{"title":"Sans email back in-stock","description":"","products":[{"product_id":"mark-levinson-5105","title":"\u003ctranscy\u003ePlatine MARK LEVINSON N°5105 (Cellule \u0026 capot non inclus)\u003c\/transcy\u003e","description":"\u003ctranscy\u003e\u003ch2\u003e\u003cstrong\u003eUne pièce maîtresse pour les amateurs de vinyles\u003c\/strong\u003e\u003c\/h2\u003e\n\u003ch2\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eBras et palet presseur inclus\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h2\u003e\n\u003ch2\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eCellule et capot non inclus\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h2\u003e\n\u003ch2 data-mce-fragment=\"1\"\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eInstallation et configuration à votre domicile\u0026nbsp;\u003c\/strong\u003e\u003cstrong\u003eau sein de l'Union européenne en option\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h2\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e Mettez en valeur votre collection de vinyles avec une platine fabriquée\u0026nbsp; avec les meilleurs matériaux, technologie et savoir-faire du monde. Avec un design somptueux et des performances exceptionnelles, le № 5105 est conçu pour révéler chaque nuance complexe de l'enregistrement original d'un morceau avec une dynamique explosive et une image sonore expansive.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u0026nbsp;\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eUne exceptionnelle stabilité\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eUsinés à partir d'aluminium massif, le socle et le plateau du № 5105 sont exceptionnellement stables. Pour fournir une plate-forme totalement silencieuse, le châssis lourd repose sur des pieds d'isolation réglables. Le résultat est une stabilité extraordinaire qui permet à la cellule de reproduire avec précision toute la complexité de votre musique, sans l'interférence des vibrations externes.\u003c\/p\u003e\n\u003cp\u003e\u0026nbsp;\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTrès grande précision\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eLe tube de bras en fibre de carbone ultraléger et strié du № 5105 offre une stabilité exceptionnelle de la cellule. Cela permet à la cellule et au stylet de capter toutes les subtilités cachées dans les microsillons de votre disque et de révéler la dynamique et l'espace cristallins de votre musique.\u003c\/p\u003e\n\u003cp\u003e\u0026nbsp;\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReproduction sonore supérieure\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eLe cardan personnalisé du № 5105 assure un mouvement à faible friction à la fois horizontalement et verticalement, ce qui est essentiel pour créer une scène sonore tridimensionnelle large et profonde. Percevez l'emplacement de chaque instrument et les reflets de la pièce où la musique a été enregistrée avec une précision extrême.\u003c\/p\u003e\n\u003cp\u003e\u0026nbsp;\u003c\/p\u003e\n\u003cp\u003e\"Le № 5105 est magnifique à voir et sera une pièce maîtresse qui attirera l'attention avant même d'en entendre le son.\"\u003c\/p\u003e\n\u003cp\u003e\u0026nbsp;\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePorte-cellule en aluminium avec lève-doigt intégré\u003c\/strong\u003e\u0026nbsp;: conception monobloc pour une rigidité, une faible masse et des performances de haute qualité.\u003c\/p\u003e\n\u003cp\u003e\u0026nbsp;\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePieds d'isolation réglables et niveau à bulle intégré\u0026nbsp;: \u003c\/strong\u003eGardez la platine parfaitement à niveau, afin que le son puisse occuper le devant de la scène.\u003c\/p\u003e\n\u003cp\u003e\u0026nbsp;\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eUn savoir-faire exceptionnel\u0026nbsp;:\u003c\/strong\u003e incorporant les meilleurs matériaux et des pièces fabriquées avec précision, la № 5105 est conçue pour être la pièce maîtresse de votre système audio domestique.\u003c\/p\u003e\n\u003cp\u003e\u0026nbsp;\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCaractéristiques\u0026nbsp;:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eBras en fibre de carbone de 10\u0026nbsp;pouces\u003c\/li\u003e\n\u003cli\u003eLe panneau avant en verre et en aluminium comporte des commandes de vitesse et de veille\u003c\/li\u003e\n\u003cli\u003eNiveau à bulle intégré\u003c\/li\u003e\n\u003cli\u003eConçu et fabriqué à la main aux États-Unis\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u0026nbsp;\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSystème d'entraînement\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eMoteur synchrone 12\u0026nbsp;V monté sur isolation\u003c\/li\u003e\n\u003cli\u003eÉlectronique moteur entièrement numérique avec sélection de vitesse 33\/45 tours\u003c\/li\u003e\n\u003cli\u003eVitesse stable avec faible distorsion\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u0026nbsp;\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eChâssis et assistance\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eFabriqué à la main à partir d'un socle en aluminium massif brossé usiné avec précision à partir d'une seule billette\u003c\/li\u003e\n\u003cli\u003ePlateau en aluminium massif de 5\u0026nbsp;kg avec dos revêtu d'un matériau amortisseur de résonance\u003c\/li\u003e\n\u003cli\u003ePieds d'isolation réglables\u003c\/li\u003e\n\u003cli\u003eDimensions (H x L x P, mm)\u0026nbsp;: 154 x 438 x 395 \u003c\/li\u003e\n\u003cli\u003ePoids\u0026nbsp;: 34\u0026nbsp;kg\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u0026nbsp;\u003c\/p\u003e\n\u003ch2 data-mce-fragment=\"1\"\u003e\u003cem\u003e\u003cstrong\u003eOption\u0026nbsp;: installation et configuration à votre domicile\u0026nbsp;\u003c\/strong\u003e\u003cstrong\u003eau sein de l'Union Européenne\u003c\/strong\u003e\u003c\/em\u003e\u003c\/h2\u003e\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003eAprès la livraison du produit, un membre de notre équipe prendra rendez-vous à l'adresse de livraison pour installer votre équipement et s'assurer qu'il est correctement configuré.\u003c\/strong\u003e\u003c\/em\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003ePour acheter un service d'installation, veuillez\u0026nbsp;\u003ca href=\"https:\/\/www.audiosoundmusic.com\/fr\/products\/installation-services?variant=42279177486586\" target=\"_blank\" title=\"Installation Services\" rel=\"noopener noreferrer\"\u003e\u003cspan style=\"color: #ff2a00;\"\u003ecliquer ici\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e\u003c\/transcy\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":42202274365690,"sku":"EQ-T1","price":7700.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/turntable-mark-levinson-n5105-cartridge-and-dustcover-not-included-audiosoundmusic-1.png?v=1719851370"},{"product_id":"come-away-with-me-norah-jone","title":"\u003ctc\u003eNorah Jones - Come away with me (non scellé, Analogue Productions)\u003c\/tc\u003e","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003cspan style=\"color: #ff2a00;\" data-mce-style=\"color: #ff2a00;\"\u003eRARITY - Uns\u003c\/span\u003e\u003cspan style=\"color: #ff2a00;\" data-mce-style=\"color: #ff2a00;\"\u003eealed \u003cmeta charset=\"utf-8\"\u003e(mint conditions)\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003eNorah Jones - Piano, vocals \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/norah-jones\" title=\"vinyl featuring Norah Jones\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/norah-jones\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Norah Jones]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLee Alexander (Bass), Brian Blade (Drums, Percussion), Kevin Breit (Guitar, Acoustic, Electric, National Steel Guitar), Rob Burger (Accordion, Pump Organ), Bill Frisell (Electric guitar), Jesse Harris \u0026amp; the Ferdinandos Guitar (Acoustic Guitar), Adam Levy (Acoustic Guitar, Electric Guitar), Dan Rieser (Drums), Adam Rogers (Guitar), Jenny Scheinman (violin), Tony Scherr (Acoustic Guitar, Slide Guitar), Kenny Wollesen (Drums), Sam Yahel (Hammond Organ).\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by \u003c\/strong\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-size: 10.5pt; font-family: 'Segoe UI',sans-serif; color: #212b36;\" data-mce-fragment=\"1\" data-mce-style=\"font-size: 10.5pt; font-family: 'Segoe UI',sans-serif; color: #212b36;\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cstrong\u003eNorah Jones (A5, B5, B6), Jesse Harris (A1, A5, A6, B2, B4, B6), Lee Alexander (A2, A4, B1, B3), Hank Williams (A3), John D. Loudermilk (A7), J.C. Hopkins (B3), Hoagy Carmichael (B7), Ned Washington (B7)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1LP, Gatefold, tip-on jackets on heavy cardboard stock\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Quality Record Pressings\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Analogue Productions\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Blue Note\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecording : September 2000 – December 2001 at Sorcerer Sound Studio, New York City and Allaire Studios, Shokan, New York\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp style=\"font-variant-ligatures: normal; font-variant-caps: normal; orphans: 2; text-align: start; widows: 2; -webkit-text-stroke-width: 0px; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial; word-spacing: 0px; margin: 0cm 0cm 12.0pt 0cm;\" data-mce-fragment=\"1\" data-mce-style=\"font-variant-ligatures: normal; font-variant-caps: normal; orphans: 2; text-align: start; widows: 2; -webkit-text-stroke-width: 0px; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial; word-spacing: 0px; margin: 0cm 0cm 12.0pt 0cm;\"\u003e\u003cstrong\u003eMastered by Kevin Gray at Cohearent Audio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp style=\"font-variant-ligatures: normal; font-variant-caps: normal; orphans: 2; text-align: start; widows: 2; -webkit-text-stroke-width: 0px; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial; word-spacing: 0px; margin: 0cm 0cm 12.0pt 0cm;\" data-mce-fragment=\"1\" data-mce-style=\"font-variant-ligatures: normal; font-variant-caps: normal; orphans: 2; text-align: start; widows: 2; -webkit-text-stroke-width: 0px; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial; word-spacing: 0px; margin: 0cm 0cm 12.0pt 0cm;\"\u003e\u003cstrong\u003e\u003cspan\u003eEngineered by: Jay Newland, Tom Schick\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Arif Mardin, Jay Newland, Norah Jones, Craig Street\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 2002\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2021\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp style=\"margin: 0cm 0cm 12.0pt 0cm;\" data-mce-fragment=\"1\" data-mce-style=\"margin: 0cm 0cm 12.0pt 0cm;\"\u003e\u003cstrong\u003eTracks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp style=\"margin: 0cm 0cm 12.0pt 0cm;\" data-mce-fragment=\"1\" data-mce-style=\"margin: 0cm 0cm 12.0pt 0cm;\"\u003eSide A :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eDon't Know Why\u003c\/li\u003e\n\u003cli\u003eSeven Years\u003c\/li\u003e\n\u003cli\u003eCold Cold Heart\u003c\/li\u003e\n\u003cli\u003eFeelin' The Same Way\u003c\/li\u003e\n\u003cli\u003eCome Away With Me\u003c\/li\u003e\n\u003cli\u003eShoot The Moon\u003c\/li\u003e\n\u003cli\u003eTurn Me On\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eLonestar\u003c\/li\u003e\n\u003cli\u003eI've Got To See You Again\u003c\/li\u003e\n\u003cli\u003ePainter Song\u003c\/li\u003e\n\u003cli\u003eOne Flight Down\u003c\/li\u003e\n\u003cli\u003eNightingale\u003c\/li\u003e\n\u003cli\u003eThe Long Day Is Over\u003c\/li\u003e\n\u003cli\u003eThe Nearness Of You\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp style=\"margin: 0cm 0cm 12.0pt 0cm;\" data-mce-fragment=\"1\" data-mce-style=\"margin: 0cm 0cm 12.0pt 0cm;\"\u003e \u003c\/p\u003e\n\u003cp style=\"margin: 0cm 0cm 12.0pt 0cm;\" data-mce-fragment=\"1\" data-mce-style=\"margin: 0cm 0cm 12.0pt 0cm;\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003cstrong\u003eAwards\u003c\/strong\u003e:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"margin: 0cm 0cm 12.0pt 0cm;\" data-mce-fragment=\"1\" data-mce-style=\"margin: 0cm 0cm 12.0pt 0cm;\"\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cspan style=\"font-size: 10.5pt;\"\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 10.5pt; font-family: 'Segoe UI',sans-serif; color: #212b36;\" data-mce-fragment=\"1\" data-mce-style=\"font-size: 10.5pt; font-family: 'Segoe UI',sans-serif; color: #212b36;\"\u003e2003 Grammy Award Winner :\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 10.5pt; font-family: 'Segoe UI',sans-serif; color: #212b36;\" data-mce-fragment=\"1\" data-mce-style=\"font-size: 10.5pt; font-family: 'Segoe UI',sans-serif; color: #212b36;\"\u003e~ Record of the Year, \u003cem\u003eDon't Know Why\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cspan style=\"font-size: 10.5pt;\"\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 10.5pt; font-family: 'Segoe UI',sans-serif; color: #212b36;\" data-mce-fragment=\"1\" data-mce-style=\"font-size: 10.5pt; font-family: 'Segoe UI',sans-serif; color: #212b36;\"\u003e~ Album of the Year, \u003cem\u003eCome Away With Me\u003c\/em\u003e\u003cbr\u003e~ Song of the Year, \u003cem\u003eDon't Know Why\u003c\/em\u003e\u003cbr\u003e~ Best New Artist, \u003cem\u003eNorah Jones\u003c\/em\u003e\u003cbr\u003e~ Best Female Pop Vocal Performance, \u003cem\u003eDon't Know Why\u003c\/em\u003e\u003cbr\u003e~ Best Pop Vocal Album, \u003cem\u003eCome Away With Me\u003c\/em\u003e\u003cbr\u003e~ Best Engineered Album, Non-Classical, \u003cem\u003eS. Husky Höskulds \u0026amp; Jay Newland, engineers\u003c\/em\u003e\u003cbr\u003e~ Producer of the Year, Non-Classical, \u003cem\u003eArif Mardin, producer\u003c\/em\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"margin: 0cm 0cm 12.0pt 0cm;\" data-mce-fragment=\"1\" data-mce-style=\"margin: 0cm 0cm 12.0pt 0cm;\"\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e1000 Recordings You Must Hear Before You Die - Ranked 933\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"margin: 0cm 0cm 12.0pt 0cm;\" data-mce-fragment=\"1\" data-mce-style=\"margin: 0cm 0cm 12.0pt 0cm;\"\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e\"The entire project from the songs to the superb recorded sound and packaging just reeks of good taste. And it couldn't have come cheaply. The label or someone made a major financial investment in an unknown's debut album. The investment paid off, as the album sold more than 26 million copies and won numerous awards. It wasn't that much of a risk, really. Jones' amalgam of jazz, country, folk and a touch of rock produced something new and highly attractive to a wide demographic. ... The records coming out of QRP are definitely living up to the pressing plant's early promise. This kind of drop dead black quiet is precisely what's required for Jones' music and QRP delivers it. Kevin Gray's mastering is equally superb.\" — Michael Fremer, AnalogPlanet.com, January 24, 2013\u003c\/p\u003e\n\u003cp\u003e\" Norah Jones' debut on Blue Note is a mellow, acoustic pop affair with soul and country overtones, immaculately produced by the great Arif Mardin. (It's pretty much an open secret that the 22-year-old vocalist and pianist is the daughter of Ravi Shankar.) Jones is not quite a jazz singer, but she is joined by some highly regarded jazz talent: guitarists Adam Levy, Adam Rogers, Tony Scherr, Bill Frisell, and Kevin Breit; drummers Brian Blade, Dan Rieser, and Kenny Wollesen; organist Sam Yahel; accordionist Rob Burger; and violinist Jenny Scheinman. Her regular guitarist and bassist, Jesse Harris and Lee Alexander, respectively, play on every track and also serve as the chief songwriters. Both have a gift for melody, simple yet elegant progressions, and evocative lyrics. (Harris made an intriguing guest appearance on Seamus Blake's Stranger Things Have Happened.) Jones, for her part, wrote the title track and the pretty but slightly restless \"Nightingale.\" She also includes convincing readings of Hank Williams' \"Cold Cold Heart,\" J.D. Loudermilk's \"Turn Me On,\" and Hoagy Carmichael's \"The Nearness of You.\" There's a touch of Rickie Lee Jones in Jones' voice, a touch of Bonnie Raitt in the arrangements; her youth and her piano skills could lead one to call her an Alicia Keys for grown-ups. While the mood of this record stagnates after a few songs, it does give a strong indication of Jones' alluring talents. » AllMusic Review by David R. Adler\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eAllMusic : 4 \/ 5  , Rate your music : 4.02 \/ 5 ,  Michael Fremer :  Music 9 \/ 11, Sound 9 \/ 11\u003c\/p\u003e\n\u003cp style=\"margin: 0cm 0cm 12.0pt 0cm;\" data-mce-fragment=\"1\" data-mce-style=\"margin: 0cm 0cm 12.0pt 0cm;\"\u003e \u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40375976263831,"sku":"AAPP 042 clear","price":90.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/norah-jones-come-away-with-me-unsealed-analogue-production-audiosoundmusic-1.jpg?v=1719851398"},{"product_id":"zappa-88-the-last-u-s-show-frank-zappa","title":"\u003ctranscy\u003eFranck Zappa - The Last U.S. Show (4LP, Coffret)\u003c\/transcy\u003e","description":"\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003eFrank Zappa (lead guitar, vocals, Synclavier), Mike Keneally (guitar, synthesizer, vocals), Ike Willis (rhythm guitar, synthesizer, vocals), Scott Thunes (electric bass, Minimoog), Bobby Martin (keyboards, vocals), Ed Mann (vibraphone, marimba, electronic percussion), Chad Wackerman (drums, electronic percussion, liner notes), Walt Fowler (trumpet, flugelhorn, synthesizer), Bruce Fowler (trombone, Paul Carman (alto saxophone, soprano saxophone, baritone saxophone), Albert Wing (tenor saxophone), Kurt McGettrick (baritone saxophone, bass saxophone, contrabass clarinet).\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"margin: 0cm 0cm 12.0pt 0cm;\" data-mce-style=\"margin: 0cm 0cm 12.0pt 0cm;\"\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-size: 10.5pt; font-family: 'Segoe UI', sans-serif;\" data-mce-style=\"font-size: 10.5pt; font-family: 'Segoe UI',sans-serif; color: #212b36;\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-size: 10.5pt; font-family: 'Segoe UI', sans-serif;\" data-mce-style=\"font-size: 10.5pt; font-family: 'Segoe UI',sans-serif; color: #212b36;\"\u003eWritten by Franck Zappa (A2, A3, A4, B1, B2, B3, C1, C2, C3, C4, C5, D2, D5), \u003c\/span\u003e\u003c\/strong\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-size: 10.5pt; font-family: 'Segoe UI', sans-serif;\" data-mce-style=\"font-size: 10.5pt; font-family: 'Segoe UI',sans-serif; color: #212b36;\"\u003eJohn Lennon (F2, G2), \u003c\/span\u003e\u003c\/strong\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-size: 10.5pt; font-family: 'Segoe UI', sans-serif;\" data-mce-style=\"font-size: 10.5pt; font-family: 'Segoe UI',sans-serif; color: #212b36;\"\u003ePaul McCartney (F2, G2), \u003c\/span\u003e\u003c\/strong\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-size: 10.5pt; font-family: 'Segoe UI', sans-serif;\" data-mce-style=\"font-size: 10.5pt; font-family: 'Segoe UI',sans-serif; color: #212b36;\"\u003eIgor Stravinsky (D3), \u003c\/span\u003e\u003c\/strong\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-size: 10.5pt; font-family: 'Segoe UI', sans-serif;\" data-mce-style=\"font-size: 10.5pt; font-family: 'Segoe UI',sans-serif; color: #212b36;\"\u003eBela Bartok (D4), Maurice Ravel (H2), \u003c\/span\u003e\u003c\/strong\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-size: 10.5pt; font-family: 'Segoe UI', sans-serif;\" data-mce-style=\"font-size: 10.5pt; font-family: 'Segoe UI',sans-serif; color: #212b36;\"\u003eDouglass Cross (B4), \u003c\/span\u003e\u003c\/strong\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-size: 10.5pt; font-family: 'Segoe UI', sans-serif;\" data-mce-style=\"font-size: 10.5pt; font-family: 'Segoe UI',sans-serif; color: #212b36;\"\u003eGeorge C. Cory Junior (B4), \u003c\/span\u003eRay Evans (D7), Jerry Livingston (D7), Jimmy Page (G1), Robert Plant (G1), Gregg Allman (H1), Katharine Lee \u003cspan data-mce-fragment=\"1\"\u003eBates (H3), Samuel A. Ward (H3).\u003c\/span\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"margin: 0cm 0cm 12.0pt 0cm;\" data-mce-style=\"margin: 0cm 0cm 12.0pt 0cm;\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"margin: 0cm 0cm 12.0pt 0cm;\" data-mce-style=\"margin: 0cm 0cm 12.0pt 0cm;\"\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-size: 10.5pt; font-family: 'Segoe UI', sans-serif;\" data-mce-style=\"font-size: 10.5pt; font-family: 'Segoe UI',sans-serif; color: #212b36;\"\u003e4 LPs, box set\u003c\/span\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"margin: 0cm 0cm 12.0pt 0cm;\" data-mce-style=\"margin: 0cm 0cm 12.0pt 0cm;\"\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-size: 10.5pt; font-family: 'Segoe UI', sans-serif;\" data-mce-style=\"font-size: 10.5pt; font-family: 'Segoe UI',sans-serif; color: #212b36;\"\u003eOriginal analog Master tape : YES\u003c\/span\u003e\u003c\/strong\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-size: 10.5pt; font-family: 'Segoe UI', sans-serif;\" data-mce-style=\"font-size: 10.5pt; font-family: 'Segoe UI',sans-serif; color: #212b36;\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003e\u003cstrong\u003eLive\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003e\u003cstrong\u003eRecord Press : Optimal Media\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"font-variant-ligatures: normal; font-variant-caps: normal; orphans: 2; text-align: start; widows: 2; -webkit-text-stroke-width: 0px; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial; word-spacing: 0px; margin: 0cm 0cm 12.0pt 0cm;\" data-mce-style=\"font-variant-ligatures: normal; font-variant-caps: normal; orphans: 2; text-align: start; widows: 2; -webkit-text-stroke-width: 0px; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial; word-spacing: 0px; margin: 0cm 0cm 12.0pt 0cm;\"\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-size: 10.5pt; font-family: 'Segoe UI', sans-serif;\" data-mce-style=\"font-size: 10.5pt; font-family: 'Segoe UI',sans-serif; color: #212b36;\"\u003eLabel : Zappa Records\u003c\/span\u003e\u003c\/strong\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-size: 10.5pt; font-family: 'Segoe UI', sans-serif;\" data-mce-style=\"font-size: 10.5pt; font-family: 'Segoe UI',sans-serif; color: #212b36;\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"font-variant-ligatures: normal; font-variant-caps: normal; orphans: 2; text-align: start; widows: 2; -webkit-text-stroke-width: 0px; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial; word-spacing: 0px; margin: 0cm 0cm 12.0pt 0cm;\" data-mce-style=\"font-variant-ligatures: normal; font-variant-caps: normal; orphans: 2; text-align: start; widows: 2; -webkit-text-stroke-width: 0px; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial; word-spacing: 0px; margin: 0cm 0cm 12.0pt 0cm;\"\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-size: 10.5pt; font-family: 'Segoe UI', sans-serif;\" data-mce-style=\"font-size: 10.5pt; font-family: 'Segoe UI',sans-serif; color: #212b36;\"\u003eOriginal Label : Zappa Records\u003c\/span\u003e\u003c\/strong\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-size: 10.5pt; font-family: 'Segoe UI', sans-serif;\" data-mce-style=\"font-size: 10.5pt; font-family: 'Segoe UI',sans-serif; color: #212b36;\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"font-variant-ligatures: normal; font-variant-caps: normal; orphans: 2; text-align: start; widows: 2; -webkit-text-stroke-width: 0px; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial; word-spacing: 0px; margin: 0cm 0cm 12.0pt 0cm;\" data-mce-style=\"font-variant-ligatures: normal; font-variant-caps: normal; orphans: 2; text-align: start; widows: 2; -webkit-text-stroke-width: 0px; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial; word-spacing: 0px; margin: 0cm 0cm 12.0pt 0cm;\"\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003e\u003cstrong\u003e\u003cspan data-mce-fragment=\"1\"\u003eAll tracks recorded on March 25, 1988 at Nassau Coliseum, Uniondale, New York, except track G1, recorded March 23, 1988 at Tonson Center, Towson, Maryland, \u0026amp; track H1, recorded March 16, 1988 at Civic Center, Providence Rhode Island.\u003c\/span\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003e\u003cstrong\u003eReleased in June 2021\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"margin: 0cm 0cm 12.0pt 0cm;\" data-mce-style=\"margin: 0cm 0cm 12.0pt 0cm;\"\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-size: 10.5pt; font-family: 'Segoe UI', sans-serif;\" data-mce-style=\"font-size: 10.5pt; font-family: 'Segoe UI',sans-serif; color: #212b36;\"\u003eTracks :\u003c\/span\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003eSide A\u003c\/span\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli style=\"color: rgb(230, 230, 230);\"\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003eWe Are Doing Voter Registration Here\u003c\/span\u003e\u003c\/li\u003e\n\u003cli style=\"color: rgb(230, 230, 230);\"\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003eThe Black Page (New Age Version)\u003c\/span\u003e\u003c\/li\u003e\n\u003cli style=\"color: rgb(230, 230, 230);\"\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003eI Ain’t Got No Heart\u003c\/span\u003e\u003c\/li\u003e\n\u003cli style=\"color: rgb(230, 230, 230);\"\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003eLove Of My Life\u003c\/span\u003e\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003eSide B\u003c\/span\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli style=\"color: rgb(230, 230, 230);\"\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003eInca Roads\u003c\/span\u003e\u003c\/li\u003e\n\u003cli style=\"color: rgb(230, 230, 230);\"\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003eSharleena\u003c\/span\u003e\u003c\/li\u003e\n\u003cli style=\"color: rgb(230, 230, 230);\"\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003eWho Needs The Peace Corps?\u003c\/span\u003e\u003c\/li\u003e\n\u003cli style=\"color: rgb(230, 230, 230);\"\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003eI Left My Heart In San Francisco (Cory\/Cross)\u003c\/span\u003e\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003eSide C\u003c\/span\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli style=\"color: rgb(230, 230, 230);\"\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003eDickie’s Such An Asshole\u003c\/span\u003e\u003c\/li\u003e\n\u003cli style=\"color: rgb(230, 230, 230);\"\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003eWhen The Lie’s So Big\u003c\/span\u003e\u003c\/li\u003e\n\u003cli style=\"color: rgb(230, 230, 230);\"\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003eJesus Thinks You’re A Jerk\u003c\/span\u003e\u003c\/li\u003e\n\u003cli style=\"color: rgb(230, 230, 230);\"\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003eSofa #1\u003c\/span\u003e\u003c\/li\u003e\n\u003cli style=\"color: rgb(230, 230, 230);\"\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003eOne Man, One Vote\u003c\/span\u003e\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003eSide D\u003c\/span\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli style=\"color: rgb(230, 230, 230);\"\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003eHappy Birthday, Chad!\u003c\/span\u003e\u003c\/li\u003e\n\u003cli style=\"color: rgb(230, 230, 230);\"\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003ePackard Goose Pt. I\u003c\/span\u003e\u003c\/li\u003e\n\u003cli style=\"color: rgb(230, 230, 230);\"\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003eRoyal March From “L’Histoire Du Soldat” (Stravinsky)\u003c\/span\u003e\u003c\/li\u003e\n\u003cli style=\"color: rgb(230, 230, 230);\"\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003eTheme From The Bartok Piano Concerto #3 (Bartok)\u003c\/span\u003e\u003c\/li\u003e\n\u003cli style=\"color: rgb(230, 230, 230);\"\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003ePackard Goose Pt. II\u003c\/span\u003e\u003c\/li\u003e\n\u003cli style=\"color: rgb(230, 230, 230);\"\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003eThe Torture Never Stops Pt. I\u003c\/span\u003e\u003c\/li\u003e\n\u003cli style=\"color: rgb(230, 230, 230);\"\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003eTheme From “Bonanza” (Evans \u0026amp; Livingston)\u003c\/span\u003e\u003c\/li\u003e\n\u003cli style=\"color: rgb(230, 230, 230);\"\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003eLonesome Cowboy Burt\u003c\/span\u003e\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003eSide E\u003c\/span\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli style=\"color: rgb(230, 230, 230);\"\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003eThe Torture Never Stops Pt. II\u003c\/span\u003e\u003c\/li\u003e\n\u003cli style=\"color: rgb(230, 230, 230);\"\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003eCity Of Tiny Lites\u003c\/span\u003e\u003c\/li\u003e\n\u003cli style=\"color: rgb(230, 230, 230);\"\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003ePound For A Brown PT. I\u003c\/span\u003e\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003eSide F\u003c\/span\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli style=\"color: rgb(230, 230, 230);\"\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003ePound For A Brown PT. II\u003c\/span\u003e\u003c\/li\u003e\n\u003cli style=\"color: rgb(230, 230, 230);\"\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003eThe Beatles Medley (Lennon\/McCartney)\u003c\/span\u003e\u003c\/li\u003e\n\u003cli style=\"color: rgb(230, 230, 230);\"\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003ePeaches En Regalia\u003c\/span\u003e\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003eSide G\u003c\/span\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli style=\"color: rgb(230, 230, 230);\"\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003eStairway To Heaven (Page\/Plant)\u003c\/span\u003e\u003c\/li\u003e\n\u003cli style=\"color: rgb(230, 230, 230);\"\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003eI Am The Walrus (Lennon\/McCartney)\u003c\/span\u003e\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003eSide H\u003c\/span\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli style=\"color: rgb(230, 230, 230);\"\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003eWhipping Post (Allman)\u003c\/span\u003e\u003c\/li\u003e\n\u003cli style=\"color: rgb(230, 230, 230);\"\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003eBolero (Ravel)\u003c\/span\u003e\u003c\/li\u003e\n\u003cli style=\"color: rgb(230, 230, 230);\"\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003eAmerica The Beautiful (\u003cspan data-mce-fragment=\"1\"\u003eBates\/Ward\u003c\/span\u003e)\u003c\/span\u003e\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eReviews\u003c\/strong\u003e :\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003eAs Travers writes in the liner notes, “Start with the fulcrum of the 1981-1984 touring bands (Robert, Scott \u0026amp; Chad), bring back Ike Willis, add the Synclavier digital workstation, a 5-piece horn section with multi-instrumentalist Mike Keneally and you have what FZ famously described as “The Best Band You Never Heard In Your Life.” While saying “never heard” might have been a bit of hyperbole, it wasn’t far off as the short-lived band (four months of rehearsal in 1987\/1988, followed by a tour from February through June 1988) only played a few dozen shows on the East Coast and Europe before disbanding. Nonetheless, the shows they did play together were electrifying and a masterclass in musicianship.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003eWith Zappa on lead guitar, vocals, and wielding his new obsession the Synclavier, he led the proceedings through a career-spanning set, backed by a stellar cast of veteran band members and newly added members: Mike Keneally (guitar, synth, vocals), Scott Thunes (electric bass, Minimoog), Ike Willis (rhythm guitar, synth, vocals), Chad Wackerman (drums, electronic percussion), Ed Mann (vibes, marimba, electronic percussion), Robert Martin (keyboards, vocals) and the cracking horn section of Walt Fowler (trumpet, flugel horn, synth), Bruce Fowler (trombone), Paul Carman (alto, soprano and baritone sax), Albert Wing (tenor sax) and Kurt McGettrick (baritone and bass sax, contrabass clarinet). The band prepped nearly 100 songs and the sets were wide ranging, spanning tunes from the first Mothers of Invention albums, but with characteristically updated and often times ever-evolving arrangements (“I Ain’t Got No Heart,” “Love Of My Life,” “Who Needs The Peace Corps?”), to new compositions created for the ‘88 tour (“Jesus Thinks You’re A Jerk” and “When The Lie’s So Big”) as well as classical compositions (Bartók, Ravel, Stravinsky) that Zappa liked to play to expose his audiences to music he appreciated. In addition to the inclusion of the 5-piece horn section and it being Keneally’s only tour, the concerts also included extensive use of sampling through the then current machine, the Synclavier, which Zappa took on the road for the first time, as well as percussionists Mann and Wackerman’s use of electronic sounds in their set ups.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003eZappa ’88: The Last U.S. Show includes all of this and many more highlights such as fan favorites, “Peaches En Regalia,” “The Black Page” “Inca Roads,” “Sharleena” “Sofa #1” and “Pound For A Brown.” It also includes a horn-laden cover of The Beatles’ “I Am The Walrus,” and the first official release of the highly sought after “The Beatles Medley,” which features the band performing the music of The Beatles’ “Norwegian Wood,” “Lucy In The Sky With Diamonds” and “Strawberry Fields Forever” with the lyrics completely changed to reflect the then-recent sex scandal of televangelist Jimmy Swaggart. The bawdy lyrics poke fun at the hypocritical minister and was part of Zappa’s agenda to demystify televangelists.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003eJust how Zappa felt it was important to rail against toxically prude self-appointed culture protectors and whatever hypocrisy or hypocrite rankled him that day, he was also a motivator of positive action, passionate about causes, especially voting rights, making it his mission to get his audiences to register to vote. With a presidential election looming, Zappa offered voter registration on the tour, aided by The League of Women Voters. Fans were encouraged to vote before the show or during a special 20-minute intermission in the middle of the two-hour plus concert, which would start with Zappa triggering the Synclavier to play a piece of music. In Uniondale it was “One Man, One Vote.” Notably, the version here is a different mix than the studio version released on Frank Zappa Meets The Mothers Of Prevention. Zappa 88: The Last U.S. Show kicks off with Zappa extolling the importance of voting and encouraging the unregistered to sign up at the show by registering someone live on stage. It was followed by a representative from Governor Mario Cuomo’s office reading a message congratulating “Mr. Zappa for the important work you are doing encouraging your audiences and others to register and vote.”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003e“Sadly after the European run was over,” as Travers pens in the liners, “Frank Zappa chose to disband the group and cancel the rest of the tour, reportedly forfeiting $400,000.00 in revenue and depriving additional audiences the opportunity to witness how special this group really was. With all of the time and money spent to prepare and promote the tour, not to mention the potential within the talented band and crew, now in 2021, it’s an even more historic loss considering FZ was to never tour again.”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eRatings\u003c\/strong\u003e :\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(230, 230, 230);\"\u003eDiscogs : 4.85 \/ 5  ,  Rate your music : 4.0 \/ 5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40376226054295,"sku":"ZR20036-1","price":70.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/franck-zappa-the-last-u-s-show-4lp-box-set-audiosoundmusic-1.jpg?v=1719851418"},{"product_id":"phineas-newborn-jr-here-is-phineas-the-piano-history-of-phineas-newborn-jr","title":"\u003ctranscy\u003ePhineas Newborn Jr. - Here Is Phineas: The Piano History Of Phineas Newborn Jr.\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\u003ePhineas Newborn Jr. - piano \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/phineas-newborn-junior\" title=\"vinyl featuring Phileas Newborn Jr.\"\u003e\u003cspan style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Phineas Newborn Jr.]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOscar Pettiford - bass \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/oscar-pettiford\" title=\"vinyl featuring Oscar Pettiford\"\u003e\u003cspan style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Oscar Pettiford]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eKenny Clarke - drums\u003cspan\u003e \u003c\/span\u003e\u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/kenny-clarke\" title=\"vinyl featuring Kenny Clarke\"\u003e\u003cspan style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Kenny Clarke]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCalvin Newborn - guitar\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by Charlie Parker (A1), Oscar Hammerstein II (A2), Jerome Kern (A3), Mack Gordon (A4), Harry Warren (A4), Bud Powell (A4), Clifford Brown (B1), Phineas Newborn, Jr. (B2, B3), Duke Ellington (B3), Don George (B3), Johnny Hodges (B3), Harry James (B3), John Lewis (B4)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Speakers Corner\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label :  Atlantic\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eRecorded in May 1956 at Rudy Van Gelder Studio in Hackensack, New Jersey, \u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eRecorded by Rudy Van Gelder\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eProduced by Nesuhi Ertegun\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1956\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2019\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eTracks : \u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eBarbados\u003c\/li\u003e\n\u003cli\u003eAll The Things You Are\u003c\/li\u003e\n\u003cli\u003eThe More I See You\u003c\/li\u003e\n\u003cli\u003eCelia\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eDahoud\u003c\/li\u003e\n\u003cli\u003eNewport Blues\u003c\/li\u003e\n\u003cli\u003eI'm Beginning To See The Light\u003c\/li\u003e\n\u003cli\u003eAfternoon in Paris\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eReviews :\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e« Other than two numbers cut for the Progressive label in Houston a couple years earlier (and thus far never reissued), this Atlantic session (put out as a Koch CD in 1999) was the recording debut for the remarkable Phineas Newborn. The 24-year-old pianist's playing on this trio\/quartet date with bassist Oscar Pettiford and drummer Kenny Clarke (and occasionally guitarist Calvin Newborn) is virtuosic to say the least, on Oscar Peterson's level if not Art Tatum's. Newborn rips through the repertoire (which is highlighted by \"Barbados,\" \"Celia,\" \"Daahoud,\" and \"Afternoon in Paris\"); try to tap your foot to \"Celia\" without breaking your ankle! In the liner notes, George Wein faults Newborn's tendency to double time the ballads, and some listeners may shake their heads at his constant outpouring of technically impossible runs (those speedy octaves are ridiculous) -- but if one has chops on this level, one should feel free to display them. This is a dazzling debut from an ill-fated but classic pianist, and this CD is a gem. » AllMusic Review by Scott Yanow\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAt long last! Three years after his début as a bandleader, Phineas Newborn found a courageous producer who was willing to allot him time in the studio to record an LP. The man from Tennessee brought with him his guitarist brother Calvin and a rhythm group made up of super stars Oscar Pettiford and Kenny 'Klook' Clark. What resulted was an outstanding, dazzling piano album full of fire.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eHow these musicians dash through \"Celia\" makes one forget Bud Powell, its composer and demigod on the piano. The tempo and the breaks would lead you to break your ankle if you tried to tap your foot to the music. \"Dahoud\" from the repertoire of the Clifford Brown Quintet is similarly fast-paced. Just listen to Kenny Clarke and you will be astounded by his precision and swing. In addition there are little gems such as \"The More I See You\" and the \"Newport Blues\" that is dedicated to the legendary Jazz Festival held on Rhode Island, where Phineas was often to be heard. All in all, this LP is a real treasure, which sees the light of day once again after sixty years.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e : \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAllMusic 5 \/ 5, Discogs \u003c\/span\u003e: \u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e4,38\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5, \u003c\/span\u003e\u003cspan\u003eRate Your Music \u003c\/span\u003e:\u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e3,98\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40399305867415,"sku":"SD 1235","price":38.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/phineas-newborn-jr-here-is-phineas-the-piano-history-of-phineas-newborn-jr-audiosoundmusic-1.jpg?v=1719851438"},{"product_id":"oregon-roots-in-the-sky","title":"\u003ctranscy\u003eOregon - Roots In The Sky\u003c\/transcy\u003e","description":"\u003cp\u003e\u003cstrong\u003ePaul McCandless (clarinet, English horn, oboe), Ralph Towner (flugelhorn, guitar, piano, percussion), Collin Walcott (guitar, percussion), Glen Moore (bass)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by Ralph Towner (A1, A2, A4, B3), Collin Walcott (A3, B1, B5), Paul McCandless (B2), Glen Moore (B4)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Speakers Corner\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label :  Elektra\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eRecording: December 1978 at Longview Farms, North Brookfield, MA., and April 1979 at Columbia Recording Studios, New York, by David Greene\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eProduction: Oregon\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1979\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2018\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eTracks :\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eJune Bug\u003c\/li\u003e\n\u003cli\u003eVessel\u003c\/li\u003e\n\u003cli\u003eSierra Leone\u003c\/li\u003e\n\u003cli\u003eOgden Road\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eHouse of Wax\u003c\/li\u003e\n\u003cli\u003eHungry Heart\u003c\/li\u003e\n\u003cli\u003eOrrington’s Escape\u003c\/li\u003e\n\u003cli\u003eRoots In The Sky\u003c\/li\u003e\n\u003cli\u003eLonging, So Long\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e« Speakers Corner Records has released a re-mastered 180-gram vinyl of the 1979  release, Roots In The Sky by Oregon. It has always been difficult to categorize the music of this band. With a core lineup of Paul McCandless (reeds), Ralph Towner (guitar, piano), Collin Walcott (percussion) and Glen Moore, the group met as members of the Paul Winter’s Consort. After recording several albums on the Vanguard label, they signed with Electra Records. This represented (along with their 1978 album, Out Of The Woods) an opportunity to access a higher level of studio production and distribution. Side 1 opens with the propulsive, “June Bug”. One of four Towner compositions, it kicks off with furious guitars chords, set against percussion (Colin Walcott). McCandless takes the lead on clarinet which is a pastoral counterpoint to the funky jam. “Vessel” initiates with loping exotic drumming that establishes a free-jazz driving pulse. Towner switches to piano with punctuated repeat chords. His piano solo\/lead is lyrical with jazzy inflection. The band members nimbly coalesce around the piano and bassist Glen Moore shines on his solo. On “Sierra Leone” a musical tapestry is intermingled with African motifs. Oregon manages to combine world influences in genre-combining arrangements. “Ogden Road” delves into the ruminative, melodic ambience with sensitivity and an acoustic coloration. The classical influences (especially piano and English horn) and syncopated tempo contribute to a swirling aural landscape. There is even a Latin undercurrent.\u003c\/p\u003e\n\u003cp\u003eSide 2 is a powerful, diverse musical statement. “House Of Wax” begins with a jazzy piano vamp. In contrast, a sitar is added to create an unlikely blend of jazz and mysticism. The texture is augmented by studio effects and the overall free-form approach is hypnotic. A more contemporary vibe inhabits “Hungry Heart’ with reed instrumentation, guitar bass and percussion.. There is a crisp acoustic guitar run and potent, rhythmic play from the band. A concise “Orrington’s Escape” is crisply executed with occasional atonal intonation. The final pair of songs are emblematic of the quartet’s dynamic musical vision. “Roots In The Sky” is hard charging and bass-driven. It is countered by sitar and flugelhorn for a wild mosaic of sound. The layering of horns is especially compelling. The wide sweeping musical influence of Oregon can be heard on “Longing, So Long”. The group jams with pulsating intensity augmented by a collage of instrumental accents.\u003c\/p\u003e\n\u003cp\u003eOregon suffered a great loss with the death of Collin Walcott in 1984. They persevered to record for another 30 years, but never achieved the creative or critical apex of their earlier career. Speakers Corner Records’ vibrant 180-gram upgrade is a testament to their under-appreciated legacy. » Robbie Gerson, Audiophile Audition, Jan 31, 2021\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIf there was ever a group that successfully amalgamated Asian and African music with jazz and classic, then it was surely Oregon. With a wide range of instruments and the musicians’ unusually receptive ears for everything here, there and everywhere, Oregon certainly enjoyed the optimal prerequisites. Ralph Towner, Paul McCandless, Glen Moore and in particular Colin Walcott laid the foundations for their music in the musical heaven of their time. Oboe, cor anglais, bass clarinet, six- and twelve-string guitars, piano, flugelhorn, percussion, bass, sitar, tabla – such a versatile range of instruments – lent the nine numbers their, until then, rarely heard sound colouring and mark the transition from the band’s more hippy-like, country sound when they recorded for the Vanguard label to their later classic sound when signed to ECM. In this respect, \"Roots In The Sky\" is an important contemporary document in the world of music between 1970 and 1980. A rare black disc on which there is much to discover!\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e : \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAllMusic : 4.5 \/ 5 ;  \u003c\/span\u003e\u003cspan\u003eDiscogs \u003c\/span\u003e: \u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e4.23\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5  ;  \u003c\/span\u003eAudiophile Audition : 4.5 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40403938738327,"sku":"6E-224","price":38.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/oregon-roots-in-the-sky-audiosoundmusic-1.jpg?v=1719851490"},{"product_id":"katie-mahan-plays-gershwin","title":"\u003ctranscy\u003eKatie Mahan - Plays Gershwin (D2D)\u003c\/transcy\u003e","description":"\u003cp\u003e\u003cstrong\u003eKatie Mahan (piano)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eComposed by George Gershwin\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDirect-to-disc recording\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Speakers Corner BMS (Berliner Meister Schallplaten)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eRecording: December 2016 at Meistersaal, Emil Berliner Studios, Berlin, by Stephan Flock\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eProduction: Rainer Maillard \u0026amp; Stephan Flock\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eReleased in July 2017\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eTracks \u003c\/span\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003cspan\u003e:\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003cp style=\"padding-left: 30px;\" data-mce-fragment=\"1\"\u003e1. Rhapsody in Blue (George Gershwin)\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eSide B :\u003c\/p\u003e\n\u003cdiv style=\"padding-left: 30px;\" data-mce-fragment=\"1\"\u003e1. Embraceable You (George Gershwin)\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\" data-mce-fragment=\"1\"\u003e2. I Got Rhythm (George Gershwin)\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\" data-mce-fragment=\"1\"\u003e3. Our Love Is Here To Stay (George Gershwin)\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\" data-mce-fragment=\"1\"\u003e4. Prelude No. 1 (George Gershwin)\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\" data-mce-fragment=\"1\"\u003e5. Prelude No. 2 (George Gershwin)\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\" data-mce-fragment=\"1\"\u003e6. Prelude No. 3 (George Gershwin)\u003c\/div\u003e\n\u003col start=\"7\"\u003e\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eGeorge Gershwin is America's most beloved classical composer. His music personifies the ideals of a vastly diverse modern world, like a magic mirror which reflects every aspect of its surroundings. Gershwin is responsible for opening up the concert hall to the popular American composer, and for breaking down the conventional boundaries between popular music and art music.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eHe loved to play the piano, and would sit at the piano and improvise songs for hours. His piano playing was outstanding, characterized not only by its unbridled virtuosity and spontaneity, but also by its intricacy, charm, and sheer inventiveness.\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eIt is through the piano that his imagination came to life in composition, and although he was equally at home improvising on the piano at a party, composing popular songs for Broadway, or writing large works for the concert hall, it is as a 'serious' classical composer and pianist that Gershwin most desired to be remembered and respected. The selections on this album pay tribute to the 'classical' Gershwin.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eKatie Mahan who, at the age of four, was inspired to study the piano after attending a concert of Gershwin given by the Labèque sisters, does not try to imitate Gershwin's singular piano style, nor does she seek to play in a jazz style. Rather, she brings her own unique voice to his works, presenting arrangements that are unabashedly classical, and which reflect her own personality and musical background.\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eIn this live direct-to-disc recording, Mahan not only captures the spontaneity and originality inherent to the fiber of Gershwin's music, but also transports the music into the classical realm where the composer most desired to be.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eDirect-to-disc (D2D)\u003c\/strong\u003e recording refers to sound recording methods that record audio directly onto analog disc masters bypassing steps as master tapes, overdubs, and mix downs from multi-tracked masters. This approach avoids problems of analog recording tape such as tape hiss (high frequency noise).\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eDiscogs : 4 \/ 5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40404197638295,"sku":"1706 V","price":35.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/katie-mahan-plays-gershwin-d2d-audiosoundmusic-1.jpg?v=1719851503"},{"product_id":"sonny-stitt-stitt-plays-bird","title":"\u003ctranscy\u003eSonny Stitt - Stitt Plays Bird\u003c\/transcy\u003e","description":"\u003cp\u003e\u003cstrong\u003eSonny Stitt - alto sax\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJim Hall - guitar \u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\"\u003e\u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/jim-hall\" title=\"vinyl featuring Jim Hall\" style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/jim-hall\"\u003e[click here to see more vinyl featuring Jim Hall]\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJohn Lewis (piano), Richard Davis (bass), Connie Kay (drums)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by Charlie Parker (A1, A2, A3, A4, A5, B1, B2, B4), Benny Harris (A1), Jay McShann (B3) \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Speakers Corner\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label :  Atlantic\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eRecording: January 1963 at Atlantic Studios, New York City, by Tom Dowd\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eProduction: Nesuhi Ertegun\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1964\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2017\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eTracks :\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eOrnithology\u003c\/li\u003e\n\u003cli\u003eScrapple From The Apple\u003c\/li\u003e\n\u003cli\u003eMy Little Suede Shoes\u003c\/li\u003e\n\u003cli\u003eParker's Mood\u003c\/li\u003e\n\u003cli\u003eAu Privave\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eKo-Ko\u003c\/li\u003e\n\u003cli\u003eConfirmation\u003c\/li\u003e\n\u003cli\u003eHootie Blues\u003c\/li\u003e\n\u003cli\u003eConstellation\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e : \u003c\/p\u003e\n\u003cp\u003e« Sonny Stitt forged his own approach to playing bebop out of the sound and style of Charlie Parker, so this tribute album was a very logical project. With fine support from guitarist Jim Hall, pianist John Lewis, bassist Richard Davis, and drummer Connie Kay, Stitt performs ten Parker compositions, plus Jay McShann's \"Hootie Blues\"; these renditions of \"Now's the Time\" and \"Yardbird Suite\" were previously unreleased. Stitt, who mastered bebop and could play hot licks in his sleep, is in top form on such numbers as \"Constellation,\" \"Confirmation,\" and \"Ko-Ko,\" making this an essential item for straight-ahead jazz fans (although the prolific altoist would record eight other albums in 1963 alone). » AllMusic Review by Scott Yanow\u003c\/p\u003e\n\u003cp\u003e« For those listeners who may have missed out on the LP Stitt Plays Bird ,when it was first released in 1963, now is your chance to rectify that oversight. Deliciously re-mastered by the German label Speakers Corner Records to bring out the full dynamics and sonic delight of the stereo recording, you are treated to Sonny Stitt and his be-bop cohorts run through eight Charlie Parker originals and one by Jay McShann ( in whose band Parker was first employed).\u003c\/p\u003e\n\u003cp\u003eAdditionally, the liner notes are by Ira Gitler ( who died on February 23, 2019, at 90)  and was one of the most respected jazz writers of the post war era as well as an early believer in be-bop music. Finally the album cover is a portrait of Stitt by noted American painter Marvin Israel, which is so flawlessly reproduced it could be suitable for framing.\u003c\/p\u003e\n\u003cp\u003eThe musicians surrounding Stitt, are anchored by two stalwarts of the Modern Jazz Quartet, pianist John Lewis and drummer Connie Kay plus  one of tastiest guitarists in jazz  Jim Hall, and the big toned bassist Richard Davis.\u003c\/p\u003e\n\u003cp\u003eMuch has been made about the influence that Charlie Parker had on the playing of Sonny Stitt. Although there was a closeness in style, and some of Stitt’s early solo work may have had some note for note Parker comparisons, Stitt was his own man, developing his own creativity and phrasing.  The opening track on Side One is “Ornithology” which is based on How High The Moon and a close listening may pick up some early Parker mannerisms. Guitarist Jim Hall has a glorious solo on this number.\u003c\/p\u003e\n\u003cp\u003e“Scrapple From The Apple” uses chord changes from Honeysuckle Rose with  Hall and Stitt covering the line on both the introduction and the out chorus to the number. In between Stitt is both agile and aglow throughout his solo space.\u003c\/p\u003e\n\u003cp\u003e“Parker’s Mood” is a slow blues on which Stitt is expressive and sure-footed. Pianist John Lewis, who had been involved with several prior recordings of the number including Parker’s original outing, offers ideal rapport that is both empathetic and lyrical.\u003c\/p\u003e\n\u003cp\u003eIf you listen closely as Side Two opens with “Ko-Ko” the changes of Ray Noble’s Cherokee are on full display. Stitt takes the number at full gallop and he does not gives up the reins throughout the piece.\u003c\/p\u003e\n\u003cp\u003eAnother all Stitt offering is “Confirmation” which has become a bebop standard. Filled with an array of complex and rapid chord changes, this composition is not for the faint of heart. Stitt never backed away from a challenge and he tackled the opportunity with his assertive style and cool-headed technical facility.\u003c\/p\u003e\n\u003cp\u003eWhen Parker was in Jay McShann’s band in the early 1940s, they recorded one of McShannn’s compositions “Hootie Blues”. Stitt’s interpretation is of the low-down blues variety and he sets the stage accordingly.  Pianist Lewis, guitarist Hall, and bassist Davis are moved to add to the suggestive slow-burn attractiveness of the number.\u003c\/p\u003e\n\u003cp\u003eBe-bop is spoken here. » Pierre Giroux, Audiophile Audition, May 31, 2019\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eIt is widely known that Sonny Stitt didn’t want to be taken for Charlie 'Bird' Parker and changed from playing the alto to the tenor saxophone. Although false rumours pop up every now and then, the truth is that at the beginning of the 1940s Stitt independently developed the same be-bop licks as Parker without ever having heard him.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eFor \"Stitt Plays Bird\" Sonny had to unearth his old instrument and insert a new mouthpiece because Atlantic Records and their entrepreneurial president Ahmet Ertegun hoped for big sales figures. Which actually proved true.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eOne half of the modern jazz quartet provided the melodic and rhythmic basis for improvisations on eight 'hits' by Charlie Parker and one composition by his first employer Jay McShann. Added to this are the subtle, sensitive scatterings from Jim Hall and the emphatic beat from Richard Davis, both of which lend delicacy and pulse to the numbers. It’s hard to recommend a special track, but \"Scrapple From The Apple\" is just awesome! All the numbers are based on standards – just which they are can be found in the informative liner notes by the be-bop expert Ira Gitler. Atlantic’s logo “Full Dynamic Frequency Spectrum” is no longer a swindle in this new pressing and at last one can enjoy all nine titles in all their sonic glory.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eAllmusic : 4.3 \/ 5 ,  \u003c\/span\u003e\u003cspan\u003eDiscogs \u003c\/span\u003e: \u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e4,48\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5 , \u003c\/span\u003e\u003cspan\u003eRate Your Music \u003c\/span\u003e: \u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e3,49\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40404214186135,"sku":"SD 1418","price":38.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/sonny-stitt-stitt-plays-bird-audiosoundmusic-1.jpg?v=1719851503"},{"product_id":"al-di-meola-splendido-hotel","title":"\u003ctranscy\u003eAl Di Meola - Splendido Hotel (2LP)\u003c\/transcy\u003e","description":"\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eAl Di Meola - guitar, vocal, drums, percussions \u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e\u003ca title=\"vinyl featuring Al Di Meola\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/al-di-meola\" style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/al-di-meola\"\u003e[click here to see more vinyl featuring Al Di Meola]\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eChick Corea - piano \u003cspan style=\"color: #ff8000;\"\u003e\u003ca title=\"Vinyl featuring Chick Corea\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/chick-corea\" style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/chick-corea\"\u003e[click here to see more vinyl featuring Chick Corea]\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eSteve Gadd - drums \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/steve-gadd\" title=\"vinyl featuring steve gadd\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/steve-gadd\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Steve Gadd]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eLes Paul (g)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eJan Hammer (synth); Anthony Jackson (b); Mingo Lewis (cga, bgo, perc); Philippe Saisse (keyb, marimba); Eddie Colon (perc)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by Al Di Meola (A1, A2, B2, B3, C1, C2, C3, D3), Philippe Saisse (B1, C3), Bert Kaempfert (D1), Tony Cohan (D2 Lyrics), Chick Corea (D2 Music)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e2 LPs, gatefold sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Speakers Corner\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label :  Columbia\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eRecording: 1979 at CBS Recording and Electric Lady Studios, New York, by Dave Palmer and Love Castle Studios, Los Angeles, by Bernie Kisch\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eProduction: Al Di Meola and Philip Roberge\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eOriginally released in 1980\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eReissued in Feb 2016\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eTracks :\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eAlien Chase on Arabian Desert\u003c\/li\u003e\n\u003cli\u003eSilent Story in Her Eyes\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eRoller Jubilee\u003c\/li\u003e\n\u003cli\u003eTwo to Tango\u003c\/li\u003e\n\u003cli\u003eAl Di’s Dream Theme\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide C :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eDinner Music of the Gods\u003c\/li\u003e\n\u003cli\u003eSplendido Sundance\u003c\/li\u003e\n\u003cli\u003eI Can Tell\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide D :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eSpanish Eyes\u003c\/li\u003e\n\u003cli\u003eIsfahan\u003c\/li\u003e\n\u003cli\u003eBianca’s Midnight Lullaby\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e« Talk about ambitious. This two-LP set finds guitarist Al di Meola performing with his quintet of the time (featuring keyboardist Philippe Saisse), with studio musicians, solo, in a reunion with pianist Chick Corea, singing a love song, and welcoming veteran Les Paul for a version of \"Spanish Eyes.\" Most of the music works quite well and it shows that di Meola (best-known for his speedy rock-oriented solos) is a surprisingly well-rounded and versatile musician. » AllMusic Review by Scott Yanow\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eJust how much creative gunpowder had Al Di Meola ignited in his early career? First of all there was the flamenco firework in the best-seller \"Elegant Gypsy\", and secondly his mega-successful live album resulting from a summit meeting in San Francisco with Paco de Lucia and John McLaughlin. After this great start it was no wonder that such prominent colleagues as Jan Hammer, Chick Corea, Steve Gadd, Anthony Jackson and Les Paul were eager to participate in the present album \"Splendido Hotel\". \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThis great line-up of musicians produce a rich, saturated sound and create numerous 'flavours' in this cocktail of sounds, which - as a double LP - can be likened to a fantastic long drink, as it were. Di Meola's idea of fusion starts off in the opening number as a slow, sluggish oriental-like melody, which develops to take on a rock rhythm. High-speed and lovingly detailed flamenco such as is found in \"Splendido Sundance\" alternates with subtle rhythms (\"Two To Tango\") and good-humoured lighter numbers with an electronic undertone such as \"Roller Jubilee\" and a funky version of Bert Kaempfert's \"Spanish Eyes\". With this great mix, the musicians create a wonderful atmosphere in which every Latin aficionado will feel at home.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e : \u003c\/p\u003e\n\u003cp\u003eAllmusic : 5 \/ 5  , \u003cspan\u003eDiscogs \u003c\/span\u003e: \u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e3,91\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5  , \u003c\/span\u003e\u003cspan\u003eRate Your Music \u003c\/span\u003e: \u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e3,44\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40404419838103,"sku":"C2X36270","price":65.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/al-di-meola-splendido-hotel-2lp-audiosoundmusic-1.jpg?v=1719851509"},{"product_id":"the-doobie-brothers-minute-by-minute","title":"\u003ctranscy\u003eThe Doobie Brothers - Minute By Minute\u003c\/transcy\u003e","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe Doobie Brothers \u003cspan style=\"color: #ff8000;\"\u003e\u003ca style=\"color: #ff8000;\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/the-doobie-brothers\" title=\"vinyl featurig The Doobie Brothers\"\u003e[click here to see more vinyl featuring the Doobie Brothers]\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTom Johnston (voc); Patrick Simmons (g, voc); Michael McDonald (keyb, voc); Jeffrey Baxter (g); Norton Buffalo (hca); Tiran Porter (b, voc); John Hartman, Keith Knudsen (dr); Bobby LaKind (cga)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by \u003c\/strong\u003e\u003cstrong\u003eMichael McDonald (A1, A2, A3, A4, B1, B2, B5), Kenny Loggins (A2, B2), Lester Abrams (A3, B1), Patrick Simmons (A4, A5, B2, B3, B4, B5), Jeff Baxter (A5, B5), Michael Ebert (A5), Rev. Patrick Henderson (B1), Ted Templeman (B2), Carole Bayer Sager (B5)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve, insert\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Speakers Corner\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Warner\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eRecorded in 1978 at Warner Bros.-Studios, North Hollywood\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eRecorded by Donn Landee and Loyd Clifft\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eProduced by Ted Templeman\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1978\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2019\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eTracks : \u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eSweet Feelin'\u003c\/li\u003e\n\u003cli\u003eOpen Your Eyes\u003c\/li\u003e\n\u003cli\u003eDependin' on You\u003c\/li\u003e\n\u003cli\u003eHere to Love You\u003c\/li\u003e\n\u003cli\u003eMinute by Minute\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eYou Never Change\u003c\/li\u003e\n\u003cli\u003eWhat A Fool Believes\u003c\/li\u003e\n\u003cli\u003eSteamer Lane Breakdown\u003c\/li\u003e\n\u003cli\u003eHow do the Fools Survive?\u003c\/li\u003e\n\u003cli\u003eDon't Stop to Watch the Wheels\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews :\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e« With Tom Johnston gone from the lineup because of health problems, this is where the \"new\" Doobie Brothers really make their debut, with a richly soulful sound throughout and emphasis on horns and Michael McDonald's piano more than on Patrick Simmons' or Jeff Baxter's guitars. Not that they were absent entirely, or weren't sometimes right up front in the mix, as the rocking, slashing \"Don't Stop to Watch the Wheels\" and the bluegrass-influenced \"Steamer Lane Breakdown\" demonstrate. But given the keyboards, the funky rhythms, and McDonald's soaring tenor (showcased best on \"What a Fool Believes\"), it's almost difficult to believe that this is the hippie bar band that came out of California in 1970. There's less virtuosity here than on the group's first half-dozen albums, but overall a more commercial sound steeped in white funk. It's still all pretty compelling even if its appeal couldn't be more different from the group's earlier work (i.e., The Captain and Me, etc.). The public loved it, buying something like three million copies, and the recording establishment gave Minute by Minute four Grammy Awards, propelling the group to its biggest success ever. » AllMusic Review by Bruce Eder\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eHow the Doobie Brothers came to form a 'family' is not only a fateful event but also a good story. While getting high on a marihuana joint (or doobie) that was passed from one to the other in a practice room, one of the group apparently uttered the following momentous words: »We are all Doobie brothers«. Later, when in possession of all his faculties, the co-founder of the group, Tom Johnston, was thinking along the lines of a Motown sound, with a bass line resembling that of Seals and Crofts, and vocals in the style of Stevie Wonder. That \"Minute By Minute\", the first album to appear in the post-Johnston era, so perfectly reflects the mature style of the group is mostly thanks to the two experienced former Steely Dan musicians Jeff “Skunk” Baxter and singer Michael McDonald.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eSubtle, gently electrified groove epitomizes the main focus of this album. Its laid back, colourful and glittering sounds are rounded out with powerful rhythms and warm sounds (\"What A Fool Believes\"). Solo vocals are layered over rolling chords on the piano, a snappy bass and a multi-voiced background to create an appealing harmony (\"Here To Love You\"). Perfectly tempered and accomplished solos from the lead guitar and saxophone are welcome extras that never drown out the impressive leader of the group. So much brotherliness on a record certainly deserved to be recognized with three Platinum Records and a Grammy Award.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings : \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAllMusic : 4 \/ 5 , \u003c\/span\u003e\u003cspan\u003eDiscogs \u003c\/span\u003e:\u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e3,83\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5  , \u003c\/span\u003e\u003cspan\u003eRate Your Music \u003c\/span\u003e:\u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e3,31\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40405843345559,"sku":"BSK3193","price":55.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/the-doobie-brothers-minute-by-minute-audiosoundmusic-1.jpg?v=1719851584"},{"product_id":"vangelis-heaven-and-hell","title":"\u003ctranscy\u003eVangelis - Heaven And Hell \u003c\/transcy\u003e","description":"\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eVangelis - keyboards, percussions\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eJon Anderson and the English Chamber Choir - vocals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eWritten by \u003c\/strong\u003e\u003cstrong\u003eVangelis (A1, A2, B1), Jon Anderson (A1, B1)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, gatefold sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Speakers Corner\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : RCA\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eRecording: September 1975 at Nemo Studios, London, by Alan Lucas\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003cbr\u003e\u003cspan\u003eProduction: Vangelis\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1975\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2018\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eTracks :\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e1. Heaven And Hell (Part 1)\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e2. So Long Ago, So Clear\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003cp style=\"padding-left: 30px;\"\u003e1. Heaven And Hell (Part 2)\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e« Those used to Vangelis' later and lighter synthesized outings may not be quite ready for this dark, thundering album. While it did provide us with the theme music for the TV series Cosmos and bring Jon Anderson into partnership with Vangelis (following an abortive approach to Vangelis joining Yes) on \"So Long Ago, So Clear,\" it also served up massed Gothic choirs and a musical depiction of all the tortures of the damned, with an impressive amount of string-driven shrieking. Even so, it's a brilliant piece of work that should not be absent from any Vangelis collection. » AllMusic Review by Steven McDonald\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eTechnical innovations in musical instruments and the development of tonal language have been continual subjects for deliberation from the 19th century onwards at the latest. Additional brain power is necessary to conciliate the two elements with the endless possibilities of electronic sound. In the end, the two factions cannot resolve on a conclusive opinion and the question remains as to whether art always results from skill.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eEvángelos Odysséas Papathanassíou, or Vangelis for short, always worked with the newest synthesizer equipment and pushed his cascades of sound to the very edge, right up to the point of electronic overkill. In contrast to many other electronics experimentalists of his time, Vangelis likes to »create important melodies and to develop them further, without going under in the technical equipment« (Stereo Review). Distant human voices, siren-like lost calls lead into oriental dance.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eA song – far removed from its era – somewhere between Gregorian music and antiphony – a will-o‘-the-wisp, shimmering sound. Polyphonic playing on the Bösendorfer reminds one that every form of musical expression from over the sands of time is welcome. Each listener must discover for himself what sounds heavenly or hellish. But let it be said: musically speaking, the one cannot be imagined without the other.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e : \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAllMusic : 4.5 \/ 5 , \u003c\/span\u003e\u003cspan\u003eDiscogs \u003c\/span\u003e: \u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e3,96\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5  , \u003c\/span\u003e\u003cspan\u003eRate Your Music \u003c\/span\u003e:\u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e3,60\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40406571122839,"sku":"RS 1025","price":38.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/vangelis-heaven-and-hell-audiosoundmusic-1.jpg?v=1719851595"},{"product_id":"joscho-stephan-trio-paris-berlin","title":"Joscho Stephan Trio - Paris-Berlin","description":"\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cbr\u003e\u003cbr\u003eJoscho Stephan Trio : Joscho Stephan (lead-g); Volker Kamp (b); Sven Jungbeck (rhythm-g)\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : Unspecified.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 140g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Unspecified\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Berliner Meister Schallplaten\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eRecording: June 2018 at Studio1 of Emil Berliner Studios, Berlin, by Stephan Flock\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eProduction: Rainer Maillard \u0026amp; Stephan Flock\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eTracks :\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A: Paris\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eTrain To Paris\u003c\/li\u003e\n\u003cli\u003eAre You In the Mood\u003c\/li\u003e\n\u003cli\u003eValse de la Mer\u003c\/li\u003e\n\u003cli\u003eSonge d'Automne\u003c\/li\u003e\n\u003cli\u003eVous et Moi\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B: Berlin\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eMein kleiner gruner Kaktus\u003c\/li\u003e\n\u003cli\u003eHallo, kleines Fraulein\u003c\/li\u003e\n\u003cli\u003eBei Dir war es immer so schon\u003c\/li\u003e\n\u003cli\u003eKein Schwein ruft mich an\u003c\/li\u003e\n\u003cli\u003eWes Berlin\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eFor roughly 20 years now, the guitarist Joscho Stephan has been performing as a gypsy swing musician on both a national and international level.\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eForming a trio with Volker Kamp on the double bass and Sven Jungbeck on the rhythm guitar, he feels himself drawn to the musical legacy of the “Hot Club de France”, the legendary ensemble which Django Reinhardt and Stéphane Grappelli brought to life in the Thirties in Paris.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eHaving made numerous CD productions, it was more or less a matter of course to make a recording under the very same conditions as Django Reinhardt and all renowned swing and jazz musicians had experienced up until the end of the 40s –, namely Direct-to-Disc!\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe A-side boasts the title “Paris”. Alongside his own compositions (\"Train To Paris\" and \"Valse de la Mer\") we find such Django classics as \"Are You In The Mood\", and the numbers \"Songe d’Automne\" and \"Vous et Moi\", which are also evergreens from the gypsy swing genre.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe B-side is an homage to the recording location and the recording studio (EBS) which is associated with it: Berlin. Not only are such hits to be heard as \"Mein kleiner grüner Kaktus\" (as an up-tempo swing number), \"Hallo, kleines Fräulein\" and \"Bei Dir war es immer so schön\" (by Theo Mackeben), but also \"Kein Schwein ruft mich an\" from the great Max Raabe. \"Wes Berlin\" by Joscho Stephan brings the LP to a close in a final bow to Wes Montgomery, ending our journey from Paris to Berlin.\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40406684729495,"sku":"","price":20.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/joscho-stephan-trio-paris-berlin-audiosoundmusic.jpg?v=1719851595"},{"product_id":"the-j-geils-band-self-title","title":"\u003ctranscy\u003eThe J. Geils Band\u003c\/transcy\u003e","description":"\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cbr\u003e\u003cbr\u003ePeter Wolf (voc); Seth Justman (p, org); Magic Dick (hca); Danny Klein (b); Stephen Bladd (dr, voc)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by Peter Wolf (A1, A4, B3, B4), Seth Justman (A1, B3, B4), Jerome Geils (A2, A4), Juke Joint Jimmy (A3), John Lee Hooker (A5), Al Perkins (B1), Dave Clark (B1), Otis Rush (B1), Robert Rogers (B2), Smokey Robinson (B2), Walter Price (B5), Albert Collins (B6)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Speakers Corner\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Atlantic\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eRecording: August 1970 at A\u0026amp;R Studios, New York, by Jay Messina\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eProduction: Dave Crawford \u0026amp; Brad Shapiro\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1970\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2018\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eTracks :\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eWait\u003c\/li\u003e\n\u003cli\u003eIce Breaker (For The Big \"M\")\u003c\/li\u003e\n\u003cli\u003eCruisin' For A Love\u003c\/li\u003e\n\u003cli\u003eHard Drivin' Man\u003c\/li\u003e\n\u003cli\u003eServes You Right To Suffer\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eHomework\u003c\/li\u003e\n\u003cli\u003eFirst I Look At The Purse\u003c\/li\u003e\n\u003cli\u003eWhat's Your Hurry\u003c\/li\u003e\n\u003cli\u003eOn Borrowed Time\u003c\/li\u003e\n\u003cli\u003ePack Fair And Square\u003c\/li\u003e\n\u003cli\u003eSno-Cone\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e« The J. Geils Band's self-titled debut serves notice that rock \u0026amp; roll wasn't dead in 1970 despite the best efforts of the singer\/songwriter brigade. Though it sounds a bit reserved in the light of the albums that followed, compared to the majority of bands on the scene, it was a nonstop blast of energy, fun, and sweat. Featuring the hipster jive of singer Peter Wolf, the amazing afro and harp chops of Magic Dick, the fret-burning work of J. Geils, and the jack of many trades Seth Justman (keys, compositions, backing vocals), the Geils Band rips through some classic blues by the likes of Otis Rush (\"Homework\"), Walter Price (\"Pack Fair and Square\"), and John Lee Hooker (a slow-burning \"Serves You Right to Suffer\"), old Motown gems (\"First I Look at the Purse\"), and originals that stand up well next to the covers (\"Wait,\" \"What's Your Hurry,\" and future live favorite \"Hard Drivin' Man\"). A nice mix of nostalgia, intensity, and bar band excitement, the album serves as fair warning that the Geils Band was on the scene and was ready to bring back the good-time spirit of the juke joint, the abandon of the early rock \u0026amp; roll scene, and the high energy of the late-'60s concert halls. » AllMusic Review by Tim Sendra\u003c\/p\u003e\n\u003cp\u003e« Originally an acoustic blues band out of Worcester Mass in the late 60’s, The J Geils Band became “the” rock band of Boston. When the group assembled its classic lineup (J Geils\/guitar; Peter Wolf\/ vocals;Seth Justman\/piano, organ; Richard “Magic Dick” Salwitz\/harmonica; Danny Klein\/bass and Stephen Bladd\/drums), they were on their way to stardom. Their gritty version of rhythm \u0026amp; blues-inspired rock (that included soul and doo wop) connected with audiences and their rock and roll counterpoints. Their commercial breakthrough occurred on the 1973 album, Bloodshot which featured the single “Give It To Me”. In 1975, Nightmares…And Other Tales From The Vinyl Jungle produced another hit, “Must Of Got Lost”. The singles increases commercial exposure, and launched them as the opening act for The Rolling Stones, Peter Frampton and Rod Stewart. J Geils Band’s live performances became legendary, fueled by the antics of Peter Wolf’s “microphone vaulting” and a “lead harp” player (Magic Dick). In an unlikely turn of events, this “everyman’s band” became hugely successful in the 1980’s. Radio and MTV-friendly songs like “Freeze Frame”, “Love Stinks” and “Angel In The Centerfold” cemented their legacy. This popular acceptance led to fame, but as with most bands, they disbanded. While there were occasional reunions, the seminal days of the J Geil Bands were over.\u003c\/p\u003e\n\u003cp\u003eSpeakers Corner has released a 180-gram vinyl upgrade of the Atlantic debut of J Geils Band. In barely over 33 minutes, the tough-as-nails musical distillation of rhythm and blues is given new life. While the band doesn’t necessarily break new ground, their version of blues rock is effective. Side One opens with a Wolf\/Justman composition, “Wait”. It is straight-ahead blues. The vaunted lead harp (Magic Mike) and gritty vocals tell the tale. There is a call \u0026amp; response and foot stomp. The original material stands up to the covers on this album. An instrumental “Ice-Breaker” exudes a Memphis-style r \u0026amp; b vibe. Geils has a sizzling guitar solo, and is followed by Magic Dick and Seth Justman on organ. Concise (a mere 2:15), it epitomizes the roots of band. “Cruisin’ For A Love” feels like Chicago blues with a New York City lyrical context. A piercing harp and blues piano lead into Geil’s searing distorted guitar solo. On “Hard Drivin’ Man”, the group adopts an accelerated tempo in a country blues romp. Things get down and nasty on John Lee Hooker’s “Serves You Right To Suffer”. Wolf’s lower-register vocals and phrasing are an obvious shout out to John Lee. Again, Magic Dick contributes a slow-burning solo, and Geils’ run is incendiary. At 5:01 it is the longest cut on the album). It showcases a pedigree, developed from jamming in a lot of bars.\u003c\/p\u003e\n\u003cp\u003eSide Two continues the tribute to blues legends with a rollicking cover of Otis Rush’ “Homework”. injecting blues dialect into adolescence (“ Can’t do my homework anymore”) is amusing, and Wolf’s raw vocals sell it. Geil’s unleashes another ripping solo. Back to vintage soul, The Contours’ clever hit, “First I Look At The Purse” (co-written by Smokey Robinson) features great vocal harmonies, back beat and the classic harp\/guitar sound. Wolf has an affinity for soul music and it is palpable on his singing. “What’s Your Hurry” (another original) emulates 60’s soul with stylish electric guitar hooks and a cowbell. There is a discernible fuller sound. “On Borrowed Time” is almost like a vintage Stax recording with a slowed-down, pulsating arrangement. The band connects with 50’s Rock \u0026amp; Roll spirit on “Pack Fair And Square”. it is explosive with the attitude of original rockers like Bill Haley, or Jerry Lee Lewis. As usual, Magic Dick blows the house away on harp. The finale is a second instrumental, Albert Collins’ “Sno-Cone”. Geils, Magic and Justman (great organ fills) percolate and drummer Bladd gets a well-deserved solo.\u003c\/p\u003e\n\u003cp\u003eJ Geils Band was an auspicious debut. Their musical craftsmanship is prominent. The vinyl upgrade is excellent, with a centered mix that showcases the unfiltered power of a hard-driving Rock “N” Soul band. A unique combination of electric guitar, organ (and piano at times) and harmonica perfectly frame the emotional vocals. » Robbie Gerson, Audiophile Audition, Mar 12, 2019\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIn the wake of Woodstock and the flight of impassioned music groups to the perhaps most fertile, colourful but also somewhat intellectual decade of rock’n’roll, Jerome Geils had clearly found his musical niche. There are not many bands that could entertain unpretentiously, he stated and let loose with his sextet under his own name to create brash, extrovert rock. The amalgamation of authentic blues and showy rock’n’roll, fed with a fervid veneration of such blues greats as Muddy Waters, Junior Wells and Chuck Berry was so compelling that the group could easily have passed as a black band.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eBlack, earthy and with casually interposed phrases on the befitting harmonica, the Geils Band gives their premiere in the world of the blues with \"Waits\". In the very next number (\"Ice Breaker\") the keyboarder Seth Justman hots up the action with a meaty organ groove while 'Magic' Dick Salwitz gives his utmost on his blues harp with top notes and unbelievable bursts of fire coming from the realms of rhythm \u0026amp; blues. Not to forget the boss, who launches powerful riffs and chordal cascades on his guitar. Friends of honest, down-to-earth music from this era shouldn’t miss out on this debut album.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAllMusic : 4.5 \/ 5  ,  \u003c\/span\u003e\u003cspan\u003eDiscogs \u003c\/span\u003e:\u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e4,17\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5 , \u003c\/span\u003e\u003cspan\u003eRate Your Music \u003c\/span\u003e:\u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e3,63\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40406787358871,"sku":"SD 8275","price":45.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/the-j-geils-band-self-titled-audiosoundmusic-1.jpg?v=1719851606"},{"product_id":"albert-king-born-under-a-bad-sign","title":"\u003ctranscy\u003eAlbert King - Born Under A Bad Sign\u003c\/transcy\u003e","description":"\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003eAlbert King - guitar, vocal \u003cspan style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Albert King]\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eAndrew Love, Wayne Jackson, Joe Arnold (The Memphis Horns); Booker T. Jones, Isaac Hayes (p); Steve Cropper (g); Donald \"Duck\" Dunn (b); Al Jackson, Jr. (dr)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by Booker T. Jones (A1), William Bell (A1), R.G. Ford (A2), Jerry Leiber (A3), Mike Stoller (A3), A.C. Williams (A4), Albert King (A5), Al Jackson Jr. (A6), Booker T. Jones (A6), C. Wells (A6), Donald Dunn (A6), Steve Cropper (A6), Ivory Joe Hunter (B1), Albert King (B2), David Porter (B2), Sandy Jones (B3), Deadric Malone (B4), Ray Noble (B5)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Speakers Corner\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Stax\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eRecording : March 1966 - June 1967 at Stax Studios, Memphis (TN)\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003cbr\u003e\u003cspan\u003eProduction : Jim Stewart\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eOriginally released in 1967\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eReissued in Jan 2018\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eTracks : \u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A\u003c\/p\u003e\n\u003cp\u003e                1. Born Under A Bad Sign\u003c\/p\u003e\n\u003cp\u003e                2. Crosscut Saw\u003c\/p\u003e\n\u003cp\u003e                3. Kansas City\u003c\/p\u003e\n\u003cp\u003e                4. Oh, Pretty Woman\u003c\/p\u003e\n\u003cp\u003e                5. Down Don’t Bother Me\u003c\/p\u003e\n\u003cp\u003e                6. The Hunter\u003c\/p\u003e\n\u003cp\u003eSide B\u003c\/p\u003e\n\u003cp\u003e                1. I Almost Lost My Mind\u003c\/p\u003e\n\u003cp\u003e                2. Personal Manager\u003c\/p\u003e\n\u003cp\u003e                3. Laundromat Blues\u003c\/p\u003e\n\u003cp\u003e                4. As The Years Go Passing By\u003c\/p\u003e\n\u003cp\u003e                5. The Very Thought Of You\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e« Albert King recorded a lot in the early '60s, including some classic sides, but they never quite hit the mark. They never gained a large audience, nor did they really capture the ferocity of his single-string leads. Then he signed with Stax in 1966 and recorded a number of sessions with the house band, Booker T. \u0026amp; the MG's, and everything just clicked. The MG's gave King supple Southern support, providing an excellent contrast to his tightly wound lead guitar, allowing to him to unleash a torrent of blistering guitar runs that were profoundly influential, not just in blues, but in rock \u0026amp; roll (witness Eric Clapton's unabashed copping of King throughout Cream's Disraeli Gears). Initially, these sessions were just released as singles, but they were soon compiled as King's Stax debut, Born Under a Bad Sign. Certainly, the concentration of singles gives the album a consistency -- these were songs devised to get attention -- but, years later, it's astounding how strong this catalog of songs is: \"Born Under a Bad Sign,\" \"Crosscut Saw,\" \"Oh Pretty Woman,\" \"The Hunter,\" \"Personal Manager,\" and \"Laundromat Blues\" form the very foundation of Albert King's musical identity and legacy. Few blues albums are this on a cut-by-cut level; the songs are exceptional and the performances are rich, from King's dynamic playing to the Southern funk of the MG's. It was immediately influential at the time and, over the years, it has only grown in stature as one of the very greatest electric blues albums of all time. » AllMusic Review by Stephen Thomas Erlewine  \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIt took more than four decades of patient hard work until a discriminating congregation could proclaim Albert King as one of the three kings of the electric blues, alongside B. B. King and Freddie King. Albert had a tough but highly motivated beginning, playing blues on a guitar he had made himself. Later he bought a really good instrument, then came a couple of promising songs, and a series of successful singles made under a contract with Stax Records in Memphis. Finally, late in life, King landed on the sunny side with \"Born Under A Bad Sign\". The album became one of the most influential recordings in the history of the blues. King’s music was appreciated by white people too, which smoothed his path out of small clubs and on to big live events.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eRight from the title song, he travels along familiar tracks in the blues world, occasionally making a detour to hectic, soulful realms (\"Crosscut Saw\") and letting himself be carried away by strident winds (\"Kansas City\"). Over and over again, the musicians surprise one with ever new sound colourings, as in the hum and buzz of \"Oh, Pretty Woman\", the brusque admonitory \"Down Don’t Bother Me\", or the swinging fiddling of \"The Hunter\".\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e : \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAllmusic : 5 \/5 , \u003c\/span\u003e\u003cspan\u003eDiscogs  \u003c\/span\u003e: \u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e4,64\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5  , \u003c\/span\u003e\u003cspan\u003eRate Your Music \u003c\/span\u003e:\u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e3,83\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40406917283991,"sku":"S 723","price":38.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/albert-king-born-under-a-bad-sign-audiosoundmusic-1.jpg?v=1719851606"},{"product_id":"tommy-bolin-private-eyes","title":"\u003ctranscy\u003eTommy Bolin - Private Eyes\u003c\/transcy\u003e","description":"\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eTommy Bolin - guitar, keyboards, vocal, piano \u003cspan style=\"color: #ff8000;\"\u003e\u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/tommy-bolin\" title=\"Vinyl featuring Tommy Bolin\" style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/tommy-bolin\"\u003e[click here to see other vinyl featuring Tommy Bolin]\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eMark Stein (keyb, voc); Norma Jean Bell (perc, voc, sax); Reggie McBride (b, voc); Bobby Berge (perc, dr); Bobbye Hall (perc); Carmine Appice (dr)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eWritten by \u003c\/strong\u003e\u003cstrong\u003eTommy Bolin (A1-3, B1-5), Jeff Cook (A2, B1-2, B4), John Tesar (B3)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, gatefold sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Speakers Corner\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Columbia\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eRecording: June 1976 at Cherokee Recording Studios, Los Angeles, CA and Trident Studios, London by Tom La Tondre and Steve Taylor\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eProduction: Dennis MacKay \u0026amp; Tommy Bolin\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eOriginally released in 1976\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eReissued in 2017 \u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eBustin' Out For Rosey\u003c\/li\u003e\n\u003cli\u003eSweet Burgundy\u003c\/li\u003e\n\u003cli\u003ePost Toastee\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eShake The Devil\u003c\/li\u003e\n\u003cli\u003eGypsy Soul\u003c\/li\u003e\n\u003cli\u003eSomeday Will Bring Our Love Home\u003c\/li\u003e\n\u003cli\u003eHello Again\u003c\/li\u003e\n\u003cli\u003eYou Told Me That You Loved Me\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e« After the breakup of Deep Purple in 1976, guitarist Tommy Bolin wasted little time beginning work on his second solo album, Private Eyes. While it was more of a conventional rock album than its predecessor, Teaser (which served primarily as a showcase for his guitar skills and contained several jazz\/rock instrumentals), it was not as potent. The performances aren't as inspired as those on Teaser or even those on Bolin's lone album with Deep Purple, Come Taste the Band, although there a few highlights could be found. The nine-minute rocker \"Post Toastee\" merges a long jam section with lyrics concerning the dangers of drug addiction, while \"Shake the Devil\" is similar stylistically. But Bolin wasn't simply a hard-rocker; he was extremely talented with other kinds of music: the quiet, acoustic-based compositions \"Hello, Again\" and \"Gypsy Soul,\" and the heartbroken ballad \"Sweet Burgundy.\" With his solo career starting to take shape (after the album's release, he opened for some of rock's biggest names: Peter Frampton, Jeff Beck, Rush, ZZ Top, etc.), Bolin's life was tragically cut short at the end of the year due to a drug overdose in Miami, FL. » AllMusic Review by Greg Prato\u003c\/p\u003e\n\u003cp\u003eIn the course of his sadly short life, Tommy Bolin was at least granted eight productive years during which he was able to contribute to what was probably the most innovative era of rock’n’roll. His outstanding skill on the guitar brought him legendary status during his lifetime when he replaced the - in many ways - unique Ritchie Blackmore as frontman with Deep Purple. Jon Lord, keyboarder with the group, once described Bolin as a »beautiful lost soul«, and as such he allows one a very private glimpse into his musical perspective in his second and final album.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThis is certainly dualistic: in numbers such as \"Post Toastee\" and \"Shake The Devil\" Bolin sings about drug problems in a dry rocker style that is enhanced by his superb guitar playing. But this hard rocker shows just how stylistically assured he is in more gentle realms, as in the highly melodic ballad \"Sweet Burgundy\", which makes for enjoyable listening. Bolin’s subtle fingering creates a natural and electrifying \"Gypsy Soul\" and his \"Hello, Again\" is narrated softly to the sound of old-fashioned strings and winds. The relaxed tone of the recording is quite typical of the notions of sound at that time and reminds one yet again that the great voices of rock are now heard in heaven.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAllmusic : 4.5 \/ 5  , \u003c\/span\u003e\u003cspan\u003eDiscogs \u003c\/span\u003e:\u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e4,04\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5  , \u003c\/span\u003e\u003cspan\u003eRate Your Music \u003c\/span\u003e:\u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e3,61\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40406959751319,"sku":"PC 34329","price":38.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/tommy-bolin-private-eyes-audiosoundmusic-1.jpg?v=1719851606"},{"product_id":"the-isley-brothers-the-heat-is-on","title":"\u003ctranscy\u003eThe Isley Brothers - The Heat Is On\u003c\/transcy\u003e","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe Isley Brothers \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/the-isley-brothers\" title=\"vinyl featuring the isley brothers\"\u003e\u003cspan style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring The Isley Brothers]\u003c\/span\u003e\u003c\/a\u003e:\u003c\/strong\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eErnie Isley (g, dr, perc, voc); Chris Jasper (keyb); O'Kelly Isley, Ronald Isley, Rudolph Isley (voc); Marvin Isley (b)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by Ernie Isley, Marvin Isley, O'Kelly Isley, Ronald Isley, Rudolph Isley,  Chris Jasper, Eric Sadler (A1)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, gatefold sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Speakers Corner\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Epic\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eRecording: 1975 at Kendun Recorders, Burbank (CA), by Kent Duncan\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003cbr\u003e\u003cspan\u003eProduction: The Isley Brothers\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eOriginally released in 1975\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eReissued in 2017\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eTracks :\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e1. Fight The Power (Part 1 \u0026amp; 2)\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e2. The Heat Is On (Part 1 \u0026amp; 2)\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e3. Hope You Feel Better Love (Part 1 \u0026amp; 2)\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e4. For The Love Of You (Part 1 \u0026amp; 2)\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e5. Sensuality (Part 1 \u0026amp; 2)\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e6. Make Me Say It Again Girl (Part 1 \u0026amp; 2)\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e« 1975's The Heat Is On was the third album that the Isley Brothers recorded with their 3 + 3 lineup, and by that time, the lineup had really perfected its attractive soul\/rock sound. The Isleys were providing great R\u0026amp;B long before keyboardist Chris Jasper, bassist Marvin Isley, and the distinctive guitarist Ernie Isley came on board in 1973; nonetheless, the newcomers added a lot to the group and helped it provide some of its best recordings. Marvin's basslines are as funky as it gets, and the Jimi Hendrix-influenced Ernie is a killer guitarist; he would have been perfect for Deep Purple, Blue Öyster Cult, or Judas Priest if the Isley Brothers hadn't kept him busy in the 1970s. One of the 3 + 3 gems that no Isleys fans should be without is The Heat Is On, which is best known for the sweaty funk classic \"Fight the Power\" and the sexy quiet storm slow jam \"For the Love of You.\" Lead vocalist Ronald Isley is as convincing on the funk scorchers as he is on caressing ballads like \"Make Me Say It Again Girl\" and \"Sensuality.\" Meanwhile, \"Hope You Feel Better Love\" is brilliant because it contrasts those two sides of the 3 + 3 lineup -- the verses are sweetly melodic, but the chorus is forceful and explosive. Superb from start to finish, The Heat Is On is among the Isleys' most essential albums. » AllMusic Review by Alex Henderson\u003c\/p\u003e\n\u003cp\u003e« The Isley Brothers have been one of the most enduring rhythm and blues groups in musical history. Raised in Cincinnati, the brothers (Kelly, Rudolph, Ronny and Vernon) began their career as a gospel singing group with doo wop inclinations. They came to prominence in 1959 with the self-penned hit “Shout”. While this was a modest success at the time, the song has become a cultural touchstone. On different labels, The Isley Brothers still primarily a vocal group, had other top 20 hits including “Twist And Shout” and “This Old Heart Of Mine (Is Weak For You)”. But in 1969, when they added Ernie Isley on electric guitar and drums, the group achieved significant crossover success with their biggest hit “It’s Your Thing”. The single reached # 2 on the Hot 100 and #1 on the R \u0026amp; B chart. Significantly, the album was issued on their own label T-Neck Records. As the band expanded, it now included Ernie, Marvin, O’Kelly, Ronald, Rudolph and brother-in-law Chris Jaspar. The Isley brothers were a complete entity, handling songwriting, production and arrangement. Subsequent albums Givin’ It Back (1971), Brother, Brother, Brother (1972), 3+3 (1973) and Live It Up (1974) further established The Isley Brothers as major soul stars. Their next release, The Heat Is On represented an expanded soul and funk collection that brought socio-political themes and refined instrumentation into the repertoire. It went double platinum and reached #1 on the U.S. Billboard Pop Charts. This represented a commercial and creative peak for the group.\u003c\/p\u003e\n\u003cp\u003eSpeakers Corner Records has re-mastered The Heat Is On to 180-gram vinyl. This technology upgrade underscores the more sophisticated evolvement of the band. All of the songs were written by the band. Like many r \u0026amp; b artists in the 1970’s (Gil Scott Heron, Marvin Gaye, Stevie Wonder and James Brown), politics took a more prominent role in music. Side One opens with a classic song, “Fight The Power (Part1 \u0026amp; 2)”. It is a political statement (“…We gonna fight the powers that be…”) with a funky backbone. Ernie Isley’s smoking drums and Chris Jasper’s  clavinet produce a relentless hypnotic groove. The growling, multi-dimensional vocals of Ronny Isley are gritty and compelling. A steady repeat chord sequence keeps the momentum going. Interestingly, this song was sampled by Public Enemy and used in the Spike Lee movie Do The Right Thing, giving it a second wind. “The Heat Is On (Part 1 \u0026amp; 2)” continues the soul\/funk vine, but with a nastier feel.There are heavy, effect-laden guitars with full-out acid rock solos. ARP synthesizers (programmed by 70’s legends Malcolm Cecil and Robert Margouleff) deliver a texture to complement the raw acoustics. In a smoother arrangement, “Hope You Feel Better Love (Part 1 \u0026amp; 2)” is soulful, but with pop sensibilities. There is a spirited rock jam with searing, distorted guitar tones. A steady pulsating rhythm is hypnotic.\u003c\/p\u003e\n\u003cp\u003eSide Two has a trio of mellow, slow dance mood shifters. “For The Love Of You (Part 1 \u0026amp; 2)” has a lilting Memphis-style wistfulness that is Al-Green worthy. Ronny’s transformative vocals (with falsetto) are emotional. Jasper’s electric piano and flute-synthesizer approximate a contemporary jazz translation, but with “in-the-pocket- soulful elegance. The atmospheric tapestry continues on “Sensuality (part 1 \u0026amp; 2)”. This is soul balladry at its best. Jasper’s glowing synth lines frame Isley’s quietly urgent passion. The finale, “Make Me Say It Again Girl (Part 1 \u0026amp; 2)” executes a never-ending refrain that goes on and on. The listener will not want this love-fest to end.\u003c\/p\u003e\n\u003cp\u003e Speakers Corner Records has done its customary superlative job in re-mastering The Heat Is On to 180-gram vinyl. The layered instrumentation is thick, but not overly dense. Ron Isley’s distinctive higher-register tonality is dulcet and elastic. The occasional hard-edged guitar tones fit into the mix evenly. Hi-gloss gatefold packaging, protective sleeves and a pressing without hisses and pops makes this vinyl mandatory for any soul collection. » Robbie Gerson, Audiophile Audition, Oct 31, 2019\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003c\/span\u003e\u003cspan\u003eA glance at the discs, which rocked through the charts under the simple name of “Isley Brothers” will give you an idea of how a »long-lasting and self-generative family enterprise« (The Times) became a true soul factory. After a brisk start with popular rock’n’roll music, similar to that which a large number of black vocal groups turned out in the Fifties, followed a long march from one record company to another – all of whom were hard pushed to equate the dynamic musicality of these brothers with the 'own sound' of their productions. After hopping from one record label to the next, and not even getting a long-lasting break with the potent Motown label Tamla, golden days arrived when they set up their own label – T-Neck.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAmidst the turmoil created by strong competition from superb studio albums, the Isleys landed a smash hit in 1975 with \"The Heat Is On\", an album which achieved double platinum status with its collection of perfectly written numbers. Powerful, funky volleys (\"Fight The Power\"), gyrating riffs as a launch pad for harmonious vocals and a creative solo (\"The Heat Is On\") go their own way, which is also apparent in the bell-like, airy ballads that swing along tastefully – quite without the sugar-sweet strings so popular at that time.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAllMusic : 4.5 \/ 5  , \u003c\/span\u003e\u003cspan\u003eDiscogs \u003c\/span\u003e: \u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e4,23\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5  , \u003c\/span\u003e\u003cspan\u003eRate Your Music \u003c\/span\u003e: \u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e3,74\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40406982754455,"sku":"PZ 33536","price":45.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/the-isley-brothers-the-heat-is-on-audiosoundmusic-1.jpg?v=1719851616"},{"product_id":"harry-nilsson-aerial-ballet","title":"\u003ctranscy\u003eHarry Nilsson - Aerial Ballet\u003c\/transcy\u003e","description":"\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003eHarry Nilsson - vocal \u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e\u003ca style=\"color: #ff8000;\" title=\"vinyl featuring harry nilsson\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/harry-nilsson\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/harry-nilsson\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Harry Nilsson]\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eMilt Holland - percussions\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003ePlas Johnson (ww); Dennis Budimir, Al Casey (g); Michael Melvoin (hpd, org, p); Larry Knechtel (b,p); Jim Gordon (dr)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eWriten by Harry Nilsson (A1, A2, A3, A4, A5, B2, B3, B4, B5, B6, B7), Fred Neil (B1), Ian Freebairn-Smith (B6)\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Speakers Corner\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : RCA\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eRecording: 1967 and 1968 in RCA Victor's Music Center Of The World, Hollywood\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eProduction: Rick Jarrad\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eOriginally released in 1968\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eReissued in 2017\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eTracks :\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A\u003c\/p\u003e\n\u003cp\u003e                1. Good Old Desk\u003c\/p\u003e\n\u003cp\u003e                2. Don't Leave Me\u003c\/p\u003e\n\u003cp\u003e                3. Mr. Richland's Favorite Song\u003c\/p\u003e\n\u003cp\u003e                4. Little Cowboy\u003c\/p\u003e\n\u003cp\u003e                5. Together\u003c\/p\u003e\n\u003cp\u003eSide B\u003c\/p\u003e\n\u003cp\u003e                1. Everybody's Talkin'\u003c\/p\u003e\n\u003cp\u003e                2. I Said Goodbye To Me\u003c\/p\u003e\n\u003cp\u003e                3. Little Cowboy\u003c\/p\u003e\n\u003cp\u003e                4. Mr. Tinker\u003c\/p\u003e\n\u003cp\u003e                5. One\u003c\/p\u003e\n\u003cp\u003e                6. The Wailing Of The Willow\u003c\/p\u003e\n\u003cp\u003e                7. Bath\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e« As \"Good Old Desk\" opens Aerial Ballet with a cheerful saunter, it's clear that Harry Nilsson decided to pick up where he left off with his debut, offering another round of effervescent, devilishly clever pop, equal parts lite psychedelia, pretty ballads, and music hall cabaret. It's not a carbon copy, however. In one sense, he entrenches himself a little bit, emphasizing his lighter edges and humor, writing songs so cheerfully lightweight -- a love song about his mom and dad, an ode to his favorite desk, an address or two to a \"Little Cowboy\" -- that it may be a little too cloying for some tastes, even for fans of Pandemonium Shadow Show. Those are balanced by a couple major steps forward, namely \"Everybody's Talkin'\" and \"One.\" The former finds Nilsson adopting a rolling folk-pop backing for a Fred Neil song, making it into an instant, Grammy-winning classic. The latter was the greatest song he had written to date, a haunting tale of loneliness reminiscent of McCartney, yet with its own voice. These are the songs anchoring an album that may be a little lightweight, but it's engagingly, deliberately lightweight. If it's a bit dated, it wears its old charms well. » AllMusic Review by Stephen Thomas Erlewine\u003c\/p\u003e\n\u003cp\u003e« Prior to the advent of the early 1970’s singer\/songwriter culture in Southern California, there was Harry Nilsson. The Brooklyn native moved to Los Angeles and balanced his job in a bank with a desire to sing and perform original compositions. After some early songwriting successes with Little Richard, Phil Spector, Glen Campbell, The Yardbirds and The Monkees, Nilsson was signed to RCA Victor as a solo artist. With a three-and-a half octave range as a tenor, he developed a musical style that synthesized baroque psychedelic pop with Caribbean tempos, utilizing vocal overdubs. In 1967, Pandemonium Shadow Show was released to critical acclaim, but disappointing sales. However musical peers like The Beatles were enthusiastic fans and this provided momentum to his career. In 1968, Aerial Ballet fared considerably better, yielding two “hits”. The first, Fred Neiil’s “Everybody’s Takin’” was a minor hit. A year later it would make its way into the iconic movie “Midnight Cowboy” and earn Nilsson a Grammy. The second, “One” has become a standard.\u003c\/p\u003e\n\u003cp\u003eThe 70’s was the zenith of Harry Nilsson’s musical legacy. Albums like Nilsson Sings Newman, A Touch Of Schmilson (“Without You”, Coconut”), and A Little Touch Of Schmilson In The Night. were relatively successful. He embraced the American Songbook and his unique weird pop constructs made his songs accessible. Additionally, there were music scores for the cult movie Skidoo, Robert Altman’s Popeye, and the children’s animated TV film, The Point. Television aficionados will remember his theme from The Courtship Of Eddie’s Father (“Best Friend”). In his later career, Nilsson was still recording, but was more renowned for his hard partying in Los Angeles and the infamous Troubadour incident with John Lennon. Sadly, he passed away in 1994 at 52.\u003c\/p\u003e\n\u003cp\u003eSpeakers Corner has released a re-mastered 180-gram vinyl of Aerial Ballet. This was Nilsson’s third album, and represented a cohesive set of original compositions. The title was a reference to the singer’s circus grandparents and their high wire act. The quirky appeal of Harry is evident from the opening track, “My Old Desk”. With a “peppy” piano and tracked vocals, Nilsson elevates the mundane (“…My old desk does an arabesque…”) with eclectic imagery. There is a nuanced horn counterpoint and violins for texture. “Don’t Leave Me” is a winsome love song with a 60’s uptempo jazzy\/Latin chorus. Nilsson’s vocal flexibility shines on a well-placed falsetto. The non-verbal phrasing is uncanny. On “Mr. Richland’s Favorite Song” he uses a subtle vibrato as he tells a self-parody in 20’s\/30’s stylings. A trombone and “mouth trumpet” add just the right touch of weirdness.In a mere 1:22, “Little Cowboy” becomes an unforgettable lullaby, framed by a lovely vocal tenor. One could imagine Roy Rogers or Gene Autry humming this (excluding the unconventional overdubbed singing). At the other end of the spectrum, “Together” is arranged with pop and classical influences. The string accompaniment and trumpet approximate the George Martin Beatles era (like “Penny Lane”).\u003c\/p\u003e\n\u003cp\u003eSide Two begins with a pop masterpiece, Fred Neil’s “Everybody’s Talkin’”. The aching melancholy of this ode to loneliness is rendered perfectly by Nilsson’s lyrical voice. His Country \u0026amp; Western sensibility is countered by a sophisticated violin section. What cannot be understated is the vocal gymnastics with tricky falsetto and a “wa-wah” voiced run that is spine-tingling. It easily stands the test of time. “I Said Goodbye To Me” is a template for future pop music. The waltz-time tune has hushed lower-register vocals and another slight vibrato. There is a 52 second reprise of “Little Cowboy with whistling. On “Mr. Tinker”, the anecdotal everyman is explored with sensitivity. You can understand Nilsson’s rapport with Randy Newman. The loping descant melody line and tenuous halting singing is unique.\u003c\/p\u003e\n\u003cp\u003eMany people are familiar with “One”. The opening phrase “One is the loneliest number that you’ll ever do…” remains timeless. This version is superior to all others. starting with electric piano and voice, a cello is precisely added to the arrangement. Then woodwinds, harpsichord and flute expand the aural landscape. What feels like a pared down song is full and rich. The purity of the emotional singing is resonant and the return to electric piano and voice at the conclusion is beautiful. “The Wailing Of The Willow is a definite change of pace. The bossa nova rhythm and surprising chord changes lend a cinematic ambiance. Harry cuts loose on the finale (“Bath”) with big band, New Orleans-style doo-wah humor and impertinence.\u003c\/p\u003e\n\u003cp\u003eSpeakers Corner has done their customary stellar job at re-mastering Aerial Ballet to 180-gram vinyl. Nilsson’s signature tenor voice is captured with finesse and crispness. All of the instrumentation, including horns, woodwinds and strings are blended in without upstaging the vocals. Incredibly, the album barely covers 25 minutes (one track got pulled!). This album is pop history! » Robbie Gerson, Audiophile Audition, Jun 27, 2018\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eT\u003c\/span\u003e\u003cspan\u003eo define in a nutshell the music of Harry Nilsson in accordance with his personality can easily become a fiasco. The American singer-songwriter might well share his reputation as a multi-talented eccentric with a number of other musicians. However, his highly unusual style and his »satirical catchy pop songs [composed] with the sparkling eye of a cynic and the tearful eye of a nostalgic« (rororo Rock Lexicon) cannot be pigeonholed. Nilsson packaged derisive lines, spiced with a pinch of self-irony, in suspiciously pleasing yet carefully selected tunes.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e His cultivated and astonishingly supple voice basked to the full in bittersweet phrases, aided by elaborate, melting, slushy arrangements with strings and winds. Several of the wonderfully fresh numbers from \"Aerial Ballet\" reached top places in the charts. \"Everybody’s Talkin’\" became world-famous through its use in the film \"Midnight Cowboy\" and brought Nilsson his first Grammy award. The song \"One\" soared to the top ten of the charts. The other light and airy songs now invite you to create your very own hit list. Every single number makes great listening!\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cbr\u003eRatings\u003c\/strong\u003e :\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAllMusic : 4.5 \/ 5 , \u003c\/span\u003e\u003cspan\u003eDiscogs \u003c\/span\u003e: \u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e4,49\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5  , \u003c\/span\u003e\u003cspan\u003eRate Your Music \u003c\/span\u003e: \u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e3,79\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40407063429271,"sku":"LSP-3956","price":45.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/harry-nilsson-aerial-ballet-audiosoundmusic-1.jpg?v=1719851616"},{"product_id":"elvis-presley-elvis-golden-records","title":"\u003ctranscy\u003eElvis Presley - Elvis' Golden Records (Speaker Corners, vinyle noir, Mono)\u003c\/transcy\u003e","description":"\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eCOMPILATION\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eElvis Presley - guitar, vocals \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/elvis-presley\" title=\"vinyl featuring Elvis Presley\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/elvis-presley\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Elvis Presley]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eThe Jordanaires (vocals) and various bands\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eWritten by Jerome Leiber (A1, A2, A5, A6, B5), Mike Stoller (A1, A2, A5, A6, B5), Elvis Presley (A3, A4, B1, B4), Otis Blackwell (A3, B1), Mae Boren Axton (A4), Tommy Durden (A4), Bernard Weinman (A7), Lee Rosenberg (A7), Fred Fisher (B2), George Brown (B2), William Raskin (B2), Bernie Lowe (B3), Karl Mann (B3), Vera Matson (B4), Aaron Schroeder (B6), Cliff Owens (B6), George Mysels (B7), Lou Kosloff (B7)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMono\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Speakers Corner\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : RCA\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eRecording: January 1956 - September 1957 in Hollywood, New York and Nashville in mono\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eProduction: Steve Sholes\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eOriginally released in 1958\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eReissued in 2016\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eTracks :\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003cp\u003e                1. Hound Dog\u003c\/p\u003e\n\u003cp\u003e                2. Loving You\u003c\/p\u003e\n\u003cp\u003e                3 . All Shook Up\u003c\/p\u003e\n\u003cp\u003e                4. Heartbreak Hotel\u003c\/p\u003e\n\u003cp\u003e                5. Jailhouse Rock\u003c\/p\u003e\n\u003cp\u003e                6. Love Me\u003c\/p\u003e\n\u003cp\u003e                7. Too Much           \u003c\/p\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003cp\u003e                1. Don't Be Cruel\u003c\/p\u003e\n\u003cp\u003e                2. That's When Your Heartaches Begin\u003c\/p\u003e\n\u003cp\u003e                3. (Let Me Be Your) Teddy Bear\u003c\/p\u003e\n\u003cp\u003e                4. Love Me Tender\u003c\/p\u003e\n\u003cp\u003e                5. Treat Me Nice\u003c\/p\u003e\n\u003cp\u003e                6. Anyway You Want Me (That's How I Will Be)\u003c\/p\u003e\n\u003cp\u003e                7. I Want You, I Need You, I Love You\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e« This was rock \u0026amp; roll's first greatest-hits album, and it set the standard for all others to follow. As originally conceived, it was a 14-song collection of most of the King's biggest hits up to that time, released on the eve of his start of military service -- a dearth of material being in the offing, it seemed only logical to assemble these hits. Each of the 14 songs had earned a Gold record award for a million sales, a record unequaled at that time by anyone else in rock \u0026amp; roll. The album wasn't intended as a history lesson, so \"Hound Dog\" and \"Loving You\" precede \"Heartbreak Hotel\" -- the 1997 remastering also tampers with the concept a bit, adding six bonus tracks. Elvis' singing never sounded richer or more expressive, and one can fully appreciate in vivid detail the delicate nuances of his phrasing on songs like \"Too Much.\" On the downside, the remastering has made the sound so clean on some of the harder songs that some of the raw, \"dirty\" ambience that characterized this stuff on the radio and the original 45s is lacking. Still, Scotty Moore's groundbreaking lead guitar part on \"Hound Dog\" and the Jordanaires' backup singing never came through more sharply or cleanly, and the all-important rhythm section is almost upfront in the mix. Those who own the first Elvis box from RCA, covering the '50s masters may hesitate to pick up this or the other parts of this latest remastered series, but the sound has been upgraded one more level, and Elvis' Golden Records does give a bite-sized glimpse of where Elvis had come from and where he was going (for better or worse) musically on the eve of heading into the Army. » AllMusic Review by Bruce Eder\u003c\/p\u003e\n\u003cp\u003e\"Have we got the lot?\" The King of Rock’n’Roll certainly didn't need to ask whether his entourage had collected together all their favourite hits. They had gathered them all together - a collection of \"Golden Records\", rather like a selection box of favourite chocolates, greedily swallowed down and enjoyed to the full. And how they loved them all - whether 'complete works' collectors or fans. To this very day, this collection from 1958 is quite set apart from the normal 'best of' collections. It shines out like a precious jewel among mere pebbles.\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThis was the first of four Gold volumes, and it set the standard for those to come. Before any of the immemorable songs came to be included, they had to have sold at least a million copies and won an undeniable and unforgettable reputation as a heart-string plucker. To name a title is more than superfluous. It's quite enough just to listen and enjoy. Whoever wants the ultimate basic Elvis collection can’t go wrong here.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAllmusic : 3.5 \/ 5 ,  \u003c\/span\u003e\u003cspan\u003eDiscogs \u003c\/span\u003e: \u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e4,23\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5  , \u003c\/span\u003e\u003cspan\u003eRate Your Music \u003c\/span\u003e: \u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e4,24\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40410135593111,"sku":"LPM-1707","price":38.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/elvis-presley-elvis-golden-records-speaker-corners-black-vinyl-mono-audiosoundmusic-1.jpg?v=1719851627"},{"product_id":"shakti-with-john-mclaughlin-natural-elements","title":"\u003ctranscy\u003eShakti with John McLaughlin - Natural Elements\u003c\/transcy\u003e","description":"\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eJohn McLaughlin - guitar vocals \u003cspan data-mce-fragment=\"1\"\u003e\u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/john-mclaughlin\" title=\"vinyl featuring john mclaughlin\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/john-mclaughlin\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring John McLaughlin]\u003c\/span\u003e\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eL. Shankar (v, va, voc); Zakir Hussain (perc, voc); T.H. Vinayakram (perc, harp, voc)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by Mc Laughlin (A1, A2, A4, B1, B2, B3, B4) and L. Shankar (A2, A3, A4, B2, B3)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Speakers Corner\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Columbia\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eRecording: July 1977 at Aquarius Studios, Geneva (Switzerland), by Jean Ristori\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eProduction: John McLaughlin\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eOriginally released in 1977\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eReissued in 2014\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eTracks : \u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003cp\u003e                1. Mind Ecology\u003c\/p\u003e\n\u003cp\u003e                2. Face To Face\u003c\/p\u003e\n\u003cp\u003e                3. Come On Baby Dance\u003c\/p\u003e\n\u003cp\u003e                4. The Daffodil And The Eagle\u003c\/p\u003e\n\u003cp\u003eSide 2\u003c\/p\u003e\n\u003cp\u003e                1. Happiness Is Being Together\u003c\/p\u003e\n\u003cp\u003e                2. Bridge Of Sighs\u003c\/p\u003e\n\u003cp\u003e                3. Get Down And Sruti\u003c\/p\u003e\n\u003cp\u003e                4. Peace Of Mind\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e« The third and final Shakti recording from the '70s. The songs here are shorter than those on Shakti and Handful of Beauty, but no less impressive. The novelty of combining Eastern and Western musical styles had worn off and McLaughlin sounds comfortable. This allows for memorable compositions and interchanges, rather than the blistering virtuosity that characterized the first two releases. From the intense (\"Daffodil and the Eagle\") to the joyful (\"Happiness Is Being Together\"), Natural Elements stands as a milestone in McLaughlin's illustrious career. » AllMusic Review by Robert Taylor\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIn the western world, the word shakti is taken to mean creative intelligence, beauty and strength. Guitar marvel John McLaughlin, who collaborated with the unique Mahavishnu Orchestra to tell the world of his conversion to Hinduism, created music past comparison with Shakti. Despite the frenzy of mass oriental pilgrimages, it was still unusual that McLaughlin’s ensemble was made up totally of musicians from India.\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eAs the title of the third and last album – \"Natural Elements\" – suggests, all the participants work with body and soul and make no use of electronic equipment that was so popular in the Seventies. The very real natural energy, which emanates from the flow of melodies and rhythms from both western and eastern musical sources, fires all the musicians. And it is completely intentional that a cheerful fiddle tune, which might well be heard in the Emerald Isle, is joined by plopping volleys of sound on the tabla, inviting one to dance, or that dampened mariachi jubilation appears to be enveloped in the meditative atmosphere of a temple.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe short, light and cheerful pieces on this LP provide easy listening and offer an ideal insight into the world of Shakti. These natural sounds, far from time and space, are still enjoyed today – as is proved by the presence of a large audience at the concert \"Remember Shakti\", in which John McLaughlin and Zakir Hussain celebrated their 40-year spiritual ties.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAllmusic : 4 \/ 5 , \u003c\/span\u003e\u003cspan\u003eDiscogs \u003c\/span\u003e:  \u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e4,20\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5 , \u003c\/span\u003e\u003cspan\u003eRate Your Music \u003c\/span\u003e: \u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e3,82\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40410687275159,"sku":"JC 34980","price":38.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/shakti-with-john-mclaughlin-natural-elements-audiosoundmusic-1.jpg?v=1719851639"},{"product_id":"carlos-santana-buddy-miles-live","title":"Carlos Santana \u0026 Buddy Miles - Live! (Speaker Corners)","description":"\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cbr\u003e\u003cbr\u003eCarlos Santana (g) \u003cspan data-mce-fragment=\"1\" style=\"color: #ff8000;\" data-mce-style=\"color: #ff8000;\"\u003e[c\u003c\/span\u003e\u003ca data-mce-fragment=\"1\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/carlos-santana\" title=\"Vinyl featuring Carlos Santana\" style=\"color: #ff8000;\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/carlos-santana\" data-mce-style=\"color: #ff8000;\"\u003elick here to see more vinyl featuring Carlos Santana]\u003c\/a\u003e\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eBuddy Miles (dr, voc); Robert Hogins (org); Luis Gasca (tp); Hadley Caliman (sax, fl); Neal Schon (g); Ron Johnson (b); Coke Escovedo (perc); Gregg Errico (dr); Victor Pantoja, Michael Carabello (cga)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWriten by Buddy Miles (A2, A4, A5, B1), John McLaughlin (A1), Carlos Santana (B1), S. Henry (A3), G. Errico (B1), R. Johnson (B1)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, gatefold sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLive\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Speakers Corner\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Columbia\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eRecording: January 1972 live in the Diamond Head Crater, Hawaii, USA,\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eProduction: Carlos Santana \u0026amp; Buddy Miles\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eOriginally released in 1972\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eReissued in 2013\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eTracks : \u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eMarbles\u003c\/li\u003e\n\u003cli\u003eLava\u003c\/li\u003e\n\u003cli\u003eEvil Ways\u003c\/li\u003e\n\u003cli\u003eFaith Interlude\u003c\/li\u003e\n\u003cli\u003eThem Changes\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eFree Form Funkafide Filth\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e« From December 1971 to April 1972, Carlos Santana and several other members of Santana toured with drummer\/vocalist Buddy Miles, a former member of the Electric Flag and Jimi Hendrix's Band of Gypsys. The resulting live album contained both Santana hits (\"Evil Ways\") and Buddy Miles hits (\"Changes\"), plus a 25-minute, side-long jam titled \"Free Form Funkafide Filth.\" It was not, perhaps, the live album Santana fans had been waiting for, but at this point in its career, the band could do no wrong. The album went into the Top Ten and sold a million copies. » AllMusic Review by William Ruhlmann\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e : \u003c\/p\u003e\n\u003cp\u003eAllmusic : 4 \/ 5 ,  \u003cspan\u003eDiscogs \u003c\/span\u003e: \u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e3,93\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5 , \u003c\/span\u003e\u003cspan\u003eRate Your Music \u003c\/span\u003e: \u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e3,62\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40410884112535,"sku":"KC 31308","price":38.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/carlos-santana-and-buddy-miles-live-speaker-corners-audiosoundmusic-1.jpg?v=1719851655"},{"product_id":"baden-powell-solitude-on-guitar","title":"\u003ctranscy\u003eBaden Powell - Solitude On Guitar \u003c\/transcy\u003e","description":"\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eBaden Powell (guitar \u0026amp; vocal) \u003ca data-mce-fragment=\"1\" title=\"vinyl featuring Baden Powell\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/baden-powell\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/baden-powell\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"color: #ff8000;\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Baden Powell]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eEberhard Weber - bass (A4, B4)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eJoaquim Paes Henriques - drums (A4, A5, B1, B4)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWritten by B. Powell (A1, A2, A4, A5, B1, B3, B6), P. Soledade (A1), V. de Moraes (A1, A3), J. Mandel (B1), E. Weber (B4), A. C. Jobim (A3, B5), D. Duran (B5). A6 is a traditionnal song arranged by B. Powell\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Speakers Corner\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Columbia\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eRecording: December 1971 by Torsten Wintermeir at Studio Walldorf, Germany\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003cbr\u003e\u003cspan\u003eProduction: Joachim Ernst Berendt\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eOriginally released in 1973\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eReissued in April 2011\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e1. Introduçao Ao Poema Dos Olhos da Amada\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e2. Se Todos Fossem Iguais a\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e3. Você\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e4. Marcia, Eu Te Amo\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e5. Na Gafieira Do Vidigal\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e6. Kommt Ein Vogel Geflogen\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cbr\u003eSide B :\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e1. Fim da Linha\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e2. The Shadow Of Your Smile\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e3. Brasiliana\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e4. Bassamba\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e5. Por Causa de\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e6. Você\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e7. Solitário\u003c\/div\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe acoustic guitar shares the same destiny as so many music companies: almost all of them dabble with the six strings at some point, many attempt to play entertaining harmonic roulette with it, but only a few really make the grade. Baden Powell belongs to the small circle of guitarists whose early virtuosity is perfectly combined with a keen sense of harmony. Powell demonstrates this special talent in his slow numbers in particular, in which broken chords are developed like a bud opening out to a blossom. He guides the listener cautiously through his melodies in that he makes a tiny pause before a harmonic change. Full timbre and lightness are not a question of what is written down on the manuscript but result from a powerful performance, as is shown by the totally un-Brazilian, gentle major-minor key version of the children’s song \"Kommt Ein Vogel Geflogen\".\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eNaturally, the wonderfully crafted, animated and bouncy bossas flow along easily. As befits the album’s title, the guitar is in the limelight here, driven on, held back, and then propelled forward by the rhythm group. The ballad \"Se Todos Fossem Iguais A Voce\" is strongly recommended to whet your appetite for the bossa \"Na Gafieira Do Vidigal\".\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e : \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAllmusic : 4.5 \/ 5  , \u003c\/span\u003e\u003cspan\u003eDiscogs \u003c\/span\u003e:\u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e4,17\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5 , \u003c\/span\u003e\u003cspan\u003eRate Your Music \u003c\/span\u003e:\u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e3,88\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40412522905751,"sku":"C 32441","price":38.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/baden-powell-solitude-on-guitar-audiosoundmusic-1.jpg?v=1719851677"},{"product_id":"louis-fremaux-massenet-le-cid-ballet-music-scenes-pittoresques","title":"\u003ctranscy\u003eMassenet - Le Cid-Ballet Music, Scenes Pittoresques - Louis Frémaux\u003c\/transcy\u003e","description":"\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eJules Massenet: \"Le Cid\" Ballet Music and \"Scènes pittoresques\"\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eThe City Of Birmingham Symphony Orchestra conducted by Louis Frémaux\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Speakers Corner\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : EMI Columbia\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eRecording: 1971 by Stuart Eltham\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eProduction: Brian Culverhouse\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eOriginally released in 1971\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eReissued in 2020\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eTracks :\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A : LE CID- ballet music\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eCastillane\u003c\/li\u003e\n\u003cli\u003eAndalouse\u003c\/li\u003e\n\u003cli\u003eAragonaise\u003c\/li\u003e\n\u003cli\u003eAubade\u003c\/li\u003e\n\u003cli\u003eCatalane\u003c\/li\u003e\n\u003cli\u003eMadrilene\u003c\/li\u003e\n\u003cli\u003eNavarraise\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B : Scenes Pittoresques\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eMarche\u003c\/li\u003e\n\u003cli\u003eAir de ballet\u003c\/li\u003e\n\u003cli\u003eAngelus\u003c\/li\u003e\n\u003cli\u003eFete Boheme\u003c\/li\u003e\n\u003cli\u003e\u003cspan\u003eThe Last Sleep Of The Virgin From \"La Vierge\"\u003c\/span\u003e\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eOne often looks in vain for the name Jules Massenet in the more popular concert guides. But once you have listened to these enchanting miniatures, you will doubtless agree that the French composer should not be absent from any musical guide. The ballet suite to the four-act opera \"Le Cid\" from 1885, which lauds the Spanish heroes in the war against the Moors, consists of a series of traditional dances from various regions of the Iberian Peninsula. Scintillating melodies sparkle with lively motion right from the very first in the series of dances, \"Castillane\". \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eThis is followed by a series of highly contrasted little movements whose characteristics cover a wide range of expression – from crashing and robust in the \"Aragonaise\", via bright, warbling and whistling in the \"Aubade\", and on to the symphonic and lyrical \"Catalane\". The suite is brought to an end with the fresh and joyous \"Navarraise\" in a short and vibrant Finale.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eMassenet’s perfected art of orchestration is well demonstrated in the \"Scènes pittoresques\", which begins with a march-like, processional dance, followed by an \"Air de Ballet\", a gently swirling movement filled with strains of interweaving woodwinds. After the bell-like, pastoral \"Angélus\" we hear the rich sound of bold fanfares in a lively final dance entitled \"Fête bohème\", which is certainly worthy of its name.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e : \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eDiscogs \u003c\/span\u003e: \u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e4,06\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5  ,  \u003c\/span\u003e\u003cspan\u003eRate Your Music \u003c\/span\u003e:\u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e3,28\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40413424582807,"sku":"TWO-350","price":38.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/massenet-le-cid-ballet-music-scenes-pittoresques-louis-fremaux-audiosoundmusic-1.jpg?v=1719851702"},{"product_id":"ludwig-van-beethoven-symphonies-nos-4-5-the-columbia-symphony-orchestra-conducted-by-bruno-walter","title":"\u003ctranscy\u003eBeethoven - Symphonies N. 4 \u0026 5 - Bruno Walter \u003c\/transcy\u003e","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eLudwig van Beethoven: Symphony No. 4 B-flat Major op. 60, Symphony No. 5 C-Minor op. 67\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eThe Columbia Symphony Orchestra conducted by Bruno Walter\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Speakers Corner\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Columbia\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eRecording: January and February 1958 at American Legion Hall, Hollywood, USA\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eProduction: John McClure\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eReissued in April 2018\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eTracks :\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A : Symphony No. 4 in B-flat Major, OP. 60\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eAdagio; Allegro Vivace\u003c\/li\u003e\n\u003cli\u003eAdagio\u003c\/li\u003e\n\u003cli\u003eAllegro Vivace. Trio. Un Poco Meno Allegro\u003c\/li\u003e\n\u003cli\u003eFinale: Allegro Ma Non Troppo\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e Side B : Symphony No. 5 in C Minor, Op. 67\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eAllegro Con Brio\u003c\/li\u003e\n\u003cli\u003eAndante Con Moto\u003c\/li\u003e\n\u003cli\u003eScherzo (Allegro Vivace)\u003c\/li\u003e\n\u003cli\u003eFinale: Allegro\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eSchoenberg, Zemlinsky, Korngold – Bruno Walter knew them all: musicians who sought refuge from the henchmen of the Nazi Party in the New World and found artistic fulfilment there. And they all knew him and his meteoric rise to success at all the great houses in Europe. Formed by working with Gustav Mahler in Hamburg, under whose wing he rose from répétiteur to Chorus Director and then to Kapellmeister, Walter took on further posts as Chief Conductor in Vienna, Munich and Leipzig where the talented artist matured to become a true maestro.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eJust when the aged Walter was wanting to retire into private life, Columbia motivated him to record several symphonic works – including Beethoven’s Symphonies – at a time when stereo recording, with its previously undreamt technical possibilities, was just dawning. Even without any knowledge of the still existent recordings of the rehearsals of the Fourth and Fifth Symphonies, the final recording reflects the lifelong experience and meticulousness of the great conductor. In a taut and relaxed manner, and certainly not mellowed with age, Walter brings the scores to glow. The players weave a web that holds the formal symphonic components together with sophistication and richly contrasted, whereby the conductor’s love for tonal detail manifests itself in easily identifiable instruments.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eDiscogs \u003c\/span\u003e: \u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e4,17\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5  ,  \u003c\/span\u003e\u003cspan\u003eRate Your Music \u003c\/span\u003e: \u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e4,50\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40417481261207,"sku":"MS 6055","price":38.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/beethoven-symphonies-n-4-and-5-bruno-walter-audiosoundmusic-1.jpg?v=1719851709"},{"product_id":"dmitri-shostakovich-cello-concerto-no-1-symphony-no-1-mstislav-rostropovich-and-the-philadelphia-orchestra-conducted-by-eugene-ormandy","title":"\u003ctranscy\u003eChostakovitch - Concerto pour violoncelle n° 1, Symphonie n° 1 – Mstislav Rostropovitch et l'Orchestre de Philadelphie sous la direction d'Eugene Ormandy\u003c\/transcy\u003e","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eDmitri Shostakovich - Cello Concerto No. 1 in E-flat major op. 107, Symphony No. 1 in F minor, op. 10\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eMstislav Rostropovich (vc) and the Philadelphia Orchestra conducted by Eugene Ormandy\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cspan\u003eMason Jones - horn (\u003c\/span\u003e\u003cspan\u003eA1, A2\u003c\/span\u003e\u003cspan\u003e)\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Speakers Corner\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Columbia\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1960\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 : Concerto For Cello And Orchestra In E Flat Op. 107\u003c\/p\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e1st Mov.: Allegretto\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e2nd Mov.: Moderato\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e3rd Mov.: Andantino - Allegro\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e4th Mov.: Allegro Non Troppo\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cp\u003eSide B : Symphony N. 1 In F Major Op. 10\u003c\/p\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e1st Mov.: Allegretto - Più Mosso\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e2nd Mov.: Allegro - Meno Mosso\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e3rd Mov.: Lento - Largo - Più Mosso\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e4th Mov.: Allegro Molto - Lento\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eReviews \u003c\/strong\u003e:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThat every beginning has its magic may almost have become forgotten these days, when true world premieres of musical works are almost non-existent. But this special magic still remains in the present recording of Shostakovich’s Cello Concerto No. 1, which was first heard with these artists in 1959. Shostakovich dedicated the work to his friend Mstislav Rostropovich who committed the virtuoso solo part to memory in only four days, before the concert took place. The cellist tackles the work dauntlessly right from the beginning and swirls the burlesque staccatos through space. With a lovely sound and quite in accordance with the title of the movement, \"Espressivo\", the soloist lets the melody breathe, supported by wonderfully sonorous orchestral writing, answered by calls on the solo horn.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe Finale makes itself heard with a robust inflection, which the soloist counters with an imperturbable steadfastness of rhythm that not only demands refinement but also playing in the top regions and double-stopped harmonics.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThat this recording is indisputably a work of reference is underlined by its coupling with the First Symphony, which is well worth listening to. Shostakovich composed this work as his graduation piece at the Leningrad Conservatory.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eRatings \u003c\/strong\u003e:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAllMusic : 5 \/ 5 , \u003c\/span\u003e\u003cspan\u003eDiscogs \u003c\/span\u003e: \u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e5,00\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5  , \u003c\/span\u003e\u003cspan\u003eRate Your Music \u003c\/span\u003e:  \u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e3,52\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40417487356055,"sku":"MS 6124","price":38.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/shostakovich-cello-concerto-no-1-symphony-no-1-mstislav-rostropovich-and-the-philadelphia-orchestra-conducted-by-eugene-ormandy-audiosoundmusic-1.jpg?v=1769029969"},{"product_id":"johannes-brahms-10-intermezzi-glenn-gould","title":"Johannes Brahms - 10 Intermezzi - Glenn Gould","description":"\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003eJohannes Brahms: Intermezzi op. 76 no. 6 in A major, no. 7 in A minor; op. 116 No. 4 in E major; op. 117 no. 1 in B-flat major, no. 2 in B-flat minor, no. 3 in C-sharp minor; op. 118 no. 1 in A minor, no. 2 in A major, no. 6 in E-flat minor; op. 119 no. 1 in B minor\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003e Glenn Gould (piano)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Speakers Corner\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Columbia\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eRecording: September and November 1960 at Columbia’s 30th Street Studio, New York\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003cbr\u003e\u003cspan\u003eProduction: J. Scianni\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eOriginally released in 1961\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eReissued in 2017\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eTracks :\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e1. Intermezzo In E-Flat Major, Op. 117, No. 1\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e2. Intermezzo In B-Flat Minor, Op. 117, No. 2\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e3. Intermezzo In C-Sharp Minor, Op. 117, No. 3\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e4. Intermezzo In E-Flat Minor, Op. 118, No. 6\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e1. Intermezzo In E Major, Op. 116, No. 4\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e2. Intermezzo In A Minor, Op. 76, No. 7\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e3. Intermezzo In A Major, Op. 76, No. 6\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e4. Intermezzo In B Minor, Op. 119, No. 1\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e5. Intermezzo In A Minor, Op. 118, No. 1\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e6. Intermezzo In A Major, Op. 118, No. 2\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\u003c\/div\u003e\n\u003cp\u003e\u003cspan\u003eReviews :\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIf you mainly connect the name Brahms with opulent symphonies, passionate concertos and weighty piano music, you will be in for a big surprise when you listen to the Intermezzi op. 117. The music critic Eduard Hanslick talks of a more restrained, detached style and clearly means the calm, simple and immensely expressive flowing melodies, which characterize the late piano music of this Romantic composer. Just how sensitively the performer must tackle these precious miniatures is described by Clara Schumann with the words \"… the intellectual technique in them demands a fine comprehension and one must be very familiar with Brahms to play them as Brahms had imagined them\".\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eWhen it comes to Brahms, Glenn Gould – famous for his analytically strict and emphatic interpretation of Bach’s keyboard works – proves himself to be a true poet and thinker at the keyboard. Driven by the melancholy force, his thoughts find their way, sometimes hesitantly, then moving on with a deep breath, as it were, to the next deceleration.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIn op. 118 no. 1 the Canadian pianist begins with a passion that wrests expansive cascades of sound from the keyboard, then finds his way back to introvert mellifluous tones (op. 118 no. 2) and increases the drama in the will-o’-the-wispish and futile attempts to come to a redemptory final cadence (op. 118 no. 6). It would be hard to find a more closely-knit and intense rendering than on the present recording.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eRatings :\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eDiscogs \u003c\/span\u003e: \u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e4,00\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5  ,  \u003c\/span\u003e\u003cspan\u003eRate Your Music \u003c\/span\u003e:  \u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e3,85\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40417714077847,"sku":"MS 6237","price":34.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/johannes-brahms-10-intermezzi-glenn-gould-audiosoundmusic-1.jpg?v=1719851709"},{"product_id":"antonin-dvorak-string-quintet-boston-symphony-chamber","title":"\u003ctranscy\u003eAntonín Dvorák - String Quintet - Boston Symphony Chamber\u003c\/transcy\u003e","description":"\u003cp\u003e\u003cstrong\u003eAntonín Dvorák - String Quintet in G major Op. 77 \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBoston Symphony Chamber Players : Joseph Silv\u003c\/strong\u003e\u003cstrong\u003eerstein, Max Hobart (v); Burton Fine (va), Jules Eskin (vc), Henry Portnoi (b)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Speakers Corner\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : \u003cspan class=\"label\"\u003eDeutsche Grammophon\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan class=\"label\"\u003e\u003cspan\u003eRecorded June 1971 at Boston Symphony Hall by Günter Hermanns\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eProduced by Thomas Mowrey\u003c\/span\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eOriginally released in 1971\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eReissued in 2015\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan class=\"label\"\u003e\u003cspan\u003eTracks :\u003c\/span\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eAllegro con fuoco\u003c\/li\u003e\n\u003cli\u003eIntermezzo. Andante religioso. Molto Adagio\u003c\/li\u003e\n\u003cli\u003eScherzo. Allegro vivace – Trio. L’istesso tempo, quasi Allegretto\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B\u003c\/p\u003e\n\u003col start=\"4\"\u003e\n\u003cli\u003ePoco Andante\u003c\/li\u003e\n\u003cli\u003eFinale, Allegro assai\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eA perusal of string quintets throughout history leaves one with the impression that their creators wish to bestow a powerful impact upon the small group of musicians. And it is no different with Dvořák’s Quintet in G major: a double bass, instead of the usual second cello, paints with broad strokes in the lengthy score whose first movement almost takes on symphonic dimensions. Here, the insistent, broad theme is presented in snappy cascades of sound. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe cantilena, supported by a scurrying second subject, is followed by a frenzied Scherzo, which is steeped in Czech folk music under Dvořák’s distinctive style. The third movement (Poco andante) is highly meditative and is constructed with layers of one and the same basic motif, which soon is intensified with pulsating quavers and finally evolves in rising melodic elements.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe Finale is filled with fresh melodies and spiced with subtle motivic development, which is pleasant on the ear in all its complexity. It is not surprising, therefore, that Dvořák won an important prize for his Quintet.\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40418057289879,"sku":"2530 214","price":45.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/antonin-dvorak-string-quintet-boston-symphony-chamber-audiosoundmusic.jpg?v=1719851716"},{"product_id":"schubert-complete-trios-for-piano-violin-and-cello-beaux-arts-trio","title":"Schubert - Complete Trios for Piano, Violin and Cello - Beaux Arts Trio (2LP)","description":"\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eFranz Schubert - Piano Trios in B flat major, op. 99, D 898; in E flat major, op. posth. 148, D 897; in E flat major, op. 100, D 929; in B flat major, D 28\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eBeaux Arts Trio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e2 LPs, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Speakers Corner\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Philips\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eRecording: February 1966\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eOriginally released in 1966\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eReissued in Jan 2011\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eTracks :\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e1. Piano Trio In B Flat, Op. 99, D. 898 -          \u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\n\u003cspan data-mce-fragment=\"1\"\u003e2. Piano Trio In B Flat, Op. 99, D. 898 - \u003c\/span\u003e1st Movt: Allegro Moderato      \u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\n\u003cspan data-mce-fragment=\"1\"\u003e3. Piano Trio In B Flat, Op. 99, D. 898 - \u003c\/span\u003e2nd Movt: Andante Un Poco Mosso       \u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\n\u003cspan data-mce-fragment=\"1\"\u003e4. Piano Trio In B Flat, Op. 99, D. 898 - \u003c\/span\u003e3rd Movt: Scherzo (Allegro)\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cp\u003eSide B :     \u003c\/p\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\n\u003cspan data-mce-fragment=\"1\"\u003e1. Piano Trio In B Flat, Op. 99, D. 898 - \u003c\/span\u003e4th Movt: Rondo (Allegro Vivace)           \u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e2. Piano Trio In E Flat, Op. Posth. 148, D. 897 (“Notturno”) - Adagio\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cp\u003eSide C :      \u003c\/p\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\n\u003cspan data-mce-fragment=\"1\"\u003e1. Piano Trio In E Flat, Op. 100, D. 929 - \u003c\/span\u003e1st movt: Allegro            \u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\n\u003cspan data-mce-fragment=\"1\"\u003e2. Piano Trio In E Flat, Op. 100, D. 929 -\u003c\/span\u003e 2nd movt: Andante con moto   \u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\n\u003cspan data-mce-fragment=\"1\"\u003e3. Piano Trio In E Flat, Op. 100, D. 929 - \u003c\/span\u003e3rd Movt: Scherzo (Allegro Moderato)\u003cbr\u003e  \u003c\/div\u003e\n\u003cp\u003eSide D :\u003c\/p\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\n\u003cspan data-mce-fragment=\"1\"\u003e1. Piano Trio In E Flat, Op. 100, D. 929 - \u003c\/span\u003e4th Movt : Allegro Moderato      \u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e2. Piano no Trio In B Flat, D. 28 (“Sonata”) - Allegro\u003c\/div\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eAnyone who takes an interest in Schubert’s late works will sooner or later come across cliché-like interpretations of his music that have been associated with a foreboding of his early death. Robert Schumann on the other hand was more objective when he looked at the score of Schubert’s two great Piano Trios: he characterised that in E flat major as effectual, masculine and dramatic, and the sister work in B flat major as languishing, feminine and lyrical. Both masterpieces have in common highly varied movements, which must be approached with great insight, a deeply felt sustained lyricism, and a courageous approach as regards the bold themes.\u003c\/p\u003e\n\u003cp\u003eThat this recording with the Beaux Arts Trio has taken on a benchmark status might well lie in the fact that the three musicians amalgamate romantic fire with analytical aplomb which results in Schubert pure. With their non-stop ebb and flow of melodies, wonderfully indulgent sound colouring and a fiery tour de force through the miraculously winding harmonic paths, the Beaux Arts Trio prove themselves to be among the very best of all Schubert interpreters.\u003c\/p\u003e\n\u003cp\u003eHaving taken their final bow at a concert in Leipzig in September 2009 after 54 years, the time is certainly ripe for an audiophile re-release of this superb recording.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e : \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eDiscogs \u003c\/span\u003e: \u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e4,50\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40418318647447,"sku":"835393\/4 AY","price":65.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/schubert-complete-trios-for-piano-violin-and-cello-beaux-arts-trio-2lp-audiosoundmusic-1.jpg?v=1719851726"},{"product_id":"mendelssohn-chopin-sonata-for-cello-and-piano-janos-starker-and-gyorgy-sebok","title":"Mendelssohn \u0026 Chopin - Sonata for Cello and Piano - Janos Starker and Gyorgy Sebok","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eJakob Ludwig Felix \u003c\/span\u003eMendelssohn\u003cspan\u003e Bartholdy - \u003c\/span\u003eSonata for Cello and Piano No. 2, op. 58\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFrédéric Chopin - Sonata for Cello and Piano, op. 65 \u003ca title=\"vinyl with music composed by Frederic Chopin\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/frederic-chopin\"\u003e\u003cspan style=\"color: rgb(255, 128, 0);\"\u003e[click here to see more vinyl with music composed by Frederic Chopin]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJanos Starker (vc) \u0026amp; György Sebök (p)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Speakers Corner\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Mercury\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eecording: July 1962 at Watford Town Hall, Watford, United Kingdom, by C. Robert Fine and Robert Eberenz\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eProduction: Wilma Cozart-Fine and Harold Lawrence\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eOriginally released in 1963\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eReissued in 2008\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A : Felix Mendelssohn Bartholdy: Sonata for Cello and Piano No. 2 in D major, Op. 58\u003c\/p\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e1. Allegro Assai Vivace        7:34\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e2. Allegro Scherzando         4:50\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e3. Adagio                             4:52\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e4. Molto Allegro E Vivace\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cp\u003eSide B : Frédéric Chopin: Sonata for Cello and Piano in G minor, Op. 65\u003c\/p\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e1. Allegro Moderato               9:44\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e2 .Scherzo: Allegro Can Brio   4:17\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e3. Largo                                   3:15\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e4 .Finale: Allegro                     5:57\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cp\u003e\u003cspan\u003eReviews :\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eA powerful broad theme, driven by nervous, throbbing chains of semiquavers (16th notes) in the piano and a vigorously bowed cello which sings out its melody with a bitter-sweet tone – if every chamber-music work began so invitingly as Mendelssohn’s D major Cello Sonata, then the number of fans of works for small ensemble would rapidly increase. The dedicatee Count Wielhorsky, an excellent amateur cellist, must surely have revelled in this closely-knit work with its waft of salon air. Although it is somewhat astonishing that Mendelssohn’s Cello Sonata is left unmentioned in some music handbooks, this is soon forgotten when one listens to Janos Starker and György Sebök playing the work so resolutely and with such refreshing vitality.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eChopin’s Cello Sonata too undeservedly remains in the shadows thrown by his great piano concertos. Here again, the two musicians prove that they are a perfectly balanced team who complement one another admirably. Their lightning-swift interchanges between intimate, introvert expression and nervous passion, spiralling upwards to the cello’s most dramatic top register, are characteristic for the playing of this world-class virtuoso duo who here present a remarkable recording of two rarely performed masterpieces.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eRatings :\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eDiscogs \u003c\/span\u003e: \u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e4,60\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40418944516247,"sku":"SR90320","price":34.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/mendelssohn-and-chopin-sonata-for-cello-and-piano-janos-starker-and-gyorgy-sebok-audiosoundmusic-1.jpg?v=1719851725"},{"product_id":"gregorio-paniagua-la-folia-de-la-spagna","title":"Gregorio Paniagua - La Folia de la Spagna","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eRarity - Sealed\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eThe Atrium Musicae de Madrid conducted by Dr. Don Grégorio Paniagua Rodriguez\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, gatefold sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g Virgin Vinyl\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Speakers Corner\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Harmonia Mundi\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eRecording: June 1980 by Jean-François Pontefract\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eProduction: Eva Coutaz\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eOriginally released in 1980\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eReissued in 2008\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eTracks :\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eFons vitae\/Dementia praecox angelorum Supra solmamirevt\u003c\/li\u003e\n\u003cli\u003eExtravagans\/Laurea minima\/In vitro\u003c\/li\u003e\n\u003cli\u003eOratio pro-folia\/Fama volat Citrus - Hesperides\u003c\/li\u003e\n\u003cli\u003ePrincipalis. Fermescens\/Inica exacta Adverso flumine\u003c\/li\u003e\n\u003cli\u003eParsimonia aristocraciae\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eSubtilis\/De profundis - Extra muros\u003c\/li\u003e\n\u003cli\u003eVulgaris - Sine populi notione Vagula et blandula\u003c\/li\u003e\n\u003cli\u003eNordica et desolata\/Aurea mediocritas\u003c\/li\u003e\n\u003cli\u003eNobilissima\/Degradans et corruptae\u003c\/li\u003e\n\u003cli\u003eDe pastoribus\/Mathematica dies irae \/Crepuscularis\/Sine nomine\/Tristis est anima mea\/Equites fortis armaturae\/Audaces fortuna juvat\/Sine praeputium\/Ecclesiastica\u003c\/li\u003e\n\u003cli\u003eTheatralis et hipocritae\/Ruralis Alter indica perfecta\u003c\/li\u003e\n\u003cli\u003eDe Tolerentia aetherea\/Fuga ficta et carrus triumphalis\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eReviews \u003c\/strong\u003e:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\"Quickly becoming a cult LP when issued in 1980, this brilliantly inventive set of twelve variations on the 16\u003csup\u003eth\u003c\/sup\u003e-century Portuguese theme 'La Folia'…There are forays into jazz, hoedown, Indian sitar music, and even a quote from Mancini's Pink Panther! The cherry on the icing is to have it back on pristine vinyl again.\" Recording = 5\/5; Performance = 5\/5 – Chris Breunig, \u003cem\u003eHi-Fi News\u003c\/em\u003e, December 2007\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eFirst mentioned around 1500 in Portugal, no forms or melodies have come down to us for the Folia. Described by historians as a noisy dance which was performed by masked and disguised figures who leapt about as though they had lost their reason, a tranquil, sarabande-like form asserted itself in Europe in the early 17th century.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eGrégorio Paniagua, director of the Atrium Musicae de Madrid, demonstrates once again his virtuosity in his treatment of historical material. His arrangements are not confined to medieval and baroque instruments but also employ a whole arsenal of percussion, such as various small drums, triangle, tambourine, castanets and xylophone. As the title of the LP suggests, the ensemble adds spice to the airy variety of timbres with a small touch of madness here and there. Unbelievably, a jazz solo is heard which recalls the \"Pink Panther Theme\", and the Orient is conjured up by two Indian tunes (ragas) in which the sitar chirps passionately to the powerful plop-plop-plop of tabla rhythms.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eWith its high resolution sound which places a high demand on hi-fi equipment in order to get the best reproduction, this record is both cult and legend.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eRatings \u003c\/strong\u003e:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eDiscogs \u003c\/span\u003e: \u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e4,52\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40418984132759,"sku":"HM 1050","price":99.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/gregorio-paniagua-la-folia-de-la-spagna-audiosoundmusic-1.jpg?v=1719851726"},{"product_id":"shostakovich-symphony-no-5-stanislaw-skrowaczewski","title":"\u003ctranscy\u003eChostakovitch - Symphonie n° 5 - Stanislaw Skrowaczewski\u003c\/transcy\u003e","description":"\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eDmitri Shostakovich: Symphony No. 5, Opus 47\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eThe Minneapolis Symphony Orchestra conducted by Stanislaw Skrowacziewski\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Speakers Corner\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Mercury\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eRecording: March 1961 at Northrop Memorial Auditorium, Minneapolis, USA,\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eby C.R. Fine and Robert Eberenz\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eProduction: Wilma Cozart Fine\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eOriginally released in 1962\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eReissued in Aug 2006\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eTracks :\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eModerato\u003c\/li\u003e\n\u003cli\u003eAllegretto\u003c\/li\u003e\n\u003cli\u003eLargo\u003c\/li\u003e\n\u003cli\u003eAllegro Non Troppo\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e\u003cspan\u003eReviews :\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eOne of the most fascinating aspects of Dmitri Shostakovich’s music was and still remains his aesthetic ambiguity, the likes of which is almost impossible to find in modern music. The Fifth Symphony in particular is regarded as an excellent example of how, during Stalin’s regime, Shostakovich outwardly remained true to the regulations concerning art while still managing not to forfeit his own artistic freedom and identity. Conceived in a classical vein, the work is filled with powerful motion and Russian song, even going almost as far as late-Romantic transfiguration. But this idyll is deceptive. Again and again the apparent harmony is disrupted by biting sarcasm: the spirited main theme of the first movement soon stiffens into a march-like farce, while in the untroubled second movement a shrill motif in the winds tears apart the cheerful mood.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eSkrowacziewski amalgamates the contrasting tender sweetness of the violins and the violence of the attacking wind instruments in his precise and sparing interpretation, which is free of sugary expression and forced dynamics. His well-balanced conducting, combined with the wonderfully transparent recorded sound creates an ideal basis for identifying all the details which Shostakovich composed 'between the lines of the staff'.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eRatings :\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eDiscogs \u003c\/span\u003e: \u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e4,75\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40421160583319,"sku":"SR90060","price":38.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/shostakovich-symphony-no-5-stanislaw-skrowaczewski-audiosoundmusic-1.jpg?v=1719851726"},{"product_id":"rachmaninov-piano-concerto-no-3-byron-janis-antal-dorati","title":"Rachmaninov - Piano Concerto No. 3 - Byron Janis - Antal Dorati","description":"\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eSergei Rachmaninov\u003c\/span\u003e - Piano Concerto No. 3 in D minor, op. 30\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eByron Janis (Piano) \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eThe London Symphony Orchestra conducted by Antal Dorati\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Speakers Corner\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Mercury\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eRecording: June 1961 in Watford Town Hall, London, by C.R. Fine and Robert Eberenz\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eProduction: Wilma Cozart\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eTracks :\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eFirst Movement: Allegro Non Tanto\u003c\/li\u003e\n\u003cli\u003eSecond Movement: Intermezzo \/ Adagio\u003c\/li\u003e\n\u003cli\u003eThird Movement: Finale \/ Alla Breve\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e\u003cspan\u003e\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eRachmaninov’s Third Piano Concerto, fondly referred to as 'Rach 3' or even 'Rachi 3' in dealer circles, has enjoyed a constantly growing popularity over the last few years. One reason may well be that the market has been flooded with recordings of the work, many of which attempt to outshine their rivals with massive sound effects instead of winning over the listener with musical transparency. Well, as everyone knows only too well, a first-class recording not only demands a world-class soloist but also a top notch orchestra and conductor. That’s no surprise to anyone!\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThis early stereo LP with the pianist Byron Janis and conductor Antal Dorati was and still is an enormous success, as is proved by the fact that it is regarded as a work of reference even in this age of the silver disc. Janis performs with a controlled passion, like a fine mechanic who watches with the greatest of care over the structural elements which have been entrusted to him. His playing is precise and lucid down to the smallest detail, even in the minutest trill. Dorati has his ensemble enter gently with punctilious timing and allows the fullness and energy of this late-romantic score to unfold before us. How wonderful that this particular 'Rach 3' is available once again to eager audiophile listeners!\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cbr\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eDiscogs \u003c\/span\u003e:\u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e4,71\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5  ,  \u003c\/span\u003e\u003cspan\u003eRate Your Music \u003c\/span\u003e:\u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e3,50\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40421447696535,"sku":"SR90283","price":49.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/rachmaninov-piano-concerto-no-3-byron-janis-antal-dorati-audiosoundmusic-1.jpg?v=1719851738"},{"product_id":"tchaikovsky-symphony-no-6-pathetique-ferenc-fricsay","title":"\u003ctranscy\u003eTchaikovsky - Symphonie No. 6 'Pathétique' - Ferenc Fricsay\u003c\/transcy\u003e","description":"\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003ePiotr Ilitch Tchaikovsky - Symphony No. 6 (“Pathétique“)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eRadio-Symphony-Orchestra Berlin conducted by Ferenc Fricsay\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Speakers Corner\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Deutsche Grammophon\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eRecording: 17-19 and 22 September 1959 at Jesus-Christus Kirche, Berlin, by Günter Hermanns and Werner Wolf\u003cbr\u003e\u003cbr\u003eProduction: Otto Gerdes\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eReissued in 2020\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eTracks :\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e1. Satz: Adagio - Allegro non troppo\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e2. Satz: Allegro con grazia\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e1. Satz: Allegro molto vivace\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e2. Satz: Finale. Adagio lamentoso\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cp\u003e\u003cspan\u003eReviews :\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eMade during the pioneering days of stereo technology when everyone was vying for a piece of the cake, it is hard to believe that this absolutely top-notch recording of Tchaikovsky’s “Pathétique“ has never been brought to the ears of music lovers until today. And it is even more unbelievable since it was made by a first-class orchestra, the Berlin Radio Symphony Orchestra, and conducted by one of the greatest conductors of the 20th century, Ferenc Fricsay.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eNot even the man behind the microphone, Werner Wolf, can recall making this recording – although a yellowed recording protocol discloses carefully noted details about the recording venue and date. No wonder that the tapes never got made into records. It is not with a little pride and much joyful anticipation that the announcement can be made: the record is spinning on the turntable at last!\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eAnd at long last a gap in Fricsay’s repertoire can be closed. Specially recommended: listen to the wonderful clarity of the upper strings which is preserved even in the softest passages.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eRatings :\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAllMusic 4.5 \/ 5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40421626544279,"sku":"SLPM 138 135","price":38.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/tchaikovsky-symphony-no-6-pathetique-ferenc-fricsay-audiosoundmusic.jpg?v=1719851738"},{"product_id":"tchaikovsky-mendelssohn-concerto-for-violin-and-orchestra-nathan-milstein-claudio-abbado","title":"Tchaikovsky \u0026 Mendelssohn - Concerto for Violin and Orchestra - Nathan Milstein \u0026 Claudio Abbado","description":"\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cbr\u003e\u003cbr\u003ePiotr Ilitch Tchaikovsky\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e- Concerto for Violin and Orchestra\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eFelix Mendelssohn - Concerto for Violin and Orchestra op. 64\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eNathan Milstein (violin) and the Vienna Philharmonic Orchestra conducted by Claudio Abbado\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Speakers Corner\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Deutsche Grammophon\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eRecording: September 1972 and March 1973 at Musikvereinssaal, Vienna by Günter Hermanns\u003cbr\u003e\u003cbr\u003eProduction: Rainer Brock\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eOriginally released in 1973\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eTracks :\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A : Concerto for Violin and Orchestra in D major, Op. 35\u003c\/p\u003e\n\u003cp\u003e                1. Allegro Moderato\u003c\/p\u003e\n\u003cp\u003e                2. Canzonetta Andante\u003c\/p\u003e\n\u003cp\u003e                3. Finale Allegro Vivacissimo\u003c\/p\u003e\n\u003cp\u003eSide B :Concerto for Violin and Orchestra in E Minor, Op. 64\u003c\/p\u003e\n\u003cp\u003e                1. Allegro molto Apassionato\u003c\/p\u003e\n\u003cp\u003e                2. Andante\u003c\/p\u003e\n\u003cp\u003e                3. Allegretto non troppo - allegro molto vivace\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eReviews :\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAlthough he has lived in the USA since 1929 and even took on American citizenship in 1942, Nathan Milstein is often referred to as perhaps the last “Russian” among all Russian violinists due to his art of playing – which is governed wholly by intellect. This does not mean that Milstein plays in an academic or cool manner; his art is thoughtful and controlled – in the very best sense of the meaning. And this should certainly not be equated with “deliberateness”. On the contrary. Milstein’s tremendous virtuosity, particularly in the fiendishly difficult final movements of Tchaikovsky’s and Mendelssohn’s concertos, takes both works to new heights. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAlthough never a forceful presence since he employs relatively little vibrato and thus achieves a slender tone, Milstein’s playing is filled with amazing assertion and luminance, and is quite fascinating for its extraordinary purity. And this is precisely what enhances his interpretation of these two great classical concertos, lending them a legendary grace, a feeling of rightness – that there is no other way. The Vienna Philharmonic with their great tradition provide support of the first order, and Claudio Abbado proves once again that he is a more than circumspect master of the baton.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eRatings :\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eDiscogs \u003c\/span\u003e:\u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e5,00\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5  ,  \u003c\/span\u003e\u003cspan\u003eRate Your Music \u003c\/span\u003e: \u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e4,00\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40421671338135,"sku":"2530 359","price":34.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/tchaikovsky-and-mendelssohn-concerto-for-violin-and-orchestra-nathan-milstein-and-claudio-abbado-audiosoundmusic-1.jpg?v=1719851749"},{"product_id":"tchaikovsky-swan-lake-ernest-ansermet","title":"Tchaikovsky - Swan Lake - Ernest Ansermet (2LP)","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003ePiotr Ilitch Tchaikovsky - Swan Lake\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eOrchestre de la Suisse Romande conducted by Ernest Ansermet\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e2 LPs, gatefold sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Speakers Corner\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Decca\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eRecording: October\/November 1958 at Victoria Hall, Geneva by Roy Wallace\u003cbr\u003e\u003cbr\u003e Production: James Walker\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eOriginally released in 1959\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eReissued in 1998\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eTracks :\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A:\u003c\/p\u003e\n\u003cp\u003e          1. Introduction And Scene (Allegro Giusto)              \u003c\/p\u003e\n\u003cp\u003e          2. Valse    \u003c\/p\u003e\n\u003cp\u003e          3. Pas De Trois, Intrada (Allegro), Allegro Semplice, Moderato, Allegro And Coda (Allegro Vivace)\u003c\/p\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003cp\u003e          1. Sujet And Danse Des Coupes     \u003c\/p\u003e\n\u003cp\u003e          2. Scene (Moderato)          \u003c\/p\u003e\n\u003cp\u003e          3. Scene (Allegro Moderato), Scene (Allegro)          \u003c\/p\u003e\n\u003cp\u003e          4. Danse Des Cygnes, Tempo Di Valse        \u003c\/p\u003e\n\u003cp\u003e          5. Andante Non Troppo    \u003c\/p\u003e\n\u003cp\u003eSide C :\u003c\/p\u003e\n\u003cp\u003e          1. Allegro Moderato           \u003c\/p\u003e\n\u003cp\u003e          2. Temo Di Valse  \u003c\/p\u003e\n\u003cp\u003e          3. Moderato Assai\u003c\/p\u003e\n\u003cp\u003e          4. Coda (Allegro Vivace)    \u003c\/p\u003e\n\u003cp\u003e          5. Allegro Giusto,Scene Et Valse    \u003c\/p\u003e\n\u003cp\u003e          6. Scene (Allegro) \u003c\/p\u003e\n\u003cp\u003e          7. Danse Neapolitaine       \u003c\/p\u003e\n\u003cp\u003eSide D :\u003c\/p\u003e\n\u003cp\u003e          1. Mazurka             \u003c\/p\u003e\n\u003cp\u003e          2. Danse Hongroise            \u003c\/p\u003e\n\u003cp\u003e          3. Pas De Deux, Intrada (Tempo Di Valse), Andante, Tempo Di Valse, Coda (Allegro Molto Vivace)   \u003c\/p\u003e\n\u003cp\u003e          4. Scene (Allegro Agitato), Scene Finale (Andante-Allegro Agitato)\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003c\/span\u003e\u003cspan\u003eReviews :\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eHere is a true delight for all ballet fans and music-lovers. This recording of what is probably Tchaikovsky’s most popular ballet, Swan Lake, by Ernest Ansermet and his orchestra in a masterly performance is now available as a new pressing in vinyl. The Russian composer’s first ballet is offered here on a double LP and although not a complete recording, this compilation (with a minimum of cuts) certainly comprises the most beautiful and expressive scenes, losing nothing in the process.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e“Ballet specialist“ Ansermet and his wonderfully balanced Orchestre de la Suisse Romande offer here a recording which you’ll want to hear again and again for it captures both the tragic moments of the fairy tale and the festive dance scenes. The precise winds in, for example No. 4, provide a marked contrast to the lively and exciting tutti (No. 5), while the gentle woodwinds blend charmingly with the dreamlike cantilena of the strings (No. 11). The various characteristics of the festive national dances (Polkas, Mazurkas, Hungarian Dance etc.) are performed with temperament, verve and rhythm, but it is the waltzes with their sweet dreaminess which invite the listener most of all to put on their dancing shoes and join in the dance.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eRatings :\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eDiscogs \u003c\/span\u003e: \u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e4,80\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5  , \u003c\/span\u003e\u003cspan\u003eRate Your Music \u003c\/span\u003e: \u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e5,00\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40421694144663,"sku":"SXL 2107\/8","price":65.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/tchaikovsky-swan-lake-ernest-ansermet-2lp-audiosoundmusic-1.jpg?v=1719851748"},{"product_id":"gustav-holst-the-planets-zubin-mehta","title":"Gustav Holst - “The Planets” - Zubin Mehta","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGustav Holst - The Planets, Op. 32\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLos Angeles Master Chorale directed by Roger Wagner (B3)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLos Angeles Philharmonic Orchestra conducted by Zubin Mehta\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Speakers Corner\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Decca\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eRecorded on April 1971 at Royce Hall, Los Angeles by James Lock and Colin Moorfoot\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eEnginereed by Colin Moorfoot \u0026amp; James Lock\u003cbr\u003e\u003cbr\u003eProduced by John Mordler\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eOriginally released in 1971\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eReissued in 1998\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eTracks :\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eMars, The Bringer Of War - Allegro\u003c\/li\u003e\n\u003cli\u003eVenus, The Bringer Of Peace - Adagio\u003c\/li\u003e\n\u003cli\u003eMercury, The Winged Messenger - Vivace\u003c\/li\u003e\n\u003cli\u003eJupiter, The Bringer Of Jollity - Allegro Giocoso\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eSaturn, The Bringer Of Old Age - Adagio\u003c\/li\u003e\n\u003cli\u003eUranus, The Magician - Allegro\u003c\/li\u003e\n\u003cli\u003eNeptune, The Mystic - Andante\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAwards:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eRated a 'Best Audiophile Label Recording' in the November 2009 issue of The Absolute Sound!\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eEarth was not created in a day. And the same applies to Gustav Holst’s interplanetary symphony which took him about three years to write. The composer employs a massive orchestra and rich orchestral colouring to portray each planet in his musical psychogram.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eMars, the Bringer of War, rages with mechanical brutality, while Venus brings peace and an acceptance of life. Mercury, the Winged Messenger, darts here and there with quicksilver speed, while powerful and sovereign Jupiter brings jollity and reassurance. Saturn plods by with heavy tread, while Uranus with its contrasting changes in tempo remains enigmatic and extrovert. And because Pluto, the most distant planet had not yet been discovered, it is Neptune, the great unknown, which is lost in time and space in an endless ostinato of female voices.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eZubin Mehta and the Los Angeles Philharmonic present this astronomical journey with precision and exhilaration, leaving neither time nor space for astrological speculation. As always, the excellent DECCA recording quality guarantees an unimpeded view of this musical galaxy.\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eDiscogs \u003c\/span\u003e: \u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e4,50\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5  ,  \u003c\/span\u003e\u003cspan\u003eRate Your Music \u003c\/span\u003e: \u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e4,11\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40421739856023,"sku":"SXL6529","price":75.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/gustav-holst-the-planets-zubin-mehta-audiosoundmusic-1.jpg?v=1719851748"},{"product_id":"beethoven-concerto-for-violin-and-orchestra-wolfgang-schneiderhan-eugen-jochum","title":"Beethoven - Concerto for Violin and Orchestra - Wolfgang Schneiderhan - Eugen Jochum","description":"\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cspan\u003e\u003cb\u003eLudwig van Beethoven - Concerto for Violin in D major, Op. 61\u003c\/b\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eWolfgang Schneiderhan (violin) and the Berlin Philharmonic Orchestra conducted by Eugen Jochum\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Speakers Corner\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Deutsche Grammophon\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eRecording: May and July 1962 at the Jesus-Christus-Kirche, Berlin by Günter Hermanns\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eProduction: Wolfgang Lohse\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eOriginally released in 1963\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eTracks :\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A : \u003cspan\u003e1st Movement: Allegro Ma Non Troppo\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eSide B :\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"padding-left: 30px;\"\u003e\u003cspan\u003e1. 2nd Movement: Larghetto\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"padding-left: 30px;\"\u003e\u003cspan\u003e2. 3rd Movement: Rondo: Allegro\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\u003eBeethoven’s only violin concerto is certainly one of the most lovely works ever written for this instrument. The symphonically conceived work is admired for its highly lyrical and expressive character and as such belongs in the repertory of all great violinists. Numerous performances, often all too sentimental or exaggerated, are available on record – but this Deutsche Grammophon production from 1962 is a refreshing exception.\u003c\/p\u003e\n\u003cp\u003eWith a tender, serene timbre and perfect intonation, the soloist Wolfgang Schneiderhan allows the spirit of the score to breathe throughout. The captivating and poetic music is further enhanced by the Berlin Philharmonic who play with a sonority that has yet to be equalled. The strings with the swell and subsidence of their carpets of sound, the subtle and finely balanced woodwinds, the double basses which murmur darkly at the very bottom of their register – all effuse a feeling of consecration and peaceful transfiguration in this concerto, a concerto which has never seen its like in two centuries.\u003c\/p\u003e\n\u003cp\u003eThe balance engineers achieved a remarkable feat when documenting this epoch-making work, for this recording is certainly one of the very best to come from Deutsche Grammophon in the Sixties\u003cstrong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eDiscogs \u003c\/span\u003e:\u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e4,86\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5  , \u003c\/span\u003e\u003cspan\u003eRate Your Music \u003c\/span\u003e: \u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e3,98\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40424958460055,"sku":"SLPM 138999","price":38.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/beethoven-concerto-for-violin-and-orchestra-wolfgang-schneiderhan-eugen-jochum-audiosoundmusic-1.jpg?v=1719851761"},{"product_id":"rodrigo-concierto-de-aranjuez-concierto-andaluz-neville-marriner","title":"Rodrigo - Concierto de Aranjuez, Concierto Andaluz - Neville Marriner","description":"\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eJoaquín Rodrigo - \u003c\/span\u003eConcierto de Aranjuez, Concierto Andaluz\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003ePepe Romero (guitar) and the Academy of St. Martin-in-the-Fields conducted by Sir Neville Marriner\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\u003eRecord Press : Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Speakers Corner\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Philips\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eRecording: July \/ August 1978 by Wilhelm Hellweg\u003cbr\u003e\u003cbr\u003eProduction: Wilhelm Hellweg\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eOriginally released in 1979\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eReissued in 1995\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 : Concierto de Aranjues\u003c\/p\u003e\n\u003cp\u003eSide B : Concierto Andaluz\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe frenetic applause with which both the public and the experts greeted the Concierto de Aranjuez for guitar and orchestra, composed in 1940, is certainly astounding – one would have thought that 20th-century music was dominated chiefly by composers of twelve-tone music and the avantguardists. Rodrigo, however, remained faithful to the Classical three-movement form, employed a late-Romantic orchestral colouring, and followed in the tradition of Spanish composers who, perhaps more than any others, won their inspiration from the folkmusic of their native country.\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eThe whole work is full of the exotic magic of Spanish folkmusic, whereby the rhythmic drive of the first movement – reminiscent of clicking castanets – is particularly fascinating. Fortunately not only the composer but also the conductor and orchestra have taken care that the gentle tones produced by the world famous guitarist Pepe Romero are clearly to be heard.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIn addition, the listener is treated to a performance of the rarely recorded Concierto Andaluz for four guitars, composed in 1967. Once again the Romeros demonstrate that they are not only amazingly virtuosic musicians but are also worthy dedicatees of this unique work.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eLast but not least, PHILIPS balance engineers have produced a superb recording: Rodrigo himself was absolutely delighted with it – and this opinion one can well endorse.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eDiscogs \u003c\/span\u003e: \u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e4,30\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5  , \u003c\/span\u003e\u003cspan\u003eRate Your Music \u003c\/span\u003e: \u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e4,00\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40425071804567,"sku":"9500563","price":45.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/rodrigo-concierto-de-aranjuez-concierto-andaluz-neville-marriner-audiosoundmusic-1.jpg?v=1719851761"},{"product_id":"carl-orff-carmina-burana-eugen-jochum","title":"\u003ctranscy\u003eCarl Orff - Carmina Burana – Eugen Jochum\u003c\/transcy\u003e","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003c\/strong\u003e\u003cstrong data-mce-fragment=\"1\"\u003eGundula Janowitz (\u003cspan data-mce-fragment=\"1\"\u003esoprano) \u003c\/span\u003e, Gerhard Stolze (tenor), Dietrich Fischer-Dieskau (baryton)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eChorus – Chor Der Deutschen Oper Berlin, Schöneberger Sängerknaben\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eChorus Master Walter Hagen-Groll and Gerhard Hellwig\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eOrchestra of the Deutsche Oper Berlin conducted by Eugen Jochum\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, gatefold sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Speakers Corner\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Deutsche Grammophon\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eRecorded October 1967 at the Ufa Studio, Berlin by Klaus Scheibe\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineered by Klaus Scheibe\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Gustav Rudolf Sellner and Dr. Hans Hirsch\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLiner Notes by Karl Schumann\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eOriginally released in 1968\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eReissued June 1985\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\u003e''O Fortuna'' ~ Carmina Burana \/ Fortuna Imperatrix Mundi\u003c\/li\u003e\n\u003cli\u003e''Fortune plango vulnera'' ~ Carmina Burana \/ Fortuna Imperatrix Mundi\u003c\/li\u003e\n\u003cli\u003e''Veris leta facies'' ~ Carmina Burana \/ 1. Primo vere\u003c\/li\u003e\n\u003cli\u003e''Omnia Sol temperat'' ~ Carmina Burana \/ 1. Primo vere\u003c\/li\u003e\n\u003cli\u003e''Ecce gratum'' ~ Carmina Burana \/ 1. Primo vere\u003c\/li\u003e\n\u003cli\u003eDance ~ Carmina Burana \/ Uf dem Anger\u003c\/li\u003e\n\u003cli\u003e''Floret silva nobilis'' ~ Carmina Burana \/ Uf dem Anger\u003c\/li\u003e\n\u003cli\u003e''Chramer, gip die varwe mir'' ~ Carmina Burana \/ Uf dem Anger\u003c\/li\u003e\n\u003cli\u003e''Swaz hie gat umbe'' - ''Chume, chum geselle min'' ~ Carmina Burana \/ Uf dem Anger\u003c\/li\u003e\n\u003cli\u003e''Were diu werlt alle min'' ~ Carmina Burana \/ Uf dem Anger\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003e''Estuans interius'' ~ Carmina Burana \/ 2. In Taberna\u003c\/li\u003e\n\u003cli\u003e''Olim lacus colueram'' ~ Carmina Burana \/ 2. In Taberna\u003c\/li\u003e\n\u003cli\u003e''Ego sum abbas'' ~ Carmina Burana \/ 2. In Taberna\u003c\/li\u003e\n\u003cli\u003e''In taberna quando sumus'' ~ Carmina Burana \/ 2. In Taberna\u003c\/li\u003e\n\u003cli\u003e''Amor volat undique'' ~ Carmina Burana \/ 3. Cour d'amours\u003c\/li\u003e\n\u003cli\u003e''Dies, nox et omnia'' ~ Carmina Burana \/ 3. Cour d'amours\u003c\/li\u003e\n\u003cli\u003e''Stetit puella'' ~ Carmina Burana \/ 3. Cour d'amours\u003c\/li\u003e\n\u003cli\u003e''Circa mea pectora'' ~ Carmina Burana \/ 3. Cour d'amours\u003c\/li\u003e\n\u003cli\u003e''Si puer cum puellula'' ~ Carmina Burana \/ 3. Cour d'amours\u003c\/li\u003e\n\u003cli\u003e''Veni, veni, venias'' ~ Carmina Burana \/ 3. Cour d'amours\u003c\/li\u003e\n\u003cli\u003e''In trutina'' ~ Carmina Burana \/ 3. Cour d'amours\u003c\/li\u003e\n\u003cli\u003e''Tempus est iocundum'' ~ Carmina Burana \/ 3. Cour d'amours\u003c\/li\u003e\n\u003cli\u003e''Dulcissime'' ~ Carmina Burana \/ 3. Cour d'amours\u003c\/li\u003e\n\u003cli\u003e''Ave formosissima'' ~ Carmina Burana \/ Blanziflor et Helena\u003c\/li\u003e\n\u003cli\u003e''O Fortuna'' ~ Carmina Burana \/ Fortuna Imperatrix Mundi\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eSung by world renowned soloists and conducted by the legendary Eugen Jochum, this recording of Carl Orff's Carmina Burana was authorised by the composer himself. It follows, therefore, that the present recording met with the high requirements of the composer himself and so represents an unusual collector's item. Orff intended not just to copy the medieval lyrics but to express the mood of that era. His highly rhythmic compositional style reflects the archaic character of the vocal line. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe listener experiences not only the vital primordial pulse of the music in this thrilling interpretation but also the mystery of Fate through the tender lyrical passages.\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eOrff's homage to wine, women and song of the Middle Ages, closely bound up with spring and love, is supported by balanced and precise sound technology. The listener is spirited away to the musical world of Carmina Burana by this recording.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eDiscogs \u003c\/span\u003e: \u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e4,43\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5  , \u003c\/span\u003e\u003cspan\u003eRate Your Music \u003c\/span\u003e: \u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e3,82\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40425285550231,"sku":"SLPM 139362","price":65.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/carl-orff-carmina-burana-eugen-jochum-audiosoundmusic-1.jpg?v=1719851769"},{"product_id":"schubert-symphony-no-9-josef-krips","title":"\u003ctranscy\u003eSchubert - Symphonie n° 9 - Josef Krips\u003c\/transcy\u003e","description":"\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eFranz Schubert : Symphony No. 9 (\"The Great\")\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eLondon Symphony Orchestra conducted by Josef Krips\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Speakers Corner\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Decca\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eRecording: May 1958 at Kingsway Hall in London by Kenneth E. Wilkinson\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eProduction: Erik Smith\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eOriginally released in 1958\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eReissued in 1994\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eTracks :\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eFirst Movement: Andante - Allegro Ma Non Troppo\u003c\/li\u003e\n\u003cli\u003eSecond Movement: Andante Con moto\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eThird Movement: Scherzo\u003c\/li\u003e\n\u003cli\u003eFourth Movement: Allegro Vivace\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThis is Schubert’s longest symphony, and its music has been described as heavenly. The symphony is typically and specifically Schubertian in its form, occupying a position in the history of music between Beethoven, Bruckner and Mahler – right on the threshold which separates classicism from romanticism.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003cspan\u003eIt is hard to say if Josef Krips ever succeeded in making a finer recording. The presentation has a direct, unforced spontaneity, confirming that Krips had an intuitive understanding of Schubert’s compositions. The orchestra plays with dynamic vivacity without ever sounding aggressive. The interpretation of the two final movements is delightful in its airy exhilaration: swaying in a dance-like rhythm, tripping lightly through virtually every key there is, and in between, in the Scherzo, the gravity of the trio. The Finale, again, is merry in character with triplets rushing past, and the listener revels in every single repetition as the magnificence of this work reveals itself.\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eThe inspired orchestra does full justice to the music and renders an interpretation in the Viennese tradition at its very best.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003cspan\u003eThis recording simply cannot be surpassed in terms of performance or sound quality – it is a must not only for the lover of Schubert’s music.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eDiscogs \u003c\/span\u003e: \u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e4,50\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40425754165399,"sku":"SXL 2045","price":55.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/schubert-great-c-major-symphony-symphony-no-9-josef-krips-audiosoundmusic-1.jpg?v=1719851769"},{"product_id":"grieg-peer-gynt-oivin-fjeldstad","title":"Grieg - Peer Gynt - Øivin Fjeldstad","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eEdvard Hagerup Grieg -\u003c\/span\u003e “Peer Gynt” op. 23 \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eLondon Symphony Orchestra conducted by Øivin Fjeldstad\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Speakers Corner\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Decca\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eRecording: Februar 1958 at Kingsway Hall, London by Cyril Windeback\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eProduction: Christopher Raeburn\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eOriginally released in 1958\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eReissued in 1993\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eTracks :\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003cp\u003e                1. Prelude, Op. 23, No. 1\u003c\/p\u003e\n\u003cp\u003e                2. Morning Mood, op. 23, No. 13\u003c\/p\u003e\n\u003cp\u003e                3. The Death of Ase, Op. 23, No. 12\u003c\/p\u003e\n\u003cp\u003e                4. Anitra's Dance, Op. 23, No. 16\u003c\/p\u003e\n\u003cp\u003e                5. In the Hall of the Mountain King, Op. 23, No. 7\u003c\/p\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003cp\u003e                1. Ingrid's Abduction and Lament, Op. 23, No. 4\u003c\/p\u003e\n\u003cp\u003e                2. Arab's Dance, Op. 23, No. 15\u003c\/p\u003e\n\u003cp\u003e                3. Peer Gynt's Home-Coming, Op. 23, No. 19\u003c\/p\u003e\n\u003cp\u003e                4. Solvejg's Song, Op. 23, No. 11\u003c\/p\u003e\n\u003cp\u003e                5 .Dance of the Mountain King's Daughter, Op. 23, No. 8\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eNo matter how often one hears it, who can ever fail to enjoy “Morning Mood” from Peer Gynt, the incidental music which Grieg wrote for Henrik Ibsen’s play of the same name. And who can fail to want to accompany the hero on his musical journey through the uncanny world of gnomes and trolls and the seductive exoticism of the Orient, and to return to the stillness of the North after a long sea voyage? \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAnd who better to capture the magic of romantic Scandinavian music than Grieg’s compatriot, the unforgettable Øivin Fjeldstad, under whose baton the London Symphony Orchestra conjures up the highly changeable moods with a rare forceful presence.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe velvet-smooth, highly sonorous strings play with delicately shaded dynamics and impressive spatiality, while the wonderfully gentle winds transport the listener to the atmosphere of the concert hall. There’s no escaping this music; once you have sat down to listen to it, it will hold you enraptured right up to the very last note.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eDiscogs \u003c\/span\u003e: \u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e4,50\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40426273079447,"sku":"SXL 2012","price":76.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/grieg-peer-gynt-oivin-fjeldstad-audiosoundmusic-1.jpg?v=1719851775"},{"product_id":"dvorak-the-new-world-symphony-istvan-kertesz","title":"\u003ctc\u003eAntonin Dvorak - La Symphonie du Nouveau Monde - Istvan Kertész (Speakers Corner)\u003cbr\u003e\u003c\/tc\u003e","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003eAntonin Dvorák - Symphony No. 9 “From the New World”\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eVienna Philharmonic Orchestra conducted by Istvan Kertész\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Speakers Corner\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Decca\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eRecording: March 1961 at Sofiensaal, Vienna by James Brown\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eProduction: Ray Minshull\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eOriginally released in 1961\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eTracks :\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eAdagio - Allegro Molto\u003c\/li\u003e\n\u003cli\u003eLargo\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eScherzo (Molto Vivace)\u003c\/li\u003e\n\u003cli\u003eAllegro Con Fuoco\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e\u003cspan\u003eReviews :\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eDvorák’s long experience with classical forms finds its culmination in his final symphony, whose first performance took place in New York in 1893. The work still enjoys an unwaning popularity thanks to its finely contoured orchestration and its original themes, all of which are based on American folksongs and negro spirituals.\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eTo capture Dvorák’s score in sound has always proved a challenge for both orchestra and recording team. T\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003ehis aim has been more than fulfilled in the present recording with the Vienna Philharmonic Orchestra led by István Kertész: the primeval power of the weighty brass, the glorious revelling of the strings, and the lyrical solo passages are all captured here. Musicianship of the highest degree combined with audio-technical perfection lend this recording, made in the early days of stereophony, the status of an historical sound document which, despite numerous other recordings, has no reason to fear competition.\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\u003e5,00\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40426477060247,"sku":"SXL 2289","price":65.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/antonin-dvorak-the-new-world-symphony-istvan-kertesz-speakers-corner-audiosoundmusic-1.jpg?v=1719851775"},{"product_id":"thelonious-monk-something-in-blue","title":"Thelonious Monk - Something In Blue","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\u003eThelonious Monk - piano \u003cspan data-mce-fragment=\"1\"\u003e\u003ca data-mce-fragment=\"1\" title=\"vinyl featuring Thelonious Monk\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/thelonious-monk\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/thelonious-monk\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"color: #ff8000;\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Thelonious Monk]\u003c\/span\u003e\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAl McKibbon - bass\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e Art Blakey - drums \u003cspan data-mce-fragment=\"1\" style=\"color: #ff8000;\" data-mce-style=\"color: #ff8000;\"\u003e\u003ca data-mce-fragment=\"1\" style=\"color: #ff8000;\" title=\"Vinyl featuring Art Blakey\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/art-blakey\" target=\"_blank\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/art-blakey\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003evinyl featuring Art Blakey]\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eComposed by Thelonious Monk, except A3 composed by Ira \u0026amp; George Gershwin\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eLimited edition\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Pure Pleasure Records\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Black Lion\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded November 15, 1971 at Chappell Studios, London.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan face=\"Times New Roman\"\u003eRecording engineer: John Timperley\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e Producer: Alan Bates\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRe-mastering by: Ray Staff at Air Mastering, Lyndhurst Hall, London\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 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\u003e Side A :\u003c\/p\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e1.Blue Sphere\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e2.Hackensack\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e3.Nice Work If You Can Get It\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e4.Criss Cross\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e1. Something in Blue\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e2. Evidence\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e3. Jackie-ing\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e4. Nutty\u003c\/div\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan face=\"Times New Roman\"\u003e\u003cstrong\u003e\u003cbr\u003eReviews\u003c\/strong\u003e :\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan face=\"Times New Roman\"\u003eAlan Bates took Thelonious Monk into the studio for his first trio recording in fifteen years with his old sidekick Art Blakey. It has been said often enough that Blakey is the ideal drummer for Monk, and one has only to hear them together again after all this time to realize the truth of the statement. If Blakey at times seems to push the pianist almost too hard, that is in fact the nature of their musical relationship. And, throughout the session, Blakey appeared to be vying with the producer in alternately cajoling and coercing Monk into fulfilling various requests from the small invited audience.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan face=\"Times New Roman\"\u003eThe suggestion of recording Criss Cross had been hanging in the air for at least an hour-and-a-half when Monk suddenly interrupted a conversation between Blakey and photographer David Redfern by launching into the intro. He stays pretty close to the theme, but what a theme it is! The melodic balance of the first four bars is something that could probably only be expressed diagramatically, while the following phrase is a kind of contracted mirror-image of the same idea.. And Al McKibbon certainly knows what he's doing because he was on the 1951 recording as well.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan face=\"Times New Roman\"\u003eMonk positively hammers out Jackie-ing (a tune dedicated to his niece) written originally for a 1959 Quintet date for Riverside and prominently featured by Thelonious with his Quartet on world tours during the sixties. Nutty is vintage Monk, dating back to 1954 when it was first recorded (in trio form with Art Blakey and Percy Heath) for Prestige. Blakey himself is in superb form throughout, propelling the whole number and himself into an exhilerating solo in the process.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cspan face=\"Times New Roman\"\u003eThe two outstanding performances here are probably the two spontaneous blues. Blue Sphere, which says a lot in a short space, begins with only one chord per bar in the left hand but with a very strong 2\/4 feel in the right, preparing one for the eventual stride pattern at a typical James P. Johnston tempo; this builds so well to the percussive finale, in which the rhythm is suspended once more, that Al McKibbon could not restrain his discreet applause. The slow Something in Blue, though it builds equally well to a climax, is more complex, alternating double-time with triplets and single notes with funky two-note chords in the right hand, while the left mixes stride with a relaxed boogie pattern. There is, too, an absolutely typical touch in the antepenultimate chorus, where the ascending bass line which has begun cropping up in the 10th bar of each chorus occurs this time in the 9th bar, only to be followed by a repeat in which everything\u003c\/span\u003e \u003cspan face=\"Times New Roman\"\u003eseems to fall on the wrong beat. This is a part sample of Brian Priestley’s excellent sleeve notes.\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eAllmusic : 3 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40535394517143,"sku":"PPAN BLPP30119","price":35.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/thelonious-monk-something-in-blue-audiosoundmusic-1.jpg?v=1719851813"},{"product_id":"stacey-kent-close-your-eyes","title":"Stacey Kent - Close Your Eyes (2LP)","description":"\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\u003eStacey Kent - vocals \u003cspan style=\"color: #ff8000;\"\u003e\u003ca title=\"Vinyl featuring Stacey Kent\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/stacey-kent\" style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/stacey-kent\"\u003e[click here to see more vinyl featuring Stacey Kent]\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eJim Tomlinson (saxophone), Colin Oxley (guitar), David Newton (piano), Andrew Cleyndert (bass), Steve Brown (drums).\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eWritten by Edward Eliscu (A1), Billy Rose (A1), Vincent Youmans (A1), Cole Porter (A2, B2), Bernice Petkere (A3), Mack Gordon (B1), Harry Revel (B1), Tom Adair (B3), Hal Hopper (B3), Jerome Kern (C1), Johnny Mercer (C1, D2), Fred Coots (C2), Haven Gillespie (C2), Walter Donaldson (C3), Alan Bergman (D1), Marilyn Bergman (D1), Lew Spence (D1), Rube Bloom (D2)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eAll arrangements by Jim Tomlinson except A2 by Colin Oxley\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\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\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Unspecified\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Pure Pleasure Records\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Candid\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded at Curtis Schwartz Studios, Sussex England on November 18 \u0026amp; 19, 1996\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecording Engineer : Curtis Schwartz\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Elliot Meadow\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by Ray Staff at Air Mastering, Lyndhurst Hall, London\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in July 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 data-mce-fragment=\"1\"\u003e Side A\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eMore Than You Know\u003c\/li\u003e\n\u003cli\u003eDream Dancing\u003c\/li\u003e\n\u003cli\u003eThere's No You\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eThere's A Lull in My Life\u003c\/li\u003e\n\u003cli\u003eIts Delovely\u003c\/li\u003e\n\u003cli\u003eClose Your Eyes\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide C\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eI'm Old Fashioned\u003c\/li\u003e\n\u003cli\u003eYou Go To My Head\u003c\/li\u003e\n\u003cli\u003eLittle White Lies\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide D\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eSleep Warm\u003c\/li\u003e\n\u003cli\u003eDay In - Day Out\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e:\u003cbr\u003e\u003cbr\u003e« Stacey Kent has a very appealing voice, and her delivery is full of joy, enthusiasm, and subtle creativity. Sticking mostly to veteran standards on this CD (only \"Sleep Warm\" was written after the 1950s), Kent sounds delightful while joined by a fine mainstream quintet. Jim Tomlinson contributes some tenor solos reminiscent in tone of Stan Getz, and pianist David Newton and guitarist Colin Oxley also get some solo space. Such songs as \"More Than You Know,\" \"There's a Lull in My Life,\" \"There's No You,\" and \"Little White Lies\" are all uplifted, making this a very easy CD to enjoy and Stacey Kent a voice to look for in the future. » AllMusic Review by Scott Yanow\u003c\/p\u003e\n\u003cp\u003e« From 1997.Ken't debut,backed by a quintet with husband Jim Tomlinson on sax,and it's remarkable. Ok, she was a late start at the ripe age of 30, but she's paid her dues at Ronnie Scott's.\u003c\/p\u003e\n\u003cp\u003eApparently Humprey lyttelton herard her demos, which arrived unannounced, and became a champion of this New Jersey-born jazz singer. You can hear why,as she works through 11 less-covered selections from the Great American songbook, remarking in a Billboard interview, \"with this album i was trying to give a mixture of things that people know and gems that got lost, songs that might get missed out of the great standard repertoire'. WOW, did it pay off. » HIFI News Sept issue By Ken Kessler\u003c\/p\u003e\n\u003cp\u003e\"It was one day in 1996 when a demo set turned up in my BBC post-bag, one of many that I receive in my capacity of jazz radio presenter. The singer's name, Stacey Kent, was new to me, and the cassette sat on my desk for weeks taunting my conscience until, faced with a long car trip, I gathered it up with a variety of other tapes and transferred it to my car. On the road, it happened to be the first tape I picked up from the heap on the passenger seat — and the last. The singing held me riveted for the rest of the outgoing journey and throughout the return trip the next day. Now the invitation to write a note for this debut album calls upon me to analyse the cause of this rush of enthusiasm to the head.\u003c\/p\u003e\n\u003cp\u003e\"Let's start with the 'feel.' Stacey Kent grew up in New York, exposed to the music of Frank Sinatra, Nat 'King' Cole, and the jazz masters of the Swing Era. Before she thought of adopting a singing career, she had come to love the repertoire of American popular song, much of which had been established decades before she was born. And it shows in every note she sings.\u003c\/p\u003e\n\u003cp\u003e\"The next stage in my analysis leads me to 'style,' that elusive quality which identifies an artist's handling of the subject matter. Many popular songs through the ages have survived as 'standards' largely through the attention of jazz or jazz-influenced performers. To appreciate Stacey's command of style, listen to 'Day in, Day Out' and hear the natural ease with which she varies the recurring pattern of the song's title.\u003c\/p\u003e\n\u003cp\u003e\"Swing, elegant variation, impeccable pitch and diction — these are all the stock in-trade of an accomplished jazz singer, and to combine them all is an achievement in itself. What makes Stacey Kent so remarkable is her 'sound.' The voice itself is an impressive instrument, in pitch and timbre coming closer to Mildred Bailey than to her acknowledged idols, Billie Holiday and Ella Fitzgerald. Strong and clear, it has the invigorating tang of Vermouth.\u003c\/p\u003e\n\u003cp\u003e\"Of course, all the magic hitherto described could be subverted by inappropriate or insensitive accompaniment.\u003c\/p\u003e\n\u003cp\u003e\"Stacey is richly served by her quintet here. The partnership between her voice and Jim Tomlinson's tenor saxophone is sublime. The latter captures the spirit rather than the substance of Lester Young, whose way it was, not to expand a tune with complex harmonic exploration, but to probe for the essence of it. Listening to Jim's solos such as in 'Sleep Warm,' the irrelevant padding, no pressing need to launch into paraphrase until the moment is ripe.\u003c\/p\u003e\n\u003cp\u003e\"So perfect is the integration of the group as a whole that, as a rhythm section David Newton, Colin Oxley, Andy Cleyndert and Steve Brown respond with faultless sensitivity, born of experience, to the mood of each song. Solos everywhere are of the highest class, with 'Dream Dancing' especially evoking intoxicating stuff from piano and guitar. For me, nothing sums up the rapport and cohesion of the team more concisely than the warmly relaxed bossa nova treatment of 'Close Your Eyes' — a shameless exercise in group seduction.\u003c\/p\u003e\n\u003cp\u003e\"I can't conceive of a more auspicious debut than this.\" — Humprey Lyttelton, liner notes\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eAllMusic : 3 \/ 5 , HIFI News : Sound 9\/10  ,  \u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40536758321303,"sku":"CJS9737","price":52.5,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/stacey-kent-close-your-eyes-2lp-audiosoundmusic-1.jpg?v=1719851848"},{"product_id":"tubby-hayes-tubbys-new-groove","title":"Tubby Hayes - Tubby's New Groove (Mono)","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan data-mce-fragment=\"1\" lang=\"EN-US\"\u003eTubby Hayes (T\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\" lang=\"EN-US\"\u003eenor saxophone), Terry Shannon (Piano), \u003cspan data-mce-fragment=\"1\" lang=\"EN-US\" id=\"yui_3_13_0_1_1384370429265_19054\"\u003eJeff Clyne (Bass), Phil Seaman (Drums).\u003c\/span\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan data-mce-fragment=\"1\" lang=\"EN-US\"\u003eWritten by \u003c\/span\u003e\u003c\/strong\u003e\u003cstrong\u003eCharlie Parker (A1, A2), Dizzy Gillespie (A1), Tubby Hayes (A3, B2), Alex Alstone (B1), Jack Lawrence (B1), Hugh Martin (B2), Ralph Blaine (B2), Luiz Bonfá (B3), Antônio Carlos Jobim (B3)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMono\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Unspecified\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Pure Pleasure Records\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Candid\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded at: Decca Studios, Broadhurst Gardens,West Hampstead, London , December 1959\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal sessions produced by Tony Hall\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTape restoration by Malcolm Addey\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRe-mastering by Ray Staff at Air Mastering, Lyndhurst Hall, London U.K\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced for release by Alan Bates\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 2011\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in Nov 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\u003e Side A :\u003c\/p\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e1. Tin Tin Deo (Dizzy Gillespie, Charlie Parker)\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e2. Visa (Charlie Parker)\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e3. Supper At Phil’s (Tubby Hayes)\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e1. Symphony (Alex Alstone, Jack Lawrence)\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e2. Hook’s Way (Tubby Hayes)\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e3. The Trolley Song (Ralph Blane, Hugh Martin)\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e« Pure Pleasure Records has re-mastered this mono recording with great detail and texture. Hayes’ saxophone is fluid and balances richness of sound with raw sensibility. The overall mix is very good, and the volume levels are steady. Simon Spillett’s 2010 liner notes on these sessions and the 1950s British jazz scene are entertaining and incisive. » Audiophile Review from Robbie Gerson\u003c\/p\u003e\n\u003cp\u003e\"Today jazz is distinctly international. In the mid-twentieth century there were very few European jazz players. But they listened to records and were treated to live performances by expatriated Americans.  The transcendent bop movement with pioneers like Dizzy Gillespie, John Coltrane and Charlie Parker inspired a generation of European jazzmen. In England a new breed of former big band musicians were matriculating into this trail-blazing jazz movement. Among them were saxophonist Ronnie Scott, trumpeter Jimmy Deuchar and a young tenor saxophonist, Tubby Hayes.\u003c\/p\u003e\n\u003cp\u003eThe son of a BBC violinist, Hayes studied violin and piano before taking up the tenor saxophone. Like many British jazz musicians, he got his start in big bands.  Eventually he formed a group with Scott called\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eThe Jazz Couriers\u003c\/i\u003e. They would become the most celebrated of British Modern Jazz groups. He worked in the United States with the likes of Clark Terry, James Moody, Roland Kirk and many others. He returned to England, but struggled (as did most of the British jazz stars) to sustain commercial viability. But his prowess as a soloist was impossible to hide. Four decades after his death, Tubby Hayes recordings are being re-issued and in some case re-discovered.\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003eTubby’s New Groove\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003ewas resurrected from the personal effects of industry veteran Alfred Lion. These tracks were recorded in 1959 as part of the debut album,\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eTubby’s Groove\u003c\/i\u003e. Hidden in the relative obscurity of the U.K. in the late 1950s it is a rare look at the seminal performer of an under-appreciated British jazz scene. Playing in a quartet (Terry Shannon\/piano; Jeff Clyne\/double bass; Phil Seaman\/drums), Hayes’ tenor saxophone is brilliant. The opening cut is a re-working of the Dizzy Gillespie\/Charlie Parker romp, “Tin Tin Deo”. After a moody exotic intro, the quartet (The liner notes reference that Stan Getz called this type of instrument configuration equivalent to a classical string quartet.) morphs into fluid bop phrasing. Hayes’ bluesy swing notation is exemplary. He is capable of caressing a delicate melody or propelling the up tempo jam. Taking on another Parker composition (“Visa”), the tenor solos are exhilarating with\u003cspan\u003e \u003c\/span\u003e\u003ci\u003esyncopated\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003etime signatures (the rhythm section is cohesive and anchors the sax explorations). Shannon adds a radiant piano solo, showcasing his versatility. The band interacts with dexterity on the original number “Supper At Phil’s”. Clyne helps out with a bass groove, and drummer Seaman contributes some flashy\u003cspan\u003e \u003c\/span\u003e\u003ci\u003edrum breaks\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003eand a solo. The overall vibe feels like a live performance.\u003c\/p\u003e\n\u003cp\u003eSide 2 begins with a straight ahead arrangement of a World War II opus, “Symphony”. Hayes’ playing is confident and colorful. But the highlight of this piece is the extended unaccompanied solo on tenor. It is difficult to keep up with the fast-paced improvisations. The transition to a soulful, bluesy piano solo is an attention-grabber. The second original composition (“Hook’s Way”) approximates a tougher blues vamp with modernistic time signatures. The quartet sounds edgy and tough as the Clyne\/Seaman tandem counters the “big” sax tonality. Often talented jazz artists will take a renowned vocal-driven popular song and completely re-invent it. That is the case with “The Trolley Song”. Sparked by a furious drum intro, Hayes unleashes a relentless assault on the standard. His passionate, creative soloing and\u003cspan\u003e \u003c\/span\u003e\u003ci\u003echorus extension\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003eis both challenging and inspired. It is essential jazz, pushing the constructs of a song to liberate melodic contexts. Despite the intensity of the instrumentation, the core of the song remains.\u003c\/p\u003e\n\u003cp\u003ePure Pleasure Records has re-mastered this mono recording with great detail and texture. Hayes’ saxophone is fluid and balances richness of sound with raw sensibility. The overall mix is very good, and the volume levels are steady. Simon Spillett’s 2010 liner notes on these sessions and the 1950s British jazz scene are entertaining and incisive.\" Audiophile Audition review by John Sunier\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\" class=\"published\"\u003eMarch 13, 2014\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\" class=\"published\"\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eRatings\u003c\/strong\u003e :\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\" class=\"published\"\u003eDiscogs : 4.64 \/ 5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40538076479639,"sku":"CJS9554","price":35.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/tubby-hayes-tubby-s-new-groove-mono-audiosoundmusic-1.jpg?v=1719851860"},{"product_id":"headshell-ortofon-lh-10000","title":"\u003ctranscy\u003ePorte-cellule ORTOFON LH 10000\u003c\/transcy\u003e","description":"\u003ctranscy\u003e\u003cp\u003eLe LH-10000 est un porte-cellule d'une qualité exceptionnelle fabriqué à partir d'un alliage d'aluminium haute performance avec du zinc comme élément d'alliage principal. L'alliage d'aluminium utilisé pour le LH-10000 est solide, avec une résistance comparable à celle de l'acier. Il a une bonne résistance à l'usure et une bonne usinabilité, mais offre une meilleure résistance à la corrosion que de nombreux autres alliages d'aluminium.\u003c\/p\u003e\n\u003cp\u003eLH-10000 comporte une fente usinée avec précision sur la plaque supérieure. Une pièce en composé spécial TPE (Thermo-Plastic Elastomer) exclusif d'Ortofon avec d'excellentes propriétés d'amortissement est intégré dans la fente. Le LH-10000 intègre une technologie d'amortissement similaire aux bras de lecture Ortofon TA-110 \/ TA-210 et à la cellule Xpression, favorisant une réduction supplémentaire des résonances indésirables.\u003c\/p\u003e\n\u003cp\u003eApplication du LH-10000\u0026nbsp;:\u0026nbsp;\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eLH-10000 est équipé de l'ensemble des fils conducteurs les plus sophistiqués identiques à Ortofon LW-800S, composé d'argent pur et de fil recouvert d'argent. Le fil recouvert d'argent transmet des signaux de tonalité très clairs, ce qui apporte une tonalité brillante.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cul\u003e\n\u003cli\u003eLH-10000 est parfait pour une variété de cellules haut de gamme, y compris les MC Anna, MC Anna Diamond, MC A95, MC Windfeld Ti, Cadenza Series, par exemple Cadenza Bronze ainsi que les séries historiques MC A90, MC Windfeld, MC Century, Kontrapunkt et MC Jubilee.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cul\u003e\n\u003cli\u003eLa conception et les dimensions du LH-10000 offrent une solution élégante et virtuellement plug and play entre l'une de ces cellules Ortofon High-End et nos bras TA-110 \/ TA-210\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cul\u003e\n\u003cli\u003eLH-10000 est réglable en azimut, ce qui permet une séparation optimale des canaux\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u0026nbsp;\u003c\/p\u003e\n\u003cp\u003eDonnées techniques du LH-10000\u0026nbsp;:\u0026nbsp;\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eAlliage d'aluminium haute performance avec du zinc\u003c\/li\u003e\n\u003cli\u003eTrous de montage diam. - 2,7 mm\u003c\/li\u003e\n\u003cli\u003ePoids sans vis - 14,5 grammes\u003c\/li\u003e\n\u003cli\u003eDistance de montage - 42\u0026nbsp;mm\u003c\/li\u003e\n\u003cli\u003eLongueur du porte-cellule - 52,0\u0026nbsp;mm\u003c\/li\u003e\n\u003cli\u003eLargeur du porte-cellule - 19,4\u0026nbsp;mm\u003c\/li\u003e\n\u003c\/ul\u003e\u003c\/transcy\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40675450093719,"sku":"AC-EQ-H10","price":383.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/ortofon-lh-10000-headshell-audiosoundmusic-1.jpg?v=1719851878"},{"product_id":"project-record-puck-brass","title":"\u003ctc\u003e\u003ctranscy\u003ePalet presseur - Pro-ject Laiton Noir\u003c\/transcy\u003e\u003c\/tc\u003e","description":"\u003ctc\u003e\u003ctranscy\u003e\n\u003ch2 data-mce-fragment=\"1\"\u003e\u003cstrong\u003eCe palet presseur assure un ajustement ferme entre le disque et la surface du plateau\u003c\/strong\u003e\u003c\/h2\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eCe pallet presseur utilise le poids pour fixer le vinyle contre le plateau de la platine. En maintenant les deux ensembles, les performances sonores de la platine s'améliorent, en termes de synchronisation et de profondeur du son.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eNous vous recommandons d'utiliser des pallet presseur sur les platines des séries RPM, Signature et Xtension.\u003c\/p\u003e\n\u003cp\u003eL'autre moyen d'obtenir cet effet sur les petites platines est le pallet presseur Clamp it\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u0026nbsp;\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFonctionnalités et spécifications techniques\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eRéduit les vibrations indésirables\u003c\/li\u003e\n\u003cli\u003eAide à une lecture optimale des vinyles déformés\u003c\/li\u003e\n\u003cli\u003eLivré dans une boîte en bois\u003c\/li\u003e\n\u003cli\u003ePoids de 800\u0026nbsp;g\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cul\u003e\u003c\/ul\u003e\n\u003c\/transcy\u003e\u003c\/tc\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40675471458455,"sku":"AC - EQ - RC5","price":69.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/pro-ject-record-puck-brass-black-audiosoundmusic-1.jpg?v=1719851887"},{"product_id":"copy-of-project-record-puck-brass-gold","title":"\u003ctc\u003e\u003ctranscy\u003ePalet presseur - Pro-ject laiton doré\u003c\/transcy\u003e\u003c\/tc\u003e","description":"\u003ctc\u003e\u003ctranscy\u003e\n\u003ch2 data-mce-fragment=\"1\"\u003e\u003cstrong\u003eCe palet presseur assure un ajustement ferme entre le disque et la surface du plateau\u003c\/strong\u003e\u003c\/h2\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eCe pallet presseur utilise un poids pour fixer le vinyle contre le plateau de la platine. En maintenant les deux ensemble, les performances sonores de la platine s'améliorent, en termes de synchronisation et de profondeur du son.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eNous vous recommandons d'utiliser des pallets presseurs sur les platines des séries RPM, Signature et Xtension.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eL'autre moyen d'obtenir cet effet sur les petites platines est le pallet presseur Clamp It\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFonctionnalités et spécifications techniques\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eRéduit les vibrations indésirables\u003c\/li\u003e\n\u003cli\u003eAide à une lecture optimale des vinyles déformés\u003c\/li\u003e\n\u003cli\u003eLivré dans un coffret en bois\u003c\/li\u003e\n\u003cli\u003eMatériau Laiton\u003c\/li\u003e\n\u003cli\u003ePoids : 800g\u003c\/li\u003e\n\u003cli\u003eDiamètre\u0026nbsp;: 780\u0026nbsp;mm\u003c\/li\u003e\n\u003cli\u003eHauteur\u0026nbsp;: 260\u0026nbsp;mm\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/transcy\u003e\u003c\/tc\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40675533389975,"sku":"AC - EQ - RC6","price":89.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/pro-ject-record-puck-brass-gold-audiosoundmusic.jpg?v=1719851887"},{"product_id":"damping-feet","title":"\u003ctc\u003ePieds isolateurs - Pro-ject Damp it HIGH END DAMPING FEET\u003c\/tc\u003e","description":"\u003ctc\u003e\u003ch2 data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003eEmpêche efficacement la transmission de vibrations indésirables pour un moindre coût\u003c\/b\u003e\u003c\/h2\u003e\n\u003cp data-mce-fragment=\"1\"\u003eLes composants audio peuvent être sensibles aux vibrations mécaniques, ce qui limite leurs performances haute fidélité. Pour éviter les vibrations de votre précieux équipement, les pieds Damp it sont une solution parfaite avec un effet maximal au prix le plus bas possible. Damp it offre des caractéristiques similaires à celles de son grand frère supérieur Absorb it, mais sans boîtier en aluminium haut de gamme. Conçu pour être placé sous les haut-parleurs d'étagère ou les pieds originaux d'équipements sensibles comme les platines, tous les lecteurs de disques, les amplificateurs à tubes et d'autres composants. Humide, il empêche la transmission des vibrations lorsqu'il est positionné sur des surfaces vibrantes comme le verre, le métal ou les panneaux de bois minces. Lorsque Damp est utilisé à la fois pour les enceintes d'étagère et la platine, vous pouvez jouer jusqu'à 30 % plus fort sans risque de retour acoustique. Les surfaces sont généralement excitées par des haut-parleurs, des subwoofers ou simplement par des émissions à basse fréquence causées par le trafic routier et les transformateurs. Les enceintes et presque tous les pieds des appareils audio, comme les platines, les amplificateurs, les lecteurs de disques ne sont pas conçus pour isoler suffisamment des plages de fréquences, qui comptent vraiment.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eDamp it se compose d'un matériau en caoutchouc synthétique de haute technologie, qui atténue une large gamme de fréquences allant de l'infrasonique à 500 Hz et empêche donc efficacement la transmission du son de structure. Il fonctionne comme un filtre subsonique électronique, mais sans en avoir les atouts et les inconvénients. De par sa conception intelligente et robuste, il peut être utilisé pour toutes les enceintes bibliothèque et tout équipement sensible de 3 ou 4 pieds et même avec des unités de masse élevée jusqu'à 20 kg !\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eCaractéristiques :\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003ePieds absorbants spéciaux pour un découplage efficace\u003c\/li\u003e\n\u003cli\u003eFabriqué à partir de TPE (élastomères thermoplastiques) de haute technologie\u003c\/li\u003e\n\u003cli\u003eÉvite la transmission des vibrations mécaniques\u003c\/li\u003e\n\u003cli\u003eOptimisé pour absorber les fréquences de 20 à 500 Hz\u003c\/li\u003e\n\u003cli\u003eSpécialement pour les enceintes de bibliothèque, les lecteurs de disques, les platines, les amplificateurs à tubes et plus\u003c\/li\u003e\n\u003cli\u003eAmélioration du son extrêmement rentable !\u003c\/li\u003e\n\u003cli\u003eDisponible à l'unité (en vrac) ou en paquet contenant 4 pièces\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e \u003c\/p\u003e\u003c\/tc\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40675734519959,"sku":"AC - EQ - LNF5","price":24.9,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/low-noise-feet-pro-ject-damp-it-high-end-damping-feet-audiosoundmusic-1.jpg?v=1719851887"},{"product_id":"stylus-cleaner-mofi-lp9","title":"\u003ctranscy\u003eNettoyeur de diamant Mofi LP9\u003c\/transcy\u003e","description":"\u003ctranscy\u003e\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eUn diamant sale s'interpose entre vous et votre musique. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eMobile Fidelity LP#9 est un nettoyant et lubrifiant pour diamant révolutionnaire,\u0026nbsp; facile à utiliser qui améliorera le son de votre système analogique tout en prolongeant la durée de vie de votre cellule phono.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003e Le LP #9 offre un son plus doux et sans grain et une durée de vie accrue du stylet tout en réduisant l'usure du disque. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eMobile Fidelity LP#9 est à la fois un nettoyant et un conservateur pour diamant.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003e Le liquide doit être utilisé avec parcimonie, et cette bouteille durera donc très longtemps. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eUne brosse de nettoyage douce pour stylet, qui protège le diamant tout en le gardant propre, est également incluse.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u0026nbsp;\u003c\/p\u003e\u003c\/transcy\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40675856449687,"sku":"AC - EQ - SC1","price":33.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/stylus-cleaner-mofi-lp9-audiosoundmusic-1.jpg?v=1719851887"},{"product_id":"anti-magnetic-precision-screws-project-mount-it","title":"\u003ctranscy\u003eVis de précision anti-magnétiques Pro-ject Mount it\u003c\/transcy\u003e","description":"\u003ctranscy\u003e\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eInstallation stable d'une cellule\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eCe jeu de vis de précision anti-magnétiques est essentiel pour un montage correct et stable d'une cellule.\u003c\/p\u003e\u003cp data-mce-fragment=\"1\"\u003e Avec Mount it, vous pourrez installer une multitude de types différents de cellules sur votre bras de lecture ou votre porte-cellule. \u003c\/p\u003e\u003cp data-mce-fragment=\"1\"\u003eUn montage correct et sûr d'une cellule est particulièrement important pour un son sans distorsion. \u003c\/p\u003e\u003cp data-mce-fragment=\"1\"\u003eLes vis anti-magnétiques du kit Mount it garantissent qu'aucune interaction électrique avec les bobines et les aimants des cellules ne se produit.\u003c\/p\u003e\u003cp data-mce-fragment=\"1\"\u003e Grâce à cela, la cellule peut fonctionner proprement et précisément. \u003c\/p\u003e\u003cp data-mce-fragment=\"1\"\u003eLe Mount it se compose de trois vis de tailles différentes pour s'assurer que toutes les cellules courantes sont couvertes.\u003c\/p\u003e\u003cp data-mce-fragment=\"1\"\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cb\u003eCaractéristiques\u0026nbsp;\u003c\/b\u003e:\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eFait d'acier inoxydable\u003c\/li\u003e\n\u003cli\u003eMontage parfaitement stable d'une cellule\u003c\/li\u003e\n\u003cli\u003eTrois tailles différentes\u003c\/li\u003e\n\u003cli\u003eIncluant la clé Allen\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cb\u003eDonnées \u003c\/b\u003etechniques\u0026nbsp;:\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e2\u0026nbsp;vis Allen de 5\u0026nbsp;mm\u003c\/li\u003e\n\u003cli\u003e2\u0026nbsp;vis Allen de 8\u0026nbsp;mm\u003c\/li\u003e\n\u003cli\u003e2\u0026nbsp;vis Allen de 12\u0026nbsp;mm\u003c\/li\u003e\n\u003cli\u003e2 écrous\u003c\/li\u003e\n\u003cli\u003e1 clé Allen de 2\u0026nbsp;mm\u003c\/li\u003e\n\u003cli\u003e1 clé pour le serrage\u003c\/li\u003e\n\u003cli\u003e1 chiffon de nettoyage en microfibre\u003c\/li\u003e\n\u003c\/ul\u003e\u003c\/transcy\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40675870245015,"sku":"AC-EQ-CS2","price":15.9,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/anti-magnetic-precision-screws-pro-ject-mount-it-audiosoundmusic.jpg?v=1719851894"},{"product_id":"single-puck-project-adapt-it","title":"\u003ctranscy\u003eCentreur pour vinyle 45 Tours - Pro-ject Adapt it\u003c\/transcy\u003e","description":"\u003ctranscy\u003e\u003cp data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003eCentreur usiné avec précision\u003c\/b\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eConvient à toutes les marques et types de platines et place vos vinyles de 17,8 centimètres exactement au centre de la platine. Adapt it est fabriqué à partir de métal non magnétique, ce qui lui donne une esthètique de première classe.\u003c\/p\u003e\u003cp data-mce-fragment=\"1\"\u003e Contrairement aux solutions en plastique bon marché, l'Adapt it est incassable\u0026nbsp;!\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eCaractéristiques\u0026nbsp;:\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eAdaptateur à utiliser avec des disques de 17,8 centimètres\u003c\/li\u003e\n\u003cli\u003eAssure l'ajustement central du vynile sur la platine\u003c\/li\u003e\n\u003cli\u003ePas de plastique - usiné avec précision sur une machine outil CNC\u003c\/li\u003e\n\u003cli\u003eAluminium non magnétique\u003c\/li\u003e\n\u003cli\u003eConvient à toutes les marques et types de platines\u003c\/li\u003e\n\u003cli\u003eCouleur argentée\u003c\/li\u003e\n\u003c\/ul\u003e\u003c\/transcy\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40675886891159,"sku":"AC - EQ - RC14","price":15.9,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/single-puck-pro-ject-adapt-it-for-7-vinyl-audiosoundmusic-1.jpg?v=1719851894"}],"url":"https:\/\/www.audiosoundmusic.com\/fr\/collections\/sold-out.oembed","provider":"AudioSoundMusic","version":"1.0","type":"link"}