{"title":"Our recommendations","description":"","products":[{"product_id":"charles-lloyd-quartet-the-flowering","title":"\u003ctranscy\u003eCharles Lloyd Quartet - The Flowering\u003c\/transcy\u003e","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCharles Lloyd (tenor saxophone, flute) \u003ca data-mce-fragment=\"1\" style=\"color: #ff8000;\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/charles-lloyd\" title=\"Vinyl featuring Charles Llyod\"\u003e[click here to see more vinyl featuring Charles Llyod]\u003c\/a\u003e\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eKeith Jarrett (piano) \u003ca data-mce-fragment=\"1\" title=\"vinyl featuring Keith Jarrett\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/keith-jarrett\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"color: #ff8000;\"\u003e[click here to see vinyl featuring Keith Jarrett]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e Cecil McBee (bass)  \u003ca data-mce-fragment=\"1\" title=\"vinyl featuring Cecil McBee\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/cecil-mcbee\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Cecil McBee]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e Jack DeJohnette (drums) \u003ca data-mce-fragment=\"1\" title=\"vinyl featuring Jack Dejohnette\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/jack-dejohnette\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Jack DeJohnette]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eWritten by \u003c\/strong\u003e\u003cstrong\u003eKurt Weill (A1), Ogden Nash (A1), Charles Lloyd (A2, B2), Cecil McBee (A3), Gabor Szabo (B1)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Speakers Corner\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label :  Atlantic\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eRecording: July 1966 live at Aulaen Hall, Oslo (Norway) by Meny Bloch\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eProduction: George Avakian\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1971\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 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\u003e\u003cspan data-mce-fragment=\"1\"\u003eSide A :\u003c\/span\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eSpeak Low\u003c\/li\u003e\n\u003cli\u003eLove-In \/ Island Blues\u003c\/li\u003e\n\u003cli\u003eWilpan's\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eGypsy '66\u003c\/li\u003e\n\u003cli\u003eGoin' To Memphis \/ Island Blues\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« Released by Atlantic in 1971 when the Charles Lloyd Quartet was already history, these performances (from the same concert that resulted in Charles Lloyd in Europe) contain some excellent remakes (\"Love In\/Island Blues\" and \"Goin' to Memphis\"), Gabor Szabo's \"Gypsy '66,\" Cecil McBee's \"Wilpan's,\" and a fine rendition of \"Speak Low.\" Lloyd (whether on tenor or flute), the already impressive pianist Keith Jarrett, bassist McBee, and drummer Jack DeJohnette are heard in enthusiastic form. This set is even a bit better than the In Europe album due to the stronger (if more familiar) material. » AllMusic Review by Scott Yanow\u003c\/p\u003e\n\u003cp\u003e« Like various musicians growing up in the 40’s Charles Lloyd was influenced by the radio, especially artists like Duke Ellington, Billie Holiday, Lester Young, Coleman Hawkins and Charlie Parker. His first impactful foray into jazz was as musical director for Chico Hamilton, replacing Eric Dolpy. Albums like \u003cem\u003ePassin’ Thru\u003c\/em\u003e and \u003cem\u003eMan From Two Worlds\u003c\/em\u003e were noteworthy as Lloyd served as composer and arranger for most of the tracks. When he signed with Columbia in 1964 as a band leader, both \u003cem\u003eDiscovery\u003c\/em\u003e and \u003cem\u003eOf Course, Of Course \u003c\/em\u003eestablished him as a rising jazz star. Lloyd formed a quartet with Keith Jarrett (piano), Cecil McBee (bass) and Jack DeJohnette (drums) in 1966 building on his emerging status.. The studio album \u003cem\u003eForest Flower\u003c\/em\u003e became a global phenomenon and was vital in the incorporation of \u003cem\u003eworld music\u003c\/em\u003e into the \u003cem\u003ejazz\u003c\/em\u003e idiom. In the 1970’s Lloyd retreated from the jazz community, but became active as a studio and live performer with The Beach Boys. He returned to his natural genre in 1989 with ECM Records. Amazingly, he records with a variety of artists from different styles and backgrounds, an inspiration to many.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eSpeakers Corner has released a 180-gram vinyl of \u003cem\u003eThe Flowering Of The Original Charles Lloyd Quartet\/Recorded In Concert\u003c\/em\u003e. This live performance by The Charles Lloyd Quartet featured a 1966 set recorded at Aulean Hall in Oslo Norway. Critics view this album as the quintessential live performance of this legendary group. This is an amazing ensemble, comprised of four musicians who would flourish as recording artists and band leaders. Side One opens with an inspired cover of Kurt Weill’s Broadway ditty, “Speak Low’. This song began as a popular music standard, but achieved elevated jazz status with recordings by Billie Holiday, Chet Baker, Gerry Mulligan, Bill Evans and John Coltrane to name a few. After a brief melancholic intro by Lloyd on tenor, there is a seamless tempo uptick. Jack DeJohnette’s propulsive drumming sets the stage for some impressive solo work. Charles Lloyd is up first with searing free-form riffing. Keith Jarrett follows with a percolating (especially right hand) run that showcases his inimitable style. Cecil McBee glides into duet mode before a challenging extended double bass run. Lloyd jumps in and grabs the lead with a unusual higher-register emphasis. The Lloyd-penned medley, “Love-In\/Island Blues” shifts mood with flute lead. Jarrett’s exquisite technique is muscular and soulful. Lloyd’s flute solo in contrast is evocative and melodic. There is a slow blues transition that infuses a swaying vibe. Jarrett’s second solo is equally compelling with grittiness and lyricism. McBee’s sprightly bass on his own composition, “Wilpan’s” leads into a complex melody. Jarrett is explosive with furious momentum that is matched by DeJohnette. Returning to tenor, Lloyd adds texture and color, at times in tandem with McBee. The overall performance has a traditional jazz feel with sharp punctuation and saxophone playing over a repeat vamp.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eSide Two starts with the longest track on the album, an update to Chico Hamilton alumnus Gabor Szabo’s “Lady Gabor”. Renamed “Gypsy ’66”, this is nothing short of mesmerizing. Lloyd initiates with exotic flute imagery as DeJohnette (who appears to always be in rhythmic transcendence) leads a tightly syncopated tempo. As Lloyd soars on flute, his tonality mellows with a hushed elegance. Then there is a seismic change. Jarrett contributes a mind-bending solo. He begins by plucking the strings inside the piano like a harp. Eventually he adds piano to this as Lloyd returns to flute with a fevered improvisational swagger. Wherever the quartet goes, drummer DeJohnette maintains the cohesion and vibrancy. The music always flows like a river current with hypnotic eloquence. The 14:11 musical journey fades to silence as a stunned crowd offers a delayed round of applause. It seems fitting that Charles Lloyd would end with a hometown-inspired medley, “Goin’ To Memphis\/Island Blues”. The first part is a flat-out Southern groove fest with Jarrett on lead. His depth of feeling is extraordinary. The technical agility features sudden chord changes and scintillating runs. Lloyd joins on sax as a medium-swing structure ensues. The quartet reprises “Island Blues” in a wonderful finale.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eSpeakers Corner Records has done a stellar job in re-mastering \u003cem\u003eThe Flowering \u003c\/em\u003eto 180-gram vinyl. The overall sound mix is excellent. Drums and double bass solidify the bottom end. Both tenor saxophone and flute are centered and sound crisp without any shrillness. The front cover painting (of Lloyd with a psychedelic flower Afro)  by Jacques Richez is striking and reminiscent of the era. There are no hisses or pops on the pressing. » Robbie Gerson, Audiophile Audition, Nov 21, 2019\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eIt might be hard to believe but there was once a jazz musician who was well known and well loved even in the global flower-power pop scene – and not just in San Francisco’s Haight Ashbury. The name was and is Charles Lloyd. He appeared in the great concert halls (e.g. Fillmore West) and skilful marketing launched his LPs into the hit parades in the Sixties. It was clear then that European festival organizers from Molde to Antibes, from San Sebastian to Warsaw battled for appearances by this legendary quartet.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eIn 1966 the original quartet was composed of Lloyd, Keith Jarrett, Cecil McBee and Jack DeJohnette who offered the public mixture of pop and jazz that was sometimes catchy, often ambitious and demanding, in some measure passionate, but always original. All this spiced up standard works and got the audience tapping their feet and snapping their fingers.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eThe present LP begins with one of these standard works, Kurt Weill’s \"Speak Low\", and thus opens our ears for 43 minutes of relaxed listening. One notices that the control has not been handed over to free jazz players of the day. The impressionist sounds of the young Keith Jarrett fit in perfectly, and Jack DeJohnette had not yet moved into the realms of Miles Davis and his electric phase. A tip for great listening is Gabor Szabo’s composition \"Gypsy 66\", which is reminiscent of their time together with the other top drummer of the day, Chico Hamilton.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eAll in all, this is a highly successful live production by Atlantic Records! (In their archives, by the way, are about a dozen unreleased Charles Lloyd recordings that are waiting to see the light of day.) In general, the present recording is rated higher than the LP \"In Europe\", because the compositions leave behind a stronger impression on the listener.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e Allmusic : 4,2 \/ 5 , \u003c\/span\u003e\u003cspan\u003eDiscogs \u003c\/span\u003e: \u003cspan\u003e4,38\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5,   \u003cspan\u003eRate Your Music \u003c\/span\u003e: \u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e3,64\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40399622602903,"sku":"SD 1586","price":38.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/charles-lloyd-quartet-the-flowering-audiosoundmusic-1.jpg?v=1719851457"},{"product_id":"brother-jack-mcduff-tobacco-road","title":"\u003ctranscy\u003eBrother Jack McDuff - Tobacco Road\u003c\/transcy\u003e","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLoyal J. Gresham (bass : A1, A2, A5), Robert Guthrie (drums : A1, A2, A5, B2), Roland Faulkner (guitar : A1, A2, A5, B2), Bobby Christian (Percussion, Vibraphone : A1, A2, A5, B2), Lonnie Simmons (Baritone Saxophone : A1, A2, A5, B2), Red Holloway (Tenor Saxophone : A1, A2, A5, B2), John Watson (Trombone : A1, A2, A5, B2), Fred Berry (Trumpet : A1, A2, A5, B1), King Kolax (Trumpet : A1, A2, A5, B1), Joe Dukes (Drums : A3, A4, B1, B3, B4), Calvin Green (Guitar : A3, A4, B3, B4), Danny Turner (Saxophone, Flute : A3, A4, B1, B3, B4)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eArranged by Jack McDuff (A3, A4, B1, B3, B4), conducted and arranged by J.J. Jackson (A1, A2, A5, B2)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by Rudolph Toombs (A1), John Loudermilk (A2), Johnny Mandel (A3), Paul Francis Webster (A3), Jack McDuff (A4, B4), Bob Dylan (A5), Johnny Mercer (B1), Ziggy Elman (B1), John Watson (B2), Irving Berlin (B3)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, gatefold sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Speakers Corner\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label :  Atlantic\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eRecorded in August 1966 at Chess Studios, Chicago\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eProduced by Lew Futterman\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eOriginally released in 1967\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by Kevin Gray\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eReissued Jan 2019\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eTracks :\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eTeardrops From My Eyes\u003c\/li\u003e\n\u003cli\u003eTobacco Road\u003c\/li\u003e\n\u003cli\u003eThe Shadow of Your Smile\u003c\/li\u003e\n\u003cli\u003eCan't Get Satisfied\u003c\/li\u003e\n\u003cli\u003eBlowin' In The Wind\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eAnd The Angels Sing\u003c\/li\u003e\n\u003cli\u003eThis Bitter Earth\u003c\/li\u003e\n\u003cli\u003eAlexander's Ragtime Band\u003c\/li\u003e\n\u003cli\u003eWade In The Water\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e« Brother Jack McDuff recorded an enormous number of albums during the '60s, so it can be difficult to figure out where to start digging a little deeper into his output (which Hammond B-3 fans will definitely want to do). 1967's Tobacco Road stands out from the pack for a couple of reasons. First, unlike many of his groove-centric albums, it's heavy on standards and pop\/rock tunes (seven of nine cuts), which make for excellent matches with McDuff's highly melodic, piano-influenced style. What's more, about half of the album finds McDuff leading a large ten-piece ensemble arranged and conducted by J.J. Jackson, including a soulful horn section that sounds straight out of Memphis or Muscle Shoals (though this was recorded at Chess studios in Chicago). McDuff himself handles the arrangements on the rest of the material, which is done in a guitar\/sax\/drums quartet. The LP's style is fairly unified, though -- no matter what format, the tunes are given fantastically funked-up treatments that sound surprisingly natural. And these aren't grooves where everyone just settles back and stays in the pocket; McDuff attacks the arrangements with wildly funky rhythms and solos, and there's a polyrhythmic sense of interplay that recalls the best Southern soul. Arguably the most distinctive track is a cool, grooving quartet version of \"The Shadow of Your Smile,\" complete with snaky bassline and airy flute solos from Danny Turner. Unfortunately, none of the tracks are all that long, in keeping with the jukebox\/radio orientation of McDuff's Atlantic period, but that won't prevent soul-jazz fans from thoroughly enjoying Tobacco Road. » AllMusic Review by Steve Huey \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\"Imitation, assimilation, innovation.\" With these three words the great Clark Terry summed up the art of leaning musical improvisation. Salvador Dalí, the artist who melted time in his colourful and bizarre works, stated radically that a person who didn’t want to copy others would never manage to accomplish anything at all. Brother Jack McDuff did plenty of copying and refined the good old standards on his \"Tobacco Road\" and made them blossom anew. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eJack taught himself to play the organ and went on to transform the popular melody \"Alexander’s Ragtime Band\" into what one might call roughened up ball house jazz, were it not for the contrary saxophone, which soars over rasping organ clusters. For Brother Jack such spiritual sounds as in \"And The Angels Sing\" and his somewhat slanted version of the musing, dreamy \"Wade In The Water\" were an absolute must. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIt really rocks in \"Can’t Get Satisfied\", a gospel-like and delicately instrumentalised version of the blues evergreen. The organ does not necessarily always have the last word in this colourful mixture, but it is always very present as regards the sound and the distribution of the parts. And just once does McDuff let the instrument sing out on its glassy top register in \"The Shadow Of Your Smile\".\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAllmusic : 4 \/ 5 ,  \u003c\/span\u003e\u003cspan\u003eDiscogs \u003c\/span\u003e: \u003cspan\u003e4,15\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5  ,   \u003cspan\u003eRate Your Music \u003c\/span\u003e: \u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e3,46\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40399956902039,"sku":"SD1472","price":55.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/brother-jack-mcduff-tobacco-road-audiosoundmusic-1.jpg?v=1719851485"},{"product_id":"joe-turner-big-joe-rides-again","title":"\u003ctranscy\u003eJoe Turner - Big Joe Rides Again\u003c\/transcy\u003e","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJoe Turner (vocals)\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003e \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/joe-turner\" title=\"vinyl featuring Joe Turner\"\u003e\u003cspan style=\"color: rgb(255, 128, 0);\"\u003e[click here to see more vinyl featuring Joe Turner]\u003c\/span\u003e\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eErnie Royal (trumpet), Vic Dickenson (trombone), Jerome Richardson (alto saxophone), Coleman Hawkins (tenor saxophone), Jimmy Jones (piano), Jim Hall (guitar), Doug Watkins (bass), Charlie Persip (drums), Paul Ricard (trumpet), Jimmy Nottingham (trumpet), Lawrence Brown (trombone), Pete Brown (alto saxophone), Seldon Powell (tenor saxophone), Pete Johnson (piano), Freddie Greene (guitar), Walter Page (bass), Cliff Leeman (drums)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eErnie Wilkins (conductor, arrangements)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWriten by Big Joe Turner (A2, A5, B1, B5), Rudolf B. Moore (A1), Sammy Cahn (A3), Saul Chaplin (A3), L.E. Freeman (A3), Mann Holiner (A3), Alberta Nichols (A3), Marcy Klauber (A4), Harry Stoddard (A4), Danny Barker (B2), Ken Harris (B2), Sammy Cahn (B3), Jule Styne (B3), Johnny Burke (B4), Arthur Johnston (B4)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Speakers Corner\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label :  Atlantic\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eRecording: September 1959 by Len Frank, Phil Iehle and Tom Dowd\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eProduction: Nesuhi Ertegun\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1960\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2017\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eTracks :\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eSwitchin' In The Kitchen\u003c\/li\u003e\n\u003cli\u003eNobody In Mind\u003c\/li\u003e\n\u003cli\u003eUntil The Real Thing Comes Along\u003c\/li\u003e\n\u003cli\u003eI Get The Blues When It Rains\u003c\/li\u003e\n\u003cli\u003eRebecca\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eWhen I Was Young\u003c\/li\u003e\n\u003cli\u003eDon't You Make Me High\u003c\/li\u003e\n\u003cli\u003eTime After Time\u003c\/li\u003e\n\u003cli\u003ePennies From Heaven\u003c\/li\u003e\n\u003cli\u003eHere Comes Your Iceman\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003cbr\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp\u003e« With the exception of one selection (\"Pennies from Heaven\") left over from his 1956 record The Boss of the Blue, the music on this album was all recorded in September 1959. Veteran blues singer Big Joe Turner returns to his roots, belting out blues and early standards while accompanied by an octet arranged by Ernie Wilkins. Among the key sidemen are the great tenor Coleman Hawkins, trombonist Vic Dickenson, trumpeter Paul Ricard and altoist Jerome Richardson; and the highlights include \"Nobody in Mind,\" \"Rebecca\" and \"Don't You Make Me High.\" An excellent outing for Turner, whose boisterous style would be largely unchanged over his half-century career. » AllMusic Review by Scott Yanow\u003cbr\u003e \u003c\/p\u003e\n\u003cp\u003e« Big Joe Turner was a blues icon and pioneer of rock and roll. He was described as a blues shouter and electrified the music world with his 1954 recording, “Shake Rattle And Roll” (of course, Bill Haley and The Comets had a more successful single). According to songwriter Doc Pomus, there wouldn’t have been rock and roll without Big Joe. Turner was an early star at Atlantic Records. Despite his initial efforts in the emerging crossover r \u0026amp; b market, Turner would spend most of his career with jazz combos. But he will be remembered for songs like “Corinna, Corinna”, “Midnight Special”, “Flip Flop And Fly”, “Chains Of Love”, Honey Hush” and “Roll ‘Em Pete”. He was posthumously enshrined in The Rock And Roll Hall Of Fame in 1987.\u003c\/p\u003e\n\u003cp\u003eSpeakers Corner Records has released a 180-gram vinyl re-mastering of Big Joe Rides Again. First recorded in 1960, this was a living testament to the r \u0026amp; b prowess of Atlantic Records. Turner is backed by a bona fide Who’s Who of session players, arranged by Ernie Wilkins. Side One opens with “Switchin’ In The Kitchen”. This feels like a combination of big band jazz and jump swing. There are solos by Coleman Hawkins (tenor saxophone), Jerome Dickerson (alto saxophone). Vic Dickenson (trombone) and Ernie Royal (trumpet). Turner’s uncanny vocal phrasing is magnetic. “Nobody In Mind” (one of four Turner compositions) is a sultry arrangement with straight ahead blues resonance. Dickenson’s muted trombone distills the nasty low-down vibe of this number. A lot of the orchestration has a distinctive jazzy swagger. The clever wordplay of “Until The Real Thing Comes Along” is a perfect vehicle for Big Joe’s “Cab Calloway” showmanship. Hawkins adds deep shade with his tenor to provide additional texture to this earnest love song. A sparkling introduction that is worthy of Duke Ellington or Count Basie kicks off “I Get The Blues When It Rains”. Jerome Dickerson shines on alto. Turner’s confident voice is front and center, but he shares the spotlight with the instrumentalists. “Rebecca” (by far the longest album track, clocking in at 7:05) is perhaps the ensemble’s finest performance. This is classic blues with repeat first verse lines. The up tempo jam is anchored by Jones’ muscular, soulful piano runs. There is a trumpet solo with hot licks and an interesting saxophone counterpoint. Turner’s innate talent for phrase turning (“You so beautiful, but you gotta die someday”) is legendary, classic blues.\u003c\/p\u003e\n\u003cp\u003eSide Two gets off to a rousing start with “When I Was Young”. There is a catchy group vamp with punctuated tempo stops. The sparkling arrangement includes voice trading off with trumpet and saxophone. Turner’s colorful lyrics are memorable as is the trombone solo. “Don’t You Make Me High” is a blues classic. With swaying resonance, overt sexuality is enhanced by muted trombone and gritty piano.The selection of two well known pop tunes is a surprise. “Time After Time” (written by the incomparable team of June Styne \u0026amp; Sammy Cahn) has mixed results. Coleman Hawkins captures the whimsical jazz balladry on tenor, but the gruff style of Turner is not the best match. On “Pennies From Heaven” Turner successfully embraces the jazzy inflections and overall jauntiness. Fittingly, “Here Comes Your Icemen” is vintage Turner. With a dirge-like, hypnotic instrumental foundation (reminiscent of “St. Louis Blues”), the anecdotal cheeky blues narrative is unforgettable. It features Big Joe Turner at his finest.\u003c\/p\u003e\n\u003cp\u003eSpeakers Corner Records 180-gram vinyl re-mastering is phenomenal. The stereo separation of this sixty-year-old recording is flawless. With Turner’s smoky voice centered in the mix, the reeds and horns are rendered with both clarity and mellowness. This vinyl pressing is immaculate with limited surface noise. » Robbie Gerson, Audiophile Audition, Dec 4, 2019\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eThat the experts inducted 'Big Joe' Turner into the Blues Hall of Fame in 1983, i.e. during his lifetime, is surely in order when one considers how he expressed his attitude to life with his 12-bar stylistic freedom. That he was additionally honoured by being posthumously inducted into the Rock and Roll Hall of Fame, however, makes one wonder whether the incorruptible experts had made a mistake. No matter what: this giant of a man with his big, gentle voice had certainly earned a place of honour in the era of swing as well.\u003c\/p\u003e\n\u003cp\u003eTurner, who appeared on stage with Goodman, Ellington, Tatum and – in later years – with Gillespie and Eldridge, offers his listeners many facets of the blues. The opening number, \"Switchin’ In The Kitchen\", is a fairly fast boogie-woogie where the vocal swings freely with sharp blasts in the background. Other swinging numbers, in which jazz champions such as Coleman Hawkins and Ernie Royal perform solos, include several ballad-like evergreens (\"Pennies From Heaven\"), which Turner and his band elaborate to become an imposing aria (\"Until The Real Thing Comes Along\").\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003eThe grooves of this LP are distinguished by means of the open, unfiltered Atlantic sound. The saxophone solos in particular, complete with the clicking of the valves and blowing noise, give one the feeling that the soloist is performing in your living room.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eAllMusic : 4 \/ 5 ,  \u003cspan\u003eDiscogs \u003c\/span\u003e: \u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e4,00\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5 ,  \u003c\/span\u003e\u003cspan\u003eRate Your Music \u003c\/span\u003e: \u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e3,51\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40404076363927,"sku":"SD-1332","price":38.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/joe-turner-big-joe-rides-again-audiosoundmusic-1.jpg?v=1719851496"},{"product_id":"chet-baker-chet-is-back","title":"Chet Baker - Chet Is Back (Mono)","description":"\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003eChet Baker (trumpet) \u003cspan style=\"color: #ff8000;\"\u003e\u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/chet-baker\" title=\"Vinyl featuring Chet Baker\" style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/chet-baker\"\u003e[click here to see more vinyl featuring Chet Baker]\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBenoit Quersin (bass), Daniel Humair (drums), Bobby Jaspar (Flute, Tenor Saxophone), Rene Thomas (guitar), Amedeo Tommasi (piano),\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by Amedeo Tommasi (B3), Charlie Parker (A3), Raye (A4), De Paul (A4), Arlen (B1), Link (A2), Marvell (A2), Strachey (A2), Oscar Pettiford (B4), Sonny Rollins (B2), Thelonious Monk (A1)\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\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMono\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Speakers Corner\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label :  RCA\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eRecording in January 1962 in RCA's studio in Rome\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eOriginally released in 1962\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eReissued in 2005\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eTracks :\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eWell, You Needn’t\u003c\/li\u003e\n\u003cli\u003eThese Foolish Things\u003c\/li\u003e\n\u003cli\u003eBarbados\u003c\/li\u003e\n\u003cli\u003eStar Eyes\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eOver The Rainbow\u003c\/li\u003e\n\u003cli\u003ePent Up House\u003c\/li\u003e\n\u003cli\u003eBallata In Forma Di Blues\u003c\/li\u003e\n\u003cli\u003eBlues in The Closet\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\u003eChet Baker - one of the most tragic figures of jazz who lived on the fast lane and ruined himself with drugs and alcohol - was constantly on the road from one European jazz club to another. Local rhythm groups were not always top notch so it was only logical to pick the very best from several countries for a film-music production in Italy. And it was equally logical that RCA’s Italian subsidiary brought the musicians into the studio in January 1962.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eWith one exception, the eight titles on this disc are all so-called standards. The two winds demand total concentration from the rhythm section while maintaining relaxed and laid-back harmonic patterns. And this is something the Italian Tommasi, the Belgian Thomas, the Frenchman Quersin and the Swiss Humair carry off with an air of nonchalance. The two ballads \"These Foolish Things\" and the only new composition \"Ballata In Forma Di Blues\" are tucked in between the other numbers and give the listener space to breathe. They are surrounded by numbers with a fast tempo, all of which demonstrate Chet Baker’s and Bobby Jaspar’s high standard of musicianship. And then there is \"Over The Rainbow\", whose theme is coupled with another tragic figure of music history, Judy Garland: Chet on his trumpet conjures up pure magic in the middle section.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eHappily, these recordings - made in Rome in 1962 - are not purely restricted to collectors living in the Sixties. This re-release on LP now offers the opportunity to listen to some excellent music and to enjoy the cover – just as it was on the original recording: a priceless gem!\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\u003e4,29\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5  , \u003c\/span\u003e\u003cspan\u003eRate Your Music \u003c\/span\u003e: \u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e3,91\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40405137195159,"sku":"PML-10307","price":38.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/chet-baker-chet-is-back-1lp-mono-audiosoundmusic-1.jpg?v=1719851560"},{"product_id":"little-feat-time-loves-a-hero","title":"\u003ctranscy\u003eLittle Feat - Time Loves A Hero \u003c\/transcy\u003e","description":"\u003cp\u003e \u003c\/p\u003e\n\u003ch2\u003e\u003cbr\u003e\u003c\/h2\u003e\n\u003cp\u003e\u003cstrong\u003eLittle Feat \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/little-feat\" title=\"audiophile vinyl featuring little feat\"\u003e\u003cspan style=\"color: rgb(255, 128, 0);\"\u003e[click here to see more vinyl featuring Little Feat]\u003c\/span\u003e\u003c\/a\u003e\u003cbr\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003cbr\u003eLowell George (g, voc) \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/lowell-george\" title=\"vinyl featuring Lowell George\"\u003e\u003cspan style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Lowell George]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBill Payne (keyb, voc, perc); Paul Barrère (g, voc); Ken Gradney (b); Ritchie Hayward (dr, perc, voc); Sam Clayton (cga, perc, voc); Tower Of Power Horn Section\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by Paul Barrère (A1, A2, A4, B1, B4, B5), Ken Gradney (A2), Bill Payne (A2, arrangement A4, B2), Lowell George (A3, B4), Ken Gradney (A4), Richie Hayward (A4), Sam Clayton (A4), Fran Tate (B2), Terry Allen (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\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Warner\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eRecording: 1976-77 at Sunset Sound Studios, Warner Bros. Studios, Western Recorders, all Hollywood, CA, and Record Plant, Sausalito, CA, by Donn Landee\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eProduction: Ted Templeman\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1977\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2018\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eTracks :\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eHi Roller\u003c\/li\u003e\n\u003cli\u003eTime Loves A Hero\u003c\/li\u003e\n\u003cli\u003eRocket In My Pocket\u003c\/li\u003e\n\u003cli\u003eDay At The Dog Races\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eOld Folks Boogie\u003c\/li\u003e\n\u003cli\u003eRed Streamliner\u003c\/li\u003e\n\u003cli\u003eNew Delhi Freight Train\u003c\/li\u003e\n\u003cli\u003eKeepin' Up With The Joneses\u003c\/li\u003e\n\u003cli\u003eMissin' You\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e« When Little Feat headed into the studio to record Time Loves a Hero, tensions between the bandmembers -- more specifically, Lowell George and the rest of the band -- were at a peak. George had not only succumbed to various addictions, but he was growing restless with the group's fondness for extending their jams into territory strikingly reminiscent of jazz fusion. The rest of the group brought in Ted Templeman, who previously worked on their debut and produced Sailin' Shoes, to mediate the sessions. George wasn't thrilled with that, but that's probably not the only reason why his presence isn't large on this release -- all signs point to his frustration with the band, and he wasn't in great health, so he just didn't contribute to the record. He wrote one song, the pleasant but comparatively faceless \"Rocket in My Pocket,\" and collaborated with Paul Barrere on \"Keepin' Up with the Joneses.\" Barrere was responsible for the only bright moments on the album, the ingratiatingly silly \"Old Folks Boogie\" and, along with Bill Payne and Ken Gradney, the funky singalong title track. Elsewhere, Barrere and Payne come up dry, turning out generic pieces that are well played but not as memorable as comparable Doobie Brothers cuts from the same time. Then there's \"Day at the Dog Races,\" a lengthy fusion jam that Templeman and everyone in the band loved -- except for George, who, according to Bud Scoppa's liner notes in Hotcakes \u0026amp; Outtakes, disparagingly compared it to Weather Report. He was right -- no matter how well Feat play on this track, it comes across as self-serving indulgence, and the clearest sign on this muddled album that they had indeed lost the plot. » AllMusic Review by Stephen Thomas Erlewine\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eSpeakers Corner has released a re-mastered 180-gram vinyl of Little feat’s sixth studio album for Warners. Time Loves a Hero was recorded during a time of transition, one of Little Feat’s dysfunctional periods. Their primary songwriter, George contributed (as composer) to just two of the recorded tracks. But the overall superb musicianship of this Rock And Roll Hall Of Fame worthy band is on full display. Side 1 opens with a high voltage funk rocker (“Hi Roller”) by Paul Barrere. Featuring George on gritty lead vocal, the pumped up jam features Barrere’s electric guitar, muscle from Tower Of Power horns and a smoking organ from Billy Payne. This cut burns with intensity. The title track is a is a textured Latin-infused jazz rock jam with Payne handling lead vocals. The musical tapestry is expansive with keyboards, marimba and tight guitar chords. For those concerned with the smaller footprint of the band’s founder’s, “Rocket In My Pocket” should answer the call. Solely written by George, the coyly sultry lyrics and vocal delivery are brilliant. Any Little Feat fan can imagine him onstage, hand on hips moaning, “…the music was hot, my baby was not!”. The inherent funky syncopation (with nimble congas) and trademark slide guitar is vintage Feat.\u003c\/p\u003e\n\u003cp\u003eAt the other end of the spectrum is the jazz fusion-like instrumental “Day At The Dog Races”. The foray into this genre was a source of contention between George and the group. (In many instances, he would exit the stage during this number). But the instrumental largesse of Payne, Barrere, Hayward, Clayton and Gradney is showcased on this six-and-a-half minute jam. With a Spanish classical guitar intro, the band explodes into a furious high energy jam. Distorted guitar and electric piano riffs add a multi-faceted approach. There are jazzy chord modulations and fierce rhythm (Hayward, Clayton and Gradney). Barrere’s solos are potent, while Payne offers a stunningly lyrical acoustic piano before the cascading finish. Side 2 starts with classic Paul Barrere country funkiness on “Old Folks Boogie”. The southern vibe is palpable, especially on Barrere’s husky vocal and Payne’s New Orleans piano runs. “Red Steamliner” reverts to jazz rock. Payne’s reedy soulful vocal lead is framed by fusion progressions, guitars, electric piano and keyboards. All of the elements are rooted in 70’s aesthetics with high-end production (including interwoven backup vocals by Doobie Brothers members Patrick Simmons and Michael McDonald). This musical largesse is what has kept this band intact (with some personnel changes) 40 years after the death of Lowell George. The mercurial leader returns to the spotlight on “New Delhi Freight Train”. George’s impeccable “country boogie” depth is encapsulated in his heartfelt singing. The inherent hypnotic grooves that epitomize this iconic American band are enhanced by string accents. There is significant chemistry as George’s indelible vocal phrasing elevates this number. A Barrere\/George composition “Keepin’ Up With The Joneses” continues the melancholic funk. It is ironic that both of these Southern Roots practitioners are Southern California natives. Here, Barrere embraces a “Dixie Drawl” and Tower Of Power (with a saxophone solo by Lenny Pickett) adds to the aural tapestry. The finale, “Missin’ You” is pure folk Barrere (with dobro by Jeff “Skunk” Baxter).\u003c\/p\u003e\n\u003cp\u003eSpeakers Corner has done their customary superior vinyl re-mastering to 180-gram vinyl. The stereo separation is flawless. The focus on vocals and finer detail (acoustic guitar, piano, conga) is handled with technical delicacy. As the musical landscape expands (horns, strings, keyboards) the mix is crystalline, never muddled. The iconic impressionistic artwork of Neon Park is vibrant in 12” front and back cover. Time Loves A Hero may not among the essential Little Feat albums, but it is great music! » Robbie Gerson, Audiophile Audition, Mar 7, 2019\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThere are many dreamed-of and a number of dreamy records which reflect the American idea of freedom from a musical point of view. One of these was presented by frontman Lowell George and his superb group Little Feat in what the musical experts praised as a »symbiosis of anarchistic primitive folklore and rock finesse« (rororo Rocklexikon). The high standard which the musicians maintain over the two sides of the LP is established with \"Hi Roller\", a funky, energetic opening number. The multi-part title number \"Times Loves A Hero\" follows on with a more subdued tempo but with great dive and sophisticated percussion, which proves itself to be the most important element and governs the whole album.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eLittle Feat conjures with traditional forms, gets you on the dance floor with \"Old Folks Boogie\" and serves up a tasty mixture of honky-tonk and blues, which is refined with powerful guitar solos.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eJust like a picture puzzle, rhythmic figures and figurettes dart hither and thither out of the background of this handcrafted and stalwart filigree rock (\"Red Streamliner\", \"Keepin‘ Up With The Joneses\"). But simplicity and softness is also possible: The message in \"Missin‘ You\" needs nothing more than chords on the acoustic guitar and men’s voices with a southern sound.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAllMusic : 4.5 \/ 5  ,  \u003c\/span\u003e\u003cspan\u003eDiscogs \u003c\/span\u003e: \u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e3,90\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5  , \u003c\/span\u003e\u003cspan\u003eRate Your Music \u003c\/span\u003e:\u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e3,42\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40406537601175,"sku":"BS 3015","price":38.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/little-feat-time-loves-a-hero-audiosoundmusic-1.jpg?v=1719851595"},{"product_id":"liza-minnelli-liza-with-a-z","title":"Liza Minnelli - Liza With A Z","description":"\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cbr\u003e\u003cbr\u003eLiza Minelli \u0026amp; orchestra\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eWritten by Fred Ebb (A1, A3, A6, B5), John Kander (A2, A3, A6, B5), Billie Holiday (A2), Arthur Herzog, Jr. (A2), Mike Curb (A4), Mack David (A4), Maurice Jarre (A4), Joe Tex (A5), John Hurley (B1), Ronnie Wilkins (B1), Mort Dixon (B2), Ray Henderson (B2), Charles Aznavour (B3), Walter Donaldson (B4), Sam M. Lewis (B4), Joe Young (B4), George Gershwin (B6), Ira Gershwin (B6), Gus Kahn (B6)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Speakers Corner\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Columbia\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eRecorded in May 31rst 1972 at Lyceum Theater, New York, by Phil Ramone \u0026amp; Arthur Kendy\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eProduced by Andrew Kazdin\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eOriginally released in 1972\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eReissued in 2015\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eTracks :\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A : \u003c\/p\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e1. Yes\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e2. God Bless the Child\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e3. Liza With a “Z”\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e4. It Was a Good Time\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e5. I Gotcha\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e6. Ring Them Bells\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e1. Son of a Preacher Man\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e2. Bye Bye Blackbird\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e3. You’ve Let Yourself Go\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e4. My Mammy\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e5. Medley of Tunes from “Cabaret”: Willkommen \/ Married; Money, Money \/ Maybe This Time \/ Cabaret\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e6. Bows (Liza)\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\n\u003col start=\"7\"\u003e\u003c\/ol\u003e\n\u003cbr\u003e\n\u003c\/div\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eReviews \u003c\/strong\u003e:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\"Liza With A 'Z'\" is a multi-media production that has been showered with superlatives. It won numerous awards, including those for Choreography and Direction. However, a further award for the music composed by John Kander and Fred Ebb is probably the main reason for the show being released on a record, i.e. just for the ears. But the plan bore fruit, and the LP rocketed onto the Billboard 200. It was to be Liza Minnelli’s best chart hit ever – and it could even be called the soundtrack of her life.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eGreat favourites such as \"Ring Them Bells\" and \"Bye Bye Blackbird\" are set alongside sharp rhythm and blues numbers (\"Son Of A Preacher Man\", \"I Gotcha\"). Taking centre stage is a 10-minute medley from the film adaptation of the musical \"Cabaret\" that was shown in the cinemas also in 1972 and which brought Minnelli her international breakthrough.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAll that remains of this costly and glamorous television event, which was only broadcast a few times on US television after the premiere, is the original music on record. Here it is once again in all its glory and with a new freshness.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings : \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAllmusic : 4.5 \/ 5  , \u003c\/span\u003e\u003cspan\u003eDiscogs \u003c\/span\u003e: \u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e4,00\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5 , \u003c\/span\u003e\u003cspan\u003eRate Your Music \u003c\/span\u003e: \u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e4,00\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40410460323991,"sku":"KC 31762","price":45.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/liza-minnelli-liza-with-a-z-audiosoundmusic-1.jpg?v=1719851626"},{"product_id":"harry-belafonte-belafonte-at-carnegie-hall","title":"\u003ctranscy\u003eHarry Belafonte - Belafonte At Carnegie Hall (2LP, 180g, 33 tours, Speakers Corner)\u003c\/transcy\u003e","description":"\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003eHarry Belafonte (voc) \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/harry-belafonte\" title=\"Vinyl featuring Harry Belafonte\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/harry-belafonte\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Harry Belafonte]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eMillard Thomas, Raphael Boguslav (g); Norman Keenan (b); Danny Barrajanos (perc) \u0026amp; orchestra conducted by Robert Corman\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by Fred Brooks (A1), Lead Belly (A2, A3), Paul Campbell (A2, A4), C.C. Carter (B1), Bill Attaway (B2), Harry Belafonte (B2, D3), Lord Burgess (B3), Lord Melody (C1), William Attaway (C2), Irving Burgie (C2), Norman Span (C3), Frederick Edward Weatherly (C5), Tomas Mendez (D1),  Harry Thomas (D3). C4 and D2 are traditional songs.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e2 LPs, gatefold sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLive\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Speakers Corner\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : RCA\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eRecording: April 1959 live at Carnegie Hall, New York, by Bob Simpson\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eProduction: Bob Bollard\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eOriginally released in 1959\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 data-mce-fragment=\"1\"\u003eSide A :\u003c\/p\u003e\n\u003cp style=\"padding-left: 30px;\" data-mce-fragment=\"1\"\u003eAct 1: The Moods of the American Negro\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e              1.  Introduction – Darlin’ Cora\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e              2.  Sylvie\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e              3.  Cotton Fields\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e               4.  John Henry\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e               5.  Take My Mother Home\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eSide B :\u003c\/p\u003e\n\u003cp style=\"padding-left: 30px;\" data-mce-fragment=\"1\"\u003eAct 1: The Moods of the American Negro\u003c\/p\u003e\n\u003cp style=\"padding-left: 60px;\" data-mce-fragment=\"1\"\u003e1. The Marching Saints\u003c\/p\u003e\n\u003cp style=\"padding-left: 30px;\" data-mce-fragment=\"1\"\u003eAct 2: In The Caribbean\u003c\/p\u003e\n\u003cdiv data-mce-fragment=\"1\"\u003e               2. Day O\u003c\/div\u003e\n\u003cdiv data-mce-fragment=\"1\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv data-mce-fragment=\"1\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv data-mce-fragment=\"1\"\u003e               3. Jamaica Farewell\u003c\/div\u003e\n\u003cdiv data-mce-fragment=\"1\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv data-mce-fragment=\"1\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 60px;\" data-mce-fragment=\"1\"\u003e4. Man Piaba\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 60px;\" data-mce-fragment=\"1\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 60px;\" data-mce-fragment=\"1\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cp data-mce-fragment=\"1\"\u003e               5. All My Trials\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eSide C :\u003cbr\u003e\u003c\/p\u003e\n\u003cp style=\"padding-left: 30px;\" data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eAct 2: In The Caribbean\u003c\/span\u003e               \u003c\/p\u003e\n\u003cp style=\"padding-left: 60px;\" data-mce-fragment=\"1\"\u003e1 Mama Look A Boo Boo\u003c\/p\u003e\n\u003cp style=\"padding-left: 60px;\" data-mce-fragment=\"1\"\u003e2 Come Back Liza\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e               3 Man Smart (woman smarter)\u003c\/p\u003e\n\u003cp style=\"padding-left: 30px;\" data-mce-fragment=\"1\"\u003eAct 3: Round The World\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e                4 Hava Nageela\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e                5 Danny Boy\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e                6  Merci Bon Dieu (From The \"Haitian Suite\")\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eSide D :\u003c\/p\u003e\n\u003cp style=\"padding-left: 30px;\" data-mce-fragment=\"1\"\u003e\u003cspan\u003eAct 3: Round The World\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"padding-left: 60px;\" data-mce-fragment=\"1\"\u003e1 Cu Cu Ru Cu Cu Paloma\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e                2 Shenandoah\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e                3 Matilda\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e« The granddaddy of all live albums, this double-LP set captured the excitement of a Harry Belafonte concert at the height of his popularity. Sampled from two consecutive performances of identical material, Belafonte at Carnegie Hall was an anomaly at a time when only comedy albums were recorded outside of the studio environment. It wasn't the first live album ever made, but it was certainly the first to be a major financial and artistic success. It stayed on the best-selling album charts for over three years and remained in print until RCA discontinued pressing LPs. From the opening trumpet fanfare and brief orchestral overture to the epic 12-minute version of \"Matilda\" (which set a standard for audience participation), the album never lets up. It is exciting, poignant, thrilling, intimate, and at times, spontaneously hilarious. Belafonte's mastery in front of an audience was never better displayed than here, a mastery that resulted in him becoming one of the most popular concert draws in history. Producer Bob Bollard and orchestra leader Bob Corman deftly integrated the 47-piece orchestra into the performance but knew when to lie back to let Belafonte sing, accompanied by a small combo of two guitars, bass, and percussion. The concert is divided in three sections: \"Moods of the American Negro,\" \"In the Caribbean,\" and \"Around the World.\" All the hits are here: \"Day O,\" \"Jamaica Farewell,\" \"Mama Look a Boo Boo,\" and others, plus calypso, folk songs, chain gang songs, spirituals, and songs from other lands, representing a veritable best-of package of his first decade with RCA Victor. For sheer scope and genius of performance, this is the quintessential Belafonte package. » AllMusic Review by Cary Ginell\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan\u003eTo perform in Carnegie Hall must surely be the greatest ambition of every artist, regardless of his or her style of music. But it also presents an enormous challenge, because on such an evening 'good' isn’t good enough. The artist is not merely expected to perform to his or her usual high standard – the evening must be exceptional. Harry Belafonte, the charismatic and highly experienced performer, certainly managed to fulfil such expectations, as is testified to by the present double album, which has retained its place as a best-seller at the top of the charts over many years.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan\u003eThis performance contains three acts, as it were: Afro-American moods, Caribbean songs and excursions into music of the world. Belafonte is in top form and celebrates an exciting, sparkling festival of song, including spontaneous comic interludes, which arise from direct interaction with his enthralled and enthusiastic audience. He is brilliantly supported by Bob Corman and his 47-man orchestra, an ensemble which is reduced to a small combo when the maestro raises his husky voice. It goes without saying that all the favourites are there such as \"Jamaica Farewell\", \"Day-O\" and \"Mama Look A Boo Boo\", making this Carnegie Hall event one of the most mesmerizing live performances of all time, which captures the essence of the performer in his prime (All Music Guide). With this double album you too can sit in the audience and enjoy this great event.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan\u003eAllmusic : 5 \/5 , \u003c\/span\u003e\u003cspan\u003eDiscogs \u003c\/span\u003e: \u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e4,40\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5  , \u003c\/span\u003e\u003cspan\u003eRate Your Music \u003c\/span\u003e: \u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e3,81\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40410634158231,"sku":"LSO-6006","price":65.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/harry-belafonte-belafonte-at-carnegie-hall-2lp-180g-33rpm-speakers-corner-audiosoundmusic-1.jpg?v=1719851640"},{"product_id":"aretha-franklin-live-at-fillmore-west","title":"\u003ctranscy\u003eAretha Franklin - Live At Fillmore West\u003c\/transcy\u003e","description":"\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cbr\u003e\u003cbr\u003eVocals - Aretha Franklin (all tracks) \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/aretha-franklin\" title=\"vinyl featuring Aretha Franklin\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/aretha-franklin\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Aretha Franklin]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eVocals - Ray Charles (B3) \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/ray-charles\" title=\"vinyl featuring Ray Charles\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/ray-charles\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Ray Charles]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cspan\u003eBacking Vocals : Brenda Bryant, Margaret Branch, Pat Smith\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eElectric Piano : Aretha Franklin (A4, A6, B1, B2), Ray Charles (B3)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePiano : Truman Thomas (A1, A2, A3, A5, B4)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJerry Jemmott (Bass), Pancho Morales (Congas), Bernard Purdie (Drums), Cornell Dupree (Guitar), King Curtis (Tenor Saxophone, Soprano Saxophone), Billy Preston (Organ)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by Aretha Franklin (B1, B2, B3), Otis Redding (A1), Stephen Stills (A2), Paul Simon (A3), John Lennon (A4), Paul McCartney (A4), David Gates (A5), Ahmet Ertegun (A6), Betty Nelson (A6), Nickolas Ashford (B4), Valerie Simpson (B4)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHorns by The Memphis Horns \u003c\/strong\u003e\u003cstrong\u003earranged by Arif Mardin, except A5 arranged by Larry Wilcox\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, gatefold sleeve, insert\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLive\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Speakers Corner\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Atlantic\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eRecording: February 1975 live at Fillmore West, San Francisco, by Ray Thompson\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eProduction: Jerry Wexler and Arif Mardin\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eOriginally released in 1971\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eReissued in August 2013\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eTracks :\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003cp\u003e                1. Respect\u003c\/p\u003e\n\u003cp\u003e                2. Love the One You're With\u003c\/p\u003e\n\u003cp\u003e                3. Bridge Over Troubled Water\u003c\/p\u003e\n\u003cp\u003e                4. Eleanor Rigby\u003c\/p\u003e\n\u003cp\u003e                5. Make It With You\u003c\/p\u003e\n\u003cp\u003e                6. Don't Play That Song\u003c\/p\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003cp\u003e                1. Dr. Feelgood\u003c\/p\u003e\n\u003cp\u003e                2. Spirit in the Dark\u003c\/p\u003e\n\u003cp\u003e                3. Spirit in the Dark (Reprise with Ray Charles)\u003c\/p\u003e\n\u003cp\u003e                4. Reach Out and Touch (Somebody's Hand)\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e« The original LP was a double, and for good reason. Franklin used King Curtis' band, the Kingpins, for these dates -- after being persuaded by producer Jerry Wexler -- in lieu of her regular road band. It was a solid call on Wexler's part. The music here sparkles and crackles with the energy of a top-flight rhythm section -- Cornell Dupree on guitar, Bernard Purdie on drums, and Jerry Jemmott on bass, with Billy Preston on organ, Curtis on saxophone, and the Memphis Horns. The backing vocals were provided by Franklin's own crew, the Sweethearts of Soul (Brenda Bryant, Margaret Branch, and Pat Smith). Whew! Franklin also plays a Fender Rhodes on four cuts, including \"Eleanor Rigby,\" \"Spirit in the Dark,\" \"Don't Play That Song,\" and \"Dr. Feelgood.\" In addition, there is a guest duet vocal by Ray Charles on \"Spirit in the Dark.\" Beginning with \"Respect\" (a house-burning tear-up read), Franklin then digs deep into her pop song bag of tricks for \"Bridge Over Troubled Water\" and Stephen Stills' \"Love the One You're With,\" and also redeems Bread's saccharine \"Make It with You\" -- all of them in the first set! The second set contains the originals \"Spirit in the Dark,\" including a long reprise with Charles, and \"Dr. Feelgood.\" The album-ending \"Reach Out and Touch (Somebody's Hand),\" written by Ashford \u0026amp; Simpson, is a scorched-earth soul ballad that unites the entire crowd. The bonus material is just as righteous, with unused cuts such as \"Call Me,\" \"Mixed-Up Girl,\" \"Share Your Love with Me,\" and \"You're All I Need to Get By.\" The disc is filled out with alternate takes of nine album cuts that easily could have been included on the released version. In sum, it makes for the most dramatic and deeply satisfying of Aretha Franklin's live recordings, and is a historical document that every soul fan should own -- especially as a new and much improved package with great liner notes by David Nathan. » AllMusic Review by Thom Jurek\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eLive recordings come up with extremely different results: most of them land in the rubbish bin, some of them are available as bootleg copies when a star’s career has ended and are passed on conspiratorially from one excited collector to another. Only a very few conserve real spirit and sheer enthusiasm, which no arranger or sound mixer can conjure up in the studio.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eBut even more sensational was Aretha Franklin’s guest appearance at the Fillmore West, the legendary concert hall in San Francisco, which closed down shortly afterwards. Everyone knew who was going to perform, and yet everything was quite different on these three nights in the spring of 1971: her usual show band was left behind in Detroit and she appeared with King Curtis And The Kingpins – one of the most impressive bands around – accompanied by the trailblazers Cornel Dupree (g) and Bernard Purdie (dr). \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe Memphis Horns, a fantastic horn section, blast away in the background, their keen as a razor backings rising up to soaring heights. From Billy Preston’s fingertips on the organ flows an aura of spiritual energy and Ray Charles, who by chance (but how fortuitous!) was among the audience also got his appearance in the telling title \"Spirit In The Dark\". No words need be lost about the queen on the cover. For without the superb albums of the late Sixties, Aretha Franklin would never have become the USA’s first sister of soul nor would she have appeared in the Fillmore West.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e : \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAllMusic : 4.5 \/ 5  , \u003c\/span\u003e\u003cspan\u003eDiscogs \u003c\/span\u003e: \u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e4,39\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5 , \u003c\/span\u003e\u003cspan\u003eRate Your Music \u003c\/span\u003e: \u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e3,70\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40410739769495,"sku":"SD 7205","price":38.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/aretha-franklin-live-at-fillmore-west-audiosoundmusic-1.jpg?v=1719851639"},{"product_id":"janis-joplin-i-got-dem-ol-kozmic-blues-again-mama","title":"\u003ctranscy\u003eJanis Joplin - I Got Dem Ol' Kozmic Blues Again Mama!\u003c\/transcy\u003e","description":"\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eJanis Joplin - vocal \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/janis-joplin\" title=\"vinyl featuring Janis Joplin\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/janis-joplin\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Janis Joplin]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eCornelius \"Snooky\" Flowers, Terry Clements (sax); Luis Gasca (tr); Richard Kermode, Gabriel Mekler (org); Sam Andrew (g); Brad Campbell (b); Maury Baker, Lonnie Castille (dr)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eWritten by Jerry Ragovoy (A1), Chip Taylor (A1), Richard Barrett (A2), Janis Joplin (A3, B2), Nick Gravenites (A4), Barry Gibb (B1), Robin Gibb (B1), Gabriel Mekler (B2), Lorenz Hart (B3), Richard Rodgers (B3), Nick Gravenites (B4)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Speakers Corner\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Columbia\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eRecording: June - August 1969 by Sy Mitchell, Jerry Hochman, and Alex Kazanegras\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eProduction: Gabriel Mekler\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eOriginally released in 1969\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eReissued in July 2007\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eTracks :\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eTry (Just A Little Bit Harder)\u003c\/li\u003e\n\u003cli\u003eMaybe\u003c\/li\u003e\n\u003cli\u003eOne Good Man\u003c\/li\u003e\n\u003cli\u003eAs Good As You've Been To This World\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B : \u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eTo Love Somebody\u003c\/li\u003e\n\u003cli\u003eKozmic Blues\u003c\/li\u003e\n\u003cli\u003eLittle Girl Blue\u003c\/li\u003e\n\u003cli\u003eWork Me Lord\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eWhen Janis Joplin died in October 1970 at the early age of 27, thus involuntarily confirming the beatnik adage »live fast, love hard, die young«, it was only a matter of time before she was crowned the “Queen of Rock”. Of greater importance than this posthumous entry into rock ’n’ roll’s hall of fame is the recognition during her lifetime of her explosive vocal style, which – so Vogue – \"turned the whole history of singing upside down\".\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eJanis Joplin’s discography is just as short and changeable as her life. After two LP releases with the standard 'cast' of rock musicians in the band Big Brother And The Holding Company, with whose excellent musical support she obtained her first recording contract with Columbia Records in 1968, the company provided her with a group augmented with organ and winds. Their intention was to broaden her vocal expression with blues and funk elements, which, however, her most loyal fans regarded as betrayal of the ideals of rock music. Rock fans in the Old World were less critical, especially since Joplin and her Kozmic Blues Band went on a two-month tour of Europe. For those Woodstock fans whose ears are still ringing with the band’s full, meaty wind sound and Janis’s bluesy soul singing, this album is an absolute must.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAllmusic : 3 \/ 5  ,  \u003c\/span\u003e\u003cspan\u003eDiscogs \u003c\/span\u003e: \u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e4,29\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5  , \u003c\/span\u003e\u003cspan\u003eRate Your Music \u003c\/span\u003e: \u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e3,80\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40412849832087,"sku":"CS 9913","price":38.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/janis-joplin-i-got-dem-ol-kozmic-blues-again-mama-audiosoundmusic-1.jpg?v=1719851688"},{"product_id":"prokofiev-peter-and-the-wolf-saint-saens-carnival-of-the-animals-skitch-henderson","title":"\u003ctranscy\u003eProkofiev - Pierre et le Loup \u0026 Saint-Saens - Le Carnaval des animaux - Skitch Henderson\u003c\/transcy\u003e","description":"\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eSergei Prokofiev : Peter and the Wolf\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eCamille Saint-Saens : Carnival of the Animals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eBeatrice Lillie (vocals), \u003c\/strong\u003e\u003cstrong data-mce-fragment=\"1\"\u003eAnimals of the London Zoo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eLondon Symphony Orchestra conducted by Skitch Henderson\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Speakers Corner\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Decca\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eRecording: February 1960 at Kingsway Hall, London by Kenneth E. Wilkinson\u003cbr\u003e\u003cbr\u003eProduction: John Culshaw\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eOriginally released in 1960\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eReissued in 1996\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 : Prokofiev - Peter and the Wolf\u003c\/p\u003e\n\u003cp\u003eSide B : Saint-Saens - Carnival of the Animals\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eFor those who enjoy a pun, Saint-Saëns’s \"Carnival Of The Animals\" and Prokofiev’s symphonic tale for children \"Peter And The Wolf\" might well be described as “beastly”. And this recording makes no exception for it is, indeed, quite spectacular! Both works are introduced by the roaring and screaming of the inhabitants of London Zoo. The individual orchestral instruments are introduced during the course of the music and are commented upon by a human voice in a narrative.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe characters and animals are each given a characteristic theme which is presented by a particular instrument or register. While Prokofiev wrote his composition with a pedagogic purpose in mind, Saint-Saëns’s main aim was to create a piece of musical fun. The mischievous work not only offers a lively depiction of various animals and even hollow-sounding fossils (by means of the xylophone), but also contains numerous tongue-in-cheek references to works by great composers.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThese two musical masterpieces combine humour with education in a thoroughly fascinating and enchanting manner and are equally loved by children and adults alike. The interpretation and sound of this DECCA LP certainly earns first prize for being 'beastly'!\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eDiscogs \u003c\/span\u003e: \u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e4,00\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40424739111063,"sku":"SXL 2218","price":76.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/prokofiev-peter-and-the-wolf-and-saint-saens-carnival-of-the-animals-skitch-henderson-audiosoundmusic-1.jpg?v=1719851761"},{"product_id":"albeniz-iberia-turina-danzas-fantasticas-ernest-ansermet","title":"Albéniz - “Iberia” \/ Turina - Danzas fantásticas - Ernest Ansermet","description":"\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eIsaac Manuel Francisco Albéniz y Pascual - \u003c\/span\u003e“Iberia”\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eJoaquín Turina Pérez -\u003c\/span\u003e Danzas fantásticas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eOrchestre de la Suisse Romande conducted by Ernest Ansermet\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Speakers Corner\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Decca\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eRecording: Mai 1960 at Victoria Hall, Geneva by Roy Wallace\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eProduction: James Walker\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eReissued in June 1996\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eTracks :\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eEvocación (Iberia)\u003c\/li\u003e\n\u003cli\u003eEl Corpus en Sevilla (Iberia)\u003c\/li\u003e\n\u003cli\u003eTriana (Iberia)\u003c\/li\u003e\n\u003cli\u003eEl Puerto (Iberia)\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eEl Albaicín (Iberia)\u003c\/li\u003e\n\u003cli\u003eExaltación (Fantásticas)\u003c\/li\u003e\n\u003cli\u003eEnsueño (Fantásticas)\u003c\/li\u003e\n\u003cli\u003eOrgia (Fantásticas)\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e“Isaac Albeniz was an influential figure of the Post–Romantic era. A virtuoso pianist, he composed for many genres, emphasizing the culture and folklore of Spain. He influenced a generation of Spanish composers including Joaquin Turina. Speakers Corner has released a re-mastered stereo 180-gram vinyl of two beloved Spanish works, Albeniz’s Iberia and Turina’s Danzas Fantasticas. Both are performed by L’Orchestre De La Suisse Romand, conducted by Ernest Ansermet. It is a veritable celebration of Spanish classical music with French influences.\u003c\/p\u003e\n\u003cp\u003eIberia is widely known for its rhythmic and stylistic complexity. The orchestra opens with the emotive strains of “Evocacion”. The strings enhance and complement the woodwinds. The graceful moods (with a soft flute) are expressive and utilize a subtle instrumental elocution. The hushed finale is dream-like and compelling. Precision and appealing counterpoint with soaring violins and a full orchestra impact enliven “El Corpus En Sevilla”. A transition to a woodwind-led interlude includes touches like a French horn and then morphs into a full instrumental flourish with dramatic accents and playful nuances. The last “movement” exudes somber melancholy. “Triana” is livelier and more sophisticated. Brass and woodwind accents (with the help of as kettle drum) give way to a sweeping motif that is moderated by cello. Its flamenco exuberance is captured by the arrangement. Side A closes with the swirling polo, “El Puerto”. With a balance of palpable buoyancy and and melodic gravitas, the music is hypnotic.\u003c\/p\u003e\n\u003cp\u003eThe last two tracks of Iberia are complex and unique translations. “El Albacin” engages in a buleria: to evoke the sprightly, intricate tapestry of Granada’s gypsy quarter. The music shifts from dynamic resonance to understated ambience with fluency. There is a “dialogue” in the musical execution and a pleasing mix of pizzicato strings and lower-register woodwinds.  “Navarra” has a different feel, relentlessly jovial aided by trumpet. Turina’s Danzas Fantasticas is presented in three pieces. Like Iberia, it was originally composed for piano. This trio of “miniature: compositions reflect the spirit of Andalusia and local dances. “Exaltacion” is fully realized with harps, woodwinds, strings and brass. There is a shift on “Ensueno” as the horns are front and center in exchanges with the orchestra. Occasional crescendos and descending notes are mixed in a unique blend of processional and folksy imagery. There is brightness and heart-warming aesthetics throughout “Orgia”. With tango elegance and populist attitude, Turina’s passion is articulated with bursts of energy and mellower harmonization.\u003c\/p\u003e\n\u003cp\u003eAlbeniz: Iberia\/Turina:Danzas Fantasticas is a fine example of early 20th-Century classical populism. The fuller orchestration of these pianos works is accessible and coherent. Speakers Corner Records has given this album a significant vinyl upgrade. The stunning impressionistic cover painting and Decca 60’s stereophonic notes on the sleeve will bring a smile to hi-fi enthusiasts. More importantly, this music will appeal to listeners with limited classical exposure.” Robbie Gerson, Audiophile Audition, August 2021\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAs in numerous other works by Spanish composers, Isaac Albéniz’s aim in his Iberia Suite was to portray the landscape and express the zest for life which is so abundant in southern countries. Infused with folkmusic elements, the suite is introduced by the dancelike Evocación which vividly evokes a picture of Iberia. The lush, extravagant harmonies and the stark contrasts of the dynamics in particular – from the softest pianissimo to the extreme fortissimo – certainly whet one’s appetite. Don’t worry – Spain has a lot to offer! \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe next movement, El Corpus en Sevilla transports us to Andalusia where a solemn procession is taking place to celebrate the feast of Corpus Christi. This is followed by a sparkling Triana in which the various complex and brilliant rhythms of the national dances Almería, Rondeña and Fandango are ingeniously combined. And the two movements El puerto and El Albaicín are no less exciting: the first presents a rich potpourri of types of Spanish songs, while the second – held in the minor key – conjures up a picture of Granada’s gypsy quarter.\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eTurina’s Danzas fantásticas are noted for their sumptuous orchestration and marked rhythms. A better choice to round off this first-class recording, dedicated to Spanish tradition, is almost impossible to imagine.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eDiscogs \u003c\/span\u003e:\u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e5\u003c\/span\u003e\/ 5 ; Audiophile Audition : 4.5 \/ 5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40424867135639,"sku":"SXL 2243","price":76.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/albeniz-iberia-turina-danzas-fantasticas-ernest-ansermet-audiosoundmusic-1.jpg?v=1719851762"},{"product_id":"the-great-zoot-sims-down-home","title":"Zoot Sims - Down Home (Mono)","description":"\u003cp data-mce-fragment=\"1\"\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 data-mce-fragment=\"1\"\u003e\u003cstrong\u003eZoot Sims (Tenor Saxophone) \u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cspan style=\"color: #ff8000;\"\u003e\u003ca title=\"vinyl featuring Zoot Sims\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/zoot-sims\" style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/zoot-sims\"\u003e[click here to see more vinyl featuring Zoot Sims]\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003e Dave McKenna (Piano),\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eGeorge Tucker (Bass)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eDannie Richmond (Drums)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eLimited edition\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eOriginal analog Master tape: YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eMono\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eRecord Press: Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eLabel: Pure Pleasure Records\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eOriginal Label : Bethlelem\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eRecorded in New York on June 7, 1960\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eProduced by Teddy Charles\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eRe-mastering by Ray Staff at Air Mastering, Lyndhurst Hall, London\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eOriginally released in 1960\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eReissued in September 2013\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eTracks :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eSide A :\u003c\/p\u003e\n\u003cp style=\"padding-left: 30px;\" data-mce-fragment=\"1\"\u003e\u003cspan\u003e1. Jive At Five\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e2. Doggin' Around\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e3. Avalon\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e4. I Cried For You\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eSide B :\u003c\/p\u003e\n\u003cp style=\"padding-left: 30px;\" data-mce-fragment=\"1\"\u003e\u003cspan\u003e1. Bill Bailey\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e2. Goodnight Sweetheart\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e3. There'll Be Some Changes Made\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e4. I've Heard That Blues Before\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e« Tenor saxophonist Zoot Sims recorded on a regular basis as a leader for most of 45 years, and virtually all of his many sessions are worth acquiring. Sims's Bethlehem date also gives one a look at the great pianist Dave McKenna in his early days, along with bassist George Tucker and drummer Dannie Richmond. Sims mostly explores standards from the swing era (including a rare version of \"Bill Bailey\") on this enjoyable and consistently swinging set. » AllMusic Review by Scott Yanow\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\"Recorded in 1960 (when tenor players were adopting less structured constructs), Down Home embraces band arrangements. With a skilled rhythm section (Dave McKenna\/piano; George Tucker\/bass and Dannie Richmond\/drums), Sims breathes life into traditional songs... Pure Pleasure Records has achieved its customary, dynamic engineering on Zoot Sims – Down Home. Even in mono fidelity, the overall sound quality is vibrant and sharp. The topical liner notes (by Ira Gitler) divulge insight into the sessions. While not a groundbreaking release, this is one album that stands the test of time.\"\u003cspan data-mce-fragment=\"1\"\u003e Robbie Gerson, Audiophile Audition\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e“John Haley \"Zoot\" Sims had built a solid career by the time he recorded Down Home, although not one rife with innovation. Heavily influenced by Lester Young, Sims combined a heavy dose of West Coast cool and plenty of swing to create a style that was always accessible. None of the songs here is a Sims composition (he rarely wrote his own music), but just listen to him go on \"Bill Bailey,\" for instance, using all of his wiles to draw you in to the tune. With Dave McKenna on piano, George Tucker on bass and, taking a break from his work with Charles Mingus, Dannie Richmond on drums, the rhythm section laid down the perfect beat for Sims to glide over.” John Crossett, The Audio Beat, July 2014\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eAllMusic: 4 \/ 5  ; Discogs :  '4.18 \/ 5  ; The Audio Beat : Music 4 \/ 5, Sound 4 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40682646241431,"sku":"PPAN BCP6051","price":35.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/zoot-sims-down-home-mono-audiosoundmusic-1.jpg?v=1719851925"},{"product_id":"loggins-messina-the-best-of-friends-red-vinyl","title":"\u003ctranscy\u003eLoggins \u0026 Messina - The Best Of Friends 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Garth\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, Gatefold 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 : 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 : RTI\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Friday Music\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Columbia\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded by Haji Sound Mobile\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineered \u0026amp; mixed by : Alex Kazanegras, John Fiore\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Jim Messina\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by Joe Reagoso\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 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\u003eAngry Eyes\u003c\/li\u003e\n\u003cli\u003eBe Free\u003c\/li\u003e\n\u003cli\u003eVahevala\u003c\/li\u003e\n\u003cli\u003ePeace of Mind\u003c\/li\u003e\n\u003cli\u003eMy Music\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eThinking of You\u003c\/li\u003e\n\u003cli\u003eHouse At Pooh Corner\u003c\/li\u003e\n\u003cli\u003eWatching The River Run\u003c\/li\u003e\n\u003cli\u003eDanny’s Song\u003c\/li\u003e\n\u003cli\u003eYour Mama Don’t Dance\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 Best of Friends contains ten of Loggins \u0026amp; Messina's best-known songs, not only including all of their big hits (\"Vahevala,\" \"Your Mama Don't Dance,\" \"Thinking of You,\" \"Watching the River Run\"), but also key album tracks like \"House at Pooh Corner,\" \"Danny's Song,\" \"Peace of Mind\" and \"Angry Eyes.\"\" \u003cspan data-mce-fragment=\"1\"\u003eAllMusic Review by Stephen Thomas Erlewine\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eAllMusic : 4,5 \/ 5 , Discogs : 3,77 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40843830067351,"sku":"FRM-213438 Red","price":55.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/loggins-and-messina-the-best-of-friends-red-vinyl-audiosoundmusic-1.jpg?v=1719852952"},{"product_id":"carole-king-tapestry","title":"\u003ctranscy\u003eCarole King - Tapestry (2LP, Coffret, 1STEP, 45 tours, SuperVinyl)\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\u003eCarole King – piano, keyboards, vocals, backing 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vocals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRuss Kunkel – drums\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCharles \"Charlie\" Larkey – bass guitar, string bass, string quartet\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJoni Mitchell – backing vocals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJoel O'Brien – drums\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRalph Schuckett – electric piano\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBarry Socher – violin, tenor saxophone, viola, string quartet\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePerry Steinberg – bass guitar, violin, tenor saxophone, string bass\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJames Taylor – acoustic guitar, backing vocals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJulia Tillman – backing vocals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e2 LPs, box set\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eLimited to 10,000 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\u003eUD1S (UltraDisc One-Step)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g SuperVinyl\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 : Ode records\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded January 1971 at A\u0026amp;M Studios\u003c\/strong\u003e\u003cstrong\u003e by Hank Cicalo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Lou Adler\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\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eI Feel the Earth Move\u003c\/li\u003e\n\u003cli\u003eSo Far Away\u003c\/li\u003e\n\u003cli\u003eIts Too Late\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eHome Again\u003c\/li\u003e\n\u003cli\u003eBeautiful\u003c\/li\u003e\n\u003cli\u003eWay Over Yonder\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide C:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eYou've Got a Friend\u003c\/li\u003e\n\u003cli\u003eWhere You Lead\u003c\/li\u003e\n\u003cli\u003eWill You Love Me Tomorrow?\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide D:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eSmackwater Jack\u003c\/li\u003e\n\u003cli\u003eTapestry\u003c\/li\u003e\n\u003cli\u003e(You Make Me Feel Like) A Natural Woman\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 36\/500!\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e1000 Recordings You Must Hear Before You Die - Ranked 212\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e1972 Grammy awards :\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eAlbum of the year\u003c\/strong\u003e\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eBest female pop performance\u003c\/strong\u003e\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eRecord of the year for 'It's too late\"\u003c\/strong\u003e\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eSong of the year for \"You got a friend\"\u003c\/strong\u003e\u003c\/span\u003e\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eTapestry was inducted in 1988 in the Grammy Hall of Fame\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\"You got a friend\" and \"It's too late\" were inducted in 2002 in the Grammy Hall of Fame\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\"Carole King brought the fledgling singer\/songwriter phenomenon to the masses with Tapestry, one of the most successful albums in pop music history. A remarkably expressive and intimate record, it's a work of consummate craftsmanship. Always a superior pop composer, King reaches even greater heights as a performer; new songs like the hits \"It's Too Late\" and \"I Feel the Earth Move\" rank solidly with past glories, while songs like \"Will You Still Love Me Tomorrow,\" and \"(You Make Me Feel Like) A Natural Woman\" take on added resonance when delivered in her own warm, compelling voice. With its reliance on pianos and gentle drumming, Tapestry is a light and airy work on its surface, occasionally skirting the boundaries of jazz, but it's also an intensely emotional record, the songs confessional and direct; in its time it connected with listeners like few records before it, and it remains an illuminating experience decades later.\" \u003cspan data-mce-fragment=\"1\"\u003eAllMusic Review by Jason Ankeny\u003c\/span\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 \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eAllMusic : 5 \/ 5 , Discogs : 4,29 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40885017739415,"sku":"MFSL45UD1S-030","price":195.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/carole-king-tapestry-2lp-box-set-1step-45-rpm-supervinyl-audiosoundmusic-1.jpg?v=1719853281"},{"product_id":"eagles-eagles","title":"\u003ctranscy\u003eEagles - Eagles (2LP, Coffret, 1STEP, 45 tours, SuperVinyl)\u003c\/transcy\u003e","description":"\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e\u003cbr\u003eORDER LIMITED TO ONE ITEM PER CUSTOMER\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003ca title=\"vinyl featuring Eagles\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/eagles\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/eagles\"\u003e\u003cspan style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Eagles]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGlenn Frey – vocals, guitars, slide guitar\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDon Henley – vocals, drums\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBernie Leadon – vocals, guitars, banjo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRandy Meisner – vocals, bass guitar \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e2 LPs, box set\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eLimited to 7,500 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\u003eUD1S (UltraDisc One-Step)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g SuperVinyl\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 : Asylum Records\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded February 1972 at Olympic Studios, London, except \"Nightingale\" recorded at Wally Heider Recording, Hollywood, Los Angeles\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineered \u0026amp; produced by Glyn Johns\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 2021\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eTake It Easy\u003c\/li\u003e\n\u003cli\u003eWitchy Woman\u003c\/li\u003e\n\u003cli\u003eChug All Night\u003c\/li\u003e\n\u003cli\u003eMost Of Us Are Sad\u003c\/li\u003e\n\u003cli\u003eNightingale\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eTrain Leaves Here This Morning\u003c\/li\u003e\n\u003cli\u003eTake The Devil\u003c\/li\u003e\n\u003cli\u003eEarlybird\u003c\/li\u003e\n\u003cli\u003ePeaceful Easy Feeling\u003c\/li\u003e\n\u003cli\u003eTryin'\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAwards\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cb data-mce-fragment=\"1\"\u003eRolling Stone 500 Greatest Albums of All Time - Ranked 207\/500\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cb data-mce-fragment=\"1\"\u003e\u003cstrong\u003e1000 Recordings You Must Hear Before You Die - Ranked 262\u003c\/strong\u003e\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e\"Balance is the key element of the Eagles' self-titled debut album, a collection that contains elements of rock \u0026amp; roll, folk, and country, overlaid by vocal harmonies alternately suggestive of doo wop, the Beach Boys, and the Everly Brothers. If the group kicks up its heels on rockers like \"Chug All Night,\" \"Nightingale,\" and \"Tryin',\" it is equally convincing on ballads like \"Most of Us Are Sad\" and \"Train Leaves Here This Morning.\" The album is also balanced among its members, who trade off on lead vocal chores and divide the songwriting such that Glenn Frey, Bernie Leadon, and Randy Meisner all get three writing or co-writing credits. (Fourth member Don Henley, with only one co-writing credit and two lead vocals, falls a little behind, while Jackson Browne, Gene Clark, and Jack Tempchin also figure in the writing credits.) The album's overall balance is worth keeping in mind because it produced three Top 40 hit singles (all of which turned up on the massively popular Eagles: Their Greatest Hits 1971-1975) that do not reflect that balance. \"Take It Easy\" and \"Peaceful Easy Feeling\" are similar-sounding mid-tempo folk-rock tunes sung by Frey that express the same sort of laid-back philosophy, as indicated by the word \"easy\" in both titles, while \"Witchy Woman,\" a Henley vocal and co-composition, initiates the band's career-long examination of supernaturally evil females. These are the songs one remembers from Eagles, and they look forward to the eventual dominance of the band by Frey and Henley. But the complete album from which they come belongs as much to Leadon's country-steeped playing and singing and to Meisner's melodic rock \u0026amp; roll feel, which, on the release date, made it seem a more varied and consistent effort than it did later, when the singles had become overly familiar.\" \u003cspan data-mce-fragment=\"1\"\u003eAllMusic Review by William Ruhlmann\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\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 : 3 \/ 5 , Discogs : 4,08 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40885182955671,"sku":"MFSL45UD1S-024","price":195.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/eagles-eagles-2lp-box-set-1step-45-rpm-supervinyl-audiosoundmusic-1.jpg?v=1719853281"},{"product_id":"janis-joplin-pearl","title":"\u003ctranscy\u003eJanis Joplin - Pearl (2LP, Coffret, 1STEP, 45 tours, SuperVinyl)\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\u003eJanis Joplin, vocals, acoustic guitar \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/janis-joplin\" title=\"vinyl featuring Janis Joplin\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/janis-joplin\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Janis Joplin]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBrad Campbell, bass\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eKen Pearson, organ\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJohn Till, guitar\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRichard Bell, piano\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSandra Crouch, tambourine\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBobbie Hall, conga, bongos\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBobby Womack, acoustic guitar\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e2 LPs, box set\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eLimited to 10,000 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\u003eUD1S (UltraDisc One-Step)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g SuperVinyl\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 \u003c\/strong\u003e\u003cstrong\u003eJuly 27 – October 4, 1970 at \u003c\/strong\u003e\u003cstrong\u003eStudio Sunset Sound Recorders, Hollywood, California\u003c\/strong\u003e \u003cstrong\u003eby Phil Macy\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Paul A. Rothchild\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by Krieg Wunderlich\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 2021\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eMove Over\u003c\/li\u003e\n\u003cli\u003eCry Baby\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eA Woman Left Lonely\u003c\/li\u003e\n\u003cli\u003eHalf Moon\u003c\/li\u003e\n\u003cli\u003eBuried Alive In The Blues\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide C:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eMy Baby\u003c\/li\u003e\n\u003cli\u003eMe \u0026amp; Bobby McGee\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide D:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eMercedes Benz\u003c\/li\u003e\n\u003cli\u003eTrust Me\u003c\/li\u003e\n\u003cli\u003eGet It While You Can\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAwards\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e\u003cb\u003eTAS Super LP List! Special Merit: Informal\u003c\/b\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eRolling Stone 500 Greatest Albums of All Time - Rated 125\/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 231\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\"Janis Joplin's second masterpiece (after Cheap Thrills), Pearl was designed as a showcase for her powerhouse vocals, stripping down the arrangements that had often previously cluttered her music or threatened to drown her out. Thanks also to a more consistent set of songs, the results are magnificent -- given room to breathe, Joplin's trademark rasp conveys an aching, desperate passion on funked-up, bluesy rockers, ballads both dramatic and tender, and her signature song, the posthumous number one hit \"Me and Bobby McGee.\" The unfinished \"Buried Alive in the Blues\" features no Joplin vocals -- she was scheduled to record them on the day after she was found dead. Its incompleteness mirrors Joplin's career: Pearl's power leaves the listener to wonder what else Joplin could have accomplished, but few artists could ask for a better final statement.\" \u003cspan data-mce-fragment=\"1\"\u003eAllMusic Review by Steve Huey\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eAllMusic : 5 \/ 5 , Discogs : 4,33 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40885293842583,"sku":"MFSL45UD1S-013","price":195.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/janis-joplin-pearl-2lp-box-set-1step-45rpm-supervinyl-audiosoundmusic-1.jpg?v=1719853281"},{"product_id":"paul-simon-still-crazy-after-all-these-years","title":"\u003ctranscy\u003ePaul Simon - Still Crazy After All These Years (2LPs, Coffret, 45 tours, 1STEP, SuperVinyl)\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\u003ePaul Simon – vocals, acoustic guitar (A2, B1, B2, D1), electric guitar (B3), horn and string arrangements \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/paul-simon\" title=\"vinyl featuring Paul Simon\"\u003e\u003cspan style=\"color: rgb(255, 128, 0);\"\u003e[click here to see more products featuring Paul Simon]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eArt Garfunkel – vocals (A2)\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003e \u003ca title=\"audiophile vinyl featuring Art Garfunkel\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/art-garfunkel\"\u003e\u003cspan style=\"color: rgb(255, 128, 0);\"\u003e[click here to see more products featuring Art Garfunkel]\u003c\/span\u003e\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJohn Tropea – electric guitar (B2)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePatti Austin – background vocals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePhoebe Snow – background vocals, vocals (C1)\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJoe Beck – electric guitar (B1, C3, D1)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMichael Brecker – tenor saxophone (A1), saxophone (C2)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBob James – piano, Fender Rhodes piano (C2, C3), string and horn arrangements\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDavid Sanborn – saxophone (C2)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGrady Tate – drums (C1)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePete Carr – electric guitar (A2)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSivuca – accordion and vocals (B1)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRalph MacDonald – percussion (A2, B1, B2, C1, C3)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eChicago Community Choir – background vocals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBarry Beckett – Fender Rhodes (A1), piano (A2)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEddie Daniels – saxophone (C2)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGordon Edwards – bass guitar (C1)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJerry Friedman – electric guitar (B1)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSteve Gadd – drums (C1-3, D1-2)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRoger Hawkins – drums (A1-2)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDavid Hood – bass guitar (A1-2)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe Jessy Dixon Singers – background vocals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTony Levin – bass guitar (B1-3, C2-3, D1-2)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHugh McCracken – electric guitar (B2, C2-3), acoustic guitar (D1)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLeon Pendarvis – piano (D2)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDave Mathews – horn arrangements\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eValerie Simpson – background vocals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRichard Tee – piano (C1)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eToots Thielemans – harmonica (B3)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePhil Woods – alto saxophone (C3)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eKenneth Ascher – Hammond organ (B2), Fender Rhodes, piano (B1)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e2 LPs, box set, gatefold cover\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eUltraDisc One-Step (UD1S)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eLimited to 8,000 numbered copies\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g, SuperVinyl\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 45RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12”\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : RTI\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : MOFI\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Columbia\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded at \u003c\/strong\u003e\u003cstrong\u003eA\u0026amp;R Recording, New York City in 1975 by\u003c\/strong\u003e\u003cstrong\u003e Phil Ramone\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Paul Simon\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 1975\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2021\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eStill Crazy After All These Years\u003c\/li\u003e\n\u003cli\u003eMy Little Town\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 Do It For Your Love\u003c\/li\u003e\n\u003cli\u003e50 Ways To Leave Your Lover\u003c\/li\u003e\n\u003cli\u003eNight Game\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eSide C:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eGone At Last\u003c\/li\u003e\n\u003cli\u003eSome Folks' Lives Roll Easy\u003c\/li\u003e\n\u003cli\u003eHave A Good Time\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eSide D : \u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eYou're Kind\u003c\/li\u003e\n\u003cli\u003eSilent Eyes\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\u003eGrammy Awards for Album of the Year and Best Male Pop Vocal Performance\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\"The third new studio album of Paul Simon's post-Simon \u0026amp; Garfunkel career was a musical and lyrical change of pace from his first two, Paul Simon and There Goes Rhymin' Simon. Where Simon had taken an eclectic approach before, delving into a variety of musical styles and recording all over the world, Still Crazy found him working for the most part with a group of jazz-pop New York session players, though he did do a couple of tracks (\"My Little Town\" and \"Still Crazy After All These Years\") with the Muscle Shoals rhythm section that had appeared on Rhymin' Simon and another (\"Gone at Last\") returned to the gospel style of earlier songs like \"Loves Me Like a Rock.\" Of course, \"My Little Town\" also marked a return to working with Art Garfunkel, and another Top Ten entry for S\u0026amp;G. But the overall feel of Still Crazy was of a jazzy style subtly augmented with strings and horns. Perhaps more striking, however, was Simon's lyrical approach. Where Rhymin' Simon was the work of a confident family man, Still Crazy came off as a post-divorce album, its songs reeking of smug self-satisfaction and romantic disillusionment. At their best, such sentiments were undercut by humor and made palatable by musical hooks, as on \"50 Ways to Leave Your Lover,\" which became the biggest solo hit of Simon's career. But elsewhere, as on \"Have a Good Time,\" the singer's cynicism seemed unearned. Still, as out of sorts as Simon may have been, he was never more in tune with his audience: Still Crazy topped the charts, spawned four Top 40 hits, and won Grammys for Song of the Year and Best Vocal Performance.\" \u003cspan data-mce-fragment=\"1\"\u003eAllMusic Review by William Ruhlmann\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp style=\"margin: 0cm 0cm 12.0pt 0cm;\"\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 10.5pt; font-family: 'Segoe UI',sans-serif; color: #212b36;\"\u003eUltraDisc One-Step :\u003c\/span\u003e\u003c\/strong\u003e\u003cspan style=\"font-size: 10.5pt; font-family: 'Segoe UI',sans-serif; color: #212b36;\"\u003e Instead of utilizing the industry-standard three-step lacquer process, Mobile Fidelity Sound Lab's new UltraDisc One-Step (UD1S) uses only one step, bypassing two processes of generational loss. While three-step processing is designed for optimum yield and efficiency, UD1S is created for the ultimate in sound quality. Just as Mobile Fidelity pioneered the UHQR (Ultra High-Quality Record) with JVC in the 1980s, UD1S again represents another state-of-the-art advance in the record-manufacturing process. MFSL engineers begin with the original master tapes and meticulously cut a set of lacquers. These lacquers are used to create a very fragile, pristine UD1S stamper called a \"convert.\" Delicate \"converts\" are then formed into the actual record stampers, producing a final product that literally and figuratively brings you closer to the music. By skipping the additional steps of pulling another positive and an additional negative, as done in the three-step process used in standard pressings, UD1S produces a final LP with the lowest noise floor possible today. The removal of the additional two steps of generational loss in the plating process reveals tremendous amounts of extra musical detail and dynamics, which are otherwise lost due to the standard copying process. The exclusive nature of these very limited pressings guarantees that every UD1S pressing serves as an immaculate replica of the lacquer sourced directly from the original master tape. Every conceivable aspect of vinyl production is optimized to produce the most perfect record album available today.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-variant-ligatures: normal; font-variant-caps: normal; orphans: 2; text-align: start; widows: 2; -webkit-text-stroke-width: 0px; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial; word-spacing: 0px; margin: 0cm 0cm 12.0pt 0cm;\"\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 10.5pt; font-family: 'Segoe UI',sans-serif; color: #212b36;\"\u003eMoFi SuperVinyl:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan style=\"font-size: 10.5pt; font-family: 'Segoe UI',sans-serif; color: #212b36;\"\u003e The 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\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eAllMusic : 4,5 \/ 5 , Discogs : 4,07 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40931338584215,"sku":"MFSL45UD1S-014 Box","price":195.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/paul-simon-still-crazy-after-all-these-years-2lps-box-set-45rpm-1step-supervinyl-audiosoundmusic-1.jpg?v=1719853489"},{"product_id":"the-b-52s-wild-planet-ultra-analog","title":"The B-52's - Wild Planet (MOFI Silver Label, 140g)","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\u003eFred Schneider – vocals, percussion\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eKate Pierson – vocals, keyboards, synth bass\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eKeith Strickland – drums, percussion\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCindy Wilson – vocals, percussion\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRicky Wilson – guitars\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\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 : Silver Label (copy of the Mastertape)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 140g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12”\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : RTI\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : MOFI\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Warner Bros Records\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded April 1980 at Compass Point Studios, Nassau, Bahamas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineered \u0026amp; mixed by Rhett Davies\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Rhett Davies, The B-52's\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMastered by Paul Stubblebine\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1980\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 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\u003eParty Out Of Bounds\u003c\/li\u003e\n\u003cli\u003eDirty Back Road\u003c\/li\u003e\n\u003cli\u003eRunnin' Around\u003c\/li\u003e\n\u003cli\u003eGive Me Back My Man\u003c\/li\u003e\n\u003cli\u003ePrivate Idaho\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\u003eDevil In My Car\u003c\/li\u003e\n\u003cli\u003eQuiche Lorraine\u003c\/li\u003e\n\u003cli\u003eStrobe Light\u003c\/li\u003e\n\u003cli\u003e53 Miles West Of Venus\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\"Conventional wisdom has it that all the B-52's' subsequent releases are highly inferior to their debut. While Wild Planet is not the rarefied wonder their first platter is, it's still darn good. The songs here are generally faster, tighter, and punchier than previously, though production values are not as wonderfully quirky and detailed; fewer songs here are as over-the-top crazy as the first album's \"Rock Lobster\" or \"52 Girls.\" These formless selections continue to exhibit a cunning mix of girl group, garage band, surf, and television theme song influences, all propelled along by an itchy dance beat. \"Give Me Back My Man\" allows Cindy Wilson a unique opportunity to croon a broad, expressive melodic line. Fred Schneider parades his inimitably nervous vocals on chucklesome ditties like \"Quiche Lorraine\" and \"Strobe Light.\" The best songs here are \"Private Idaho,\" a wonderfully jittery number that employs a variant on the famous melodic snippet from the Twilight Zone theme music, and \"Devil in My Car,\" a delightfully loopy hoot that lays the craziness on very thickly. Performances and sound quality are fine. This album is well worth hearing and recommended.\" \u003cspan data-mce-fragment=\"1\"\u003eAllMusic Review by David Cleary\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eAllMusic : 4,5 \/ 5 , Discogs : 4,16 \/ 5\u003c\/p\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003ch1\u003e\u003cbr\u003e\u003c\/h1\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40936285307031,"sku":"MOFI1-014","price":49.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/the-b-52-s-wild-planet-mofi-silver-label-140g-audiosoundmusic-1.jpg?v=1719853541"},{"product_id":"the-b-52s-the-b-52s","title":"The B-52's - The B-52's (MOFI Silver Label, 140g)","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e\u003cbr\u003eORDER LIMITED TO ONE ITEM PER CUSTOMER\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eKate Pierson – vocals, organ, keyboard bass, additional guitar (A2, B3)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFred Schneider – vocals, walkie-talkie, toy piano (A3), keyboard bass (B3)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eKeith Strickland – drums, percussion, Claire sounds\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCindy Wilson – vocals, bongos, tambourine, additional guitar (B2)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRicky Wilson – guitars, smoke alarm\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eLimited numered edition\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : Silver Label (Copy of original Mastertape)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 140g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12”\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : RTI\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : MOFI\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Warner Bros\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded at Compass Point Studios\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineered \u0026amp; mixed by : Robert Ash\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Chris Blackwell\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by PS\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1979\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2011\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003ePlanet Claire\u003c\/li\u003e\n\u003cli\u003e52 Girls\u003c\/li\u003e\n\u003cli\u003eDance This Mess Around\u003c\/li\u003e\n\u003cli\u003eRock Lobster\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e           \u003c\/p\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eLava\u003c\/li\u003e\n\u003cli\u003eThere's a Moon in the Sky (Called the Moon)\u003c\/li\u003e\n\u003cli\u003eHero Worship\u003c\/li\u003e\n\u003cli\u003e6060-842\u003c\/li\u003e\n\u003cli\u003eDowntown\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAwards\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eRanked #198 on Rolling Stones's 500 greatest albums of all time\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan style=\"color: #ff2a00;\"\u003e1000 Recordings You Must Hear Before You Die - Ranked 431\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cspan class=\"421441414-17032005\"\u003e\u003cspan face=\"Arial\" color=\"#ff0000\" size=\"2\"\u003eStereophile Records to Die For - 2016\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/strong\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e\"Even in the weird, quirky world of new wave and post-punk in the late '70s, the B-52's' eponymous debut stood out as an original. Unabashed kitsch mavens at a time when their peers were either vulgar or stylish, the Athens quintet celebrated all the silliest aspects of pre-Beatles pop culture -- bad hairdos, sci-fi nightmares, dance crazes, pastels, and anything else that sprung into their minds -- to a skewed fusion of pop, surf, avant-garde, amateurish punk, and white funk. On paper, it sounds like a cerebral exercise, but it played like a party. The jerky, angular funk was irresistibly danceable, winning over listeners dubious of Kate Pierson and Cindy Wilson's high-pitched, shrill close harmonies and Fred Schneider's campy, flamboyant vocalizing, pitched halfway between singing and speaking. It's all great fun, but it wouldn't have resonated throughout the years if the group hadn't written such incredibly infectious, memorable tunes as \"Planet Claire,\" \"Dance This Mess Around,\" and, of course, their signature tune, \"Rock Lobster.\" These songs illustrated that the B-52's' adoration of camp culture wasn't simply affectation -- it was a world view capable of turning out brilliant pop singles and, in turn, influencing mainstream pop culture. It's difficult to imagine the endless kitschy retro fads of the '80s and '90s without the B-52's pointing the way, but The B-52's isn't simply an historic artifact -- it's a hell of a good time.\" \u003cspan data-mce-fragment=\"1\"\u003eAllMusic Review by Stephen Thomas Erlewine\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eAllMusic : 5 \/ 5 , Discogs : 4,33 \/ 5 , Audio Beat Rated 4.5\/5 Music, 4.5\/5 Sound\u003c\/p\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003ch1\u003e\u003cbr\u003e\u003c\/h1\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40936529428631,"sku":"MOFI 1-014","price":65.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/the-b-52-s-the-b-52-s-mofi-silver-label-140g-audiosoundmusic-1.jpg?v=1719853552"},{"product_id":"eric-dolphy-out-there-200g","title":"Eric Dolphy - Out There","description":"\u003cdiv\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eORDER LIMITED TO ONE ITEM PER CUSTOMER\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cb\u003e\u003c\/b\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cb\u003eEric Dolphy, alto sax, flute, Bb \u0026amp; bass clarinets \u003cstrong data-mce-fragment=\"1\"\u003e\u003ca data-mce-fragment=\"1\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/eric-dolphy\" title=\"vinyl featuring Eric Dolphy\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/eric-dolphy\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"color: #ff8000;\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Eric Dolphy]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003eRon Carter, cello \u003cspan style=\"color: #ff8000;\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003ca data-mce-fragment=\"1\" style=\"color: #ff8000;\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/ron-carter\" title=\"Vinyl featuring Ron Carter\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/ron-carter\"\u003e[click here to see more vinyl featuring Ron Carter]\u003c\/a\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003eGeorge Duvivier, bass \u003cstrong data-mce-fragment=\"1\"\u003e\u003ca data-mce-fragment=\"1\" title=\"Vinyl featuring George Duvivier\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/george-duvivier\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/george-duvivier\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"color: #ff8000;\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring George Duvivier]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003eRoy Haynes, drums \u003cstrong data-mce-fragment=\"1\"\u003e\u003ca data-mce-fragment=\"1\" title=\"vinyl featuring Roy Haynes\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/roy-haynes\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/roy-haynes\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"color: #ff8000;\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Roy Haynes]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv class=\"tabs-contents\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, tip-on jackets \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eLimited edition\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 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 :  Prestige \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded at Van Gelder Studio, Englewood Cliffs, New Jersey\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineered by Rudy Van Gelder\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 1961\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2022\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eOut There\u003c\/li\u003e\n\u003cli\u003eSerene\u003c\/li\u003e\n\u003cli\u003eThe Baron\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B:\u003c\/p\u003e\n\u003col start=\"4\"\u003e\n\u003cli\u003eEclipse\u003c\/li\u003e\n\u003cli\u003e17 West\u003c\/li\u003e\n\u003cli\u003eSketch Of Melba\u003c\/li\u003e\n\u003cli\u003eFeathers\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\"The follow-up album to Outward Bound, Eric Dolphy's second effort for the Prestige\/New Jazz label (and later remastered by Rudy Van Gelder) was equally praised and vilified for many reasons. At a time when the \"anti-jazz\" tag was being tossed around, Dolphy's nonlinear, harshly harmonic music gave some critics grist for the grinding mill. A second or third listen to Dolphy's music reveals an unrepentant shadowy side, but also depth and purpose that were unprecedented and remain singularly unique. The usage of bassist George Duvivier and cellist Ron Carter (an idea borrowed from Dolphy's days with Chico Hamilton) gives the music its overcast color base, in many ways equally stunning and uninviting. Dolphy's ideas must be fully embraced, taken to heart, and accepted before listening. The music reveals the depth of his thought processes while also expressing his bare-bones sensitive and kind nature. The bluesy \"Serene,\" led by Carter alongside Dolphy's bass clarinet, and the wondrous ballad \"Sketch of Melba\" provide the sweetest moments, the latter tune identified by the fluttery introspective flute of the leader, clearly indicating where latter-period musicians like James Newton initially heard what would form their concept. Three pieces owe alms to Charles Mingus: his dark, moody, doleful, melodic, and reluctant composition \"Eclipse\"; the co-written (with Dolphy) craggy and scattered title track featuring Dolphy's emblematic alto held together by the unflappable swing of drummer Roy Haynes; and \"The Baron,\" the leader's dark and dirty, wise and willful tribute to his former boss, accented by a choppy and chatty solo from Carter. \"17 West,\" almost a post-bop standard, is briefly tonal with a patented flute solo and questioning cello inserts, while the unexpected closer written by Hale Smith, \"Feathers,\" is a haunting, soulful ballad of regret where Dolphy's alto is more immediately heard in the foreground. A somber and unusual album by the standards of any style of music, Out There explores Dolphy's vision in approaching the concept of tonality in a way few others -- before, concurrent, or after -- have ever envisioned.\" AllMusic Review by Michael G. Nastos\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRating: \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eAllMusic 5\/5  ,  Discogs 4.62 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":41005821755543,"sku":"APRJ 8252","price":65.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/eric-dolphy-out-there-200g-audiosoundmusic-1.jpg?v=1719853878"},{"product_id":"george-russell-new-york-n-y-1lp-33rpm-180g","title":"George Russell - New York, N.Y.","description":"\u003cp\u003e\u003cstrong\u003eGeorge Russell – arranger, conductor, Chromatic Drums\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e(B1) \u003ca title=\"vinyl with George Russell\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/george-russell\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/george-russell\" data-mce-fragment=\"1\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-style=\"color: #ff8000;\" data-mce-fragment=\"1\"\u003e[click here to see more vinyl from George Russell]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGuitar – Barry Galbraith\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePiano – Bill Evans \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/bill-evans\" title=\"Vinyl featuring Bill Evans\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/bill-evans\" data-mce-fragment=\"1\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-style=\"color: #ff8000;\" data-mce-fragment=\"1\"\u003e[\u003cspan color=\"#ff8000\" style=\"color: #ff8000;\" data-mce-fragment=\"1\"\u003eclick here to see more vinyl featuring \u003c\/span\u003e\u003cspan color=\"#ff8000\" data-mce-fragment=\"1\"\u003eBill Evans]\u003c\/span\u003e\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBass – George Duvivier (B1, B3) \u003ca title=\"Vinyl featuring George Duvivier\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/george-duvivier\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/george-duvivier\" data-mce-fragment=\"1\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-style=\"color: #ff8000;\" data-mce-fragment=\"1\"\u003e[click here to see more vinyl featuring George Duvivier]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBass - Milt Hinton (A1, A2, B2a, B2b) \u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\"\u003e\u003ca style=\"color: #ff8000;\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/milt-hinton\" title=\"Vinyl featuring Milt Hinton\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/milt-hinton\" data-mce-fragment=\"1\"\u003e[Click here to see more vinyl featuring Milt Hinton]\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBongos, Bongos [Bongoes] – Al Epstein (B1)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDrums – Charlie Persip (A1, A2, B2a, B2b), Don Lamond (B1), Max Roach (B3) \u003cspan style=\"color: #ff8000;\"\u003e\u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/max-roach\" title=\"Vinyl featuring Max Roach\" style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/max-roach\" target=\"_blank\"\u003e[click here to see more vinyl featuring Max Roach]\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSaxophone - John Coltrane (A1) \u003ca title=\"vinyl featuring John Coltrane\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/john-coltrane\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/john-coltrane\" data-mce-fragment=\"1\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-style=\"color: #ff8000;\" data-mce-fragment=\"1\"\u003e[click here to see more vinyl featuring John Coltrane]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSaxophone - Phil Woods (A2 to B3) \u003ca title=\"vinyl featuring Phil Woods\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/phil-wood\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/phil-wood\" data-mce-fragment=\"1\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-style=\"color: #ff8000;\" data-mce-fragment=\"1\"\u003e[click here to see more vinyl featuring Phil Woods]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSaxophone [Reeds] – Al Cohn (B1, B3), Benny Golson (A2, B2a, B2b), Gene Allen (pistes : B1, B3), Hal McKusick, Al Cohn (B1, B3), Benny Golson (A2, B2a, B2b), Gene Allen (pistes : B1, B3), Hal McKusick, Sol Schlinger (A1, A2, B2a, B2b)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTrombone – Bob Brookmeyer, Frank Rehak (A1, A2, B2a, B2b), Jim Cleveland (B1, B3), Tom Mitchell\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTrumpet – Art Farmer \u003cspan style=\"color: #ff8000;\" data-mce-style=\"color: #ff8000;\" data-mce-fragment=\"1\"\u003e\u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/art-farmer\" title=\"Vinyl featuring Art Farmer\" style=\"color: #ff8000;\" data-mce-style=\"color: #ff8000;\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/art-farmer\" target=\"_blank\" data-mce-fragment=\"1\"\u003e[click here to see more vinyl featuring Art Farmer]\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTrumpet - Doc Severinsen (pistes : A1), Ernie Royal (A1, B1, B3), Joe Ferrante (A2, B2a, B2b), Joe Wilder (A2 to B3)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, gatefold old-style tip-on jackets\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12”\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Quality Record Pressings\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Acoustic Sounds Series\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Decca\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded in New York on Sept. 12, 1958 (A1), Nov. 24, 1958 (B1, B3), and March 25, 1959 (A2, B2)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by Ryan K. Smith\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1959\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2021\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eManhattan\u003c\/li\u003e\n\u003cli\u003eBig City Blues\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\u003eManhatta-Rico\u003c\/li\u003e\n\u003cli\u003eEast Side Medley:\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e            (a) Autumn In New York\u003c\/p\u003e\n\u003cp\u003e            (b) How About You\u003c\/p\u003e\n\u003col start=\"3\"\u003e\n\u003cli\u003eA Helluva Town\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\"George Russell was one of the most forward-thinking composers and arrangers on the jazz scene during the 1950s, but his work was generally more appreciated by musicians than the jazz-buying public. New York, New York represents one of many high points in his career. He assembled an all-star orchestra, including pianist Bill Evans (a frequent participant on Russell's recordings), Art Farmer, Bob Brookmeyer, John Coltrane, and Milt Hinton, among others. In Rodgers \u0026amp; Hart's \"Manhattan,\" Russell has the soloists playing over the orchestra's vamp, while he also creates an imaginative \"East Side Medley\" combining the standards \"Autumn in New York\" and \"How About You.\" His original material is just as striking as his arrangements, while vocalist Jon Hendricks serves as narrator between orchestra segments. \" AllMusic\u003cspan data-mce-fragment=\"1\"\u003e Review by Ken Dryden\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003cspan data-mce-fragment=\"1\"\u003e\"The most ambitious of (George) Russell's masterworks is \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eNew York, N.Y.\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e. which was recorded in the fall of 1958 and released on Decca in 1959 — the same year as Miles' \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eKind of Blue\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e and Trane's \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eGiant Steps\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e. So it is good to see it come back to life in this gorgeous gatefold-packaged reissue, mastered from the original analog tapes, and pressed on 180-gram QRP vinyl as part of Universal Music's joint venture with Chad Kassem's Acoustic Sounds. ... \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eNew York, N.Y.\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e is a big band record — 13 topnotch musicians traversing Russell's scores, which are unlike any jazz orchestral scores of the time. ... The tapes were otherwise fine to begin with, the mastering by Ryan Smith of Sterling Sound is probably as good as possible — this LP sounds much better than previous reissues — and the music overwhelms any flaws.\" — \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eRevinylization\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e, Fred Kaplan, \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eStereophile\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e, April 2021.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eAllMusic : 4,5 \/ 5 , Discogs : 4,47 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":41024748880023,"sku":"ADEC 83501","price":49.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/george-russell-new-york-n-y-audiosoundmusic-1.jpg?v=1719853953"},{"product_id":"charles-mingus-mingus-mingus-mingus-mingus-mingus-1lp-33rpm","title":"\u003ctranscy\u003eCharles Mingus - Mingus, Mingus, Mingus, Mingus, Mingus (1LP, 33 tours)\u003c\/transcy\u003e","description":"\u003cp\u003e\u003cstrong style=\"font-size: 1.4em;\"\u003e\u003cbr\u003e\u003cbr\u003eCharles Mingus, bass, piano, vocals \u003ca title=\"All vinyl featuring Charles Mingus\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/charles-mingus\" style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/charles-mingus\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Charles Mingus]\u003c\/a\u003e\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cbr\u003eJay Berliner, guitar\u003cbr\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eDon Butterfield, trombone, tuba\u003cbr\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eJaki Byard, piano\u003cbr\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eEric Dolphy, flute, alto saxophone \u003ca title=\"vinyl featuring Eric Dolphy\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/eric-dolphy\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/eric-dolphy\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Eric Dolphy]\u003c\/span\u003e\u003c\/a\u003e\u003cbr\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eRolf Ericson, trumpet\u003cbr\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eBooker Ervin, tenor saxophone \u003ca title=\"vinyl featuring Booker Ervin\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/booker-erwin\" style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/booker-erwin\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Booker Ervin]\u003c\/a\u003e\u003cbr\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eDick Hafer, clarinet, flute, oboe, tenor saxophone\u003cbr\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eQuentin Jackson, trombone\u003cbr\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eCharlie Mariano, alto saxophone\u003cbr\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eWalter Perkins, drums\u003cbr\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eEddie Preston, trumpet\u003cbr\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eJerome Richardson, flute, baritone saxophone, soprano saxophone\u003cbr\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eDannie Richmond, drums\u003cbr\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eRichard Gene Williams, trumpet\u003cbr\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eBritt Woodman, trombone\u003c\/strong\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"tabs-contents\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, gatefold old-style tip-on jackets\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12”\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Quality Record Pressings\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Acoustic Sounds Series\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Impulse\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded \u003cspan data-mce-fragment=\"1\"\u003eSeptember 20, 1963 (A1, A4, B2-3) and\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e January 20, 1963 (A2, A3, B1)\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineered by Bob Simpson\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Bob Thiele\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by Ryan K. Smith\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 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 A :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eII B.S.\u003c\/li\u003e\n\u003cli\u003eI X Love\u003c\/li\u003e\n\u003cli\u003eCelia\u003c\/li\u003e\n\u003cli\u003eMood Indigo\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\u003eBetter Get Hit In Yo' Soul\u003c\/li\u003e\n\u003cli\u003eTheme For Lester Young\u003c\/li\u003e\n\u003cli\u003eHora Decubitus\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003col\u003e\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\u003cstrong\u003e\u003c\/strong\u003e\"Having completed what he (and many critics) regarded as his masterwork in The Black Saint and the Sinner Lady, Charles Mingus' next sessions for Impulse found him looking back over a long and fruitful career. Mingus Mingus Mingus Mingus Mingus is sort of a \"greatest hits revisited\" record, as the bassist revamps or tinkers with some of his best-known works. The titles are altered as well -- \"II B.S.\" is basically \"Haitian Fight Song\" (this is the version used in the late-'90s car commercial); \"Theme for Lester Young\" is \"Goodbye Pork Pie Hat\"; \"Better Get Hit in Your Soul\" adds a new ending, but just one letter to the title; \"Hora Decubitus\" is a growling overhaul of \"E's Flat Ah's Flat Too\"; and \"I X Love\" modifies \"Nouroog,\" which was part of \"Open Letter to Duke.\" There's also a cover of Duke Ellington's \"Mood Indigo,\" leaving just one new composition, \"Celia.\" Which naturally leads to the question: With the ostensible shortage of ideas, what exactly makes this a significant Mingus effort? The answer is that the 11-piece bands assembled here (slightly different for the two separate recording sessions) are among Mingus' finest, featuring some of the key personnel (Eric Dolphy, pianist Jaki Byard) that would make up the legendary quintet\/sextet with which Mingus toured Europe in 1964. And they simply burn, blasting through versions that equal and often surpass the originals -- which is, of course, no small feat. This was Mingus' last major statement for quite some time, and aside from a solo piano album and a series of live recordings from the 1964 tour, also his last album until 1970. It closes out the most productive and significant chapter of his career, and one of the most fertile, inventive hot streaks of any composer in jazz history.\" AllMusic Review by Steve Huey\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\"The album features the two sides of Mingus' compositional genius: the beautiful balladry that I always feel has a bit of a film-noir feel to it, alongside those joyous upbeat numbers that are filled with an organized chaos that categorizes much of the bassist's best work. ... Throw in the fact that it also features Jaki Byard (who is just phenomenal on this recording and remains criminally underrated), Booker Ervin, Dannie Richmond and Eric Dolphy and you have some of Mingus' finest sidemen driving his compositions to the fantastical places they seemed preordained to go. ... \u003c\/span\u003e\u003cem\u003eMingus, Mingus, Mingus, Mingus, Mingus\u003c\/em\u003e\u003cspan\u003e is a record that has more than stood the test of time and is an everlasting testament to the talents of Mingus and the players who had the ability to follow his musical vision.\" — \u003c\/span\u003e\u003cem\u003eThe Jazz Record\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRating \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eAllMusic 5\/5  ,  Discogs 4.6\/5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":41029676761239,"sku":"AIMP 60101","price":49.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/charles-mingus-mingus-mingus-mingus-mingus-mingus-1lp-33rpm-audiosoundmusic-1.jpg?v=1719853974"},{"product_id":"the-spinners-spinners-ultra-analog","title":"The Spinners - Spinners (Ultra Analog, Half-speed Mastering)","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBilly Henderson, Bobby Smith, Philippé Wynne, Henry Fambrough, Pervis Jackson – vocals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRoland Chambers, Norman Harris, Bobby Eli – guitars\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThom Bell – pianos\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRonnie Baker – bass guitar\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDon Renaldo – strings\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEarl Young – drums\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLarry Washington – congas, bongos\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eVince Montana – vibes, marimbas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMFSB – orchestration\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJack Faith – alto saxophone, flute\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRocco Bene, Bobby Hartzell – trumpet\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJoe DeAnglis, Robert Martin– French horn\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFreddie Joiner, Bobby Moore, Richie Genevese, Eddie Keskarella – trombone\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLinda Creed, Barbara Ingram, Carla Benson, Yvette Benton – backing 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 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 : Atlantic\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded at Sigma Sound Studios\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineered by Joe Tarsia\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Thom Bell\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 1973\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\u003eJust Can’t Get You Out of My Mind\u003c\/li\u003e\n\u003cli\u003eJust You and Me Baby\u003c\/li\u003e\n\u003cli\u003eDon’t Let the Green Grass Fool You\u003c\/li\u003e\n\u003cli\u003eI Could Never (Repay Your Love)\u003c\/li\u003e\n\u003cli\u003eI’ll Be Around\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e           \u003c\/p\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col start=\"6\"\u003e\n\u003cli\u003eOne of a Kind (Love Affair)\u003c\/li\u003e\n\u003cli\u003eWe Belong Together\u003c\/li\u003e\n\u003cli\u003eGhetto Child\u003c\/li\u003e\n\u003cli\u003eHow Could I Let You Get Away\u003c\/li\u003e\n\u003cli\u003eCould It Be I’m Falling In Love\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e\"A superb album, arguably their finest, though not their biggest, crossover work. The Spinners teamed with Thom Bell and outpaced Motown with this album of glorious anthems. \"I'll Be Around\" and \"Could It Be I'm Falling in Love\" ended any discussions, mentions, or even thoughts of their former lead singer G.C. Cameron, as Philippe Wynne was emerging as the king of immaculate, sophisticated soul. They had three R\u0026amp;B chart-toppers from this album and were now dominating the Motown acts they once idolized.\" \u003cspan data-mce-fragment=\"1\"\u003eAllMusic Review by Ron Wynn\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":41070556086423,"sku":"MFSL1-450","price":65.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/the-spinners-spinners-ultra-analog-half-speed-mastering-audiosoundmusic-1.jpg?v=1719854208"},{"product_id":"copy-of-carole-king-tapestry-2lp-box-set-ud1s-45-rpm-supervinyl","title":"\u003ctranscy\u003eCarole King - Tapestry (Ultra Analog, Half-speed Mastering)\u003c\/transcy\u003e","description":"\u003ch2\u003e\n\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003c\/h2\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e\u003cbr\u003eORDER LIMITED TO ONE ITEM PER CUSTOMER\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCarole King – piano, keyboards, vocals, backing vocals \u003ca title=\"vinyl featuring carole king\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/carole-king\"\u003e\u003cspan style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Carole King]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCurtis Amy – flute; baritone, soprano and tenor saxophone; string quartet\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDavid Campbell – cello, viola\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMerry Clayton – backing vocals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTerry King – cello, tenor saxophone, string quartet\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDanny Kortchmar – acoustic guitar, conga, electric guitar, vocals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRuss Kunkel – drums\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCharles \"Charlie\" Larkey – bass guitar, string bass, string quartet\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJoni Mitchell – backing vocals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJoel O'Brien – drums\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRalph Schuckett – electric piano\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBarry Socher – violin, tenor saxophone, viola, string quartet\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePerry Steinberg – bass guitar, violin, tenor saxophone, string bass\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJames Taylor – acoustic guitar, backing vocals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJulia Tillman – backing 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 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 : Ode records\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded January 1971 at A\u0026amp;M Studios\u003c\/strong\u003e\u003cstrong\u003e by Hank Cicalo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Lou Adler\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 1971\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\u003eI Feel the Earth Move\u003c\/li\u003e\n\u003cli\u003eSo Far Away\u003c\/li\u003e\n\u003cli\u003eIts Too Late\u003c\/li\u003e\n\u003cli\u003eHome Again\u003c\/li\u003e\n\u003cli\u003eBeautiful\u003c\/li\u003e\n\u003cli\u003eWay Over Yonder\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eYou've Got a Friend\u003c\/li\u003e\n\u003cli\u003eWhere You Lead\u003c\/li\u003e\n\u003cli\u003eWill You Love Me Tomorrow?\u003c\/li\u003e\n\u003cli\u003eSmackwater Jack\u003c\/li\u003e\n\u003cli\u003eTapestry\u003c\/li\u003e\n\u003cli\u003e(You Make Me Feel Like) A Natural Woman\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003col\u003e\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAwards\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eRolling Stone 500 Greatest Albums of All Time - Rated 36\/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 212\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e1972 Grammy awards :\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eAlbum of the year\u003c\/strong\u003e\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eBest female pop performance\u003c\/strong\u003e\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eRecord of the year for 'It's too late\"\u003c\/strong\u003e\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eSong of the year for \"You got a friend\"\u003c\/strong\u003e\u003c\/span\u003e\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eTapestry was inducted in 1988 in the Grammy Hall of Fame\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\"You got a friend\" and \"It's too late\" were inducted in 2002 in the Grammy Hall of Fame\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\"Carole King brought the fledgling singer\/songwriter phenomenon to the masses with Tapestry, one of the most successful albums in pop music history. A remarkably expressive and intimate record, it's a work of consummate craftsmanship. Always a superior pop composer, King reaches even greater heights as a performer; new songs like the hits \"It's Too Late\" and \"I Feel the Earth Move\" rank solidly with past glories, while songs like \"Will You Still Love Me Tomorrow,\" and \"(You Make Me Feel Like) A Natural Woman\" take on added resonance when delivered in her own warm, compelling voice. With its reliance on pianos and gentle drumming, Tapestry is a light and airy work on its surface, occasionally skirting the boundaries of jazz, but it's also an intensely emotional record, the songs confessional and direct; in its time it connected with listeners like few records before it, and it remains an illuminating experience decades later.\" \u003cspan data-mce-fragment=\"1\"\u003eAllMusic Review by Jason Ankeny\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eUltra Analog™\u003c\/strong\u003e\u003cspan data-mce-fragment=\"1\"\u003e : The GAIN 2 Ultra Analog™ Series stems from the use of the Gain 2 system, mastered at half speed from the original master tapes where possible, capturing and uncovering as before undiscovered sonic information.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003cstrong\u003eHalf-speed mastering. \u003c\/strong\u003eIn half-speed mastering, the whole process is slowed down to half of the original speed. A typical 33 1\/3 rpm record is cut at 16 2\/3 rpm. The source material is also slowed down (reducing the pitch in the process) meaning the final record will still sound normal when played back. Slowing the whole process down allows more time, which means the end result sounds better and is more efficient — allowing engineering to minimize the effects of inherent limitations within the vinyl format. The result is a more accurate and more open high-frequency response in the half speed vinyl when compared with a normal speed recording.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eAllMusic : 5 \/ 5 , Discogs : 4,29 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":41082199179415,"sku":"MFSL1-414","price":65.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/carole-king-tapestry-ultra-analog-half-speed-mastering-audiosoundmusic-1.jpg?v=1719854227"},{"product_id":"hall-and-oates-h2o-ultra-analog","title":"\u003ctranscy\u003eDaryl Hall and John Oates - H2O (Ultra Analog, Half-speed Mastering)\u003c\/transcy\u003e","description":"\u003cdiv\u003e\n\u003ch2\u003e\u003c\/h2\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cp\u003e\u003cstrong\u003e\u003ca title=\"vinyl featuring Daryl Hall \u0026amp; John Oates\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/daryl-hall-john-oates\"\u003e\u003cspan style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Daryl Hall \u0026amp; John Oates]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDaryl Hall – lead vocals (A1-B1, B3-4, B6), backing vocals, keyboards, synthesizers, guitars\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJohn Oates – backing vocals, lead vocals (B2, B5), 6 and 12-string guitars, electric piano, Roland CR-78, Linn LM-1\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLarry Fast – synthesizer programming\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eG.E. Smith – lead guitars\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTom \"T-Bone\" Wolk – bass guitar\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMickey Curry – drums, percussion\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCharlie \"Mr. Casual\" DeChant – saxophone\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\"Little Italy Mandolinos\" – Daryl Hall, John Oates and Tom \"T-Bone\" Wolk\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cp\u003e \u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, gatefold jacket\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eLimited numbered edition\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHalf-speed Mastering\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGain 2™ Ultra Analog\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : RTI\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : MOFI\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : RCA\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded \u003cspan data-mce-fragment=\"1\"\u003e1981–82 \u003c\/span\u003eat Electric Lady Studios, New York City\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineered \u0026amp; mixed by : Neil Kernon\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Daryl Hall + John Oates\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 1982\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\u003cdiv style=\"padding-left: 60px;\"\u003e1 Maneater\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 60px;\"\u003e2 Crime Pays\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 60px;\"\u003e3 Art of Heartbreak\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 60px;\"\u003e4 One on One\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 60px;\"\u003e5 Open All Night\u003c\/div\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003cdiv style=\"padding-left: 60px;\"\u003e1 Family Man\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 60px;\"\u003e2 Italian Girls\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 60px;\"\u003e3 Guessing Games\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 60px;\"\u003e4 Delayed Reaction\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 60px;\"\u003e5 At Tension\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 60px;\"\u003e6 Go Solo\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\"Private Eyes solidified Hall \u0026amp; Oates' status as one of the most popular acts in America in the early '80s, and with 1982's H2O, they capitalized on its success, delivering an album that turned out to be bigger than its predecessor, as it climbed higher on the charts and launched three Top Ten singles with \"Maneater,\" \"One on One,\" and \"Family Man.\" Bigger isn't necessarily better, though, and in comparison to the glistening pop of Private Eyes, H2O pales somewhat, coming across as a little too serious, with its ambitions just being a little too evident. Take the claustrophobic, paranoid \"Family Man\" -- covering an art rocker like Mike Oldfield suggests a far different agenda than crafting a tribute to the Temptations, and while \"Family Man\" isn't as key to the album as \"Looking for a Good Sign\" was to Private Eyes, it does indicate the relatively somber tone of H2O. Not that the album is a tortured dark night of the soul -- how could it be, when John Oates kicks off the second side with the proudly silly \"Italian Girls\"? -- but the production and performances are precise and deliberate, effectively muting the pop thrills that spilled over on its predecessor. Even if the album was recorded with Hall \u0026amp; Oates' touring band -- something that the duo and their co-producer Neil Kernon confirm in the excellent liner notes by Ken Sharp in the 2004 reissue -- H2O feels as if most songs were cut to a click track, and are just slightly too polished for their own good; when the productions open up a bit, the band still sounds terrific, but they never are given the opportunity to sound as big and bold as they do on Private Eyes. This, coupled with a few drawn-out duds (such as the vaguely atmospheric \"At Tension\") means H2O isn't quite as sharp and bracing as anything the duo had released since X-Static, and the fact that two of the best moments are huge hits -- the prowling \"Maneater\" and \"One on One,\" perhaps the most seductive song Daryl Hall ever wrote -- may suggest that this is closer to singles-plus-filler than it really is. The best of the rest of H2O reveals that Hall \u0026amp; Oates are at a near-peak in their creativity, writing tuneful, soulful fusions of pop, soul, and new wave. \"Crime Pays\" has an appealing robotic synth pop groove, \"Art of Heartbreak\" rides a tense guitar line to a great horn line on the chorus, the jealous anthem \"Open All Night\" slinks by on a stylized late-night groove, \"Go Solo\" hails back to Hall's arty Sacred Songs, and \"Delayed Reaction\" is a sterling piece of propulsive near-power pop. Even if they don't gel into an album as strong as Voices or Private Eyes, they're pretty terrific pop in their own right. They're not just evidence that Hall \u0026amp; Oates' popularity in the early '80s was earned and well deserved, they hold up very well decades after H2O ruled the charts.\" \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 data-mce-fragment=\"1\"\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 \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eAllMusic : 4 \/ 5 , Discogs : 3,82 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":41082279493783,"sku":"MFSL1-413","price":65.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/daryl-hall-and-john-oates-h2o-ultra-analog-half-speed-mastering-audiosoundmusic-1.jpg?v=1719854227"},{"product_id":"emil-gilels-the-unreleased-concert-at-the-concertgebouw-1976-2lp","title":"\u003ctranscy\u003eEmil Gilels - The Unreleased Concert At The Concertgebouw 1976 (2LP)\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\u003eLudwig van Beethoven :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\u003cstrong\u003eSonata No. 27 In E Minor, Op.90\u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eSonata No. 26 In E-Flat Major \"Les Adieux\", Op.81a\u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eSonata No. 25 In G Major, Op.79\u003c\/strong\u003e\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cstrong\u003eJohannes Brahms : 4 Ballades, Op.10 :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\u003cstrong\u003eBallade No.1 In D Minor \"Edward\", Op.10\u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eBallade No.2 In D Major, Op.10\u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eBallade No.3 In B Minor \"Intermezzo\", Op.10\u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eBallade No.4 In B Major, Op.10\u003c\/strong\u003e\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cstrong\u003eRobert Schumann : Arabesque, Op.18\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSergei Prokofiev : Prélude, Op. 12, No. 7\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJohann Sebastian Bach : Prélude in Bm, BWV 855 A (arranged by Alexander Siloti)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEmil Gilels, piano\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e2LPs, gatefold jacket\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eNumbered edition limited to 2,000 copies\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLimited time album download included\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLive\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Quality Record Pressings in Germany\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : The Lost Recordings\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal label : The Lost Recordings\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded at the Concertgebouw, Amsterdam, on Oct. 26, 1976 and Jan. 30, 1979\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by Nicolas Thelliez\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReleased in 2018 (first time on LP)\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\u003eBeethoven - Sonata No. 27 In E Minor - Mit Lebhaftigkeit Und Durchaus Mit Empfindung Und Ausdruck (5:32)\u003c\/li\u003e\n\u003cli\u003eBeethoven -Sonata No. 27 In E Minor - Nicht Zu Geschwind Und Sehr Singbar Vorgetragen (8:31)\u003c\/li\u003e\n\u003cli\u003eBeethoven -Sonata No. 26 In E-Flat Major \"Les Adieux\" - Das Lebewohl (Adagio - Allegro) (6:59)\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eBeethoven - Sonata No. 26 In E-Flat Major \"Les Adieux\" - Abwesenheit (Andante Espressivo) (3:29)\u003c\/li\u003e\n\u003cli\u003eBeethoven - Sonata No. 26 In E-Flat Major \"Les Adieux\" - Das Wiedersehen (Vivacissimamente) (5:55)\u003c\/li\u003e\n\u003cli\u003eBeethoven - Sonata No. 25 In G Major, Op.79 - Presto Alla Tedesca (5:02)\u003c\/li\u003e\n\u003cli\u003eBeethoven - Sonata No. 25 In G Major, Op.79 – Andante (3:29)\u003c\/li\u003e\n\u003cli\u003eBeethoven - Sonata No. 25 In G Major, Op.79 – Vivace (2:05)\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide C :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eBrahms - Ballade No.1 In D Minor \"Edward\", Op.10 (4:21)\u003c\/li\u003e\n\u003cli\u003eBrahms - Ballade No.2 In D Major, Op.10 (6:57)\u003c\/li\u003e\n\u003cli\u003eBrahms  - Ballade No.3 In B Minor \"Intermezzo\", Op.10  (4:05)\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide D :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eBrahms - Ballade No.4 In B Major, Op.10 (8:00)\u003c\/li\u003e\n\u003cli\u003eSchumann - Arabesque, Op.18 (6:54)\u003c\/li\u003e\n\u003cli\u003eProkofiev - Prélude, Op. 12, No. 7 (2:20)\u003c\/li\u003e\n\u003cli\u003eBach \/ Siloti : Prélude in Bm, BWV 855 A\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\u003eOn October 26, 1976, Emil Gilels was on stage, alone, in a repertoire of rare complexity in front of \"people who are passionate about music\", says Kirill. Enthusiastic but demanding. We can imagine Emil both serene and tense, on the lookout for the slightest whisper, in harmony, as soon as the silence sets in, with these composers he reveres: Beethoven, Brahms, Schumann, Prokofiev. Gilels knows how to lead us with elegance towards the delicious final surprise. There are interpretations so profound, so sincere and so right that they leave a lasting impression. There is no doubt that Emil Gilels' performance on that winter evening in 1976 in the prestigious Concertgebouw in Amsterdam is one of them.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings \u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp\u003eDiscogs : 5 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":41941322465530,"sku":"FON-1803032","price":75.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/emil-gilels-the-unreleased-concert-at-the-concertgebouw-1976-2lp-audiosoundmusic-1.jpg?v=1719855427"},{"product_id":"diana-krall-love-scenes-2lp-45rpm","title":"\u003ctranscy\u003eDiana Krall - Love Scenes (2LP, 45 tours)\u003c\/transcy\u003e","description":"\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eORDER LIMITED TO ONE ITEM PER CUSTOMER\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDiana Krall, piano, lead vocal \u003cspan data-mce-fragment=\"1\" style=\"color: #ff2a00;\"\u003e\u003ca data-mce-fragment=\"1\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/diana-krall\" title=\"Vinyl featuring Diana Krall\" style=\"color: #ff2a00;\"\u003e[click here to see more vinyl featuring Diana Krall]\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRussell Malone, guitar\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eChristian McBride, 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\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 45RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : RTI\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Original Recordings Group (ORG)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal label : Impulse\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded at Avatar Studio, New York City\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded and mixed by Al Schmitt\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 Tommy LiPuma\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginaly released in 1997\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2016\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eAll Or Nothing At All\u003c\/li\u003e\n\u003cli\u003ePeel Me A Grape\u003c\/li\u003e\n\u003cli\u003eI Don't Know Enough About You\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eI Miss You So\u003c\/li\u003e\n\u003cli\u003eThey Can't Take That Away From Me\u003c\/li\u003e\n\u003cli\u003eLost Mind\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide C:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eI Don't Stand A Ghost Of A Chance With You\u003c\/li\u003e\n\u003cli\u003eYou're Getting To Be A Habit With Me\u003c\/li\u003e\n\u003cli\u003eGentle Rain\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide D:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eHow Deep Is The Ocean (How High Is The Sky)\u003c\/li\u003e\n\u003cli\u003eMy Love Is\u003c\/li\u003e\n\u003cli\u003eGarden In The Rain\u003c\/li\u003e\n\u003cli\u003eThat Old Feeling\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\u003cstrong\u003e\u003cspan style=\"color: #ff2a00;\"\u003eNominated at the Grammy Awards for Best Jazz Vocal Performance\u003c\/span\u003e\u003c\/strong\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« Vocalist\/pianist Diana Krall was a very hot property by the time this Impulse CD was released. Teamed in a trio with her regular guitarist Russell Malone and bassist Christian McBride, Krall here mostly emphasizes ballads having something to do with love. She is at her best on \"I Don't Know Enough About You,\" \"I Don't Stand a Ghost of a Chance With You,\" and \"How Deep Is the Ocean.\" However, Krall's earlier Nat King Cole tribute had more variety in tempos and moods and is recommended first. A decent but not essential release. » AllMusic Review by Scott Yanow\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings \u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp\u003eAllMusic : 4 \/ 5 , Discogs : 4.22 \/ 5\u003c\/p\u003e\n\u003c\/div\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":41954592981242,"sku":"ORG 005-45","price":95.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/diana-krall-love-scenes-2lp-45rpm-audiosoundmusic-1.jpg?v=1719855568"},{"product_id":"copy-of-foghat-fool-for-the-city-emerald-green-vinyl","title":"Foghat - Fool For The City (Ultra Analog, Half-speed Mastering)","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff8000;\"\u003e\u003cstrong\u003e\u003ca title=\"vinyl featuring foghat\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/foghat\" style=\"color: #ff8000;\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/foghat\"\u003e[Click here to see more vinyl featuring Foghat]\u003c\/a\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLonesome Dave Peverett — lead vocals, guitar\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRod \"The Bottle\" Price — electric and acoustic guitars, slide guitar, steel guitar, vocals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRoger Earl — drums, percussion\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eNick Jameson — bass guitar, keyboards, guitar, vocals, producer, engineer\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, gatefold\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\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 : Bearsville\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded at Suntreader Studios by\u003c\/strong\u003e\u003cstrong\u003e Nick Jameson\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMastered by Rob LoVerde\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Nick Jameson\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 2008\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e1 Fool For The City\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e2 My Babe\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e3 Slow Ride\u003c\/div\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e1 Terraplane Blues\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e2 Save Your Loving (For Me)\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e3 Drive Me Home\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e4 Take It Or Leave It\u003c\/div\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e\"After building a solid core audience through relentless touring and a string of hard-rocking albums, Foghat finally hit the big time in 1975 with Fool for the City. It still stands out as the best album in the group's catalog because it matched their road-tested abilities as hard rockers to a consistent set of tunes that were both well-crafted and ambitious. The tone for the album is set by its title track: This hard-rocking gem not only pairs riff-driven verses with an effective shout-along chorus, but also throws in a few surprising moments where the guitars are taken out of the mix completely and Nick Jameson's bass is allowed to take the lead in a funky breakdown. Fool for the City also produced an enduring rock radio favorite in \"Slow Ride,\" a stomping rock tune that transcends the inherent clichés of its \"love is like a car ride\" lyrics with a furious performance from the band and a clever arrangement that works in well-timed automotive sound effects during the verses and plays up the band's ability to work an R\u0026amp;B-styled groove into their hard-rocking sound (again, note the thumping bassline from Jameson). Further radio play was earned with \"Take It or Leave It,\" an acoustic-based ballad that worked synthesizers into its subtle yet carefully layered arrangement to become one of the group's finest slow numbers. The album's other songs don't stand like the aforementioned selections, but they all flow together nicely thanks to a consistently inspired performance from the band and clever little arrangement frills that keep the group's boogie-oriented rock fresh (example: the witty spoken word bit at the end of \"Drive Me Home\"). All in all, Fool for the City is both Foghat's finest achievement in the studio and one of the high points of 1970s hard rock.\" \u003cspan data-mce-fragment=\"1\"\u003eAllMusic Review by Donald A. Guarisco\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 \/ 5 , Discogs : 4?06 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":42083148038394,"sku":"MFSL 1-295","price":65.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/foghat-fool-for-the-city-ultra-analog-half-speed-mastering-audiosoundmusic-1.jpg?v=1719855868"},{"product_id":"eva-cassidy-american-tune","title":"Eva Cassidy - American Tune","description":"\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003eCOMPILATION\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEva Cassidy – guitar, rhythm guitar, vocals \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/eva-cassidy\" title=\"vinyl featuring Eva Cassidy\"\u003e\u003cspan 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\u003eChris Biondo – bass\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJimmy Campbell – drums\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDan Cassidy – violin\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eKeith Grimes – electric guitar\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMarcy Marxer – bouzouki, guitar, tin whistle\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRaice McLeod – drums\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBruno Nasta – violin\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLenny Williams – organ, piano\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio (A4 \u0026amp; B4) \u0026amp; Live (A1-3, A5, B1-3, B5)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Optimal Media\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\u003eProduced by Chris Biondo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMastered by Robert Vosgien\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 2003\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\u003eDrowning In The Sea Of Love\u003c\/li\u003e\n\u003cli\u003eDark Eyed Molly\u003c\/li\u003e\n\u003cli\u003eThe Water Is Wide\u003c\/li\u003e\n\u003cli\u003eHallelujah I Love Him So\u003c\/li\u003e\n\u003cli\u003eGod Bless The Child\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eTrue Colors\u003c\/li\u003e\n\u003cli\u003eIt Don’t Mean A Thing (If It Ain’t Got That Swing)\u003c\/li\u003e\n\u003cli\u003eAmerican Tune\u003c\/li\u003e\n\u003cli\u003eYesterday\u003c\/li\u003e\n\u003cli\u003eYou Take My Breath Away\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 saga of Eva Cassidy, the late Washington, D.C., singer who gained fame long after her early passing from melanoma, continues vibrantly on American Tune, a collection of ten more \"leftovers\" that former bandmates discovered in the past year -- similarly as they did on Imagine, the previous release of great cuts. While she never achieved much more than local recognition in her lifetime, her inspirational legacy is not only rooted in her own story of personal courage but her ability to take songs that have been heard thousands of times and make them sound fresh, exciting, even better than the original. Just as Sting marveled at her heartbreaking rendition of \"Fields of Gold,\" you can imagine Cyndi Lauper finding joy in the singer's take on \"True Colors,\" which begins softly, with an angelic vocal before the full power of Cassidy's blues-rock vocals and her band take over (that slow build is a Cassidy trademark as well). The fun part of any new Cassidy hodgepodge is pegging the many genres she draws from, almost as if she's thumbing her nose at the record execs who wouldn't sign her because she refused to limit herself to any one style. There's the soul-funk drama of \"Drowning in the Sea of Love,\" the gentle acoustic guitar hymn \"The Water Is Wide,\" and a lively rendition of Ray Charles' \"Hallelujah I Love (Him) So.\" The introspective Paul Simon tune the album is named for is given a gently powerful reading but lacks the eye-popping emotional power she gives to \"God Bless the Child\" and \"Yesterday,\" songs you might think you'd heard quite enough versions of. The set closes with the plaintive love song \"You Take My Breath Away,\" well known to folks nowadays from Tuck \u0026amp; Patti's version. Based on the ongoing discovery of more tunes Cassidy no doubt never thought would see the light of day, you can only hope that there are more trunks full of tapes waiting to be mastered and released.” American Tune Review by Jonathan Widran\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 : 4,09 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":42146970075386,"sku":"BLILP10179","price":39.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/eva-cassidy-american-tune-audiosoundmusic-1.jpg?v=1719856649"},{"product_id":"eva-cassidy-imagine","title":"Eva Cassidy - Imagine","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEva Cassidy - guitar, rhythm guitar, vocals, background vocals \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\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDarrel Andrews - percussion\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eChris Biondo - bass\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDan Cassidy - violin\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAdrian Green - drums\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eKeith Grimes - guitar, electric guitar\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRaice McLeod - drums\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLarry Melton - bass\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBruno Nasta - violin\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLenny Williams piano - vibraphone\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eKent Wood - organ, synthesizer, synthesizer strings\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio \u0026amp; Live\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Optimal Media\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 live :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\u003cstrong\u003eA1 at Pearl's (Annapolis) on September 24, 1994.\u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eA3 in the winter of 1995 at the King of France Tavern located in The Maryland Inn Annapolis\u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eA4 at Blues Alley, on January 3, 1996 and Mixed in March, 2001 at Mad Hatter Studio, Los Angeles\u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eA5 \u0026amp; B3 at Chris Biondo's Glendale, MD studio in 1996\u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eB2 \u0026amp; B5 at Pearl's on September 10, 1994\u003c\/strong\u003e\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded in studio :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\u003cstrong\u003eA2 at Black Pond Studios, Glendale, MD in 1991\u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eB1 at Golden Triangle Studio, Columbia, MD in 1987\u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eB4 at Black Pond Studios, Rockville, MD studio in 1990\u003c\/strong\u003e\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cstrong\u003eMastered by Robert Vosgien\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 2002\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 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\u003eIt Doesn't Matter Anymore\u003c\/li\u003e\n\u003cli\u003eFever\u003c\/li\u003e\n\u003cli\u003eWho Knows Where the Time Goes?\u003c\/li\u003e\n\u003cli\u003eTennessee Waltz\u003c\/li\u003e\n\u003cli\u003eImagine\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eEarly Morning Rain\u003c\/li\u003e\n\u003cli\u003eYou've Changed\u003c\/li\u003e\n\u003cli\u003eStill Not Ready\u003c\/li\u003e\n\u003cli\u003eI Can Only Be Me\u003c\/li\u003e\n\u003cli\u003eDanny Boy\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp\u003e“A desperate clamoring from fans worldwide is no doubt the last thing the late singer could have imagined when she was at clubs and at home singing and doing rough recordings of the tunes that would someday be chosen for this magnificent hodgepodge. But many years after her death in obscurity in late 1996, she became a true phenomenon, with enthusiasts who find in her voice a true connection to heaven (take that in any number of ways). So even if the songs are rough, they're still Eva Cassidy. Another precious listen to her transcendent voice -- so brilliant in all genres; wispy and angelic one minute, soulful and guttural the next -- is worth all the dusty shelf-searching this compilation no doubt entailed. The songs recorded at the now-defunct Annapolis club Pearls -- the obscure chestnut \"It Doesn't Matter Anymore,\" which Paul Anka gave to Buddy Holly; Gordon Lightfoot's \"Early Morning Rain\"; and the tearjerking \"Danny Boy\" -- present Cassidy at her purest, her simple acoustic guitar riding along behind increasingly emotional vocal lines. \"Fever\" is an alternate take from the version that wound up on Chuck Brown's The Other Side, beautifully torchy and featuring a sly violin line by brother Dan Cassidy. She recorded a folky rendition of the Sandy Denny classic \"Who Knows Where the Time Goes\" at the Maryland Inn, her voice rising and falling over a subtle violin. Her smoky jazz chops -- think Norah Jones with a lot more fire -- are in full force on \"You've Changed\" (recorded at Blues Alley in Washington, D.C.). Probably the richest performances are the powerful home-demo renditions of the title track and \"Tennessee Waltz,\" given off-the-cuff readings (with only simple guitar lines) that show off Cassidy's casual genius. Finally, Cassidy's dad found a few formal early studio recordings, \"Still Not Ready\" and \"I Can Only Be Me,\" a heartrending song Stevie Wonder wrote for Spike Lee's School Daze but never recorded. That's OK -- Cassidy's unintentional penchant is for redefining songs and creating new and definitive versions. Most likely, no major label would ever put out a new artist recording with this kind of a mixed bag, both stylistically and production-wise. But this hardly matters, as listeners seek more and more from the angel who left long before the world fell in love with her. The continuing heavenly serenade is hard to resist.” AllMusic Review by Jonathan Widran\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 : 4,24 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":42147022340346,"sku":"BLILP10175","price":39.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/eva-cassidy-imagine-audiosoundmusic-1.jpg?v=1719856649"},{"product_id":"eva-cassidy-live-at-blues-alley","title":"\u003ctranscy\u003eEva Cassidy - Live at Blues Alley (2LP, 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\u003eElectric Guitar, Acoustic Guitar, Vocals – Eva Cassidy \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\u003eBass Guitar – Chris Biondo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDrums – Raice McLeod\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eElectric Guitar – Keith Grimes\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePiano – Lenny \"The Ringer\" Williams\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e2 LPs, Gatefold jacket\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eLimited edition\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 45 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLive\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : 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 :\u003c\/strong\u003e \u003cstrong\u003eEva Music\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded at\u003c\/strong\u003e \u003cstrong\u003eBlues Alley, Washington on January 3, 1996\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded by Sound By Charlie\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineered by Roy Battle \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Chris Biondo, Eva Cassidy\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by Robert Vosgien\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1996\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in October 2021\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eCheek to Cheek\u003c\/li\u003e\n\u003cli\u003eStormy Monday\u003c\/li\u003e\n\u003cli\u003eBridge Over Troubled Water\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eFine and Mellow\u003c\/li\u003e\n\u003cli\u003ePeople Get Ready\u003c\/li\u003e\n\u003cli\u003eBlue Skies\u003c\/li\u003e\n\u003cli\u003eTall Trees in Georgia\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide C\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eFields of Gold\u003c\/li\u003e\n\u003cli\u003eAutumn Leaves\u003c\/li\u003e\n\u003cli\u003eHoneysuckle Rose\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide D\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eTake Me to the River\u003c\/li\u003e\n\u003cli\u003eWhat a Wonderful World\u003c\/li\u003e\n\u003cli\u003eOh, Had I a Golden Thread\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 late Eva Cassidy gained a loyal following in the Washington, D.C., area through appearances in small clubs, utilizing her pitch-perfect singing voice to interpret a variety of tunes ranging from standards to modern-era pop songs. A notoriously shy performer, Eva Cassidy had a somewhat stiff stage presence, but she endeared herself to her audiences by performing songs she obviously loved, combining elements of soul, gospel, blues, and jazz. Live at Blues Alley is an excellent showcase for her vocal talents and her ability to make even the most familiar tune uniquely her own. Admittedly, the titles on Live at Blues Alley seem like a set list for a bad Vegas lounge act; songs such as Irving Berlin's \"Cheek to Cheek\" and Louis Armstrong's \"What a Wonderful World\" have been done to death for decades. Fortunately, Eva Cassidy had an obvious affection for these standards. She sounds as if she had a ball performing the Irving Berlin number, while her subtle reading of the Louis Armstrong tune is nothing less than extraordinary. She was equally successful with more contemporary pop classics like \"Bridge Over Troubled Water\" and \"Take Me to the River.\" Ultimately, the slower songs are the most stirring, particularly her rendition of \"Fields of Gold.\" Her tear-jerking version of the Sting tune could very well be one of the greatest cover songs ever recorded. Eva Cassidy's popularity slowly began to spread outside of the D.C. area upon the release of this album in early 1996. Unfortunately, Eva Cassidy passed away later that year, just as she began laying the groundwork for what could have been a stellar career in music. However, her posthumous success has been astonishing, with worldwide critical acclaim and extensive exposure on British television that helped her album Songbird climb to number one on the British album chart in March, 2001. Live at Blues Alley was the only solo album released during Eva Cassidy's lifetime (an album recorded with Chuck Brown, The Other Side, was also released), and it's an excellent introduction to a performer who never lived to witness the impact her voice made on her fans all over the world.” AllMusic Review by William Cooper\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e“A tragedy occurred in November, 1996, when the music world lost Eva Cassidy to melanoma. She was mostly known in greater Washington, D.C. where she performed in local clubs. She often sang with D.C “go-go” legend, Chuck Brown, but her career had not really taken off. It was only after her death at only 33 years of age, did she gain the acclaim that she was due. When BBC radio in England began singing her praise, a posthumous following for Eva took off.\u003c\/p\u003e\n\u003cp\u003eIt is such a shame that her glorious voice was not recognized while she was alive. Her soprano vocals were magnificent. Comparable to Laura Nyro in soulfulness, Eva could excel in R\u0026amp;B, jazz, and folk settings. Her version of “Over the Rainbow” helped captivate English audiences, and led to three number #1 albums in Great Britain.\u003c\/p\u003e\n\u003cp\u003eNearly five years after her death, in 2001, ABC News Nightline broadcast a short documentary on Eva’s life. Almost immediately afterward, her recorded output began to sell heavily in the United States. She now has over ten albums under her name with material recorded in the 1990s.\u003c\/p\u003e\n\u003cp\u003eOne of her most recognized issues is a live set of music recorded at the famous D.C club, Blues Alley. Recorded in early January, 1996, just ten months before her passing, Eva was still strong enough to put on a bravura performance. Covering a wide range of genres, ranging from show tunes, blues, Simon and Garfunkel, gospel, and folk staples, Cassidy captivates, going from tender to full blast from track to track. Whether it be “Cheek to Cheek, “Fine and Mellow,” or “Honeysuckle Rose” (which can be a bit boring and predictable in the wrong hands,) Eva makes each her own. The heat is turned up on “Stormy Monday” and “Take Me to the River.” Even “Tall Trees in Georgia,” “Fields of Gold,” and “What a Wonderful World” make a statement that Eva Cassidy could have handled the most pedestrian material, and pleased an audience.\u003c\/p\u003e\n\u003cp\u003eTwenty five years after her death, it is a bittersweet experience listening to her, ready to break out to a wider audience, but knowing that she would be gone so soon after. It is a pleasure to recommend the purchase of this anniversary edition. The original album recordings have been remastered by Robert Vosgien, from the unprocessed mixes. Vosgien mastered the original album, and the updated digital mix helps bring out the range and dynamics of Eva’s vocal gifts.\u003c\/p\u003e\n\u003cp\u003eAlthough Eva’s life was cut short before she could enjoy the fame she so richly deserved, we still have the opportunity to both recognize and appreciate her talents twenty five years later. Don’t miss the opportunity…” Jeff Krow, Audiophile Audition, December 2021\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 : 4.39 \/ 5 ;  Audiophile Audition : 4 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":42150613287162,"sku":"BLILP10218-45","price":55.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/eva-cassidy-live-at-blues-alley-2lp-45rpm-audiosoundmusic-1.jpg?v=1719856649"},{"product_id":"al-dimeola-john-mclaughlin-paco-delucia-friday-night-in-san-francisco","title":"Al Di Meola, John McLaughlin, Paco Delucia - Friday Night in San Francisco","description":"\u003cdiv\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAl Di Meola, guitar \u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\"\u003e\u003ca title=\"vinyl featuring Al Di Meola\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/al-di-meola\" style=\"color: #ff8000;\" data-mce-fragment=\"1\"\u003e[click here to see other products featuring Al Di Meola]\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJohn McLaughlin, guitar \u003cspan data-mce-fragment=\"1\"\u003e\u003ca title=\"vinyl featuring john mclaughlin\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/john-mclaughlin\" data-mce-fragment=\"1\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\"\u003e[click here to see more products featuring John McLaughlin]\u003c\/span\u003e\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePaco Delucía, guitar\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by Al Di Meola (A1, B2), Paco Delucia (A1), Chick Corea (A2), Egberto Gismonti (B1), John McLaughlin (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\u003e1LP, 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\u003eLive (A1-B2) \u0026amp; Studio B3\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\u003eA1-B2 recorded live\u003cspan data-mce-fragment=\"1\"\u003e at The Warfield Theatre San Francisco, California, on Friday, 5 December 1980\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan data-mce-fragment=\"1\"\u003eB3 recorded and mixed at Minot Sound, White Plains, New York\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineered by Rex Olson (A1-B2), Tim Pinch (A1-B2), Tom Pinch (A1-B2), Ron Carran (B3)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Al Di Meola, John McLaughlin, Paco DeLucia\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by Bernie Grundman and Bob Donnelly\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1981\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 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\u003eMediterranean Sundance\/Rio Ancho\u003c\/li\u003e\n\u003cli\u003eShort Tales Of The Black Forest\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eFrevo Rasgado\u003c\/li\u003e\n\u003cli\u003eFantasia Suite\u003c\/li\u003e\n\u003cli\u003eGuardian Angel\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“Loose and spontaneous, this (mainly) live album is a meeting of three of the greatest guitarists in the world for an acoustic summit the likes of which the guitar-playing community rarely sees. Broken up into three duo and two trio performances, Friday Night in San Francisco catches all three players at the peaks of their quite formidable powers. The first track features Al di Meola and Paco de Lucía teaming up for a medley of di Meola's \"Mediterranean Sundance\" (first recorded by the duo on di Meola's classic 1976 album Elegant Gypsy) and de Lucía's own \"Rio Ancho.\" It is a delightful performance, full of the fire and inhuman chops that one expects from two players of this caliber. However, the two guitarists obviously have big ears, and they complement each other's solos with percussive, driving rhythm parts. There is a laid-back, humorous element to Friday Night in San Francisco as well, best witnessed in di Meola and John McLaughlin's performance of Chick Corea's \"Short Tales of the Black Forest.\" Rapid-fire licks from the pair soon give way to atonal striking of the body of the guitar, running picks along the strings, etc. Before the farce is completed, they have played a blues and quoted the Pink Panther theme. It is funny stuff, and it serves to dispel the image of the trio, especially di Meola, as super-serious clinicians more concerned with technique than music. The other great piece of evidence against such a narrow-minded claim can be found in both the quality of the compositions featured on Friday Night in San Francisco as well as the sensitivity and dynamic variation brought to the performances. A perfect example of this is the sole studio track, a McLaughlin composition entitled \"Guardian Angel\" (the opening theme of which is taken straight from \"Guardian Angels,\" a song that appears on McLaughlin's 1978 Electric Dreams album). It is a fine piece, and one that features a haunting melody as well as some of the best solos on the record. All in all, Friday Night in San Francisco is a fantastic album and one of the best entries in all of these guitarists' fine discographies.” AllMusic  by Daniel Gioffre\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 : 4,44 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":42190864220410,"sku":"IMXLP6029N","price":65.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/al-dimeola-john-mclaughlin-paco-delucia-friday-night-in-san-francisco-1lp-33rrpm-audiosoundmusic-1.jpg?v=1719856880"},{"product_id":"eagles-on-the-border","title":"\u003ctranscy\u003eEagles - On The Border (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\u003e\u003ca title=\"vinyl featuring Eagles\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/eagles\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/eagles\"\u003e\u003cspan style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Eagles]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGlenn Frey – vocals; acoustic rhythm guitar; electric rhythm guitar; lead guitar; slide guitar; piano\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDon Henley – vocals, drums\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBernie Leadon – vocals; lead, acoustic and rhythm guitars; banjo; pedal steel\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRandy Meisner – vocals, bass guitar\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDon Felder – lead guitar on “Already Gone” and slide guitar on “Good Day in Hell” (credited as \"late arrival\")\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAl Perkins – pedal steel guitar (on \"Ol' 55\")\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by Jack Tempchin (A1), Robb Strandlund (A1), Don Henley (A2, B3, C1, D1-2), J.D. Southern (A2, C1, D2), Paul Craft (B1), Bernie Leadon (B2-3), Glenn Frey (B3, C1, D1-2), Jackson Browne (C1), Tom Waits (C2), Randy Meisner (C3)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e2 LPs, box set\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eLimited to 10,000 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\u003eUltraDisc One-Step (UDS1)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g SuperVinyl\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 45 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : RTI\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : MOFI\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Asylum Records\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded at Record Plant Studios, Los Angeles and Olympic Studios, London\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineered by Bill Szymczyk (A1, B1 to D1), Glyn Johns (A2, D2)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered at Record Plant Studios, Los Angeles and Olympic Studios, London\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Bill Szymczyk (A1, B1 to D1), Glyn Johns (A2, D2)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1974\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 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\u003eAlready Gone\u003c\/li\u003e\n\u003cli\u003eYou Never Cry Like A Lover\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eMidnight Flyer\u003c\/li\u003e\n\u003cli\u003eMy Man\u003c\/li\u003e\n\u003cli\u003eOn The Border\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide C :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eJames Dean\u003c\/li\u003e\n\u003cli\u003eOl' 55\u003c\/li\u003e\n\u003cli\u003eIs It True\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide D :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eGood Day In Hell\u003c\/li\u003e\n\u003cli\u003eThe Best Of My Love\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 Eagles began recording their third album in England with producer Glyn Johns, as they had their first two albums, but abandoned the sessions after completing two acceptable tracks. Johns, it is said, tended to emphasize the group's country elements and its harmonies, while the band, in particular Glenn Frey and Don Henley, wanted to take more of a hard rock direction. They reconvened with a new producer, Bill Szymczyk, who had produced artists like B.B. King and, more significantly, Joe Walsh. But the resulting album is not an outright rock effort by any means. Certainly, Frey and Henley got what they wanted with \"Already Gone,\" the lead-off track, which introduces new bandmember Don Felder as one part of the twin guitar solo that recalls the Allman Brothers Band; \"James Dean,\" a rock \u0026amp; roll song on the order of \"Your Mama Don't Dance,\" and \"Good Day in Hell,\" which is strongly reminiscent of Joe Walsh songs like \"Rocky Mountain Way.\" But the album also features the usual mixture of styles typical of an Eagles album. For example, \"Midnight Flyer,\" sung by Randy Meisner, is modern bluegrass; \"My Man\" is Bernie Leadon's country-rock tribute to the recently deceased Gram Parsons; and \"Ol' 55\" is one of the group's well-done covers of a tune by a singer\/songwriter labelmate, in this case Tom Waits. The title track, meanwhile, points the band in a new R\u0026amp;B direction that was later pursued more fully. Like most successful groups, the Eagles combined many different elements, and their third album, which looked back to their earlier work and anticipated their later work, was a transitional effort that combined even more styles than most of their records did.” AllMusic Review by William Ruhlmann\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eUltraDisc One-Step\u003c\/strong\u003e : Instead 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 \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMoFi SuperVinyl\u003c\/strong\u003e: The 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\u003e\u003cspan\u003eAllMusic : 3 \/ 5 , Discogs : 3,9 \/ 5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":42242565439738,"sku":"MFSL45UD1S-026","price":195.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/eagles-on-the-border-2lp-45rpm-box-set-1step-supervinyl-audiosoundmusic-1.jpg?v=1719857223"},{"product_id":"muddy-waters-folk-singer-1","title":"\u003ctranscy\u003eMuddy Waters - Folk Singer (2LP, 45 tours, Coffret, 1STEP, SuperVinyl)\u003c\/transcy\u003e","description":"\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003eORDER LIMITED TO ONE ITEM PER CUSTOMER\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMuddy Waters – guitar, vocals \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\u003eBuddy Guy – guitar \u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\"\u003e\u003ca title=\"vinyl featuring Buddy Guy\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/buddy-guy\" style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/buddy-guy\"\u003e[click here to see more vinyl featuring Buddy Guy]\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSammy Lawhorn – guitar\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJames Madison – guitar\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOtis Spann – harmonica, piano\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/otis-spann\" title=\"vinyl featuring Otis Spann\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/otis-spann\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Otis Spann]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFrancis Clay – drums\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eClifton James – drums\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eS.P. Leary – drums\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWillie Dixon – bass\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMilton Rector – bass\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJ.T. Brown – clarinet, tenor saxophone\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e2 LPs, box set\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eLimited to 10,000 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\u003eUltraDisc One-Step (UDS1)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g SuperVinyl\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 45 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : RTI\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : MOFI\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Chess\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded at Ter Mar Recording Studios in September, 1963\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineered \u0026amp; mixed 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\u003eOriginally released in 1964\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in March 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\u003eMy Home Is In The Delta\u003c\/li\u003e\n\u003cli\u003eLong Distance\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\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\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\u003e\n\u003cli\u003eCountry Boy\u003c\/li\u003e\n\u003cli\u003eFeel Like Going Home\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAwards :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eRolling Stone 500 Greatest Albums of All Time - ranked 280\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\"Muddy Waters was born on April 4, 1913 and died on April 30, 1983. The 35th anniversary of his passing has recently come and gone. (...) \u003c\/p\u003e\n\u003cp\u003eThe fifties will always have the bragging rights of being the \"golden era\" of rock n' roll. But the sixties? Not so much. During the first half, Jerry Lee's great balls of fire had already burned, The King's hound dogs had howled, Johnny had been good (but Chuck the Duck Walker was caught being bad). Yes, Chubby Checker had twisted his way over Fats Domino's blueberry hill, but American teens hadn't yet started to twist and shout, had they?\u003c\/p\u003e\n\u003cp\u003eIn a gritty neighborhood on the South Side of Chicago sat a small legendary studio that ultimately became a powerhouse as the years went passing by. Chess Records was owned and operated by Phil and Leonard Chess, who bought the building and hired a few key people to run the recording studio and its offices. They also hired some of the greatest blues musicians in the world to make the music. Among them were three kings: Muddy Waters, Willie Dixon, and Buddy Guy. In this early part of 1963, these three gentlemen, along with Chess session drummer Clifton James (the originator of the Bo Diddley drum beat, did you know?) came together to do a special recording for the Chess label. It would be captured in a different manner than the usual approach, and there were reasons for it to be done this way.\u003c\/p\u003e\n\u003cp\u003eBy now, the once-plentiful and thriving urban Chicago blues scene was slowly dying on the vine in the black community; several live venues were losing steam and money too; even Muddy's main sidekick, guitarist Jimmy Rogers, had thrown in the towel as early as 1960 and said \"I'm retired.\" His departure from the Chicago clubs lasted throughout the decade, 'til the next one started.\u003c\/p\u003e\n\u003cp\u003eSome of Muddy's biggest Chess pieces had been already recorded between 1950-1960. But things had changed by 1963 when Waters, Dixon, Guy, and James came together for this seminal event, which took place shortly before the 1963 American Folk Blues Festival, an event which, in hindsight, may have very well been the impetus for bringing this session to fruition. Indeed, Muddy Waters was scheduled to perform as one of the main acts on the star-studded blues extravaganza. Based on well-documented itinerary notes from music historian Stefan Wirz, Muddy most likely made his overseas departure in the last week of September to arrive in time for the beginning of the Blues Festival tour in Frankfurt, Germany on September 24th.\u003c\/p\u003e\n\u003cp\u003eChess producer Ralph Bass, who wrote liner notes for the music that would become Folk Singer, mentions that the folk craze was taking over the country. He wasn't exaggerating—during this early part of decade in American music, it was all about the emergence of artists like Pete Seeger, The Kingston Trio, Odetta, Joan Baez, Peter, Paul \u0026amp; Mary, and a young Bob Dylan among others. But then it became more real when a few music researchers (Dick Waterman, Phil Spero and Nick Perls) went south and found the originators of Mississippi Delta music who were still alive and well, gradually coaxing them out of the shadows and back into the light. Son House, Sleepy John Estes, Skip James, Mississippi Fred McDowell, and some others were now suddenly all the rage, as if being raised from the dead—only they weren't dead, hadn't died. But now white college kids were rediscovering black artists—the originators of the art form—who fueled the folk blues revival across the country…\u003c\/p\u003e\n\u003cp\u003eThe Chess Brothers wanted part of that action. Certainly, their franchise was trying to capitalize on the folk movement. What they didn't seem to realize was that they had it all along. Hell, Big Bill Broonzy—the epitome of rural southern black folk music—had lived right there in Chicago, and it was no secret that he was one of the two biggest influences on Muddy's early evolution (the other being Son House). Truth of the matter is, all the best Chess stuff was already folk blues—'The REAL Folk Blues,' as Phil \u0026amp; Leonard eventually began labeling some of these LPs they released on Muddy, Howlin' Wolf, Sonny Boy Williamson and John Lee Hooker. Muddy's Folk Singer project was the first of them.\" Wayne Goins, Positive Feedback, June 2018\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\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 divided 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.” AllMusic Review by Cub Koda\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eUltraDisc One-Step\u003c\/strong\u003e : Instead 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 \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMoFi SuperVinyl\u003c\/strong\u003e: The 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 : 4,5 \/ 5 , Discogs : 4,66 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":42243032121594,"sku":"MFSL45UD1S-023","price":195.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/muddy-waters-folk-singer-2lp-45rpm-box-set-1step-supervinyl-audiosoundmusic-1.jpg?v=1719857242"},{"product_id":"kansas-kansas","title":"Kansas - Kansas","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\u003eSteve Walsh – piano, organ, Fender Rhodes, congas, lead and backing vocals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eKerry Livgren – guitars, piano, organ, Moog synthesizer, backing vocals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRobby Steinhardt – violin, lead and backing vocals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRich Williams – electric and acoustic guitars\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDave Hope – bass, backing vocals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePhil Ehart – drums\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJay Siegel – vocals on \"Lonely Wind\"\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, Gatefold cover, featuring original graphics and lyrics\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 : RTI\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Friday Music\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Kirshner\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded September 1973, December 1973 at Record Plant Studios \"A\" and \"C\", New York City\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineered \u0026amp; mixed by Dan Turbeville\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Wally Gold\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by Joe Reagoso\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1974\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\u003eCan I Tell You\u003c\/li\u003e\n\u003cli\u003eBringing It Back\u003c\/li\u003e\n\u003cli\u003eLonely Wind\u003c\/li\u003e\n\u003cli\u003eBelexes\u003c\/li\u003e\n\u003cli\u003eJourney From Mariabraun\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eThe Pilgrimage\u003c\/li\u003e\n\u003cli\u003eApercu\u003c\/li\u003e\n\u003cli\u003eDeath Of Mother Nature Suite\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“Kansas stood apart from their peers, since they were an American band that dared play on the epic scale of such English art rockers as Genesis. Consequently, Kansas is a truly weird hybrid of British pomp, doggedly artistic concept, and arena boogie, all served up with more violin than there is flute on a Jethro Tull album. It's hard not to admire their blatant ambition in one sense, since few bands try as hard as Kansas do here. Still, there're a lot of scales and arpeggios, galloping triplets, dramatic organ, and stately ballads that signify nothing and go nowhere. Since it's as grounded in boogie as it is in art, the group never gets as weird as their more interesting counterparts, but that reliance on arena rock does make them unique. But uniqueness isn't the same as good, or even interesting listening, even if Kansas remains a period piece like no other.” 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 : 3,98 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":42341284544762,"sku":"FRM-32817","price":55.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/kansas-kansas-audiosoundmusic-1.jpg?v=1719857890"},{"product_id":"the-doobie-brothers-one-step-closer","title":"The Doobie Brothers - One Step Closer","description":"\u003cp\u003e\u003cstrong\u003e\u003ca title=\"vinyl featurig The Doobie Brothers\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/the-doobie-brothers\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/the-doobie-brothers\"\u003e\u003cspan style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring the Doobie Brothers]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePatrick Simmons – guitars, lead and backing vocals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJohn McFee – guitars, backing vocals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMichael McDonald – keyboards, synthesizers, lead and backing vocals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCornelius Bumpus – tenor saxophone, soprano saxophone, organ, lead and backing vocals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTiran Porter – bass\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eKeith Knudsen – drums, backing vocals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eChet McCracken – drums, vibraphone, marimbas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBobby LaKind – congas, bongos, backing vocals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eNicolette Larson – backing vocals on \"Real Love\", \"Dedicate This Heart\", and \"Just In Time\"\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePatrick Henderson – keyboards on \"Real Love\", \"One By One\", and \"Keep This Train A-Rollin'\"\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLee Thornburg – trumpet on \"South Bay Strut\" and \"Keep This Train A-Rollin'\", flugelhorn for \"Dedicate This Heart\"\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eChris Thompson – backing vocals on \"No Stoppin' Us Now\"\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTed Templeman – tambourine, cowbell, maracas, backing vocals on \"One Step Closer\"[7]\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJerome Jumonville – tenor saxophone, horn arrangements on \"Keep This Train A-Rollin'\"\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJoel Peskin – baritone saxophone on \"Keep This Train A-Rollin'\"\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBill Armstrong – trumpet on \"Keep This Train A-Rollin'\"\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJimmie Haskell – string arrangements on \"Real Love\" and \"South Bay Strut\"\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, Gatefold Jacket\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : unspecified\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Friday Music\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Warner Bros Records\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded in 1980 at Sunset Sound Recorders, Hollywood ; Warner Bros. Recording Studios, North Hollywood ; United Sound Recorders, Detroit and A\u0026amp;R Recorders, New York\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineered \u0026amp; mixed by Jim Isaacson\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Ted Templeman\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by Joe Reagoso\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1980\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\u003eDedicate This Heart\u003c\/li\u003e\n\u003cli\u003eReal Love\u003c\/li\u003e\n\u003cli\u003eNo Stopping Us Now\u003c\/li\u003e\n\u003cli\u003eThank You Love\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eOne Step Closer\u003c\/li\u003e\n\u003cli\u003eKeep This Train A-Rollin'\u003c\/li\u003e\n\u003cli\u003eJust In Time\u003c\/li\u003e\n\u003cli\u003eSouth Bay Strut\u003c\/li\u003e\n\u003cli\u003eOne By One\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp\u003e“This album shows the difference between highly competent musicianship and true inspiration, and what each can deliver. The group's weakest album to date, One Step Closer is only a failure in relative terms. At the outset of the group's shift toward a more soulful sound, it might have gotten by in much the same way that, say, the Bee Gees' Mr. Natural failed commercially but was given a \"pass\" by critics, their record label, and, perhaps most importantly, the band itself. But coming off of the multi-Grammy winning Minute by Minute, One Step Closer was a serious letdown, despite the presence of a modest hit in \"Real Love\" and platinum record award-level sales. The band seemed to lack sufficient new inspiration for a whole album, a fact emphasized by the near-complete withdrawal of Patrick Simmons as a songwriter -- his \"No Stoppin' Us Now,\" co-authored with Michael McDonald and Christopher Thompson, is one of the better tracks and it's not remotely as strong as the output on earlier records. The title song, co-authored by Keith Knudsen and John McFee, is similarly a relatively uninspired successor to earlier compositions. McDonald is able to pick up some of the slack, along with saxman (and new member) Cornelius Bumpus, but overall the songs and the performances just don't measure up. It's more the quality of a set of demos in progress, and it was clear to all concerned that they were out of ideas. The Doobies spent the next two years touring and capitalizing on a decade's brilliant music-making before announcing their split.” 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\u003eDiscogs : 3,54 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":42348976374010,"sku":"FRM 3452","price":55.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/the-doobie-brothers-one-step-closer-audiosoundmusic-1.jpg?v=1719857935"},{"product_id":"bob-james-trio-espresso","title":"Bob James Trio – Espresso","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\u003eBob James - Fender Rhodes, Keyboards, Piano, Synthesizer \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/bob-james\" title=\"Vinyl featuring Bob James\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/bob-james\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Bob James]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMike Palazzolo - Bass (Acoustic)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBilly Kilson - Drums\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHugh Char - Drum Programming (B2)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLuisito Quinter - Percussion Overdubs\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAngela Scates - Oboe (B3)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDayve Stewart, Mark Falchook – Keyboards (A1, B1)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eArranged by Bob James\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by Bob James (A1-4, B1-3, B5, Bonus 2), Sonny Abelardo (A1, B1), Ralph McDonald (B4), William Salter (B4), Andy Razaf (Bonus 1), Fats Waller (Bonus 1), Harry Brooks (Bonus 1)\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\u003e\u003cspan style=\"color: #ff2a00;\"\u003eLimited edition\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eIncludes high-res download code for 2 bonus tracks\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : \u003c\/strong\u003e\u003cstrong\u003eunspecified\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Evosound\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Evosound\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded 18 December 2017 at Stagg Studios, Van Nuys, California\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineered by Ken Freeman and Guido Diaz (Overdub Engineer)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Sonny Abelardo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMixed by Ken Freeman\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMastered by Steve Vavagiakis at Bang Zoom Mastering, Rockland, New York\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReleased in August 2018 (first release)\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\u003col\u003e\u003c\/ol\u003e\n\u003col\u003e\u003c\/ol\u003e\n\u003cp\u003eSide A   \u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eTopside\u003c\/li\u003e\n\u003cli\u003eShadow Dance\u003c\/li\u003e\n\u003cli\u003eMojito Ride\u003c\/li\u003e\n\u003cli\u003eIl Boccalone\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eSubmarine\u003c\/li\u003e\n\u003cli\u003eBulgogi\u003c\/li\u003e\n\u003cli\u003eOne Afternoon\u003c\/li\u003e\n\u003cli\u003eMister Magic\u003c\/li\u003e\n\u003cli\u003ePromenade\u003c\/li\u003e\n\u003cli\u003eLike I'm Gonna Lose You\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003col\u003e\u003c\/ol\u003e\n\u003col\u003e\u003c\/ol\u003e\n\u003col\u003e\u003c\/ol\u003e\n\u003cp\u003eBonus tracks:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eAin’t Misbehavin’\u003c\/li\u003e\n\u003cli\u003eBoss Lady\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 : 4.86 \/ 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":42501194154234,"sku":"EVLP023","price":49.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/bob-james-trio-espresso-audiosoundmusic-1.jpg?v=1719858338"},{"product_id":"the-poll-winners-barney-kessel-with-shelly-manne-ray-brown","title":"\u003ctranscy\u003eThe Poll Winners - Barney Kessel with Shelly Manne \u0026 Ray Brown\u003c\/transcy\u003e","description":"\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003eBass – Ray Brown \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/ray-brown\" title=\"vinyl featuring Ray Brown\"\u003e\u003cspan style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Ray Brown]\u003c\/span\u003e\u003c\/a\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDrums – Shelly Manne \u003ca data-mce-fragment=\"1\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/shelly-manne\" title=\"Vinyl featuring shelly manne\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/shelly-manne\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"color: #ff8000;\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Shelly Manne]\u003c\/span\u003e\u003c\/a\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGuitar – Barney Kessel\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, gatefold old-style tip-on jackets\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12”\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Quality Record Pressings\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Acoustic Sounds Series\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Contemporary Records\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded March 18 \u0026amp; 19, 1957 at Contemporary's Studio, Los Angeles\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineered by Howard Holzer, Roy DuNann\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Lester Koenig\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 1957\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2022\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks:\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eSide A:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eJordu\u003c\/li\u003e\n\u003cli\u003eSatin Doll\u003c\/li\u003e\n\u003cli\u003eIt Could Happen to You\u003c\/li\u003e\n\u003cli\u003eMean to Me\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eDon't Worry 'bout Me\u003c\/li\u003e\n\u003cli\u003eOn Green Dolphin Street\u003c\/li\u003e\n\u003cli\u003eYou Go to My Head\u003c\/li\u003e\n\u003cli\u003eMinor Mood\u003c\/li\u003e\n\u003cli\u003eNagasaki\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003col\u003e\u003c\/ol\u003e\n\u003col\u003e\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“If the picture of three grown men hanging onto giant, colored swirl sticks looks a bit odd, or if the title The Poll Winners seems a bit conceited, the music, nonetheless -- recorded in 1957 -- still sounds great in 2002. Besides, guitarist Barney Kessel, bassist Ray Brown, and drummer Shelly Manne really did win polls in Down Beat, Playboy, and Metronome in 1956, and this is precisely what brought the players together. Here, on their first outing, they interpret nine pieces for 40 lovely minutes of modern jazz. After kicking off with a fine take on Duke Jordan's \"Jordu,\" the group delivers an emotionally warm, six-minute version of \"Satin Doll,\" one the album's highlights. While each player is always fully engaged in this small setting, Kessel's guitar supplies the lead voice. His expressive style has more in common with bluesy players like Kenny Burrell than cool ones like Tal Farlow. This quality leads to sensitive interpretations of melody-filled standards like \"On Green Dolphin Street\" and \"It Could Happen to You.\" As is traditional in small settings, both Manne and Brown are also given a piece of the action, usually near the end of a tune. The choice of material, the interplay between the three players, and the lead work all meld together beautifully on The Poll Winners, making it a classic guitar album in a small-group setting.” AllMusic Review by Ronnie D. Lankford, Jr.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eMuskogee native Barney Kessel is widely considered to be among the greatest jazz guitarists. A noted band leader, Kessel was renowned for session work that included Charlie Parker, Oscar Peterson, Billie Holiday, Sonny Rollins, Chet Baker, Ella Fitzgerald and Roy Eldridge. Additionally, he was an integral member of the iconic pop music studio ensemble, The Wrecking Crew. A self-taught musician, Kessel had a unique grasp of straightforward and complex structures that made him an expressive soloist and group musician. A certain apex of his career was his Poll Winners album series with Ray Brown and Shelly Manne. These reflected the Downbeat and Metronome magazine annual polls.\u003c\/p\u003e\n\u003cp\u003eCraft Recordings has released a re-mastered 180-gram vinyl of the debut of this trio. The Poll Winners: Barney Kessel With Shelly Manne And Ray Brown is a solid representation of a creatively interactive trio. Side 1 opens with the Duke Jordan composition, “Jordu”. The trio opens strong with a syncopated vamp featuring Kessel on lead and Brown’s propulsive bass. Manne’s subtle brush technique is excellent. Brown and Manne exchange with great timing while Kessel brings a deft touch to his chord-laden play. This dynamic small ensemble capture the innate, swaying elegance of Duke Ellington on the classic standard, “Satin Doll”. Kessel’s first solo glows with melodic articulation and bluesy touches. Brown accompanies in counterpoint while Kessel cuts loose. Brown’s concise solo is erudite and Manne’s turn in the spotlight is brief but memorable for its unique execution. “It Could Happen To You” (Van Heusen \u0026amp; Burke) is one of those popular tunes that has become a jazz touchstone (including covers by Miles Davis. Bud Powell, Ahmad Jamal, Dave Brubeck, Keith Jarrett and Sonny Rollins). Here the depth and fluidity of Kessel’s lyrical approach is translated. His delicate articulation infuses the opening and when the trio engages, the tempo uptick Is compelling. In a surprising arrangement, the torch ballad, “Mean To Me” gets a heavy dose of swing. Kessel’s exuberant play is palpable and the rhythm section responds in lockstep.\u003c\/p\u003e\n\u003cp\u003eSide 2 kicks off with another pop\/jazz standard, “Don’t Worry ‘Bout Me”. Against sparkling drum fills, Kessel’s lead is forcefully rhythmic with brilliant jazz intonation, and Brown trades off stylishly. “Green Dolphin Street’ was written for the 1947 film of the same name. Miles Davis re-invented it for the jazz idiom in 1958…now it is an iconic part of jazz lore. The trio percolates on this one, distilling the moodiness and exotic motifs, but instilling it with Latin flair. Slowing things down, another Great American Songbook tune (“You Go To My Head”) is exquisitely translated. This major-minor transition key opus is perfect for this group. Kessel embraces the wistful longing of the melody, with some additional flourish. Brown is equally adroit at interpreting the melancholic accents and Manne’s understated drum work is graceful. Kessel and Brown counter vamps at the beginning of a new Kessel composition, “Minor Moods”. Then a buoyant swing break permeates this jam as guitar and double bass exchange riffs before a return to the intro. The finale, “Nagasaki” is a high-octane performance that combines freewheeling instrumentation and precision. The pedigree of this song is mainly associated with big band jazz, and the dynamic trio emulates the late 20’s vibe.\u003c\/p\u003e\n\u003cp\u003eCraft Recordings had done an excellent job in re-mastering The Poll Winners to 180-gram vinyl. The ORP pressing is meticulous with little surface noise and no hisses or pops. Bernie Grumman’s stereo mix is precise with guitar in one speaker and double bass\/drums in another. It is nicely balanced. For audiophiles, the original liner notes include a lot of technical information about the Western 45-45 “StereoDisk” cutting system.” Robbie Gerson, Audiophile Audition, June 2022\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 : 4,37 \/ 5 ; Audiophile Audition : 4.5 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":42590276911354,"sku":"ACONC 386","price":45.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/the-poll-winners-barney-kessel-with-shelly-manne-and-ray-brown-audiosoundmusic-1.jpg?v=1719858573"},{"product_id":"bob-james-and-david-sanborn-double-vision","title":"\u003ctranscy\u003eBob James and David Sanborn - Double Vision\u003c\/transcy\u003e","description":"\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eBob James – keyboards, synthesizers, programming, rhythm arrangements, synthesizer arrangements \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/bob-james\" title=\"Vinyl featuring Bob James\"\u003e\u003cspan style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Bob James]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAl Jarreau – vocal (B1)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDavid Sanborn – saxophone\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRobbie Kilgore – synthesizer programming\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePaul Jackson, Jr. – guitar\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEric Gale – guitar (B1, B4)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMarcus Miller – bass, rhythm arrangements (A1-2)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSteve Gadd – drums \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/steve-gadd\" title=\"vinyl featuring steve gadd\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/steve-gadd\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Steve Gadd]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePaulinho da Costa – percussion\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBob Riley – drum programming (B2)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by Marcus Miller (A1-2), Bob James (A3, B3), David Sanborn (A3, B2-3), Woodrow Buddy Johnson (B1), Cindy Walker (B4), Eddy Arnold (B4)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : \u003c\/strong\u003e\u003cstrong\u003eunspecified\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Evosound\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Warner Bros\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded at Clinton Recording Studios and Unique Recording Studios, New York City\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded by Bob James, \u003c\/strong\u003e\u003cstrong\u003eBill Schnee, Joe Jorgensen\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineered and mixed by Bill Schnee\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Tommy LiPuma\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1986\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in March 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\u003col\u003e\u003c\/ol\u003e\n\u003col\u003e\u003c\/ol\u003e\n\u003cp\u003eSide A:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eMaputo\u003c\/li\u003e\n\u003cli\u003eMore Than Friends\u003c\/li\u003e\n\u003cli\u003eMoon Tune\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\u003eSince I Fell for You\u003c\/li\u003e\n\u003cli\u003eIt's You\u003c\/li\u003e\n\u003cli\u003eNever Enough\u003c\/li\u003e\n\u003cli\u003eYou Don't Know Me\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003col\u003e\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAwards:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e1987 Grammy Award for Best Jazz Fusion Performance, Vocal or Instrumental\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e“This combination works quite well. Poppish keyboardist\/arranger Bob James joins with electric bassist Marcus Miller, drummer Steve Gadd, guitarist Paul Jackson, percussionist Paulinho da Costa, and (on two songs) guitarist Eric Gale to accompany the distinctive and always soulful altoist David Sanborn. Sanborn caresses the strong melodies, mostly originals by James and Miller, and plays well with guest vocalist Al Jarreau on \"Since I Fell for You.\" One of the best recordings ever released under James' name (Sanborn gets co-billing) and a big seller.” AllMusic Review by Scott Yanow\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp\u003eAllMusic : 4 \/ 5 ; Discogs : 4.04 \/ 5\u003c\/p\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003ch1\u003e\u003cbr\u003e\u003c\/h1\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":42699895931130,"sku":"EVLP029","price":49.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/bob-james-and-david-sanborn-double-vision-audiosoundmusic-1.jpg?v=1719858822"},{"product_id":"steely-dan-countdown-to-ecstasy-2lp-box-set-45rpm-uhqr-200g-clear-vinyl","title":"\u003ctc\u003eSteely Dan - Countdown To Ecstasy (2LP, Coffret, 45 tours, UHQR, 200g, vinyle translucide)\u003c\/tc\u003e","description":"\u003cp\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eORDER LIMITED TO ONE ITEM PER CUSTOMER\u003c\/strong\u003e\u003c\/span\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/steely-dan\" title=\"vinyl featuring Steely Dan\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/steely-dan\"\u003e\u003cspan style=\"color: #ff8000;\"\u003e[click here to see more vinyl from Steely Dan]\u003c\/span\u003e\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan data-mce-fragment=\"1\"\u003ePiano, Electric Piano, Synthesizer, Vocals – Donald Fagen\u003c\/span\u003e \u003c\/strong\u003e\u003cstrong\u003e\u003cspan style=\"color: #ff8000;\"\u003e\u003ca data-mce-fragment=\"1\" style=\"color: #ff8000;\" title=\"Vinyl featuring Donald Fagen\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/donald-fagen\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/donald-fagen\"\u003e[click here to see more vinyl featuring Donald Fagen]\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBacking Vocals – David Palmer (4), James Rolleston, Michael Fenelly*, Myrna Matthews, Patricia Hall, Royce Jones, Sherlie Matthews\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eVibraphone, Marimba, Percussion – Victor Feldman\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBass Guitar, Harmonica, Vocals – Walter Becker\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAcoustic Guitar – Ben Benay\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDrums, Percussion, Vocals – Jim Hodder\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGuitar – Denny Dias\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGuitar, Pedal Steel Guitar – Jeff \"Skunk\" Baxter\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAll songs written by Walter Becker and Donald Fagen \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e2 LPs, box set, gatefold \u003cspan data-mce-fragment=\"1\"\u003eon heavy cardboard stock, \u003c\/span\u003e\u003c\/strong\u003e\u003cstrong\u003epremium slipcase with a wooden dowel spine\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eLimited to 15,000 numbered copies\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eUHQR\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 200g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : Clear vinyl\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 45RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12”\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Quality Record Pressings\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Analogue Productions\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : ABC\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded at Caribou Ranch in The Nederlands and The Village Recorder in West Los Angeles\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineered by Roger Nichols\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMixed by Denny Dias\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Gary Katz\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMastered by Bernie Grundman\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in July 1973\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in December 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\u003eBodhisattva\u003c\/li\u003e\n\u003cli\u003eRazor Boy\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eThe Boston Rag\u003c\/li\u003e\n\u003cli\u003eYour Gold Teeth\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide C:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eShow Biz Kids\u003c\/li\u003e\n\u003cli\u003eMy Old School\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide D:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003ePearl Of The Quarter\u003c\/li\u003e\n\u003cli\u003eKing Of The World\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003col\u003e\u003c\/ol\u003e\n\u003col\u003e\u003c\/ol\u003e\n\u003col\u003e\u003c\/ol\u003e\n\u003col\u003e\u003c\/ol\u003e\n\u003col\u003e\u003c\/ol\u003e\n\u003col\u003e\u003c\/ol\u003e\n\u003col\u003e\u003c\/ol\u003e\n\u003col\u003e\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAwards\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eColin Larkin’s All Time Top 1000 Albums - Ranked 307\u003c\/strong\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eIncluded in the book 1001 Albums You Must Hear Before You Die\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“Can't Buy a Thrill became an unexpected hit, and as a response, Donald Fagen became the group's full-time lead vocalist, and he and Walter Becker acted like Steely Dan was a rock \u0026amp; roll band for the group's second album, Countdown to Ecstasy. The loud guitars and pronounced backbeat of \"Bodhisattva,\" \"Show Biz Kids,\" and \"My Old School\" camouflage the fact that Countdown is a riskier album, musically speaking, than its predecessor. Each of its eight songs have sophisticated, jazz-inflected interludes, and apart from the bluesy vamps \"Bodhisattva\" and \"Show Biz Kids,\" which sound like they were written for the stage, the songs are subtly textured. \"Razor Boy,\" with its murmuring vibes, and the hard bop tribute \"Your Gold Teeth\" reveal Becker and Fagen's jazz roots, while the country-flavored \"Pearl of the Quarter\" and the ominous, skittering \"King of the World\" are both overlooked gems. Countdown to Ecstasy is the only time Steely Dan played it relatively straight, and its eight songs are rich with either musical or lyrical detail that their album rock or art rock contemporaries couldn't hope to match.” Review by Stephen Thomas Erlewine\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eUHQR :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eUHQR pressing is inspired from JVC Japan, which 30 years ago was the pinnacle of high-quality vinyl. Each UHQR vinyl is pressed, using hand-selected vinyl, on a manual Finebilt press with attention paid to every single detail of every single record. The 200-gram records feature the same flat profile that helped to make the original UHQR so desirable. From the lead-in groove to the run-out groove, there is no pitch to the profile, allowing your stylus to play truly perpendicular to the grooves from edge to center. Every UHQR is hand-inspected upon pressing completion, and only the truly flawless are allowed to go to market.\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eAllMusic : 5 \/ 5 , Discogs : 4.28 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":43384403755258,"sku":"AUHQR 0010-45","price":249.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/steely-dan-countdown-to-ecstasy-2lp-box-set-45rpm-uhqr-200g-clear-vinyl-audiosoundmusic-1.jpg?v=1719860308"},{"product_id":"andre-previn-and-his-pals-shelly-manne-red-mitchell-west-side-story","title":"André Previn And His Pals, Shelly Manne \u0026 Red Mitchell - West Side Story","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003ePiano – André Previn\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eDrums – Shelly Manne\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eBass – Red Mitchell\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eLyrics by Stephen Sondheim and music by Leonard Bernstein\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003cbr\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 : Quality Record Pressings\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Craft Recordings Contemporary Records Acoustic Sounds Series\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Contemporary Records\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eRecorded August 24 \u0026amp; 25, 1959 at Contemporary's studio in Los Angeles.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eEngineered by Roy DuNann\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eProduced by Lester Koenig\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eMastered and lacquer cut by Bernie Grundman at Bernie Grundman Mastering\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003ePainting by Ben Shahn\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eSleeve Notes by Lester Koenig\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1979\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in May 2023\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks:\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eSide A:\u003c\/p\u003e\n\u003col\u003e\n\u003cli data-mce-fragment=\"1\"\u003eSomething's Coming\u003c\/li\u003e\n\u003cli data-mce-fragment=\"1\"\u003eJet Song\u003c\/li\u003e\n\u003cli data-mce-fragment=\"1\"\u003eTonight\u003c\/li\u003e\n\u003cli data-mce-fragment=\"1\"\u003eI Feel Pretty\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp data-mce-fragment=\"1\"\u003eSide B:\u003c\/p\u003e\n\u003col\u003e\n\u003cli data-mce-fragment=\"1\"\u003eGee, Officer Krupke!\u003c\/li\u003e\n\u003cli data-mce-fragment=\"1\"\u003eCool\u003c\/li\u003e\n\u003cli data-mce-fragment=\"1\"\u003eMaria\u003c\/li\u003e\n\u003cli data-mce-fragment=\"1\"\u003eAmerica\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003col\u003e\u003c\/ol\u003e\n\u003col\u003e\u003c\/ol\u003e\n\u003col\u003e\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“The last of a series of showtune albums recorded by the trio of pianist Andre Previn, bassist Red Mitchell and drummer Shelly Manne finds the all-star group focusing on the music of West Side Story (Previn and Manne alternated leadership, and it was the drummer's good fortune to have the famous My Fair Lady album under his own name). (…) As usual, the melodies are treated respectfully yet swingingly, and Andre Previn in particular excels in this setting. Recommended.” AllMusic Review by Scott Yanow\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e“(…) There's no denying the appeal of Leonard Bernstein's now classic score, but Previn finds ingenious ways to rework the melodies and play with the tempo to invigorate the songs, giving them a different personality while still staying true to the original. \"Something's Coming\" is taken at a brisk gait with a couple of compelling modulations in the middle. \"I'm So Pretty\" is given a rhythmic jolt, and \"Cool\" gets an unexpected Teddy Wilson-ish shine. Every song here has something new going for it, and the soloing and interplay between the three is top-notch. West Side Story is the best jazz version of the classic score, and one of Previn's best recordings.” All About Jazz Review by David Rickert\u003c\/p\u003e\n\u003cp\u003e\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 : 4.67 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":47262000906575,"sku":"CR00390","price":45.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/files\/andre-previn-and-his-pals-shelly-manne-and-red-mitchell-west-side-story-audiosoundmusic-1.jpg?v=1719862308"},{"product_id":"bud-shank-barefoot-adventure-impex-seaglass-aqua-vinyl-limited-numbered-edition","title":"Bud Shank - Barefoot Adventure (Seaglass Aqua Vinyl)","description":"\u003cdiv\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003e\u003cstrong\u003eORDER LIMITED TO ONE ITEM PER CUSTOMER\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAlto Saxophone, Baritone Saxophone – Bud Shank \u003ca title=\"vinyl featuring bud shank\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/bud-shank\"\u003e\u003cspan style=\"color: #ff8000;\"\u003e[click here to see more Vinyl \/ SACD featuring Bud Shank]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDrums – Shelly Manne \u003ca data-mce-fragment=\"1\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/shelly-manne\" title=\"Vinyl featuring shelly manne\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/shelly-manne\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"color: #ff8000;\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more Vinyl \/ SACD featuring Shelly Manne]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTrumpet – Carmell Jones\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\" style=\"color: #ff8000;\"\u003e\u003ca data-mce-fragment=\"1\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/carmell-jones\" title=\"vinyl featuring Carmell Jones\" style=\"color: #ff8000;\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/carmell-jones\"\u003e[click here to see more Vinyl \/ SACD featuring Carmell Jones]\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBass – Gary Peacock\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGuitar – Dennis Budimir\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTenor Saxophone – Bob Cooper\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by Bud Shank\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\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, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003e\u003cstrong\u003eLimited to 1,500 numbered copies\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : Seaglass Aqua\u003cmeta charset=\"utf-8\"\u003e\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 : Pacific Jazz\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded in November 1961 at Los Angeles, CA\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered \u0026amp; Cut to Lacquer by Kevin Gray \u003c\/strong\u003e\u003cstrong\u003eat Cohearent Audio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1961\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2024\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eBarefoot Adventure\u003c\/li\u003e\n\u003cli\u003eShoeless Beach Meeting\u003c\/li\u003e\n\u003cli\u003eJungle Cruise\u003c\/li\u003e\n\u003cli\u003eHow High the Makaha\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eWell, 'pon My Soul\u003c\/li\u003e\n\u003cli\u003eAla Moana\u003c\/li\u003e\n\u003cli\u003eBruce Is Loose\u003c\/li\u003e\n\u003cli\u003eDance of the Sea Monsters\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003col\u003e\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“Barefoot Adventure launches with the eponymous composition. Not surprising at all, given that this is the title track for the documentary. Stylistically though, the arrangement is full of unexpected twists and turns, not all of them embraceable by the true-bred Surf fan. Take, for instance, the downwards spiraling kick-off tone sequence on Bud Shank’s alto saxophone and Carmell Jones’ deliberately off-key trumpet accompaniment: this opening section is clearly rooted in Jazz rather than Surf Rock and even traverses through the whole composition which also sports the archetypical bass billows played by Gary Peacock. This is the sound of a dedicated Jazz combo. However, two particular additions do inject that Surf feeling after all: the brazen-aqueous duality of Shelly Manne’s beach-infested drums plus clinging cymbals and plinking triangles on the one hand, and Dennis Budimir’s adjacent guitar twangs which are awash with sunlight and rounded off by blue skies on the other hand. With an infinitesimal Yiddish timbre, Barefoot Adventure remains a feast for classic Jazz fans nonetheless.” Ambient Exotica\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eDiscogs : 4,06 \/ 5 \u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":49579915739471,"sku":"IMXLP6057","price":69.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/files\/Captured_ecran2024-09-02a17.01.17.png?v=1725306723"},{"product_id":"santana-inner-secrets-mofi","title":"Santana - Inner Secrets (MOFI)","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003e\u003cstrong\u003eORDER LIMITED TO ONE ITEM PER CUSTOMER\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCarlos Santana – guitar, backing vocals  \u003cspan style=\"color: #ff8000;\"\u003e[c\u003c\/span\u003e\u003ca style=\"color: #ff8000;\" title=\"Vinyl featuring Carlos Santana\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/carlos-santana\"\u003elick here to see more Vinyl\/SACD featuring Carlos Santana]\u003c\/a\u003e\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGreg Walker – lead vocals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eChris Solberg – guitar, backing vocals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eChris Rhyne – keyboards\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDavid Margen – bass\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGraham Lear – drums\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eArmando Peraza – percussion, backing vocals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRaul Rekow – percussion, backing vocals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePete Escovedo – percussion\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDennis Lambert - clavinet, backing vocals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMike Boddicker - synthesizer programming\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, Gatefold Cover\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003e\u003cstrong\u003eLimited to 3,000 numbered copies\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 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 : \u003cmeta charset=\"utf-8\"\u003e \u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eFidelity Record Pressing\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : MOFI\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Columbia\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded at Western Recorders, Los Angeles, California. July \u0026amp; August, 1978\u003c\/strong\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eEngineered by Matt Hyde\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eProduced by Dennis Lambert \u0026amp; Brian Potter\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eExecutive-Producer – Ray Etzler\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eMastered by Krieg Wunderlich at Mobile Fidelity Sound Lab, Sebastopol, CA on GAIN 2\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1978\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2024\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eDealer \/ Spanish Rose\u003c\/li\u003e\n\u003cli\u003eWell All Right\u003c\/li\u003e\n\u003cli\u003eOne Chain (Don't Make No Prison)\u003c\/li\u003e\n\u003cli\u003eStormy\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col start=\"5\"\u003e\n\u003cli\u003eOpen Invitation\u003c\/li\u003e\n\u003cli\u003eWham!\u003c\/li\u003e\n\u003cli\u003eThe Facts Of Love\u003c\/li\u003e\n\u003cli\u003eLife Is A Lady \/ Holiday\u003c\/li\u003e\n\u003cli\u003eMove On\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\"Since he had joined Santana in 1972, keyboard player Tom Coster had been Carlos Santana's right-hand man, playing, co-writing, co-producing, and generally taking the place of founding member Greg Rolie. But Coster left the band in the spring of 1978, to be replaced by keyboardist\/guitarist Chris Solberg and keyboardist Chris Rhyme. Despite the change, the band soldiered on, and with Inner Secrets, they scored three chart singles: the disco-ish \"One Chain (Don't Make No Prison)\" (#59), \"Stormy\" (#32), and a cover of Buddy Holly's \"Well All Right\" (#69), done in the Blind Faith arrangement. (There seems to be a Steve Winwood fixation here. The album also featured a cover of Traffic's \"Dealer.\") The singles kept the album on the charts longer than any Santana LP since 1971, but it was still a minor disappointment after Moonflower, and in retrospect seems like one of the band's more compromised efforts.\" \u003cspan\u003eAllMusic Review by William Ruhlmann\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eAllMusic : 2 \/ 5 , Discogs : 3,76 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":49753609797967,"sku":"MFSL1-559","price":65.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/files\/Captured_ecran2024-09-27a07.47.24.png?v=1727416104"},{"product_id":"santana-lotus-3lp-ultra-analog-half-speed-mastering-japanese-edition-copy","title":"Santana – Lotus (3LP, Ultra Analog, Half-speed Mastering)","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\u003e\u003cspan data-mce-fragment=\"1\"\u003eLead Guitar – Carlos Santana\u003c\/span\u003e  \u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\"\u003e[c\u003c\/span\u003e\u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/carlos-santana\" title=\"Vinyl featuring Carlos Santana\" style=\"color: #ff8000;\" data-mce-fragment=\"1\"\u003elick here to see more products featuring Carlos Santana]\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eVocals – Leon Thomas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBass – Doug Rauch\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDrums – Michael Shrieve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eKeyboards – Richard Kermode, Tom Coster\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePercussion – Armando Peraza, José \"Chepito\" Areas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e3 LPs, gatefold jacket included \u003cspan lang=\"EN-US\" style=\"mso-ansi-language: EN-US;\"\u003eFour Photo Inserts and Two Fold-Out Posters\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eLimited to 5,000 numbered copies\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Master tape : \u003c\/strong\u003e\u003cstrong\u003ehigh-definition DSD 11.2MHz master\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\u003eLive\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : \u003cspan lang=\"EN-US\" style=\"mso-ansi-language: EN-US;\"\u003eFidelity Record Pressing\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Mofi\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : CBS\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded live at Kosei Nenkin Hall, Osaka, Japan on Jul. 3 \u0026amp; 4, 1973\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Carlos Santana, Richard Kermode, Michael Shrieve, Doug Rauch, Tom Coster, Armando PerazaJosé Areas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered at Mobile Fidelity Sound Lab\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLacquer cut at Mobile Fidelity Sound Lab by Krieg Wunderlich\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in \u003c\/strong\u003e\u003cstrong\u003eMay 1974 (Japan), Nov. 1975 (Europe), June 1991 (U.S.)\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\u003eMeditation\u003c\/li\u003e\n\u003cli\u003eGoing Home\u003c\/li\u003e\n\u003cli\u003eA-1 Funk\u003c\/li\u003e\n\u003cli\u003eEvery Step Of The Way\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eBlack Magic Woman\u003c\/li\u003e\n\u003cli\u003eGypsy Queen\u003c\/li\u003e\n\u003cli\u003eOye Como Va\u003c\/li\u003e\n\u003cli\u003eYours Is The Light\u003c\/li\u003e\n\u003cli\u003eBatukada\u003c\/li\u003e\n\u003cli\u003eXibaba (She-Ba-Ba)\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide C:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eStone Flower (Introduction)\u003c\/li\u003e\n\u003cli\u003eWaiting\u003c\/li\u003e\n\u003cli\u003eCastillos De Arena, Part 1 (Sand Castle)\u003c\/li\u003e\n\u003cli\u003eFree Angela\u003c\/li\u003e\n\u003cli\u003eSamba De Sausalito\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide D:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eMantra\u003c\/li\u003e\n\u003cli\u003eKyoto (Drum Solo)\u003c\/li\u003e\n\u003cli\u003eCastillos De Arena, Part 2 (Sand Castle)\u003c\/li\u003e\n\u003cli\u003eSe A Cabo\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide E:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eSamba Pa Ti\u003c\/li\u003e\n\u003cli\u003eMr. Udo\u003c\/li\u003e\n\u003cli\u003eToussaint L'Overture\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide F:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eIncident At Neshabur\u003c\/li\u003e\n\u003cli\u003eSavor\u003c\/li\u003e\n\u003cli\u003eConga Solo\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“Recorded in Japan in July 1973, this massive, three-LP live album was available outside the United States in 1974 but held back from domestic release in the U.S. It features the same \"New Santana Band\" that recorded Welcome, and combines that group's jazz and spiritual influences with performances of earlier Latin rock favorites like \"Oye Como Va.\"” AllMusic Review by William Ruhlmann\u003c\/p\u003e\n\u003cp\u003e“This triple live album originally recorded in in Osaka, Japan over two night in early July 73, was intended as a Japan-only release, but soon found its way worlwide as an import, as far as vinyls are concerned, something that stopped with the Cd re-issue. For the rest of the world, Moonflower was released in 76 instead, and it was a strange mix of live and studio tracks, and it has its charms as well. Lotus catches the Santana band between its two more or less stable period, as there are still embers of the first line-up, and not everyone of the second period (Amigos) is there yet. Coming in with a very elaborate fold out artwork, this album rivals with Yes’ Yessongs in terms of number f discs (3 each) and complex artwork, only to be topped by Chicago’s quadruple Carnegie boxset. As usual in that hippie era, the artwork of the band is slightly esoteric, mainly due to Carlos’ Yogi enrolment and while the illustrations are quite kitsch, they’ll not likely convert anyone either.\u003c\/p\u003e\n\u003cp\u003eStarting with a Japanese introduction, the group licks with a homage to Alice Coltrane with a wurlitzer and a wink to the Illuminations album. The,n plunging into the ecstatic 12-minutes finale of Caranserai, one wonders if Santana is not laying down its trumps too early in the game, but which fan is not won over by these early sure-fire numbers. Then the band pulls out even more sure crowd favorites like the trio Magic:Gypsy and Como tracks from the Abraxas album.... After Yours Is The Light (Welcome) and a few more less remarkable number, the group launches into an adventurous medley (normaly taking up the whole second vinyl disc) of tracks with Casilleros jumping into Free Angela (Davis) and Sausalito and a then unreleased antra track (now a very-welcome bonus on the Welcome album), showing that Santana is not only extremely tight, but loves tricky and complex times sigs and great jazz-rock solos.\u003c\/p\u003e\n\u003cp\u003eThe second disc offers the end of the Castillos De Arena medley opassing through a 10-minutes drum solo (the album’s only weak point, really) in superb fireworks of notes from the whole group. A second set of three Abraxas tracks, including the much expanded Accident At Neshabur and Samba Pa Ti come in to close the set, before the encores including an explosive Toussaint from their third album.\u003c\/p\u003e\n\u003cp\u003eIn Lotus, we’ve got Santana at their near-best and Lotus is now a 2 Cd set that must be considered the most essential live Santana along with the 68 Fillmore. The only flaw of this album is that it doesn’t offer double thes pace to put everything else we’d love to hear from Carlos’boys, includinf Jingo, more Caravanserai and some Borboletta (almost forgotten here)” Sean Trane, Jazz Music Archives, April 2011\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 : 4.6 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":49924725637455,"sku":"MFSL3-540","price":165.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/files\/Captured_ecran2024-10-21a21.19.42.png?v=1729538458"},{"product_id":"sarah-vaughan-sassy-mono-acoustic-sounds-series","title":"Sarah Vaughan – Sassy (Mono, Acoustic Sounds Series)","description":"\u003cp class=\"MsoNormal\"\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eVocals - Sarah Vaughan \u003cmeta charset=\"utf-8\"\u003e \u003cspan style=\"color: rgb(204, 204, 204);\"\u003e \u003c\/span\u003e\u003ca title=\"vinyl featuring Sarah Vaughan\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/sarah-vaughan\"\u003e\u003cspan style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Sarah Vaughan]\u003c\/span\u003e\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eOrchestra – Hal Mooney And His Orchestra\u003c\/span\u003e\u003c\/strong\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003e\u003cspan style=\"font-size: 11.0pt; mso-ansi-language: EN-US;\" lang=\"EN-US\"\u003eArranged and conducted by Hal Mooney\u003c\/span\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eWritten by Billy Strayhorn (A1), James Shelton (A2), Eddie DeLange (A3), James Van Heusen (A3), Al Frisch (A4), Sid Wayne (A4), Lorenz Hart (A5), Richard Rodgers (A5), Cole Porter (A6), Benny Carter (B1), Ray Sonin (B1), Allie Wrubel (B2), Ralph Blane (B3), Hugh Martin (B3), Dedette Lee Hill (B4), Willard Robison (B4), Al Frisch (B5), Sid Wayne (B5), Mack David (B6), Ray Joseph Trainer (B6)\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003e1LP, \u003cspan lang=\"EN-US\" style=\"font-size: 11.0pt; mso-ansi-language: EN-US;\"\u003eStoughton Printing gatefold old-style tip-on jackets\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003eOriginal Master Tape : YES\u003c\/strong\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12”\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMono\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press :  Quality Record Pressings\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Acoustic Sound Series\u003c\/strong\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eOriginal Label : Mercury\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eRecorded April 1, 2 \u0026amp; 8, 1956 in New York City\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 11.0pt; mso-ansi-language: EN-US;\" lang=\"EN-US\"\u003eMastered by Ryan K. Smith at Sterling Sound \u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eOriginally released in 1956\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eReissued in September 2024\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eSide A:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"padding-left: 40px;\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003e1. Lush Life\u003cspan style=\"mso-tab-count: 1;\"\u003e        \u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"padding-left: 40px;\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003e2. I'm The Girl\u003cspan style=\"mso-tab-count: 1;\"\u003e   \u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"padding-left: 40px;\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003e3. Shake Down The Stars\u003cspan style=\"mso-tab-count: 1;\"\u003e           \u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"padding-left: 40px;\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003e4. I've Got Some Crying To Do\u003cspan style=\"mso-tab-count: 1;\"\u003e  \u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"padding-left: 40px;\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003e5. My Romance\u003cspan style=\"mso-tab-count: 1;\"\u003e               \u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"padding-left: 40px;\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003e6. I Loved Him\u003cspan style=\"mso-tab-count: 1;\"\u003e  \u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eSide B:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"padding-left: 40px;\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003e1. Lonely Woman\u003cspan style=\"mso-tab-count: 1;\"\u003e          \u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"padding-left: 40px;\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003e2. I'm Afraid The Masquerade Is Over\u003cspan style=\"mso-tab-count: 1;\"\u003e   \u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"padding-left: 40px;\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003e3. The Boy Next Door\u003cspan style=\"mso-tab-count: 1;\"\u003e    \u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"padding-left: 40px;\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003e4. Old Folks\u003cspan style=\"mso-tab-count: 1;\"\u003e      \u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"padding-left: 40px;\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003e5. Only You Can Say\u003cspan style=\"mso-tab-count: 1;\"\u003e     \u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"padding-left: 40px;\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003e6. A Sinner Kissed An Angel\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\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 class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eStudying the piano from an early age, Sarah Vaughan became an organist and choir soloist at the Mount Zion Baptist Church as a pre-teen. At the age of eighteen, she entered the famed Amateur Contest at Harlem’s Apollo Theater. Her rendition of the jazz standard \"Body and Soul\" won her first prize. Billy Eckstine was in the audience that night; six months later, she had joined him in Earl Hines’s big band, and sang alongside Dizzy Gillespie and Charlie Parker, as well as being the band's second pianist.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eNo matter what Sarah Vaughan is singing you notice her amazing control and range, she's able to float effortlessly from the lowest end of the scale to the highest without effort. Her singing is as much second nature as breathing is to most of us. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eListen to Vaughan wrap her voice around a word and you begin to understand what is meant by the term phrasing. You also realize why you don't hear the term used very often anymore as very few modern singers have this ability. It refers to a singer's ability to associate the lyrics of a song with the music, it means more than just being able to carry a tune, it is how you sing the words and the music together. Unfortunately the music of today doesn't really lend itself to that style of singing either. However hearing a singer of the quality of Sarah Vaughan you begin to regret its passing.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eThe \"golden age\" of recordings was from 1955 to 1965, at the beginning of the LP and the stereo era, where pure vacuum tube amplification helped produce recordings demonstrating unparalleled fidelity and warmth, lifelike presence and illumination.\u003c\/span\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRating\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eAllMusic : 3 \/ 5 ; Discogs : 4.12 \/ 5\u003c\/span\u003e\u003c\/p\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":53676595315023,"sku":"AEMA 512476","price":55.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/files\/Sarah_Vaughan_Sassy_0.jpg?v=1737741637"},{"product_id":"santana-amigos-mofi-limited-edition","title":"Santana - Amigos (MOFI)","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003e\u003cstrong\u003eORDER LIMITED TO ONE ITEM PER CUSTOMER\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCarlos Santana – guitars, background vocals, percussion, congas, güiro  \u003cspan data-mce-fragment=\"1\" style=\"color: #ff8000;\"\u003e[c\u003c\/span\u003e\u003ca data-mce-fragment=\"1\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/carlos-santana\" title=\"Vinyl featuring Carlos Santana\" style=\"color: #ff8000;\"\u003elick here to see more vinyl featuring Carlos Santana]\u003c\/a\u003e\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGreg Walker – vocals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTom Coster – acoustic piano, Fender Rhodes electric piano, Hammond organ, Moog synthesizer, ARP Pro Soloist, ARP Odyssey, ARP String Ensemble, Hohner Clavinet D6, background vocals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDavid Brown – bass guitar\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLeon \"Ndugu\" Chancler – drums, timbales, Remo Rototoms, percussion, congas, background vocals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eArmando Peraza – congas, bongos, background vocals, vocal on \"Gitano\"\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eIvory Stone – background vocals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJulia Tillman Waters – background vocals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMaxine Willard Waters – background vocals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eWritten by \u003c\/strong\u003e\u003cstrong\u003eDavid Rubinson (A1), Leon Ndugu Chancler (A1, A2, B2), Tom Coster (A1, A2, A3, B2, B3), Carlos Santana (A3, B3), Armando Peraza (B1), David Brown (B4), Ray Gardner (B4)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, gatefold sleeve\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003e\u003cstrong\u003eLimited to 3,000 numbered copies\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\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 : Fidelity Record Pressing\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\u003e\u003cspan\u003eRecorded in 1976 at Wally Heider Recording Studios, San Francisco, by Fred Catero and David Rubinson\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eProduced by David Rubinson \u0026amp; Friends, Inc.\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eOriginally released in 1976\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eReissued in 2024\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eTracks :\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eDance Sister Dance\u003c\/li\u003e\n\u003cli\u003eTake Me With You\u003c\/li\u003e\n\u003cli\u003eLet Me\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eGitano\u003c\/li\u003e\n\u003cli\u003eTell Me Are You Tired\u003c\/li\u003e\n\u003cli\u003eEuropa\u003c\/li\u003e\n\u003cli\u003eLet It Shine\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\"By the release of Amigos, the Santana band's seventh album, only Carlos Santana and David Brown remained from the band that conquered Woodstock, and only Carlos had been in the band continuously since. Meanwhile, the group had made some effort to arrest its commercial slide, hiring an outside producer, David Rubinson, and taking a tighter, more up-tempo, and more vocal approach to its music. The overt jazz influences were replaced by strains of R\u0026amp;B\/funk and Mexican folk music. The result was an album more dynamic than any since Santana III in 1971. \"Let It Shine\" (number 77), an R\u0026amp;B-tinged tune, became the group's first chart single in four years, and the album returned Santana to Top Ten status.\" AllMusic Review by William Ruhlmann\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eSantana’s music is like the game of Mikado – a tight bundle of pieces in various styles that is difficult to handle, even for experienced musicians. No whether the sticks are labelled funk, jazz, rock, R \u0026amp; B, or folk: when you try to pick out just one of these, the whole lot vibrates alongside.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIt seems relatively simple (and is often attempted) to try and sort out track lists according to more or less commercially oriented compilations. And having fastidiously set up the ranking and astutely discussed it in your circle of friends, you can sit back and enjoy the brilliant guitar sound of such blockbusters as \"Caravanserai\" (Columbia KC 31610) or \"Welcome\" (Columbia PC 32455) – quality rules the day!\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIn his seventh album the guitar guru is once again surrounded by numerous freshly recruited supporting musicians and the star producer David Rubinson. The latter watches carefully over the development of this project, which is highly reminiscent of the early Santana sound. A perceptible infatuation with the vocals, or the wealth of buzzing, pulsating, clattering, clicking rhythms, or yet again the inimitable bubbling, frothy guitar solos: a Santana LP is simply unthinkable without all this. Why then should one try to pick out the various styles, genres or consumer groups when this record belongs to his best and most important six, seven – or maybe even eight? At the end of the day, we all remain amigos with Santana.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e : \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAllmusic : 4 \/ 5 ,  \u003c\/span\u003e\u003cspan\u003eDiscogs \u003c\/span\u003e: \u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e3,91\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5 \u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":53983697371471,"sku":"MFSL1-557","price":65.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/files\/Captured_ecran2024-12-16a22.45.55.png?v=1734385637"},{"product_id":"santana-moonflower-2lp-mofi","title":"Santana - Moonflower (2LP, MOFI)","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCarlos Santana – guitar, vocals, percussion  \u003cspan style=\"color: #ff8000;\"\u003e[c\u003c\/span\u003e\u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/carlos-santana\" title=\"Vinyl featuring Carlos Santana\" style=\"color: #ff8000;\"\u003elick here to see more vinyl featuring Carlos Santana]\u003c\/a\u003e\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGreg Walker – vocals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTom Coster – keyboards\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePablo Tellez – bass, vocals (live tracks)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDavid Margen – bass (studio tracks)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGraham Lear – drums\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRaul Rekow – percussion\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJosé \"Chepito\" Areas – percussion (live tracks)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePete Escovedo – percussion (studio tracks)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTommy Coster – keyboards on \"Zulu\"\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by Carlos Santana (A1b to B1, B5, D1, D2), David Rubinson (B4), Gabor Szabo (B3), Graham Lear (C4), Jose Areas (A5), Leon \"Ndugu\" Chancler (B4), Leon Patillo (A4), Peter Green (B2), Rod Argent (C1), Santana Blues Band (C3, D3), Santana (D4), Tom Coster (A1a, A3, B1, B4, B5, C2, D1), Tommy Coster Jr. (A7)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e2 LPs, gatefold cover\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003e\u003cstrong\u003eLimited to 3,000 numbered copies\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 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 \u0026amp; Live\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : \u003cspan lang=\"EN-US\" style=\"mso-ansi-language: EN-US;\"\u003eFidelity Record Pressing \u003c\/span\u003e\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\u003e\u003cspan\u003eA3-5, B2-4, C2-3, D2-3 recorded live in Europe in December 1976, u\u003c\/span\u003e\u003cspan\u003esing the Mobile Recording Facilities of The Rolling Stones, London :\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\u003cstrong\u003e\u003cspan\u003eOlympiahalle-Munich, Germany\u003c\/span\u003e\u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003e\u003cspan\u003eThe Foire des Vins-Colmar, France\u003c\/span\u003e\u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003e\u003cspan\u003eThe Pavillion de Paris, France\u003c\/span\u003e\u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003e\u003cspan\u003eHammersmith Odeon-London, England\u003c\/span\u003e\u003c\/strong\u003e\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eA1-2, A6, B1, C1, D1 recorded at CBS Recording Studios in San Francisco.\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003cbr\u003e\u003cspan\u003eLive Recording and Production in Europe by David Rubinson \u0026amp; Friends, Inc.\u003c\/span\u003e\u003cbr\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003cbr\u003eEngineered \u0026amp; mixed by Glen Kolotkin\u003c\/strong\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Bill Graham, Devadip Carlos Santana*, Ray Etzler, Tom Coster\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by Joe Reagoso and Kevin Gray\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1977\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2025\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\u003eDawn \/ Go Within\u003c\/li\u003e\n\u003cli\u003eCarnaval\u003c\/li\u003e\n\u003cli\u003eLet the Children Play\u003c\/li\u003e\n\u003cli\u003eJugando\u003c\/li\u003e\n\u003cli\u003eI'll Be Waiting\u003c\/li\u003e\n\u003cli\u003eZulu\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eBahia\u003c\/li\u003e\n\u003cli\u003eBlack Magic Woman \/ Gypsy Queen\u003c\/li\u003e\n\u003cli\u003eDance Sister Dance (Baila Mi Hermana)\u003c\/li\u003e\n\u003cli\u003eEuropa (Earth's Cry Heaven's Smile)\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide C:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eShe's Not There\u003c\/li\u003e\n\u003cli\u003eFlor d' Luna (Moonflower)\u003c\/li\u003e\n\u003cli\u003eSoul Sacrifice \/ Head, Hands \u0026amp; Feet (drum solo)\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide D:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eEl Morocco\u003c\/li\u003e\n\u003cli\u003eTranscendance\u003c\/li\u003e\n\u003cli\u003eSavor \/ Toussaint l' Overture\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\"Santana, which was renowned for its concert work dating back to Woodstock, did not release a live album in the U.S. until this one, and it's only partially live, with studio tracks added, notably a cover of the Zombies' \"She's Not There\" (number 27) that became Santana's first Top 40 hit in five years. The usual comings and goings in band membership had taken place since last time; the track listing was a good mixture of the old -- \"Black Magic Woman,\" \"Soul Sacrifice\" -- and the recent, and with the added radio play of a hit single, Moonflower went Top Ten and sold a million copies, the first new Santana album to do that since 1972 and the last until Supernatural in 1999.\" \u003cspan\u003eAllMusic Review by William Ruhlmann\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eAllMusic : 3 \/ 5 , Discogs : 4,04 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":54467621814607,"sku":"MFSL2-558","price":95.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/files\/Captured_ecran2025-02-17a18.07.33.png?v=1739812103"},{"product_id":"kyung-wha-chung-souvenirs-a-collection-of-favourite-violin-2lp","title":"Kyung Wha Chung - Souvenirs: A Collection of Favourite Violin (2LP)","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eKyung Wha Chung, violin\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eItamar Golan, piano\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e2 LP, Gatefold jacket\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g Virgin Vinyl\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Analogphonic\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label :  EMI Classics\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eRecorded August 1998 at Abbey Road Studios\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eProduced by Christopher Raeburn\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eMastered by Thorsten Scheffner at Organic Music Studio\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eOriginally released in 1999 (as a CD)\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eReissued in 2025\u003c\/span\u003e\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 class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eSide A: Antonin Dvorak\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"padding-left: 40px;\" class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003e1. Humoreske in G flat, Op. 101 No. 7 (arr. August Wilhelm)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"padding-left: 40px;\" class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003e2. Romantic Pieces, Op. 75 No. 1\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"padding-left: 40px;\" class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003e3. Romantic Pieces, Op. 75 No. 2\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"padding-left: 40px;\" class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003e4. Romantic Pieces, Op. 75 No. 3\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"padding-left: 40px;\" class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003e5. Romantic Pieces, Op. 75 No. 4\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eSide B:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"padding-left: 40px;\" class=\"MsoNormal\"\u003e1. Karol Szymanowski - Nocturno e Tarantella, Op. 28 - Notturne\u003c\/p\u003e\n\u003cp style=\"padding-left: 40px;\" class=\"MsoNormal\"\u003e2. Karol Szymanowski - Nocturno e Tarantella, Op. 28 - Tarantella\u003c\/p\u003e\n\u003cp style=\"padding-left: 40px;\" class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003e3. Johann Sebastian Bach - Suite No. 3 in D, BWV 1068 - II: Air (arr. Lothar Windsperger)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"padding-left: 40px;\" class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003e4. Igor Stravinsky - Dithyrambe\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"padding-left: 40px;\" class=\"MsoNormal\"\u003e5. Jacques Ibert - Le petit Ane blanc\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003eSide C:\u003c\/p\u003e\n\u003cp style=\"padding-left: 40px;\" class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003e1. Fritz Kreisler \u003cspan style=\"mso-spacerun: yes;\"\u003e \u003c\/span\u003e- Schon Rosmarin\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"padding-left: 40px;\" class=\"MsoNormal\"\u003e2. Fritz Kreisler \u003cspan style=\"mso-spacerun: yes;\"\u003e \u003c\/span\u003e- Caprice Viennois\u003c\/p\u003e\n\u003cp style=\"padding-left: 40px;\" class=\"MsoNormal\"\u003e3. Fritz Kreisler \u003cspan style=\"mso-spacerun: yes;\"\u003e \u003c\/span\u003e- Tamborin Chinois\u003c\/p\u003e\n\u003cp style=\"padding-left: 40px;\" class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003e4. Franz Schubert - Ave Maria (arr. Wilhelmj, ed. Jascha Heifetz)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"padding-left: 40px;\" class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003e5. Sergei Rachmaninov - Romance, Op. 6 No. 1\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eSide D:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"padding-left: 40px;\" class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003e1. Sergei Rachmaninov - Dance Hongroise, Op. 6 No.2\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"padding-left: 40px;\" class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003e2. Jules Massenet - Meditation From \"Thais\" (transc. \u003c\/span\u003eMartin Pierre Marsick)\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"padding-left: 40px;\" class=\"MsoNormal\"\u003e3. Claude Debus - Beau Soir (trans. Heifetz)\u003c\/p\u003e\n\u003cp style=\"padding-left: 40px;\" class=\"MsoNormal\"\u003e4. Pablo de Sarasate - Zigeunerweisen, Op. 20\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003e\"Chung dispatches her souvenirs with endearing candor and a refreshing lack of affectation. The Four Romantic Pieces are intimate and lightly brushed... Szymanowski\u003c\/span\u003e\u003cspan style=\"mso-ascii-font-family: Aptos; mso-hansi-font-family: Aptos; mso-bidi-font-family: Aptos; mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003e’\u003c\/span\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003es fragrant Nocturne sings to a shimmering accompaniment, recalling Roxana\u003c\/span\u003e\u003cspan style=\"mso-ascii-font-family: Aptos; mso-hansi-font-family: Aptos; mso-bidi-font-family: Aptos; mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003e’\u003c\/span\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003es exotic vocal lines in King Roger, though there\u003c\/span\u003e\u003cspan style=\"mso-ascii-font-family: Aptos; mso-hansi-font-family: Aptos; mso-bidi-font-family: Aptos; mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003e’\u003c\/span\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003es an upbeat, quasi-Spanish central section and a highly flammable Tarantella to follow that puts the excellent Itamar Golan through his pace. Stravinsky is represented by the wistful Dithyrambe\u003c\/span\u003e\u003cspan style=\"mso-ascii-font-family: Aptos; mso-hansi-font-family: Aptos; mso-bidi-font-family: Aptos; mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003e’\u003c\/span\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003e from his Duo concertant, played with an appropriate sense of stillness, and Bach by an expressive account of the ubiquitous Air from the Third Orchestral Suite. It\u003c\/span\u003e\u003cspan style=\"mso-ascii-font-family: Aptos; mso-hansi-font-family: Aptos; mso-bidi-font-family: Aptos; mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003e’\u003c\/span\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003es nice to have Rachmaninov\u003c\/span\u003e\u003cspan style=\"mso-ascii-font-family: Aptos; mso-hansi-font-family: Aptos; mso-bidi-font-family: Aptos; mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003e’\u003c\/span\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003es Op.6 pieces on board, the first sounding like a near-relation of Schumann\u003c\/span\u003e\u003cspan style=\"mso-ascii-font-family: Aptos; mso-hansi-font-family: Aptos; mso-bidi-font-family: Aptos; mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003e’\u003c\/span\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003es D minor Piano Trio, the second a racy Hungarian Dance\u003c\/span\u003e\u003cspan style=\"mso-ascii-font-family: Aptos; mso-hansi-font-family: Aptos; mso-bidi-font-family: Aptos; mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003e’\u003c\/span\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003e - performed here with genuine swagger. Beau soir is suitably smoky, Le petit Ane blanc suavely charming and Golan\u003c\/span\u003e\u003cspan style=\"mso-ascii-font-family: Aptos; mso-hansi-font-family: Aptos; mso-bidi-font-family: Aptos; mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003e’\u003c\/span\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003es perky playing 4\u003c\/span\u003e\u003cspan style=\"mso-ascii-font-family: Aptos; mso-hansi-font-family: Aptos; mso-bidi-font-family: Aptos; mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003e’\u003c\/span\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003e06\u003c\/span\u003e\u003cspan style=\"mso-ascii-font-family: Aptos; mso-hansi-font-family: Aptos; mso-bidi-font-family: Aptos; mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003e \u003c\/span\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003einto Zigeurnerweisen confirms that he is no mere\u003c\/span\u003e\u003cspan style=\"mso-ascii-font-family: Aptos; mso-hansi-font-family: Aptos; mso-bidi-font-family: Aptos; mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003e’\u003c\/span\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003e accompanist. With excellent sound and a generous playing time, this disc makes for a relaxing and at times extremely rewarding listening experience.\" - Gramophone\u003c\/span\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\u003eRatings \u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eDiscogs : 4.88 \/ 5\u003c\/span\u003e\u003c\/p\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":54580172030287,"sku":"ANALPI0004","price":95.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/files\/KyungWhaChung-SouvenirsACollectionofFavouriteViolin1.jpg?v=1741110248"},{"product_id":"michael-jackson-dangerous","title":"Michael Jackson – Dangerous (2LP)","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eVocals – Michael Jackson \u003cspan style=\"color: #ff8000;\"\u003e\u003ca title=\"Vinyl featuring Michael Jackson\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/michael-jackson\" style=\"color: #ff8000;\"\u003e[click here to see more Vinyl\/SACD featuring Michael Jackson]\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eRap - Heavy, Wreckx-n-Effect, L.T.B\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eMystery Girl (Princess Stéphanie of Monaco) – vocals\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eChrista Larson – ending solo vocal\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eThe John Bahler Singers – choir\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eAndres McKenzie – intro voice-over\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eLinda Harmon – soprano voice\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eThe Andraé Crouch Singers – choir\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eMichael Boddicker – synthesizer, sequencer, keyboards and programming\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eBill Bottrell – guitar, drums, percussion, rap, and intro voice-over, synthesizer, bass guitar and mellotron\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eBrad Buxer – keyboards, synthesizer, percussion, programming\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eJohn Barnes – keyboards \u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eLarry Corbett – cello\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eKevin Gilbert – speed sequencer\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003ePaul Jackson Jr. – guitar\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eTerry Jackson – bass guitar\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eLouis Johnson – bass guitar\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eAbraham Laboriel – bass guitar\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eRhett Lawrence – synthesizer, drums, percussion, synthesizer programming\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eBryan Loren – drums, synthesizer\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eJasun Martz – keyboards\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eRené Moore – keyboards\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eDavid Paich – keyboards, synthesizer, keyboard programming \u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eGreg Phillinganes – keyboards \u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eTim Pierce – heavy metal guitar\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eJeff Porcaro – drums\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eSteve Porcaro – synthesizer, keyboards and programming\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eTeddy Riley – synthesizers, keyboards; guitar\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eSlash – special guitar performance\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003e\u003cspan style=\"mso-spacerun: yes;\"\u003e \u003c\/span\u003eBruce Swedien – keyboards, drums, percussion\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eJai Winding – keyboards and programming, piano and bass guitar\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eEndre Granat – concertmaster \u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eArrangements by Michael , Teddy Riley, René Moore, Bruce Swedien, Marty Paich, John Bahler, David Paich, George Del Barrio, Johnny Mandel , Andraé \u0026amp; Sandra Crouch, Jerry Hey, Glen Ballard, \u003cspan style=\"mso-spacerun: yes;\"\u003e \u003c\/span\u003eRhett Lawrence \u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eWritten by Michael Jackson, René Moore, Bruce Swedien, Teddy Riley, Bernard Belle, Aqil Davidson, Bill Bottrell, Glen Ballard, Siedah Garrett, Larry Grossman, Buz Kohan \u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cstrong\u003e2 LPs, Gatefold Jacket \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003e\u003cstrong\u003eLimited to 3,000 numbered copies\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 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 : \u003cmeta charset=\"utf-8\"\u003eFidelity Record Pressing\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : MOFI\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Epic\u003c\/strong\u003e\u003cstrong\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eRecorded June 1989 – October 1991 at Record One Studio, Los Angeles; Westlake Studio, Los Angeles; Larrabee Studio, Los Angeles; Record Plant Studio, Los Angeles; Ocean Way Studio, Hollywood; Smoketree Ranch Studio, Chatsworth Studio; Toad Hall, Pasadena\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eEngineered by Bruce Swedien, Matt Forger, Bill Bottrell, Jim Mitchell, Thom Russo, Jean-Marie Horvat, Thom Russo\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eMixed by Bruce Swedien, Bill Bottrell\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eProduced by Michael Jackson (all tracks), Bruce Swedien, Bill Bottrell , Matt Forger \u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in November 1991\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2025\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\u003c\/ol\u003e\n\u003col\u003e\u003c\/ol\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eSide A\u003c\/span\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eJam\u003c\/span\u003e\u003c\/li\u003e\n\u003cli class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eWhy You Wanna Trip On Me\u003c\/span\u003e\u003c\/li\u003e\n\u003cli class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eIn The Closet\u003c\/span\u003e\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003e\u003cmeta charset=\"utf-8\"\u003eSide B\u003c\/span\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eShe Drives Me Wild\u003c\/span\u003e\u003c\/li\u003e\n\u003cli class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eRemember The Time\u003c\/span\u003e\u003c\/li\u003e\n\u003cli class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eCan't Let Her Get Away\u003c\/span\u003e\u003c\/li\u003e\n\u003cli class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eHeal The World\u003c\/span\u003e\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eSide C\u003c\/span\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eBlack Or White\u003c\/span\u003e\u003c\/li\u003e\n\u003cli class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eWho Is It\u003c\/span\u003e\u003c\/li\u003e\n\u003cli class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eGive In To Me\u003c\/span\u003e\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eSide D\u003c\/span\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eWill You Be There\u003c\/span\u003e\u003c\/li\u003e\n\u003cli class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eKeep The Faith\u003c\/span\u003e\u003c\/li\u003e\n\u003cli class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eGone Too Soon\u003c\/span\u003e\u003c\/li\u003e\n\u003cli class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eDangerous\u003c\/span\u003e\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003col\u003e\u003c\/ol\u003e\n\u003col\u003e\u003c\/ol\u003e\n\u003col\u003e\u003c\/ol\u003e\n\u003col start=\"6\"\u003e\u003c\/ol\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003eAwards:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003e\u003cstrong\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003e1993 American Music Awards - Favorite Pop\/Rock Album\u003c\/span\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003e\u003cstrong\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003e1993 Grammy Awards - Best Engineered Album, Non-Classical\u003c\/span\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003e“Despite the success of Bad, it was hard not to view it as a bit of a letdown, since it presented a cleaner, colder, calculated version of Thriller -- something that delivered what it should on the surface, but wound up offering less in the long run. So, it was time for a change-up, something even a superstar as huge as Michael Jackson realized, so he left Quincy Jones behind, hired Guy mastermind Teddy Riley as the main producer, and worked with a variety of other producers, arrangers, and writers, most notably Bruce Swedien and Bill Bottrell. The end result of this is a much sharper, harder, riskier album than Bad, one that has its eyes on the street, even if its heart gets middle-class soft on \"Heal the World.\" The shift in direction and change of collaborators has liberated Jackson, and he's written a set of songs that is considerably stronger than Bad, often approaching the consistency of Off the Wall and Thriller. If it is hardly as effervescent or joyous as either of those records, chalk it up to his suffocating stardom, which results in a set of songs without much real emotional center, either in their substance or performance. But, there's a lot to be said for professional craftsmanship at its peak, and Dangerous has plenty of that, not just on such fine singles as \"In the Closet,\" \"Remember the Time,\" or the blistering \"Jam,\" but on album tracks like \"Why You Wanna Trip on Me.\" No, it's not perfect -- it has a terrible cover, a couple of slow spots, and suffers from CD-era ailments of the early '90s, such as its overly long running time and its deadening Q Sound production, which sounds like somebody forgot to take the Surround Sound button off. Even so, Dangerous captures Jackson at a near-peak, delivering an album that would have ruled the pop charts surely and smoothly if it had arrived just a year earlier. But it didn't -- it arrived along with grunge, which changed the rules of the game nearly as much as Thriller itself. Consequently, it's the rare multi-platinum, number one album that qualifies as a nearly forgotten, underappreciated record.” AllMusic Review by Stephen Thomas Erlewine\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eDiscogs : 4.41 \/ 5\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":55448746688847,"sku":"MFSL2-571","price":95.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/files\/Captured_ecran2025-06-30a14.51.24.png?v=1751287926"},{"product_id":"mccoy-tyner-joe-henderson-ron-carter-al-foster-new-york-reunion-1-step-2lp-pink-vinyl","title":"\u003ctc\u003eMcCoy Tyner, Joe Henderson, Ron Carter, Al Foster- New York Reunion (2LP, 1Step, Vinyle rose)\u003c\/tc\u003e","description":"\u003cp class=\"MsoNormal\"\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003ePiano – McCoy Tyner \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/mccoy-tyner\" title=\"vinyl featuring McCoy Tyner\"\u003e\u003cspan style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring McCoy Tyner]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003eTenor Saxophone – Joe Henderson \u003cspan style=\"color: #ff8000;\"\u003e\u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/joe-henderson\" title=\"vinyl featuring Joe Henderson\" style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Joe Henderson]\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003eBass - Ron Carter \u003cspan style=\"color: #ff8000;\"\u003e \u003ca style=\"color: #ff8000;\" title=\"Vinyl featuring Ron Carter\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/ron-carter\"\u003e[click here to see more vinyl featuring Ron Carter]\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003eDrums – Al Foster\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003eWritten by Joe Henderson (A1), McCoy Tyner (A2, D2), Cole Porter (B1), Richard Rodgers (B2), Lorenz Hart (B2), Thelonious Monk (C1), B.B. King (C2), Egbert Van Alstyne (C2), Haven Gillespie (C2), Victor Young (C2), Ron Carter (D1)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003e\u003cspan style=\"mso-ansi-language: EN-US;\" lang=\"EN-US\"\u003e2 LP, Gatefold jacket\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003e\u003cstrong\u003e\u003cspan style=\"mso-ansi-language: EN-US;\" lang=\"EN-US\"\u003eLimited numbered edition\u003c\/span\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003e\u003cspan style=\"mso-ansi-language: EN-US;\" lang=\"EN-US\"\u003eOriginal  Master Tape : YES\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003e\u003cspan style=\"mso-ansi-language: EN-US;\" lang=\"EN-US\"\u003eHeavy Press : 180g\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003e\u003cspan style=\"mso-ansi-language: EN-US;\" lang=\"EN-US\"\u003eRecord Color : Pink\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003e\u003cspan style=\"mso-ansi-language: EN-US;\" lang=\"EN-US\"\u003eSpeed : 33 RPM\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003e\u003cspan style=\"mso-ansi-language: EN-US;\" lang=\"EN-US\"\u003eSize : 12''\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003e\u003cspan style=\"mso-ansi-language: EN-US;\" lang=\"EN-US\"\u003eStereo\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003e\u003cspan style=\"mso-ansi-language: EN-US;\" lang=\"EN-US\"\u003eStudio\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003e\u003cspan style=\"mso-ansi-language: EN-US;\" lang=\"EN-US\"\u003eRecord Press : unspecified\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003e\u003cspan style=\"mso-ansi-language: EN-US;\" lang=\"EN-US\"\u003eLabel: \u003cmeta charset=\"utf-8\"\u003e \u003cspan\u003eChesky Records\u003c\/span\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003e\u003cspan style=\"mso-ansi-language: EN-US;\" lang=\"EN-US\"\u003eOriginal Label: \u003cmeta charset=\"utf-8\"\u003e \u003cspan\u003eChesky Records\u003c\/span\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003e\u003cspan style=\"mso-ansi-language: EN-US;\" lang=\"EN-US\"\u003e\u003cspan\u003e\u003cmeta charset=\"utf-8\"\u003eRecorded at RCA Studio A, New York City on April 3 \u0026amp; 4, 1991\u003c\/span\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003e\u003cspan style=\"mso-ansi-language: EN-US;\" lang=\"EN-US\"\u003e\u003cspan\u003e\u003cmeta charset=\"utf-8\"\u003eRecorded by Bob Katz\u003c\/span\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eEngineered by Bill Allen\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003e\u003cspan style=\"mso-ansi-language: EN-US;\" lang=\"EN-US\"\u003e\u003cspan\u003eProduced by David Chesky\u003c\/span\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eExecutive-Producer – Norman Chesky\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003eArt Direction by Hal Wilson\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003e\u003cspan style=\"mso-ansi-language: EN-US;\" lang=\"EN-US\"\u003eOriginally released in 1991\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003e\u003cspan style=\"mso-ansi-language: EN-US;\" lang=\"EN-US\"\u003eReissued in November 2025\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\u003col\u003e\u003c\/ol\u003e\n\u003cp class=\"MsoNormal\"\u003eSide A:\u003c\/p\u003e\n\u003col\u003e\n\u003cli class=\"MsoNormal\"\u003eRecorda Me (Remember Me)\u003c\/li\u003e\n\u003cli class=\"MsoNormal\"\u003eMiss Bea (Dedicated to Mother)\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp class=\"MsoNormal\"\u003eSide B:\u003c\/p\u003e\n\u003col\u003e\n\u003cli class=\"MsoNormal\"\u003eWhat Is This Thing Called Love?\u003c\/li\u003e\n\u003cli class=\"MsoNormal\"\u003eMy Romance\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp class=\"MsoNormal\"\u003eSide C:\u003c\/p\u003e\n\u003col\u003e\n\u003cli class=\"MsoNormal\"\u003eAsk Me Now\u003c\/li\u003e\n\u003cli class=\"MsoNormal\"\u003eBeautiful Love\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp class=\"MsoNormal\"\u003eSide D:\u003c\/p\u003e\n\u003col\u003e\n\u003cli class=\"MsoNormal\"\u003eQuick Sketch\u003c\/li\u003e\n\u003cli class=\"MsoNormal\"\u003eHome\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp class=\"MsoNormal\"\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003e“Pianist McCoy Tyner and tenor-saxophonist Joe Henderson had not recorded together in over two decades when they finally met up for this Chesky LP. With strong assistance from bassist Ron Carter and drummer Al Foster, Tyner and Henderson make for a perfect team on four originals by group members (including the tenor's classic \"Recorda Me\") and four superior standards. The advanced hard bop music is as rewarding as one would expect.” AllMusic Review by Scott Yanow\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-US;\" lang=\"EN-US\"\u003e\u003cstrong\u003eOne Step\u003c\/strong\u003e. Instead of utilizing the industry-standard three-step lacquer process, one-step plating uses only one step, bypassing two processes of generational loss. One-step plating skip the regular father-mother process, going right to a single convert and then pressing. Though this dramatically increases mastering and production costs, it also assures each run is more consistent from disc to disc, with less noise, clearer details and deeper bass. Reducing production complexity to just a single \"convert\" disc between the lacquer and the press greatly improves groove integrity, diminishes non-fill anomalies and increases signal integrity from the master tape to your system.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp\u003eAllMusic : 4.5 \/ 5 ; Discogs : 4.59 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":56128666042703,"sku":"EVLP074P","price":85.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/files\/McCoy_Tyner_Joe_Henderson_Ron_Carter_Al_Foster-_New_York_Reunion_1.webp?v=1760470424"}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/collections\/vinyle.png?v=1777819893","url":"https:\/\/www.audiosoundmusic.com\/fr\/collections\/our-recommendations.oembed","provider":"AudioSoundMusic","version":"1.0","type":"link"}