{"title":"\u003ctc\u003eLes 500 meilleurs albums de tous les temps du magasine Rolling Stone\u003c\/tc\u003e","description":"","products":[{"product_id":"pet-sounds-the-beach-boys","title":"\u003ctranscy\u003eThe Beach Boys - Pet Sounds (1LP, Mono, 33 tours, 200g)\u003c\/transcy\u003e","description":"\u003cp style=\"margin: 0cm 0cm 12.0pt 0cm;\" data-mce-fragment=\"1\" data-mce-style=\"margin: 0cm 0cm 12.0pt 0cm;\"\u003e\u003cstrong\u003e\u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/beach-boys\" title=\"vinyl featuring The Beach Boys\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/beach-boys\"\u003e\u003cspan style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring the Beach Boys]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp style=\"margin: 0cm 0cm 12.0pt 0cm;\" data-mce-fragment=\"1\" data-mce-style=\"margin: 0cm 0cm 12.0pt 0cm;\"\u003e\u003cstrong\u003ePerformed by The Beach Boys : Brian Wilson (vocals, bass guitar, keyboards), Mike Love (vocals, percussion, saxophone, Electro-Theremin), Al Jardine (vocals, rhythm guitar, bass guitar), Bruce Johnston (vocals, keyboards, bass guitar), Dennis Wilson (vocals, drums, keyboards).\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by Brian Wilson (all tracks), Tony Asher (A1, A2, A3, A4, B1, B3, B4, B6), Mike Love (A5), Michael Ruff (A3), Terry Sachen (B2)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, Stoughton tip-on jackets\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 200g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMono\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Quality Record Pressings\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Analogue Productions \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Capitol\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded July 12, 1965 - April 13, 1966 at Columbia Studios (Hollywood, CA), Gold Star Recording Studios (Hollywood, CA), Sunset Sound Studios (Los Angeles, CA), Western Studios (Los Angeles, CA)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eMastered by Kevin Gray \u003cb data-mce-fragment=\"1\"\u003eat Cohearent Audio\u003c\/b\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eOriginally issued on May 16th, 1966 in mono\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eReissued in Nov 2015\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eTracks :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eWouldn’t It Be Nice\u003c\/li\u003e\n\u003cli\u003eYou Still Believe In Me\u003c\/li\u003e\n\u003cli\u003eThat’s Not Me\u003c\/li\u003e\n\u003cli\u003eDon’t Talk (Put Your Head On My Shoulder)\u003c\/li\u003e\n\u003cli\u003eI’m Waiting For The Day\u003c\/li\u003e\n\u003cli\u003eLet’s Go Away For Awhile\u003c\/li\u003e\n\u003cli\u003eSloop John B\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eGod Only Knows\u003c\/li\u003e\n\u003cli\u003eI Know There’s An Answer\u003c\/li\u003e\n\u003cli\u003eHere Today\u003c\/li\u003e\n\u003cli\u003eI Just Wasn’t Made For These Times\u003c\/li\u003e\n\u003cli\u003ePet Sounds\u003c\/li\u003e\n\u003cli\u003eCaroline No\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAwards\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cb\u003eTAS Super LP List! Special Merit: Informal\u003c\/b\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cb\u003eMichael Fremer's 100 Recommended All-Analog LP Reissues Worth Owning - Ranked 55\/100!\u003c\/b\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cb\u003eRolling Stone 500 Greatest Albums of All Time - Rated 2\/500\u003cbr\u003e\u003c\/b\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cb\u003e\u003cbr\u003eRolling Stone 500 Greatest Songs of All Time - \"Sloop John B\" - Rated 278\/500\u003c\/b\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e1000 Recordings you must hear before you die - Ranked 61\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\"one of the most innovative recordings in rock\", 101 Albums that Changed Popular Music (2009)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\"It was \u003cem\u003ePet Sounds\u003c\/em\u003e that blew me out of the water…I love the album so much. I've just bought my kids each a copy of it for their education in life. I figure no one is educated musically 'til they've heard that album.\" – Paul McCartney\u003c\/p\u003e\n\u003cp\u003e\"All of us, Ginger (Baker), Jack (Bruce), and I consider \u003cem\u003ePet Sounds\u003c\/em\u003e to be one of the greatest pop LPs to ever be released. It encompasses everything that's ever knocked me out and rolled it all into one.\" – Eric Clapton\u003c\/p\u003e\n\u003cp\u003e\"Overall though, this new reissue is the best sounding of all. The bottom end has more weight and solidity and the instrumental separation and front to back layering is nothing short of astonishing compared to the pleasing mush offered up by other editions. ... Pet Sounds belongs in every serious rock record collection and if you're going to have but one version this one from Analogue Productions is the one to have.\"  Michael Fremer,\u003cspan\u003e \u003c\/span\u003eAnalogPlanet.com\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003c\/strong\u003e\"Produced, composed and arranged by Brian Wilson, \u003cem\u003ePet Sounds\u003c\/em\u003e stands as the Beach Boys' pinnacle. The album is brimming with beautiful ballads, exotic instrumentation, lush five-part harmonies, and aching sentimentality. Recorded largely with session players from L.A.'s fabled Wrecking Crew, \u003cem\u003ePet Sounds\u003c\/em\u003e was Wilson's chance to step away from songs about surfing and cars, instead crafting tender songs about adolescent love, both newfound and lost, as well as innocence and bewilderment. Analogue Productions' two-disc 45 RPM, 180-gram stereo album boasts exceptionally detailed separation and aptly showcases \u003cem\u003ePet Sounds\u003c\/em\u003e' shimmering sonics. Mark Linett produced this stereo mix with an assembled digital multi-track master that synched the original four-track instrumental master with the four- and eight-track vocal overdub master. It was then mixed to 15 ips 1\/4-inch analog tape with SR noise reduction. How good is it? Carol Kaye's picked Fender P-Bass is tight and punchy on the intro to \"God Only Knows,\" and the clarity reveals the swelling emotion of Carl Wilson's angelic lead vocal to announce that you've entered the Church of Rock 'n' Roll. Say amen.\" Greg Cahill, \u003cem\u003eThe Absolute Sound\u003c\/em\u003e, December 2017\u003c\/p\u003e\n\u003cp\u003e« The best Beach Boys album, and one of the best of the 1960s. The group here reached a whole new level in terms of both composition and production, layering tracks upon tracks of vocals and instruments to create a richly symphonic sound. Conventional keyboards and guitars were combined with exotic touches of orchestrated strings, bicycle bells, buzzing organs, harpsichords, flutes, Theremin, Hawaiian-sounding string instruments, Coca-Cola cans, barking dogs, and more. It wouldn't have been a classic without great songs, and this has some of the group's most stunning melodies, as well as lyrical themes which evoke both the intensity of newly born love affairs and the disappointment of failed romance (add in some general statements about loss of innocence and modern-day confusion as well). The spiritual quality of the material is enhanced by some of the most gorgeous upper-register male vocals (especially by Brian and Carl Wilson) ever heard on a rock record. \"Wouldn't It Be Nice,\" \"God Only Knows,\" \"Caroline No,\" and \"Sloop John B\" (the last of which wasn't originally intended to go on the album) are the well-known hits, but equally worthy are such cuts as \"You Still Believe in Me,\" \"Don't Talk,\" \"I Know There's an Answer,\" and \"I Just Wasn't Made for These Times.\" It's often said that this is more of a Brian Wilson album than a Beach Boys recording (session musicians played most of the parts), but it should be noted that the harmonies are pure Beach Boys (and some of their best). Massively influential upon its release (although it was a relatively low seller compared to their previous LPs), it immediately vaulted the band into the top level of rock innovators among the intelligentsia, especially in Britain, where it was a much bigger hit. » AllMusic Review by Richie Unterberger\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eAllMusic : 5 \/ 5 , Discogs : 5 \/ 5 ,  Rate your Music : 4.18 \/ 5\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eMichael Fremer : Music = 11\/11, Sound = 11\/11\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eGreg Cahill, The Absolute Sound : Music 5\/5, Sonics 4.5\/5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40374721216663,"sku":"AAPP 067M","price":120.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/the-beach-boys-pet-sounds-1lp-mono-33rpm-200g-audiosoundmusic-1.jpg?v=1719851398"},{"product_id":"ornette-coleman-the-shape-of-jazz-to-come","title":"\u003ctranscy\u003eOrnette Coleman - The Shape Of Jazz To Come\u003c\/transcy\u003e","description":"\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eOrnette Coleman - alto saxophone \u003cspan style=\"color: #ff8000;\"\u003e\u003ca data-mce-fragment=\"1\" style=\"color: #ff8000;\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/ornette-coleman\" title=\"Vinyl featuring Ornette Coleman\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/ornette-coleman\"\u003e[click here to see more vinyl featuring Ornette Coleman]\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eDon Cherry (cornet), Charlie Haden (bass), Billy Higgins (drums)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eWritten by Ornette Coleman\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Speaker corners\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eOriginal Label :  Atlantic\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eRecording: May 1959 at Radio Recorders, Hollywood, CA, by Bones Howe\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eProduction: Nesuhi Ertegun\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1959\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2021\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003cp\u003e                1. Lonely Woman\u003c\/p\u003e\n\u003cp\u003e                2. Eventually\u003c\/p\u003e\n\u003cp\u003e                3. Peace\u003c\/p\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003cp\u003e                1. Focus on Sanity\u003c\/p\u003e\n\u003cp\u003e                2. Congeniality\u003c\/p\u003e\n\u003cp\u003e                3. Chronology\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eAwards:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eRolling Stone 500 Greatest Albums of All Time - Rated 248\/500\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\" mce-data-marked=\"1\"\u003e\u003cstrong\u003eStereophile Records To Die For - 2012\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eReviews :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e« Ornette Coleman's Atlantic debut, The Shape of Jazz to Come, was a watershed event in the genesis of avant-garde jazz, profoundly steering its future course and throwing down a gauntlet that some still haven't come to grips with. The record shattered traditional concepts of harmony in jazz, getting rid of not only the piano player but the whole idea of concretely outlined chord changes. The pieces here follow almost no predetermined harmonic structure, which allows Coleman and partner Don Cherry an unprecedented freedom to take the melodies of their solo lines wherever they felt like going in the moment, regardless of what the piece's tonal center had seemed to be. Plus, this was the first time Coleman recorded with a rhythm section -- bassist Charlie Haden and drummer Billy Higgins -- that was loose and open-eared enough to follow his already controversial conception. Coleman's ideals of freedom in jazz made him a feared radical in some quarters; there was much carping about his music flying off in all directions, with little direct relation to the original theme statements. If only those critics could have known how far out things would get in just a few short years; in hindsight, it's hard to see just what the fuss was about, since this is an accessible, frequently swinging record. It's true that Coleman's piercing, wailing alto squeals and vocalized effects weren't much beholden to conventional technique, and that his themes often followed unpredictable courses, and that the group's improvisations were very free-associative. But at this point, Coleman's desire for freedom was directly related to his sense of melody -- which was free-flowing, yes, but still very melodic. Of the individual pieces, the haunting \"Lonely Woman\" is a stone-cold classic, and \"Congeniality\" and \"Peace\" aren't far behind. Any understanding of jazz's avant-garde should begin here. » AllMusic Review by Steve Huey\u003cbr\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eIt was John Lewis, pianist of the Modern Jazz Quartet, who brought Ornette Coleman to the renowned Atlantic label, having heard him play in Los Angeles. »Ornette Coleman is doing the only really new thing in jazz …« he reportedly said. The present initial Atlantic album was released just in time to coincide with the New York debut of the Coleman Quartet in November 1959. Lewis was sure that Coleman would open up new paths for jazz, and his opinion is reflected in the title of the album – \"The Shape Of Jazz To Come\". After the rather worn-out hard bop routine of the past years, this music was like a breath of fresh air. The fast numbers (\"Eventuality\", \"Chronology\") remind one of wildly hyped-up bebop. Other numbers (\"Congeniality\", \"Focus On Sanity\") juggle with catchy, almost folk like short motifs. This album contains two of Coleman’s most beautiful compositions: \"Peace\" and \"Lonely Woman\", which was later given lyrics and often heard in its vocal version. The Mulligan-Baker Quartet provided the model for the pianoless quartet – and when the band swings along once in a while with a moderato tempo, it is truly reminiscent of cool jazz. Be that as it may, the two wind instrumentalists just love the frenetic 'cry' and the intentionally 'imprecise' interplay. Clearly defined stanzas or traditional harmonic forms were not for them. The jazz musicologist Peter N. Wilson wrote: \"A record, which is not unjustifiably so entitled\" about this LP which was given 5 stars by the magazine Rolling Stone.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003e\u003cbr\u003eRatings :\u003c\/strong\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan\u003eAllmusic : 5\/5, Discogs \u003c\/span\u003e: \u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e4,49\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5, \u003c\/span\u003e\u003cspan\u003eRate Your Music \u003c\/span\u003e: \u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e4,06\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40399363932311,"sku":"SD 1317","price":30.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/ornette-coleman-the-shape-of-jazz-to-come-audiosoundmusic-1.jpg?v=1743329138"},{"product_id":"dr-john-gris-gris","title":"Dr. John - Gris-Gris","description":"\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eDr. John - vocal, keyboards, percussions \u003cspan data-mce-fragment=\"1\" style=\"color: #ff8000;\"\u003e\u003ca data-mce-fragment=\"1\" style=\"color: #ff8000;\" title=\"vinyl featuring Dr. John\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/dr-john\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/dr-john\"\u003e[click here to see more vinyl featuring Dr. John]\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eHarold Battiste (b, cl, perc, arr); Plas Johnson (sax); Lonnie Boulden (fl); Steve Mann (g, bjo); Richard Washington (perc); Bob West (b); John Boudreaux (dr); Mo \"Dido\" Pedido (cga)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by Dr. John Creaux (A1, A2, A3, A4, B2, B3), Harold Battiste (A2, B1), Jessie Hill (A3)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Speakers Corner\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Atco\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eRecording: 1967 at Gold Star Studios, Los Angeles\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eProduction: Harold Battiste\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1968\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2018\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eTracks :\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A : \u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eGris-Gris Gumbo Ya Ya\u003c\/li\u003e\n\u003cli\u003eDanse Kalinda Ba Doom\u003c\/li\u003e\n\u003cli\u003eMama Roux\u003c\/li\u003e\n\u003cli\u003eDanse Fambeaux\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eCroker Courtbullion\u003c\/li\u003e\n\u003cli\u003eJump Sturdy\u003c\/li\u003e\n\u003cli\u003eI Walk On Guilded Splinters\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAwards:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eRolling Stone 500 Greatest Albums of all Time - Ranked No. 143\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e1000 Recordings you must hear before you die - Ranked 122\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e : \u003c\/p\u003e\n\u003cp\u003e« Dr. John's Gris-Gris is among the most enduring recordings of the psychedelic era; it sounds as mysterious and spooky in the 21st century as it did in 1968. It is the album where Mac Rebennack established a stage identity that has served him well. A respected studio ace in his native New Orleans, Rebennack was scuffling in L.A. Gris-Gris was his concept, an album that wove various threads of New Orleans music together behind the character of \"Dr. John,\" a real voodoo root doctor from the 19th century. Harold Batiste, another ex-pat New Orleanian and respected arranger in Hollywood, scored him some free studio time left over from a Sonny \u0026amp; Cher session. They assembled a crack band of NOLA exiles and session players including saxophonist Plas Johnson, singers Jessie Hill and Shirley Goodman, and guitarist\/mandolinist Richard \"Didimus\" Washington. Almost everyone played percussion. Gris-Gris sounds like a post-midnight ceremony recorded in the bayou swamp instead of L.A.'s Gold Star Studio where Phil Spector cut hits. The atmosphere is thick, smoky, serpentine, foreboding. Rebennack inhabits his character fully, delivering Creole French and slang English effortlessly in the grain of his half-spoken, half-sung voice. He is high priest and trickster, capable of blessing, cursing, and conning. On the opening incantation \"Gris-Gris Gumbo Ya Ya,\" Dr. John introduces himself as the \"night tripper\" and boasts of his medicinal abilities accompanied by wafting reverbed mandolins, hand drums, a bubbling bassline, blues harmonica, skeletal electric guitar, and a swaying backing chorus that blurs the line between gospel and soul. On \"Danse Kalinda Boom,\" a calliope-sounding organ, Middle Eastern flute, Spanish-tinged guitars, bells, claves, congas, and drums fuel a wordless chorus in four-part chant harmony as a drum orgy evokes ceremonial rites. The sound of NOLA R\u0026amp;B comes to the fore in the killer soul groove of the breezy \"Mama Roux.\" \"Croker Courtboullion\" is an exercise in vanguard jazz. Spectral voices, electric guitars, animal cries, flute, and moody saxophone solos and percussion drift in and out of the spacy mix. The set's masterpiece is saved for last, the nearly nearly eight-minute trance vamp in \"I Walk on Gilded Splinters\" (covered by everyone from Humble Pie, Cher, and Johnny Jenkins to Paul Weller and Papa Mali). Dr. John is brazen about the power of his spells in a slippery, evil-sounding boast. Congas, tom-toms, snaky guitar, and harmonica underscore his juju, while a backing chorus affirms his power like mambo priestesses in unison. A ghostly baritone saxophone wafts through the turnarounds. Droning blues, steamy funk, and loopy R\u0026amp;B are inseparably entwined in its groove. Remarkably, though rightfully considered a psychedelic masterpiece, there is little rock music on Gris-Gris. Its real achievement -- besides being a classic collection of startlingly deep tunes -- is that it brought New Orleans' cultural iconographies and musical traits to the attention of an emergent rock audience. » AllMusic Review by Thom Jurek\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eHis grandmother is purported to have transported objects using her spiritual powers and it is said that she sometimes floated through the room. Her grandson Malcolm Rebenneck was fully aware of his unique features when he appeared under the name of Dr. John, a voodoo healer in the 19th century, and was the first person to transcend from pitch-black spheres to psychedelic music as its high priest, so to speak.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIn the seven magical musical numbers of \"Gris-gris\", the root doctor conjures up a potent mixture of creole melodies, primeval heathen sounds, a pinch of mardi-gras and New Orleans jazz and even undreamt-of sounds. \"Gumbo Ya Ya\", a dragging procession with archaic sing-song, shows that suggestive Afro sounds are what rule in this album. And to play with them, to soften them here and there, or to enhance them with dance-like expression and voices from afar (\"Danse Fambeaux\") is all part of the programme in this collection of artistic treasures. In between raspy sounds there are flattering, intimate tones such as the springy, gentle and forward-looking \"Croker Courtbullion\".\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe equation Witchcraft = Masterwork certainly applies to this unrivalled album, which is listed at No. 143 in the 500 Greatest Albums of all Time by the magazine Rolling Stone.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eRatings :\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAllMusic : 5 \/ 5 , \u003c\/span\u003e\u003cspan\u003eDiscogs \u003c\/span\u003e:\u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e4,47\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5  , \u003c\/span\u003e\u003cspan\u003eRate Your Music \u003c\/span\u003e:\u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e3,81\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40406724903063,"sku":"SD 33-234","price":38.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/dr-john-gris-gris-audiosoundmusic-1.jpg?v=1743197616"},{"product_id":"earth-wind-fire-thats-the-way-of-the-world","title":"\u003ctranscy\u003eEarth, Wind \u0026 Fire - That's The Way Of The World (Speakers Corner)\u003c\/transcy\u003e","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEarth, Wind \u0026amp; Fire \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/earth-wind-fire\" title=\"vinyl featuring Earth, Wind \u0026amp; Fire\"\u003e\u003cspan style=\"color: #ff8000;\"\u003e[Click here to see more vinyl featuring Earth, Wind \u0026amp; Fire]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMaurice White (voc, perc, dr); Verdine White (voc, b, perc); Philip Bailey (voc, cga, perc); Larry Dunn (p, org, synth); Al McKay (g, perc); Ralph Johnson (dr, perc); Johnny Graham (g); Fred White (dr, perc)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by Maurice White (A1, A2, A3, A4, B1, B2, B3), Philip Bailey (A1, A3, B1, B2, B4), Larry Dunn (A1, A3, A4, B3, B4), Charles Stepney (A2, B1, B2), Verdine White (A2, A3), Al McKay (A3), Michael Mazzarella (B2), Louise Anglin (B4)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, gatefold sleeve, insert\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Speakers Corner\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Columbia\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eRecording: 1975 at Caribou Ranch in Nederland, Colorado (USA), by Curt Wittig\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003cbr\u003e\u003cspan\u003eProduction: Maurice White\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released 1975\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2012\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eTracks :\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003cp\u003e                1. Shining Star\u003c\/p\u003e\n\u003cp\u003e                2. That’s the Way of the World\u003c\/p\u003e\n\u003cp\u003e                3. Happy Feelin’\u003c\/p\u003e\n\u003cp\u003e                4. All About Love\u003c\/p\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003cp\u003e                1. Yearnin’ Learnin’\u003c\/p\u003e\n\u003cp\u003e                2. Reasons\u003c\/p\u003e\n\u003cp\u003e                3. Africano\u003c\/p\u003e\n\u003cp\u003e                4. See the Ligh\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAwards\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cb\u003eRolling Stone 500 Greatest Albums of All Time - Rated 486\/500!\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cb\u003eRolling Stone 500 Greatest Songs of All Time - That's The Way Of The World - Rated 337\/500!\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cb\u003e\u003cstrong\u003e1000 Recordings You Must Hear Before You Die - Ranked 347\u003c\/strong\u003e\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cb\u003e\u003cstrong\u003e\u003cspan class=\"421441414-17032005\"\u003e\u003cspan size=\"2\" color=\"#ff0000\" face=\"Arial\"\u003eStereophile Records to Die For - 2014\u003c\/span\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eMore than three million albums sold in the USA alone\u003c\/strong\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\"Earth, Wind \u0026amp; Fire has delivered more than its share of excellent albums, but if a person could own only one EWF release, the logical choice would be \u003cem\u003eThat's the Way of the World\u003c\/em\u003e, which was the band's best album as well as its best-selling. \u003cem\u003eOpen Our Eyes\u003c\/em\u003e had been a major hit and sold over half a million units, but it was\u003cem\u003eWorld\u003c\/em\u003e that established EWF as major-league, multi-platinum superstars. Fueled by gems ranging from the sweaty funk of 'Shining Star' and 'Yearnin' Learnin' to the gorgeous ballad 'Reasons' and the unforgettable title song, EWF's sixth album sold at least five million units. And some of the tracks that weren't major hits, such as the exuberant 'Happy Feelin' and the gospel-influenced 'See the Light,' are equally powerful. There are no dull moments on \u003cem\u003eWorld\u003c\/em\u003e, one of the strongest albums of the 1970s and EWF's crowning achievement.\" — \u003cem\u003eAll Music Guide\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\"Before he got into African thumb pianos and otherworldly philosophizing, EWF founder Maurice White was a session drummer at Chess Studios. EWF's sixth album is make-out music of the gods.\"\u003cem\u003e - rollingstone.com\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eAllmusic : 4.5 \/ 5  ,  \u003cspan\u003eDiscogs \u003c\/span\u003e:\u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e4,12\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5  ,  \u003c\/span\u003e\u003cspan\u003eRate Your Music \u003c\/span\u003e:\u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e3,70\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40411203109015,"sku":"PC 33280","price":38.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/earth-wind-and-fire-that-s-the-way-of-the-world-speakers-corner-audiosoundmusic-1.jpg?v=1719851654"},{"product_id":"al-green-call-me","title":"\u003ctranscy\u003eAl Green - Call Me\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 data-mce-fragment=\"1\"\u003eAl Green - vocals \u003ca title=\"vinyl featuring Al Green\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/al-green\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/al-green\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Al Green]\u003c\/span\u003e\u003c\/a\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eJames Mitchell (bs, arr); Andrew Love (ts); Jack Hale (tb); Wayne Jackson (tp); Mabon Hodges (g); Charles Hodges (keyb); Archie Turner (p); Leroy Hodges (b); Howard Grimes (dr); The Memphis Strings\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by Al Green (A1, A2, A3, A5, B1, B3, B4), Al Jackson, Jr. (A1, B3), Willie Mitchell (A1, B3), Hank Williams (A4), Mabon \"Teenie\" Hodges (B1), Willie Nelson (B2)\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 : Hi Records\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eRecording: 1973 at Royal Recording Studios, Memphis, TN, by Willie Mitchell\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eProduction: Al Green and Willie Mitchell\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eOriginally released in May 1973\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eReissued in March 2012\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\u003eCall Me (Come Back Home)\u003c\/li\u003e\n\u003cli\u003eHave You Been Making out O.K.\u003c\/li\u003e\n\u003cli\u003eStand Up\u003c\/li\u003e\n\u003cli\u003eI'm So Lonesome I Could Cry\u003c\/li\u003e\n\u003cli\u003eYour Love Is Like the Morning Sun\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eHere I Am (Come and Take Me)\u003c\/li\u003e\n\u003cli\u003eFunny How Time Slips Away\u003c\/li\u003e\n\u003cli\u003eYou Ought to Be with Me\u003c\/li\u003e\n\u003cli\u003eJesus Is Waiting\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\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 427\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e« Al Green reached his creative peak with the brilliant Call Me, the most inventive and assured album of his career. So silky and fluid as to sound almost effortless, Green's vocals revel in the lush strings and evocative horns of Willie Mitchell's superbly intimate production, barely rising above an angelic whisper for the gossamer \"Have You Been Making Out O.K..\" With barely perceptible changes in mood, Call Me covers remarkable ground, spanning from \"Stand Up\" -- a call to arms delivered with characteristic understatement -- to renditions of Hank Williams' \"I'm So Lonesome I Could Cry\" and Willie Nelson's \"Funny How Time Slips Away,\" both of them exemplary fusions of country and soul. Equally compelling are the album's three Top Ten hits -- \"You Ought to Be With Me,\" \"Here I Am (Come and Take Me),\" and the shimmering title cut. A classic. » AllMusic Review by Jason Ankeny\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eWhat connects celebrity chefs and pop stars is their fine nose for ingredients, especially when hot and spicy ones are mixed with milder elements to create an aromatic result. A combination of 'sweet' and 'funky' is the secret of Al Green’s gloriously sentimental and sensual pop songs, which in the sexually free Seventies were often referred to as »songs to make love by«. What swings along gently is, however, Al Green’s subtly controlled falsetto, which he can tone right to the threshold of audibility. But watch out! This music belts out some fiery sounds right from the very first number. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe sinuous, swinging request in the brilliant hit single \"Call Me\", the relaxed and groovy \"Stand Up\", with its sharp wind interjections which demand one’s unerring attention, are typical for Green’s style, just as is his almost disturbing capability to gain comfort from loneliness (\"I’m So Lonesome, I Could Cry\"). This rhythmically powered music can best be described as light, intensive, dynamic but never flashy (\"Your Love Is Like The Morning Sun\"). It finds its earthly culmination in soul (\"I’m Waiting\") and spiritual depth.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAllmusic : 5 \/ 5 , \u003c\/span\u003e\u003cspan\u003eDiscogs \u003c\/span\u003e: \u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e4,45\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5  , \u003c\/span\u003e\u003cspan\u003eRate Your Music \u003c\/span\u003e: \u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e3,94\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40411310293143,"sku":"XSHL 32077","price":38.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/al-green-call-me-audiosoundmusic-1.jpg?v=1774466894"},{"product_id":"bill-withers-just-as-i-am","title":"\u003ctranscy\u003eBill Withers - Just As I Am\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\u003eBill Withers - Vocals, Guitar \u003cspan style=\"color: #ff8000;\"\u003e\u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/bill-withers\" title=\"vinyl featuring Bill Withers\" style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/bill-withers\" target=\"_blank\"\u003e[click here to see other vinyl featuring Bill Withers]\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eChris Ethridge (bass), Donald \"Duck\" Dunn (bass), Al Jackson (drums), Jim Keltner (drums), Stephen Stills (Guitar), Bobbie Hall Porter (Percussion), Booker T. Jones (Keyboards, Guitar)\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by Bill Withers except A5 written by Fred Neil and B2 written by Paul McCartney and John Lennon\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 : Sussex\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eRecording: 1971 at Sunset Sound Recorders by Bill Lazerus and at Wally Heider Recording Studio by Bill Halverson, both Hollywood, Ca.\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eProduction: Booker T. Jones\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 Oct 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\u003eHarlem\u003c\/li\u003e\n\u003cli\u003eAin't No Sunshine\u003c\/li\u003e\n\u003cli\u003eGrandma's Hands\u003c\/li\u003e\n\u003cli\u003eSweet Wanomi\u003c\/li\u003e\n\u003cli\u003eEverybody's Talkin'\u003c\/li\u003e\n\u003cli\u003eDo It Good\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eHope She'll Be Happier\u003c\/li\u003e\n\u003cli\u003eLet It Be\u003c\/li\u003e\n\u003cli\u003eI'm Her Daddy\u003c\/li\u003e\n\u003cli\u003eIn My Heart\u003c\/li\u003e\n\u003cli\u003eMoanin' And Groanin'\u003c\/li\u003e\n\u003cli\u003eBetter Off Dead\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 304\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e« Though low-key by the standards of early-'70s soul, Withers' debut record is by most measures an astonishing maiden outing. Perhaps being at a relatively advanced age for a singer\/songwriter doing his first album (Withers was in his early thirties by the time it was released) helped give the songs a maturity and weight lacking in most initial efforts. Withers immediately carved a distinct niche for himself within soul music by integrating folkier, more introspective elements than what was being heard almost anywhere else within the style. While gentle orchestration and jazz-funk rhythms could often be heard, he didn't forsake some down-home blues and gospel influences, which really came to the forefront on songs like \"Grandma's Hands.\" The lilting, melancholy \"Ain't No Sunshine\" was the deserved smash hit from the record, but there were a bunch of fine effervescently grooving songs on the rest of the album that remain unjustly familiar to the general audience, like \"Harlem,\" \"Sweet Wanomi,\" \"Moanin' and Groanin',\" and \"Better Off Dead.\" All the material was original save covers of Fred Neil's \"Everybody's Talkin'\" and the Beatles' \"Let It Be,\" both of which Withers made over into his own memorable acoustic-based soul style. » AllMusic Review by Richie Unterberger \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\"Just As I Am\" – anyone who sets off on a late career can already have earned himself quite a reputation, although in the case of Bill Withers it had had nothing to do with music at this stage. Withers served for many years with the US Navy, had a job as a milkman, and installed toilets in jets for American aeroplane construction companies; all the while he bombarded record companies with self-produced demo tapes which landed in the dustbin. In 1971 came his breakthrough when the successful producer Booker T. Jones hauled him on board and sent him into the recording studio with guitarist Stephen Stills, drummer Al Jackson and bass player Donald 'Duck' Dunn.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIn his debut album Withers demonstrates his universal, mature competence as a singer, composer and performer, which was hardly surpassed in his later recordings. \"Harlem\", an unadorned milieu-funk number about the New York slums, \"Grandma’s Hands\", with its obligatory retrospect of his childhood, and the sentimental ballad \"Ain’t No Sunshine\" with its prayer-wheel-like »I know, I know ...«, repeated over and over again on the offbeat, are the musical credo of a experienced artist in his mid-thirties who at last is given a hearing. There’s simply no alternative to this recording by the great songwriter with the small repertoire.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e : \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAllmusic : 4.5 \/ 5  ,  \u003c\/span\u003e\u003cspan\u003eDiscogs \u003c\/span\u003e: \u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e4,33\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\u003e3,87\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40412763553943,"sku":"SXBS 7006","price":38.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/bill-withers-just-as-i-am-audiosoundmusic-1.jpg?v=1719851688"},{"product_id":"elvis-presley-from-elvis-in-memphis","title":"\u003ctranscy\u003eElvis Presley - From Elvis In Memphis\u003c\/transcy\u003e","description":"\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eElvis Presley - vocals, guitar, piano \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/elvis-presley\" title=\"vinyl featuring Elvis Presley\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/elvis-presley\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Elvis Presley]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eRonnie Milsap (p); Bobby Emmons (org); Reggie Young (g, el-g); Tommy Cogbill, Mike Leech (b); Gene Chrisman (dr); The Memphis Horns and background vocals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eWritten by Al Owen (A1), Dallas Frazier (A1), Kenneth Gamble (A2), Leon Huff (A2), Jerry Butler (A2), Horton (A3), Eddy Arnold (A3), Thomas C. Dilbeck (A3), Bobby George (A4), Vern Stovall (A4), Johnny Tillotson (A5), Clarence E. Snow (A6), Bernie Baum (B1), Bill Giant (B1), Florence Kaye (B1), John Hartford (B2), J. Lantz (B3), E.Miller (B3), A. L. Owens (B4), Dallas Frazier (B4), Bob Hilliard (B5), Burt Bacharach (B5), Scott Davis (B6)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Speakers Corner\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : RCA\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded January–February 1969 at American Sound Studio, Memphis, Tennessee\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eEngineered by Al Pachucki\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eProduced by Felton Jarvis and Chips Moman\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 August 2003\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\u003eWearin' that Loved Look\u003c\/li\u003e\n\u003cli\u003eOnly the Strong Survive\u003c\/li\u003e\n\u003cli\u003eI'll Hold You in My Heart\u003c\/li\u003e\n\u003cli\u003eLong Black Limousine\u003c\/li\u003e\n\u003cli\u003eIt Keeps Right On A-Hurtin'\u003c\/li\u003e\n\u003cli\u003eI'm Movin On\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003ePower of My Love\u003c\/li\u003e\n\u003cli\u003eGentle on My Mind\u003c\/li\u003e\n\u003cli\u003eAfter Loving You\u003c\/li\u003e\n\u003cli\u003eTrue Love Travels on a Gravel Road\u003c\/li\u003e\n\u003cli\u003eAny Day Now\u003c\/li\u003e\n\u003cli\u003eIn the Ghetto\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eAwards:\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eRolling Stone 500 Greatest Albums of All Time - Ranked 322\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e“After a 14-year absence from Memphis, Elvis Presley returned to cut what was certainly his greatest album (or, at least, a tie effort with his RCA debut LP from early 1956). The fact that From Elvis in Memphis came out as well as it did is something of a surprise, in retrospect -- Presley had a backlog of songs he genuinely liked that he wanted to record and had heard some newer soul material that also attracted him, and none of it resembled the material that he'd been cutting since his last non-soundtrack album, six years earlier. And he'd just come off of the NBC television special which, although a lot of work, had led him to the realization that he could be as exciting and vital a performer in 1969 as he'd been a dozen years before. And for what was practically the last time, the singer cut his manager, Tom Parker, out of the equation, turning himself over to producer Chips Moman. The result was one of the greatest white soul albums (and one of the greatest soul albums) ever cut, with brief but considerable forays into country, pop, and blues as well. Presley sounds rejuvenated artistically throughout the dozen cuts off the original album, and he's supported by the best playing and backup singing of his entire recording history.” AllMusic Review by Bruce Eder\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAllmusic : 5 \/ 5 , \u003c\/span\u003e\u003cspan\u003eDiscogs \u003c\/span\u003e:\u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e5,00\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\u003e3,90\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40413136879767,"sku":"LSP-4155","price":38.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/elvis-presley-from-elvis-in-memphis-audiosoundmusic-1.jpg?v=1719851702"},{"product_id":"bob-dylan-blood-on-the-tracks","title":"\u003ctranscy\u003eBob Dylan - Blood on the Tracks (2LP, 45 tours, Coffret, 1STEP, SuperVinyl)\u003c\/transcy\u003e","description":"\u003cp\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eORDER LIMITED TO ONE ITEM PER CUSTOMER\u003c\/strong\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBob Dylan - vocals, guitar, harmonica (A1 to B3, C2, D2), Hammond organ (B2), mandolin (D1) \u003ca data-mce-fragment=\"1\" style=\"color: #ff8000;\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/bob-dylan\" title=\"vinyl featuring Bob Dylan\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/bob-dylan\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Bob Dylan]\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTony Brown (bass), Paul Griffin (organ), Buddy Cage (steel guitar)\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePerformer : Eric Weissberg And Deliverance\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eWritten by Bob Dylan\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e2 LPs, box set\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eLimited to 9,000 numbered copies\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cspan\u003eUD1S (UltraDisc One-Step)\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eHeavy Press : 180g - \u003cspan data-mce-fragment=\"1\"\u003eSuperVinyl\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 45 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eRecord Press : RTI\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eLabel : \u003cspan data-mce-fragment=\"1\"\u003eMobile Fidelity Sound\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eOriginal Label :  Columbia\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eRecording: September 16–19 and December 27–30, 1974, at A\u0026amp;R Recording in New York City and Sound 80 studio in Minneapolis by Lou Schlossberg and Phil Giambalvo\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003c\/strong\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003c\/strong\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eOriginal producer : Bob Dylan\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineer : Phil Ramone\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMastered by : Krieg Wunderlich and Shawn R. Britton\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProducer : Murray Krugman, Sandy Pearlman\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eOriginally released January 1975\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eReissued Nov 2019\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eTracks :\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eSide A :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eTangled Up in Blue\u003c\/li\u003e\n\u003cli\u003eSimple Twist of Fate\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eYou're a Big Girl Now\u003c\/li\u003e\n\u003cli\u003eIdiot Wind\u003c\/li\u003e\n\u003cli\u003eYou're Gonna Make Me Lonesome When You Go\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide C :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eMeet Me in the Morning\u003c\/li\u003e\n\u003cli\u003eLily, Rosemary and the Jack of Hearts\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide D :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eIf You See Her, Say Hello\u003c\/li\u003e\n\u003cli\u003eShelter from the Storm\u003c\/li\u003e\n\u003cli\u003eBuckets of Rain\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAwards\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e\u003cem data-mce-fragment=\"1\"\u003eRolling Stone \u003c\/em\u003e500 Greatest Albums of All Time - Ranked 9 \/ 500\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eInducted into the Grammy Hall of Fame in 2015.\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eNumber 7 in the third edition of Colin Larkin's All Time Top 1000 Albums (2000)\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e1000 Recordings You Must Hear Before You Die - Ranked 342\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e« Following on the heels of an album where he repudiated his past with his greatest backing band, Blood on the Tracks finds Bob Dylan, in a way, retreating to the past, recording a largely quiet, acoustic-based album. But this is hardly nostalgia -- this is the sound of an artist returning to his strengths, what feels most familiar, as he accepts a traumatic situation, namely the breakdown of his marriage. This is an album alternately bitter, sorrowful, regretful, and peaceful, easily the closest he ever came to wearing his emotions on his sleeve. That's not to say that it's an explicitly confessional record, since many songs are riddles or allegories, yet the warmth of the music makes it feel that way. The original version of the album was even quieter -- first takes of \"Idiot Wind\" and \"Tangled Up in Blue,\" available on The Bootleg Series, Vols. 1-3, are hushed and quiet (excised verses are quoted in the liner notes, but not heard on the record) -- but Blood on the Tracks remains an intimate, revealing affair since these harsher takes let his anger surface the way his sadness does elsewhere. As such, it's an affecting, unbearably poignant record, not because it's a glimpse into his soul, but because the songs are remarkably clear-eyed and sentimental, lovely and melancholy at once. And, in a way, it's best that he was backed with studio musicians here, since the professional, understated backing lets the songs and emotion stand at the forefront. Dylan made albums more influential than this, but he never made one better. » AllMusic Review by Stephen Thomas Erlewine\u003c\/p\u003e\n\u003cp\u003eBob Dylan was at several crossroads in the mid-1970s. Artistically, he was largely written off as being past his prime. Emotionally, he was suffering through a painful divorce from his then-wife Sara Lowndes. Creatively, he appeared at a stalemate, his previous decade's unprecedented run of transformational brilliance finished. Then came\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eBlood on the Tracks\u003c\/em\u003e. Dylan reached the height of his seminal 1970s work with this confessional 1975 classic featuring \"Tangled Up In Blue,\" \"Simple Twist of Fate,\" \"Idiot Wind,\" \"Lily, Rosemary and the Jack of Hearts,\" and six more classic tunes.\u003c\/p\u003e\n\u003cp\u003e\"Inevitably, when critics praise a new Dylan album, they label it the 'best since\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eBlood on the Tracks\u003c\/em\u003e,' and with good reason. Inspired by a crumbled marriage, and recorded after a tour with the Band had apparently re-ignited his creativity,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eBlood\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eis among Dylan's masterpieces. The album's epic songs are well known, but its real high points are the shorter numbers — 'You're a Big Girl Now,' the flawless blues 'Meet Me in the Morning,' and the sweetly devastating 'Buckets of Rain.' These are songs of \"images and distorted facts,\" each expressed through tangled points of view, and all of them blue.\" —\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eDavid Cantwell\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eUltraDisc One-Step :\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003eInstead of utilizing the industry-standard three-step lacquer process, Mobile Fidelity Sound Lab's new UltraDisc One-Step (UD1S) uses only one step, bypassing two processes of generational loss. While three-step processing is designed for optimum yield and efficiency, UD1S is created for the ultimate in sound quality. Just as Mobile Fidelity pioneered the UHQR (Ultra High-Quality Record) with JVC in the 1980s, UD1S again represents another state-of-the-art advance in the record-manufacturing process. MFSL engineers begin with the original master tapes and meticulously cut a set of lacquers. These lacquers are used to create a very fragile, pristine UD1S stamper called a \"convert.\" Delicate \"converts\" are then formed into the actual record stampers, producing a final product that literally and figuratively brings you closer to the music. By skipping the additional steps of pulling another positive and an additional negative, as done in the three-step process used in standard pressings, UD1S produces a final LP with the lowest noise floor possible today. The removal of the additional two steps of generational loss in the plating process reveals tremendous amounts of extra musical detail and dynamics, which are otherwise lost due to the standard copying process. The exclusive nature of these very limited pressings guarantees that every UD1S pressing serves as an immaculate replica of the lacquer sourced directly from the original master tape. Every conceivable aspect of vinyl production is optimized to produce the most perfect record album available today.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMoFi SuperVinyl:\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003eThe World's Quietest Surfaces and Cleanest Grooves: Developed by NEOTECH and RTI, MoFi SuperVinyl is the most exacting-to-specification vinyl compound ever created. Analog lovers have never seen (or heard) anything like it. Extraordinarily expensive and extremely painstaking to produce, the special proprietary compound addresses two specific areas of improvement: noise floor reduction and enhanced groove definition. The vinyl composition features a new carbonless dye (hold the disc up to the light and see) and produces the world's quietest surfaces. This high-definition formula also allows for the creation of cleaner grooves that are indistinguishable from the original lacquer. MoFi SuperVinyl provides the closest approximation of what the label's engineers hear in the mastering lab.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eAllmusic : 5 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40488780333207,"sku":"MFSL45UD1S-006","price":375.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/bob-dylan-blood-on-the-tracks-2lp-45-rpm-box-1step-supervinyl-audiosoundmusic-1.jpg?v=1719851796"},{"product_id":"copy-of-the-beach-boys-pet-sounds","title":"\u003ctranscy\u003eThe Beach Boys - Pet Sounds (1LP, Stereo, 33 tours, 180g)\u003c\/transcy\u003e","description":"\u003cp data-mce-fragment=\"1\" style=\"margin: 0cm 0cm 12.0pt 0cm;\" data-mce-style=\"margin: 0cm 0cm 12.0pt 0cm;\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"margin: 0cm 0cm 12.0pt 0cm;\" data-mce-style=\"margin: 0cm 0cm 12.0pt 0cm;\"\u003e\u003cstrong\u003e\u003ca title=\"vinyl featuring The Beach Boys\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/beach-boys\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/beach-boys\"\u003e\u003cspan style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring the Beach Boys]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"margin: 0cm 0cm 12.0pt 0cm;\" data-mce-style=\"margin: 0cm 0cm 12.0pt 0cm;\"\u003e\u003cstrong\u003ePerformed by The Beach Boys : Brian Wilson (vocals, bass guitar, keyboards), Mike Love (vocals, percussion, saxophone, Electro-Theremin), Al Jardine (vocals, rhythm guitar, bass guitar), Bruce Johnston (vocals, keyboards, bass guitar), Dennis Wilson (vocals, drums, keyboards).\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by Brian Wilson (all tracks), Tony Asher (A1, A2, A3, A4, B1, B3, B4, B6), Mike Love (A5), Michael Ruff (A3), Terry Sachen (B2)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, Stoughton tip-on jackets\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 200g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003cbr\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\u003eStudi\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Quality Record Pressings\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Analogue Productions\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Capitol\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded July 12, 1965 - April 13, 1966 at Columbia Studios (Hollywood, CA), Gold Star Recording Studios (Hollywood, CA), Sunset Sound Studios (Los Angeles, CA), Western Studios (Los Angeles, CA)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eMastered by Kevin Gray \u003cb data-mce-fragment=\"1\"\u003eat Cohearent Audio\u003c\/b\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eOriginally issued on May 16th, 1966 in mono\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eReissued in 2016\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eTracks :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eWouldn’t It Be Nice\u003c\/li\u003e\n\u003cli\u003eYou Still Believe In Me\u003c\/li\u003e\n\u003cli\u003eThat’s Not Me\u003c\/li\u003e\n\u003cli\u003eDon’t Talk (Put Your Head On My Shoulder)\u003c\/li\u003e\n\u003cli\u003eI’m Waiting For The Day\u003c\/li\u003e\n\u003cli\u003eLet’s Go Away For Awhile\u003c\/li\u003e\n\u003cli\u003eSloop John B\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eGod Only Knows\u003c\/li\u003e\n\u003cli\u003eI Know There’s An Answer\u003c\/li\u003e\n\u003cli\u003eHere Today\u003c\/li\u003e\n\u003cli\u003eI Just Wasn’t Made For These Times\u003c\/li\u003e\n\u003cli\u003ePet Sounds\u003c\/li\u003e\n\u003cli\u003eCaroline No\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAwards\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cb\u003eTAS Super LP List! Special Merit: Informal\u003c\/b\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cb\u003eRolling Stone 500 Greatest Albums of All Time - Rated 2\/500\u003cbr\u003e\u003c\/b\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cb\u003e\u003cbr\u003eRolling Stone 500 Greatest Songs of All Time - \"Sloop John B\" - Rated 278\/500\u003c\/b\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e1000 Recordings you must hear before you die - Ranked 61\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\"one of the most innovative recordings in rock\", 101 Albums that Changed Popular Music (2009)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\"It was \u003cem\u003ePet Sounds\u003c\/em\u003e that blew me out of the water…I love the album so much. I've just bought my kids each a copy of it for their education in life. I figure no one is educated musically 'til they've heard that album.\" – Paul McCartney\u003c\/p\u003e\n\u003cp\u003e\"All of us, Ginger (Baker), Jack (Bruce), and I consider \u003cem\u003ePet Sounds\u003c\/em\u003e to be one of the greatest pop LPs to ever be released. It encompasses everything that's ever knocked me out and rolled it all into one.\" – Eric Clapton\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003c\/strong\u003e\"Produced, composed and arranged by Brian Wilson, \u003cem\u003ePet Sounds\u003c\/em\u003e stands as the Beach Boys' pinnacle. The album is brimming with beautiful ballads, exotic instrumentation, lush five-part harmonies, and aching sentimentality. Recorded largely with session players from L.A.'s fabled Wrecking Crew, \u003cem\u003ePet Sounds\u003c\/em\u003e was Wilson's chance to step away from songs about surfing and cars, instead crafting tender songs about adolescent love, both newfound and lost, as well as innocence and bewilderment. Analogue Productions' two-disc 45 RPM, 180-gram stereo album boasts exceptionally detailed separation and aptly showcases \u003cem\u003ePet Sounds\u003c\/em\u003e' shimmering sonics. Mark Linett produced this stereo mix with an assembled digital multi-track master that synched the original four-track instrumental master with the four- and eight-track vocal overdub master. It was then mixed to 15 ips 1\/4-inch analog tape with SR noise reduction. How good is it? Carol Kaye's picked Fender P-Bass is tight and punchy on the intro to \"God Only Knows,\" and the clarity reveals the swelling emotion of Carl Wilson's angelic lead vocal to announce that you've entered the Church of Rock 'n' Roll. Say amen.\" Greg Cahill, \u003cem\u003eThe Absolute Sound\u003c\/em\u003e, December 2017\u003c\/p\u003e\n\u003cp\u003e« The best Beach Boys album, and one of the best of the 1960s. The group here reached a whole new level in terms of both composition and production, layering tracks upon tracks of vocals and instruments to create a richly symphonic sound. Conventional keyboards and guitars were combined with exotic touches of orchestrated strings, bicycle bells, buzzing organs, harpsichords, flutes, Theremin, Hawaiian-sounding string instruments, Coca-Cola cans, barking dogs, and more. It wouldn't have been a classic without great songs, and this has some of the group's most stunning melodies, as well as lyrical themes which evoke both the intensity of newly born love affairs and the disappointment of failed romance (add in some general statements about loss of innocence and modern-day confusion as well). The spiritual quality of the material is enhanced by some of the most gorgeous upper-register male vocals (especially by Brian and Carl Wilson) ever heard on a rock record. \"Wouldn't It Be Nice,\" \"God Only Knows,\" \"Caroline No,\" and \"Sloop John B\" (the last of which wasn't originally intended to go on the album) are the well-known hits, but equally worthy are such cuts as \"You Still Believe in Me,\" \"Don't Talk,\" \"I Know There's an Answer,\" and \"I Just Wasn't Made for These Times.\" It's often said that this is more of a Brian Wilson album than a Beach Boys recording (session musicians played most of the parts), but it should be noted that the harmonies are pure Beach Boys (and some of their best). Massively influential upon its release (although it was a relatively low seller compared to their previous LPs), it immediately vaulted the band into the top level of rock innovators among the intelligentsia, especially in Britain, where it was a much bigger hit. » AllMusic Review by Richie Unterberger\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eAllMusic : 5 \/ 5 , Discogs : 5 \/ 5 ,  Rate your Music : 4.18 \/ 5\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eGreg Cahill, The Absolute Sound : Music 5\/5, Sonics 4.5\/5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40606981882007,"sku":"AAPP 067","price":98.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/the-beach-boys-pet-sounds-1lp-stereo-33rpm-180g-audiosoundmusic-1.jpg?v=1719851878"},{"product_id":"copy-of-the-beach-boys-pet-sounds-stereo-33rpm","title":"\u003ctranscy\u003eThe Beach Boys - Pet Sounds (2LP, Mono, 45 tours, 180g)\u003c\/transcy\u003e","description":"\u003cp style=\"margin: 0cm 0cm 12.0pt 0cm;\" data-mce-fragment=\"1\" data-mce-style=\"margin: 0cm 0cm 12.0pt 0cm;\"\u003e\u003cstrong\u003e\u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/beach-boys\" title=\"vinyl featuring The Beach Boys\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/beach-boys\"\u003e\u003cspan style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring the Beach Boys]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp style=\"margin: 0cm 0cm 12.0pt 0cm;\" data-mce-fragment=\"1\" data-mce-style=\"margin: 0cm 0cm 12.0pt 0cm;\"\u003e\u003cstrong\u003ePerformed by The Beach Boys : Brian Wilson (vocals, bass guitar, keyboards), Mike Love (vocals, percussion, saxophone, Electro-Theremin), Al Jardine (vocals, rhythm guitar, bass guitar), Bruce Johnston (vocals, keyboards, bass guitar), Dennis Wilson (vocals, drums, keyboards).\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by Brian Wilson (all tracks), Tony Asher (A1, A2, A3, A4, B1, B3, C1, C2), Mike Love (B1), Michael Ruff (A3), Terry Sachen (C2)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e2 LPs,  gatefold Stoughton tip-on jackets \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 45 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMono\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Quality Record Pressings\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Analogue Productions\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Capitol\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded July 12, 1965 - April 13, 1966 at Columbia Studios (Hollywood, CA), Gold Star Recording Studios (Hollywood, CA), Sunset Sound Studios (Los Angeles, CA), Western Studios (Los Angeles, CA)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eMastered by Kevin Gray \u003cb data-mce-fragment=\"1\"\u003eat Cohearent Audio\u003c\/b\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eOriginally issued on May 16th, 1966 in mono\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eReissued in 2017\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eTracks :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eWouldn’t It Be Nice\u003c\/li\u003e\n\u003cli\u003eYou Still Believe In Me\u003c\/li\u003e\n\u003cli\u003eThat’s Not Me\u003c\/li\u003e\n\u003cli\u003eDon’t Talk (Put Your Head On My Shoulder)\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eI’m Waiting For The Day\u003c\/li\u003e\n\u003cli\u003eLet’s Go Away For Awhile\u003c\/li\u003e\n\u003cli\u003eSloop John B\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide C :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eGod Only Knows\u003c\/li\u003e\n\u003cli\u003eI Know There’s An Answer\u003c\/li\u003e\n\u003cli\u003eHere Today\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide D :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eI Just Wasn’t Made For These Times\u003c\/li\u003e\n\u003cli\u003ePet Sounds\u003c\/li\u003e\n\u003cli\u003eCaroline No\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAwards\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cb\u003e\u003cspan style=\"color: #ff2a00;\"\u003eRolling Stone 500 Greatest Albums of All Time - Rated 2\/500\u003c\/span\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/strong\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cb\u003e\u003cbr\u003eRolling Stone 500 Greatest Songs of All Time - \"Sloop John B\" - Rated 278\/500\u003c\/b\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e1000 Recordings you must hear before you die - Ranked 61\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\"one of the most innovative recordings in rock\", 101 Albums that Changed Popular Music (2009)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\"It was \u003cem\u003ePet Sounds\u003c\/em\u003e that blew me out of the water…I love the album so much. I've just bought my kids each a copy of it for their education in life. I figure no one is educated musically 'til they've heard that album.\" – Paul McCartney\u003c\/p\u003e\n\u003cp\u003e\"All of us, Ginger (Baker), Jack (Bruce), and I consider \u003cem\u003ePet Sounds\u003c\/em\u003e to be one of the greatest pop LPs to ever be released. It encompasses everything that's ever knocked me out and rolled it all into one.\" – Eric Clapton\u003c\/p\u003e\n\u003cp\u003e\"Produced, composed and arranged by Brian Wilson, \u003cem\u003ePet Sounds\u003c\/em\u003e stands as the Beach Boys' pinnacle. The album is brimming with beautiful ballads, exotic instrumentation, lush five-part harmonies, and aching sentimentality. Recorded largely with session players from L.A.'s fabled Wrecking Crew, \u003cem\u003ePet Sounds\u003c\/em\u003e was Wilson's chance to step away from songs about surfing and cars, instead crafting tender songs about adolescent love, both newfound and lost, as well as innocence and bewilderment. Analogue Productions' two-disc 45 RPM, 180-gram stereo album boasts exceptionally detailed separation and aptly showcases \u003cem\u003ePet Sounds\u003c\/em\u003e' shimmering sonics. Mark Linett produced this stereo mix with an assembled digital multi-track master that synched the original four-track instrumental master with the four- and eight-track vocal overdub master. It was then mixed to 15 ips 1\/4-inch analog tape with SR noise reduction. How good is it? Carol Kaye's picked Fender P-Bass is tight and punchy on the intro to \"God Only Knows,\" and the clarity reveals the swelling emotion of Carl Wilson's angelic lead vocal to announce that you've entered the Church of Rock 'n' Roll. Say amen.\" Greg Cahill, \u003cem\u003eThe Absolute Sound\u003c\/em\u003e, December 2017\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e« The best Beach Boys album, and one of the best of the 1960s. The group here reached a whole new level in terms of both composition and production, layering tracks upon tracks of vocals and instruments to create a richly symphonic sound. Conventional keyboards and guitars were combined with exotic touches of orchestrated strings, bicycle bells, buzzing organs, harpsichords, flutes, Theremin, Hawaiian-sounding string instruments, Coca-Cola cans, barking dogs, and more. It wouldn't have been a classic without great songs, and this has some of the group's most stunning melodies, as well as lyrical themes which evoke both the intensity of newly born love affairs and the disappointment of failed romance (add in some general statements about loss of innocence and modern-day confusion as well). The spiritual quality of the material is enhanced by some of the most gorgeous upper-register male vocals (especially by Brian and Carl Wilson) ever heard on a rock record. \"Wouldn't It Be Nice,\" \"God Only Knows,\" \"Caroline No,\" and \"Sloop John B\" (the last of which wasn't originally intended to go on the album) are the well-known hits, but equally worthy are such cuts as \"You Still Believe in Me,\" \"Don't Talk,\" \"I Know There's an Answer,\" and \"I Just Wasn't Made for These Times.\" It's often said that this is more of a Brian Wilson album than a Beach Boys recording (session musicians played most of the parts), but it should be noted that the harmonies are pure Beach Boys (and some of their best). Massively influential upon its release (although it was a relatively low seller compared to their previous LPs), it immediately vaulted the band into the top level of rock innovators among the intelligentsia, especially in Britain, where it was a much bigger hit. » AllMusic Review by Richie Unterberger\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eAllMusic : 5 \/ 5 , Discogs : 5 \/ 5 ,  Rate your Music : 4.18 \/ 5\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eGreg Cahill, The Absolute Sound : Music 5\/5, Sonics 4.5\/5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40607085592727,"sku":"AAPP 067M-45","price":130.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/the-beach-boys-pet-sounds-2lp-mono-45rpm-180g-audiosoundmusic-1.jpg?v=1719851878"},{"product_id":"quicksilver-messenger-service-happy-trails","title":"Quicksilver Messenger Service - Happy Trails","description":"\u003cdiv\u003e\n\u003ch2 data-mce-fragment=\"1\"\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eORDER LIMITED TO ONE ITEM PER CUSTOMER \u003c\/strong\u003e\u003c\/span\u003e\u003c\/h2\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eJohn Cipollina (guitar, vocals), Gary Duncan (guitar, vocals), Greg Elmore (drums), David Freiberg (bass, vocals)\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"color: #ff2a00;\"\u003eLimited edition\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\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 : Pure Pleasure Records\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Capitol\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003eRecorded l\u003cspan data-mce-fragment=\"1\"\u003eive at Fillmore East And West and Golden State Recorders , S.F.; Nov. 19, 1968\u003c\/span\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003eOriginally released in 1969\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003eReissued in \u003cspan data-mce-fragment=\"1\"\u003eJune 2009\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cp\u003e\u003cstrong\u003eTracks :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv\u003e\u003cspan face=\"Times New Roman\"\u003eSide A :\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\n\u003cspan data-mce-fragment=\"1\"\u003e1. Who Do You Love - Part 1\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e2. When You Love\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e3. Where You Love\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e4. How You Love\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e5. Which Do You Love\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e6. Who Do You Love - Part 2\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Times New Roman\"\u003eSide B :\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\n\u003cp data-mce-fragment=\"1\"\u003e1. Mona\u003cbr data-mce-fragment=\"1\"\u003e2. Maiden of the Cancer Moon\u003cbr data-mce-fragment=\"1\"\u003e3. Calvary\u003cbr data-mce-fragment=\"1\"\u003e4. Happy Trails\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003cstrong\u003eAwards\u003c\/strong\u003e:\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan size=\"3\" style=\"color: #ff2a00;\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan size=\"3\" style=\"color: #ff2a00;\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cb\u003eRolling Stone 500 Greatest Albums of All Time - Rated 189\/500\u003cbr\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan size=\"3\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp\u003e\"If you weren't there, this is the next best thing: the definitive live recording of the mid-Sixties San Francisco psychedelic-ballroom experience. Mostly taped at the two Fillmores, in San Francisco and New York, Quicksilver Messenger Service's second album captures twin guitarists, John Cipollina and Gary Duncan, in high, bright flight, making rare magic from a couple of old Bo Diddley numbers (\"Mona,\" \"Who Do You Love?\"), while the gorgeous, composed intricacies of \"Maiden of the Cancer Moon\" and the acid-flamenco studio epic \"Calvary\" prove that psychedelia was not just about tripping out.\" \u003cspan\u003e- www.rollingstone.com\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\"...this is an excellent reissue that will bring good musical cheer and acid flashbacks to aging and not so aging analog loving hippies worldwide.\"\u003cb\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e- Michael Fremer, www.musicangle.com\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e« Without question, this follow-up to Quicksilver Messenger Service's self-titled debut release is the most accurate in portraying the band on vinyl in the same light as the group's critically and enthusiastically acclaimed live performances. The album is essentially centered around the extended reworkings of Bo Diddley's \"Who Do You Love?\" and \"Mona,\" as well as the lesser lauded -- yet no less intense -- contribution of Gary Duncan's (guitar\/vocals) \"Calvary.\" This album is the last to feature the original quartet incarnation of QMS. The collective efforts of John Cipollina (guitar\/vocals), Greg Elmore (percussion), David Freiberg (bass\/vocals), and the aforementioned Duncan retain the uncanny ability to perform with a psychedelic looseness of spirit, without becoming boring or in the least bit pretentious. The side-long epic \"Who Do You Love?\" suite is split into an ensemble introduction and coda as well as four distinct sections for the respective bandmembers. The perpetually inventive chops of QMS are what is truly on display here. The musicians' unmitigated instrumental prowess and practically psychic interaction allow them to seamlessly weave into and back out of the main theme. Yet all the while, each player takes center stage for uncompromising solos. \"Mona\" and its companion, \"Calvary,\" continue in much the same fashion. Here the members of QMS play off each other to form a cohesive unit. This track also contains some of Cipollina's finest and most memorable fretwork. He is able to summon sonic spirits from his guitar in a way that is unlike any of his Bay Area contemporaries. A prime example of his individuality is the frenetic \"Maiden of the Cancer Moon\" -- ascending from the remnants of \"Mona.\" The angst and energy in Cipollina's guitar work and line upon line of technical phrasing could easily be considered the equal of a Frank Zappa guitar solo. The brief title track, a cover of Roy Rogers and Dale Evans' \"Happy Trails,\" seems almost insignificant in the wake of such virtuoso playing. It clears the sonic palette and also bids adieu to this particular fab foursome of psychedelia. » AllMusic Review by Lindsay Planer\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eRatings\u003c\/strong\u003e : \u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\u003cspan size=\"3\"\u003e\u003cspan size=\"3\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eAllMusic : 5 \/ 5 , Discogs : 4.24 \/ 5 , Michael Fremer : Music 8, Sound 8\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003ch1\u003e\u003c\/h1\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40694948855959,"sku":"APPR 120","price":35.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/quicksilver-messenger-service-happy-trails-audiosoundmusic-1.jpg?v=1719851983"},{"product_id":"dr-john-dr-johns-gumbo","title":"Dr. John - Dr. John's Gumbo","description":"\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eDr. John, vocals, piano, keyboards\u003cspan style=\"color: #ff8000;\"\u003e \u003ca data-mce-fragment=\"1\" style=\"color: #ff8000;\" title=\"vinyl featuring Dr. John\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/dr-john\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/dr-john\"\u003e[click here to see more vinyl featuring Dr. John]\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eRonnie Barron, keyboards, organ, piano, vocals\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eHarold Battiste, Jr., clarinet, saxophone\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eSidney George, harmonica, saxophone\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eMorris Bechamin, saxophone, vocals\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eJimmy Calhoun, bass\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eFred Staehle, drums, percussion\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eRichard Washington, percussion\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, Tip-on style gatefold jacket by Stoughton Printing\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : \u003cspan data-mce-fragment=\"1\"\u003eQuality Record Pressings\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Analogue Productions\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Atco (Atlantic)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineers : Gary Brandt, Keith Olsen\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMastered by George Piros\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Harold Battiste, Jerry Wexler\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by Kevin Gray at Cohearent Audio\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003eOriginally released in 1972\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003eReissued in 2016\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cp\u003e\u003cstrong\u003eTracks :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv\u003e\u003cspan face=\"Times New Roman\"\u003eSide A :\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\n\u003cspan\u003e1. Iko Iko\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e2. Blow Wind Blow\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e3. Big Chief\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e4. Somebody Changed The Lock\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e5. Mess Around\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e6. Let The Good Times Roll\u003c\/span\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Times New Roman\"\u003eSide B :\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\u003cspan\u003e1. Junko Partner\u003cbr data-mce-fragment=\"1\"\u003e2. Stack-A-Lee\u003cbr data-mce-fragment=\"1\"\u003e3. Tipitina\u003cbr data-mce-fragment=\"1\"\u003e4. Those Lonely Lonely Nights\u003cbr data-mce-fragment=\"1\"\u003e5. Huey Smith Medley [High Blood Pressure \/ Don't You Just Know It \/ Well I'll Be John Brown]\u003cbr data-mce-fragment=\"1\"\u003e6. Little Liza Jane\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\u003cspan size=\"3\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan size=\"3\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cstrong\u003eAwards\u003c\/strong\u003e :\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cspan size=\"3\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan size=\"3\" style=\"color: #ff2a00;\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cstrong\u003eNo. 404 on \u003cem\u003eRolling Stone\u003c\/em\u003e's list of 500 Greatest Albums of All Time!\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan size=\"3\" style=\"color: #ff2a00;\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cstrong\u003eTAS Super LP List! Special Merit: Informal\u003cbr\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cspan size=\"3\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan size=\"3\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan size=\"3\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cspan size=\"3\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp\u003e« Dr. John's Gumbo bridged the gap between post-hippie rock and early rock \u0026amp; roll, blues, and R\u0026amp;B, offering a selection of classic New Orleans R\u0026amp;B, including \"Tipitina\" and \"Junko Partner,\" updated with a gritty, funky beat. There aren't as many psychedelic flourishes as there were on his first two albums, but the ones that are present enhance his sweeping vision of American roots music. And that sly fusion of styles makes Dr. John's Gumbo one of Dr. John's finest albums. » AllMusic Review by Stephen Thomas Erlewine\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cem\u003eDr. John's Gumbo\u003c\/em\u003e is the fifth album by New Orleans singer and pianist Dr. John, a tribute to the music of his native city. The album is a collection of covers of New Orleans classics, played by a major figure in the city's music.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cem\u003eDr John's Gumbo\u003c\/em\u003e was released in 1972 and is in many ways a tribute by Dr. John, aka the Night Tripper, to his hometown New Orleans. It features excellent interpretations of New Orleans traditionals (\"Iko Iko\", \"Tipitina\", \"Junko Partner\" and \"Stack-O-Lee\") and contemporary R\u0026amp;B written or played by the likes of Huey Piano Smith (\"Blow Wind Blow\" and \"Huey Smith Medley\") and Earl King (\"Big Chief\" and \"Those Lonely Lonely Nights\").\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eDr. John delivers a strong set of infectious songs drenched in good vibes and spiced with a pinch of voodoo. His eccentric (stage) appearance adds unique color to his stature as master of the ivories and as an entertainer.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eThis great album receives the full Analogue Productions reissue treatment here, starting with Kevin Gray's remaster from the original analog tapes. Then we back that up with 200-gram plating and pressing on super-silent vinyl by our own Quality Record Pressings. Finally it's all housed in a tip-on gatefold jacket from Stoughton Printing. Deluxe all the way; you'll be ecstatic with the results!\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eRatings\u003c\/strong\u003e : \u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\u003cspan size=\"3\"\u003e\u003cspan size=\"3\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eAllMusic : 4.5 \/ 5 , Discogs : 4.4 \/ 5 \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003ch1\u003e\u003c\/h1\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40729269534871,"sku":"AAPP 093","price":65.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/dr-john-dr-john-s-gumbo-audiosoundmusic-1.jpg?v=1719852193"},{"product_id":"the-crickets-buddy-holly-the-chirping-crickets-mono","title":"The Crickets \u0026 Buddy Holly - The Chirping Crickets (Mono, 200g)","description":"\u003cp\u003e\u003cstrong\u003eBuddy Holly – lead vocals, lead guitar, acoustic guitar on A5, backing vocals on A2\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJerry Allison – drums, card-box percussion and backing vocals on A2\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJoe B. Mauldin – contrabass, except on B1 and B2, backing vocals on A2\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eNiki Sullivan – rhythm guitar, except on A1, A2, A5, B1, B2 and B5, backing vocals on A2, B1 and B2\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLarry Welborn – contrabass on B1 and B2\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe Picks (Bill Pickering, John Pickering and Bob Lapham) - backing vocals, except on A2, B1 and B2\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRamona and Gary Tollett – backing vocals on B1 and B2\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP,  Gatefold, tip-on jackets from Stoughton Printing\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 200g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMono\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : \u003cspan data-mce-fragment=\"1\"\u003eQuality Record Pressings\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Analogue Productions\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Brunswick\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded February 25 – September 28, 1957\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Norman Petty\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by Kevin Gray at Cohearent Audio\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003eOriginally released in 1957\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003eReissued in 2017\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cp\u003e\u003cstrong\u003eTracks :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv\u003e\u003cspan face=\"Times New Roman\"\u003eSide A :\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e1. Oh, Boy!\u003cbr\u003e2. Not Fade Away\u003cbr\u003e3. You've Got Love\u003cbr\u003e4. Maybe Baby\u003cbr\u003e5. It's Too Late\u003cbr\u003e6. Tell Me How\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\n\u003cspan data-mce-fragment=\"1\"\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Times New Roman\"\u003eSide B :\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\n\u003cspan data-mce-fragment=\"1\"\u003e1. That'll Be the Day\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e2. I'm Lookin' For Someone To Love\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e3. An Empty Cup (And A Broken Date)\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e4. Send Me Some Lovin'\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e5. Last Night\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e6. Rock Me My Baby\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003col\u003e\u003c\/ol\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cp\u003e\u003cstrong\u003eAwards:\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e\u003cem\u003eRolling Stone\u003c\/em\u003e's 500 Greatest Albums of All time — No. 420\/500\u003c\/strong\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cbr\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eReviews\u003c\/strong\u003e :\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e\"...even if you've previously heard these tracks, you've not before heard them with the clarity, transparency and punch that you'll hear on this remarkable reissue...\" — Music = 10\/11; Sound = 8\/11 - Michael Fremer, AnalogPlanet.com\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cspan\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp\u003e« The debut album by the Crickets and the only one featuring Buddy Holly released during his lifetime, The \"Chirping\" Crickets contains the group's number one single \"That'll Be the Day\" and its Top Ten hit \"Oh, Boy!.\" Other Crickets classics include \"Not Fade Away,\" \"Maybe Baby,\" and \"I'm Looking for Someone to Love.\" The rest of the 12 tracks are not up to the standard set by those five, but those five are among the best rock \u0026amp; roll songs of the 1950s or ever, making this one of the most significant album debuts in rock \u0026amp; roll history, ranking with Elvis Presley and Meet the Beatles. » AllMusic Review by William Ruhlmann\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp\u003e\"An equally impressive, classics-laden album to pair with Buddy Holly's eponymous LP, this included 'Oh Boy!,' 'Not Fade Away,' 'That'll Be The Day,' and nine others which inspired The Beatles, The Hollies, The Rolling Stones, The Searchers and every other British Invasion band. Sixty years after it appeared, this still sounds fresh and innovative, while Analogue Productions' superlative transfer is one of the best sounding I've heard yet - and I have been collecting Holly LPs for 52 years. Apparently this and its sibling will be issued as 45 RPM doubles — how can they possibly sound even better? This ranks as one of the greatest debut LPs ever.\"  Ken Kessler,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eHi Fi New\u003c\/em\u003es, February 2018.\u003c\/p\u003e\n\u003cp\u003e\"...the choice to purchase these Analogue Productions reissues boils down two considerations: whether you want the music configured as it was first released and whether these LPs sufficiently improve on the sound of earlier releases. ... Analogue Productions presents the original running order and artwork, and the covers, from Stoughton Printing, are first-rate. If all of that doesn't have you reaching for your wallet, then the improvement in sound should. Kevin Gray's remastering breathes new life into the music, enhancing tonality, dynamics and retrieval of inner detail. The sound of these reissues easily outstrips that of any prior releases.\" Dennis Davis,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eThe Audio Beat\u003c\/em\u003e, April 28, 2017\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003eRatings\u003c\/strong\u003e : \u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\u003cspan size=\"3\"\u003e\u003cspan size=\"3\"\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eAllMusic : 5 \/ 5 , Discogs : 4.5 \/ 5 , \u003cem data-mce-fragment=\"1\"\u003eHi Fi New\u003c\/em\u003es : Sound Quality: 90% , \u003cem data-mce-fragment=\"1\"\u003eThe Audio Beat : \u003c\/em\u003eSound = 4\/5; Music = 5\/5\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003ch1\u003e\u003cbr\u003e\u003c\/h1\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40729937870999,"sku":"AAPP 109","price":65.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/the-crickets-and-buddy-holly-the-chirping-crickets-mono-200g-audiosoundmusic-1.jpg?v=1719852203"},{"product_id":"howlin-wolf-howlin-wolf","title":"\u003ctranscy\u003eHowlin Wolf - Howlin Wolf\u003c\/transcy\u003e","description":"\u003cp\u003e\u003cstrong\u003eHowlin' Wolf – lead vocals, guitar, harmonica\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWilliam Johnson – guitar\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFreddy Robinson – guitar\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJimmy Rogers – guitar\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOtis \"Big Smokey\" Smothers – guitar\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHubert Sumlin – guitar\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJody Williams – guitar\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHenry Gray – piano\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJohnny Jones – piano\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHosea Lee Kennard – piano\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLafayette Leake – piano\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOtis Spann – piano\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWillie Dixon – bass, vocals on “Going Down Slow”\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBuddy Guy – bass\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFred Below – drums\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJunior Blackman – drums\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSam Lay – 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\u003eSammy Lewis – drums\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEarl Phillips – drums\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eT. Brown – saxophone\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDonald Hankins – baritone saxophone\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eArnold Rogers – tenor saxophone\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 : 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 : Universal Music Enterprises\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 : Chess\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded 1959 - 1962\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\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 1962\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\u003eShake For Me\u003c\/li\u003e\n\u003cli\u003eThe Red Rooster\u003c\/li\u003e\n\u003cli\u003eYou'll Be Mine\u003c\/li\u003e\n\u003cli\u003eWho's Been Talkin'\u003c\/li\u003e\n\u003cli\u003eWang Dang Doodle\u003c\/li\u003e\n\u003cli\u003eLittle Baby\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\u003eSpoonful\u003c\/li\u003e\n\u003cli\u003eGoing Down Slow\u003c\/li\u003e\n\u003cli\u003eDown In the Bottom\u003c\/li\u003e\n\u003cli\u003eBack Door Man\u003c\/li\u003e\n\u003cli\u003eHowlin' For My Baby\u003c\/li\u003e\n\u003cli\u003eTell Me\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAwards\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eRolling Stone 500 Greatest Albums of All Time - Rated 238\/500\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e\"Howlin' Wolf's second album brings together some of the blues great's best singles from the late '50s and early '60s. Also available as a fine two-fer with his debut, Moanin' in the Moonlight, the so-called Rockin' Chair Album represents the cream of Wolf's Chicago blues work. Those tracks afforded classic status are many, including \"Spoonful,\" \"The Red Rooster,\" \"Wang Dang Doodle,\" \"Back Door Man,\" \"Shake for Me,\" and \"Who's Been Talking?\" Also featuring the fine work of Chess house producer and bassist Willie Dixon and guitarist Hubert Sumlin, Rockin' Chair qualifies as one of pinnacles of early electric blues, and is an essential album for any quality blues collection.\" \u003cspan data-mce-fragment=\"1\"\u003eAllMusic Review by Stephen Cook\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 : 4,54 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40840466006167,"sku":"FRM-1469","price":55.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/howlin-wolf-howlin-wolf-audiosoundmusic-1.jpg?v=1719852895"},{"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 vocals \u003ca title=\"vinyl featuring carole king\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/carole-king\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/carole-king\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Carole King]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\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\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":"harry-nilsson-nilsson-schmilsson","title":"\u003ctranscy\u003eHarry Nilsson - Nilsson Schmilsson (2LP, 45 tours)\u003c\/transcy\u003e","description":"\u003ctranscy\u003e\u003ch2\u003e\u003cfont color=\"#ff0000\"\u003e\u003cb\u003eCOMMANDE LIMITEE A UN EXEMPLAIRE PAR CLIENT\u003c\/b\u003e\u003c\/font\u003e\u003c\/h2\u003e\u003ch2\u003e\u003cfont color=\"#ff0000\"\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/font\u003e\u003c\/h2\u003e\u003cp\u003eHarry Nilsson – vocals; piano (A1, B2, C3, D2); Mellotron (A2, B1); organ (C1); harmonica (C3); electric piano (D1)\u003c\/p\u003e\u003cp\u003eJim Gordon – drums (A1-2, B2, C2, D1); percussion (C2, D1)\u003c\/p\u003e\u003cp\u003eKlaus Voormann – bass (A1, B2, C1, C3); rhythm guitar (A2, D1); acoustic guitar (B1)\u003c\/p\u003e\u003cp\u003eChris Spedding – guitar (A1, B2, C3, D1)\u003c\/p\u003e\u003cp\u003eHerbie Flowers – bass (A2, B1, C2, D1)\u003c\/p\u003e\u003cp\u003eJohn Uribe – acoustic guitar (A2, B1, C1); lead guitar (A2, D1)\u003c\/p\u003e\u003cp\u003eHenry Krein – accordion (A1)\u003c\/p\u003e\u003cp\u003eRichard Perry – percussion (A1), Mellotron (A2)\u003c\/p\u003e\u003cp\u003eJim Price – trumpet (A1, B3); trombone (A1, B2); horn arrangements (A1, B2)\u003c\/p\u003e\u003cp\u003eJim Keltner – drums (B2, C1, C3)\u003c\/p\u003e\u003cp\u003eRoger Coulam – organ (B2)\u003c\/p\u003e\u003cp\u003eBobby Keys – saxophone (B2)\u003c\/p\u003e\u003cp\u003eGary Wright – piano (B2), organ (C3)\u003c\/p\u003e\u003cp\u003ePaul Buckmaster – string and horn arrangements (C1)\u003c\/p\u003e\u003cp\u003eRoger Pope – drums (C2)\u003c\/p\u003e\u003cp\u003eCaleb Quaye – guitar (C2)\u003c\/p\u003e\u003cp\u003eIan Duck – acoustic guitar (C2)\u003c\/p\u003e\u003cp\u003eJim Webb – piano (D1)\u003c\/p\u003e\u003cp\u003eGeorge Tipton – string and horn arrangements (D2)\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e2 LPs, gatefold jacket\u003c\/p\u003e\u003cp\u003eOriginal analog Master tape : YES\u003c\/p\u003e\u003cp\u003eHeavy Press : 180g\u003c\/p\u003e\u003cp\u003eRecord color : black\u003c\/p\u003e\u003cp\u003eSpeed : 45RPM\u003c\/p\u003e\u003cp\u003eSize : 12”\u003c\/p\u003e\u003cp\u003eStereo\u003c\/p\u003e\u003cp\u003eStudio\u003c\/p\u003e\u003cp\u003eRecord Press : RTI\u003c\/p\u003e\u003cp\u003eLabel : MOFI\u003c\/p\u003e\u003cp\u003eOriginal Label : RCA Victor\u003c\/p\u003e\u003cp\u003eRecorded January–June 1971 at Studio Trident Studios and Island Studios, London, England; RCA Studios, Hollywood, CA\u003c\/p\u003e\u003cp\u003eEngineered \u0026 mixed by Robin Geoffrey Cable\u003c\/p\u003e\u003cp\u003eProduced by Richard Perry\u003c\/p\u003e\u003cp\u003eRemastered by Krieg Wunderlich\u003c\/p\u003e\u003cp\u003eOriginally released in 1971\u003c\/p\u003e\u003cp\u003eReissued in 2021\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eTracks:\u003c\/p\u003e\u003cp\u003eSide A :\u003c\/p\u003e\u003col\u003e\u003cli\u003eGotta Get Up\u003c\/li\u003e\u003cli\u003eDriving Along\u003c\/li\u003e\u003cli\u003eEarly in the Morning\u003c\/li\u003e\u003c\/ol\u003e\u003cp\u003eSide B:\u003c\/p\u003e\u003col\u003e\u003cli\u003eThe Moonbeam Son\u003c\/li\u003e\u003cli\u003eDown\u003c\/li\u003e\u003c\/ol\u003e\u003cp\u003eSide C:\u003c\/p\u003e\u003col\u003e\u003cli\u003eWithout You\u003c\/li\u003e\u003cli\u003eCoconut\u003c\/li\u003e\u003cli\u003eLet The Good Times Roll\u003c\/li\u003e\u003c\/ol\u003e\u003cp\u003eSide D :\u003c\/p\u003e\u003col\u003e\u003cli\u003eJump Into The Fire\u003c\/li\u003e\u003cli\u003eI’ll Never Leave You\u003c\/li\u003e\u003c\/ol\u003e\u003cp\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eAwards:\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cfont color=\"#ff0000\"\u003eRolling Stone 500 Greatest Albums of All Time - Ranked 281\u003c\/font\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cfont color=\"#ff0000\"\u003e1000 Recordings You Must Hear Before You Die - Ranked 238\u003c\/font\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eReviews \u003c\/b\u003e:\u003c\/p\u003e\u003cp\u003e\"Harry Nilsson had a hit, a Grammy, and critical success, yet he still didn't have a genuine blockbuster to his name when it came time to finally deliver a full-fledged follow-up to Nilsson Sings Newman, so he decided it was time to make that unabashed, mainstream pop\/rock album. Hiring Barbra Streisand producer Richard Perry as a collaborator, Nilsson made a streamlined, slightly domesticated, unashamed set of mature pop\/rock, with a slight twist. This is an album, after all, that begins by pining for the reckless days of youth, then segues into a snapshot of suburban disconnectedness before winding through a salute to and covers of old R\u0026B tunes (\"Early in the Morning\" and \"Let the Good Times Roll,\" respectively), druggie humor (\"Coconut\"), and surging hard rock (\"Jump Into the Fire\"). There are certainly hints of the Nilsson of old, particularly in his fondness for Tin Pan Alley and McCartney melodicism -- as well as his impish wit -- yet he hadn't made a record as cohesive as this since his first time out, nor had he ever made something as shiny and appealing as this. It may be more accessible than before, yet it's anchored by his mischievous humor and wonderful idiosyncrasies. Chances are that those lured in by the grandly melodramatic \"Without You\" will not be prepared for either the subtle charms of \"The Moonbeam Song\" or the off-kilter sensibility that makes even his breeziest pop slightly strange. In short, it's a near-perfect summary of everything Nilsson could do; he could be craftier and stranger, but never did he achieve the perfect balance as he did here.\" AllMusic Review by Stephen Thomas Erlewine\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eRatings \u003c\/b\u003e:\u003c\/p\u003e\u003cp\u003eAllMusic : 4,5 \/ 5 , Discogs : 4,32 \/ 5\u003c\/p\u003e\u003c\/transcy\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40886074146967,"sku":"MFSL2-498","price":195.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/harry-nilsson-nilsson-schmilsson-2lp-45rpm-audiosoundmusic-1.jpg?v=1719853294"},{"product_id":"nirvana-in-utero-black-vinyl","title":"\u003ctranscy\u003eNirvana - In Utero\u003c\/transcy\u003e","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cbr\u003eGuitar, Vocals – Kurt Kobain\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBass – Krist Novoselic\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDrums – Dave Grohl\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by Kurt Cobain, \u003c\/strong\u003e\u003cstrong\u003eDave Grohl (A2), Krist Novoselic (A2)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, gatefold jacket\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12”\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press :  Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel :  ORG Music\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Geffen Records\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded \u003c\/strong\u003e\u003cstrong\u003eFebruary 12–26, 1993 at \u003c\/strong\u003e\u003cstrong\u003eStudio Pachyderm, Cannon Falls, Minnesota\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Steve Albini\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 1993\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2010\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A:\u003c\/p\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e1. Serve The Servants\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e2. Scentless Apprentice\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e3. Heart-Shaped Box\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e4. Rape Me        \u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e5. Frances Farmer Will Have Her Revenge On Seattle           \u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e6. Dumb\u003c\/div\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eSide B:\u003c\/p\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e1. Very Ape\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e2. Milk It\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e3. Pennyroyal Tea\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e4. Radio Friendly Unit Shifter  \u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e5. Tourette's      \u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e6. All Apologies\u003c\/div\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eAwards:\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eRolling Stone magazine 500 greatest album of all times - Ranked 173 \/ 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 742\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\"Nirvana probably hired Steve Albini to produce In Utero with the hopes of creating their own Surfer Rosa, or at least shoring up their indie cred after becoming a pop phenomenon with a glossy punk record. In Utero, of course, turned out to be their last record, and it's hard not to hear it as Kurt Cobain's suicide note, since Albini's stark, uncompromising sound provides the perfect setting for Cobain's bleak, even nihilistic, lyrics. Even if the album wasn't a literal suicide note, it was certainly a conscious attempt to shed their audience -- an attempt that worked, by the way, since the record had lost its momentum when Cobain died in the spring of 1994. Even though the band tempered some of Albini's extreme tactics in a remix, the record remains a deliberately alienating experience, front-loaded with many of its strongest songs, then descending into a series of brief, dissonant squalls before concluding with \"All Apologies,\" which only gets sadder with each passing year. Throughout it all, Cobain's songwriting is typically haunting, and its best moments rank among his finest work, but the over-amped dynamicism of the recording seems like a way to camouflage his dispiritedness -- as does the fact that he consigned such great songs as \"Verse Chorus Verse\" and \"I Hate Myself and Want to Die\" to compilations, when they would have fit, even illuminated the themes of In Utero. Even without those songs, In Utero remains a shattering listen, whether it's viewed as Cobain's farewell letter or self-styled audience alienation. Few other records are as willfully difficult as this.\" AllMusic Review by Stephen Thomas Erlewine \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 5\/5  ,  Discogs 4.48 \/ 5 \u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40909424984215,"sku":"NIRV0033BL-LP00","price":45.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/nirvana-in-utero-audiosoundmusic-1.jpg?v=1719853396"},{"product_id":"t-rex-electric-warrior","title":"\u003ctranscy\u003eT. Rex - Electric Warrior (2LP, 45 tours, Ultra Analog)\u003c\/transcy\u003e","description":"\u003ch2\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e\u003cbr\u003eORDER LIMITED TO ONE ITEM PER CUSTOMER\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h2\u003e\n\u003cp\u003e\u003cstrong\u003eMarc Bolan – vocals, guitar\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMickey Finn – congas, bongos, vocals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSteve Currie – bass guitar\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBill Legend – drums, tambourine\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHoward Kaylan – backing vocals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMark Volman – backing vocals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRick Wakeman – keyboards on \"Get It On\"\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eIan McDonald – saxophone\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBurt Collins – flugelhorn\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e2 LPs, gatefold jacket\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eLimited edition\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHalf-speed Mastering\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eGAIN 2 Ultra Analog™ LP \u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 45RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12”\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : RTI\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : MOFI\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Fly Records\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded March–June 1971 in Trident and Advision Studio, London; Wally Heider, Los Angeles; Media Sound, New York City\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineered \u0026amp; mixed by Malcolm Cecil, Martin Rushent, Rik Pekkonen, Roy T. Baker\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Tony Visconti\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 2020\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003cdiv style=\"padding-left: 60px;\"\u003e1 Mambo Sun\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 60px;\"\u003e2 Cosmic Dancer\u003c\/div\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003cdiv style=\"padding-left: 60px;\"\u003e1 Jeepster\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 60px;\"\u003e2 Monolith\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 60px;\"\u003e3 Lean Woman Blues\u003c\/div\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eSide C :\u003c\/p\u003e\n\u003cdiv style=\"padding-left: 60px;\"\u003e1 Bang A Gong (Get It On)\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 60px;\"\u003e2 Planet Queen\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 60px;\"\u003e3 Girl\u003c\/div\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eSide D :\u003c\/p\u003e\n\u003cdiv style=\"padding-left: 60px;\"\u003e1 The Motivator\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 60px;\"\u003e2 Life's A Gas\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 60px;\"\u003e3 Rip Off\u003c\/div\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eRolling Stone 500 Greatest Albums of All Time - Ranked 188\/500\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eIncluded in the 1001 Albums You Must Hear Before You Die\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 album that essentially kick-started the U.K. glam rock craze, Electric Warrior completes T. Rex's transformation from hippie folk-rockers into flamboyant avatars of trashy rock \u0026amp; roll. There are a few vestiges of those early days remaining in the acoustic-driven ballads, but Electric Warrior spends most of its time in a swinging, hip-shaking groove powered by Marc Bolan's warm electric guitar. The music recalls not just the catchy simplicity of early rock \u0026amp; roll, but also the implicit sexuality -- except that here, Bolan gleefully hauls it to the surface, singing out loud what was once only communicated through the shimmying beat. He takes obvious delight in turning teenage bubblegum rock into campy sleaze, not to mention filling it with pseudo-psychedelic hippie poetry. In fact, Bolan sounds just as obsessed with the heavens as he does with sex, whether he's singing about spiritual mysticism or begging a flying saucer to take him away. It's all done with the same theatrical flair, but Tony Visconti's spacious, echoing production makes it surprisingly convincing. Still, the real reason Electric Warrior stands the test of time so well -- despite its intended disposability -- is that it revels so freely in its own absurdity and willful lack of substance. Not taking himself at all seriously, Bolan is free to pursue whatever silly wordplay, cosmic fantasies, or non sequitur imagery he feels like; his abandonment of any pretense to art becomes, ironically, a statement in itself. Bolan's lack of pomposity, back-to-basics songwriting, and elaborate theatrics went on to influence everything from hard rock to punk to new wave. But in the end, it's that sense of playfulness, combined with a raft of irresistible hooks, that keeps Electric Warrior such an infectious, invigorating listen today.\" \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\u003eUltra Analog™\u003c\/strong\u003e : The GAIN 2 Ultra Analog™ Series stems from the use of the Gain 2 system, mastered at half speed from the original master tapes where possible, capturing and uncovering as before undiscovered sonic information.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHalf-speed mastering. \u003c\/strong\u003e\u003cspan\u003eIn half-speed mastering, the whole process is slowed down to half of the original speed. A typical 33 1\/3 rpm record is cut at 16 2\/3 rpm. The source material is also slowed down (reducing the pitch in the process) meaning the final record will still sound normal when played back. Slowing the whole process down allows more time, which means the end result sounds better and is more efficient — allowing engineering to minimize the effects of inherent limitations within the vinyl format. The result is a more accurate and more open high-frequency response in the half speed vinyl when compared with a normal speed recording.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eAllMusic : 5 \/ 5 , Discogs : 4,51 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40931924607127,"sku":"MFSL2-490","price":95.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/t-rex-electric-warrior-2lp-45rpm-ultra-analog-half-speed-mastering-audiosoundmusic-1.jpg?v=1719853490"},{"product_id":"run-dmc-raising-hell","title":"\u003ctranscy\u003eRun DMC - Raising Hell (2LP, 45 tours, Ultra Analog, Half-speed Mastering)\u003c\/transcy\u003e","description":"\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eORDER LIMITED TO ONE ITEM PER CUSTOMER\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRun-DMC \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/run-dmc\" title=\"vinyl featuring Run DMC\" data-mce-fragment=\"1\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\"\u003e[click here to see more vinyl featuring Run DMC]\u003c\/span\u003e\u003c\/a\u003e: \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDaryl McDaniels, Jason Mizell (Jam Master Jay), Joseph Simmons\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAll instruments except Keyboards And Percussion – Run-DMC\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eKeyboards, Percussion – Jason Mizell \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e2 LPs, gatefold jacket\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eLimited to 2,000 numbered copies\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHalf-speed Mastering\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eGAIN 2 Ultra Analog™ LP \u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 45RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12”\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : RTI\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : MOFI\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Profile Records\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded \u003cspan data-mce-fragment=\"1\"\u003e1985-1986 \u003c\/span\u003eat Chung King House Of Metal, Shakedown Sound, Sound Track Recording \u0026amp; Magic Ventures\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineered \u0026amp; mixed by Andy Wallace, Jay Burnett, Peter Millius, Steve Ett\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Rick Rubin, Russell Simmons\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 1986\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\u003ePeter Piper\u003c\/li\u003e\n\u003cli\u003eIt's Tricky\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eMy Adidas\u003c\/li\u003e\n\u003cli\u003eWalk This Way\u003c\/li\u003e\n\u003cli\u003eIs It Live\u003c\/li\u003e\n\u003cli\u003ePerfection\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide C :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eHit It Run\u003c\/li\u003e\n\u003cli\u003eRaising Hell\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide D :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eYou Be Illin'\u003c\/li\u003e\n\u003cli\u003eDumb Girl\u003c\/li\u003e\n\u003cli\u003eSon Of Byford\u003c\/li\u003e\n\u003cli\u003eProud To Be Black\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\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 209\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eBest Rap Album at the 1987 Soul Train Music Awards\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eIn 2018, it was inducted into the National Recording Registry by the Library of Congress as being \"culturally, historically, or artistically significant\"\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e\u003cspan\u003e1000 Recordings You Must Hear Before You Die - Ranked 579\u003c\/span\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e“By their third album, Run-D.M.C. were primed for a breakthrough into the mainstream, but nobody was prepared for a blockbuster on the level of Raising Hell. Run-D.M.C. and King of Rock had established the crew's fusion of hip-hop and hard rock, but that sound didn't blossom until Raising Hell, partially due to the presence of Rick Rubin as producer. Rubin loved metal and rap in equal measures and he knew how to play to the strengths of both, while slipping in commercial concessions that seemed sly even when they borrowed from songs as familiar as \"My Sharona\" (heard on \"It's Tricky\"). Along with longtime Run-D.M.C. producer Russell Simmons, Rubin blew down the doors of what hip-hop could do with Raising Hell because it reached beyond rap-rock and found all sorts of sounds outside of it. Sonically, there is simply more going on in this album than any previous rap record -- more hooks, more drum loops (courtesy of ace drum programmer Sam Sever), more scratching, more riffs, more of everything. Where other rap records, including Run-D.M.C.'s, were all about the rhythm, this is layered with sounds and ideas, giving the music a tangible flow. But the brilliance of this record is that even with this increased musical depth, it still rocks as hard as hell, and in a manner that brought in a new audience. Of course, the cover of Aerosmith's \"Walk This Way,\" complete with that band's Steven Tyler and Joe Perry, helped matters considerably, since it gave an audience unfamiliar with rap an entry point, but if it were just a novelty record, a one-shot fusion of rap and rock, Raising Hell would never have sold three million copies. No, the music was fully realized and thoroughly invigorating, rocking harder and better than any of its rock or rap peers in 1986, and years later, that sense of excitement is still palpable on this towering success story for rap in general and Run-D.M.C. in specific.” AllMusic Review by Stephen Thomas Erlewine\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eUltra Analog™\u003c\/strong\u003e : The GAIN 2 Ultra Analog™ Series stems from the use of the Gain 2 system, mastered at half speed from the original master tapes where possible, capturing and uncovering as before undiscovered sonic information.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHalf-speed mastering. \u003c\/strong\u003e\u003cspan\u003eIn half-speed mastering, the whole process is slowed down to half of the original speed. A typical 33 1\/3 rpm record is cut at 16 2\/3 rpm. The source material is also slowed down (reducing the pitch in the process) meaning the final record will still sound normal when played back. Slowing the whole process down allows more time, which means the end result sounds better and is more efficient — allowing engineering to minimize the effects of inherent limitations within the vinyl format. The result is a more accurate and more open high-frequency response in the half speed vinyl when compared with a normal speed recording.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eAllMusic : 5 \/ 5 , Discogs : 4,39 \/ 5  ,  The Absolute Sound, February 2021 : Music 3.5\/5, Sonics 5\/5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40931988471959,"sku":"MFSL2-494","price":125.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/run-dmc-raising-hell-2lp-45rpm-ultra-analog-half-speed-mastering-audiosoundmusic-1.jpg?v=1719853509"},{"product_id":"bob-dylan-love-and-theft","title":"\u003ctranscy\u003eBob Dylan - Love and Theft (2LP, 45 tours, Ultra Analog, Half-speed Mastering)\u003c\/transcy\u003e","description":"\u003ctranscy\u003e\u003ch2\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eCOMMANDE LIMITÉE À UN ARTICLE PAR CLIENT\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h2\u003e\n\u003cp\u003e\u0026nbsp;\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eBob Dylan – vocals, guitar, piano, record production\n\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eLarry Campbell – guitar, banjo, mandolin, violin\n\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eCharlie Sexton – guitar\n\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eAugie Meyers – accordion, Hammond B3 organ, Vox organ\n\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eTony Garnier – bass guitar\n\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eDavid Kemper – drums\n\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eClay Meyers – bongos\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\n\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e2 LPs, gatefold jacket\n\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eLimited to 3,000 numbered copies\n\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eOriginal analog Master tape : YES\n\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eGAIN 2 Ultra Analog™ LP \n\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eHeavy Press : 180g\n\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eRecord color : black\n\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eSpeed : 45RPM\n\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eSize : 12”\n\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eStereo\n\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eStudio\n\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eRecord Press : RTI\n\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eLabel : MOFI\n\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eOriginal Label : Columbia\n\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eRecorded May 2001 in Clinton Recording, New York City\n\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eEngineered \u0026 mixed by Chris Shaw\n\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eProduced by Jack Frost\n\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eRemastered by Krieg Wunderlich\n\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eOriginally released in 2001\n\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eReissued in 2020\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\n\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eTracks:\n\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eSide A:\n\u003c\/b\u003e\u003c\/p\u003e\u003col\u003e\u003cli\u003e\u003cb\u003eTweedle Dee \u0026 Tweedle Dum\n\u003c\/b\u003e\u003c\/li\u003e\u003cli\u003e\u003cb\u003eMississippi\n\u003c\/b\u003e\u003c\/li\u003e\u003cli\u003e\u003cb\u003eSummer Days\n\u003c\/b\u003e\u003c\/li\u003e\u003c\/ol\u003e\u003cp\u003e\u003cb\u003eSide B:\n\u003c\/b\u003e\u003c\/p\u003e\u003col\u003e\u003cli\u003e\u003cb\u003eBye And Bye\n\u003c\/b\u003e\u003c\/li\u003e\u003cli\u003e\u003cb\u003eLonesome Day Blues\n\u003c\/b\u003e\u003c\/li\u003e\u003cli\u003e\u003cb\u003eFloater (Too Much To Ask)\n\u003c\/b\u003e\u003c\/li\u003e\u003c\/ol\u003e\u003cp\u003e\u003cb\u003eSide C:\n\u003c\/b\u003e\u003c\/p\u003e\u003col\u003e\u003cli\u003e\u003cb\u003eHigh Water (For Charley Patton)\n\u003c\/b\u003e\u003c\/li\u003e\u003cli\u003e\u003cb\u003eMoonlight\n\u003c\/b\u003e\u003c\/li\u003e\u003cli\u003e\u003cb\u003eHonest With Me\n\u003c\/b\u003e\u003c\/li\u003e\u003c\/ol\u003e\u003cp\u003e\u003cb\u003eSide D:\n\u003c\/b\u003e\u003c\/p\u003e\u003col\u003e\u003cli\u003e\u003cb\u003ePo' Boy\n\u003c\/b\u003e\u003c\/li\u003e\u003cli\u003e\u003cb\u003eCry A While\n\u003c\/b\u003e\u003c\/li\u003e\u003cli\u003e\u003cb\u003eSugar Baby\n\u003c\/b\u003e\u003c\/li\u003e\u003c\/ol\u003e\u003cp\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eAwards : \n\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cfont color=\"#ff0000\"\u003eRolling Stone 500 Greatest Albums of All Time - Rated 385\/500\n\u003c\/font\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cfont color=\"#ff0000\"\u003eRolling Stone 500 Greatest Songs of All Time - \"Mississippi\" - Rated 260\/500\n\u003c\/font\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eReviews :\n\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\"Time Out of Mind was a legitimate comeback, Bob Dylan's first collection of original songs in nearly ten years and a risky rumination on mortality, but its sequel, Love and Theft, is his true return to form, not just his best album since Blood on the Tracks, but the loosest, funniest, warmest record he's made since The Basement Tapes. There are none of the foreboding, apocalyptic warnings that permeated Time Out of Mind and even underpinned \"Things Have Changed,\" his Oscar-winning theme to Curtis Hanson's 2000 film Wonder Boys. Just as important, Daniel Lanois' deliberately arty, diffuse production has retreated into the mist, replaced by an uncluttered, resonant production that gives Dylan and his ace backing band room to breathe. And they run wild with that liberty, rocking the house with the grinding \"Lonesome Day Blues\" and burning it down with the fabulously swinging \"Summer Days.\" They're equally captivating on the slower songs, whether it's the breezily romantic \"Bye and Bye,\" the torch song \"Moonlight,\" or the epic reflective closer, \"Sugar Baby.\" Musically, Dylan hasn't been this natural or vital since he was with the Band, and even then, those records were never as relaxed and easy or even as hard-rocking as these. That alone would make Love and Theft a remarkable achievement, but they're supported by a tremendous set of songs that fully synthesize all the strands in his music, from the folksinger of the early '60s, through the absurdist storyteller of the mid-'60s, through the traditionalist of the early '70s, to the grizzled professional of the '90s. None of this is conscious, it's all natural. There's an ease to his writing and a swagger to his performance unheard in years -- he's cracking jokes and murmuring wry asides, telling stories, crooning, and swinging. It's reminiscent of his classic records, but he's never made a record that's been such sheer, giddy fun as this, and it stands proudly among his very best albums.\" AllMusic Review by Stephen Thomas Erlewine\n\u003c\/p\u003e\u003cp\u003e\"Blood, desperation and wicked gallows humor are in the air as Dylan and his road band provide a raucous tour of twentieth-century musical America via jump blues, slow blues, rockabilly, Tin Pan Alley ballads and country swing. \"Summer Days\" sounds like the exact moment when R↦B morphed into rock \u0026 roll. \" - www.rollingstone.com\n\u003c\/p\u003e\u003cp\u003eUltra Analog™ : 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.\n\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eRatings :\n\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eAllMusic : 4,5 \/ 5 , Discogs : 4,31\/ 5\u0026nbsp;\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\n\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\n\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e \n\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\n\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\n\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e \n\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\n\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\n\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\n\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\n\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e \n\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\n\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\n\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\n\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\n\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e \n\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\n\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\n\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e \n\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\n\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\n\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e \n\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\n\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\n\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e \n\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\n\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\n\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\n\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e \n\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\n\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\n\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\n\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\n\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\n\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\n\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\n\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\n\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\n\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\n\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\n\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\n\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\n\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\n\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\n\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\n\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\n\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\n\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\n\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\n\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e \n\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\n\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\n\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\n\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\n\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\n\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\n\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\n\u003c\/b\u003e\u003c\/p\u003e\u003c\/transcy\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40932815601815,"sku":"MFSL2-489","price":165.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/bob-dylan-love-and-theft-2lp-45rpm-ultra-analog-half-speed-mastering-audiosoundmusic-1.jpg?v=1719853509"},{"product_id":"bob-dylan-desire","title":"\u003ctranscy\u003eBob Dylan - Desire (Ultra Analog, 2LPs, 45 tours, Half-speed Mastering, 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\u003eBob Dylan – vocals, rhythm guitar, harmonica, piano on \"Isis\"  \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/bob-dylan\" title=\"vinyl featuring Bob Dylan\" style=\"color: #ff8000;\" data-mce-fragment=\"1\"\u003e[click here to see more vinyl featuring Bob Dylan]\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eScarlet Rivera – violin \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEmmylou Harris – background vocals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRob Stoner – bass guitar, background vocals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHoward Wyeth – drums, piano\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDominic Cortese – accordion, mandolin\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eVinnie Bell – bouzouki\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLuther Rix – congas on \"Hurricane\"\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRonee Blakley – background vocals on \"Hurricane\"\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSteven Soles – background vocals on \"Hurricane\"\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEric Clapton – guitar on \"Romance In Durango\"  \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/eric-clapton\" title=\"vinyl featuring Eric Clapton\" data-mce-fragment=\"1\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\"\u003e[click here to see more vinyl featuring Eric Clapton]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e2 LPs, gatefold jacket\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eLimited to 1,000 numbered copies\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHalf-speed Mastering\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eGAIN 2 Ultra Analog™ LP \u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g 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 \u003cspan data-mce-fragment=\"1\"\u003eJuly 28–31, August 11 and October 24, 1975 by Lou Waxman\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineered by Don Meehan\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Don DeVito\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 1976\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2020\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eHurricane\u003c\/li\u003e\n\u003cli\u003eIsis\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\u003eMozambique\u003c\/li\u003e\n\u003cli\u003eOne More Cup of Coffee (Valley Below)\u003c\/li\u003e\n\u003cli\u003eOh, Sister\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\u003eJoey\u003c\/li\u003e\n\u003cli\u003eRomance in Durango\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\u003eBlack Diamond Bay\u003c\/li\u003e\n\u003cli\u003eSara\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAwards:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eRolling Stone 500 greatest albums of all time - Ranked 174\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\"If Blood on the Tracks was an unapologetically intimate affair, Desire is unwieldy and messy, the deliberate work of a collective. And while Bob Dylan directly addresses his crumbling relationship with his wife, Sara, on the final track, Desire is hardly as personal as its predecessor, finding Dylan returning to topical songwriting and folk tales for the core of the record. It's all over the map, as far as songwriting goes, and so is it musically, capturing Dylan at the beginning of the Rolling Thunder Revue era, which was more notable for its chaos than its music. And, so it's only fitting that Desire fits that description as well, as it careens between surging folk-rock, Mideastern dirges, skipping pop, and epic narratives. It's little surprise that Desire doesn't quite gel, yet it retains its own character -- really, there's no other place where Dylan tried as many different styles, as many weird detours, as he does here. And, there's something to be said for its rambling, sprawling character, which has a charm of its own. Even so, the record would have been assisted by a more consistent set of songs; there are some masterpieces here, though: \"Hurricane\" is the best-known, but the effervescent \"Mozambique\" is Dylan at his breeziest, \"Sara\" at his most nakedly emotional, and \"Isis\" is one of his very best songs of the '70s, a hypnotic, contemporized spin on a classic fable. This may not add up to a masterpiece, but it does result in one of his most fascinating records of the '70s and '80s -- more intriguing, lyrically and musically, than most of his latter-day affairs.\" \u003cspan data-mce-fragment=\"1\"\u003eAllMusic Review by Stephen Thomas Erlewine\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eUltra Analog™\u003c\/strong\u003e : The GAIN 2 Ultra Analog™ Series stems from the use of the Gain 2 system, mastered at half speed from the original master tapes where possible, capturing and uncovering as before undiscovered sonic information.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHalf-speed mastering. \u003c\/strong\u003e\u003cspan\u003eIn half-speed mastering, the whole process is slowed down to half of the original speed. A typical 33 1\/3 rpm record is cut at 16 2\/3 rpm. The source material is also slowed down (reducing the pitch in the process) meaning the final record will still sound normal when played back. Slowing the whole process down allows more time, which means the end result sounds better and is more efficient — allowing engineering to minimize the effects of inherent limitations within the vinyl format. The result is a more accurate and more open high-frequency response in the half speed vinyl when compared with a normal speed recording.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\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 : 4,5 \/ 5 , Discogs : 4,25 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40932986781847,"sku":"MFSL2-416SV","price":125.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/bob-dylan-desire-2lp-ultra-analog-half-speed-mastering-45-rpm-supervinyl-audiosoundmusic-1.jpg?v=1719853522"},{"product_id":"cyndi-lauper-shes-so-unusual-ultra-analog","title":"Cyndi Lauper - She's So Unusual (MOFI Silver Label, Ultra Analog, Half-speed Mastering, 140g)","description":"\u003cp\u003e\u003cbr\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\u003eCyndi Lauper – lead vocals, backing vocals, arrangements\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRob Hyman – keyboards, backing vocals, arrangements (A1-2, A4-B6)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRichard Termini – synthesizers\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePeter Wood – synthesizers\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEric Bazilian – arrangements (A1, A2, A4-B6), melodica, guitars, bass, saxophone (B6), backing vocals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRick DiFonzo – guitars\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eNeil Jason – guitars, bass\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWilliam Wittman – guitars, arrangements (A3)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAnton Fig – drums, percussion\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRick Chertoff – percussion, arrangements\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eKrystal Davis – backing vocals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEllie Greenwich – backing vocals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJules Shear – backing vocals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMaeretha Stewart – backing vocals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDiane Wilson – backing vocals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, gatefold jacket\u003c\/strong\u003e\u003cbr\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 original Mastertape)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHalf-speed Mastering\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eGain 2 Ultra Analog\u003c\/span\u003e\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 : Portrait\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded \u003c\/strong\u003e\u003cstrong\u003eMay–August 1983 at Record Plant, New York City\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineered \u0026amp; mixed by : William Wittman\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Rick Chertoff\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1983\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2012\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eMoney Changes Everything\u003c\/li\u003e\n\u003cli\u003eGirls Just Want to Have Fun\u003c\/li\u003e\n\u003cli\u003eWhen You Were Mine\u003c\/li\u003e\n\u003cli\u003eTime After Time\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eShe Bop\u003c\/li\u003e\n\u003cli\u003eAll Through The Night\u003c\/li\u003e\n\u003cli\u003eWitness\u003c\/li\u003e\n\u003cli\u003eI'll Kiss You\u003c\/li\u003e\n\u003cli\u003eHe's So Unusual\u003c\/li\u003e\n\u003cli\u003eYeah Yeah\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAwards\u003c\/strong\u003e: \u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eRolling Stone 500 Greatest Albums of All Time - Ranked 184\/500\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e\u003cspan\u003e1000 Recordings You Must Hear Before You Die - Ranked 523\u003c\/span\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e\"Mobile Fidelity has done a superb job here, revealing a lot of interesting detail, promoting three dimensionality and warmth without covering up the embedded processing. Lauper’s voice has never sounded more intact, with the processing seeming to ride well on top of her voice, instead of hopelessly polluting it. Clarity, dynamics, instrumental separation, every aspect of the production has been spruced up without making it sound like an unwanted historical revision.\" - Michael Fremer, www.analogplanet.com\u003c\/p\u003e\n\u003cp\u003e\"One of the great new wave\/early MTV records, She's So Unusual is a giddy mix of self-confidence, effervescent popcraft, unabashed sentimentality, subversiveness, and clever humor. In short, it's a multifaceted portrait of a multifaceted talent, an artist that's far more clever than her thin, deliberately girly voice would indicate. Then again, Lauper's voice suits her musical persona, since its chirpiness adds depth, or reconfigures the songs, whether it's the call to arms of \"Girls Just Want to Have Fun\" or the tearjerking \"Time After Time.\" Lauper is at her very best on the first side, all of which were singles or received airplay, and this collection of songs -- \"Money Changes Everything,\" \"Girls,\" \"When You Were Mine,\" \"Time,\" \"She Bop,\" \"All Through the Night\" -- is astonishing in its consistency, so strong that it makes the remaining tracks -- all enjoyable, but rather pedestrian -- charming by their association with songs so brilliantly alive. If Lauper couldn't maintain this level of consistency, it's because this captured her persona better than anyone could imagine -- when a debut captures a personality so well, let alone a personality so tied to its time, the successive work can't help but pale in comparison. Still, when it's captured as brightly and brilliantly as it is here, it does result in a debut that retains its potency, long after its production seems a little dated.\" \u003cspan data-mce-fragment=\"1\"\u003eAllMusic Review by Stephen Thomas Erlewine\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eUltra Analog™\u003c\/strong\u003e : The GAIN 2 Ultra Analog™ Series stems from the use of the Gain 2 system, mastered at half speed from the original master tapes where possible, capturing and uncovering as before undiscovered sonic information.\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHalf-speed mastering. \u003c\/strong\u003e\u003cspan\u003eIn half-speed mastering, the whole process is slowed down to half of the original speed. A typical 33 1\/3 rpm record is cut at 16 2\/3 rpm. The source material is also slowed down (reducing the pitch in the process) meaning the final record will still sound normal when played back. Slowing the whole process down allows more time, which means the end result sounds better and is more efficient — allowing engineering to minimize the effects of inherent limitations within the vinyl format. The result is a more accurate and more open high-frequency response in the half speed vinyl when compared with a normal speed recording.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eAllMusic : 3,5 \/ 5 , Discogs : 4,09 \/ 5  ,  Michael Fremer Rated 8\/11 Music, 8\/11 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":40934626918551,"sku":"MOFI1-027","price":55.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/cyndi-lauper-she-s-so-unusual-mofi-silver-label-ultra-analog-half-speed-mastering-140g-audiosoundmusic-1.jpg?v=1719853529"},{"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":"herbie-hancock-head-hunters","title":"\u003ctranscy\u003eHerbie Hancock - Head Hunters (1LP, 33 tours)\u003c\/transcy\u003e","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHerbie Hancock – Fender Rhodes, clavinet, ARP Odyssey synthesizer, ARP Soloist \u003ca title=\"vinyl featuring Herbie Hancock\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/herbie-hancock\" data-mce-fragment=\"1\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\"\u003e[click here to see more vinyl featuring Herbie Hancock]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBennie Maupin – tenor saxophone, soprano saxophone, saxello, bass clarinet, alto flute\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePaul Jackson – bass guitar, marímbula\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHarvey Mason – drums\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBill Summers – agogô, balafon, beer bottle, cabasa, congas, gankogui, hindewhu, log drum, shekere, surdo, tambourine\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, Gatefold jacket\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12”\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press :  Quality Record Pressings\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel :  Analogue Productions\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label :  Columbia\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded in \u003c\/strong\u003e\u003cstrong\u003eSeptember 1973 in \u003c\/strong\u003e\u003cstrong\u003eWally Heider Studios and \u003c\/strong\u003e\u003cstrong\u003eDifferent Fur Studios in \u003c\/strong\u003e\u003cstrong\u003eSan Francisco, California\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineered by Dane Butcher, John Vieira, Fred Catero, Jeremy Zatkin\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by David Rubinson, Herbie Hancock\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered at Sterling Sound by Ryan Smith\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 2021\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eChameleon\u003c\/li\u003e\n\u003cli\u003eWatermelon Man\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eSly\u003c\/li\u003e\n\u003cli\u003eVein Melter\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAwards:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eRolling Stone 500 Greatest Albums of All Time - Ranked 254\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 285\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"c-gallery-vertical-album__title\"\u003e \u003c\/p\u003e\n\u003cp class=\"c-gallery-vertical-album__title\"\u003e \u003c\/p\u003e\n\u003cp class=\"c-gallery-vertical-album__title\"\u003e\u003cstrong\u003eReviews :\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\"Head Hunters was a pivotal point in Herbie Hancock's career, bringing him into the vanguard of jazz fusion. Hancock had pushed avant-garde boundaries on his own albums and with Miles Davis, but he had never devoted himself to the groove as he did on Head Hunters. Drawing heavily from Sly Stone, Curtis Mayfield, and James Brown, Hancock developed deeply funky, even gritty, rhythms over which he soloed on electric synthesizers, bringing the instrument to the forefront in jazz. It had all of the sensibilities of jazz, particularly in the way it wound off into long improvisations, but its rhythms were firmly planted in funk, soul, and R\u0026amp;B, giving it a mass appeal that made it the biggest-selling jazz album of all time (a record which was later broken). Jazz purists, of course, decried the experiments at the time, but Head Hunters still sounds fresh and vital decades after its initial release, and its genre-bending proved vastly influential on not only jazz, but funk, soul, and hip-hop.\" Head Hunters Review by Stephen Thomas Erlewine\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\"Listening to the opening track 'Chameleon' on any release will get you feeling funky, but the Analogue Productions 2LP 45rpm release will get you groovin'! ... Analogue Productions does an incredible job on this release, keeping you enveloped in the music while breaking down the barrier between your stereo and musicians. I'd previously had a run-of-the-mill reissue of this album that I thought was good and did the job, but because of how much I love this album I opted to spend some more bucks on the AP release, not expecting a huge difference. Boy was I wrong. There is so much more clarity to every instrument, and instead of the funk taking a backseat, it punches you in the face and demands your attention. Both of my discs arrived flat and without any pressing defects or jacket damage on the mighty journey from Salina to Edmonton. I would urge any record collector to buy this release.\"\u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/strong\u003eSimon Guile, \u003cem\u003eAnalogPlanet.com\u003c\/em\u003e.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eAllMusic 5\/5  ,   Discogs 4.59 \/ 5  ,  AnalogPlanet : Music = 10\/11; Sound = 10\/11\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40989954080919,"sku":"AAPJ084","price":65.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/files\/Herbie_Hancock_-_Head_Hunters_1.jpg?v=1739625570"},{"product_id":"herbie-hancock-head-hunters-2lp-45rpm","title":"\u003ctranscy\u003eHerbie Hancock - Head Hunters (2LP, 45 tours)\u003c\/transcy\u003e","description":"\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003eHerbie Hancock – Fender Rhodes, clavinet, ARP Odyssey synthesizer, ARP Soloist \u003ca data-mce-fragment=\"1\" title=\"vinyl featuring Herbie Hancock\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/herbie-hancock\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/herbie-hancock\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"color: #ff8000;\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Herbie Hancock]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBennie Maupin – tenor saxophone, soprano saxophone, saxello, bass clarinet, alto flute\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePaul Jackson – bass guitar, marímbula\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHarvey Mason – drums\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBill Summers – agogô, balafon, beer bottle, cabasa, congas, gankogui, hindewhu, log drum, shekere, surdo, tambourine\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e2 LPs, Gatefold jacket\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003cstrong\u003eRecord color : black \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 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 :  Columbia\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded in \u003c\/strong\u003e\u003cstrong\u003eSeptember 1973 in \u003c\/strong\u003e\u003cstrong\u003eWally Heider Studios and \u003c\/strong\u003e\u003cstrong\u003eDifferent Fur Studios in \u003c\/strong\u003e\u003cstrong\u003eSan Francisco, California\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineered by Dane Butcher, John Vieira, Fred Catero, Jeremy Zatkin\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by David Rubinson, Herbie Hancock\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered at Sterling Sound by Ryan Smith\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 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\u003eChameleon\u003c\/li\u003e\n\u003cli\u003eWatermelon Man\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eSly\u003c\/li\u003e\n\u003cli\u003eVein Melter\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\u003eRolling Stone 500 Greatest Albums of All Time - Ranked 254\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 285\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\"Head Hunters was a pivotal point in Herbie Hancock's career, bringing him into the vanguard of jazz fusion. Hancock had pushed avant-garde boundaries on his own albums and with Miles Davis, but he had never devoted himself to the groove as he did on Head Hunters. Drawing heavily from Sly Stone, Curtis Mayfield, and James Brown, Hancock developed deeply funky, even gritty, rhythms over which he soloed on electric synthesizers, bringing the instrument to the forefront in jazz. It had all of the sensibilities of jazz, particularly in the way it wound off into long improvisations, but its rhythms were firmly planted in funk, soul, and R\u0026amp;B, giving it a mass appeal that made it the biggest-selling jazz album of all time (a record which was later broken). Jazz purists, of course, decried the experiments at the time, but Head Hunters still sounds fresh and vital decades after its initial release, and its genre-bending proved vastly influential on not only jazz, but funk, soul, and hip-hop.\" Head Hunters Review by Stephen Thomas Erlewine\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\"Listening to the opening track 'Chameleon' on any release will get you feeling funky, but the Analogue Productions 2LP 45rpm release will get you groovin'! ... Analogue Productions does an incredible job on this release, keeping you enveloped in the music while breaking down the barrier between your stereo and musicians. I'd previously had a run-of-the-mill reissue of this album that I thought was good and did the job, but because of how much I love this album I opted to spend some more bucks on the AP release, not expecting a huge difference. Boy was I wrong. There is so much more clarity to every instrument, and instead of the funk taking a backseat, it punches you in the face and demands your attention. Both of my discs arrived flat and without any pressing defects or jacket damage on the mighty journey from Salina to Edmonton. I would urge any record collector to buy this release.\"\u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/strong\u003eSimon Guile, \u003cem\u003eAnalogPlanet.com\u003c\/em\u003e.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eAllMusic 5\/5  ,   Discogs 4.59 \/ 5  ,  AnalogPlanet : Music = 10\/11; Sound = 10\/11\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40990251778199,"sku":"AAPJ 084-45","price":95.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/files\/Herbie_Hancock_-_Head_Hunters_2.jpg?v=1739625907"},{"product_id":"john-coltrane-a-love-supreme","title":"John Coltrane - A Love Supreme","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJohn Coltrane – bandleader, liner notes, vocals, tenor saxophone, soprano saxophone \u003ca data-mce-fragment=\"1\" title=\"vinyl featuring John Coltrane\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/john-coltrane\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/john-coltrane\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"color: #ff8000;\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring John Coltrane]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJimmy Garrison – double bass\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eElvin Jones – drums, gong, timpani\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003ca data-mce-fragment=\"1\" title=\"vinyl featuring Elvin Jones\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/elvin-jones\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/elvin-jones\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"color: #ff8000;\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Elvin Jones]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMcCoy Tyner – piano \u003ca data-mce-fragment=\"1\" title=\"vinyl featuring McCoy Tyner\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/mccoy-tyner\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/mccoy-tyner\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"color: #ff8000;\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring McCoy Tyner]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \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\u003e\u003c\/strong\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12”\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Quality Record Pressings\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : 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\"\u003eDecember 9, 1964 in \u003c\/span\u003eVan Gelder Studio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineered \u0026amp; mixed by Rudy Van Gelder\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Bob Thiele\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by Ryan K. Smith\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1965\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\u003ePart I - Acknowledgement\u003c\/li\u003e\n\u003cli\u003ePart II – Resolution\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003ePart III - Pursuance \/ Part IV - Psalm\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 66\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eAudiophile Audition Best of the Year 2017\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e\"One of the most important records ever made, John Coltrane's A Love Supreme was his pinnacle studio outing, that at once compiled all of the innovations from his past, spoke to the current of deep spirituality that liberated him from addictions to drugs and alcohol, and glimpsed at the future innovations of his final two and a half years. Recorded over two days in December 1964, Trane's classic quartet--Elvin Jones, McCoy Tyner, and Jimmy Garrison-- stepped into the studio and created one of the most the most thought-provoking, concise, and technically pleasing albums of their bountiful relationship. From the undulatory (and classic) bassline at the intro to the last breathy notes, Trane is at the peak of his logical and emotionally varied soloing, while the rest of the group is completely atttuned to his spiritual vibe. Composed of four parts, each has a thematic progression. \"Acknowledgement\" is the awakening to a spiritual life from the darkness of the world; it trails off with the saxophonist chanting the suite's title. \"Resolution\" is an amazingly beautiful, somewhat turbulent segment. It portrays the dedication required for discovery on the path toward spiritual understanding. \"Pursuance\" searches deeply for that experience, while \"Psalm\" portrays that discovery and the realization of enlightenment with humility. Although sometimes aggressive and dissonant, this isn't Coltrane at his most furious or adventurous. His recordings following this period--studio and live-- become progressively untethered and extremely spirited. A Love Supreme not only attempts but realizes the ambitious undertaking of Coltrane's concept; his emotional, searching, sometimes prayerful journey is made abundantly clear. Clocking in at 33 minutes; A Love Supreme conveys much without overstatement. It is almost impossible to imagine any jazz collection without it.\" \u003cspan data-mce-fragment=\"1\"\u003eA Love Supreme Review by Sam Samuelson\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\"I picked up the new Acoustic Sounds (Series) reissue of\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eA Love Supreme\u003c\/em\u003e, John Coltrane's classic album originally released in 1965 on Impulse! Records. I've owned it on CD (Impulse! Records GRD-155) for years, but I bought a vinyl copy (Impulse! Records GR-155) a few years ago. ... Ryan Smith at Sterling Sound mastered\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eA Love Supreme\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003efrom original analog tapes for the new pressing, and he gives the recording more space and realism than I hear in the other versions I own. Instruments are lifelike and more clearly presented. Even Garrison's double bass, which could have been more forward in the original recording, has more impact and body. Jones's cymbals have more shimmer, each drum sounds out forcefully, and it's easier to hear the unique tones of each drum. McCoy Tyner's piano chords are harmonically richer and more dynamic. The new LP has a much deeper and wider soundstage and gives me a better sense that the music was performed in a three-dimensional space. ... On the CD and my other vinyl pressings, the music seems to stop at the speakers, while on this reissue it has more room to spread out and show itself. During Elvin Jones's solo drum feature on the opening of \"Part III — Pursuance,\" the drums sound larger and echo more clearly into the left channel than on the CD and the other LPs I own. Cymbals splash with more excitement, and when Coltrane enters with the rest of the quartet, his sax has more fire and edge. ... For a reasonable price, you can pick up this great-sounding version of\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eA Love Supreme\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eby Acoustic Sounds and be assured that you are closer to hearing what occurred in the studio during the recording of this seminal jazz album.\" \u003cspan\u003e \u003c\/span\u003e\u003cspan\u003e\u003cem\u003eRecording of the Month\u003c\/em\u003e\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003eDecember 2020, Joseph Taylor,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003esoundstagenetwork.com\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\"Anyone who tells you the original pressing bests this new one simply has not heard either! ... The original is just not very good at all. Quite the opposite for Ryan Smith's cut. Tyner's piano in particular is spectacularly well-served sitting clearly and convincingly in three-dimensions between the speakers. You could say Coltrane's sax is slightly thinner than you might want but that would be system-dependent and as far as I'm concerned the cut is another out of the park home run set against black backgrounds.\"\u003cspan\u003e \u003c\/span\u003eMichael Fremer, \u003cem\u003eAnalogPlanet.com\u003c\/em\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 : 4,67 \/ 5  ,  Michael Fremer : Music = 11\/11; Sound = 10\/11 \u003c\/p\u003e\n\u003cp\u003esoundstagenetwork : Music = 5\/5; Sound = 4\/5; Overall Enjoyment = 4.5\/5 \u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":41023848775831,"sku":"AIMP 7701","price":55.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/john-coltrane-a-love-supreme-audiosoundmusic-1.jpg?v=1719853931"},{"product_id":"lou-reed-transformer","title":"Lou Reed - Transformer","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLou Reed – lead vocals; rhythm guitar \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/lou-reed\" title=\"Vinyl and SACD featuring Lou Reed\"\u003e\u003cspan style=\"color: rgb(255, 128, 0);\"\u003e[click here to see more products featuring Lou Reed]\u003c\/span\u003e\u003c\/a\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDavid Bowie – backing vocals; keyboards; acoustic guitar on \"Wagon Wheel\" and \"Walk on the Wild Side\" \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/david-bowie\" title=\"vinyl featuring David Bowie\"\u003e\u003cspan style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring David Bowie]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMick Ronson – lead guitar; piano; recorder; string arrangements\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHerbie Flowers – bass guitar; double bass; tuba on \"Goodnight Ladies\" and \"Make Up\"\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJohn Halsey – drums\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTrevor Bolder – trumpet\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRonnie Ross – soprano saxophone on \"Goodnight Ladies\"; baritone saxophone on \"Walk on the Wild Side\"\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThunderthighs – backing vocals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBarry DeSouza – drums\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRitchie Dharma – drums\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eKlaus Voormann – bass guitar on \"Perfect Day\", \"Goodnight Ladies\", \"Satellite of Love\" and \"Make Up\"\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by Lou Reed\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas GmbH in Germany\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Speakers Corner\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : RCA\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded at Trident, London in 1972 by Arun Chakranerty\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMixed at Trident Studios, London, England\u003c\/strong\u003e \u003cstrong\u003eby Mike Stone, David Bowie, Lou Reed\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMastered by Arun Chakranerty\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Mick Ronson and David Bowie\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 2020\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eVicious\u003c\/li\u003e\n\u003cli\u003eAndy's Chest\u003c\/li\u003e\n\u003cli\u003ePerfect Day\u003c\/li\u003e\n\u003cli\u003eHangin' 'Round\u003c\/li\u003e\n\u003cli\u003eWalk on the Wild Side\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eMake Up\u003c\/li\u003e\n\u003cli\u003eSatellite of Love\u003c\/li\u003e\n\u003cli\u003eWagon Wheel\u003c\/li\u003e\n\u003cli\u003eNew York Telephone Conversation\u003c\/li\u003e\n\u003cli\u003eI'm So Free\u003c\/li\u003e\n\u003cli\u003eGoodnight Ladies\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAward \u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan style=\"color: #ff2a00;\"\u003eRolling Stone 500 Greatest Albums of All Time - Rated 109\/500\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan style=\"color: #ff2a00;\"\u003e1000 Recordings You Must Hear Before You Die - Ranked 251\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« David Bowie has never been shy about acknowledging his influences, and since the boho decadence and sexual ambiguity of the Velvet Underground's music had a major impact on Bowie's work, it was only fitting that as Ziggy Stardust mania was reaching its peak, Bowie would offer Lou Reed some much needed help with his career, which was stuck in neutral after his first solo album came and went. Musically, Reed's work didn't have too much in common with the sonic bombast of the glam scene, but at least it was a place where his eccentricities could find a comfortable home, and on Transformer Bowie and his right-hand man, Mick Ronson, crafted a new sound for Reed that was better fitting (and more commercially astute) than the ambivalent tone of his first solo album. Ronson adds some guitar raunch to \"Vicious\" and \"Hangin' Round\" that's a lot flashier than what Reed cranked out with the Velvets, but still honors Lou's strengths in guitar-driven hard rock, while the imaginative arrangements Ronson cooked up for \"Perfect Day,\" \"Walk on the Wild Side,\" and \"Goodnight Ladies\" blend pop polish with musical thinking just as distinctive as Reed's lyrical conceits. And while Reed occasionally overplays his hand in writing stuff he figured the glam kids wanted (\"Make Up\" and \"I'm So Free\" being the most obvious examples), \"Perfect Day,\" \"Walk on the Wild Side,\" and \"New York Telephone Conversation\" proved he could still write about the demimonde with both perception and respect. The sound and style of Transformer would in many ways define Reed's career in the 1970s, and while it led him into a style that proved to be a dead end, you can't deny that Bowie and Ronson gave their hero a new lease on life -- and a solid album in the bargain. » AllMusic Review by Mark Deming\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\"David Bowie counted the former Velvet Underground leader as a major inspiration — and paid back the debt by producing Transformer. The album had glam flash courtesy of Ziggy Stardust guitarist Mick Ronson as well as Reed's biggest hit, \"Walk on the Wild Side\" which brought drag queens and hustlers into the Top Twenty and the exquisite ballad \"Perfect Day.\" It was Reed's first producer, VU impresario Andy Warhol, who inspired the lead cut when he suggested \"Vicious\" as a song title. \"You know, like, 'Vicious\/You hit me with a flower,' \" Warhol elaborated. Reed took him at his word, penning the song and cribbing the lines verbatim.\" - www.rollingstone.com\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 : 4.51 \/ 5  ,  Rate Your Music : 3.98 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":41038466187415,"sku":"RCA LSP-4807","price":38.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/lou-reed-transformer-audiosoundmusic-1.jpg?v=1719854042"},{"product_id":"copy-of-lou-reed-transformer","title":"Patti Smith - Horses","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePatti Smith – vocals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJay Dee Daugherty – drums\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLenny Kaye – lead guitar\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eIvan Král – bass guitar, guitar\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRichard Sohl – piano\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAllen Lanier – guitar on \"Elegie\"\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTom Verlaine – guitar on \"Break It Up\"\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas GmbH in Germany\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Speakers Corner\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Arista\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded \u003cspan data-mce-fragment=\"1\"\u003eJanuary 1975 at Electric Ladyland Studios, New York City\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineered and mastered by Bernie Kirsh, Bob Ludwig\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by John Cale\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePhotography by Robert Mapplethorpe\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1975\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2018\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eGloria\u003c\/li\u003e\n\u003cli\u003eRedondo Beach\u003c\/li\u003e\n\u003cli\u003eBirdland\u003c\/li\u003e\n\u003cli\u003eFree Money\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eKimberly\u003c\/li\u003e\n\u003cli\u003eBreak it Up\u003c\/li\u003e\n\u003cli\u003eLand\u003c\/li\u003e\n\u003cli\u003eElegie\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAward \u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan style=\"color: #ff2a00;\"\u003eRolling Stone 500 Greatest Albums of All Time - Rated 26\/500\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan style=\"color: #ff2a00;\"\u003e1000 Recordings You Must Hear Before You Die - Ranked 343\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\u003eIt isn't hard to make the case for Patti Smith as a punk rock progenitor based on her debut album, which anticipated the new wave by a year or so: the simple, crudely played rock \u0026amp; roll, featuring Lenny Kaye's rudimentary guitar work, the anarchic spirit of Smith's vocals, and the emotional and imaginative nature of her lyrics -- all prefigure the coming movement as it evolved on both sides of the Atlantic. Smith is a rock critic's dream, a poet as steeped in '60s garage rock as she is in French Symbolism; \"Land\" carries on from the Doors' \"The End,\" marking her as a successor to Jim Morrison, while the borrowed choruses of \"Gloria\" and \"Land of a Thousand Dances\" are more in tune with the era of sampling than they were in the '70s. Producer John Cale respected Smith's primitivism in a way that later producers did not, and the loose, improvisatory song structures worked with her free verse to create something like a new spoken word\/musical art form: Horses was a hybrid, the sound of a post-Beat poet, as she put it, \"dancing around to the simple rock \u0026amp; roll song.\" AllMusic Review by William Ruhlmann\u003c\/p\u003e\n\u003cp\u003e\"From its first defiant line, \"Jesus died for somebody's sins, but not mine,\" the opening shot in a bold reinvention of Van Morrison's garage-rock classic \"Gloria,\" Smith's debut album was a declaration of committed mutiny, a statement of faith in the transfigurative powers of rock \u0026amp; roll. Horses made her the queen of punk.\" - www.rollingstone.com\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eAllMusic : 5 \/ 5 , Discogs: 4,37 \/ 5 ,  Rate Your Music: 3,97 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":41038482473111,"sku":"Arista AL-4066","price":38.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/patti-smith-horses-audiosoundmusic-1.jpg?v=1719854042"},{"product_id":"bob-dylan-blonde-on-blonde","title":"\u003ctranscy\u003eBob Dylan - Blonde on Blonde (3LP, Coffret, Ultra Analog, Half-speed Mastering, 45 tours)\u003c\/transcy\u003e","description":"\u003ch2\u003e\u003cbr\u003e\u003c\/h2\u003e\n\u003cp\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eORDER LIMITED TO ONE ITEM PER CUSTOMER\u003c\/strong\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBob Dylan – vocals, guitar, harmonica, piano \u003ca title=\"vinyl featuring Bob Dylan\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/bob-dylan\" style=\"color: #ff8000;\" data-mce-fragment=\"1\"\u003e[click here to see more vinyl featuring Bob Dylan]\u003c\/a\u003e\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBill Aikins – keyboards\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWayne Butler – trombone\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eKenneth Buttrey – drums\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRick Danko or Bill Lee – bass guitar (New York)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBobby Gregg – drums (New York)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePaul Griffin – piano (New York)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJerry Kennedy – guitar\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAl Kooper – organ, guitar\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCharlie McCoy – bass guitar, guitar, harmonica, trumpet\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWayne Moss – guitar, vocals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHargus \"Pig\" Robbins – piano, keyboards\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRobbie Robertson – guitar, vocals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHenry Strzelecki – bass guitar\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJoe South – bass guitar, guitar\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e3 LPs, box set\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eLimited edition\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHalf-speed Mastering\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eGAIN 2 Ultra Analog™ LP \u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 45RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12”\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : RTI\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : MOFI\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Columbia\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded \u003cspan data-mce-fragment=\"1\"\u003eJanuary – June 1966 \u003c\/span\u003eat Columbia Recording Studios, Nashville\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineered by \u003c\/strong\u003e\u003cstrong\u003eAl Kooper, '\u003c\/strong\u003e\u003cstrong\u003ePig'\u003c\/strong\u003e\u003cstrong\u003e Robbins, Joe South, Kenny Buttrey, and The Band'\u003c\/strong\u003e\u003cstrong\u003es Rick Danko and Robbie Robertson\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Bob Johnston\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by Krieg Wunderlich\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1966\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2013\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eRainy Day Women #12 \u0026amp; 35\u003c\/li\u003e\n\u003cli\u003ePledging My Time\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eVisions of Johanna\u003c\/li\u003e\n\u003cli\u003eOne of Must Know (Sooner or Later)\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide C:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eI Want You\u003c\/li\u003e\n\u003cli\u003eStuck Inside of Mobile with the Memphis Blues Again\u003c\/li\u003e\n\u003cli\u003eLeopard-Skin Pill-Box Hat\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide D:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eJust Like a Woman\u003c\/li\u003e\n\u003cli\u003eMost Likely You Go Your Way and I’ll Go Mine\u003c\/li\u003e\n\u003cli\u003eTemporary Like Achilles\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide E:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eAbsolutely Sweet Marie\u003c\/li\u003e\n\u003cli\u003e4th Time Around\u003c\/li\u003e\n\u003cli\u003eObviously 5 Believers\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide F:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eSad Eyed Lady of the Lowlands\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAwards\u003c\/strong\u003e\u003cspan\u003e:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eRolling Stone 500 Greatest Albums of All Time - Rated 38\/500\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eRolling Stone 500 Greatest Songs of All Time - \"Visions of Johanna\" - Rated 413\/500, \"Just Like A Woman\" - Rated 232\/500\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e\u003cspan\u003eWinner of a Gruvy Award, chosen by AnalogPlanet's editor, Michael Fremer, for vinyl records that are \u003c\/span\u003e\u003cspan\u003emusically and sonically outstanding and are also well mastered and pressed.\u003c\/span\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e\u003cspan\u003e\u003cb\u003eMichael Fremer's 100 Recommended All-Analog LP Reissues Worth Owning - Rated 67\/100!\u003c\/b\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e\u003cspan color=\"#B12704\"\u003e\u003cb\u003eTAS Super LP List! Special Merit: Informal\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan color=\"#B12704\"\u003e\u003cb\u003e2014 Stereophile Magazine Record to Die For!\u003c\/b\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e1000 Recordings you must hear before you die - Ranked 64\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e\"If Highway 61 Revisited played as a garage rock record, the double album Blonde on Blonde inverted that sound, blending blues, country, rock, and folk into a wild, careening, and dense sound. Replacing the fiery Michael Bloomfield with the intense, weaving guitar of Robbie Robertson, Bob Dylan led a group comprised of his touring band the Hawks and session musicians through his richest set of songs. Blonde on Blonde is an album of enormous depth, providing endless lyrical and musical revelations on each play. Leavening the edginess of Highway 61 with a sense of the absurd, Blonde on Blonde is comprised entirely of songs driven by inventive, surreal, and witty wordplay, not only on the rockers but also on winding, moving ballads like \"Visions of Johanna,\" \"Just Like a Woman,\" and \"Sad Eyed Lady of the Lowlands.\" Throughout the record, the music matches the inventiveness of the songs, filled with cutting guitar riffs, liquid organ riffs, crisp pianos, and even woozy brass bands (\"Rainy Day Women #12 \u0026amp; 35\"). It's the culmination of Dylan's electric rock \u0026amp; roll period -- he would never release a studio record that rocked this hard, or had such bizarre imagery, ever again.\" \u003cspan data-mce-fragment=\"1\"\u003eAllMusic Review by Stephen Thomas Erlewine\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eUltra Analog™\u003c\/strong\u003e\u003cspan data-mce-fragment=\"1\"\u003e : The GAIN 2 Ultra Analog™ Series stems from the use of the Gain 2 system, mastered at half speed from the original master tapes where possible, capturing and uncovering as before undiscovered sonic information.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003cstrong\u003eHalf-speed mastering. \u003c\/strong\u003eIn half-speed mastering, the whole process is slowed down to half of the original speed. A typical 33 1\/3 rpm record is cut at 16 2\/3 rpm. The source material is also slowed down (reducing the pitch in the process) meaning the final record will still sound normal when played back. Slowing the whole process down allows more time, which means the end result sounds better and is more efficient — allowing engineering to minimize the effects of inherent limitations within the vinyl format. The result is a more accurate and more open high-frequency response in the half speed vinyl when compared with a normal speed recording.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eAllMusic : 5 \/ 5 , Discogs : 4,57 \/ 5  ,  \u003cspan data-mce-fragment=\"1\"\u003eMichael Fremer : 10\/11 Music, 10\/11 Sound\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":41047117463703,"sku":"MFSL3-45009","price":139.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/bob-dylan-blonde-on-blonde-3lp-box-set-ultra-analog-half-speed-mastering-45rpm-audiosoundmusic-1.jpg?v=1719854078"},{"product_id":"curtis-mayfield-super-fly-2lp-ultra-analog-45-rpm","title":"\u003ctc\u003e\u003ctranscy\u003eCurtis Mayfield - Super Fly (2LP, 45 tours, Ultra Analog,\u0026nbsp;Half-speed Mastering)\u003c\/transcy\u003e\u003c\/tc\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\u003cbr\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\u003eCurtis Mayfield – vocals, guitar\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePhil Upchurch - guitar\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJoseph Lucky Scott – bass\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMaster Henry Gibson – percussion\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTyrone McCullen – drums (\"Pusherman\")\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMorris Jennings – drums (all tracks except \"Pusherman\")\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCraig McMullen – guitar\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHarry \"Slip\" Lepp – trombone\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJohnny Pate – orchestrator, arranger\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e2 LPs, gatefold\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eLimited to 4,000 Numbered Copies\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHalf-speed Mastering\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGain 2™ Ultra Analog\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 45RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12”\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : RTI\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : MOFI\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Curtom\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded at RCA Studios, Chicago\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineered by Roger Anfinsen\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Curtis Mayfield\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 1972\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2019\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eLittle Child Runnin' Wild\u003c\/li\u003e\n\u003cli\u003ePusherman\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eFreddie's Dead\u003c\/li\u003e\n\u003cli\u003eJunkie Chase\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide C:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eGive Me Your Love\u003c\/li\u003e\n\u003cli\u003eEddie You Should Know Better\u003c\/li\u003e\n\u003cli\u003eNo Thing On Me\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide D:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eThink\u003c\/li\u003e\n\u003cli\u003eSuperfly\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\u003eRolling Stone 500 Greatest Albums of All Time - Ranked 76\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 247\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 choice of Curtis Mayfield to score the blaxploitation film Super Fly was an inspired one. No other artist in popular music knew so well, and expressed through his music so naturally, the shades of gray inherent in contemporary inner-city life. His debut solo album, 1970's Curtis, had shown in vivid colors that the '60s optimist (author of the civil-rights anthems \"Keep On Pushing\" and \"People Get Ready\") had added a layer of subtlety to his material; appearing on the same LP as the positive and issue-oriented \"Move On Up\" was an apocalyptic piece of brimstone funk titled \"(Don't Worry) If There's a Hell Below, We're All Going to Go.\" For Super Fly, Mayfield wisely avoids celebrating the wheeling-and-dealing themes present in the movie, or exploiting them, instead using each song to focus on a different aspect of what he saw as a plague on America's streets. He also steers away from explicit moralizing; through his songs, Mayfield simply tells it like it is (for the characters in the film as in real life), with any lessons learned the result of his vibrant storytelling and knack of getting inside the heads of the characters. \"Freddie's Dead,\" one of the album's signature pieces, tells the story of one of the film's main casualties, a good-hearted yet weak-willed man caught up in the life of a pusher, and devastatingly portrays the indifference of those who witness or hear about it. \"Pusherman\" masterfully uses the metaphor of drug dealer as businessman, with the drug game, by extension, just another way to make a living in a tough situation, while the title track equates hustling with gambling (\"The game he plays he plays for keeps\/hustlin' times and ghetto streets\/tryin' ta get over\"). Ironically, the sound of Super Fly positively overwhelmed its lyrical finesse. A melange of deep, dark grooves, trademarked wah-wah guitar, and stinging brass, Super Fly ignited an entire genre of music, the blaxploitation soundtrack, and influenced everyone from soul singers to television-music composers for decades to come. It stands alongside Saturday Night Fever and Never Mind the Bollocks Here's the Sex Pistols as one of the most vivid touchstones of '70s pop music.\" \u003cspan data-mce-fragment=\"1\"\u003eAllMusic Review by John Bush\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\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eAllMusic : 5 \/ 5 , Discogs : 4,57 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":41047343890583,"sku":"MFSL2-481","price":135.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/curtis-mayfield-super-fly-2lp-ultra-analog-half-speed-mastering-45-rpm-audiosoundmusic-1.jpg?v=1719854078"},{"product_id":"derek-and-the-dominos-layla-and-other-assorted-love-songs","title":"Derek and the Dominos - Layla and Other Assorted Love Songs (2LP, Ultra Analog, Half-speed Mastering)","description":"\u003ch2\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eORDER LIMITED TO ONE ITEM PER CUSTOMER\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h2\u003e\n\u003cp\u003e\u003cstrong\u003eEric Clapton – vocals, guitars \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/eric-clapton\" title=\"vinyl featuring Eric Clapton\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/eric-clapton\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Eric Clapton]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBobby Whitlock – vocals, keyboards; acoustic guitar (on \"Thorn Tree in the Garden\")\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCarl Radle – bass, percussion\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJim Gordon – drums, percussion; piano (on \"Layla\")\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDuane Allman – guitars (on all tracks except \"I Looked Away,\" \"Bell Bottom Blues,\" and \"Keep on Growing\")\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAlbhy Galuten – piano (on \"Nobody Knows You When You're Down and Out\")\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 sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eLimited Edition\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\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 : ATCO Records\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded \u003cspan data-mce-fragment=\"1\"\u003e26 August–10 September and 1–2 October 1970 \u003c\/span\u003eat Criteria Recording Studios, Miami, Florida\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineered by Chuck Kirkpatrick, Howie Albert, Carl Richardson, Mac Emmerman, Ron Albert\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by The Dominos\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by Krieg Wunderlich\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1970\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2017\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eI Looked Away\u003c\/li\u003e\n\u003cli\u003eBell Bottom Blues\u003c\/li\u003e\n\u003cli\u003eKeep On Growing\u003c\/li\u003e\n\u003cli\u003eNobody Knows You When You're Down And Out\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eI Am Yours\u003c\/li\u003e\n\u003cli\u003eAnyday\u003c\/li\u003e\n\u003cli\u003eKey To The Highway\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\u003eTell The Truth\u003c\/li\u003e\n\u003cli\u003eWhy Does Love Got To Be So Sad?\u003c\/li\u003e\n\u003cli\u003eHave You Ever Loved A Woman\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\u003eLittle Wing\u003c\/li\u003e\n\u003cli\u003eIt's Too Late\u003c\/li\u003e\n\u003cli\u003eLayla\u003c\/li\u003e\n\u003cli\u003eThorn Tree In The Garden\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 117\/500\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cb\u003eTAS Super LP List! Special Merit: Informal\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e1000 Recordings you must hear before you die - Ranked 176\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\"Wishing to escape the superstar expectations that sank Blind Faith before it was launched, Eric Clapton retreated with several sidemen from Delaney \u0026amp; Bonnie to record the material that would form Layla and Other Assorted Love Songs. From these meager beginnings grew his greatest album. Duane Allman joined the band shortly after recording began, and his spectacular slide guitar pushed Clapton to new heights. Then again, Clapton may have gotten there without him, considering the emotional turmoil he was in during the recording. He was in hopeless, unrequited love with Pattie Boyd, the wife of his best friend, George Harrison, and that pain surges throughout Layla, especially on its epic title track. But what really makes Layla such a powerful record is that Clapton, ignoring the traditions that occasionally painted him into a corner, simply tears through these songs with burning, intense emotion. He makes standards like \"Have You Ever Loved a Woman\" and \"Nobody Knows You (When You're Down and Out)\" into his own, while his collaborations with Bobby Whitlock -- including \"Any Day\" and \"Why Does Love Got to Be So Sad?\" -- teem with passion. And, considering what a personal album Layla is, it's somewhat ironic that the lovely coda \"Thorn Tree in the Garden\" is a solo performance by Whitlock, and that the song sums up the entire album as well as \"Layla\" itself.\" \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 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 : 4,39 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":41050254540951,"sku":"MFSL2-470","price":95.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/derek-and-the-dominos-layla-and-other-assorted-love-songs-2lp-ultra-analog-half-speed-mastering-audiosoundmusic-1.jpg?v=1719854089"},{"product_id":"jefferson-airplane-volunteers-2lp-mono-ultra-analog-45-rpm","title":"\u003ctranscy\u003eJefferson Airplane - Volunteers (2LP, Ultra Analog, Half-speed Mastering, 45 tours)\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\u003e\u003ca title=\"vinyl featuring Jefferson Airplane\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/jefferson-airplane\"\u003e\u003cspan style=\"color: rgb(255, 128, 0);\"\u003e[click here to see more products featuring Jefferson Airplane]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGrace Slick – vocals, piano on \"The Farm\", \"Hey Fredrick\", \"Eskimo Blue Day\" and \"Volunteers\", organ on \"Meadowlands\", recorder on \"Eskimo Blue Day\"\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBill Laudner – lead vocals on \"A Song for All Seasons\"\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMarty Balin – vocals, percussion\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePaul Kantner – vocals, rhythm guitar\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJorma Kaukonen – lead guitar, vocals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJack Casady – bass\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpencer Dryden – drums, percussion\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAdditional personnel\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eNicky Hopkins – piano on \"We Can Be Together\", \"Hey Fredrick\", \"Wooden Ships\", \"A Song for All Seasons\" and \"Volunteers\"\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStephen Stills – Hammond organ on \"Turn My Life Down\"\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJerry Garcia – pedal steel guitar on \"The Farm\"\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJoey Covington – congas on \"Turn My Life Down\", chair on \"Eskimo Blue Day\"\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDavid Crosby – sailboat on \"Wooden Ships\"\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAce of Cups – vocals on \"The Farm\" and \"Turn My Life Down\"\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e2 LPs, gatefold jacket\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eNumbered limited edition\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHalf-speed Mastering\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGain 2™ Ultra Analog\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 45RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12”\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : RTI\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : MOFI\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : RCA Victor\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded \u003cspan data-mce-fragment=\"1\"\u003eMarch 28–June 12, 1969 \u003c\/span\u003eat Wally Heider Studios, San Francisco\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineered by Rich Schmitt\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Al Schmitt\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 1969\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\u003eWe Can Be Together\u003c\/li\u003e\n\u003cli\u003eGood Shepherd\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col start=\"2\"\u003e\n\u003cli\u003eThe Farm\u003c\/li\u003e\n\u003cli\u003eHey Frederick\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\u003eTurn My Life Down\u003c\/li\u003e\n\u003cli\u003eWooden Ships\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\u003eEskimo Blue Day\u003c\/li\u003e\n\u003cli\u003eA Song for All Seasons\u003c\/li\u003e\n\u003cli\u003eMeadowlands\u003c\/li\u003e\n\u003cli\u003eVolunteers\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAwards\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan style=\"color: #ff2a00;\"\u003eRolling Stone 500 Greatest Albums of All Time - Ranked 373\/500\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\"Controversial at the time, delayed because of fights with the record company over lyrical content and the original title (Volunteers of America), Volunteers was a powerful release that neatly closed out and wrapped up the '60s. Here, the Jefferson Airplane presents itself in full revolutionary rhetoric, issuing a call to \"tear down the walls\" and \"get it on together.\" \"We Can Be Together\" and \"Volunteers\" bookend the album, offering musical variations on the same chord progression and lyrical variations on the same theme. Between these politically charged rock anthems, the band offers a mix of words and music that reflect the competing ideals of simplicity and getting \"back to the earth,\" and overthrowing greed and exploitation through political activism, adding a healthy dollop of psychedelic sci-fi for texture. Guitarist Jorma Kaukonen's beautiful arrangement of the traditional \"Good Shepherd\" is a standout here, and Jerry Garcia's pedal steel guitar gives \"The Farm\" an appropriately rural feel. The band's version of \"Wooden Ships\" is much more eerie than that released earlier in the year by Crosby, Stills \u0026amp; Nash. Oblique psychedelia is offered here via Grace Slick's \"Hey Frederick\" and ecologically tinged \"Eskimo Blue Day.\" Drummer Spencer Dryden gives an inside look at the state of the band in the country singalong \"A Song for All Seasons.\"\u003c\/p\u003e\n\u003cp\u003eThe musical arrangements here are quite potent. Nicky Hopkins' distinctive piano highlights a number of tracks, and Kaukonen's razor-toned lead guitar is the recording's unifying force, blazing through the mix, giving the album its distinctive sound. Although the political bent of the lyrics may seem dated to some, listening to Volunteers is like opening a time capsule on the end of an era, a time when young people still believed music had the power to change the world.\" \u003cspan data-mce-fragment=\"1\"\u003eAllMusic Review by Jim Newsom\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eUltra Analog™\u003c\/strong\u003e\u003cspan data-mce-fragment=\"1\"\u003e : The GAIN 2 Ultra Analog™ Series stems from the use of the Gain 2 system, mastered at half speed from the original master tapes where possible, capturing and uncovering as before undiscovered sonic information.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003cstrong\u003eHalf-speed mastering. \u003c\/strong\u003eIn half-speed mastering, the whole process is slowed down to half of the original speed. A typical 33 1\/3 rpm record is cut at 16 2\/3 rpm. The source material is also slowed down (reducing the pitch in the process) meaning the final record will still sound normal when played back. Slowing the whole process down allows more time, which means the end result sounds better and is more efficient — allowing engineering to minimize the effects of inherent limitations within the vinyl format. The result is a more accurate and more open high-frequency response in the half speed vinyl when compared with a normal speed recording.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eAllMusic : 4 \/ 5 , Discogs : 4,11 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":41053195600023,"sku":"MFSL2-457","price":95.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/jefferson-airplane-volunteers-2lp-ultra-analog-half-speed-mastering-45-rpm-audiosoundmusic-1.jpg?v=1719854100"},{"product_id":"jefferson-airplane-surrealistic-pillow-2lp-mono-ultra-analog-45-rpm","title":"\u003ctranscy\u003eJefferson Airplane - Surrealistic Pillow (2LP, Mono, Ultra Analog, Half-speed Mastering, 45 tours)\u003c\/transcy\u003e","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eORDER LIMITED TO ONE ITEM PER CUSTOMER\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/jefferson-airplane\" title=\"vinyl featuring Jefferson Airplane\"\u003e\u003cspan style=\"color: rgb(255, 128, 0);\"\u003e[click here to see more products featuring Jefferson Airplane]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMarty Balin – vocals, guitar, album design, lead vocals on \"Today\", \"Comin' Back to Me\" and \"Plastic Fantastic Lover\", co-lead vocals on \"She Has Funny Cars\", \"My Best Friend\" and \"Go to Her\"\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJack Casady – bass guitar, fuzz bass, rhythm guitar\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpencer Dryden – drums, percussion\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePaul Kantner – rhythm guitar, vocals, lead vocals on \"How Do You Feel\", co-lead vocals on \"My Best Friend\", \"D. C. B. A.-25\" and \"Go to Her\"\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJorma Kaukonen – lead guitar, lead vocals on \"Come Back Baby\" and \"In the Morning\"\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGrace Slick – vocals, piano, organ, recorder, lead vocals on \"Somebody to Love\" and \"White Rabbit\", co-lead vocals on \"She Has Funny Cars\", \"My Best Friend\", \"D. C. B. A.-25\" and \"Go to Her\"\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSigne Toly Anderson - lead vocals on \"Chauffeur Blues\"\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSkip Spence - drums on \"Don't Slip Away\", \"Come Up the Years\", and \"Chauffeur Blues\"\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e2 LPs, gatefold jacket\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eNumbered limited edition\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHalf-speed Mastering\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGain 2™ Ultra Analog\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 45RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12”\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMono\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : RTI\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : MOFI\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : RCA Victor\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded \u003cspan data-mce-fragment=\"1\"\u003eOctober 31 – November 22, 1966 at \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003eRCA Victor's Music Center of the World, Hollywood, California\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineered by Dave Hassinger\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Rick Jarrard\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by Krieg Wunderlich\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1967\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 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\u003eShe Has Funny Cars\u003c\/li\u003e\n\u003cli\u003eSomebody to Love\u003c\/li\u003e\n\u003cli\u003eMy Best Friend\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eToday\u003c\/li\u003e\n\u003cli\u003eComin' Back to Me\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide C :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003e3\/5 of a Mile In 10 Seconds\u003c\/li\u003e\n\u003cli\u003eD.C.B.A.-25\u003c\/li\u003e\n\u003cli\u003eHow Do You Feel\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide D :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eEmbryonic Journey\u003c\/li\u003e\n\u003cli\u003eWhite Rabbit\u003c\/li\u003e\n\u003cli\u003ePlastic Fantastic Lover\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAwards\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e\u003cspan color=\"#B12704\"\u003e\u003cb\u003eMichael Fremer's 100 Recommended All-Analog LP Reissues Worth Owning - Rated 52\/100!\u003c\/b\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e\u003cspan color=\"#B12704\"\u003eTAS Super LP List! Special Merit: Informal\u003c\/span\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e\u003cspan color=\"#B12704\"\u003eThe Absolute Sound Top Ten Vinyl Reissue of 2016\u003c\/span\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cb\u003eRolling Stone 500 Greatest Albums of All Time - Rated 146\/500\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cb\u003e Rolling Stone 500 Greatest Songs of All Time - \"White Rabbit\" - Rated 483\/500\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cb\u003e Rolling Stone 500 Greatest Songs of All Time - \"Somebody To Love\" - Rated 279\/500\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e\"The second album by Jefferson Airplane, Surrealistic Pillow was a groundbreaking piece of folk-rock-based psychedelia, and it hit like a shot heard round the world; where the later efforts from bands like the Grateful Dead, Quicksilver Messenger Service, and especially, the Charlatans, were initially not too much more than cult successes, Surrealistic Pillow rode the pop charts for most of 1967, soaring into that rarefied Top Five region occupied by the likes of the Beatles, the Rolling Stones, and so on, to which few American rock acts apart from the Byrds had been able to lay claim since 1964. And decades later the album still comes off as strong as any of those artists' best work. From the Top Ten singles \"White Rabbit\" and \"Somebody to Love\" to the sublime \"Embryonic Journey,\" the sensibilities are fierce, the material manages to be both melodic and complex (and it rocks, too), and the performances, sparked by new member Grace Slick on most of the lead vocals, are inspired, helped along by Jerry Garcia (serving as spiritual and musical advisor and sometimes guitarist). Every song is a perfectly cut diamond, too perfect in the eyes of the bandmembers, who felt that following the direction of producer Rick Jarrard and working within three- and four-minute running times, and delivering carefully sung accompaniments and succinct solos, resulted in a record that didn't represent their real sound. Regardless, they did wonderful things with the music within that framework, and the only pity is that RCA didn't record for official release any of the group's shows from the same era, when this material made up the bulk of their repertory. That way the live versions, with the band's creativity unrestricted, could be compared and contrasted with the record. The songwriting was spread around between Marty Balin, Slick, Paul Kantner, and Jorma Kaukonen, and Slick and Balin (who never had a prettier song than \"Today,\" which he'd actually written for Tony Bennett) shared the vocals; the whole album was resplendent in a happy balance of all of these creative elements, before excessive experimentation (musical and chemical) began affecting the band's ability to do a straightforward song. The group never made a better album, and few artists from the era ever did.\" \u003cspan data-mce-fragment=\"1\"\u003eAllMusic Review by Bruce Eder\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003e\"\u003c\/span\u003e\u003ci\u003eSurrealistic Pillow\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003ebroke the group internationally, which was kind of a miracle since RCA at the time (if ever) was not known as a rock label. But \"Somebody to Love\" and \"White Rabbit\" became generational anthems and the album a '60s decade icon.\u003c\/p\u003e\n\u003cp\u003eIn 1967 this was one of those \"get stoned, sit down in front of the stereo, turn the lights out and travel elsewhere for fifteen minutes\" records along with\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eStrange Days\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003eand\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eDay's of Future Past\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003enot to mention\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eSgt. Pepper's Lonely Hearts Club Band\u003c\/i\u003e.\u003c\/p\u003e\n\u003cp\u003eIn retrospect it's really a mild folk-rock record enhanced by Marty Balin's haunting balladry. It holds up well almost fifty years later (scary!).\u003c\/p\u003e\n\u003cp\u003eBalin and Kantner's \"Today\" is as poignant and moving as it was back then and it and the side-ender \"Comin' Back to Me\" threw a one two adult emotional punch in the face of a generation mostly looking for liberation—though of course the album and later Airplane records covered that too!\" Michael Fremer, \u003cem data-mce-fragment=\"1\"\u003eAnalogPlanet.com\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003e\"For parents tuning into Top 40 radio in the 60s, hits like \"White Rabbit\" and \"Somebody to Love\" probably confirmed their worst fears. The band was the Jefferson Airplane from San Francisco's Haight-Ashbury district-the counterculture's ground zero. The 1967 blockbuster release harboring these hits was Surrealistic Pillow, whose 11 tracks were in reality less trippy psychedelia and more a fusion of rock and folk, with harmonies echoing the Byrds, the Yardbirds, or The Mamas and the Papas. It was the Airplane's second release and crucially the first with added power-vocalist Grace Slick and drummer Spencer Dryden, who joined singer Marty Balin, singer\/guitarist Paul Kantner, guitarist Jorma Kaukonen, and bassist Jack Casady. MoFi's 45rpm double LP is a beautifully packaged gatefold. Sides are short but surfaces are quiet, the sound vintage analog. But what makes this remastering significant is the use of the monaural mix. Much less reverb was applied compared to the stereo originals, giving each track a stunning clarity and detail and intimacy-and a far heavier, more cohesive energy that places the spotlight on the musicianship and enlivens classic tracks like \"Today\" and \"Plastic Fantastic Lover.\" If you've only known the stereo version, you're in for a real treat.\" Neil Gader, \u003ci data-mce-fragment=\"1\"\u003eThe Absolute Sound\u003c\/i\u003e, October 2016\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\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eAllMusic : 5 \/ 5 , Discogs : 4,38 \/ 5  ,  \u003ci data-mce-fragment=\"1\"\u003eThe Absolute Sound : \u003c\/i\u003e\u003cspan data-mce-fragment=\"1\"\u003e 5\/5 Music, 5\/5 Sonics  ,  Michael Fremer : Music = 10\/11; Sound = 11\/11\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":41053841096855,"sku":"MFSL2-456","price":95.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/jefferson-airplane-surrealistic-pillow-2lp-mono-ultra-analog-half-speed-mastering-45-rpm-audiosoundmusic-1.jpg?v=1719854101"},{"product_id":"janis-joplin-pearl-2lp-45rpm","title":"\u003ctranscy\u003eJanis Joplin - Pearl (2LP, Ultra Analog, 45 tours)\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, 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\u003eGain 2™ Ultra Analog\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 45RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12”\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : RTI\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : MOFI\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Columbia\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded \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 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\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\u003col start=\"7\"\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\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 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\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":41054110515351,"sku":"MFSL2-454","price":95.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/janis-joplin-pearl-2lp-ultra-analog-45rpm-audiosoundmusic-1.jpg?v=1719854110"},{"product_id":"big-brother-and-the-holding-company-cheap-thrills-2lp-ultra-analog-45-rpm","title":"\u003ctranscy\u003eBig Brother and the Holding Company - Cheap Thrills (2LP, Ultra Analog, Half-speed Mastering, 45 tours)\u003c\/transcy\u003e","description":"\u003ch2\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eORDER LIMITED TO ONE ITEM PER CUSTOMER\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h2\u003e\n\u003cp\u003e\u003cstrong\u003eJanis Joplin – vocals \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\u003eSam Andrew – guitar, bass on 'Oh, Sweet Mary', vocals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJames Gurley – guitar\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePeter Albin – bass, lead guitar on 'Oh, Sweet Mary', lead acoustic guitar on 'Turtle Blues'.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDave Getz – drums\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJohn Simon – piano\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e2 LPs, gatefold jacket\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eNumbered limited edition\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHalf-speed Mastering\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGain 2™ Ultra Analog\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 45RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12”\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : RTI\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : MOFI\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Columbia\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded \u003cspan data-mce-fragment=\"1\"\u003eMarch 2 – May 20, 1968 \u003c\/span\u003eat Fillmore Auditorium\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineered by Fred Catero, James Gurley, Janis Joplin, Jerry Hochman, Roy Segal\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by \u003cspan data-mce-fragment=\"1\"\u003eBob Irwin\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by Krieg Wunderlich\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1968\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 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\u003eCombination of The Two\u003c\/li\u003e\n\u003cli\u003eI Need A Man To Love\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eSummertime\u003c\/li\u003e\n\u003cli\u003ePiece of My Heart\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide C:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eTurtle Blues\u003c\/li\u003e\n\u003cli\u003eOh, Sweet Mary\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide D:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eBall and Chain\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 338\/500!\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eRolling Stone 500 Greatest Songs of All Time - \"Piece Of My Heart\" - Rated 353\/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 120\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\"Cheap Thrills, the major-label debut of Janis Joplin, was one of the most eagerly anticipated, and one of the most successful, albums of 1968. Joplin and her band Big Brother \u0026amp; the Holding Company had earned extensive press notice ever since they played the Monterey Pop Festival in June 1967, but for a year after that their only recorded work was a poorly produced, self-titled album that they'd done early in their history for Mainstream Records; and it took the band and the best legal minds at Columbia Records seven months to extricate them from their Mainstream contract, so that they could sign with Columbia. All the while, demand continued to build, and they still faced the problem of actually delivering something worthy of the press they'd been getting -- Columbia even tried to record them live on-stage on the tour they were in the midst of when the new contract was signed, but somehow the concert tapes from early March of 1968 didn't capture the full depth of their work. So they spent March, April, and May in the studio with producer John Simon and, miraculously, emerged with something that was as exciting as anything they'd done on-stage. When Cheap Thrills appeared in August 1968 -- sporting a Robert Crumb cover on its gatefold jacket that constituted the most elaborate album design ever lavished on a rock album from Columbia Records, as well as a pop-art classic rivaling the Beatles' Sgt. Pepper's jacket -- it shot into the charts, reaching number one and going gold within a couple of months, and \"Piece of My Heart\" became a Top 40 hit and helped to propel the LP to over a million sales. Joplin, with her ear- (and vocal cord-) shredding voice, was the obvious standout. Nobody had ever heard singing as emotional, as desperate, as determined, or as loud as Joplin's, and Cheap Thrills was her greatest moment. Not that everything was done full out -- there were relatively quiet moments on the album that were as compelling as the high-wattage showcases; her rendition of George Gershwin's \"Summertime\" was the finest rock reinterpretation of a standard done by anybody up to that time (though, in an incident recalled in his autobiography Clive, when Columbia Records president Clive Davis played it to Richard Rodgers to give him an example of some of the sounds that younger audiences of the late '60s were listening to, the 66-year-old Rodgers stomped out of the Columbia corporate offices in fury, vowing never to write another song); and Joplin's own \"Turtle Blues\" showed that she and the band could turn down and do credible acoustic blues, in something like an authentic period Bessie Smith (or, more properly, Memphis Minnie) sound. Big Brother's backup, typical of the guitar-dominated sound of San Francisco psychedelia, made up in enthusiasm what it lacked in precision. But everybody knew who the real star was, and Joplin played her last gig with Big Brother while the album was still on top of the charts. Neither she nor the band would ever equal it. Heard today, Cheap Thrills is a musical time capsule and remains a showcase for one of rock's most distinctive singers.\" \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\u003e\u003cstrong data-mce-fragment=\"1\"\u003eUltra Analog™\u003c\/strong\u003e\u003cspan data-mce-fragment=\"1\"\u003e : The GAIN 2 Ultra Analog™ Series stems from the use of the Gain 2 system, mastered at half speed from the original master tapes where possible, capturing and uncovering as before undiscovered sonic information.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003cstrong\u003eHalf-speed mastering. \u003c\/strong\u003eIn half-speed mastering, the whole process is slowed down to half of the original speed. A typical 33 1\/3 rpm record is cut at 16 2\/3 rpm. The source material is also slowed down (reducing the pitch in the process) meaning the final record will still sound normal when played back. Slowing the whole process down allows more time, which means the end result sounds better and is more efficient — allowing engineering to minimize the effects of inherent limitations within the vinyl format. The result is a more accurate and more open high-frequency response in the half speed vinyl when compared with a normal speed recording.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eAllMusic : 5 \/ 5 , Discogs : 4,33 \/ 5\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":41054160322711,"sku":"MFSL2-453","price":95.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/big-brother-and-the-holding-company-cheap-thrills-2lp-ultra-analog-half-speed-mastering-45-rpm-audiosoundmusic-1.jpg?v=1719854111"},{"product_id":"santana-santana-2lp-ultra-analog-45-rpm","title":"\u003ctranscy\u003eSantana – Santana (2LP, Ultra Analog, Half-speed Mastering, 45 tours)\u003c\/transcy\u003e","description":"\u003ch2\u003e\n\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eORDER LIMITED TO ONE ITEM PER CUSTOMER\u003c\/strong\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003c\/h2\u003e\n\u003cp\u003e\u003cstrong\u003eCarlos Santana – guitar, backing vocals  \u003cspan data-mce-fragment=\"1\" style=\"color: #ff8000;\" data-mce-style=\"color: #ff8000;\"\u003e[c\u003c\/span\u003e\u003ca data-mce-fragment=\"1\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/carlos-santana\" title=\"Vinyl featuring Carlos Santana\" style=\"color: #ff8000;\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/carlos-santana\" data-mce-style=\"color: #ff8000;\"\u003elick here to see more vinyl featuring Carlos Santana]\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDavid Brown – bass guitar\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGregg Rolie – lead vocals, Hammond organ, piano\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMichael Shrieve – drums\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMichael Carabello – congas, percussion\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJosé \"Chepito\" Areas – timbales, congas, percussion\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMarcus Malone – congas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e2 LPs, gatefold jacket\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eNumbered limited edition\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHalf-speed Mastering\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGain 2™ Ultra Analog\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 45RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12”\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : RTI\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : MOFI\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Columbia\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded in \u003cspan data-mce-fragment=\"1\"\u003eMay 1969 \u003c\/span\u003eat Pacific Recording Studios, San Mateo, California\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineered by Bob \"Deputy Dog\" Breault, Eric \"Gentle Ben\" Prestidge\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Brent Dangerfield, Santana\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by Krieg Wunderlich\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1969\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\u003eWaiting\u003c\/li\u003e\n\u003cli\u003eEvil Ways\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\u003eShades Of Time\u003c\/li\u003e\n\u003cli\u003eSavor\u003c\/li\u003e\n\u003cli\u003eJingo\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\u003ePersuasion\u003c\/li\u003e\n\u003cli\u003eTreat\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 Just Don't Care\u003c\/li\u003e\n\u003cli\u003eSoul Sacrifice\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRating\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eRolling Stone 500 Greatest Albums of All Time - Rated 149\/500!\u003c\/strong\u003e\u003c\/span\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 \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e\"Before the arrival of Carlos Santana's eponymous band, the San Francisco rock scene drew the inspiration for its jam-oriented music mainly from blues, rock, and Eastern modalities. Santana added Latin music to the mix, forever changing the course of rock \u0026amp; roll history. On their groundbreaking debut album, the group mix Latin percussion with driving rock grooves. Santana's unique guitar style, alternately biting and liquid, vies with the multiple percussionists for the sonic focus.\u003c\/p\u003e\n\u003cp\u003eUnlike later efforts, Santana's first album features an abundance of loose, collective compositions based on a couple of simple riffs (\"Jingo,\" \"Soul Sacrifice\"). This approach allows for Santana and his bandmates to flex their improvisational muscles to fine effect. The high-energy level on Santana is infectious -- the laid-back feel of other '60s San Francisco groups was clearly not for Carlos and co.\" \u003cspan data-mce-fragment=\"1\"\u003eAllMusic Review by Rovi Staff\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eUltra Analog™\u003c\/strong\u003e\u003cspan data-mce-fragment=\"1\"\u003e : The GAIN 2 Ultra Analog™ Series stems from the use of the Gain 2 system, mastered at half speed from the original master tapes where possible, capturing and uncovering as before undiscovered sonic information.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \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 : 4,34 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":41054326096023,"sku":"MFSL2-45-012","price":95.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/santana-santana-2lp-ultra-analog-half-speed-mastering-45-rpm-audiosoundmusic-1.jpg?v=1719854111"},{"product_id":"miles-davis-kind-of-blue-2lp-ultra-analog-45-rpm","title":"\u003ctranscy\u003eMiles Davis - Kind of Blue (2LP, Coffret, Ultra Analog, Half-speed Mastering, 45 tours)\u003c\/transcy\u003e","description":"\u003ch2\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eORDER LIMITED TO ONE ITEM PER CUSTOMER\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h2\u003e\n\u003cp\u003e\u003cstrong\u003eMiles Davis, trumpet, band leader \u003ca title=\"vinyl featuring Miles Davis\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/miles-davis\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/miles-davis\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Miles Davis]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJulian \"Cannonball\" Adderley, alto sax (except on \"Blue in Green\")\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJohn Coltrane, tenor sax \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/john-coltrane\" title=\"vinyl featuring John Coltrane\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/john-coltrane\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring John Coltrane]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePaul Chambers, double bass \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/paul-chambers\" title=\"vinyl featuring Paul Chambers\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/paul-chambers\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Paul Chambers]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBill Evans, piano (except \"Freddie Freeloader\") \u003ca title=\"Vinyl featuring Bill Evans\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/bill-evans\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/bill-evans\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[\u003cspan style=\"color: #ff8000;\" color=\"#ff8000\" data-mce-fragment=\"1\"\u003eclick here to see more vinyl featuring \u003c\/span\u003e\u003cspan color=\"#ff8000\" data-mce-fragment=\"1\"\u003eBill Evans]\u003c\/span\u003e\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWynton Kelly, piano (\"Freddie Freeloader\")\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJimmy Cobb, drums \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/jimmy-cobb\" title=\"Vinyl featuring Jimmy Cobb\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/jimmy-cobb\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see other vinyl featuring Jimmy Cobb]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by Miles Davis\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e2 LPs, box set\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eNumbered limited edition\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHalf-speed Mastering\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGain 2™ Ultra Analog\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 45RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12”\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : RTI\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : MOFI\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Columbia\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded at \u003cspan data-mce-fragment=\"1\"\u003eColumbia 30th Street Studio, New York City on March 2, 1959 (A1 to B2) and April 22, 1959 (C1 \u0026amp; D1)\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineered by Fred Plaut\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Irving Townsend\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by Krieg Wunderlich\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1959\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2021\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003cp style=\"padding-left: 30px;\"\u003e1.So What\u003c\/p\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col start=\"2\"\u003e\n\u003cli\u003eFreddie Freeloader\u003c\/li\u003e\n\u003cli\u003eBlue in Green\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide C :\u003c\/p\u003e\n\u003col start=\"4\"\u003e\n\u003cli\u003eAll Blues\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide D :\u003c\/p\u003e\n\u003col start=\"5\"\u003e\n\u003cli\u003eFlamenco Sketches\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAwards\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eMichael Fremer's 100 Recommended All-Analog LP Reissues Worth Owning - Rated 17\/100!\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eTAS Super LP List! Special Merit: Informal\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e\u003cb\u003eThe Absolute Sound 40th Anniversary Best Sounding Music!\u003c\/b\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eRolling Stone 500 Greatest Albums of All Time - Rated 31\/500!\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e1000 Recordings you must hear before you die - Ranked 21\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eStereophile Records To Die For - 2007\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e\"Kind of Blue isn't merely an artistic highlight for Miles Davis, it's an album that towers above its peers, a record generally considered as the definitive jazz album. To be reductive, it's the Citizen Kane of jazz -- an accepted work of greatness that's innovative and entertaining. That may not mean it's the greatest jazz album ever made, but it certainly is a universally acknowledged standard of excellence. Why does Kind of Blue posses such a mystique? Perhaps it's that this music never flaunts its genius. It lures listeners in with the slow, luxurious bassline and gentle piano chords of \"So What.\" From that moment on, the record never really changes pace -- each tune has a similar relaxed feel, as the music flows easily. Yet Kind of Blue is more than easy listening. It's the pinnacle of modal jazz -- tonality and solos build from chords, not the overall key, giving the music a subtly shifting quality. All of this doesn't quite explain why seasoned jazz fans return to this record even after they've memorized every nuance. They return because this is an exceptional band - Miles, Coltrane, Bill Evans, Cannonball Adderly, Paul Chambers, Jimmy Cobb, and Wynton Kelly -- one of the greatest in history, playing at the peak of its power. As Evans said in the original liner notes for the record, the band did not play through any of these pieces prior to recording. Davis laid out the themes and chords before the tape rolled, and then the band improvised. The end results were wondrous, filled with performances that still crackle with vitality. Few albums of any genre manage to work on so many different levels, but Kind of Blue does. It can be played as background music, yet it amply rewards close listening. It is advanced music that is extraordinarily enjoyable. It may be a stretch to say that if you don't like Kind of Blue, you don't like jazz -- but it's hard to imagine it as anything other than a cornerstone of any jazz collection.\" \u003cspan data-mce-fragment=\"1\"\u003eAllMusic Review by Stephen Thomas Erlewine \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eUltra Analog™\u003c\/strong\u003e\u003cspan data-mce-fragment=\"1\"\u003e : The GAIN 2 Ultra Analog™ Series stems from the use of the Gain 2 system, mastered at half speed from the original master tapes where possible, capturing and uncovering as before undiscovered sonic information.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHalf-speed mastering. \u003c\/strong\u003e\u003cspan\u003eIn half-speed mastering, the whole process is slowed down to half of the original speed. A typical 33 1\/3 rpm record is cut at 16 2\/3 rpm. The source material is also slowed down (reducing the pitch in the process) meaning the final record will still sound normal when played back. Slowing the whole process down allows more time, which means the end result sounds better and is more efficient — allowing engineering to minimize the effects of inherent limitations within the vinyl format. The result is a more accurate and more open high-frequency response in the half speed vinyl when compared with a normal speed recording.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eAllMusic : 5 \/ 5 , Discogs : 4,75 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":41054470111383,"sku":"MFSL2-45-011","price":125.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/miles-davis-kind-of-blue-2lp-box-set-ultra-analog-half-speed-mastering-45-rpm-audiosoundmusic-1.jpg?v=1719854110"},{"product_id":"dire-straits-brothers-in-arms-2lp-ultra-analog-45-rpm","title":"\u003ctc\u003e\u003ctranscy\u003eDire Straits - Brothers in Arms (2LP, 45 tours, MOFI, Ultra Analog,\u0026nbsp;Half-speed Mastering)\u003c\/transcy\u003e\u003c\/tc\u003e","description":"\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eORDER LIMITED TO ONE ITEM PER CUSTOMER\u003c\/strong\u003e\u003c\/span\u003e\u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/dire-straits\" title=\"vinyl from Dire Straits\"\u003e\u003cspan style=\"color: #ff8000;\"\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDire Straits \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/dire-straits\" title=\"vinyl from Dire Straits\"\u003e\u003cspan style=\"color: #ff8000;\"\u003e[Click here to see more vinyl from Dire Straits]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMark Knopfler – guitars and vocals \u003cspan style=\"color: #ff8000;\"\u003e\u003ca title=\"vinyl featuring Mark Knopfler\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/mark-knopfler\" style=\"color: #ff8000;\"\u003e[see more vinyl featuring Mark Knopfler]\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSting – vocals on \"Money for Nothing\" \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/sting\" title=\"vinyl featuring Sting\"\u003e\u003cspan style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Sting]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJohn Illsley – bass guitar and vocals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAlan Clark – keyboards\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGuy Fletcher – keyboards and vocals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOmar Hakim – drums\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTerry Williams – drums\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMichael Brecker – saxophone (B2)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTony Levin – bass on (D2)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJack Sonni – guitar synthesizer (D1)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by Mark Knopfler, Sting (A2)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e2 LPs, gatefold sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eLimited numbered edition\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHalf-speed Mastering\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGain 2™ Ultra Analog\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 45RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12”\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : RTI\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : MOFI\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Vertigo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded \u003cspan\u003eOctober 1984 – February 1985 \u003c\/span\u003eat AIR Studios, Montserrat\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineered by Neil Dorfsman\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Mark Knopfler, Neil Dorfsman\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 1985\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\u003eSo Far Away\u003c\/li\u003e\n\u003cli\u003eMoney for Nothing\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B\u003cbr\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eWalk of Life\u003c\/li\u003e\n\u003cli\u003eYour Latest Trick\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide C\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eWhy Worry\u003c\/li\u003e\n\u003cli\u003eRide Across The River \u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide D\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eThe Man’s Too Strong\u003c\/li\u003e\n\u003cli\u003eOne World\u003c\/li\u003e\n\u003cli\u003eBrothers in Arms\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003col start=\"8\"\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 352\/500\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cb\u003eTAS Super LP List! Special Merit: Informal\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cb\u003e\u003cspan\u003e1000 Recordings You Must Hear Before You Die - Ranked 551\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e\"Comparing the original Bob Ludwig mastered LP (Warner Brothers WB 9-25264-1) with this double 45rpm edition is easy: there is no comparison… This version features explosive dynamics, super-tight and deep bass, pristine \"crystalline\" highs… Inner detail resolution mesmerizes, the guitars transients are oh-so-cleanly rendered and there's even air and space… if you're a fan of the music and the sound, this is the vinyl version to have. It rocks!. BTW: this sealed copy was perfectly pressed by RTI and I do mean perfect.\"\u003cspan\u003e Michael Fremer, www.analogplanet.com\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\"Brothers in Arms brought the atmospheric, jazz-rock inclinations of Love Over Gold into a pop setting, resulting in a surprise international best-seller. Of course, the success of Brothers in Arms was helped considerably by the clever computer-animated video for \"Money for Nothing,\" a sardonic attack on MTV. But what kept the record selling was Mark Knopfler's increased sense of pop songcraft -- \"Money for Nothing\" had an indelible guitar riff, \"Walk of Life\" is a catchy up-tempo boogie variation on \"Sultans of Swing,\" and the melodies of the bluesy \"So Far Away\" and the down-tempo, Everly Brothers-style \"Why Worry\" were wistful and lovely. Dire Straits had never been so concise or pop-oriented, and it wore well on them. Though they couldn't maintain that consistency through the rest of the album -- only the jazzy \"Your Latest Trick\" and the flinty \"Ride Across the River\" make an impact -- Brothers in Arms remains one of their most focused and accomplished albums, and in its succinct pop sense, it's distinctive within their catalog.\" \u003cspan\u003eAllMusic Review by Stephen Thomas Erlewine \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eUltra Analog™\u003c\/strong\u003e\u003cspan\u003e : The GAIN 2 Ultra Analog™ Series stems from the use of the Gain 2 system, mastered at half speed from the original master tapes where possible, capturing and uncovering as before undiscovered sonic information.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eHalf-speed mastering. \u003c\/strong\u003eIn half-speed mastering, the whole process is slowed down to half of the original speed. A typical 33 1\/3 rpm record is cut at 16 2\/3 rpm. The source material is also slowed down (reducing the pitch in the process) meaning the final record will still sound normal when played back. Slowing the whole process down allows more time, which means the end result sounds better and is more efficient — allowing engineering to minimize the effects of inherent limitations within the vinyl format. The result is a more accurate and more open high-frequency response in the half speed vinyl when compared with a normal speed recording.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eAllMusic : 4 \/ 5 , Discogs : 4,42 \/ 5 ,  \u003cspan\u003eMichael Fremer :  Music 9\/11, Sound 9\/11\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":41058847359127,"sku":"MFSL2-441","price":175.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/dire-straits-brothers-in-arms-2lp-ultra-analog-half-speed-mastering-45-rpm-audiosoundmusic-1.jpg?v=1719854134"},{"product_id":"the-allman-brothers-band-at-fillmore-east-2lp-ultra-analog-45-rpm","title":"\u003ctc\u003e\u003ctranscy\u003eThe Allman Brothers Band - At Fillmore East (2LP, Ultra Analog, Half-speed Mastering)\u003c\/transcy\u003e\u003c\/tc\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\u003eGregg Allman – organ, piano, vocals \u003ca data-mce-fragment=\"1\" title=\"vinyl featuring Gregg AllMan\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/gregg-allman\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/gregg-allman\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"color: #ff8000;\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Gregg Allman]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDuane Allman – lead guitar, slide guitar\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDickey Betts – lead guitar\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBerry Oakley – bass guitar\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJai Johanny Johanson – drums, congas, timbales\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eButch Trucks – drums, timpani\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJim Santi – tambourine\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThom Doucette – harmonica (A2-3, B1)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBobby Caldwell – percussion (C2)\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRudolph (\"Juici\") Carter – soprano saxophone (C2)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by Will Greg Allman (C1, D1), McTell (A1), Clarence Lewis (A2), David C. Thomas (A2), Elmore James (A2), Morgan Robinson (A2), T.Bone Walker (A3), Willie Cobbs (B1), Berry Oakley (C1), Butch Trucks (C1), Dickey Betts (C1-2), Duane Allman (C1), Jai Johanny Johanson (C1)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e2 LPs, gatefold sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eLimited numbered edition\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHalf-speed Mastering\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGain 2™ Ultra Analog\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33RPM\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\u003eSize : 12”\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLive\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : RTI\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : MOFI\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Capricorn Records\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded live \u003cspan data-mce-fragment=\"1\"\u003eMarch 12–13, 1971 \u003c\/span\u003eat Fillmore East, New York City\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineered by Aaron Baron, Larry Dahlstrom\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Tom Dowd\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by Krieg Wunderlich \u003c\/strong\u003e\u003cstrong\u003eat Mobile Fidelity Sound Lab, Sebastopol, CA\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 2015\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003cp\u003e            Statesboro Blues\u003c\/p\u003e\n\u003cp\u003e            Done Somebody Wrong\u003c\/p\u003e\n\u003cp\u003e            Stormy Monday          \u003c\/p\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003cp\u003e            You Don't Love Me\u003c\/p\u003e\n\u003cp\u003eSide C :\u003c\/p\u003e\n\u003cp\u003e            Hot 'Lanta\u003c\/p\u003e\n\u003cp\u003e            In Memory Of Elizabeth Reed\u003c\/p\u003e\n\u003cp\u003eSide D :\u003c\/p\u003e\n\u003cp\u003e            Whipping Post\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAwards\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003e\u003cspan color=\"#B12704\" style=\"color: #b12704;\"\u003e\u003cspan style=\"color: #ff2a00;\"\u003eRolling Stone 500 Greatest Albums of All Time - Rated 105\/500!\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"color: #ff2a00;\"\u003eRolling Stone 500 Greatest Songs of All Time - \"Whipping Post\" - Rated 393\/500!\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"color: #ff2a00;\"\u003eRolling Stone 2015 Readers' Poll: The 10 Best Jam Bands: The Allman Brothers Rated 2nd!\u003c\/span\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003e\u003cspan color=\"#B12704\" style=\"color: #b12704;\"\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e1000 Recordings You Must Hear Before You Die - Ranked 214\u003c\/strong\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e\"Whereas most great live rock albums are about energy, At Fillmore East is like a great live jazz session, where the pleasure comes from the musicians' interaction and playing. The great thing about that is, the original album that brought the Allmans so much acclaim is as notable for its clever studio editing as it is for its performances. Producer Tom Dowd skillfully trimmed some of the performances down to relatively concise running time (edits later restored on the double-disc set The Fillmore Concerts), at times condensing several performances into one track. Far from being a sacrilege, this tactic helps present the Allmans in their best light, since even if the music isn't necessarily concise (three tracks run over ten minutes, with two in the 20-minute range), it does showcase the group's terrific instrumental interplay, letting each member (but particularly guitarist Duane and keyboardist\/vocalist Gregg) shine. Even after the release of the unedited concerts, this original double album remains the pinnacle of the Allmans and Southern rock at its most elastic, bluesy, and jazzy.\" \u003cspan data-mce-fragment=\"1\"\u003eAllMusic Review by Stephen Thomas Erlewine\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003e\"Although this double album is unbeatable testimony to the Allman Brothers' improvisational skills, it is also evidence of how they connected with the crowds at New York's Fillmore East, and how the reciprocal energy gave birth to rock's greatest live double LP. \"The audience would kind of play along with us,\" singer-organist Gregg Allman said of those March 1971 shows. \"They were right on top of every single vibration coming from the stage.\" The guitar team of Duane Allman and Dickey Betts was at its hair-raising peak, fusing blues and jazz with emphatic force in \"Whipping Post\" and \"In Memory of Elizabeth Reed.\" But their telepathy was cut short just three months after the album's release, when Duane died in a motorcycle accident.\" - www.rollingstone.com\u003c\/span\u003e\u003c\/p\u003e\n\u003col start=\"4\"\u003e\u003c\/ol\u003e\n\u003col start=\"5\"\u003e\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eUltra Analog™\u003c\/strong\u003e\u003cspan data-mce-fragment=\"1\"\u003e : The GAIN 2 Ultra Analog™ Series stems from the use of the Gain 2 system, mastered at half speed from the original master tapes where possible, capturing and uncovering as before undiscovered sonic information.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003cstrong\u003eHalf-speed mastering. \u003c\/strong\u003eIn half-speed mastering, the whole process is slowed down to half of the original speed. A typical 33 1\/3 rpm record is cut at 16 2\/3 rpm. The source material is also slowed down (reducing the pitch in the process) meaning the final record will still sound normal when played back. Slowing the whole process down allows more time, which means the end result sounds better and is more efficient — allowing engineering to minimize the effects of inherent limitations within the vinyl format. The result is a more accurate and more open high-frequency response in the half speed vinyl when compared with a normal speed recording.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eAllMusic : 5 \/ 5 , Discogs : 4,55 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":41059796091031,"sku":"MFSL2-434","price":220.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/the-allman-brothers-band-at-fillmore-east-2lp-ultra-analog-half-speed-mastering-audiosoundmusic-1.jpg?v=1719854149"},{"product_id":"love-forever-changes-2lp-ultra-analog-45-rpm","title":"\u003ctranscy\u003eLove - Forever Changes (2LP, Ultra Analog, Half-speed Mastering, 45 tours)\u003c\/transcy\u003e","description":"\u003ch2\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e\u003cbr\u003eORDER LIMITED TO ONE ITEM PER CUSTOMER\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h2\u003e\n\u003cp\u003e\u003cstrong\u003eArthur Lee – guitar, vocal\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBryan MacLean – guitar, vocal\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJohnny Echols – guitar\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eKen Forssi – bass\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMichael Stuart-Ware – drums, percussion\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCarol Kaye – bass guitar on \"Andmoreagain\" and \"The Daily Planet\"\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDon Randi – keyboards on \"Andmoreagain\" and \"The Daily Planet\"; piano on \"Old Man\" and \"Bummer in the Summer\"; harpsichord on \"The Red Telephone\"\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBilly Strange – electric rhythm guitar on \"Andmoreagain\" and \"The Daily Planet\"\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHal Blaine – drums on \"Andmoreagain\" and \"The Daily Planet\"\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eNeil Young – arranger on \"The Daily Planet\"[52]\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDavid Angel – arranger, orchestrations\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStrings – Robert Barene, Arnold Belnick, James Getzoff, Marshall Sosson, Darrel Terwilliger (violins); Norman Botnick (viola); Jesse Ehrlich (cello); Chuck Berghofer (string bass)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHorns – Bud Brisbois, Roy Caton, Ollie Mitchell (trumpets); Richard Leith (trombone)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e2 LPs, gatefold sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eLimited numbered edition\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHalf-speed Mastering\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGain 2™ Ultra Analog\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 45RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12”\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : RTI\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : MOFI\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Elektra\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded \u003cspan data-mce-fragment=\"1\"\u003eJune 9 – September 25, 1967 at Sunset Sound Recorders, Hollywood, California\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan data-mce-fragment=\"1\"\u003eEngineered by Bruce Botnick \u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Arthur Lee, Bruce Botnick\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by Krieg Wunderlich\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1967\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2016\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eAlone Again Or\u003c\/li\u003e\n\u003cli\u003eA House Is Not A Motel\u003c\/li\u003e\n\u003cli\u003eAndmoreagain\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e Side B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eThe Daily Planet\u003c\/li\u003e\n\u003cli\u003eOld Man\u003c\/li\u003e\n\u003cli\u003eThe Red Telephone\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide C :\u003cbr\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eMaybe The People Would Be The Times Or Between Clark And Hilldale\u003c\/li\u003e\n\u003cli\u003eLive And Let Live\u003c\/li\u003e\n\u003cli\u003eThe Good Humor Man He Sees Everything Like This\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide D :\u003cbr\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eBummer In The Summer\u003c\/li\u003e\n\u003cli\u003eYou Set The Scene\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAwards\u003c\/strong\u003e: \u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eRolling Stone 500 Greatest Albums of All Time - Ranked 180\/500\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eRolling Stone 500 Greatest Songs of All Time - \"Alone Again Or\" - Ranked 442\/500\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eMojo: The 100 Greatest Albums Ever Made 11\/100 - (1995)\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e1000 Recordings you must hear before you die - Ranked 87\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e\u003cspan\u003eStereophile Records To Die For - 2007\u003c\/span\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e\"Love's Forever Changes made only a minor dent on the charts when it was first released in 1967, but years later it became recognized as one of the finest and most haunting albums to come out of the Summer of Love, which doubtless has as much to do with the disc's themes and tone as the music, beautiful as it is. Sharp electric guitars dominated most of Love's first two albums, and they make occasional appearances here on tunes like \"A House Is Not a Motel\" and \"Live and Let Live,\" but most of Forever Changes is built around interwoven acoustic guitar textures and subtle orchestrations, with strings and horns both reinforcing and punctuating the melodies. The punky edge of Love's early work gave way to a more gentle, contemplative, and organic sound on Forever Changes, but while Arthur Lee and Bryan MacLean wrote some of their most enduring songs for the album, the lovely melodies and inspired arrangements can't disguise an air of malaise that permeates the sessions. A certain amount of this reflects the angst of a group undergoing some severe internal strife, but Forever Changes is also an album that heralds the last days of a golden age and anticipates the growing ugliness that would dominate the counterculture in 1968 and 1969; images of violence and war haunt \"A House Is Not a Motel,\" the street scenes of \"Maybe the People Would Be the Times or Between Clark and Hillsdale\" reflects a jaded mindset that flower power could not ease, the twin specters of race and international strife rise to the surface of \"The Red Telephone,\" romance becomes cynicism in \"Bummer in the Summer,\" the promise of the psychedelic experience decays into hard drug abuse in \"Live and Let Live,\" and even gentle numbers like \"Andmoreagain\" and \"Old Man\" sound elegiac, as if the ghosts of Chicago and Altamont were visible over the horizon as Love looked back to brief moments of warmth. Forever Changes is inarguably Love's masterpiece and an album of enduring beauty, but it's also one of the few major works of its era that saw the dark clouds looming on the cultural horizon, and the result was music that was as prescient as it was compelling.\" \u003cspan data-mce-fragment=\"1\"\u003eAllMusic Review by Mark Deming\u003c\/span\u003e\u003c\/p\u003e\n\u003col start=\"4\"\u003e\u003c\/ol\u003e\n\u003col start=\"5\"\u003e\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eUltra Analog™\u003c\/strong\u003e\u003cspan data-mce-fragment=\"1\"\u003e : The GAIN 2 Ultra Analog™ Series stems from the use of the Gain 2 system, mastered at half speed from the original master tapes where possible, capturing and uncovering as before undiscovered sonic information.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003cstrong\u003eHalf-speed mastering. \u003c\/strong\u003eIn half-speed mastering, the whole process is slowed down to half of the original speed. A typical 33 1\/3 rpm record is cut at 16 2\/3 rpm. The source material is also slowed down (reducing the pitch in the process) meaning the final record will still sound normal when played back. Slowing the whole process down allows more time, which means the end result sounds better and is more efficient — allowing engineering to minimize the effects of inherent limitations within the vinyl format. The result is a more accurate and more open high-frequency response in the half speed vinyl when compared with a normal speed recording.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eAllMusic : 5 \/ 5 , Discogs : 4,63 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":41060100767895,"sku":"MFSL2-402","price":95.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/love-forever-changes-2lp-ultra-analog-half-speed-mastering-45-rpm-audiosoundmusic-1.jpg?v=1719854159"},{"product_id":"bob-dylan-john-wesley-harding-2lp-mono-ultra-analog-45-rpm","title":"\u003ctc\u003e\u003ctranscy\u003eBob Dylan - John Wesley Harding (2LP, Mono, Ultra Analog, Half-speed Mastering, 45 tours, non scellé)\u003c\/transcy\u003e\u003c\/tc\u003e","description":"\u003cp\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e\u003cspan style=\"color: #ff2a00;\" data-mce-style=\"color: #ff2a00;\"\u003eRARITY - Uns\u003c\/span\u003e\u003cspan style=\"color: #ff2a00;\" data-mce-style=\"color: #ff2a00;\"\u003eealed \u003c\/span\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBob Dylan – vocals, acoustic guitar, harmonica, piano \u003ca title=\"vinyl featuring Bob Dylan\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/bob-dylan\" style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/bob-dylan\"\u003e[click here to see more vinyl featuring Bob Dylan]\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eKenneth A. Buttrey – drums\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePete Drake – pedal steel guitar on \"Down Along the Cove\" and \"I'll Be Your Baby Tonight\"\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCharlie McCoy – bass guitar\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e2 LPs, gatefold sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eLimited numbered edition\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHalf-speed Mastering\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGain 2™ Ultra Analog\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 45RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12”\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMono\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : RTI\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : MOFI\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Columbia\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded \u003cspan data-mce-fragment=\"1\"\u003eOctober 17 and November 6 and 29, 1967\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineered by Charlie Bragg\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Bob Johnston\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by Krieg Wunderlich\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1967\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2016\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eJohn Wesley Harding\u003c\/li\u003e\n\u003cli\u003eAs I Went Out One Morning\u003c\/li\u003e\n\u003cli\u003eI Dreamed I Saw St. Augustine\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col start=\"4\"\u003e\n\u003cli\u003eAll Along The Watchtower\u003c\/li\u003e\n\u003cli\u003eThe Ballad Of Frankie Lee And Judas Priest\u003c\/li\u003e\n\u003cli\u003eDrifter's Escape\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eSide C :\u003c\/p\u003e\n\u003col start=\"7\"\u003e\n\u003cli\u003eDear Landlord\u003c\/li\u003e\n\u003cli\u003eI Am A Lonesome Hobo\u003c\/li\u003e\n\u003cli\u003eI Pity The Poor Immigrant\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eSide D :\u003c\/p\u003e\n\u003col start=\"10\"\u003e\n\u003cli\u003eThe Wicked Messenger\u003c\/li\u003e\n\u003cli\u003eDown Along The Cove\u003c\/li\u003e\n\u003cli\u003eI'll Be Your Baby Tonight\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 303\/500!\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e\"Bob Dylan returned from exile with John Wesley Harding, a quiet, country-tinged album that split dramatically from his previous three. A calm, reflective album, John Wesley Harding strips away all of the wilder tendencies of Dylan's rock albums -- even the then-unreleased Basement Tapes he made the previous year -- but it isn't a return to his folk roots. If anything, the album is his first serious foray into country, but only a handful of songs, such as \"I'll Be Your Baby Tonight,\" are straight country songs. Instead, John Wesley Harding is informed by the rustic sound of country, as well as many rural myths, with seemingly simple songs like \"All Along the Watchtower,\" \"I Dreamed I Saw St. Augustine,\" and \"The Wicked Messenger\" revealing several layers of meaning with repeated plays. Although the lyrics are somewhat enigmatic, the music is simple, direct, and melodic, providing a touchstone for the country-rock revolution that swept through rock in the late '60s.\" \u003cspan data-mce-fragment=\"1\"\u003eAllMusic Review by Stephen Thomas Erlewine\u003c\/span\u003e\u003c\/p\u003e\n\u003col start=\"4\"\u003e\u003c\/ol\u003e\n\u003col start=\"5\"\u003e\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eUltra Analog™\u003c\/strong\u003e\u003cspan data-mce-fragment=\"1\"\u003e : The GAIN 2 Ultra Analog™ Series stems from the use of the Gain 2 system, mastered at half speed from the original master tapes where possible, capturing and uncovering as before undiscovered sonic information.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003cstrong\u003eHalf-speed mastering. \u003c\/strong\u003eIn half-speed mastering, the whole process is slowed down to half of the original speed. A typical 33 1\/3 rpm record is cut at 16 2\/3 rpm. The source material is also slowed down (reducing the pitch in the process) meaning the final record will still sound normal when played back. Slowing the whole process down allows more time, which means the end result sounds better and is more efficient — allowing engineering to minimize the effects of inherent limitations within the vinyl format. The result is a more accurate and more open high-frequency response in the half speed vinyl when compared with a normal speed recording.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eAllMusic : 5 \/ 5 , Discogs : 4,24 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":41066731733143,"sku":"MFSL2-464M","price":125.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/bob-dylan-john-wesley-harding-2lp-mono-ultra-analog-half-speed-mastering-45-rpm-unsealed-audiosoundmusic-1.jpg?v=1719854171"},{"product_id":"simon-and-garfunkel-parsley-sage-rosemary-and-thyme-1lp-ultra-analog-45-rpm","title":"\u003ctranscy\u003eSimon and Garfunkel - Parsley, Sage, Rosemary and Thyme (1LP, Ultra Analog, 33 tours)\u003c\/transcy\u003e","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eORDER LIMITED TO ONE ITEM PER CUSTOMER\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSimon \u0026amp; Garfunkel \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/Simon-Garfunkel\" title=\"vinyl featuring Simon \u0026amp; Garfunkel\"\u003e\u003cspan style=\"color: rgb(255, 128, 0);\"\u003e[click here to see more vinyl featuring Simon \u0026amp; Garfunkel]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePaul Simon – vocals, guitar, harmonica on \"A Simple Desultory Philippic (or How I Was Robert McNamara'd into Submission)” \u003ca title=\"vinyl featuring Paul Simon\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/paul-simon\"\u003e\u003cspan style=\"color: rgb(255, 128, 0);\"\u003e[click here to see more products featuring Paul Simon]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eArt Garfunkel – vocals, piano on \"7 O'Clock News\/Silent Night\"\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003e \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/art-garfunkel\" title=\"audiophile vinyl featuring Art Garfunkel\"\u003e\u003cspan style=\"color: rgb(255, 128, 0);\"\u003e[click here to see more products featuring Art Garfunkel]\u003c\/span\u003e\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHal Blaine – drums\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJoe South – guitar\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCarol Kaye – bass guitar on \"Scarborough Fair\/Canticle\" and \"Homeward Bound\"\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJohn Meszar – harpsichord on \"Scarborough Fair\/Canticle\"\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEugene Wright – double bass on \"The 59th Street Bridge Song\"\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJoe Morello – drums on \"The 59th Street Bridge Song\"\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCharlie O'Donnell – spoken vocals on \"7 O'Clock News\/Silent Night\"\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eLimited numbered edition\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHalf-speed Mastering\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGain 2™ Ultra Analog\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12”\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : RTI\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : MOFI\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Columbia\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded December 1965 - August 1966\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Bob Johnston\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by Krieg Wunderlich\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1966\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2019\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eScarborough Fair\/Canticle\u003c\/li\u003e\n\u003cli\u003ePatterns\u003c\/li\u003e\n\u003cli\u003eCloudy\u003c\/li\u003e\n\u003cli\u003eHomeward Bound\u003c\/li\u003e\n\u003cli\u003eThe Big Bright Green Pleasure Machine\u003c\/li\u003e\n\u003cli\u003eThe 59th Street Bridge Song (Feelin' Groovy)\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eThe Dangling Conversation\u003c\/li\u003e\n\u003cli\u003eFlowers Never Bend In The Rainfall\u003c\/li\u003e\n\u003cli\u003eA Simple Desultory Philppic (Or How I Was Robert McNamara'd Into Submission)\u003c\/li\u003e\n\u003cli\u003eFor Emily, Whenever I May Find Her\u003c\/li\u003e\n\u003cli\u003eA Poem On The Underground Wall\u003c\/li\u003e\n\u003cli\u003e7 O'Clock News\/Silent Night\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAwards\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eNo. 202 on \u003cem\u003eRolling Stone\u003c\/em\u003e's 500 Greatest Albums of All Time list\u003c\/strong\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e\"This limited-edition vinyl reissue was cut from a flat (un-equalized) master created from a pristine first-generation copy made in Japan in 1968. Most tracks evoke a wide soundstage and an airiness that lets the music float through the listening room and provides a remarkable headphone experience.\" - Greg Cahill, The Absolute Sound, July\/August 2019\u003c\/p\u003e\n\u003cp\u003e\"Simon \u0026amp; Garfunkel's first masterpiece, Parsley, Sage, Rosemary and Thyme was also the first album on which the duo, in tandem with engineer Roy Halee, exerted total control from beginning to end, right down to the mixing, and it is an achievement akin to the Beatles' Revolver or the Beach Boys' Pet Sounds album, and just as personal and pointed as either of those records at their respective bests. After the frantic rush to put together an LP in just three weeks that characterized the Sounds of Silence album early in 1966, Parsley, Sage, Rosemary and Thyme came together over a longer gestation period of about three months, an uncommonly extended period of recording in those days, but it gave the duo a chance to develop and shape the songs the way they wanted them. The album opens with one of the last vestiges of Paul Simon's stay in England, \"Scarborough Fair\/Canticle\" -- the latter was the duo's adaptation of a centuries-old English folk song in an arrangement that Simon had learned from Martin Carthy. The two transformed the song into a daunting achievement in the studio, however, incorporating myriad vocal overdubs and utilizing a harpsichord, among other instruments, to embellish it, and also wove into its structure Simon's \"The Side of a Hill,\" a gentle antiwar song that he had previously recorded on The Paul Simon Songbook in England. The sonic results were startling on their face, a record that was every bit as challenging in its way as \"Good Vibrations,\" but the subliminal effect was even more profound, mixing a hauntingly beautiful antique melody, and a song about love in a peaceful, domestic setting, with a message about war and death; Simon \u0026amp; Garfunkel were never as political as, say, Peter, Paul \u0026amp; Mary or Joan Baez, but on this record they did bring the Vietnam war home.\u003c\/p\u003e\n\u003cp\u003eThe rest of the album was less imposing but just as beguiling -- audiences could revel in the play of Simon's mind (and Simon \u0026amp; Garfunkel's arranging skills) and his sense of wonder (and frustration) on \"Patterns,\" and appreciate the sneering rock \u0026amp; roll-based social commentary \"The Big Bright Green Pleasure Machine.\" Two of the most beautiful songs ever written about the simple joys of living, the languid \"Cloudy\" and bouncy \"The 59th Street Bridge Song (Feelin' Groovy),\" were no less seductive, and the album also included \"Homeward Bound,\" their Top Five hit follow-up to \"The Sound of Silence,\" which had actually been recorded at the sessions for that LP. No Simon \u0026amp; Garfunkel song elicits more difference of opinion than \"The Dangling Conversation,\" making its LP debut here -- one camp regards it as hopelessly pretentious and precious in its literary name-dropping and rich string orchestra accompaniment, while another holds it as a finely articulate account of a couple grown distant and disconnected through their intellectual pretensions; emotionally, it is definitely the precursor to the more highly regarded \"Overs\" off the next album, and it resonated well on college campuses at the time, evoking images of graduate school couples drifting apart, but for all the beauty of the singing and the arrangement, it also seemed far removed from the experience of teenagers or any listeners not living a life surrounded by literature (\"couplets out of rhyme\" indeed!), and understandably only made the Top 30 on AM radio. \"For Emily, Whenever I May Find Her\" was a romantic idyll that presented Art Garfunkel at his most vulnerable sounding, anticipating such solo releases of his as \"All I Know,\" while \"Flowers Never Bend With the Rainfall\" was Simon at his most reflectively philosophical, dealing with age and its changes much as \"Patterns\" dealt with the struggle to change, with a dissonant note (literally) at the end that anticipated the style of the duo's next album.\" \u003c\/p\u003e\n\u003cp\u003e\"A Simple Desultory Philippic,\" which also started life in England more than a year earlier, was the team's Dylanesque fuzz tone-laden jape at folk-rock, and a statement of who they weren't, and remains, alongside Peter, Paul \u0026amp; Mary's \"I Dig Rock \u0026amp; Roll Music,\" one of the best satires of its kind. And the last of Simon's English-period songs, \"A Poem on the Underground Wall,\" seemed to sum up the tightrope walk that the duo did at almost every turn on this record at this point in their career -- built around a beautiful melody and gorgeous hooks, it was, nonetheless, a study in personal privation and desperation, the \"sound of silence\" heard from the inside out, a voice crying out. Brilliantly arranged in a sound that was as much rock as film music, but with the requisite acoustic guitars, and displaying a dazzling command and range of language, it could have ended the album. Instead, the duo offered \"7 O'Clock News\/Silent Night,\" a conceptual work that was a grim and ironic (and prophetic) comment on the state of the United States in 1966. In retrospect, it dated the album somewhat, but that final track, among the darkest album-closers of the 1960s, also proved that Simon \u0026amp; Garfunkel weren't afraid to get downbeat as well as serious for a purpose. Overall, Parsley, Sage, Rosemary and Thyme was the duo's album about youthful exuberance and alienation, and it proved perennially popular among older, more thoughtful high-school students and legions of college audiences across generations. [The August 2001 reissue offers not only the best sound ever heard on this album in any incarnation, but also a few bonuses -- a slightly extended mastering of \"Cloudy\" that gives the listener a high-harmony surprise in its fade; and, as actual bonus tracks, Simon's solo demos of \"Patterns\" and \"A Poem on the Underground Wall.\" Raw and personal, they're startling in their intimacy and their directness, and offer a more intimate view of Paul Simon, the artist, than ever seen.\" \u003cspan\u003eAllMusic Review by Bruce Eder\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eUltra Analog™\u003c\/strong\u003e\u003cspan\u003e : The GAIN 2 Ultra Analog™ Series stems from the use of the Gain 2 system, mastered at half speed from the original master tapes where possible, capturing and uncovering as before undiscovered sonic information.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eHalf-speed mastering. \u003c\/strong\u003eIn half-speed mastering, the whole process is slowed down to half of the original speed. A typical 33 1\/3 rpm record is cut at 16 2\/3 rpm. The source material is also slowed down (reducing the pitch in the process) meaning the final record will still sound normal when played back. Slowing the whole process down allows more time, which means the end result sounds better and is more efficient — allowing engineering to minimize the effects of inherent limitations within the vinyl format. The result is a more accurate and more open high-frequency response in the half speed vinyl when compared with a normal speed recording.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eAllMusic : 3,5 \/ 5 , Discogs : 4,3 \/ 5  ,   The Absolute Sound : 4.5 \/ 5 Music, 4 \/ 5 Sonics\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":41069167018135,"sku":"MFSL1-484","price":65.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/simon-and-garfunkel-parsley-sage-rosemary-and-thyme-1lp-ultra-analog-half-speed-mastering-33-rpm-audiosoundmusic-1.jpg?v=1719854189"},{"product_id":"weezer-weezer-1lp-ultra-analog-33-rpm-blue-vinyl","title":"\u003ctranscy\u003eWeezer - Blue Album (1LP, Ultra Analog, 33 tours, vinyle bleu)\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\u003eRivers Cuomo – lead vocals, lead and rhythm guitar, keyboards, harmonica\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePatrick Wilson – drums\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBrian Bell – rhythm guitar, backing vocals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMatt Sharp – bass, backing vocals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMykel Allan – spoken intermission on \"Undone – The Sweater Song\"\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eKarl Koch – dialogue, piano outro on \"Undone – The Sweater Song\"\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJason Cropper – guitar, backing vocals on \"Jamie\"\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by Cropper (A1), Wilson (A1, A3, B1), Cuomo (A1, A3, B1), Rivers Cuomo (A2, A4, A5, B2 to B5)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, gatefold jacket\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eNumbered limited edition\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHalf-speed Mastering\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGain 2™ Ultra Analog\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 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 : DGC\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded \u003cspan data-mce-fragment=\"1\"\u003eAugust–September 1993 \u003c\/span\u003eat Electric Lady Studios, New York City\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineered by Chris Shaw\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Ric Ocasek\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by Krieg Wunderlich\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1994\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 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\u003eMy Name Is Jonas\u003c\/li\u003e\n\u003cli\u003eNo One Else\u003c\/li\u003e\n\u003cli\u003eThe World Has Turned And Left Me Here\u003c\/li\u003e\n\u003cli\u003eBuddy Holly\u003c\/li\u003e\n\u003cli\u003eUndone - The Sweater Song\u003c\/li\u003e\n\u003cli\u003eSurf Wax America\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e Side B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eSay It Ain't So\u003c\/li\u003e\n\u003cli\u003eIn The Garage\u003c\/li\u003e\n\u003cli\u003eHoliday\u003c\/li\u003e\n\u003cli\u003eOnly In Dreams\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAwards\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan style=\"color: #ff2a00;\"\u003eRolling Stone 500 Greatest Albums of All Time - Ranked 299\/500!\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan style=\"color: #ff2a00;\"\u003eRolling Stone 500 Greatest Songs of All Time - \"Buddy Holly\" - Rated 499\/500!\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 if you lived through it, it's hard to fathom exactly why Weezer were disliked, even loathed, when they released their debut album in the spring of 1994. If you grew up in the years after the heyday of grunge, it may even seem absurd that the band were considered poseurs, hair metal refugees passing themselves off as alt-rock by adapting a few tricks from the Pixies and Nirvana songbooks and sold to MTV with stylish videos. Nevertheless, during alt-rock's heyday of 1994, Weezer was second only to Stone Temple Pilots as an object of scorn, bashed by the rock critics and hipsters alike. Time has a way of healing, even erasing, all wounds, and time has been nothing but kind to Weezer's eponymous debut album (which would later be dubbed The Blue Album, due to the blue background of the cover art). At the time of its release, the group's influences were discussed endlessly -- the dynamics of the Pixies, the polished production reminiscent of Nevermind, the willful outsider vibe borrowed from indie rock -- but few noted how the group, under the direction of singer\/songwriter Rivers Cuomo, synthesized alt-rock with a strong '70s trash-rock predilection and an unwitting gift for power pop, resulting in something quite distinctive. Although the group wears its influences on its sleeve, Weezer pulls it together in a strikingly original fashion, thanks to Cuomo's urgent melodicism, a fondness for heavy, heavy guitars, a sly sense of humor, and damaged vulnerability, all driven home at a maximum volume. While contemporaries like Pavement were willfully, even gleefully obscure, and skewed toward a more selective audience, Weezer's insecurities were laid bare, and the band's pop culture obsessions tended to be universal, not exclusive. Plus, Cuomo wrote killer hooks and had a band that rocked hard -- albeit in an uptight, nerdy fashion -- winding up with direct, immediate music that connects on more than one level. It's both clever and vulnerable, but those sensibilities are hidden beneath the loud guitars and catchy hooks. That's why the band had hits with this album -- and not just hits, but era-defining singles like the deliberate dissonant crawl of \"Undone - The Sweater Song,\" the postironic love song of \"Buddy Holly,\" the surging \"Say It Ain't So\" -- but could still seem like a cult band to the dedicated fans; it sounded like the group was speaking to an in-crowd, not the mass audience it wound up with. If, as Howard Hawks said, a good movie consists of three great scenes and no bad ones, it could be extrapolated that a good record contains three great songs and no bad ones -- in that case, Weezer is a record with at least six or seven great songs and no bad ones. That makes for a great record, but more than that, it's a great record emblematic of its time, standing as one of the defining albums of the '90s.\" \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 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\u003e\u003cspan\u003eAllMusic : 5 \/ 5 , Discogs : 4,56 \/ 5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":41069576487063,"sku":"MFSL1-480","price":129.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/weezer-blue-album-1lp-ultra-analog-half-speed-mastering-33-rpm-blue-vinyl-audiosoundmusic-1.jpg?v=1719854189"},{"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":"miles-davis-sketches-of-spain-ultra-analog","title":"\u003ctranscy\u003eMiles Davis - Sketches of Spain (Ultra Analog, Half-speed Mastering)\u003c\/transcy\u003e","description":"\u003cdiv\u003e\n\u003cbr\u003e\u003cbr\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\u003eMiles Davis, trumpet, flugelhorn \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/miles-davis\" title=\"vinyl featuring Miles Davis\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/miles-davis\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Miles Davis]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDanny Bank, bass clarinet\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBill Barber, tuba\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJohn Barrows, French horn\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAlbert Block, flute\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJames Buffington, French horn\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEddie Caine, flute, flugelhorn\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePaul Chambers, bass \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/paul-chambers\" title=\"vinyl featuring Paul Chambers\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/paul-chambers\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Paul Chambers]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEarl Chapin, French horn\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJimmy Cobb, drums \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/jimmy-cobb\" title=\"Vinyl featuring Jimmy Cobb\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/jimmy-cobb\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see other vinyl featuring Jimmy Cobb]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJohnny Coles, trumpet\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHarold Feldman, clarinet, flute, oboe\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBernie Glow, trumpet\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDick Hixon, trombone\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eElvin Jones, percussion\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/elvin-jones\" title=\"vinyl featuring Elvin Jones\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/elvin-jones\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Elvin Jones]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTaft Jordan, trumpet\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJack Knitzer, bassoon\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJose Mangual, percussion\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJimmy McAllister, tuba\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTony Miranda, French horn\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLouis Mucci, trumpet\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRomeo Penque, oboe\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJanet Putnam, harp\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFrank Rehak, trombone\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eErnie Royal, trumpet\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJoe Singer, French horn\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003cstrong data-mce-fragment=\"1\"\u003eGil Evans, arranger, conductor \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/gil-evans\" title=\"Vinyl featuring Gill Evans\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/gil-evans\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Gil Evans]\u003c\/span\u003e\u003c\/a\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eLimited numbered edition\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHalf-speed Mastering\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGain 2™ Ultra Analog\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : RTI\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : MOFI\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Columbia\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded \u003cspan data-mce-fragment=\"1\"\u003eNovember 15 \u0026amp; 20, 1959 and March 10, 1960 at CBS 30th Street Studio, New York City\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineered by Larry Keyes, Ray Moore\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Teo Macero\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 1960\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\u003eConcierto de Aranjuez (Adagio)\u003c\/li\u003e\n\u003cli\u003eWill O' the Wisp\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eThe Pan Piper\u003c\/li\u003e\n\u003cli\u003eSaeta\u003c\/li\u003e\n\u003cli\u003eSolea\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAwards\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eRolling Stone 500 Greatest Albums of All Time - Rated 358\/500\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e1961 Grammy Award for Best Jazz Composition of More Than Five Minutes Duration\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\"Along with Kind of Blue, In a Silent Way, and Round About Midnight, Sketches of Spain is one of Miles Davis' most enduring and innovative achievements. Recorded between November 1959 and March 1960 -- after Coltrane and Cannonball Adderley had left the band -- Davis teamed with Canadian arranger Gil Evans for the third time. Davis brought Evans the album's signature piece, \"Concierto de Aranjuez,\" after hearing a classical version of it at bassist Joe Mondragon's house. Evans was as taken with it as Davis was, and set about to create an entire album of material around it. The result is a masterpiece of modern art. On the \"Concierto,\" Evans' arrangement provided an orchestra and jazz band -- Paul Chambers, Jimmy Cobb, and Elvin Jones -- the opportunity to record a classical work as it was. The piece, with its stunning colors and intricate yet transcendent adagio, played by Davis on a flügelhorn with a Harmon mute, is one of the most memorable works to come from popular culture in the 20th century. Davis' control over his instrument is singular, and Evans' conducting is flawless. Also notable are \"Saeta,\" with one of the most amazing technical solos of Davis' career, and the album's closer, \"Solea,\" which is conceptually a narrative piece, based on an Andalusian folk song, about a woman who encounters the procession taking Christ to Calvary. She sings the narrative of his passion and the procession -- or parade -- with full brass accompaniment moving along. Cobb and Jones, with flamenco-flavored percussion, are particularly wonderful here, as they allow the orchestra to indulge in the lushly passionate arrangement Evans provided to accompany Davis, who was clearly at his most challenged here, though he delivers with grace and verve. Sketches of Spain is the most luxuriant and stridently romantic recording Davis ever made. To listen to it in the 21st century is still a spine-tingling experience, as one encounters a multitude of timbres, tonalities, and harmonic structures seldom found in the music called jazz.\" \u003cspan data-mce-fragment=\"1\"\u003eAllMusic Review by Thom Jurek\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 : 5 \/ 5 , Discogs : 4,46 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":41082773078167,"sku":"MFSL1-375","price":65.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/miles-davis-sketches-of-spain-ultra-analog-half-speed-mastering-audiosoundmusic-1.jpg?v=1719854240"},{"product_id":"the-pretenders-pretenders-ultra-analog","title":"The Pretenders - Pretenders (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\u003e\u003cbr\u003eORDER LIMITED TO ONE ITEM PER CUSTOMER\u003c\/strong\u003e\u003c\/span\u003e\u003cstrong\u003e\u003ca title=\"vinyl featuring The Pretenders\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/the-pretenders\"\u003e\u003cspan style=\"color: rgb(255, 128, 0);\"\u003e\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe Pretenders \u003ca title=\"vinyl featuring The Pretenders\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/the-pretenders\"\u003e\u003cspan style=\"color: rgb(255, 128, 0);\"\u003e[click here to see more products featuring The Pretenders]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGuitar, Vocals – Chrissie Hynde\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDrums, Vocals – Martin Chambers\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGuitar, Vocals, Keyboards – James Honeyman-Scott\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBass, Vocals – Pete Farndon\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by Chrissie Hynde (A1-4, A6. B1-5), James Honeyman-Scott (A5, B3), Peter Farndon (A5), Ray Davies (A7)\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, gatefold jacket\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eLimited numbered edition\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHalf-speed Mastering\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGain 2™ Ultra Analog\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12”\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : RTI\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : MOFI\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Real Records\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded in 1979 at Wessex Sound Studios\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineered by Bill Price\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Nick Lowe\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 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 \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\u003ePrecious\u003c\/li\u003e\n\u003cli\u003eThe Phone Call\u003c\/li\u003e\n\u003cli\u003eUp the Neck\u003c\/li\u003e\n\u003cli\u003eTattooed Love Boys\u003c\/li\u003e\n\u003cli\u003eSpace Invader\u003c\/li\u003e\n\u003cli\u003eThe Wait\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col start=\"7\"\u003e\n\u003cli\u003eStop Your Sobbing\u003c\/li\u003e\n\u003cli\u003eKid\u003c\/li\u003e\n\u003cli\u003ePrivate Life\u003c\/li\u003e\n\u003cli\u003eBrass In Pocket\u003c\/li\u003e\n\u003cli\u003eLovers of today\u003c\/li\u003e\n\u003cli\u003eMystery Achievement\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAwards:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eRolling Stone 500 Greatest Albums of All Time - Ranked 152\/500\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\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\"Few rock \u0026amp; roll records rock as hard or with as much originality as the Pretenders' eponymous debut album. A sleek, stylish fusion of Stonesy rock \u0026amp; roll, new wave pop, and pure punk aggression, Pretenders is teeming with sharp hooks and a viciously cool attitude. Although Chrissie Hynde establishes herself as a forceful and distinctively feminine songwriter, the record isn't a singer\/songwriter's tour de force -- it's a rock \u0026amp; roll album, powered by a unique and aggressive band. Guitarist James Honeyman-Scott never plays conventional riffs or leads, and his phased, treated guitar gives new dimension to the pounding rhythms of \"Precious,\" \"Tattooed Love Boys,\" \"Up the Neck,\" and \"The Wait,\" as well as the more measured pop of \"Kid,\" \"Brass in Pocket,\" and \"Mystery Achievement.\" He provides the perfect backing for Hynde and her tough, sexy swagger. Hynde doesn't fit into any conventional female rock stereotype, and neither do her songs, alternately displaying a steely exterior or a disarming emotional vulnerability. It's a deep, rewarding record, whose primary virtue is its sheer energy. Pretenders moves faster and harder than most rock records, delivering an endless series of melodies, hooks, and infectious rhythms in its 12 songs. Few albums, let alone debuts, are ever this astonishingly addictive.\" \u003cspan\u003eAllMusic Review by Stephen Thomas Erlewine\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eUltra Analog™\u003c\/strong\u003e\u003cspan\u003e : The GAIN 2 Ultra Analog™ Series stems from the use of the Gain 2 system, mastered at half speed from the original master tapes where possible, capturing and uncovering as before undiscovered sonic information.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHalf-speed mastering. \u003c\/strong\u003e\u003cspan\u003eIn half-speed mastering, the whole process is slowed down to half of the original speed. A typical 33 1\/3 rpm record is cut at 16 2\/3 rpm. The source material is also slowed down (reducing the pitch in the process) meaning the final record will still sound normal when played back. Slowing the whole process down allows more time, which means the end result sounds better and is more efficient — allowing engineering to minimize the effects of inherent limitations within the vinyl format. The result is a more accurate and more open high-frequency response in the half speed vinyl when compared with a normal speed recording.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eAllMusic : 5 \/ 5 , Discogs : 4,17 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":41086716412055,"sku":"MFSL1-372","price":65.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/the-pretenders-pretenders-ultra-analog-half-speed-mastering-audiosoundmusic-1.jpg?v=1719854240"},{"product_id":"the-cars-the-cars-ultra-analog","title":"The Cars - The Cars (Ultra Analog, Half-speed Mastering)","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\u003e\u003cspan style=\"color: rgb(255, 128, 0);\"\u003e\u003ca title=\"vinyl featuring The Cars\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/the-cars\" style=\"color: rgb(255, 128, 0);\"\u003e[click here to see more vinyl \u0026amp; SACD featuring The Cars]\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRic Ocasek – vocals, rhythm guitar\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBenjamin Orr – vocals, bass\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDavid Robinson – drums, percussion, Syndrums, backing vocals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eElliot Easton – lead guitar, backing vocals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGreg Hawkes – keyboards, percussion, saxophone on \"All Mixed Up\", backing vocals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by Ric Ocasek\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, gatefold jacket\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eLimited numbered edition\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHalf-speed Mastering\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGain 2™ Ultra Analog\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12”\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : RTI\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : MOFI\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Elektra\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded in February 1978 at AIR, London\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003cstrong\u003eEngineered by Geoff Workman\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Roy Thomas Baker\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by Shawn R. Britton\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1978\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2009\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\u003eGood Times Roll\u003c\/li\u003e\n\u003cli\u003eMy Best Friend's Girl\u003c\/li\u003e\n\u003cli\u003eJust What I Needed\u003c\/li\u003e\n\u003cli\u003eI'm in Touch With Your World\u003c\/li\u003e\n\u003cli\u003eDon't Cha Stop\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\u003eYou're All I've Got Tonight\u003c\/li\u003e\n\u003cli\u003eBye Bye Love\u003c\/li\u003e\n\u003cli\u003eMoving in Stereo\u003c\/li\u003e\n\u003cli\u003eAll Mixed Up\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAwards:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eRolling Stone 500 Greatest Albums of All Time - Ranked 284\/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 417\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 Cars' 1978 self-titled debut, issued on the Elektra label, is a genuine rock masterpiece. The band jokingly referred to the album as their \"true greatest-hits album,\" but it's no exaggeration -- all nine tracks are new wave\/rock classics, still in rotation on rock radio. Whereas most bands of the late '70s embraced either punk\/new wave or hard rock, the Cars were one of the first bands to do the unthinkable -- merge the two styles together. Add to it bandleader\/songwriter Ric Ocasek's supreme pop sensibilities, and you had an album that appealed to new wavers, rockers, and Top 40 fans. One of the most popular new wave songs ever, \"Just What I Needed,\" is an obvious highlight, as are such familiar hits as \"Good Times Roll,\" \"My Best Friend's Girl,\" and \"You're All I've Got Tonight.\" But like most consummate rock albums, the lesser-known compositions are just as exhilarating: \"Don't Cha Stop,\" \"Bye Bye Love,\" \"All Mixed Up,\" and \"Moving in Stereo,\" the latter featured as an instrumental during a steamy scene in the popular movie Fast Times at Ridgemont High. With flawless performances, songwriting, and production (courtesy of Queen alumni Roy Thomas Baker), the Cars' debut remains one of rock's all-time classics.\" \u003cspan data-mce-fragment=\"1\"\u003eAllMusic Review by Greg Prato\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 : 4,31 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":41089953235095,"sku":"MFSL1-274","price":65.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/the-cars-the-cars-ultra-analog-half-speed-mastering-audiosoundmusic-1.jpg?v=1719854283"},{"product_id":"earth-wind-fire-thats-the-way-of-the-world-impex","title":"\u003ctranscy\u003eEarth, Wind \u0026 Fire - That's The Way Of The World (IMPEX)\u003c\/transcy\u003e","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eORDER LIMITED TO ONE ITEM PER CUSTOMER\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEarth, Wind and Fire \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/earth-wind-fire\" title=\"vinyl featuring Earth, Wind \u0026amp; Fire\"\u003e\u003cspan style=\"color: #ff8000;\"\u003e[Click here to see more vinyl featuring Earth, Wind \u0026amp; Fire]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMaurice White (voc, perc, dr); Verdine White (voc, b, perc); Philip Bailey (voc, cga, perc); Larry Dunn (p, org, synth); Al McKay (g, perc); Ralph Johnson (dr, perc); Johnny Graham (g); Fred White (dr, perc)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by Maurice White (A1, A2, A3, A4, B1, B2, B3), Philip Bailey (A1, A3, B1, B2, B4), Larry Dunn (A1, A3, A4, B3, B4), Charles Stepney (A2, B1, B2), Verdine White (A2, A3), Al McKay (A3), Michael Mazzarella (B2), Louise Anglin (B4)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, gatefold jacket\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : RTI\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : IMPEX\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Columbia\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eRecorded in 1975 at Caribou Ranch in Nederland, Colorado (USA), by Curt Witti\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003cstrong\u003eEngineered by George Massenburg\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Maurice White\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by Kevin Gray and Robert Pincus\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1975\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2013\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eTracks :\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003cp\u003e                1. Shining Star\u003c\/p\u003e\n\u003cp\u003e                2. That’s the Way of the World\u003c\/p\u003e\n\u003cp\u003e                3. Happy Feelin’\u003c\/p\u003e\n\u003cp\u003e                4. All About Love\u003c\/p\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003cp\u003e                1. Yearnin’ Learnin’\u003c\/p\u003e\n\u003cp\u003e                2. Reasons\u003c\/p\u003e\n\u003cp\u003e                3. Africano\u003c\/p\u003e\n\u003cp\u003e                4. See the Ligh\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAwards\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cb\u003eRolling Stone 500 Greatest Albums of All Time - Rated 486\/500!\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cb\u003eRolling Stone 500 Greatest Songs of All Time - That's The Way Of The World - Rated 337\/500!\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cb\u003e\u003cstrong\u003e1000 Recordings You Must Hear Before You Die - Ranked 347\u003c\/strong\u003e\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cb\u003e\u003cstrong\u003e\u003cspan class=\"421441414-17032005\"\u003e\u003cspan size=\"2\" color=\"#ff0000\" face=\"Arial\"\u003eStereophile Records to Die For - 2014\u003c\/span\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eMore than three million albums sold in the USA alone\u003c\/strong\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\"Before he got into African thumb pianos and otherworldly philosophizing, EWF founder Maurice White was a session drummer at Chess Studios. EWF's sixth album is make-out music of the gods.\" - rollingstone.com\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\"Earth, Wind \u0026amp; Fire has delivered more than its share of excellent albums, but if a person could own only one EWF release, the logical choice would be \u003cem\u003eThat's the Way of the World\u003c\/em\u003e, which was the band's best album as well as its best-selling. \u003cem\u003eOpen Our Eyes\u003c\/em\u003e had been a major hit and sold over half a million units, but it was\u003cem\u003eWorld\u003c\/em\u003e that established EWF as major-league, multi-platinum superstars. Fueled by gems ranging from the sweaty funk of 'Shining Star' and 'Yearnin' Learnin' to the gorgeous ballad 'Reasons' and the unforgettable title song, EWF's sixth album sold at least five million units. And some of the tracks that weren't major hits, such as the exuberant 'Happy Feelin' and the gospel-influenced 'See the Light,' are equally powerful. There are no dull moments on \u003cem\u003eWorld\u003c\/em\u003e, one of the strongest albums of the 1970s and EWF's crowning achievement.\" — \u003cem\u003eAll Music Guide\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eAllmusic : 4.5 \/ 5  ,  \u003cspan\u003eDiscogs \u003c\/span\u003e:\u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e4,12\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5  ,  \u003c\/span\u003e\u003cspan\u003eRate Your Music \u003c\/span\u003e:\u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e3,70\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":41098939760791,"sku":"IMP6015","price":65.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/earth-wind-and-fire-that-s-the-way-of-the-world-impex-audiosoundmusic-1.jpg?v=1719854325"}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/collections\/RSMagazine_ab411696-afcc-4695-a6f3-c7b3500f15a3.png?v=1719821160","url":"https:\/\/www.audiosoundmusic.com\/fr\/collections\/rolling-stone-best-500-albums.oembed?page=3","provider":"AudioSoundMusic","version":"1.0","type":"link"}