bluesy textures of Texas and the strength in expressing one's vulnerability to forces one does not understand, such as on \"The Panther.\" As if to underline the evidence, there is a vocal duet between them on Eddy Arnold's country swing gem \"You Don't Know Me\" that rivals Ray Charles' version for pure, expressive passion. With her stunning rendition of Arlo Guthrie's \"Patriot's Dream,\" she is backed by a folk music symphony orchestra, with Guthrie himself lending a guest vocal as well as Blondie Chaplin and Kenny Edwards, with a Carmen accordion appearance by Van Dyke Parks. The set ends with a piano trio reprise of the title track that wraps all the magic up into a circle, as if these songs were a cycle of mystery, sensuality, and imagination from the very beginning. And, of course they were; Warnes isn't capable of anything less. Welcome back, Jennifer Warnes, you've been missed. » AllMusic Review by Thom Jurek\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e« Jennifer Warnes is one of the most underrated pop singers of her generation. Her albums, though few and far between, brim with melody and craft–and lyrics both intelligent and emotionally weighted. The Well was originally released in 2001 but time hasn’t dulled its spirit. Along with the title track, standouts include “Patriots Dream” in duet with Arlo Guthrie, a stunning cover of Tom Waits’ “Invitation to the Blues,” and Dylan’s classic [exclusive to this 45 rpm release] “Born In Time.” The songs are lovingly produced, inventively orchestrated, and stocked with a who’s who of studio musicians. But Warnes’ expressive vocals overshadow all. She’s a singer who asks a lot of her gifts, always seraching for finer degrees of nuance and dynamics like a painter mixing color on a palette. The reissue from Impex Records is a model for the premium LP industry. Its three-disc, 45 rpm 180-gram pressings are presented in an individually numbered wood box with a twelve-page, large format booklet that includes notes and lyrics. Bernie Grundman presided over the all-tube remastering. Sonically this is about as good as it gets from a studio-bred multitrack–fabulous acoustic textures, deep bass, and awesome ambience. A vinyl-lover’s dream come true. » NEIL GADER – ABSOLUTE SOUNDS MAGAZINE, DECEMBER 2011\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e« Jennifer Warnes? Some will know her from her seventies hit “Right Time of the Night” while others will be more familiar with her duet with the Righteous Brothers’ Bill Medley on “(I’ve Had) The Time of My Life” from the film Dirty Dancing. The cognoscenti will also know her from her critically acclaimed LP release, Famous Blue Raincoat, her album of Leonard Cohen songs. This album, originally released in 2001, scores in three ways: as a creative project, sonically and as a piece of art. As a vehicle for her carefully crafted songs, The Well is haunting, spiritual, lilting and innovative with a story to tell. As an object in itself, the album is a work of beauty. Presented within a wooden box, custom made for this release, with updated artwork and a numbered brass plaque positioned on the front, the package contains the album – which spans three discs – and a 12-page, large format book that features lyrics, notes plus words of wisdom from Warnes herself on each and every track. You also receive a piece of art presented on a card with a pearlescent finish and an article on the flip side penned by Texes author Brad Buccholz about The Well. The box set includes the original album tracks plus three bonus tracks: “La Luna Brilla,” “Fool For the Look (In Your Eyes)” and a Bob Dylan cover of “Born in Time.” Sonically, the album has been mastered on an all valve-based system via Bernie Grundman, known for his long term work with the now defunct Classic Records label. Mastered onto 45rpm disks, the album has that valve “glow” that coats the music with a rich analogue warmth. A dynamic recording, the vinyl provides an appreciably low, powerful bass with detailed upper frequencies. Easily the best recording of the album out there. » HI FI WORLD, MAY 2012\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e« The first thing you notice about this box set is its museum quality packaging. Instead of cardboard, the box is constructed of wood and impeccably finished in the highest quality paper stock. It’s easily one of the most beautiful record boxes ever. Inside the box, an equally gorgeous booklet and photo insert provide lyrics and production notes. How can the audio live up to such gorgeous packaging, I wondered.\u003c\/p\u003e\n\u003cp\u003eBest known for her standard Famous Blue Raincoat and her hit duet with Joe Cocker for the soundtrack to An Officer and a Gentleman, Warnes has had a wonderful and varied career. She originally released The Well on CD in 2001 and retained all rights to the masters, an in 2010 Impex released a [remastered and expanded] gold CD of the album. The title tune refers to Jacob’s Well, an artisan spring in Texas hill country. Warnes’ singing is captivating on each number, but her rendition of “You Don’t Know Me” with Doyle Bramhall stand comparison with Ray Charles’ classic version. The LPs were mastered by Bernie Grundman and the sound is to die for. If my usual scale goes up to 10, I’m giving this an 11. It’s so good sounding its hard to listen to anything else afterwards. A home run that gets my highest recommendation. » DENNIS DAVIS, HIFI+, ISSUE 872\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 : 4,57 \/ 5\u003c\/p\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":41929668722938,"sku":"IMP 6001-45","price":159.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/jennifer-warnes-the-well-3lp-box-set-45rpm-audiosoundmusic-1.jpg?v=1719855336"},{"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":"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":"peter-paul-and-mary-in-the-wind-2lp-45rpm","title":"\u003ctranscy\u003ePeter, Paul And Mary - In The Wind (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\n\u003ch2\u003e\u003cbr\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\u003eEdgar O. DeHaas – bass\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\u003eLimited edition to 2,500 numbered copies (low numbered)\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 in 1963\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineered 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 B. Grossman\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLiner notes by Bob Dylan\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginaly released in 1963\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\u003eVery Last Day\u003c\/li\u003e\n\u003cli\u003eHush-A-Bye\u003c\/li\u003e\n\u003cli\u003eLong Chain On\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eRocky Road\u003c\/li\u003e\n\u003cli\u003eTell It on the Mountain\u003c\/li\u003e\n\u003cli\u003ePolly Von\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide C:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eStewball\u003c\/li\u003e\n\u003cli\u003eAll My Trials\u003c\/li\u003e\n\u003cli\u003eDon't Think Twice, It's All Right\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide D:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eFreight Train\u003c\/li\u003e\n\u003cli\u003eQuit Your Lowdown Ways\u003c\/li\u003e\n\u003cli\u003eBlowin' In the Wind\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! 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« Their third recording was one of the group's stronger outings, even if it confirms their status as folk popularizers rather than musical innovators. In particular, this record was essential to boosting the profile of Bob Dylan, including their huge hit cover of \"Blowin' in the Wind,\" their Top Ten version of \"Don't Think Twice, It's All Right,\" and the bluesy \"Quit Your Lowdown Ways,\" which Dylan himself would not release in the '60s (although his version finally came out on The Bootleg Series). \"Stewball,\" \"All My Trials,\" and \"Tell It on the Mountain\" were other highlights of their early repertoire, and the dramatic, strident, but inspirational \"Very Last Day\" is one of the best original tunes the group ever did. » 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 : 3 \/ 5 , Discogs : 4.67 \/ 5\u003c\/p\u003e\n\u003c\/div\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":41955854713082,"sku":"ORG 071","price":229.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/peter-paul-and-mary-in-the-wind-2lp-45rpm-audiosoundmusic-1.jpg?v=1719855573"},{"product_id":"bob-dylan-the-times-they-are-a-changin-2lp-stereo-ultra-analog-45-rpm","title":"\u003ctranscy\u003eBob Dylan - The Times They are a-Changin (2LP, Stereo, Ultra Analog, Half-speed Mastering, 45 tours)\u003c\/transcy\u003e","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eORDER LIMITED TO ONE ITEM PER CUSTOMER\u003c\/strong\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBob Dylan – vocals, acoustic guitar, harmonica \u003cspan style=\"color: #ff8000;\"\u003e[\u003ca title=\"vinyl featuring Bob Dylan\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/bob-dylan\" style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/bob-dylan\"\u003eClick here to see more vinyl featuring Bob Dylan\u003c\/a\u003e]\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by Bob Dylan\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e2 LPs, gatefold sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eLimited numbered edition\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHalf-speed Mastering\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGain 2™ Ultra Analog\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 45RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12”\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : RTI\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : MOFI\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Columbia\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded \u003cspan data-mce-fragment=\"1\"\u003eAugust 6 – October 31, 1963 in \u003c\/span\u003eColumbia Studio A, 799 Seventh Avenue, New York City\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Tom Wilson\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 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\u003eThe Times They Are A-Changin'\u003c\/li\u003e\n\u003cli\u003eBallad Of Hollis Brown\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col start=\"3\"\u003e\n\u003cli\u003eWith God On Our Side\u003c\/li\u003e\n\u003cli\u003eOne Too Many Mornings\u003c\/li\u003e\n\u003cli\u003eNorth Country Blues\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eSide C :\u003c\/p\u003e\n\u003col start=\"6\"\u003e\n\u003cli\u003eOnly A Pawn In Their Game\u003c\/li\u003e\n\u003cli\u003eBoots Of Spanish Leather\u003c\/li\u003e\n\u003cli\u003eWhen The Ship Comes In\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eSide D :\u003c\/p\u003e\n\u003col start=\"9\"\u003e\n\u003cli\u003eThe Lonesome Death Of Hattie Carroll\u003c\/li\u003e\n\u003cli\u003eRestless Farewell\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e\"If The Times They Are a-Changin' isn't a marked step forward from The Freewheelin' Bob Dylan, even if it is his first collection of all originals, it's nevertheless a fine collection all the same. It isn't as rich as Freewheelin', and Dylan has tempered his sense of humor considerably, choosing to concentrate on social protests in the style of \"Blowin' in the Wind.\" With the title track, he wrote an anthem that nearly equaled that song, and \"With God on Our Side\" and \"Only a Pawn in Their Game\" are nearly as good, while \"Ballad of Hollis Brown\" and \"The Lonesome Death of Hattie Carroll\" are remarkably skilled re-castings of contemporary tales of injustice. His absurdity is missed, but he makes up for it with the wonderful \"One Too Many Mornings\" and \"Boots of Spanish Leather,\" two lovely classics. If there are a couple of songs that don't achieve the level of the aforementioned songs, that speaks more to the quality of those songs than the weakness of the remainder of the record. And that's also true of the album itself -- yes, it pales next to its predecessor, but it's terrific by any other standard.\" AllMusic Review by Stephen Thomas Erlewine\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eUltra Analog™\u003c\/strong\u003e\u003cspan data-mce-fragment=\"1\"\u003e : The GAIN 2 Ultra Analog™ Series stems from the use of the Gain 2 system, mastered at half speed from the original master tapes where possible, capturing and uncovering as before undiscovered sonic information.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003cstrong\u003eHalf-speed mastering. \u003c\/strong\u003eIn half-speed mastering, the whole process is slowed down to half of the original speed. A typical 33 1\/3 rpm record is cut at 16 2\/3 rpm. The source material is also slowed down (reducing the pitch in the process) meaning the final record will still sound normal when played back. Slowing the whole process down allows more time, which means the end result sounds better and is more efficient — allowing engineering to minimize the effects of inherent limitations within the vinyl format. The result is a more accurate and more open high-frequency response in the half speed vinyl when compared with a normal speed recording.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eAllMusic : 4,5 \/ 5 , Discogs : 4,38 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":42096121151738,"sku":"MFSL 2-421","price":115.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/bob-dylan-the-times-they-are-a-changin-2lp-stereo-ultra-analog-half-speed-mastering-45-rpm-audiosoundmusic-1.jpg?v=1719855906"},{"product_id":"dvorak-cello-concerto-in-b-minor","title":"Russian Folk songs","description":"\u003ch2\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eORDER LIMITED TO ONE ITEM PER CUSTOMER\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h2\u003e\n\u003cp\u003e \u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cstrong\u003eCOMPILATION\u003c\/strong\u003e\n\u003cp\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eLimited edition\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : Black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Arvato (Germany)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Melodiya\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal label : Melodiya\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded 1961 - 1987\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by Maxim Pilipov\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by E. Rastegaeva\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReleased in 2014\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A: \u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eKalinka         \u003c\/li\u003e\n\u003cli\u003eScherzo - Presto              \u003c\/li\u003e\n\u003cli\u003eAndantino          \u003c\/li\u003e\n\u003cli\u003eAllegro vivace   \u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B : \u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eAllegro \u003c\/li\u003e\n\u003cli\u003eAdagio \u003c\/li\u003e\n\u003cli\u003eUn poco presto e con sentimento           \u003c\/li\u003e\n\u003cli\u003ePresto agitato\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003col\u003e\u003c\/ol\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003ch1\u003e\u003c\/h1\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":42100611875066,"sku":"MELLP 0036","price":75.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/russian-folk-songs-audiosoundmusic-1.jpg?v=1719855934"},{"product_id":"eva-cassidy-simply-eva","title":"\u003ctranscy\u003eEva Cassidy - Simply Eva (2LP, 45 tours)\u003c\/transcy\u003e","description":"\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eCOMPILATION\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEva Cassidy - guitar, vocal \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/eva-cassidy\" title=\"vinyl featuring Eva Cassidy\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/eva-cassidy\"\u003e\u003cspan style=\"color: #ff2a00;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff2a00;\"\u003e[click here to see more vinyl featuring Eva Cassidy]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCompiled and sequenced by Bill Straw\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e2 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\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 : Blix Street\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Blix Street\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded 1994 – 1996\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded by Bryan McCulley (B2, C1, C3), Chris Biondo (A1 to B1, D2-3), Sound By Charlie (B3, D1)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineered by Roy Battle (B3, D1)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMixed by Chris Biondo (B3, D1)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMastered by Robert Vosgien\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Chris Biondo (A1 to B1, B3, D1-3), Eva Cassidy (A1 to D2)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 2010\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 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\u003eSongbird\u003c\/li\u003e\n\u003cli\u003eWho Knows Where the Time Goes\u003c\/li\u003e\n\u003cli\u003ePeople Get Ready\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eWayfaring Stranger\u003c\/li\u003e\n\u003cli\u003eTrue Colors\u003c\/li\u003e\n\u003cli\u003eAutumn Leaves\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide C:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eSan Francisco Bay Blues\u003c\/li\u003e\n\u003cli\u003eWade In the Water\u003c\/li\u003e\n\u003cli\u003eTime After Time\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide D:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eKathy's Song\u003c\/li\u003e\n\u003cli\u003eOver the Rainbow\u003c\/li\u003e\n\u003cli\u003eI Know You by Heart\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp\u003e“Simply Eva is another collection of posthumous Eva Cassidy recordings, but with a twist: all but one of these performances was recorded with the artist accompanying herself solely, with an acoustic guitar -- either in Chris Biondo's studio or in front of club audiences between 1993-1996. Cassidy's devoted fan base has heard her perform the material before, but not in this way. Her live-in-studio readings of \"Wayfaring Stranger,\" Christine McVie's \"Songbird,\" Curtis Mayfield's \"People Get Ready,\" and Paul Simon's \"Kathy's Song\" (this one with all verses present) resonate with even more intimacy -- if that is possible -- than the previously released \"finished\" versions. The reading of \"Over the Rainbow\" featured here is the one from the Blues Alley performance from the Rainbow video. While Cassidy's version of Sandy Denny's \"Who Knows Where the Time Goes\" doesn't top the songwriter's, it does shine brightly, as does her brief a cappella take on \"I Know You by Heart.\" Another surprise is this reading of Cyndi Lauper's \"Time After Time,\" which showcases Cassidy's fingerpicking skills and canny sense of rhythm. If you're a fan, you need this; if you've been wondering what all the fuss is about, the naked intimacy of Simply Eva is among the most convincing arguments yet for her posthumous reputation.” Simply Eva Review by Thom Jurek\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 : 4,55 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":42150827589882,"sku":"BLILPI10199-45","price":49.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/eva-cassidy-simply-eva-2lp-45rpm-audiosoundmusic-1.jpg?v=1719856660"},{"product_id":"bob-dylan-blood-on-the-tracks-japanese-edition-2lp-45-rpm-box-1step-supervinyl","title":"\u003ctranscy\u003eBob Dylan - Blood on the Tracks (Edition Japonaise, 2LP, 45 tours, Coffret, 1STEP, SuperVinyl)\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\u003eBob Dylan - \u003c\/strong\u003e\u003cstrong\u003evocals, guitar, harmonica (A1 to B3, C2, D2), Hammond organ (B2), mandolin (D1) \u003c\/strong\u003e\u003cstrong\u003e\u003ca style=\"color: #ff8000;\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/bob-dylan\" title=\"vinyl featuring Bob Dylan\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/bob-dylan\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Bob Dylan]\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTony Brown (bass), Paul Griffin (organ), Buddy Cage (steel guitar)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePerformer : Eric Weissberg And Deliverance\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eWritten by Bob Dylan\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e2 LPs, box set\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eJapanese edition limited to 9,000 copies\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cspan\u003eUD1S (UltraDisc One-Step)\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eHeavy Press : 180g - \u003cspan data-mce-fragment=\"1\"\u003eSuperVinyl\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 45 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eRecord Press : RTI\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eLabel : \u003cspan data-mce-fragment=\"1\"\u003eMobile Fidelity Sound\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eOriginal Label :  Columbia\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eRecording: September 16–19 and December 27–30, 1974, at A\u0026amp;R Recording in New York City and Sound 80 studio in Minneapolis by Lou Schlossberg and Phil Giambalvo\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003c\/strong\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003c\/strong\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eOriginal producer : Bob Dylan\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineer : Phil Ramone\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMastered by : Krieg Wunderlich and Shawn R. Britton\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProducer : Murray Krugman, Sandy Pearlman\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eOriginally released January 1975\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eReissued Nov 2019\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eTracks :\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eSide A :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eTangled Up in Blue\u003c\/li\u003e\n\u003cli\u003eSimple Twist of Fate\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eYou're a Big Girl Now\u003c\/li\u003e\n\u003cli\u003eIdiot Wind\u003c\/li\u003e\n\u003cli\u003eYou're Gonna Make Me Lonesome When You Go\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide C :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eMeet Me in the Morning\u003c\/li\u003e\n\u003cli\u003eLily, Rosemary and the Jack of Hearts\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide D :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eIf You See Her, Say Hello\u003c\/li\u003e\n\u003cli\u003eShelter from the Storm\u003c\/li\u003e\n\u003cli\u003eBuckets of Rain\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAwards\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e\u003cem data-mce-fragment=\"1\"\u003eRolling Stone \u003c\/em\u003e500 Greatest Albums of All Time - Ranked 9 \/ 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 2015.\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 342\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« Following on the heels of an album where he repudiated his past with his greatest backing band, Blood on the Tracks finds Bob Dylan, in a way, retreating to the past, recording a largely quiet, acoustic-based album. But this is hardly nostalgia -- this is the sound of an artist returning to his strengths, what feels most familiar, as he accepts a traumatic situation, namely the breakdown of his marriage. This is an album alternately bitter, sorrowful, regretful, and peaceful, easily the closest he ever came to wearing his emotions on his sleeve. That's not to say that it's an explicitly confessional record, since many songs are riddles or allegories, yet the warmth of the music makes it feel that way. The original version of the album was even quieter -- first takes of \"Idiot Wind\" and \"Tangled Up in Blue,\" available on The Bootleg Series, Vols. 1-3, are hushed and quiet (excised verses are quoted in the liner notes, but not heard on the record) -- but Blood on the Tracks remains an intimate, revealing affair since these harsher takes let his anger surface the way his sadness does elsewhere. As such, it's an affecting, unbearably poignant record, not because it's a glimpse into his soul, but because the songs are remarkably clear-eyed and sentimental, lovely and melancholy at once. And, in a way, it's best that he was backed with studio musicians here, since the professional, understated backing lets the songs and emotion stand at the forefront. Dylan made albums more influential than this, but he never made one better. » AllMusic Review by Stephen Thomas Erlewine\u003c\/p\u003e\n\u003cp\u003eBob Dylan was at several crossroads in the mid-1970s. Artistically, he was largely written off as being past his prime. Emotionally, he was suffering through a painful divorce from his then-wife Sara Lowndes. Creatively, he appeared at a stalemate, his previous decade's unprecedented run of transformational brilliance finished. Then came\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eBlood on the Tracks\u003c\/em\u003e. Dylan reached the height of his seminal 1970s work with this confessional 1975 classic featuring \"Tangled Up In Blue,\" \"Simple Twist of Fate,\" \"Idiot Wind,\" \"Lily, Rosemary and the Jack of Hearts,\" and six more classic tunes.\u003c\/p\u003e\n\u003cp\u003e\"Inevitably, when critics praise a new Dylan album, they label it the 'best since\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eBlood on the Tracks\u003c\/em\u003e,' and with good reason. Inspired by a crumbled marriage, and recorded after a tour with the Band had apparently re-ignited his creativity,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eBlood\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eis among Dylan's masterpieces. The album's epic songs are well known, but its real high points are the shorter numbers — 'You're a Big Girl Now,' the flawless blues 'Meet Me in the Morning,' and the sweetly devastating 'Buckets of Rain.' These are songs of \"images and distorted facts,\" each expressed through tangled points of view, and all of them blue.\" —\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eDavid Cantwell\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eUltraDisc One-Step :\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003eInstead of utilizing the industry-standard three-step lacquer process, Mobile Fidelity Sound Lab's new UltraDisc One-Step (UD1S) uses only one step, bypassing two processes of generational loss. While three-step processing is designed for optimum yield and efficiency, UD1S is created for the ultimate in sound quality. Just as Mobile Fidelity pioneered the UHQR (Ultra High-Quality Record) with JVC in the 1980s, UD1S again represents another state-of-the-art advance in the record-manufacturing process. MFSL engineers begin with the original master tapes and meticulously cut a set of lacquers. These lacquers are used to create a very fragile, pristine UD1S stamper called a \"convert.\" Delicate \"converts\" are then formed into the actual record stampers, producing a final product that literally and figuratively brings you closer to the music. By skipping the additional steps of pulling another positive and an additional negative, as done in the three-step process used in standard pressings, UD1S produces a final LP with the lowest noise floor possible today. The removal of the additional two steps of generational loss in the plating process reveals tremendous amounts of extra musical detail and dynamics, which are otherwise lost due to the standard copying process. The exclusive nature of these very limited pressings guarantees that every UD1S pressing serves as an immaculate replica of the lacquer sourced directly from the original master tape. Every conceivable aspect of vinyl production is optimized to produce the most perfect record album available today.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMoFi SuperVinyl:\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003eThe World's Quietest Surfaces and Cleanest Grooves: Developed by NEOTECH and RTI, MoFi SuperVinyl is the most exacting-to-specification vinyl compound ever created. Analog lovers have never seen (or heard) anything like it. Extraordinarily expensive and extremely painstaking to produce, the special proprietary compound addresses two specific areas of improvement: noise floor reduction and enhanced groove definition. The vinyl composition features a new carbonless dye (hold the disc up to the light and see) and produces the world's quietest surfaces. This high-definition formula also allows for the creation of cleaner grooves that are indistinguishable from the original lacquer. MoFi SuperVinyl provides the closest approximation of what the label's engineers hear in the mastering lab.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eAllmusic : 5 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":42157124911354,"sku":"SIJP-88-9","price":495.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/bob-dylan-blood-on-the-tracks-japanese-edition-2lp-45-rpm-box-1step-supervinyl-audiosoundmusic-1.jpg?v=1719856695"},{"product_id":"shawn-colvin-a-few-small-repairs","title":"Shawn Colvin - A Few Small Repairs","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\u003eShawn Colvin - All vocals (A2, A5-B2, B6), lead vocals (A1, A3-4, B3-4, B6), background vocals (A4), acoustic guitar (A1, A5, B2-4, B5-6), additional guitars (A6), piano (B1), handclaps (A2)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJohn Leventhal - All guitars (A2), electric guitar (B6), additional guitars (A1, A3-6, B2-4, B5-6), pedal steel guitar (A6), mandolin (A1), keyboards (A1-5, B2-4, B5-6), organ played by (A6), violin (A1), additional percussion (A1, A3-6, B2-4, B6), harmonica (A2, A4), background vocals (A4, B3, B6)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRick Depofi - tenor saxophone (A4), clarinet (B1), bass clarinet (A3), piccolo flute (B3), recorder instrument (B3)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eChris Botti - trumpet (A4)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBob Carlisle - French horn (A3)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLarry Farrell - trombone (A3-4)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDanny Ferrington - background vocals (A4)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTony Kadlek - flugelhorn (A3)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLyle Lovett - harmony vocals (A3)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eKate Markowitz - harmony vocals (A1, A4), background vocals (A4)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEugene Moye - cello (A2, B1-2)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJudith Owen - harmony vocals (B4)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMark Plati - bass played by (A4)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSandra Park - violin (A2, B1-3)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eShawn Pelton - drums (A1-6, B2-4, B6), percussion (A2, A4-5)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMichael Rhodes - bass guitar (A1, A3, A6, B3-4)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRobert Rinehart - viola (A2, B1-2)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCarol Webb - violin (A2, B1-2)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, Single Pocket Sleeve with Insert\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : RTI\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : ORG\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Columbia\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded at Sear Sound, 12th Street Studio, Shelter Island Sound, NYC; Cedar Creek Recording, Austin, TX; Sony Studios, Los Angeles, CA.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineered by Joe Blaney, John Leventhal, Mark Plati\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by John Leventhal\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 1996\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTo be reissued in 2022\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\u003eSunny Came Home\u003c\/li\u003e\n\u003cli\u003eGet Out of This House\u003c\/li\u003e\n\u003cli\u003eThe Facts About Jimmy\u003c\/li\u003e\n\u003cli\u003eYou and the Mona Lisa\u003c\/li\u003e\n\u003cli\u003eTrouble\u003c\/li\u003e\n\u003cli\u003eI Want It Back\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eIf I Were Brave\u003c\/li\u003e\n\u003cli\u003eWichita Skyline\u003c\/li\u003e\n\u003cli\u003e84,000 Different Delusions\u003c\/li\u003e\n\u003cli\u003eSuicide Alley\u003c\/li\u003e\n\u003cli\u003eNew Thing Now\u003c\/li\u003e\n\u003cli\u003eNothin' On Me\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAwards:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eTAS Super LP List! Special Merit: Informal\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e1998 Grammy Award Winner for Record of the Year and Song of the Year - \"Sunny Came Home\"\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“A Few Small Repairs, the proper follow-up to Fat City, was recorded on the heels of Shawn Colvin's divorce. And while the album is certainly a response, she avoids the obvious clichés in dealing with the aftermath, revealing instead the complex thought processes and complete range of human emotion, from anger, sadness, confusion, yearning, and disillusionment to resolve and recovery. Colvin has always been a songwriter of note, but with A Few Small Repairs, she reaches new heights, painting hauntingly vivid images that address not only relationships but also life in general with great insight. The subject matter predictably gives a generally dark mood to the album, but musically, the results are both diverse and irresistibly catchy. A Few Small Repairs marks a reunion with former collaborator\/producer John Leventhal, and the two have found a perfect blend between words, music, and tasteful, organic arrangements for Colvin's finest effort to date.” AllMusic Review by Chris Woodstra\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 : 4,01 \/ 5\u003c\/p\u003e\n\u003c\/div\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":42182827933946,"sku":"ORGLP0176","price":65.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/shawn-colvin-a-few-small-repairs-audiosoundmusic-1.jpg?v=1719856873"},{"product_id":"nancy-bryan-neon-angel","title":"\u003ctranscy\u003eNancy Bryan - Neon Angel (2LP, 45 tours)\u003c\/transcy\u003e","description":"\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e2 LPs, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 45 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\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 : APO\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : APO\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReleased in 2000\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\u003eNobody's Buying\u003c\/li\u003e\n\u003cli\u003eBlame it on the Moon\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003ePulse and Time\u003c\/li\u003e\n\u003cli\u003eChicago Skyline\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide C:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eNeon Angel\u003c\/li\u003e\n\u003cli\u003eSalvation\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide D:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eBending Road\u003c\/li\u003e\n\u003cli\u003eSkating at the Edge\u003c\/li\u003e\n\u003cli\u003eDeep as the Sea\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e  \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eDiscogs : 3,8 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":42207381127418,"sku":"AAPO 2013-45","price":55.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/nancy-bryan-neon-angel-2lp-45rpm-audiosoundmusic-1.jpg?v=1719857022"},{"product_id":"carl-perkins-best-of-the-sun-records-sessions","title":"Carl Perkins - Best Of The Sun Records Sessions (140g)","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCOMPILATION\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePiano – Carl Perkins\u003cspan\u003e \u003c\/span\u003e\u003cspan style=\"color: #ff8000;\"\u003e\u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/carl-perkins\" title=\"see more vinyl featuring Carl Perkins\" style=\"color: #ff8000;\"\u003e[Click here to see more vinyl featuring Carl Perkins]\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 140g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 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 : GZ Media (Czech Republic)\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 : Sun Records\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Andrew Rossiter\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReleased 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\u003eOnly You\u003c\/li\u003e\n\u003cli\u003eAll Mama's Children\u003c\/li\u003e\n\u003cli\u003eRoll Over Beethoven\u003c\/li\u003e\n\u003cli\u003eTennessee\u003c\/li\u003e\n\u003cli\u003eLonely Street\u003c\/li\u003e\n\u003cli\u003eBlue Suede Shoes\u003c\/li\u003e\n\u003cli\u003eTurn Around\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\u003ePut Your Cat Clothes On\u003c\/li\u003e\n\u003cli\u003eGone Gone Gone\u003c\/li\u003e\n\u003cli\u003eGlad All Over\u003c\/li\u003e\n\u003cli\u003eI'm Sorry I'm Not Sorry\u003c\/li\u003e\n\u003cli\u003eDixie Fried\u003c\/li\u003e\n\u003cli\u003eYou Can't Make Love To Somebody\u003c\/li\u003e\n\u003cli\u003eForever Yours\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e“Although it's one of those tunes that seems like it's been around forever, there was a time in pop music history when a \"Blue Suede Shoes\" didn't exist. As a rock \u0026amp; roll call to arms, a defiant cry of '50s teenage youthfulness, it's the ultimate sign pointer. As a song that was the first to top all three charts (pop, country, and R\u0026amp;B), it's the first great crossover tune of rock \u0026amp; roll. Through the original by its composer, Carl Perkins, and its subsequent covers -- most notably the 1956 cover by Elvis Presley -- it has become one of the national anthems of '50s rock \u0026amp; roll and certainly the most famous rockabilly record of all time. The original boasts several unique qualities, none of which are bettered in Elvis' version or anyone else's, for that matter. For openers, you'll seldom hear a combo with just one electric guitar, an acoustic rhythm, a string bass, and set of drums sound so amazingly full like they do on this track. This is largely due to Sam Phillips' ingenious miking system at the sparse but right on Sun studios, but also because the Perkins band (made up of Carl, his two brothers, and a close friend) plays the track so in the pocket; the record simply swings like mad. The most important ingredient is Carl himself. His guitar breaks brought the electric guitar right out front with two hot solos that truly defined early rock \u0026amp; roll guitar playing while his vocal is another defining moment, full of yelps, bends, and the sheer joy of letting loose on a Saturday night. Elvis eventually went Hollywood, but Carl Perkins could never shake the country boy out of his nature, and that hillbilly charm is what makes \"Blue Suede Shoes\" such a great record and its simplistic message so irresistible and transmutable to further generations down the road as an early signpost to rock \u0026amp; roll's beginnings.” AllMusic Review of Blue Suede Shoes by Cub Koda\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eDiscogs : 4,09 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":42214050693370,"sku":"ORGM-2084","price":39.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/carl-perkins-best-of-the-sun-records-sessions-140g-audiosoundmusic-1.jpg?v=1719857090"}],"url":"https:\/\/www.audiosoundmusic.com\/fr\/collections\/folk\/audiophile.oembed?page=5","provider":"AudioSoundMusic","version":"1.0","type":"link"}